Toscanini in Stereo a Report on RCA's "Electronic Reprocessing"

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Toscanini in Stereo a report on RCA's "electronic reprocessing"

MARCH ERS 60 CENTS FOR STEREO FANS! Three immortal recordings by Arturo Toscanini and the NBC Symphony have been given new tonal beauty and realism by means of a new RCA Victor engineering development, Electronic Stereo characteristics electronically, Reprocessing ( ESR ) . As a result of this technique, which creates stereo the Toscanini masterpieces emerge more moving, more impressive than ever before. With rigid supervision, all the artistic values have been scrupulously preserved. The performances are musically unaffected, but enhanced by the added spaciousness of ESR. Hear these historic Toscanini ESR albums at your dealer's soon. They cost no more than the original Toscanini monaural albums, which are still available. Note: ESR is for stereo phonographs only. A T ACTOR records, on the 33, newest idea in lei RACRO Or AMERICA Ask your dealer about Compact /1 CORPORATION M..00I sun.) . ., VINO .IMCMitmt Menem ILLCr sí1.10 ttitis I,M MT,oMC Mc0001.4 M , mi1MM MCRtmM M nm Simniind MOMSOMMC M Dvoìtk . Rn.psthI SYMPHONY Reemergáy Ravel RRntun. of Rome Plue. of Rome "FROM THE NEW WORLD" Pictures at an Exhibition TOSCANINI ARTURO TOSCANINI Toscanini NBC Symphony Orchestra Arturo It's all Empire -from the remarkable 208 belt- driven 3 -speed turntable -so quiet that only the sound of the music distinguishes between the turntable at rest and the turntable in motion ... to the famed Empire 98 transcription arm, so perfectly balanced that it will track a record with stylus forces well below those recommended by cartridge manufacturers. A. handsome matching walnut base is provided. And, although we leave the choice of cartr dge up to you, we can't help but recommend the Empire 108, the first truly compatible mono -stereo cartridge. The empire 108 in the 98 arm tracks superbly at 11/2 grams. The price of this magnificent playback system, less cartridge, $145.50. new empíre troubador (record playback system

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high fidelity volume I I number 3

including AUDIOCRAFT and HI -FI MUSIC AT HOME

l. Roland Celatt Editor Where Sound Sounds Best 30 Eric Salzman Joan Griffiths Executive Editor Wooden pilasters in Vienna can affectt the .wand Norman Eisenberg you hear in your living room. Audio Editor Conrad L. Osborne Toscanini in Stereo 40 Jack Arthur Somer Managing Edtor A report on electronically reprocessing Shirley Fleming the Maestro's discs. Assistant Editor Roy Lindstrom The Mixture That Is Milhaud 42 Edward Lockspeiser Art Director A close look at France's H. C. Robbins Landon prolific composer. European Editor Look the Stars 44 Alan Wagner Ralph Freas Sometimes Beyond Audio Coordinator Opera wouldn't he opera without its guards, messengers, and ladies -in- waiting. Editorial Board 10 Fleming John M. Conly Do Re Mi Marks a Record Marathon Shirley Chairman Overtime labors produced the tape of E. Power Biggs Broadway's latest success. Nathan Broder Notes from Abroad 18 R. D. Darrell Dispatches on doings in Alfred Frankenstein Hanover, Paris, Bucharest. Howard Hanson Julian Hirsch Music Makers 51 Roland Gelatt Robert C Marsh Francis Robinson Joseph Szigeti EQUIPMENT

The Hobbyhorse Still Rocks 29 Warren B. Syer An editorial. General Manager Claire N. Eddings Cabinets for Components 34 Norman Eisenberg Advertising Manager Sales Advice and counsel on housing Walter F. Grueninger Circulation Director the nude component. Low Budget Formula for Component Housing 97 Follon Doug Climenson's example and Publication Policy do- it- yourself for $126. Charles Fowler Equipment Reports 47 Lawrence Gatto Eico HF -89 Dual 50 -Watt Power Amplifier W. D. Littleford Garrard Type A Automatic Turntable Warren B. Syer Fairchild 500 Integrated Arm and Cartridge DuKane lonovac Speaker High Fidelity Newsfronts 95 Ralph Freas ., A D V E R T I S I N G

Main Office REVIEWS Claire N. Eddings, The Publishing House Great Barrington, Mass. Telephone 1300 New York Feature 1564 Broadway. New York 36 Record Reviews 53 Telephone: Plaza 7 -2800 Toscanini in "Electronically Reprocessed" Stereo. Sy Resnick, Andy Spanberger Vivaldi: The Four Seasons (Baumgartner, et al) Chicago Other Classical Record Reviews 10 East Huron St., Chicago 11 55 Telephone: Michigan 2 -4245 Pete Dempers, Tom Berry The Lighter Side 75 Los Angeles Jazz Record Reviews 85 1520 North Gower. Hollywood 28 Telephone: Hollywood 9 -6239 The 91 George Kelley Tape Deck Cover Photo Courtesy Gray Sound Corp.

Published monthly at Great Barrington, Mass. by The Billboard Publishing Co. Copyright © 1961 by The Billboard Co. The design and contents of High Fidelity Magazine are fully protected by copyright and must not be reproduced in any manner. Second -class pls'age paid at Great Barrington and at additional mailing offices. One-yeti' subscriplion in U. S., Possessions, and Canada $6.00. Elsewhere $7.00. FAYETTE AUTHORitatively Speaking Regular readers of the New York Times's RAD I O music columns are noting more and more frequently of late the by -line of Eric Salzman. They no doubt deduce that an- KT -600A PROFESSIONAL STEREO CONTROL CENTER other bright young critic has entered on the musical scene. They deduce quite cor- KT -600A In Kit Form Y LA -600A Completely Wired rectly. Mr. Salzman, still a safe distance 50 on the near side of thirty, started train- 134.50 ing for his present career a good many 5.00 DOWN years ago. beginning with violin lessons ± Response 5- 40,000 cps 1 db. at age seven and going on to piano stud- Precise "Null" Balancing System ies and private classes in musical theory Unique Stereo and Monaural Control Features Concentric Input Level Controls and composition. (How he managed on Easy -To- Assemble Kit Form. the side a high school varsity letter in basketball, we don't know -but it's a fact Sensitivity 2.2 my for 1 volt out. Dual low impedance he did.) An plate follower" outputs 1500 ohms. Less than .03% A.B. from Columbia. gradu- IM distortion; less than .1% harmonic distortion. Hum ate work at Princeton, and a Fulbright and noise 80 db below 2 volts. 14x105/8x41h". Shpg. Fellowship for study in Rome fol- wt., 16 lbs. lowed. Also teaching. Also conducting. Also performing. And writing about mu- THE REMARKABLE KT -650 FM TUNER KIT sic and musicians, of course. This month Mr. Salzman gives us (p. 30) a disquisi- LT -650A Completely Wired tion on recording halls here and abroad. KT- 650Kit 54.50 79.95 Jack Arthur Somer, whose "Toscanini in Virtually D 5.00 Down istortionless Performance -Less Stereo" appears on p. 40, holds at RCA Than .15% Distortion at 100 °0 Modulation Victor the post of administrator Sensitivity 3 µv for 30db of Quieting for audio coördination. A graduate of Response ±- 1/2db 15-35,000 cps CCNY +,arbgtigrawark ..4 with a degree Variable AFC in mechanical engineering, Somer was Professional FM Laboratory Standard Perform- Mr. previously employed at ance - Circuitry employs a low noise front RCA's Indianapolis development labora- end with . r-r triode mixer plus double tuned dual tories. When he could manage to extri- ' limiter and wide band Foster Seeley discrim- cate himself from the inator. IF and Discriminator coils are factory fascinating experi- prealigned- permits playing the tuner as soon ments going on there (and we all know as assembly is completed. Printed circuit board scientists' devotion to duty), he acted in and famous Lafayette instruction manuals make his spare time as assistant to Bilt- Made in U.S.A. kit building a pleasure. 14x5r%Hx11 "D. Shpg. wt., Edwin 131/2 lbs. cliffe, director of the Indianapolis Sym- phonic Choir. As a matter of fact, Mr. NEW! KT -550 100 -WATT BASIC STEREO AMPLIFIER KIT Somers has had a more than casual interest in music ever since he started tak- LA -550 Completely Wired KT -550 In Kit Form ing piano lessons as a small boy: he 134.50 himself is now giving private instruction 5.00 Down 184.50 to several adult beginners and, together with a fellow Victor staff member, is Rated at 50 -Watts Channel per engaged in composing a three -act opera. Response from 2- 100,000 cps, 0, -1db at 1 -Watt Grain Oriented, Silicon Steel Transformers Multiple Feedback Loop Design London -born Edward Lockspeiser, author Easy -To- Assemble Kit Form of "The Mixture That Is Milhaud" A new "Laboratory Standard" dual 50 -watt amplifier (p. 42), has made his reputation largely guaranteed to outperform any basic stereo amplifier as on the market. Advanced engineering techniques plus an authority on French music, espe- the finest components ensure flawless performance. cially the work of Debussy. (In recog- Distortion levels so low they are unmeasurable. Hum nition of his services in this connection and noise better than 90 db below 50- watts. Complete he was made in 1948 an the with metal enclosure. 91/x121/2"D. Shpg. wt., 60 lbs. Officer of French Academy.) His latest book will be published in this country KT -500A FM -AM STEREO TUNER KIT next year, to coincide with the Debussy centenary. Mr. Lockspeiser is also known KT -500A In Kit Form 74.5 LT -50A Completely Wired as composer, conductor. author of The 0 Literary Clef-an anthology of the writ- 5.00 Down 124.50 ings of French composers from Berlioz to Satie. and lecturer. Recently he visited Multiplex Output for New Stereo FM Armstrong Circuit with Dual Limiters and Foster. the United States to speak at a number Seeley Discriminator of Eastern universities. Extreme Sensitivity and Wide Frequency Response Easy ToAssemble Kit Form Our frequent contributor Alan Wagner Separate FM and AM tuning sections, each with its magic eye. FM: automatic frequency control, 2 micro- (his current appearance in these pages is volts sensitivity for 30 db quieting, frequency response as author of "Sometimes Look Beyond ..1h 20. 20.000 cps db, full 200 Ice bandwidth. AM: the Stars," p. 44) claims that nothing efficient broadband circuitry, built -in antenna. Two printed circuit boards make wiring simple. 133/010%x new has happened to him recently. The 41h ". Shpg. wt., 22 lbs. changes in his existence, he writes, are more of degree than of kind. (Being all The NEW 1961 Lafayette in favor of a quiet life, we think this is fine.) Mr. Wagner now bears a more im- Electronics Catalog No. 610 posing title at a New York advertising agency; he finds that these days his radio Lafayette Radio, Dept. WC1-1 N. Y. P.O. Box 190, Jamaica 31, program on WNYC consumes more and Name more of his time; and he suddenly is Address being forced to recognize that a younger generation challenges his musical au- City Zone Staten thority; son David. now going -on- three, - listens willingly only to Bach. Mr. Wag- I{ -- NEW YORK 13, N.Y. BRONX 58, N.Y. NEWARK 2, N.J. RtLa. R A D I CO ner is an aficionado of the opera. Every- LOCATIONS NEW PLAINFIELD, N.J. I PARAMUS, N.J. I BOSTON 10, MASS JAMAICA 33, YORK body has his own problems. we guess. ( 11211.1. 53 ON READER- SERVICE CARD

4 HIGH FIDELITY MAGAZINE Incomparable multi-record sets... are any missing from your record library? (NOTE: THEIR NATIONALLY ADVERTISED PRICES RANGE FROM $21.98 UP TO $41.98) A SIX -RECORD SET IN A SHORT TRIAL MEMBERSHIP No. 506 TCHAIKOVSKY OF GREAT MUSIC OMNIBUS THE RCA VICTOR SOCIETY Regular L.P. $29.98 Stereo $35.98 Piano Concerto Violin Concerto No. 1 VAN CLIBURN JASCHA HEIFETZ FOR Fifth Symphony Nutcracker Suite ANY SE-1(")FFEll $498 PIERRE MONTEUX ARTHUR FIEDLER conducting the conducting the Boston Symphony Boston Pops IF YOU WILL AGREE TO BUY SIX ADDITIONAL 12 -INCH DISCS DURING THE NEXT YEAR Pathétique Sym- Capriccio Italien phony FRITZ REINER KIRIL KONDRASHIN conducting the conducting the RCA Chicago Symphony Victor Symphony AVAILABLE IN STEREO UNLESS OTHERWISE INDICATED Excerpts from The Sleeping Beauty PIERRE MONTEUX conducting the London Symphony A SEVEN -RECORD SET A FOUR- RECORD SET r No. 508 Or ) EIGHT GREAT SYMPHONIES , No. 501. Vienna Performed by the Philharmonic Festival l Conducted by BOSTON SYMPHONY ORCHESTRA if 1% \ HERBERT VON KARAJAN CHARLES MLNCII and PIERRE MONTEUX, coudrlrtors Regular L.P. $34.98 MOZART : Symphony No. 40 HAYDN : Sym- BEETHOVEN: S - BRAHMS phony No. 104 BEETHOVEN: Symphony phony No. 3 ( Emroica) Symphony No. 4 A SEVEN -RECORD SET No. 7 BRAHMS : Symphony No. 1 JOHANN MENDELSSOHN : FRANCK Symphony STRAUSS, JR.: Tales from the Vienna Symphony No. 4 in D minor Not available in stereo Woods; Overtures to Die Fledermaus and No. 507 (Italian) TCHAIKOVSKY MENDELSSOHN The Gypsy Baron; Annen Polka; Auf der Symphony No. 5 THE NINE BEETHOVEN SYMPHONIES Symphony No. 5 Jagd JOSEF STRAUSS: Delerien Waltz Regular (Reformation) TCHAIKOVSKY De Luxe SORIA Album Conducted by ARTURO TOSCANINI L.P. $34.98 BRAHMS Symphony No. 6 Stereo $41.98 Symphony No. 1 (Patbilique) Regular L.P. $21.98 Stereo $25.98

A FOUR- RECORD SET A FIVE -RECORD SET A SIX -RECORD SET A SIX -RECORD SET No. 502. Handel's Messiah No. 504 Not available in stereo Not available in stereo No. 503. The Five : Bach's Well- Tempered Clavier No. SOS COMPLETE Beethoven Rubinstein Piano COMPLETE Conducted by Plays Chopin 4111111-1-k SIR THOMAS Concertos Performed on the 69 selections BEECHAM harpsichord by POLONAISES Played by BART., C.11. WANDA WALTZES RUBINSTEIN NOCTURNES De Luxe SORIA Album ARTUR LANDOWSKA e IMPROMPTUS Regular L.P. $29.98 Regular L.P. $29.98 PRELUDES Regular L.P. $21.98 Stereo $25.98 Regular L.P. $24.98 Stereo $29.98

RCA VICTOR Society of Great Music V12.3 THE BASIC IDEA: SYSTEMATIC COLLECTION UNDER GUIDANCE c/o Book -of- the -Month Club, Inc. 345 Hudson Street, New York 14, N. Y.

Music - sT music- I.ovERS certainly intend to build up music critic; SAMUEL CHOTZINOFF, General Please register e t member of THE RCA VICTOR SOCIETY OF GREAT MUSIC and si e the a truly representative record library, but, un- Director, NBC; JOHN M. CONLY, music editor, 76e Multi- Record et I have Indicated below. billing me M only 114.95 (plus postage). I agree to buy six addl fortunately, almost always they are haphazard in Atlantic; AARON COPLAND, composer; ALFRED Lionel RCA VICTOR Red Seal Records from the Society within twelve months. For eaych of them t will be billed FRANKENSTEIN, music editor, San Yrancisco file manufacturer's carrying out this aspiration. Systematic collection stereophonic re. Pro- r recordings $3.98 fora os not only means that they will ultimately build up a Cbrotlicle; DOUGLAS MOORE, composer and cordings) -plus a small charge for pontage, mole. too and handling. After I have completed my trial mem- be but that fessor of Music, Columbia University; WILLIAM bership I need buy only four records In any twelve- record library of which they can proud, month perlwl to maintain membership. I may cancel SCHUMAN, composer and president of Juilliard my membership any time after buying six discs front they can do so at an IMMENSE SAVING. the Society (in addition to those Included In this In- here is a School of Music; CARLETON SPRAGUE SMITH, troductory offer). If I continue after my sixth pur- The one -year membership offer made chase. for every two records I buy from the Society I dramatic demonstration. In the first year it can rep- former Chief of Music Division, New York Public will receive n third RCA VICTOR Red Seal record free. Library; G. WALLACE WOODWORTH, Professor of INDICATE EY HUMBER THE resent a saving of AS MUCH AS 40% over the manu- MULTI -RECORD SET YOU WANT Music, facturer's nationally advertised prices. Harvard. CHECK THE DIVISION YOU WIEN TO JOIN After purchasing the six additional records called Regular L.. Stereo OPERATES in this trial membership, members who continue HOW THE SOCIETY MR. for MRS. can build up their record libraries at almost a ONE - EVERY month three or more 12 -inch 331¡ R.P.M. MISS (Please print plainly) THIRD SAVING through the Club's Record- Dividend RCA VICTOR Red Seal records are announced to Address plan; that is, for every two records purchased (from members. One is singled out as the record- of -tbe- a of at least 100 made available annually by montb and, unless the Society is otherwise In- ity Zone.... State group NOTE: If you wish your membership credited to an the Society) members receive a tbird RCA Vitro' structed (on a simple form always provided), this authorised RCA VICTOR dealer. please fill In here. Red Seal record FREE. record is sent. If the member does not want the Dealer' Name... A cardinal feature of the plan is GUIDANCE. The work he may specify an alternate, or instruct the (Pionne print plainly) Society has a Selection Panel whose sole function is Society to send him nothing. For every record mem- Address PLEASE NOTE: Record ran be shipped only to residents to recommend "must- have" works. The panel in- bers pay only $4.98 -for stereo 35.98 -the manufac- of the U.S. and Its territories. and Canada. Records for Canadian members are made in Canada and are shipped cludes DEEMS TAYLOR, Chairman; composer and turer's nationally advertised price. (A small charge defy free from Ontario. commentator; JACQUES BARZUN, author and for postage and handling is added.) aRCLE 23 ON READER -SERVICE CARD MARCH 1961 5 IT MAY BE A TURNTABLE OR IT MAY BE AUTOMATIC tti IT CAN'T POSSIBLY BE BOTH

Before you spend a sizeable sum of money, consider these basic differ ences between an authentic turntable such as the REK -o -KUT Stereotable, and the so- called "automatic turntable" which is nothing more than an ordinary record changer! Your high fidelity dealer will readily confirm and demonstrate the following facts.

TURNTABLE: Check the rotating table on its true identity- nothing more than a record which the record is placed. In the REK -O -KUT changer! Note that the arm is tied to the

Stereotable this table is a heavy, cast - table with a complex of multiple linkages aluminum, precision -machined unit. Its rec- which imposes additional weight and pres- ord spindle is part of the table and rotates sure on the arm, causing it to drag against with the record! This construction elimi- one side of the groove. This reduces the nates wow and flutter (undesirable pitch stereo effect materially and causes exces- variations). sive and rapid groove wear. "AUTOMATIC ": In the "automatic ", this TURNTABLE: Observe the motor. This is the table may be nothing more than a large heart of any record player. The REK-O -KUT weighted shell covering and camouflaging Stereotable employs a hysteresis synchro- a thin metal stamping. Its spindle is nous motor -a remarkably quiet unit which stationary and inevitably wears the record operates at a constant rate of speed regard- centerhole. This results in quavering piano less of any variations in current from your tones and vibrato in vocals. electrical outlet. TURNTABLE: Check the tonearm. With the "AUTOMATIC ": Here again, the "automatic REK -O -KUT Stereotable you use an independ- turntable" exposes its true identity by utiliz- ent tonearm. This tonearm is in no way ing an induction motor. The difference? As linked to the turntable and is completely vast and as marked as the difference free to faithfully track the record groove. between a modern high compression auto- An independent tonearm, such as the mobile engine and its less powerful coun- REK -O -KUT Tonearm, which is perfectly bal- terpart. The undesirable rumble noises anced, assures even and minimum pres- present in the operation of the ordinary insure against both tracks of a stereo groove. duction motor will be reproduced through The stylus point remains vertical to the your speakers. As record piles upon record, record at all times must for minimum -a the added weight slows the speed of this record wear and optimum fidelity. motor and the rotating table -to say noth- "AUTOMATIC ": Now, look underneath the ing of the harmful abrasive grinding action so- called "automatic turntable ". It reveals between precious record surfaces. - Remember, you pay the bill and you should receive a product that is all it represents itself to be. REK -O -KUT has earned a world -wide reputation for providing the finest possible equipment at a price in keeping with its true value ... and factually presented to the public. Ask your dealer to show you the fine selection of REK -O -KUT Stereotables, Tonearms and Audax Speaker Systems. Write for free catalog. REK -O -KUT pEKO KUT STEREOTAB LES (o)

Rek -O -Kut Co., Inc., Dept. HF -31, 38-19 108 St., Corona 68, N. Y. Export: Morhan Exporting Corp., 458 Broadway, New York. Canada: Atlas Radio, 50 Wingold Avenue, Toronto 19.

CIRCLE 71 ON READER -SERVICE CARD 6 HIGH FIDELITY MAGAZINE "Home subscription to grand operánow possible through RCA VICTOR Metropolitan Opera Record Club

Mozart ., ... AN INTRODUCTORY OFFER The Marriage of Figa: o ERICH LEINSW1F. CeNOHCOF Any o ne of these completep operasp REGULAR RETAIL PRICES UP TO $498

807. THE MARRIAGE OF FIGARO -1 u22í, Peters, Della Cast, London, Elias, ou Oiven }', Corena; Erich Leiosdorf, conductor. 4- / í< record album. (List price $14.9s)

,..IF YOU JOIN THE CLUB AND AGREE TO BUY FIVE RECORDS WITHIN THE NEXT YEAR° LA TRAVÍATA CARTERI 1+LLE111 KYURN Fir IlE exciting ultimate objective is to make available a ROME OPERA HOUSE ORCHESTRA AND CHOCIS 1 comprehensive library of grand opera similar to the Choose your favorite PIERRE MONTEUR. CO :DICTA collections of the world's great books to be found in the singers in their best homes. The complete "living" repertory of opera - most famous roles Italian, German, French, Russian, American -will in time be provided. Each member can choose the recordings ALBANESE LONDON he is eager to own -as few as five a year if he so pleases. AMARA MERRILL BACCALONI MILANOV * In addition to recordings of Metropolitan produc- BARBIERI tions, operas recorded abroad by RCA VICTOR will be MUNSEL BJOERLING 600. IA TRA V I ATA made available to members, with Metropolitan artists in PEERCE -Carteri, Valletti, the cast. In virtually every case, the operas will be avail- CORENA Warren; Pierre ROBERTA Monteux, conduc- able in complete form. CURTIS- PETERS tor. 3- record al- VERNA bum. * As a member you will enjoy a ONE -THIRD SAVING RYSANEK (List price $9.9s) DELLA CASA compared with what you would pay for the same records SINGHER if you bought them separately and haphazardly as a non - DEL MONACO STEBER member at the manufacturer's nationally advertised DE LOS STEVENS prices. For, after the trial period, for every two records ANGELES RISE you buy you will receive A FREE RECORD. These free DI STEFANO TEBALDI records may be chosen front a Record - Dividend catalog ROSALIND THEBOM listing a wide variety of Rcn VICTOR Red Seal operatic ELIAS TOZZI and classical albums. GEDDA UPPMAN 804. CARMEN - * Albums are sold to members at the nationally adver- HARSHAW VALLETTI Stevens, Peerce, tised price of all RCA VICTOR Red Seal opera records - Albanese, Merrill; KIRSTEN LEONARD currently (except for de luxe albums) $4.98 for a single - Fritz Reiner, con- KRALL WARREN ductor. Robert record album, $9.98 for a two- or three -record album and Shaw Chorale. 3- $14.98 for a 4- record album (plus a small charge for _ !ar.Vcrra record album. (List price $9.90) postage and handling, with use /sales tax where required). A libretto included with each opera Verdi AIDA The RCA VICTOR Metropolitan Opera Record Club J15-3 c/o Book -of- the -Month Club, Inc. 345 Hodson S , New York 14, N. Y. INDICATE BY NUMBER IN BOX BELOW Please enroll me as a member of THE RCA THE COMPLETE OPERA YOU WANT VICTOR METROPOLITAN OPERA RECORD CUM and send me a recording of the complete opera indicated at right, without charge. I agree to buy five twelve -inch discs from the Club within the next twelve months, for each of which I will be billed at the nation- MR. ally advertised price (plus a small charge for MRS. postage and handling, with use /sales tax MISS where required). I may cancel my member- Address ship any time after completing my original membership agreement. If 1 continue, for City Zone every two records 1 buy from the Club I will receive a third record free. If I wish to, however, I may cancel this Trial Membership Stare within ten days, in which case I will return Milanos', Bjoerling, War- NOTE, Records ran he .hlpi ,t only to restdenl 80S. AIDA- the free album. nr the r% s. ,,'t u. ten-Doric. nd Canada. Ilrr rd. far ren, Barbieri; Jonel Perlea, condnctor. albums as two chases: 4-rec- I. enaction members are made In (anada and shipped dura oord d bumscount as athe purchases. I err tran Ontario. 3- record album. (List price $9 90)

CIRCLE. 24 ON RE DE:R -tiFR ICE: CARD MARCH 1961 7 S OUA DTALK, . < < from the world's most experienced manufacturer of magnetic tapes

Tips on tape handling and storing

For a perfect performance every time you play a tape recording, use two kinds of care -care in selecting tape and equipment . . . and care in handling and storing tape. You get true stereo quality sound reproduction, at an economical price -a tape that rates high in "keeping" qualities, too - in "SCOTCH" BRAND Tartan® Series Magnetic Tapes! Microscopic uniformity, both in high potency oxide coatings and hacking materials, assures a crisp, clear frequency response play after play. Then, take these few simple handling and storage precautions: STORE IN THE ORIGINAL BOX to protect against dirt and damage. Place containers "on edge," or if you lay them flat, avoid weight that might distort reels or injure tape edges. And keep tape away from magnets or strong magnetic fields that might cause accidental erasure. AVOID LONG EXPOSURE to extreme temperatures and humidity. If humidity varies, store in sealed containers. If tape is exposed to extreme heat or cold, allow it to return to normal room temperature before playing. CLEAN RECORDER HEADS and guides periodically following recorder manufacturer's instructions, and avoid excessive winding tension that might stretch or distort tape. To protect your recorder head, use "SCOTCH" BRAND Tartan Tapes. Exclusive lifetime Silicone lubrication reduces head wear, eliminates squeal and extends tape life. 1sk for all -purpose Tartan Tapes in any of four different series: No. 141 -plastic, standard play, 600' and 1200'; No. 140-plastic. 50% extra play and No. 142 -50'°i extra play on super- strong polyester backing . . . both in 900' and 1800' lengths; No. 144 -double length, double strength on tensilized polyester backing, 1200' and 2400' with twice the recording time of standard tapes. From $1.75 at retail dealers. © 1961 3M Co.

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'SCOTCH". "Tartan' and the Plaid Design are registered trademarks of the 3M Company. St. Paul 6. Minnesota. Export: 99 Park Avenue, New York. Canada: London. Ontario. CIRCLE 6t ON READER -SERVICE CARD 8 HIGH FIDELITY MAGAZINE VOLUME BALANCE

1 i=L ALL m isr.isTn4 STEREO AMPLIFIER MODEL S.15

The TEC S -15 all transistor 40 watt stereo ampifier brings a space age concept to high fidelity. Never before has the audiophile been able to get so much high quality sound for so little. A neat package 10" long and seven pounds light puts out 40 watts of pure undistorted sound.

And the price is as exciting as the package -only $129.50. Because of its all- transistor circuitry, the unique S -15 has no heat, no hum, no microphonics. Quite naturally, from Transis-Tronics. Write for your copy of complete specifications. Power Output 40 watts (20 watts per channel). Frequency Response ±0.5 db 20-20,000 cps. Response is 3 db down at 6 cps and 45,000 cps. Intermodulation Distortion less than 0.9% at rated output, 60 and 6000 cps. Harmonic Distortion less than 0.5% at rated levels. Inputs 5 pair: magnetic phono, tuner, tape, auxiliary 1 auxiliary 2. Front Panel Controls: volume, power; balance; bass channel A; bass channel B; treble channel A; treble channel B; function (phono, tuner, tape, auxiliary 1, auxiliary 2); mode (mono A, stereo, mono B); loudness; scratch filter, rumble filter. Balance Control for TEC equalizing speaker outputs. At full rotation will completely cut off sound from either speaker. Circuitry, 2 germanium diodes, 3 silicon diodes. Power Requirements 105-120 volts AC, 50-60 cps; 12-28 volts DC for battery operation. S -15 TEC Transistor Engineered Components TES

T 15 THE ,,A,c.Aaa Of T,AMSIS,T.,Ms..,. Transis -Tronics, Inc., 1601 Olympic Boulevard, Santa Monica, California Do Re Mi Marks a Record EXTRA SHELL Marathon

NI ESL -52000 ARM

Phil Silvers

An eighteen -hour work day put Broadway's hit on tape.

confidential R. a brand -new Broadway to be no exaggeration -the overture re- musical comedy while it is riding quired, in all, fourteen takes before the memo... the crest of the raves is, I am sure, an balance of inner voices and the behavior event unlike any other on earth. The ses- of the trombones were worked out to sion usually takes place on Sunday, and the composer's satisfaction. toESL the principals may find themselves still Meanwhile, as the morning progressed, in the hall when the sun comes up on the control room began to fill with others Monday, especially if the completed al- responsible for Broadway's newest hit. bum must, by previous commitment, go Lyricists Betty Comden and Adolph dealers on sale in the stores on Wednesday morn- Green appeared (The Bells Are Ringing, ing. Such was the timetable for RCA On the Town, Wonderful Town), the Victor's recent taping of Do Re Mi, and former cool and imperturbable, the latter the eighteen hours of takes and retakes looking rather like a character from (with a meal or two interspersed) demon- Great Expectations (in spite of the pro- strated that the show must not only go ficiency with which he occasionally per- on ... but on and on and on. formed an absent -minded soft -shoe rou- Do Re Mi is the story of an inveterate tine off in one corner, or sat by the bungler named Hubert Cram (Phil Sil- speakers conducting intensively to him- vers) who decides that his chance to self, never still for a moment, eyes make big money lies in the jukebox squinted against the trailing smoke of a racket. His wife Kay (Nancy Walker) perpetual cigarette). The producer, David has been through this sort of thing be- Merrick (A Taste of Honey, Becket, It's no secret that ESL dealers are the fore. and although what she really wants /rma La Douce), alone and watchful, greatest. Your customers have confidence to do is open a dry -cleaning establish- paced between the ballroom and the en- ment, she is with Hubie to the end. For in you. That's why they want their friends to gineers' encampment, as much a vet- the recording session, Silvers and Miss eran of the show as any member of the meet you. We think they should be rewarded. Walker were scheduled for afternoon and troupe by virtue of having traveled with evening; lesser lights the cast were on We've a gift for every purchaser of the of the company during the entire six weeks hand much earlier. of the out -of -town tryouts -a somewhat new ESL -2000 Super Gyro /Balance arm. He It was ten A.M. when Lehman Engel, unusual procedure but one in keeping need only introduce a friend to you. If within dean of Broadway conductors, beamed with Merrick's reputation as one of the joyfully at his orchestra assembled in most astute backers in the business. "Phil six months his friend purchases merchan- the intensely pink ballroom of the Man- Silvers wanted to come back to Broad- dise totaling $25 from you, whether ESL hattan Center on West 34th Street, lit a way, so we cast around for a show for six -inch cigar, and gave the downbeat him," was his explanation of how it all products or anything else, the introducer of the overture in a cloud of smoke. began. gets his gift. He can choose either a $5.75 In the adjacent room (which is, on more The first of the leads scheduled to re- prosaic occasions, a bar) the engineers cord was John Reardon, a tall, athletic ESL Dust Bug a or $5.50 extra ESL aluminum had set up three huge speakers and an baritone who has worked his way from shell, in any of six vivid colors (suitable for elaborate array of tape equipment; seated musical comedy into opera (at New York near the control panels. flanked by tech- City Center) and back again. Reardon S1000 arms, too) absolutely free. Isn't that nicians, was the show's composer, Jule vaulted onstage and began a love song the greatest way to say you're grateful? Styne (The Bells Are Ringing, Gypsy), titled Make Someone Happy with an ease a compact, well -tailored man in his fifties belying the fact that he had been sing- who is known for driving energy and a ing Guglielmo in Cosi fan tulle only a sense of determination that brooks no few months before. A grueling series of contradiction. "This session is going to be retakes on his three solo numbers f the devil," an RCA man confided to me. the REDHEAD is coming "Styne's a real stickler." Which proved Continued on page 12 CIRCI.E 35 ON READER-SERVICE CARD 10 }TI'', FIDELITY MAGAZINE ANNOUNCING A NEW AND REVOLUTIONARY 'reAe0 Vteo £tv

I II I I I ti II I R

.. Available Exclusively On the FISHER 400-CX Stereo Master Audio Control

NOW YOU CAN NOT ONLY diminish stereo effect but makes it possible to drive an average amplifier through widen it even beyond the degree of separation in the as much as a mile of cable without loss of quality! Addi- record or program! This major achievement of the Fisher tional Center Channel output with independent Volume Laboratories now makes it possible to overcome the control. Balance control. $199.50 acoustic handicaps of a narrow room, or the problem of speakers that are, for lack of space, too close together. Exclusive FISHER expanding Stereo Dimension Control enables you for the first time to spread sound to suit your EXPERT GUIDANCE AVAILABLE room characteristics perfectly. It is the year's greatest step ON INSTALLATION PROBLEMS forward in stereophonic sound and just one of dozens of Do you need help in planning the installation of your features that make the 400 -CX the first choice among all high fidelity system? If so, the skills of the Fisher Cus- control -preamplifiers, regardless of price. And it is built tomer Service Staff are available to you without charge. Simply send us (through your dealer, or directly) a to the uncompromising FISHER standards - standards rough sketch of your room layout, the dimensions of the that have made FISHER the world leader in high fidelity space available for installation of the electrical equip- years. THE FISHER 400 -CX ment. and your choice of FISHER models. Our staff will for more than twenty-three advise you on how to make the most effective use of the is the ideal companion to THE FISHER SA -300 -B 90- cabinet space and room acoustics. Watt Stereophonic Power Amplifier. Address your inquiry to our MR. RICHARD HAMILTON. All controls designed for simple operation, coupled with grand -organ flexibility. New output -stage circuit design Write today for complete specifications

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Available in Canada through Canadian- Marconi CIRCLE 37 ON RF: :MER- SERVICE CARI) MARCH 1961 II DO RE MI Continued from page 10 stretched well into the afternoon, after which he and Nancy Dussault did a rousing duet called Fireworks. Sinking onto a nearby trunk full of electric cables, Mr. Reardon was heard to moan, "This puts Gütterdüminerung in the shade." By midafternoon the chorus had checked in, clad in everything from toreador pants to silk sheaths, Edwardian suits to turtle -neck sweaters. Lehman En- gel was still irrepressible, having changed shirts three times and cigars perhaps half a dozen; he made several vain inquiries as to who has the adrenaline concession around here ?" but his own energy was obviously far from depleted. Members of the orchestra who weren't called upon to play had several quiet, high -staked draw -poker games in progress at tables around the edge of the dance floor, and in the control room the engineers hadn't budged since lunchtime. The chorus got to work, and later Phil Silvers of the inimitable slouch and wagging shoulders shuffled in. He was soon on stage with Nancy Dussault, rasp- ing out a strapping number called Am- bition, hat pushed to the back of his head, arms outstretched in a wide embrace of the empty rows of the balcony, glasses reflecting darts of light to the rear of the house. Jule Styne, at his post never before near the controls, was still implacable. calling for better balance with the or- a speaker system libe chestra, better diction, "more drive, more excitement," unperturbed by Silvers' pro- University's test, during a playback, that "l'm tear- ing my throat out for you, man." And so it went, into the night. By the Medallion XII time the show's costar, Nancy Walker. came on with a menacing solo called Waiting, Waiting, it was nearly midnight. Most of the onlookers had gone home, Three -way 12" standards are in order when you audition the FITS ANYWHERE and the poker games had long since given High Compliance System Medallion XII. Our engi- anyway ... on the floor, out. Lehman Engel was wearing his featuring the exclusive neers outdid themselves on a bench, even built -in. fourth shirt, and composer Styne looked as impeccable and unwrinkled as when "Select -a- Style?. in creating a system so With its optional match- musically rich, so beau- ing base, or without it, he had sat down some fourteen hours snap -on grilles tifully balanced that it as highboy or lowboy. earlier. By four A.M. the last song was surpasses even the Takes very little space recorded, and an RCA engineer went off to the company's Twenty- fourth highly revered "Classic." (only 24" x 17" x 121/2 ") , Street offices make the tape -to -disc INGENIOUS By lab test, its phenome- ideal as a pair for stereo. to nal response extends transfer. Another musical marathon had STYLING been won. SHIRLEY FLEMING from 28 to 22,000 cps, NO FINER PERFORMANCE Five different styles, linear all the way, and AT TWICE THE PRICE! four different finishes, to actually goes out to an Only $139.95 for the High Fidelity. March 1961. Vol. 11. match your decor .. . ultrasonic 40,000 cps! No basic system. $9.95 for No. 3. Published monthly by The Billboard exactly ... whether it be other speaker system ap- Publishing Co.. publishers of Billboard the Contemporary grille, Music Week. Vend. Amusement Business. Contemporary, Colonial, proaches this response. $14.95 for the others. and Billboard Overseas Edition. Tele- Italian Provincial, And phone: Great Barrington 1300. Member $14.95 for the base. Audit Bureau of Circulations. French Provincial, or Even less unfinished. Swedish Modern. How's OUTSTANDING Editorial Correspondence should be ad- it done? With "Select -a- Want to learn more? dressed to The Editor, High Fidelity, Great Style" snap -on grilles COMPONENTS Barrington, Mass. Editorial contributions will Write for the new be welcomed. Payment for articles accepted that you'll appreciate all All specially selected for will be arranged prior to publication. the more if you ever "Informal Guide to Unsolicited manuscripts should be accom- this one prize system. A Component High Fidel- panied by return postage. change your decor. Prac- 12" High Compliance tical too, aren't they? ity." Desk P -3, Univer- Change of Address notices and undelivered woofer, a newly devel- sity Loudspeakers, Inc., copies should be addressed to High Fidelity, oped 8" mid -range, and White Plains, N. Y. Subscription Fulfillment Department, 2160 Virtuoso the fabulous Sphericon Patterson Street, Cincinnati 22, Ohio. tweeter. Plus a new type Subscriptions: Subscriptions should be ad- of dual acoustic control dressed to High Fidelity, Great Barrington, performance Mass. Subscription rates: United States, Pos- for mid -range and tweet- sessions, and Canada, 1 year, $6: 2 years, Listen and compare .. . er to assure perfect bal- UNIVERSITY. $11: 3 years, SIS; 5 years, $20. Elsewhere Er $1 per year extra. Single copies 60 cents. only the very highest ance in your own room. A Division of lint Terns, Electronics. Inc.

CIRCLE 90 ON READER -SERVICE CARD 12 HIGH FIDELITY MAGAZINE THE GREATEST ADVANCE SINCE STEREO!

THE FISHER DYNAMIC SPAcExNDE

IT IS WELL ESTABLISHED that one's perception of the music itself. Listen to any of your favorite programs of size of the room or hall in which music is being played records with the FISHER K -10 in operation and you is based on the amount of reverberation in the signal will find that you have added a thrilling new dimen- reaching one's ears. With the revolutionary new sion of concert -hall realism; without it, the program FISHER Dynamic Spacexpander, Model K -10, you can actually sounds 'dead' - the most dramatic proof of now literally create living concert hall acoustics in your what the FISHER Spacexpander does! own home, and on any type of signal- whether from records, radio or tape -at the turn of one simple con- Best of all, there are no moving parts to get out of trol! The results are astonishing. adjustment - no motors, no continuous tape belts, no complicated drive mechanisms. The FISHER K -10 is a The patented design of the FISHER K -I0 permits the marvel of simplicity and superb electronics, designed to blending of any desired degree of reverberation with give years of trouble -free, thrilling service. the input signal to create a result that is truly the living Complete assembly, $69.50

THE FISHER X -100 Stereophonic Master Control Amplifier 36 -watt dual -channel amplifier, with its own Stereo Master Audio Con- trol. Preamplifier has 14 inputs for every type of cartridge, tape equipment, and tuner on the market. Function -Group controls on front panel for easy selection of program source and adjustment of volume, balance and tonal characteristics. Amplifier uses EL -84's in matched pairs, gives performance superior to many amplifiers with higher power ratings. Hum, noise and distortion completely inaudible. THE FISHER X -100 is ideally suited for use with the K -10 Spacexpander. $159.50

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FISHER RADIO CORPORATION 21 -25 44th DRIVE LONG ISLAND CITY 1, N. Y.

Available in Canada through Canadian- Marconi CIRCLE 38 ON READER -SERVICE CARD MARCH 1961 13 50 -WATT STEREO AMPLIFIER Get the most from your stereo tapes, records, tuners, etc., with this top -of- the -line stereo amplifier and control center! Power- packed 50 -watts (25 watts per channel); complete tone, balance and stereo /mono function controls; five stereo inputs plus separate monophonic magnetic phono; mixed -channel center speaker output for stereo "fill -in" or wiring sound to patio or other rooms. Superbly styled with luggage -tan vinyl clad steel cover. 31 lbs. Kit Model AA -100 $84.95 Assembled Model AAW-100 $144.95

COMPLETE STEREO PHONO CONSOLE Less than 3' long and end -table height; fits both space and dollar budgets! Four -speed automatic stereo /mono record changer has turnover diamond /sapphire styli. Full -range stereo sound is sparklingly reproduced by two 12" woofers, two 8" mid -range speakers and two 5" cone -type tweeters. Solid genuine walnut frame, walnut veneer front panel and matching "wood -grained" sliding top. All cabinets assembled and finished. 70 lbs. Kit Model GD -31 $129.95 Assembled Model GDW -31 $149.95

NOW ONLY HEATH BRINGS YOU ALL 3!

1.HEATHKIT for do- it- yourself hobbyists.

2. HEATHKIT factory -built, ready to use.

3. HEATHKIT learn -by -doing Science Series for youngsters.

look forward to the happy .

NEW LOW COST STEREO RECORD CHANGER KIT For a fine record changer at a budget price, choose this feature -loaded, brown and beige beauty. It has an oversize I turntable for better record support, "anti- skate" device to protect your records, jam -proof mechanism for dependable performance, and plug -in cartridge head for easy changing. Plays all four speeds automatically or manually with automatic shut -off after the last record. Assembles easily, quickly with no special tools. Complete with your choice of three different famous - name diamond styli stereo cartridges. 15 lbs. Model AD -80C, Sonotone 8TA4 -SD cartridge $37.95 Model AD -80A, GE -VR -227 cartridge $41.95 Model AD -80B, Shure M8D cartridge $42.95 CIRCLE 45 ON READER- SERVICE CARD 14 HIGH FIDELITY MAGAZINE REVERBERATION SYSTEM 6- TRANSISTOR PORTABLE RADIO KITS Add a thrilling "cathedral" dimension to listening! The Your all- summer entertainment com- GD -61 adds reverberation "echo" acoustically ... does not panions! Both models feature vernier disrupt your present system ... may be placed anywhere. tuning; 6- transistor circuit; 4" x 6" Can be connected to speaker terminals of any radio, hi -fi, speaker; prealigned 6 TV set, etc. Consists of Hammond -type IV reverberation transformers. flashlight furnish power. unit, amplifier, 8" speaker, and preassembled, birch cab- cells inets in mahogany or walnut finishes. 30 lbs. Model XR-2P (plast:_)..6 lbs.. $29.95 Model XR -2L Kit Model GD -61M (Mahogany) $69.95 (sim. leather & plastic) $34.95 Kit Model GD -61W .(Walnut) $69.95

STEREO /MONO PORTABLE PHONOGRAPH Completely prcassembled automatic changer plays your favorite stereo and mono records at speeds of 16, 33I/3, 45 and 78 RPM. Controls give you command of volume, stereo -balance and tonal quality. Kit Model GD-10...28 lbs $69.95

PORTABLE 4 -TRACK STEREO TAPE RECORDER Plays and records 4 -track stereo tape ... can even be used as hi -fi center to amplify and control tuners, record players. etc. Has 33/4 and 71j ips speeds, tone, balance and level controls, monitoring switch, "pause" button and two "eye- tube" indicators. All amplifiers and speakers included. Speaker wings are detachable. Cabinet and tape deck pre - assembled. Kit Model AD- 40...49 [be $179.95

Wtdoor months with quality sound from Heath equipment

HEATHKIT b DAYSTROM JR weir HEATH COMPANY / Benton Harbor 8, Michigan ORDERING INSTRUCTIONS Fill out the order blank. in- me Free clude charges for parcel post according to weights shown. Please send the Heathkit Catalog Express orders_ shipped delivery charges collect. All prices F.O.B. Benton Harbor, Mich. A 20% deposit is required on all C.O.D. orders. Prices subject to change without notice. Dealer and export prices slightly higher. NAME Please send the following items:

ITEM MODEL NO PRICE ADDRESS

CITY ZONE STATE

Order Direct by Mail or See Your Heathkit Dealer

Ship via Parcel Post Express C.O.D. Best way CIRCI.F. 46 01 READER -SERVICE CARD MARCH 1961 15 ITS HERE! ON ¡OP ... the most versatile machine in all high fidelity. It's a truly automatic turntable - with automatic start as well as stop. It's an unrestricted manual NEW turntable - place the tonearm on either motionless THE or rotating record. It's an automatic changer - just change the spindle. And with all this, such exclusive features as the amazing roller -feeler DUAL 1008 indexing action that unerringly locates the lead -in groove of any size record ... the self -stabilizing elevator action changer spindle that obsoletes pusher arms and offset spindles ... the completely CUSTOM free -floating tonearm that tracks as low as 11/, grams turntable /arm performance. turntable /changer for true professional

UNDERNEATH ... the most advanced precision engineering yet endowed a record playing machine, all resulting from Dual's continuing program of research and development. So reliable, so dependable is the operation of the Dual -1006 Custom, that every part is guaranteed for an unprecedented five full years against manufacturing defects! All emphasizing once again Dual's position as the pacemaker in its field. When you visit your high fidelity dealer, compare the Dual feature for feature with any other machine. Compare it for its powerful, silent motor, for its ease and simplicity of operation, for its flawless tracking with high compliance stereo cartridges. You'll quickly see why the Dual -1006 Custom is in a class by itself. Price: $79.95. united u udio IOO PRODUCTS OF DISTINCTION DUAL 12 -14 W. 18th St., N.Y. 11, N.Y. CIRCLE 33 ON READER- SERVICE CARD 16 HIGH FIDELITY MAGAZINE BREAKTHROUGH IN KIT DESIGN.

New LK-72 72 -Watt stereo complete amplifier kit left', $149.95. LT-10 Wide -Band FM Tuner kit (2.20v sensitivity), $89.95.* H. H. Scott takes totally new approach .. . makes Kits easier -to- build, better-performing!

BREAKTHROUGH! Here, HERE'S WHAT ENTHUSIASTIC OWNERS SAY: for the first time, are kits with . designed to professional stand- tried to adequately state how I feel the performance, features and ards; sound absolutely clean , very about this tuner ..." - Samuel R. handsome good looks of H. H. sensitive; instruction book of out- Harover, Jacksonville, Ark. standing clarity." - Major B. W. Scott factory -assembled com- Cotton, Jacksonville, Ark. . without a doubt the easiest kit ! ponents ... kits that are a real have ever built tout of 11 ..." - B. "Looked long for the best kit and P. Loman, Jr., Rochester, N. Y. pleasure to build and so ex- - found it ... best instructions I ever pertly designed that you can saw, unbelievably simple to build." - .. finest kit I have ever built. And M. Greenfield, White Plains, N. Y. one of the finest tuners I have heard, achieve professional results in kit or otherwise." A. J. Zilker, just a few hours. .. I would run out of superlatives if I Houston, Texas. H. H. Scott assures you the performance of factory -built units with these innovations: 1. All mechanical parts such f I H. SCOTT as terminal strips and tube

CIRCLE 76 ON READER-SERVICE CARD Notes from Abroad - trading? HANOVER -This city of more than veying considerably more illusion of a half a million people looms large in the stage performance. history of the phonograph. Emil Ber- audio exchange liner, inventor of the disc record, was Fricsay to the Front. I also had a chance born here, 110 years ago. Today, Han- to hear the tapes of Brahms's Second makes the BEST over retains its importance among the Piano Concerto played by Geza Anda phonographic centers, thanks to the large and the Berlin Philharmonic under factory of Deutsche Grammophon Ge- Ferenc Fricsay. which is soon due for Trades!* sellschaft. release. It is Fricsay's association with I arrived at DGG's offices at a pro- the Berlin Philharmonic and his leading pitious moment. Tapes of Elektra -re- position with the Berlin Radio Symphony See HIGH FIDELITY Magazine, corded in Dresden under Karl Böhm, Orchestra that mainly account for DGG's May 1959, page 39 with Jean Madeira, Marianne Schech, choice of Berlin as one of its recording and Fischer -Dieskau -had just been centers. Recently, Fricsay recorded there We have the franchise edited and I was able to hear the corn - Beethoven's Seventh (with the Berlin for these exclusive plete performance. It seemed to me that Philharmonic) and Bartók's First Piano manufacturers both from the musical and technical Concerto (with Geza Anda and the Ber- point of view a far better job had been lin Radio Symphony Orchestra). done than with the company's Rosen - Berlin has also recognized Fricsay's kavalier of a couple of years ago. leading position in the operatic field by When Richard Strauss, many decades entrusting him with the conductorship ago, rehearsed Elektra with the Dresden of Don Giovanni, which will be per- orchestra, he interrupted the musicians formed at the opening of the new West right after the very first bars to say: Berlin Opera House in September 1961. "Gentlemen, I should like you to play Further recognition has come from Salz- GRADO more softly in spite of what I wrote in burg. which turned to Fricsay when uer,eorts nc the score. I made a number of mistakes Karajan sulkily withdrew from the Fes- when composing this music. My dynamic tival: next July, Fricsay will conduct marks are far too loud." Karl Böhm en- the first Mozart opera in the new Fest- joys telling this story, and it seems to spielhaus (I'domeneo). have had a salutary effect upon the way in which this new Elektra has been Maazel, Markevitch, et al. Of Paris -made played and recorded. recordings I heard Ravel's L'Enfant et les sortilèges, taped at the Salle de la Gavazzeni Dreams. Another opera I Mutualité in November 1960. Lorin listened to at DGG came from Milan: Maazel is the conductor of the Paris (In Ballo in maschera, recorded at Lt Radio Choir, the Orchestre National, and Scala under Gianandrea Gavazzeni and an all- French cast. This, as far as I know, including in the cast Antonietta Stella, is the first attempt to record the "Fan- Adrianna Lazzarini, Ettore Bastianini, taisie lyrique" by Ravel and Colette since and Gianni Poggi. His approach seems Ansermet conducted it for a monophonic e authentic, his rendering of the score full London recording in Geneva more than of zest. Yet the various takes showed five years ago. The filigree music gains by stereo. PROMPT SERVICE that even an Italian conductor with a much seemingly born -in knowledge of the cor- Maazel is now in Berlin again, where LARGEST SELECTION rect tempo for every passage in Verdi's he is scheduled to record Mendelssohn's of guaranteed used equipment scores occasionally Fifth, Schubert's Fifth and Sixth (with TRADE BACK PLAN revises his ideas the Berlin Philharmonic), as well as -write for details when he listens to César Franck's Symphony and Les Write HF -3 Dept. for our unique Trades- a playback. One Eolides (with the Berlin Radio Sym- Back plan and Trading information. morning Maestro phony). But DGG work in Paris con- Gavazzeni arrived tinues at an undiminished pace. At the late for a record- time of this writing. Igor Markevitch was and vcr ing session and making the Symphonic fantastique announced that he a set of French overtures in the Salle de wanted to repeat la Mutualité, and Gerard Souzay, ac- audio a passage from the companied by Dalton Baldwin. was re- exchange second act done cordings songs by Debussy. Registered Component Dealers the night before. The engineers were And a Pianist. While I was in Hanover, surprised because Gavazzeni I also attended a DGG recording session. tutu, tt or From the control room next to the Bee - HIGH FIDELITY on that evening HA.VI,ttttf Gavazzeni had seemed to be perfectly thovensaal came the sound of Chopin's satisfied with the results. "Well," he ex- Revolutionary Etude (Op. 10, No. 12). The Hi Fi Trading Organization plained, "you know that in my dreams "Herr Vásáry is just listening to the play- 153.21 Hillside Ave., Jamaica 32, N.Y. I keep discussing all my problems with back," somebody whispered to me. I Closed Mondays Parking at oll stores Toscanini. And last night Toscanini said listened, respectfully, to the vigorous Branches: that I should definitely play the passage rendering of Chopin's old warhorse. Brooklyn 1065 Flatbush Ave. much faster. I am sure he is right." Rather surprisingly, the twenty- seven- White Plains.. 203 Mamaroneck Ave. The recording technique applied to Un year -old Hungarian pianist is a small man Manhasset 451 Plandome Road Ballo differs very much from that chosen for Elektra, with the stereo sound con- Continued on page 21 CIRCLE 14 ON READER- SERVICE CARD MAGAZINE 18 HIGH FIDELITY $288 includes cage

. e e the finest performance available in a stereo power amplifier Uhiutosh 2q0 Coolest Operating The 240 operates well within the long -life recommendations of the tube manufacturers. Put your hand on the transformers, you can feel the difference. This cooler operation assures you of long, trouble -free life. Practical Flexibility Multiple input sensitivity ranges of the 240 make it easier to Connect any preamplifier ... stereo or monophonic. McIntosh output facilities provides two 40 watt stereo channels or one 80 watt monophonic channel. Includes all voice coil impedances, 000 ohms and 70.7 volts. Designed For A Long Life Traditional McIntosh design extends your investment through the years ... protects you against obsolescence. Availability Your Franchised McIntosh Dealer has the 2.0 in stock now.

ffltj A "Mark of Excellence" Product by nie sii CIRCLE S8 ON READER- SERVICE CARD LABORATORY, INC. 4 Chambers St., Binghamton, N. Y. A walk in the rain and the new ADC -1 Stereo Cartridge

What makes the sensitive person's response to nature so Play your records again and again... Notice that the spontaneous and inexplicable? Whatever it is, for such sound continues to be reproduced at the same fine level; people, listening to fine music reproduced with the new the ADC -l's light tracking force reduces wear to the is re- ADC -1 stereo cartridge is a refreshing, even elating, vanishing point. In addition, surface noise greatly experience. duced, increasing your records' dynamic range. Ask The new ADC -1 is the first stereo cartridge designed The ADC-1 must be experienced to be enjoyed. expressly for such people- people with a special kind of your dealer to demonstrate it for you today. sensitivity to the world around them. If you are one of COMPLIANCE: 20 x 104 cms/dyne CHANNEL SEPARATION: 30 db from 50 cps. to with the 7,000 cps. them, experience the thrill of sound reproduced DYNAMIC MASS: .5 milligrams STYLJS TIP RADIUS: .0006" ADC -1; you'll sense the subtle differences immediately; OUTPUT: 7 millivolts less records FREQUENCY RESPONSE: Unusually flat: plus or RECCMMENDED TRACNIN6 FORCE: 1 gram or the experience will startle and delight you. Your arms minus 2 db. from 10 cps. to 20,000 cps. with use in top quality tone arms -up to 3 grams in come alive, revealing brilliant highs and thunderous lows ful response extending well beyond 30,000 cps. having slightly higher friction. free from distortion. You'll hear subtleties of timbre and 1877 Cody Avenue. Ridgewood 27, N. Y. tone you never suspected were in your discs. Audio Dynamics Corporation / CIRCLE 12 ON READER- SERVICE CARD 20 HIGH FIDELITY MAGAZINE NOTES FROM ABROAD

Continued from page 18

whose shyness contrasts in a very marked manner with his energetic piano playing. Vásáry was not satisfied with what had been taped. He insisted that there was some unevenness in his fingerwork

(which, by the way, 1 was unable to de- tect). So it was decided to try Op. 10. No. 12 again. All the Etudes of Op. IO and Op. 25 were eventually included in the Hanover program. Vásáry received his music education at the Franz Liszt Academy in Budapest, but in 1951 was deported from the Hun- garian capital to a small provincial town. "A guardian angel watched over me," he says. "Zoltán Kodály. the great composer, came to my rescue. He sent me the most precious, the most useful present-a piano, which enabled me to continue practicing." A few years later Vásáry became again "acceptable" to the authorities and was even appointed to the faculty of the Budapest Academy. ( "1 am sure this was due to Kodály's influence. ") In 1956, however, he left Hungary and went to Switzerland in order to study under the late Clara Haskil. With his first records. issued by DGG, his name became known in Western Europe and engagements for recitals in London, Berlin, and other cities followed. The present series of Chopin recordings should do much to make Vásáry better known in the States. KURT BLAUKOPF

PARIS- Financial people say that the depression in the French record industry is petering out. Dealers in Paris are fold- ing less rapidly. Manufacturers are talking about stability. This is, then. perhaps a good occasion to look again at the sickness of the last two years -and to hope that French record firms will be more adventurous than they have been lately. There may be 1,500,000 phonographs in use in France, but one industry source told me recently that there are not more than a million worth counting. Compet- ing for this market are four major companies (Pathé- Marconi, Philips, RCA - Decca. and Vega) and a dozen smaller ones. The latest catalogue lists 101 labels as French, although some of these are naturalized foreigners. Total production is now about 3,500,000 records a month. Prices. in terms of real wages, are at least 100 per cent higher than in the United States. Stereo has created mainly confusion and hesitation: monophonic discs account for 99 per cent of sales. The FM -443A FM tuner is an advarced version of the tuner whose superb These are the main elements in the sensitivity and clean response were praised so lavishly in the high -fidelity crisis. Obviously, too many people are press. Its excellent wideband circuitry brings into the home of the serious trying to sell a luxury to too few. Why? music lover the full potential of FM, richest of all program sources, with largely because were Well, too few try- the dramatic realism and clarity of a "live" performance. At $79.95 ing ten years ago, when the LP revolu- (suggested list price), it's an absolute best buy. tion arrived. At that time French record companies had not yet recovered from For the sheer joy of listening... "There 's nothing finer than a Stromberg -Carlson" the war. Dealers had inventories to establish, and collectors were eager. So STROM B ERG a rush started. Factories were built. with -CARLSON more enthusiasm than judgment. So. in A o,V S ON OF GENERAL DYNAMICS the winter of 1958 -59, the bubble burst.

Write for full line component catalog to Stromberg - Carlson, Box Al, 1403 N. Goodman St., Rochester 3, N y.

Continued on page 23 I Tune in "Special Report" Saturday afternoons immediately following the Metropolitan Opera broadcast. CIRCLE SI ON READER- SERVICE C %RD

MARCH 1961 21 It Took Eleven Years and One Night to Design The World's Best Speaker System The New CITATION X by Harman -Kardon

plex structure of a musical composition The Horn without adding or taking anything away from the original performance. CONVENTIONAL HORN DESIGNS use an The Citation X diffuses sound in a hem- acoustic chamber to couple the diaphragm ispheric radiation pattern -by a blend of to the throat of the horn. In the Citation X, direct and reflected sound. In creating this the chamber is removed and the driver design, the precise process of what occurs placed directly into the throat of the horn. in a concert hall has now been duplicated. This eliminates the last resonating element Audio engineers know that approxi- in the horn configuration and results in mately 80% of the sound in a good concert absolutely smooth transfer of radiation hall is reflected from the ceilings, walls, between horn and driver. etc. It is this mixture of direct and re- Instead of the conventional "open flected sound that gives music its depth mouth," the Citation X horn terminates in and dimension, its exciting spatial quality. a slot at the base of the enclosure. This presents the horn The Citation X achieves precisely this and driver with the impedance of an infinite horn. Thus, phase Stewart Hegeman. Director of Engineering, Cita. effect by distributing music on vertical and tion Kit Division, IIarman- Kardon, Inc. horizontal planes. Conventional speakers shift is reduced within the horn and room beam the sound at you on a horizontal reflections are prevented from entering the plane -similar to automobile headlights. In horn's mouth and reaching the driver. STEW HECEMAN owns a big, old Charles stereo, this is akin to listening to the full Pressure loading by the horn damps com- Adams -type wood frame house in New pletely orchestra through two holes in the wall. the mechanical resonance of the has its it's a Jersey. It disadvantages-but Replace the conventional speakers with cone and its suspension. rather special kind of house. The original The interior of handsome, Citation X and the wall disappears. You the hand - high -ceilinged living room has been con- rubbed is are in the same room with the music. walnut enclosure constructed of verted into a sound laboratory replete with There is no ping-pong effect; no "hole -in- Timblend which has no directive reso- moms chairs, the best testing equipment nance and is stronger wood. the- middle." All of the music is there in than The and Universal Coffcematic machines. Ac- entire internal all of its depth and dimension an(l reality. horn structure is honey- cording to legend, Stew has coffee now combed for For the first time, the word "presence" has strength and prevention of flowing through his veins instead of blood been made meaningful. panel resonance. -a concomitant of spending night after For those who own Citation units -for night searching for perfection in audio de- The Lowther Driver all those who want perfection in speaker sign. It was at this house, one night last performance -we can recommend the Ci- summer, that the Citation X speaker sys- THE BASIC ELEMENTS Of the Citation X tation X without qualification. The dimen- tem was born. are the Lowther driver and the Hegeman sions of the Citation X are 20" wide x The antecedents of this story date back enclosure design -a split, slot -loaded coni- 14% deep x 36': "" high- because that is the to 1949 when Hegeman first heard a Low- cal horn, with two 7's feet sections folded size necessary for the design of the world's ther driver. That was it; the beginning of within the enclosure. best speaker system. a remarkable collaboration between this The driver is a massive Lowther unit The Citation X- $250.00 great American audio engineer -now Di- specifically engineered for the Citation sys- Price slightly higher in the West. rector of Engineering of the Citation Kit tem. It consists of four working elements: For complete Citation catalog write to: Dept. Division of HF -3, Citation Kit Division, Harman -Kardon, Harman -Kardon - and the Direct radiation from front of cone. Inc., Plainview, New York. highly regarded Lowther company of Eng- Radiation from the midrange "whizzer" land. Together, they created speaker sys- cone which operates between 2000 and tems which became classics: the original 7000 cycles. Hegeman-Lowther horn -the great "Grey A stabilizer which places a damping Monster" with its top section of plaster of load on the cone and acts as a diffuser Paris and the Brociner Model 4 Horn. and distributor of the Very highs. Over the years, Hegeman and Donald Radiation from the back of the main Chave -head of Lowther- continued to cone which is directly work together. Ideas were coupled to the exchanged; con- folded born. discussed cepts and explored. Independent Features lines of research into the perfection of the specially designed driver of include: magnetic structure speaker design were followed by both. of anistropic magnetic alloy (Ticonal is Then came their meeting one night last G) which the most efficient magnet material known to- summer -and the creation of Citation X day; usable frequency range of 20 to -the culmination of 11 years of joint and independent research into speaker design. 50,000 cps; gap flux- 17,500 gauss; total flux 196,000 maxwells; aluminum voice Reflected Sound coil for increased high frequency efficiency; twin cone construction with foam DESIGNED IN TILE CITATION TRADITION - plastic front and rear suspension; no dis- the best regardless of cost -the new speaker tortion at crossover frequencies due to system places no limits upon performance. elimination of distortion producing LC The Citation X It can perfectly reproduce the whole com- networks. A Hegeman -Lowther Design

CITATION by harman kardon

CIR(I F. 95 ON READER- SERVICE CARD Hirn FIO;:LIrv NlACA7.INe NOTES FROM ABROAD

Continued from page 21

Cuts and Clubs. Slashing prices would seem to be the indicated remedy, and it is being applied. Some of the companies, I am told, are even secretly sending new records to the second -hand stalls in the Flea Market. But there are economic limits to the cuts. and a curious psychological limit: apparently French collectors. used to thinking of records as luxuries, suspect defects when offered too good a bargain. Anyway. that is what Champs -Elysées dealers say. Educating a larger public is perhaps a better approach, and it is now being tried with considerable success by Pathé- Marconi. Last fall the firm launched a record club. offering three discs for the price of one as a starter, bonuses to keep things rolling. and an illustrated monthly magazine. Standard classics and popular tunes are available. interpreted by Maria Callas. André Cluytens. Herbert von Karajan, Edith Piaf, Miles Davis, and other stars of the EMI empire. Retailers worried by this direct approach have been given a double reassurance: no record goes on the club list until six months after release, and none is kept on the list for more than six months. At this writing the club has more than fifty thousand members. Most of the FOR prospecting for subscribers has been done in the provinces, where well -stocked deal- THOSE ers are surprisingly rare. But this does not mean that Pathé- Marconi has ro- WHO mantic illusions about bringing music to art- hungry peasants. The best results have LOVE been obtained among students, shop girls, and small -town professional men. LIVE Collectors and Critics. My latest un- MUSIC scientific survey of French musical taste -as revealed by Paris record sales -has yielded only one surprise: Vivaldi, except for The Seasons. is slipping badly. Beethoven. of course. is still far ahead, followed by a slightly faltering Mozart. Bartók, Berlioz, Mahler, and Prokofiev are coming up fast. A record -lending library back of De Gaulle's palace has noticed that beginning listeners may jump from familiar Beethoven into an extraordinary enthusiasm for Bartók, with nothing in between. I don't know what this phenomenon means. UM Vega. which has made a magnificent effort to record contemporary music over the past five years, thinks that new composers are part of the answer to the French crisis. The total public may not be large for new works, but it is apt to he faithful and there is little com- The ASR -220C sterec preamp /power amplifier - conservatively rated at petition. The company has now passed 24 watts -is the choice cf the music over who can't get to the concert hall the six thousand mark with its recording as often as he likes. Determined to -e- in his home full ex- of Pierre Boulez's Marietta sans maitre. create own the Do critics have any influence? Paris citement of "live" ml. sic, he looks tc the satin -smooth power -performance dealers are rather skeptical. "We sell and flexibility of this superb amplifier to take full advantage of the finest legends," one of them told me. "People in recorded sound. Ard it costs only $119.95 (suggested list price). like pianists who die young, and sopranos For the sheer joy of Astani, ;g... "There is nothing finer than a Stromberg -Car /son" who have love affairs." But this cynicism is not shared by everyone. Philips has found that serious reviewers who com- STROMBERG -CARLSON pare different recorded versions of the A DIVISION OF same work substantially affect sales. GENERAL DYNAMICS

Write for full line component catalog to Stromberg-Ca.lson, Box Al, 1403 N. Goodman St., Rochester 3, N. Y. Continued on page 25 Tune in "Special Report" Saturday afternoons immediately following the Metropolitan Opera broadcast. CIRCLE 82 ON READER -SERVICE CARD MARCH 1961 tick! tick!

Maybe you don't remember the magic tick-tick of Dad's night merriment ... or a Sunday afternoon concert. alarm clock ... or the excitement you felt at the tiny Remember: if its worth recording, it's worth Audio - sound of his key turning in the lock. tape. There are eight types ... one exactly suited to But don't despair. Grownups, too, can experience ex- the next recording you make. citing moments in sound. Try Audiotape and see. The unique quality of this tape gives you more clarity and range, less distortion and background noise. It's "it speaks for itself" your silent (but knowledgeable) partner in capturing AUDIO DEVICES INC., 444 Madison Ave., M. Y. 22. N. Y. fresh, clear, memorable sound- whether it's Saturday Hollywood. 810 N Fairfax Ave., Chicago. 5428 N. Milwaukee Ave. CIRCLE. I I ON RF:ADF:R.SE:RV7CE CARD NOTES FROM ABROAD

Continued from page 23

Criticism that makes no comparative judgments is apt to be less influential. Rov MCMULLLN

BUCHAREST -Rumania is a fascinating dark -hued country where Europe stops and the East begins; where. except in the larger cities or the capital itself, time seems to have stood still ages ago; where huge herds of swine and buffaloes, the latter black and with quaint. curly horns. the highways as they are block main driven to their villages from the outlying FOR fields; where, in Bucharest, a gypsy woman. nursing her child at her breast. THOSE sits at the steps of a splendid new con- W1il) crete and steel housing block: where, along the sparsely traveled roads. the LOVE only signs are party slogans, encourag- LIVE ing the peasants and workers to more efficiency; and where the country people MUSIC are of a generous warm heartedness (we occasionally asked for a mug of creamy f buffalo milk. and never would a peasant accept money for it). It may seem incongruous for Rumania even to have a record industry. but although the country is hundreds of miles deep in Eastern Europe. its cultural ties to the West -especially to Paris - remain strongly felt. Rumanian orchestras are a curious and attractive mixture of French and Central European, having a rather Austrian string tone balanced by a woodwind and brass texture distinctly Gallic in character. In Bucharest. the principal orchestra is the State Phil- harmonic, named after Rumania's greatest musical son. Georges Enesco; and it is a very fine orchestra indeed -not. perhaps. on the level of the Leningrad. Vi- enna, or Berlin Philharmonic. but only just below them. And Cluj -the second largest city, which was formerly part of Hungary and still has a large Hungarian element- boasts both a Hungarian Op- era House and a Rumanian Opera House. Like those of other Eastern Eu- ropean countries, the peasants in Ru- mania are highly musical. and their un- utterably sad, desolate folk tunes have left an indelible mark on all Rumanian music of today.

Rumania's Record Scene. The State -a Record Company, Electrecord. began to produce LPs in 1956; recordings had been made in Rumania twenty years before then. but mostly dance music and on a very limited scale. Officials of the The ultra- compact RS -501 two-way, high-compliance speaker system is built company told me that the original LPs for music lovers who want the same tonal perfection, the same richness, were technically inferior, and in the clarity and realism that makes a corcert -hall performance so memorable. past years they have imported German. The RS -501 features a specially designed long- excursion woofer. And this British. and Danish equipment to record. -size system measures only 133/4 x 183/4 x 131/4. $59.95 process. and press their records. This bookshelf speaker in housings in a year Electrecord has begun to make (suggested list price). Available beautiful decorator stereo recordings (Beethoven's Ninth variety of finishes. Symphony conducted by George Geor- For the sheer joy of listening... "There is nothing finer than a Stromberg- Carlson" gescu, works by Enesco). but since stereo playback equipment is not generally available, the stereo tapes are intended STROM BERG- CARLSON primarily for export. A DIVISION OF GENERAL DYNAMICS Recently Electrecord has been making Write for full line component catalog to: Stromberg-Caisson, Box Al, 1403 N. Goodman St., Rochester 3, N. Y. Continued on next page Tune in "Special Report" Saturday afternoons immediately following the Metropolitan Opera broadcast. CIRCLE 83 ON READER- SERVICE CARD MARCH 1961 25 NOTES FROM ABROAD Continued from preceding page

joint recordings with Supraphon in Prague and Erato in Paris; in Rumania. you can buy Furtwängler and Menuhin discs. the rights for which Electrecord leased from French HMV. The prices of records in Rumania are relatively cheap: for example, a I2 -in. LP costs 46 Lei -a little over $3.00. (There are half a dozen different rates of exchange in this country; I have used the one tourists get, which is considerably better than the official bank rate for businesses, and so forth.) I was given a large number of records. and I also heard several test pressings (e.g.. a magnificent performance of Enesco's Third Violin Sonata. with Enesco himself and Dinu Lipatti -an old tape which has been skillfully reprocessed). On the whole, the technical quality of the records is far higher than I expected, and the performances I heard were all first -rate. There seem to be two star conductors in Bucharest, Georgescu and, of course, Contantin Silvestri. who is known to the West through his EMI recordings. All save one of the Electre- MATCH LIVE SOUND WITH THO EN TD -124 cord discs of classical orchestral music I heard were conducted by Georgescu.

Beautiful and Sad. On the folk -music side. Rumania has more to offer than almost any other European country. The peasants' agelessly beautiful, deeply poignant melodies have fascinated musicians ever since Bartók began giving them more than local circulation. The Ruma- nian Folk -Lore Institute (in whose offices I spent an enthralling morning) has issued. via Electrecord. a series of twelve -inch LPs covering Rumanian folk music ( "Culgere de Cintece Rominesti ") and to hear this music, which varies from heart -rending sadness to almost hysterical gaiety. is an experience no music lover should miss. Some of the arrangements, I felt, derived from the night club; but others are straight from remote Rumanian villages where there has never been a radio or a television set to pollute the strength and purity of The turntable that adjusts for perfect pitch! these ancient tunes. It is music close to the earth: it sings of birth, and love, and death; it conjures up the rich. black earth of Transylvania, and the neat white- washed houses, and the peasants after the Thorens compensates for variations in house 4 speeds adjust while record plays harvest, drinking the new wine in the current and recording systems; gives the truest shadow of the ancient church. It tells of reproduction with all your records, old or new. Illuminated strobe and the icy north wind, moaning across the Adjustment is so fine that records can be used to circular level built in plains to Hungary; it tells of a race sad accompany live vocal and instrumental performances. before they were born, "Because" (says Swiss precision engineering ensures longer record Easy installation of 12" one nursery song) "it is not a thing of life, performance to match the finest components and 16" arms joy to be placed on the earth." No won- you will ever own. See your Thorens dealer soon Only $99.95 net. Other der that the sick Bartók, looking at the for expert attention and high fidelity service. models from $47.50 beautiful hills of New England the last summer before he died. longed for the ( Rumanian villages. Eastern Europe is a tragedy in many ways. but out of its FAMOUS SWISS HI -FI COMPONENTS seething history has come perhaps the THOR5 greatest folk music of our civilization. H. C. ROBBINS LANDON MUSIC BOXES SPRING - POWERED SHAVERS LIGHTERS A Division of ELPA Marketing Industries, Inc. New Hyde Park, Now York >< Guaranteed for one full year. Sold only through carefully selected franchised dealers. cIu( Lh: 86 ON READER -SERVICE Caun HIGH FIDELITY MAGAZINE High Fidelity's Ultimate Standard:

The term high fidelity has been used so freely that its literal meaning is often forgotten. It does not refer to over- loud, over -resonant, over -brilliant sound, but to the faithful recreation of a musical performance.

The ultimate test of a high fidelity system, then, is a direct comparison with the sound of the original instru- The moment of transition from live to recorded sound: AR -3 speakers and Dynakit amplifiers ments. take over from the Fine Arts Quartet. Such a comparison was made during the recent hi -fi show in New York City, when AR speakers and Dynakit amplifiers vied with the Fine Arts Quartet in a "live vs. recorded" concert. At intervals the Quartet stopped playing and allowed the hi -fi system to take over, using pre- recorded sections of the music, without missing a beat.

McProud, editor of Audio, reported: "We must admit that we couldn't tell when it was live and when it wasn't." The Herald Tribune referred to "awesome fidelity". Record reviewer Canby wrote: "My eyes told me one thing, my ears another." Freas, audio editor of High Fidelity, wrote: "Few could separate the live from the recorded portions."

After all of the trade jargon and esoteric talk heard at hi -fi shows, this was the real thing.

DYN'AKII- MARK III AMPLIFIERS AND STEREO PREAMP, AND ACOUSTIC RESEARCH AR -3 LOUDSPEAKERS, components designed for the home, created the illusion. Although these components are medium priced,* they are widely regarded as representing the highest quality that the present state of the art makes possible.

Further information on these products, including a list of high fidelity dealers in your area who carry and demonstrate them, is available for the asking.

A complete high fidelity record playing system using the above components would cost about $750. You may hear AR speakers and Dynakit amplifiers together (in these and other, less expensive models) at AR Music Rooms, on the west balcony of Grand Central Terminal in New York City, and at 52 Brattle Street in Cambridge, Massachusetts.

ACOUSTIC RESEARCH, INC., 24 Thorudike Street, Cambridge 41, Massachusetts DYNACO, INC., 3912 Powelton Avenue, Philadelphia 4, Pennsylvania

CIRCLE 2 ON READER -SERVICE CARD MARCH 1961 27 GARRARD'S THREE STEREO AUTOMATICS which is best for you?

THE AUTOMATIC TURNTABLE MODEL 88 (MK-11/ MODEL 210 LABORATORY SERIES TYPE A DELUXE RECORD CHANGER DELUXE INTERMIX CHANGER An entirely new kind of record -playing unit com- This is a new version of the famed RC88 manual Garrard's most compact automatic and manual bining all the advantages of a true dynamically player automatic changer combination, with every changer...the Model 210 is noteworthy for its balanced tone arm, a full-size professional turn key feature already proven through years of unsur versatility. It is scaled to fit any cabinet designed table, plus the convenience of the world's finest passed performance... millions of playing hours for a record changer. It plays and intermixes rec- automatic record -handling mechanism -all in one in hundreds of thousands of homes. Now further ords of all sizes. Though moderately priced, it is superb instrument. This unit was designed to refined to provide even better performance, the a Garrard in every respect, precision built to appeal to the most critical and knowledgeable, new RC88 still offers the exclusive pusher platform Garrard's highest standards, suitable for the finest with performance so outstanding that It even sur- which made its predecessor the best selling unit stereo and mono music systems; ideal for replac- passes the professional turntable standards estab- in the entire high fidelity component field. ing obsolete record changers. lished by NARTB. (Less cartridge) $79.50. (Less cartridge) $59.50. (Less cartridge) $44.50.

Q A p The only dynamically balanced tone arm on Full manual position: The RC88 Is a single record "Slide /slide" controls- Select manual (single play) an automatic unit...with adjustable slid. player as well as an automatic changer. At the or automatic operation on separate halves of the ing and -in calibrated scale to set and in. counterweight, built touch of a switch, the tone arm is freed, and unitized panel. Instantly the 210 is ready to play. sure correct stylus tracking force. Once balanced, this arm will individual records (or bands) are played by hand. Clearest, simplest controls on any record changed track stereo grooves perfectly with precise specified pressure.

The exclusive Garrard pusher platform -remains the Full- sized, heavily weighted (6 Ib.). Actually 2 turn. GARRARD's 4-pole shaded "Induction Surge" motor only automatic device that insures positive, gentle tables...a drive table inside, a nonferrous heavy with rotor dynamically balanced -a refinement not handling of all records, regardless of diameter or cast table outside; with a vibration. damping resili- found in other record changers In this class. condition of center hole, or the record surface ent foam barrier. Insures constant speed with no hum or vibration. or edges.

New esclusive, completely shielded 4 -pole shaded Interchangeable spindles (manual and automatic). I Extra-sensitive stylus pressure control through in Laboratory Series Motor... developed by G d Have no moving parts to nick or enlarge record scantly accessible knurled knob built into the Cast especially for Type turntable system. center holes. Records are lilted from turntable aluminum tone arm, insures precise specified cor. musical pitch, clear sustained passages with-wdn- c N t - without interference, with spindle removed. rect tracking pressure at all times. out wow, flutter, or magnetic hum. 4

The great plus feature of automatic play-without Exclusive castaluminum, true-tangent tone arm The Ideal Garrard changer to replace obsolete I /( compromise. h d's exclusive platform provides rigidity, low resonance, low mass. Light equipment in existing cabinets. Every part is it is so changin makes Ty pe fully - weight interchangeable plug-in heads accommodate built to G 's highest standards, yet reliable. maxi- record cabinet matic, at your option. Convenient, cartridges of any make. , compact it will fit any changer mum protection for records. section.

You will a rI Write for your Garrard Comparator Guide, Dept. GC -21, Garrard Sales Corp., Port Washington, N. Y. W 2,/KNW world's finest CIRCLE: 26 ON READER-SERVICE CARD toi its preusion I...its performance...its conveniene< The Hobbyhorse Still Rocks

REMEMBER the cartoon in which a breathless Yet, despite the fact that many of the hobby matron bursts into a room full of swizzled guests aspects of audio have become passé, we believe that and martini- induced euphoria? "Dinner is ready," the hobbyhorse still is rocking, if in a different tempo she announces, "What shall we do with it ?" and on a higher level. For one thing, there are any Audio hobbyists are finding themselves in a number of newcomers to the ranks. It is true that similar quandary these days. "The system is in- buyers today can simply put their money down and stalled," they are heard to complain. "Now, what do take home equipment far more sophisticated and we do with it ?" advanced in design than was available a few years Listen to music? Of course. But what about ago. Even so, how long before the new audiophiles the tinkering, the loving installation of accessory re- start asking the old questions: why this? and how finements that kept us so busily and happily oc- that? and can I get it to sound better? cupied a few years ago? In a sense, the manufac- Secondly, many of these questions have not been turers have taken that fun away from us. In the resolved -and cannot be, except in terms of the new stereo -inspired audio equipment, with its un- individual listener and his environment. Certain precedented control features and operating facilities. types of distortion, for example, still are not com- the need for further "nuts and bolts" activity is pletely understood, particularly as they relate to the practically nonexistent. Another way of putting this listening experience. One of the most challenging is that the components produced today, unlike those of these types involves the effect on sound -both on the market as recently as three years ago, largely in recording and playback -of the room itself, anticipate the user's needs. "acoustic distortion" if you will. Here indeed is Such intricate operations, for example, as wiring virgin territory for the hobbyist to explore, from a signal take -off to feed a tape recorder from an experimenting with speaker placement to experi- amplifier are no longer necessary; the connecting menting with the room itself. jack and associated circuits now come built in on In another, though related, area there is a grow- most amplifiers, with simply one more switch on ing tendency towards integrating the high- fidelity the control panel. Tone arms now are supplied with system with room décor, by cabinets, built -ins, stylus pressure settings calibrated along the arm; in equipment housing, or room dividers. This suggests some, the pickup leads already are connected to new discoveries and personal involvement for the signal cables, ready to be plugged into the amplifier. hobbyist. It is a short step from kit building (and Leveling indicators, as well as the leveling adjust- the rising interest in kits at all levels of price and ments, are showing up as standard equipment on performance suggests that the do-it- yourself move- more and more turntables. Built -in bias and balanc- ment is stronger than ever) to woodcrafting and ing meters in amplifiers eliminate the need for con- allied arts. What has emerged, and undoubtedly necting one's own meter to check critical circuits. In will continue to grow, is a new understanding of another area, the cut -and -try experimenting in fitting how sonic beauty can be related to visual beauty. "naked speakers" into home -built enclosures has been Finally, and perhaps most important, the fidel- obviated to a great extent by the integrated speaker itarian- active or passive -likely never will abdicate system in which drivers, dividing network, enclosure, his "rule from the sidelines." He will maintain his even grille cloth all are conceived and produced as prerogative of inquiry, and of criticism; and he will an entity. Even less ambitious activities such as not stint his appreciation of new equipment and "making up" odd types of signal cables for special techniques. interconnection between components hardly seem Aside from all this, what more is left for audio worth the bother when, for a few cents, one can enthusiasts to do? Quite simply, to sit back and buy a length of cable prefitted with any combination listen to their music. The prospect, we confess, of plugs, and stronger than any made at home. pleases. NORMAN EISENBERG

AS high 1 e 1 SEES IT litlit SOO 1:16' m,

KingsAay Hall, photo by Hans Wild SOnDS BtST BY ERIC SALZMAN

AMETHODIST MISSION HALL ¡ l London, an aban- human cars do, a good concert hall isn't necessarily doned basilica in Milan, the lobby of the opera a good recording hall. The ear listens selectively; house in Brescia, a handful of faded ballrooms in the microphone picks up everything, with brutal New York and other American cities, an out -of- objectivity. Omnidirectional microphones in large the -way chapel on New York's East Side, an old halls reproduce reverberation that our ears (aimed St. Louis beer hall -all have one thing in common: forward as they are) and mental attitudes (trained the making of records. to notice only what we consider important) note Good recording halls are hard to find. The only slightly, while strongly directional mikes miss industry's musical directors and sound engineers great areas of complex reverberations and make the have searched everywhere from barns to ballrooms, hall sound drier than it would in concert. Con- clapping hands, firing pistol shots, and shouting versely, a hall not accounted good for concerts may across empty rooms in an effort to locate acceptable be excellent for recording. A first -rate concert hall sites for their work. With every advance in sound must have even diffusion of sound through most reproduction -and stereo has compounded the prob- of its area, but recording engineers need only as lems -the choice of a recording location becomes many choice listening spots as there are microphones. more and more crucial. Hall acoustics can mean the Another significant difference between the sound difference between a genuine musical recreation and of a hall for concert and for recording purposes an artificial imitation. The finest performance can relates to the presence or absence of an audience. be severely damaged if recorded in an acoustically Performers know of the vast difference in sound inadequate auditorium. between an empty hall and a full one, and many Long ago, performers went to the studio -to the a concert hall is not at its acoustical best unless recording equipment. Engineers merely wanted full of people. And there are further difficulties musicians close enough to the horn so that some- in using established halls: they are engaged for other, thing- anything -would be heard. Even after the conflicting functions; a rival firm may have exclusive development of better and more flexible recording use of the wanted hall; street and traffic noises equipment, the studio retained the advantages of (enormously magnified on recordings) may be audi- convenience. Solo and chamber music are still often ble inside- Carnegie Hall's subway rumble is recorded in the studio, and it is the usual locale for a famous example. pops recordings, where special effects may be de- These factors, complicated by the industry's sired and where artificial gimmicking is often intro- growth (and need for quality reproduction), have duced. But for orchestra, choral, and operatic triggered a search for adequate halls and forced music, the studio today plays a secondary role. engineers to face the very difficult, basic question - Aside from the fact that few studios have the what makes a good hall good? space to accommodate large instrumental and vocal To understand the magnitude and complexity ensembles and that the older ones (and even some of the problems, consider the physical characteristics of the newer) are often inferior acoustically, the of a hall: size and shape of the stage; curve of the much- proclaimed ideal of "concert hall sound" led back wall; presence or absence of reflectors; con- logically to the choice of actual concert halls for struction of the roof above the stage; proscenium recording. Their acoustic properties are well known, arch; size and shape of the hall itself, including the and they provide comfortable, familiar surroundings shape of the walls, roof, and floor; number and ar- for the musicians. The recordings made in Boston's rangement of seats, balconies, and boxes as well as Symphony Hall and in Chicago's Orchestra Hall the variety of materials used in each. Every surface serve as examples of the fine results that can be reflects or absorbs sound; thus materials, shapes, con- obtained in concert halls. Their use, however, is not struction, and even decoration is significant. Rococo without problems. Some have bad acoustics -the curlicues on the boxes make a difference. Distance Royal Albert and Royal Festival Halls in London, between surfaces means differences in reverberation the Salle Pleyel in Paris, and the Ford Auditorium and diffusion. Hall acoustics result from a fantas- in Detroit are notorious cases in point. Furthermore, tically complex interplay of sound waves reflected since the microphone does not hear the same way or absorbed by the myriad surfaces of the hall.

A tale of recording halls, and of why sound engineers clap their hands-and turn gray early.

MARCH 1961 31 } + 1._4,yrl

In Vienna's Sofiensaal (above), where Johann Strauss used to conduct, Herbert von Karajan sometimes records with the Vienna Philharmonic. At left: the cast of poet Archibald MacLeish's Broadway success J. B. recorded under the massive chan- delier of Webster Hall. Victoria Hall, Ge- neva (photo on the facing page) often serves as recording home for Ernest Ansermet and his Orchestre de la Suisse Romande.

Today's taste in recorded sound -especially in orchestra might be dreadful on a solo piano disc. stereo -calls for considerable reverberation with ab- What is clear and incisive for a percussion ensemble sorption held down. Among American firms partic- might be hideous for Italian opera. Haydn, Mozart, ularly, clarity is achieved by close miking. At its and Beethoven might benefit from a drier, cleaner best, this technique results in a lush, reverberant sound, while Debussy and Ravel would be better "aura" around a basically focused primary sound. off with rich reverberance. In stereo, it tends to emphasize directionality rather To top it off, the recording director's listening than depth. European companies often place the point makes a difference. The best location is microphones at a distance, to take more advantage usually considered to be the monitoring room, where of the hall's natural resonance. This procedure is the sound is supposed to be heard exactly as it will coming into favor in this country, even though di- be inscribed on the record. The acoustics of the rectionality is somewhat lessened thereby. The ideal monitoring room then come into play, and they for microphone placement has been defined as find- can differ greatly. They undoubtedly differ from ing the point farthest away from the musicians where the living rooms in which the music will be ulti- definition and clarity are retained. Beyond that mately heard. The record buyer's impression of the point, sound tends to haziness and mushiness. quality of the sound will depend, of course, not Add to these problems, the humidity, the temper- only on his playing equipment, but on the acoustics ature, and the temper of the musicians -all of which of his own listening room. change from day to day and, with them, the result- Ideally, potential recording halls should be tested ing sound. The type of music, the style, the me- under actual recording conditions -with the per- dium, the number and kind of performers, and even formers in their seats playing the music at hand. the performing style of the musicians should also But obviously, no one puts one hundred and ten he taken into account. What may work for a string musicians in a hall, only to decide-after a few tests -that the place isn't really suitable. Even trial for some of the reasons outlined above, this seems runs for minor adjustments are held to a minimum more pronounced on recordings than in concert. since a symphony orchestra's time is valuable from Also, one hears on discs what is sometime described a number of points of view. Engineers have to rely as the "room within a room" effect; the proscenium on past experience, often gained through sad trial - pushes the sound together and, in stereo, makes it and- error methods. Many a much -used hall has appear to come from a single source. So out conic been sacrificed when technology and public aware- the seats in the hall and the orchestra moves down ness passed it by. In unfamiliar halls engineers from the stage. On the floor of the hall (either depend on their ability to spot the likely qualities of directly in the center, somewhat off -center, or di- the locale, abetted by some simple tests. rectly in front of the stage -depending on the hall Old halls are generally more desirable than and the calcurations of the engineers) the full rever- modern ones (this is true of concert halls as well). beration of the hall conies into play, giving the much - Perhaps they have mellowed with age. They often prized richness and depth. This procedure, com- have much wood; desirable, since wood does not sop mon nowadays, is often supplemented by completely up sound or give the sharp, ugly rebound of harder closing the stage curtains. materials. They have heavier, thicker walls, well There are variations. In the Munch recording settled and apparently less affected by climatic of the Berlioz Requiem, chorus and soloists stood changes. More importantly, most older halls abound on the stage of Boston's Symphony Hall while the in columns, chandeliers, niches, friezes, and other orchestra was down on the floor. In recordings of forms of rococo ornamentation far more likely to piano concertos, the piano has sometimes been produce even, rich sound or optimum reverberation placed on the stage in order to make it project over, than the starkness of a sleek modern hall composed yet blend with, the orchestra. In some cases, the of synthetic materials. Harold Lawrence of Mercury orchestra has been divided between stage and floor Records compares a hall to a speaker enclosure - -to get an antiphonal effect or to correct instru- both are frequency selective, and the gingerbread mental imbalances resulting from special acoustical hall is most likely to have a smooth frequency re- problems of a hall. Orchestras have even been sponse without peaks. placed on the stage backwards, with performers Hall- testing procedures are simple anG limited. facing the back wall and the conductor facing the Talking and shouting at different distances gives drawn curtains of the stage. In this way, the large some notion of clarity, and loud handclaps, sharp area above the stage can he a good resonator. percussive noises, or even a pistol shot will reveal In the London recording of the final scene from reverberation time as well as special disturbing echo Strauss's Salome, the orchestral sound would not effects -shatter echo (a kind of breaking -glass ef- blend properly with the voice of Inge Borkh. Either fect), ta-ta-ta-ta echo (repetitions of the sound fading her soprano would soar above or be submerged by away at distinct time intervals), and slap back (a the niasses of orchestral sound. Since the vocal sharp split- second return of the sound). The most sound should blend with the orchestral texture, some- desirable kind of reverberation produces a very dis- one finally hit on the idea of putting her right smack tinct kind of fade -out (technically referred to as in the center of the, orchestra. When, in the heat of decay), very fast at the beginning and then slow a passionate delivery, she flailed out a bit, two and steady. music stands and a second Continued on page 106 Once the hall is chosen and musicians assembled, further tests are in order and many minor adjustments are made. Players are moved, curtains hung, and even temporary structural changes may be made. Dario Soria recalls, for instance, a fearful session at the Teatro La Scala in Milan when Victor de Sabata was recording Tosca. He drove everyone to tears (and close to financial ruin) by making the assembled orchestra and singers stand by while every possible modification of the hall was attempted. Seats were covered, curtains hung, boxes boarded up, and musicians shifted from one position to another for days before he was satisfied. If the engineers are aware of the quirks of the hall, many adjustments can be made in advance. They have learned, among other things, that the best position for the musicians is often not the one normal for a concert performance. The space above the stage and the proscenium curtains seems to soak up sound aimed at the recording microphones and,

MARCH 1961 3 ; by NORMAN EISENBERG

FOR COMPONENTS

A word from the wise on wrapping woodwork around your watts and your Wagner.

LITTLE MORE than a decade ago, the prevailing might happen to components when confined in approach to housing audio equipment was decidedly cabinets that afforded inadequate ventilation, or that of the naked components school. Good f ideli- whose dimensions precluded future expansion of tarians frankly enjoyed living with their artifacts: an the basic system, or whose structure made installation amplifier sat here, a control unit there -and wading a chore or hampered its successful completion. Of ankle -deep in wires only heightened pride of owner- what use is a cabinet, ran their argument, if it meant, ship. If some disorder and early sorrow resulted, for example, that the components would be so real high fidelity was worth it. thoroughly "installed" that replacing a tube in the This point of view, of course, had its opponents, tuner could become a major problem in demolition? who believed that in the interests of domestic de- Yet the voice of those who held that a living room corum high fidelity should be heard but not seen. was intended for people to live in became more and With the coming of stereo -and its threat to preempt more articulate. even more shelf, table, and floor space -the struggle One way out was the "built -in" or "entertain- between the let-it -all -show camp and the cover -it- ment wall," wedding storage space and exciting de- all-up brigade became acute. The former naturally sign motifs into a dynamic, yet functional unity. It wished to avoid any resemblance to the consoles also inspired the subsequent variation, actually an and package sets associated with low fidelity. More abstraction of the wall, known as the "room divider." to the point, they were concerned with what A good many enthusiasts seized on this approach

34 HIGH FIDELITY MAGAZINE to installing high -fidelity equipment, but for others Actually, this is an "all purpose" cabinet of fairly the wall was simply too "way out." Aside from the uninspired design. Such a cabinet is likely to be fact that it jogged firmly established concepts in shown in the furniture section of a large store as a home décor, it also took considerable doing to be "high- fidelity equipment cabinet" and in the music successful structurally, functionally, and aesthetically. and record department as a "record storage cabinet." What's more, it took considerable cash. And for Strictly speaking, it is neither, although with some people with unsympathetic landlords, the "music effort and additional cost it could conceivably be wall" was clearly impractical. adapted for these functions. To use it as an equip- An alternate solution, charted when designers and ment cabinet, the buyer has to supply and install craftsmen began seriously to relate timber to timbre, the fitments for a record player, drill holes to venti- was a simple addition to home audio gear: the free- late the amplifier, and so on. For record storage standing, self -contained equipment cabinet. As it it should be fitted with vertical partitions spaced has evolved recently from the casually conceived and about five or six inches apart so that the records mass -produced box to the precisely designed and will be held upright without undue pressure from hand -crafted custom job, the equipment cabinet has one to another. (With this much do- it- yourself in- become something of a three -part invention. volved, one might as well design and build his own One part is concerned with basic functions, and cabinet from scratch. Indeed, for an example of to the extent that any cabinet performs these what one handy audiophile did with hand tools and functions, it may be said to qualify as a material from the local lumberyard, see page 97 of useful adjunct to a high- fidelity system. These this issue.) In any case, and leaving aside matters functions, in the main, are: 1) housing and protection of appearance and possibilities for future expansion for equipment against harmful exposure and acci- of the system-which may or may not be of im- dental damage; 2) assisting in the logical arrangement portance to the individual buyer -the only appeal of components and thus facilitating their convenient of the "general purpose" cabinet is relatively low use; 3) serving as an installation aid from the stand- cost. In fact if one is really economy- minded, some- point of proper functioning-specifically in the thing like an unpainted toy chest with a lift-up lid - shock -mounting and leveling of turntables, the cor- and a sales tag of about $20 -can, with some effort, rect positioning of tone arms, proper orientation of be made as suitable for installing equipment as the components for minimum interference and spurious higher -priced "all purpose" cabinet. Most people interaction such as hum pickup or heat transfer, and will, however, feel that the housing needs of, say, a finally in providing adequate ventilation for critical $200 amplifier or a $100 turntable and pickup, or units, particularly power amplifiers; 4) permitting a $450 tape system are not quite the same as those removal of parts for servicing. of a set of building blocks, or a pile of linens, or a Obviously, a cabinet that fulfills these ends is collection of potables. not like any other piece of furniture ever devised. The second part of the three -part invention However attractive it may be to the eye, it must put to which I have referred involves a special aspect function first. Without primary regard to its use as of cabinetry: the question of whether the housing equipment housing, the cabinet fails or, at best, can is to serve as the final dress -up for the system, prove very troublesome and frustrating to the un- or, rather, as a frame into which the owner can slip wary buyer. different components and accessories as his taste There are cabinets -and cabinets. One common dictates and his budget permits. Cabinet people who type is a simple, boxlike affair with two doors, take their work seriously, striving for good design swinging or sliding, and one shelf, usually adjustable. while meeting the requirements of good audio prac-

Wood grain and roughly woven cloth provide texture contrast for this finely pro- portioned custom -built cabinet. The turntable drawer lies above tape deck. (By Gray Sound Corp., New York City.)

MARCH 1961 35 The profile of this unique equipment cabinet reflects its "chair- side" function. Comfort is the keynote as a seated music listener selects the signal to be fed to the speakers placed on the opposite side of the room. (By British Industries Corp.)

to an industrial designer. As a result, audio equipment has become visually more pleasing. This recent interest in design on the part of high- fidelity manufacturers has helped clarify the approach of furniture builders. Although some of the equipment cabinets offered ten years ago were attractive enough, they proved to be of limited use in monophonic systems and became wholly inadequate for stereo. Today, however, certain specifics are more apparent: there is, for instance, a definite trend away from the permanently fitted, cut -out front panel, thus permitting components to be changed or new ones to be added without radically altering the cabinet. The designer who is himself an audiophile is particularly likely to keep in mind the needs of individual owners. Manuel Mundschenk, head of Artizans tice, have their hands full with this problem. The of New England, for example, has built a cabinet engineering and aesthetics that come together to that permits the owner to install components cor- make for a successful design (in terms of structural, rectly and handsomely, but with the option of chang- visual, production, and marketing factors) for one ing things at will. The trick is accomplished by pro- type of cabinet may not as often work for the other viding a sliding, removable mounting panel, as well type. One obvious result is the availability of two as a generous amount of unmapped, but carefully distinct types of cabinets-one for a "permanent" contained, space. This approach does not attempt to installation, the other for the buyer who will prob- solve the problem of what a given system ultimately ably change or expand his system. Another result is will become; rather it permits the owner to solve it perennial talk of a "universal" unit, or cabinet sys- for himself. tem, that conceivably would satisfy the demands of The third part of the three -part invention in- all buyers. There are, indeed, some examples of involves the extra -audio aspects of cabinetry -style, genious attempts at such units. As a general rule, finish, materials, structural features, price. Whatever however, the prospective cabinet buyer would do its special functions as a new kind of cabinet well to formulate his own intentions before setting intended specifically to house audio equipment, out on a shopping tour. it remains also a piece of furniture and often a One thing to bear in mind -and which is as- particularly conspicuous one. suming increasing importance to cabinet designers- The shop of custom designer Melvin Gray (Gray is the changing face of audio components themselves. More and more, the operating and control panels of components are entrusted not to the engineer but

This ensemble is available in ... , . kit form at a $125 saving. ;40..--1,..0 The speaker enclosures are separate pieces intended to be relocated in the listening room for optimum stereophonic effect. (By Heath Co.)

36 HIGH FIDELITY MAGAZINE Sound Corp., New York), for instance, resembles in one city through decorators, and in other places more than anything else the showroom of a fine by local furniture stores. cabinet maker -but of cabinets specifically tailored One of the well -known attractions of using a for audio systems. Gray, as a matter of fact, is one decorator to obtain high quality furniture is the who holds that it is the cabinet itself which attracts anticipated discount, usually 40 per cent, from the many to quality sound in the first place. Often, says manufacturer's "list price." Of course, the decorator Gray, people now will think in terms of "furniture then adds a smaller percentage, generally 10 to 15 with music," as the focal point of a room, rather per cent, for the service. There is no fixed rule for than, as they once did, of a huge breakfront or the exact amount, nor for the important considera- credenza. And, he reasons, why not give them both tign of whether the decorator's percentage is based good furniture and good sound? Of course, break- on the original list price or the discounted net price. fronts or what- have -you can be fitted with com- Usually, this depends on the time and effort ex- ponents, but the piece designed especially for high pended by the decorator, and many are unwilling fidelity is likely to be superior in every respect. One to commit themselves in advance. In any case, know- can have such refinements as removable panels for ing what percentages are involved, and how they are replacement or servicing of components, heavy -duty split, can make the customer a wiser shopper. smooth- sliding tracks for tape decks or turntables, With established retail furniture dealers, where lift -up lids or doors that disappear into the sides of no decorator is involved, the pricing situation is the cabinet, or-for those who must have the speak- even more tenuous. Some dealers will quote list ers in the same cabinet with the other equipment - price for a piece that can be obtained, elsewhere, specially treated compartments in which full -range, for considerably less. Others are likely to offer some quality speaker systems in their own enclosures can discount, perhaps 20 to 25 per cent, but rarely ap- be installed without danger of acoustic feedback. proaching the larger discount obtained by a deco- Another, related aspect of the custom -made cabi- rator. They reason that they, in effect, serve the func- net is that often wood may be used with other tion of the decorator. With the relatively few com- materials; tile or formica, for example, for attractive ponent dealers who also can supply custom -made yet rugged surfaces. Or, as suggested by the well - cabinets or the cabinets of a "prestige line" (such as known designer Paul McCobb, aluminum can be Gray in New York, Kierulff in Los Angeles, etc.), combined with wood for structural strength as well there generally is less doubt, and less coyness, about as a clean, uncluttered look. Again, the style may selling prices. While substantially below "list," their be related to certain almost metaphysical concepts. prices nevertheless must reflect the fact that they One example is the use of a glass case blended with often serve dual roles, acting both as decorators a wooden structure (featured both at Gray and at and as audio consultants. Phillip Enfield Designs). The avowed intention here For the buyer willing to accept a production -line is that a "suitable setting" should be provided for model, there are many perfectly suitable cabinets quality components, which are, after all, "something to choose from. To the extent that they fulfill the of gems in their own way." Precious as this may audio functions outlined above and meet the needs seem at first glance, it is a trend reflected widely of the buyer's own music system and his taste in in the use of clear plastic and plexiglass covers for changers and turntables. These, of course, are only a few of the variations possible. The person whose inclination (and budget) permits a full exploration naturally turns to the custom designer, or to the producer who is both designer and manufacturer. Some cabinet builders can be approached directly by the prospective buyer. Others work through retail outlets or through interior decorators who serve as roving retailers and advisers. In a few cases, the same company's line is sold

This compact cabinet holds equipment for all program sources -tape, tuner, discs. The lift top protects the tape deck. Disc storage is behind door. (By Rockford Special Furniture Company.)

MARCH 1961 37 Grain and Tint, and Wax and Lac

ALL CABINETS are made of wood. flimsy replica of the real thing. terial, but instead thin layers of but there are woods -and woods. Maple and birch, both native to fairly common wood, usually fir, Here, in descending order of aver- the United States, are considered that are bonded together and faced age cost, is a rundown on widely acceptable for cabinet work, with a hardwood surface. The lay- used hardwoods, based on informa- though not as desirable as the ers just under the surfaces, on both tion supplied by trade sources. stronger, more richly grained sides, are sandwiched in at right Macassar (or Makassar) ebony, woods. angles to the surface; this "cross - obtained from the dominion of that What makes one wood "better" banding" lends strength to the name in the Dutch East Indies, than another? Among the factors board. This type of plywood comes ranks as one of the choicest, most are its resistance to moisture and in three -, five-, and seven -layer expensive, and most difficult -to- warpage, its density, its imper- versions. The number of layers in- work woods. Next in order is rose- viousness to damage, its tensile cludes the cross -bands and the sur- wood. The Brazilian variety (also strength. These qualities are not faces. known as "palisander ") boasts a the only hallmarks. Value in a A new and relatively inexpensive richly figured grain and tends to furniture wood also is a matter of kind of plywood is "flake board run in alternating hues of deep how it takes a finish, how it ages core," which uses as its core orange -brown tones. Rosewood in use, and -to an extent -how pressed composition board without from the Indies tends towards more scarce it happens to be or how any cross -banding. The virtues of consistently darker hues as well as costly it is to obtain it. Thus, teak this type stem not so much from straighter grains. is relatively inexpensive in Scan- the material used (generally scraps Only slightly less expensive is dinavia, while it is almost a "pre- ' of fairly low -grade wood), but teak, imported from Siam and mium wood" in this country. On rather from the way in which it nearby regions, and a Hawaiian the other hand, American walnut is put together. This plywood is wood known as koa. Both are ex- brings a fairly high price in Eu- usually faced on both surfaces cellent furniture woods combining rope. Again, some of the new syn- with a hardwood veneer. Its high strength with great beauty. thetic woods or pressed composi- density, stability, and resistance to The most popular hardwoods tion boards -actually made of warpage recommend it for many group includes limba, walnut, and scraps and waste -may boast uses, including the building of mahogany. Limba, which comes greater strength than many natural speaker enclosures. On the other from a province in central Africa, woods, and yet cost much less sim- hand, it is not as good for most bears the trade name "korina." ply because they have acquired no purposes as the better grades of Walnut, including many types that prestige value. lumber core plywood, and is are called "imported walnut," is With few exceptions, furniture heavier and less impervious to obtained mostly from our own for- woods are not solid slabs of the punctures. ests, with a sizable bulk "imported" basic natural types, but rather Finishes on wood are, of course, from the state of Indiana. A no- plywood sandwiches of which only purely a matter of individual pref- table exception is French walnut; the outer layer, or layers, and erence. They may have varying de- this genuinely imported variety is most always the edging, are made grees of gloss, from the highly characterized by a figured grain of the type of wood that lends its polished, almost reflective surface described as "wide and wild." name to the entire piece. The best of varnish or lacquer, through the "Mahogany" has become a plywoods are the "lumber core" more satiny look of shellac, to the catch -all term for woods of varying types which consist of lengths or more subdued tones of wax, or the quality. African mahogany, one of "staves" of some fairly hard, soft, natural look of oils. The last the best furniture woods, is very white wood-usually poplar - two finishes -which do little to the similar to the mahogany obtained covered with a thin layer or "ve- wood other than preserve it, darken from Mexico and Honduras. On neer" of the hardwood in ques- it somewhat, and bring out' its the other hand, Philippine ma- tion. "Full -stave lumber core" de- natural patina-are best used with hogany is distinctly lower in qual- scribes the highest grade of ply- quality hardwoods of distinctive ity; in fact, the lumber and furni- wood, in which the core is a series grain, such as walnut and teak. An ture trades do not even regard it of two -inch staves, closely spaced. oil finish should be renewed peri- as real mahogany. An even cheaper and running the full length of the odically by rubbing in new oil imitation is made from Spanish panel. "Block lumber core" is com- (linseed or a recommended sub- cedar; this wood, familiar to many posed of narrower staves, not as stitute). A practical advantage of as the stuff of which cigar boxes closely spaced, and not running the an oil finish is its resistance to are made, is also the stuff of which full length of the panel. Both types damage; usually a slight defect, dreams are made since its grain are highly warp -free and provide such as a cigarette burn or a resembles that of real mahogany. good stability, with the full -stave scratch, can be rubbed out with Over -all, however, the grain does type generally superior. steel wool and then reoiled. Re- not run as true, and unfortunately "Veneer core" plywood does not storing a glossy finish generally re- the wood itself is a comparatively use staves for its sandwich ma- quires professional services.

38 HIGH FIDELITY MAGAZINE furniture, they too qualify as examples of the "three - styled cabinets that file them away. One such line is part invention" that is the true equipment cabinet. offered by Kersting Manufacturing Company. A use- A number of producers have entered this area; some ful notion is served by the kind of record cabinet that (such as Furniture Craftsmen of Grand Rapids) dis- can be expanded with a matching add -on unit. These tribute more or less regionally. Others (such as are available in ready -made form as well as in kit Drexel) sell more nationally. Some (such as Rock- form (from Lafayette and Radio Shack). ford) sell heavily in high -fidelity outlets. A list of High -fidelity sound in a visually pleasing setting such manufacturers is appended to this article. is now an actuality. The audiophile is finding him- Yet another aspect of the changing face of high self as interested in details of cabinet structure, finish, fidelity is the entry into the furniture field by joining, and so on as he has been in frequency several component manufacturers, either as distribu- response, distortion, and channel separation. In tors for cabinets produced by other organizations, or fact, the well- designed cabinet is itself some- with products made by their own facilities. Thus the thing of a component -and certainly one that new Audax /Omni units offered by Rek -O -Kut can contribute much to the pleasure of music (which can serve as individual cabinets or as build- in the home. ing blocks for room dividers and wall units); the River Edge line offered by British Industries (which features the handy chair -side equipment cabinet); the expanding lines recently announced by Heath; the Descriptive List of new, striking cabinets and room divider systems sold by Allied Radio. While qualifying easily as housing Cabinet Manufacturers for audio equipment, these units all show the influence of fine cabinet-making in styling and finishes. Acousti- Craft, 14122 Aetna St., Van Nuys. Calif. - Similar advances are apparent in do- it- yourself furni- comprehensive line of equipment cabinets in various ture, from the preassembled but unfinished models styles, sizes, and woods. (such as the new Stereocraft line) to the completely knocked -down, to -be- assembled kit available from Allied Radio Corp., 100 N. Western Ave., Chicago a number of producers. 80, I11. -same, including some in kit form; new Relatéd to the equipment cabinet is the record shelf- cabinet line. storage unit. With more, and bulkier, equipment

being used, and more records being bought, many Aristo -Bilt Furniture Corp., 1 1 07 Broadway, New designers simply have given up trying to provide York, N. Y.- ready -to- finish cabinets. space for both equipment and records in the same cabinet. Conceivably, some of the space "left over" Artizans of New England, Box 206, Rt. 7, Brook- in many cabinets could be used for a limited number field. Conn. -comprehensive line, some in kit form, of records, but the collector whose library ap- various styles, sizes, and woods. proaches the sixty to seventy mark (and no end in sight) would do well to consider some sort of record British Industries Corp., 80 Shore Rd., Port Wash- storage unit. Many types are being made, from ington, N.Y. -new "chair-side" equipment cabinet; skeletal units that display the records to furniture- other River Edge Continued on page 110

This Italian Provincial cabinet blends well with other A particularly handsome example of a kit -con- decorator elements. (By Kierulf f Sound, Los Angeles.) strutted cabinet. (By Artizans of New England.)

MARCH 1961 39 Toscanini in Stereo

Through techniques of "electronic reprocessing," the Maestro can now be heard on two channels.

by Jack Arthur Somer

EDITOR'S NOTE: It is no secret in the record industry The job of converting many of Toscanini's that the sales of Toscanini recordings have fallen celebrated monophonic discs to a form having off appreciably in the past two or three years. This stereophonic qualities fell to me -which meant pro- decreased interest in a unique musical heritage has ducing a two-channel recording with different been an unfortunate by- product of the increased information in each channel, a recording possessing interest in stereophonic reproduction. Toscanini's directional effects consistent with the music and recordings are all pre-stereo. In 1958, however, having the spread, depth, and reverberant qualities RCA Victor embarked on a project to reprocess typical of true stereo reproduction. It was of course many of these recordings in a form having the quite clear to me and everyone else involved in the essential characteristics of stereo. The story of the project that whatever reprocessing technique I de- two and a half years' experimentation involved and cided upon would have to be revised for the music's the techniques finally achieved is told below by the sake: that is, that it would have to be a technical engineer in charge. A critical evaluation of the method flexible enough to adjust to the specific three discs just issued appears on page 53. musical characteristics of any piece of music to which it was applied. I followed the premise that the stereophonic ALTHOUGH I was born and brought up in New effect is produced by two essential elements- direct York City, I never saw Arturo Toscanini per- and reverberant sound. In a true stereophonic (two- form. I did, of course, hear his broadcasts with the microphone) recording each microphone picks up NBC Symphony, and I think that even as a child I some direct signal from all orchestral instruments, sensed the greatness of a man who was already a level and phrasing being dependent on relative dis- legend. It was not until a year after the Maestro's tances from the instrumental source. The micro- death, however, that I first carne into close personal phones also pick up reverberant sound, the quality contact with his music. It was in the summer of of reverberation being dependent on the construction 1958, as a development engineer in the Record of the hall or studio, microphone placement, and Laboratory of RCA Victor Records, that I was other factors. Fortunately, symphonic orchestras in assigned the formidable task I am about to describe. a concert hall are arranged according to fairly com- One year after Toscanini's death, the stereo- mon patterns. A typical seating plan is shown in the phonic disc became a commercial reality. Stereo accompanying diagram. This arrangement shows represented a significant technical advance, but it that the generally higher -pitched instruments are threatened to outmode a precious catalogue of re- concentrated to the left and center and the lower - cordings by great artists of the past unless means pitched instruments are concentrated to the right - could be found to revitalize that catalogue by some a fact of considerable value to the recording engineer. kind of sonic updating process. Obviously, the The duplication (or synthesization) of stereo- recordings of Arturo Toscanini-all of them pre - phonic recording from a complete single signal stereophonic-were uppermost in our minds. requires the following:

40 HIGH FIDELITY MAGAZINE 1. Means to divide the spectrum into high and track all frequencies below 1,000 cps and above low frequency bands corresponding to left and right 3,000 cps. The left track, therefore, would project channels respectively. all instruments of the middle to upper ranges, in- 2. Means to accommodate deviations from or cluding violins and higher winds, with all their reversals of this division. overtones. The right track would carry the funda- 3. Means of dividing the spectrum without det- mentals and lower overtones of cellos and double riment to the total sound of the original. basses, winds, brass, timpani, as well as their higher 4. Means to increase the spatial effect to overtones. If enough overlap were maintained resemble that of a true stereophonic recording. between the high cut -off on the left and the low 5. A detailed knowledge of the musical score cut -off on the right, a large portion of the funda- so that all its requirements may be anticipated. mentals of the middle -range winds, strings, and brass The first experiments were pure groping on my could be balanced equally between channels, thus part. A general principle of technique had to be forming the so- called "phantom" center track. discovered, then worked out in its practical applica- At this point, however, there was still insufficient tions. After playing with time -delay devices, echo flexibility and too much frequency elimination. To chambers, and fixed filters, it became apparent to fill in the gaps left by the filters, a full -range signal me that the use of variable filters had the most was added to each channel at a level somewhat promising potentialities. I set up two filters in such lower than the filtered signals. In this way no a way that they divided the frequency spectrum of frequency band was completely eliminated from the music source at any frequency of my choice. I either channel, but the spectrum shape of each spent many hours "enjoying" split- frequency stereo channel could be continuously variable over an in- performances and learning much about cut -off fre- finite range. The final step was the addition of a quency and its effect on the tonal balance of sound. controlled low frequency signal on the left. By using a high -pass filter system on the left and This variable frequency spectrum method enables a low -pass on the right, I could divide the original an operator, fully acquainted with the score of the spectrum of a monophonic recording into two work he is converting, to manipulate these six signals signals, each containing a large portion of the to produce an effective simulation of a stereophonic fundamental frequencies of the instruments I wished recording. The essential elements of the original to place in these positions, according to my arbi- performance must of course be thoroughly studied, trarily chosen orchestra seating plan. These early orchestral balances and dynamics respected. attempts were in general quite unsatisfactory, though Obviously, the simplest passages to control are some startling effects were produced when the cut- instrumental solos or light orchestrations with broad off was selected properly. I learned that simple contrasts in instrumental ranges. In more complex fixed filters set at the same value resulted in very tuttis the synthesist must seek by experimentation uncomfortable sonic balances. The right track the ideal balance that satisfies as well as possible the became acoustically subordinate to the left because psychoacoustic requirements he has set for himself. of its total lack of high frequency content. It So much for the directional effects that can be became apparent that though the bass frequencies achieved. Next, spatial effects had to be produced contribute the bulk of the energy in a wide-range through the addition of reverberation and delayed signal, it is the mid and high frequency content that signals. Three reverberation chambers were em- produces the effect of "loudness." ployed, two adjusted for a relatively short decay of The next step was the addition of some "highs" 1.5 to 3 seconds and a third set in the range of 3 to to the right track, by means of a third filter. The 5 seconds. The shorter decay chambers were intro- addition of highs produced a remarkably satisfying duced in cross -channel fashion to simulate the effect. The increased "loudness" resulted with little across -the -stage pickups of each of two theoretical increase in electrical energy (as viewed on a VU microphones. The third (longer decay) chamber was meter), and a large portion of the instrumental fed to both channels Continued on page 109 overtones were restored. Finally, the third filter made it possible for the first time to place some higher fundamental frequencies on the right track when such were desired. PERCUSSION This then became the basic working plan. With these three filter outputs splitting a full -range monophonic signal, the source could be monitored by an BRASS operator or stereo synthesist, following a score. By first establishing a positive pattern of instrument WOODWIND l^a v\005 placement, the output level of each filter its friO¡ and /r, frequency of cut -off could be continuously adjusted '90,1/4 -cto.pá to satisfy the requirements of the music. To illustrate, the left track might contain all fundamental and overtones above 200 cps, the right .Seating plan for Toscanini's "Stereo Orchestra."

MARCI! 1961 41 by Edward Lockspeiser

A Hebrew of Biblical bent, a Gaul with the acid wit of Provence, named oddly for a Persian king, Darius Milhaud never will be explained, but here a perceptive friend does his best.

¡FROM A DISTANCE, Darius Milhaud might almost Darius," as he is affectionately known to his friends, j he taken for Churchill: his great solid bulk has has always been this figure of abundance. Aware the amplitude of that figure -a big man, a generous - of his facility, he declared in his youth that he minded man; and you have the same impression as would write one more string quartet than Beethoven. you see him more closely-there is a Churchillian Ten years ago he reached this goal with the pub- determination about the curl of the lips. "We may lication of his eighteenth quartet. all have ideas," he says, "but it is the setting of them I knew Milhaud first when the group of Les Six, down that is the terrifying experience. For most of which he was a member, was first attracting composers this is almost a matter of life and death!" public attention. Jean Cocteau, their spokesman, had Certainly, Milhaud's is a mind teeming with ideas; arranged for rue to call on him at his apartment in and just as certainly, he is possessed of the moral Montmartre, in the Rue Gaillard. I had been greatly energy to give them shape and form. I doubt if amused by the Cocteau -Milhaud ballet Le Boeuf there is a composer alive today who is more prolific. sur le toil, which at its premiere in February 1921 Twelve years ago a catalogue of his works was was attended by the most fashionable set in Paris brought out reaching the opus number 297. Milhaud (among them the Shah of Persia, who paid a is now in his sixty -ninth year, and the formidable fabulous sum for a box from which he was in list of his opus numbers has increased to well over full view of the audience though he could see 350. He is blessed with a gift of fertility that en- nothing of the stage). 1 knew that Milhaud, among ables him to produce music as naturally and as Les Six, was the bosom friend of the eccentric lavishly as trees blossom into flower. "Le bon Erik Satie. and I naturally expected that, like other

42 HIGH FIDELITY MAGAZINE A SELECTIVE MILHAUD DISCOGRAPHY by Alfred Frankenstein

Le Boeuf sur le toit. Concert Arts Orchestra, Vladimir Golschmann, cond. Capitol P 8244 (with short works of Honegger, Ravel. and Satie). A slapstick monument to a slapstick period -the era of Les Six and the aesthetic leadership of Jean Cocteau. Le Carnaval d'Aix. Grant Johannesen, piano; Philharmonia Orchestra. Georges Tzipine, cond. Capitol G 7151 (with Saint -Saëns: Piano Concerto No. 4). Derived from a Diaghilev ballet score, this suite for piano and orchestra is a vivid pageant of commedia dell'arte characters and incidents. Les Choréophores. Geneviève Moizan, soprano; Hélène Bouvier, mezzo; Heinz Rehfuss, baritone; Claude Nollier narrator; Chorale de l'Université; Lamoureux Orchestra. Igor Markevitch. cond. Decca V DL 9956 (with Honegger: Symphony No. 5). Aeschylus translated by Paul Claudel and set by Milhaud with un- paralleled savagery and power. The foremost dramatic work of Milhaud now available on records. La Création du monde. Columbia Orches- tra, Leonard Bernstein. cond.. Columbia CL 920 (with short works of Copland and Bernstein); also by London Sym- phony Orchestra Chamber Group. John Carewe. cond., Everest 6017 or 3017 (with Stravinsky: Histoire du soldat). This chamber orchestra score to a ballet on an African Negro creation myth is one of the earliest examples of the use of jazz idioms in the larger forms, and to this day it remains the best. The Four Seasons. Szymon Goldberg. violin; Ernst Wallfisch. viola; Geneviève Joy and Jacqueline Bonneau. pianos; Maurice rSuzan. trombone; Ensemble of the Con- certs Lamoureux. Darius Milhaud. cond. Epic LC 3666 or BC 1069. A delightful cycle of four concertos. ù la Vivaldi. for solo instruments and small orchestra - Spring for violin. Summer for viola, Autumn for two pianos, and Winter for trombone. sophisticated Parisian composers of the time, he Kenluckiana. Louisville Orchestra. Robert would turn out to be something of a wag. He Whitney, cond. Columbia ML 4859 struck me as nothing of the sort. A swarthy young (with Foss: Parahle of Death; Martinu: man in his late twenties, with full sensuous features Intermezzo). High jinks with no fewer than twenty Kentucky folk tunes in a and a wonderful crop of jet black hair. he impressed short symphonic piece. me as a most serious-minded personality. Suite française. Eastman Wind Ensemble, Milhaud's relationship with Satie was curious and Frederick Fennell, cond. Mercury 50173 or 90173 (with short works of Grainger. is worth dwelling on for a moment. Satie's mani- Rogers. and Richard Strauss). Folk tunes festos, posted on the walls of Paris ( "There is no of France magnificently handled. more art. Art is dead! "); his extravagant behavior Symphony No. 4. Vienna Orchestra. F. Charles Adler, cond. SPA 57. The big, (he once turned up at a concert in a fireman's Berliozian side of Milhaud in a symphony helmet); the mystifying titles of his works - composed to commemorate the revolution Gymnopédies, Trois Morceaux en forme de poire- of 1848. all this deliberate and fantastic clowning on the Sonata for Flute, Oboe, Clarinet, and Piano; Pastorale for Oboe, Clarinet, and older man's part Milhaud considered to he a blind Piano; La Cheminée du roi René. New behind which was hidden an innocent child of music, York Woodwind Quintet. EMS 6. A - rich collection of chamber pieces from a soul of exquisite shyness and tenderness. Satie, various periods in Milhaud's career. The it seems to me, became in fact the very carica- last -named derives its title from a place ture of himself. Milhaud, who for a time was in Provence and evokes the days of chivalry there. regarded as a kind of Continued on page 98

MARCH 1961 43 iii ¡ow !msnorstsrsil--- r,"411111111111111111

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I ,..!' ,...,; 4`1...... - A",;-..--- _ _ !olk-N. h vow ' ,. a, i ;c7...- - ii* ' ---- ...... 4u. - .7. - 7, -..!.T. .1 assotrazia, - _ - ., .. vi- --N11111:111a74',.3.- - - Sometimes BY ALAN WAGNER Look Beyond A salute to those invaluable and uncelebrated people, the cornprimari. the Stars they accomplish this with hardly any notice. You'll never see a review headlined "Alessio de Paolis Scores as Spoletta in Tosca at Met" or "Kate Pinker- ton Sung Brilliantly at Rome Opera by Mitì Truccato Pace." Nor should you. Nevertheless, in an era when second -rate talents can be turned into super-stars by a combination of good publicity and property utilized funds, these self- effacing artists should be given their due. Some comprimari have had careers as leading artists. The aforementioned Mr. De Paolis, for example, was a star for some time: he made his debut with the Bologna Opera as the Duke of Mantua in Rigoletto. That he is now far more likely to appear as Borsa in the same opera is mainly a matter of deliberate choice. As a character tenor he has remained a valued member of the Metropolitan roster for over twenty years -a considerably longer tenure than most Dukes of Mantua ever enjoy. De Paolis, as matter of fact, is that rara avis, a comprimario who does get reviewed beyond the usual mention, a season or two ago, for example, earning a very handsome set of notices for his hilarious por- trayal of the Old Prisoner in the Met's production of Offenbach's La Périchole. Although a number of comprimari have made the giddy descent from leads to walk -ons, if not all with the grace and consummate skill of De Paolis, far more common is the reverse situation: an aspiring youngster sings Mercedes hoping to work her way up to Carmen, or looks at Remendado as a whistle stop on the way to Don José. It sometimes happens, too. Elisabeth Schwarzkopf is a particularly luminous example; she made her debut in Berlin as a Flower Maiden in Parsifal. On these shores the bootstrap award might go to Margaret Harshaw, who is now singing Brünnhildes and holdes after some time on the Met's Norn -Rhinemaiden -Valkyr merry -go- round. In the process, she underwent a metamorphosis from a mezzo into a soprano, but metamorphosis or no, C success stories like this are few and far between. For every Schwarzkopf or Harshaw there are dozens who don't wind up in the star dressing room, which is THE CAST of a fairly recent and quite good re- precisely why every opera company has at least some IN cording of Mozart's Marriage of Figaro were turnover each year in its comprimario roster. Newly listed, as the two peasant girls, a pair of singers eager conservatory graduates and studio fledglings fetchingly named Elysia Field and Appasionata rush to fill the void left by disappointed and despair- Schultz. They were, obviously, imaginary -a pair of ing brethren. operatic George Spelvins. The reason behind this For the record collector, a perusal of some of the rather fey fiction is equally obvious: some more casts of his older opera albums might prove the imposing names had filled in the bit parts accredited validity of this assertion. They contain dozens of to the Misses Field and Schultz and preferred their obscure names, almost all of which have remained contributions to remain anonymous. obscure and are replaced in more recent sets by a The whole slightly precious matter serves to new batch no better known. To excite the discophile focus attention on an area of operatic endeavor gen- and encourage the young singer there are, though, a erally ignored. Day in and day out, in performance magic few of the current operatic giants lurking in after performance and recording after recording, infinitesimal parts on earlier recordings. For example, little gems of characterization are turned in by the the old HMV Cavalleria rusticana that featured infantry of music, the comnprimnari. Season after Mascagni in the pit and Beniamino Gigli as Turiddu season, in company after company, these artists who also had Giulietta Simionato in the cast -as fill the small roles provide the necessary dramatic Mamma Lucia. Or how about the Columbia Magic framework in which the stars glitter. What's more, Flute that squandered the talents of Sena Jurinac as the First Lady? HMV probably established some sort make their greatest contribution. Somebody has to of mark for prescience when it issued Andrea Ché- do bit parts; the pros see that they are done right. nier with Simionato, Giuseppe Taddei, and Italo Tajo These performers who have entered their less - all singing walk -ons, but there have been sufficient than- stellar careers willingly and knowingly make up instances elsewhere to make the search rewarding an impressively large group of opera singers. During and amusing: Teresa Stich -Randall is the Priestess in any recent season at the Metropolitan some two RCA Victor's Toscanini- conducted Aida, Nicola dozen or more artists might fairly have been labeled Monti sings Beppe for the Angel 1 Pagliacci, Kim comprimari, and well over half of them have been Borg plays Rangoni to Christoff's Boris Godunov with the company for years in just this capacity and . . . the list can be extended. With the increasing look forward to more of the sanie. The total number number of sets being released -and re- released- of roles essayed by this crew is staggering. George in this stereophonic age, it's natural and pleasant to Cehanovsky alone has sung eighty -three parts in speculate on how many stars of tomorrow today's fifty -seven different works during his quarter of a casts hide, and who they may be. century plus on the Met roster, not to speak of Certainly a number of latter -day performances roles performed with other organizations during this are worthy of note. Some voices only recently period. On the distaff side, Thelma Votipka ( "Tippy" preserved on vinyl in supporting roles are already to her colleagues) has managed to squeeze about marked for potential importance, voices like those of forty roles thus far into her career -and this too Eberhard Waechter and Claire Watson, the Donner counts only duty with the home team. and Freia of London's Das Rheingold, both of whom Why should a singer deliberately choose such a have since recorded leading roles, or Marianne career. with its constant demands and its shortage of Schech, the First Lady on the DGG Magic Flute glamour? There are almost as many reasons as there and subsequently a sumptuous Marshallin for the are comprimari. and they're all more or less valid. same label. In other cases, established front- liners For one thing, being a perennial walk-on is a lot more have delighted in the opportunity offered by a bit, secure than trying to buck fickle public favor. Singers and so we are treated to Giorgio Tozzi singing the invariably outnumber the available chances to sing, tiny if melodious role of Jake Wallace in Puccini's and one's chances to get work increase in inverse The Girl of the Golden West. But even without the ratio to the size of a role to which one aspires. And stars and the stars- to -be, the perceptive collector can permanence has blessings other than pecuniary ones. relish some extraordinary opera singing as the regu- Nothing. even in the day of the LP. is deader than lars, the day -in- and -day -out comprimari, immortalize yesterday's hero, or as sad, but the good compri- samples of their skill. Listen critically to one of the mario seems to go on happily forever. The fading many fine recordings of Melchiorre Luise; he's the high C is not the calamitous tragedy it might be to Sacristan on the Angel Tosca, for one, and Yamadori the star, and many a practitioner of the bit players' on the old London Madama Butterfly. De Paolis' art has seen whole generations of big names come funny work in La Périchole has been captured by and go. RCA Victor, as has his distinctive Emperor in As a matter of fact, this close -up view of opera Turandot. This company can also boast such regular history from the best vantage point in the house is strengths as Calvin Marsh and Margaret Roggero: no small reward to some of the best-known com- notice what these two do as Fiorello (and the primari. Thelma Votipka is very frank and charming: Sergeant) and Berta in the Barber of Seville. The "You know, I'm really a hero worshiper at heart. doubling Marsh does here is not an unusual com- I love to stand up there with a group of marvelous primario feat. On the EMI- Capitol Gianni Schicchi artists-and I'm just the worst one in the whole Alfredo Mariotti sings both the Notary and Maestro cast; then I'm very happy. I love good performances. Spinelloccio in a virtuoso job of dual characteriza- They do something for my soul. It's not difficult at tion. One role or two, artists such as these, artists like all, standing there with nothing to sing, looking interested. I ant interested; in fact, that's the pleasure Jeannine Collard and Paul Franke (witness Gene - of the job." viève in Angel's Pelléas et Mélisande and Sellem in Tippy, now in her twenty -sixth Metropolitan sea- Stravinsky's The Rake's Progress on Columbia) are son. is a representative member of the corps of pro- as worthy of recognition as the glittering headliners. fessional walk -ons. She, like her confreres, includes It is these out -and -out professionals who, with in her dozens of roles many in the same opera. She tremendous competence and very few illusions, form has performed four roles each in Die Walk/ire and quite literally the backbone of opera. They lend Der Rosenkaralier, which has given her, she says, stability and sheen to the companies and recordings a considerable perspective. "I know a mess of things, they grace, and a depth of artistry as well. Many of and they've all been fun." them are quite capable of singing major roles should Fun, it might be added, and hard work. Miss the occasion demand; the Metropolitan's George Votipka's art requires the same years of training as Cehanovsky, for example, has turned in excellent that of a prima donna assoluta; and since her stu- performances as Silvio in 1 Pagliacci and Sharpless dent days her versatility has led her into some Her- in Madama Butterfly, and has turned down many culean endeavors. Before the advent of the American other opportunities. Nevertheless, it is as the ubiqui- Guild of Musical Artists she often sang two roles tous servants and messengers and courtiers that they a day, as many as six or Continued on page 104

46 HIGH FIDELITY MAGAZINE The consumer's guide to new and important high -fidelity equipment

high fidelity : : : EQUIPMENT REPORTS

AT A GLANCE: The EICO HF -89 is a dual 50 -watt power amplifier, in which the tubes and components are operated conservatively and which meets its published specifications in all important respects. It is constructed on a large chassis, with good ventilation for tubes and other components. The HF -89, available in kit form or factory -wired. is an excellent choice for the person who wants the advantages of a high - powered, clean amplifier at a relatively modest price. As a kit, it sells for EICO HF -89 $99.50 (factory -wired, $139.50). Dual 50 -Waft IN DETAIL: The EICO HF-89, for such a powerful amplifier, has a remarkably small tube complement. Only seven tubes are used, with a pair of Power Amplifier EL -34s in each output stage. The output tubes are operated well within their dissipation ratings (a point on which some otherwise excellent amplifiers fall down), and the filter capacitors are also safely operated. A silicon rectifier voltage doubler power supply is used. This results in reduced power transformer size and weight, cooler over -all operation, and better regulation. The latter point is important, especially on a high -powered amplifier where an appreciable difference between quiescent tube currents and the currents drawn at full power output may exist. In a poorly regulated power supply, a voltage drop under strong signal conditions limits the maximum power output obtainable under steady -state conditions. EICO emphasize in their instruction manual that the HF -89 delivers full rated power from both channels simultaneously, due to their good power supply regulation. Our measurements verified EICO's claims quite closely. The power response of the HF -89 was very flat, with full 50 watts per channel available from 30 cps to 20 kc at 1% distortion. Even at 20 cps it delivered 35 watts per channel at I% distortion. The power bandwidth, in accordance with IHFM standards on amplifier measurements, is in excess of 20 to 20,000 cps referred to 50 watts at i % distortion. These measurements were made with both channels driven to the same output simultaneously. The excellent low frequency performance of the HF -89 is evident in the close correspondence between the 20 -cps harmonic distortion curve and the

intermodulation distortion curve. In both cases, the distortion at usual listen- 10 ing levels under 10 watts is a small fraction of one per cent, and the IM distortion does not reach 2% until output of 70 watts per channel is reached. CHANNEL 1 There is no point in plotting frequency response, for it would be virtually z a straight line. It was within 0.1 db up to 10 kc. and down 0.4 db at 20 kc. This is within the possible range of our instrument errors. g l.o --.20 cps Harmonic Distortion i The EL -34 output tubes were operated well below their maximum dissi- IM Distortion 60/5000 cps 4:1 pation ratings, and filter capacitors never were subjected to more than about 90% of rated voltage. This, combined with the large, open construction of the HF-89, suggests the likelihood of long life without component failure. 0.1 The stability of the amplifier was good under capacitive loads, and it 0.1 1.0 io loo rates above average in ability to drive large capacitive loads at high frequencies. The hum level was very low when the input was shorted or driven from a low impedance source (such as the output of most preamplifiers). It was typically about 88 db below 10 watts output. With a higher driving impedance it was about 70 db below 10 watts. Even this is quite inaudible in practice. The HF -89 had the effortless, solid sound typical of a good. high- powered amplifier at a relatively modest price. H. H. LABS.

MARCH 1961 47 AT A GLANCE: The Garrard Type A is called by its manufacturer an "automatic turntable," rather than a record changer. This is done with considerable justification. since the performance of the Type A is generally comparable to that of a good quality turntable and tone arm. while retaining the operating convenience of a changer. Price: $69.50 (less base and cartridge).

IN DETAIL: The Garrard Type A is more like a good 4 -speed turntable with a transcription arm than a record changer. The arm is distinctive; it is mass - balanced with tracking force supplied by a spring. The balance is good enough to play records with the unit tilted at more than 45 degrees, at a 3 -gram tracking force. As with any turntable, leveling is recommended for the Type A. but it is not affected by moderate amounts of tilt, and it is insensitive to normal jarring or vibration. With the arm balanced, the stylus force is set by sliding a pointer along a scale, calibrated from 3 to 7 grams, on the side of the arm. The cartridge mounts in a plug -in shell, which is clamped in place by a small lever. No tools are needed for these adjustments. A thumbscrew is used to lock the adjustable Garrard Type A counterweight. The cartridge shell is wired, with clips on the leads to fit most types of cartridge terminals. Hardware is provided for installing practically Automatic Turntable any type of stereo or mono cartridge. Since the two output cables with plugs attached, the power cable, and a grounding lead are integral parts of the Type A. installation has been simplified to the utmost. As a final touch. mounting springs are also integral with the motorboard, and are equipped with knurled wheels to adjust heights individually for leveling purposes. The unit has a clearly marked selector lever for its four speeds. The drive wheels disengage when the turntable is shut off, and a brake brings the turntable to a halt. Apparently, considerable pains have been taken to reduce rumble and other undesirable effects to levels comparable to good quality turntables. The basic turntable is actually a two -piece unit. The under -platter is covered with a light plastic foam pad. A heavy, balanced turntable is fitted over this, resting on the foam to isolate it from rumble. Finally, a ribbed rubber pad lies on the outer turntable. Interchangeable spindles allow for automatic changer operation and manual playing. The changer mechanism is the familiar pusher platform type used by Garrard for many years. A lever moves the platform into position for 10 -in. and 12 -in. records, and sets the correct arm indexing. A feeler arm detects the absence of a record on the spindle and shuts off the player after the last record has played. A separate switch turns on the turntable without activating the change mechanism, for manual playing. An accessory 45 -rpm spindle is available for automatic playing of 45 -rpm discs. The trip mechanism is the velocity type. and does not engage the arm except during the change cycle. A hold -down is provided for keeping the arm on its rest during shipment or when otherwise not in use. Inspection of the Garrard Type A suggested that it indeed was of transcription player caliber, so we mounted a high compliance cartridge designed for installation in separate tone arms (the Pickering 381A) in the plug -in shell. The stylus force gauge on the arm was found to be accurate, and the force was set at 3 grams for all tests. The wow and flutter were 0.15% and 0.1% respectively. These figures compare with most good turntables and some of the better record changers. Rumble was measured at -37.5 db relative to 7 cm /sec at 1.000 cps. in both vertical and lateral planes. The NARTB standard uses a different reference level, and when converted to that reference the rumble would be -40.5 db. The NARTB broadcast standards call for a rumble of better than -35 db. and wow and flutter not to exceed 0.2% and 0.1%. The Garrard Type A obviously exceeds NARTB specifications by a healthy margin. The hum field surrounding the cartridge in any playing position is very low, and the unit is suitable for use with any cartridge in that respect. Mechani- cal noise was also very low during playing; expected clicks occurred during the change cycle. The arm resonance was difficult to find. There was no peak at all, just a falling off of response in the extreme low frequency region. It occurs, with the cartridge we used. in the 10- to 15 -cps region. Tracking error was very low with the Pickering 381A installed. It was 3 degrees at a 6 -in. radius and

did not exceed 1 degree from a 5 -in. to a 2 -in. radius. Since tracking error can produce more distortion at the inner grooves of the record, this low figure is noteworthy. It would be considered very good performance even for a good separate tone arm. The Pickering cartridge has a 3 /8 -in. spacing from stylus to mounting centers, while most other cartridges use a 7/ 16 -in. spacing. When such a cartridge is used, the tracking error is slightly greater, but does not exceed 3 degrees between a 5 -in. and a 2 -in. radius. Arm cannot be moved manually near inner grooves without tripping the changer. The styling of the Garrard Type A conveys an impression of precision performance and professionalism. The user will find that this impression is not disturbed by the actual performance of the unit. H. H. LABS.

48 HIGH FIDELITY MAGAZINE AT A GLANCE: The Fairchild 500 is an integrated arm and pickup incorpo- rating the SM -2 moving magnet cartridge. The arm features an "anti- skating" action, intended to counteract effects of stylus friction on the record surface. The frequency response of the Fairchild is smooth and free from resonant peaks throughout its range. The channel separation is adequate at all frequencies, and is characterized by the same freedom from sudden changes as the frequency response. Price: 555.

IN DETAIL: The "anti- skating" feature of the Fairchild 500 attempts to compensate for the inherent frictional force of the record surface on the stylus, a force which tends to push the stylus toward the center of the record. This is an inevitable property of any arm with an offset head (a necessary feature for low tracking error). Reasoning that this factor places an additional force on the inner groove wall, with consequent reduction of tracking force on the outer wall, Fairchild engineers designed an arm in which an opposing force is applied to the stylus. This is accomplished by a spring in the base of the arm. During installation, it is adjusted by aligning a pair of red dots on the arm and base, with the pickup stylus eleven inches from the turntable center. When so installed, Fairchild 500 the spring is supposed to exert the correct opposing force to overcome the effects of stylus friction over the entire record surface. Integrated Arm The idea sounds good, in principle. However, the spring force of our test sample could not be set to compensate properly over more than a small And Cartridge portion of the record. When set according to instructions, the force was excessive, in the opposite direction to the usual frictional force. If the pickup skipped a groove, for any reason, it tended to move outward rather than inward. We tried setting in other amounts of spring tension, and found the optimum point to be when the red dots were aligned with the pickup about eight inches from the turntable center. In this condition, the pickup tended to move inward at record radii of five to six inches, and outward at radii of two or three inches. In the middle of the record the frictional forces were reasonably well neutralized. This is not to say that the "anti- skating" feature interfered in any way with the normal performance of the arm and cartridge. In practice, no significant difference could be found in measurements or listening tests between the various settings of the anti- skating force. Other than the adjustment in its base, the arm uses no springs, and is factory -set for 3 grams force. The counterweight is easily adjusted. As received, our sample had a tracking force of 2.7 grams. It was reset to 3 grams for testing purposes. The vertical and horizontal pivots are offset, so the arm is well balanced laterally when set for a 3 -gram vertical force. The arm tracks well at rather large degrees of off -level operation (such as 45 degrees) and is relatively immune to the effects of jarring. Installation has been simplified by having all internal arm wiring brought to a connector in the arm base. The output cables are prewired to a plug which fits this connector, thereby eliminating all soldering and screwdriver connections in installation. Holes punched in the cover of the box containing the pickup act as a template for its installation. A small screwdriver (for setting arm height) and a stylus pressure gauge are included. All in all, we would say that the usual pickup installation problems have been eliminated to the greatest practicable degree in the Fairchild 500. The Fairchild 500 arm is an eminently satisfactory design. It has low bearing friction, a convenient finger lift and a good "feel," and a tracking error which remains under 2 degrees over the entire record surface (under 1 degree over most of it). The counterweight is isolated from the arm by a resilient damping material which damps the arm resonance effectively. The resonance. which occurs at 15 cps, amounts to only a 1 -db rise in output. The cartridge, designated SM -2, is supplied only in this arm, but is not an integral part of it as in some other integrated pickup designs. It appears to be of conventional proportions, so that it would fit in other arms, and other - FREQUENCY RESPONSE ---R` - ' f -- cartridges presumably 5 could fit in this arm. Unlike the SM -1, the stylus of -10 the SM -2 can be replaced WjEjSTRIX IA RECORD MON by the user. = 15 - The frequency response of the SM -2 is smooth and within plus or minus ° 20 1.5 db all the way up to 15 kc. Both channels have identical - 25 (HANSEL SEPARATION --- 1111 response curves, - I 1 R ' though one has 1.6 db more - JO output than the other in the unit tested. This 20 50 100 300 500 1K 3K 5K 10K 20K easily corrects with a preamplifier balance control. Channel separation, over 20 db at lower frequencies, reduces gradually to about 10 db in the 10- to 15 -kc region. Here, too, there are no sudden peaks or holes, and both curves have

Equipment tested by High Fidelity is taken directly from dealers' shelves. We report only on regular production-line models. The choice of equipment to be tested rests with High Fidelity's editorial department. Most REPORT POLICY equipment reports appearing here are prepared for us by Hirsch - Houck Laboratories. a completely independent organization whose staff was responsible for the original Audio League Reports. A few reports are prepared by members of the High Fidelity staff or by other independent testing organizations working under the general supervision of Hirsch -Houck Laboratories. All reports are signed.

MARCH 1961 49 FAIRCHILD INTEGRATED ARM AND CARTRIDGE

identical shapes. The difference in separation between channels, seen in the curves, may be due to the slight tilt of the stylus to one side. This was a characteristic of the unit we tested, and could not be corrected by adjustment or modification of installation procedure. The output of the SM -2 is moderately high (7.6 my at 5 cm /sec stylus velocity). Susceptibility to induced hum is low. Needle talk is moderately low. The listening quality of the Fairchild 500 pickup is definitely smooth. The lack of peaks results in very low surface noise, with all the brilliance and sheen of a good recording being reproduced. The stereo channel separation at high frequencies is more than adequate for its intended function. The important requirement of smoothness and close matching between channels is met, and it contributes to the excellent sound of this novel pickup system. H. H. LABS.

AT A GLANCE: The DuKane lonovac is the latest version of the revolutionary loudspeaker which has no moving parts, but which uses ionized air to generate the sound directly. It is a "super- tweeter," covering frequencies above 3,500 cps. The Ionovac has the clarity and transparency, in its own frequency range, of a fine high frequency speaker, electrostatic or electrodynamic. Its relatively high efficiency makes it most suitable for use with horn type systems or other high efficiency speakers. The unit can interfere with nearby FM and TV receivers, a factor to be considered in its use. Price: $79 (without enclosure). DuKane Ionovac Speaker IN DETAIL: The history and general description of the Ionovac are covered in detail in our January 1961 issue ('The Driverless Tweeter from Paris "). Briefly, this unique speaker generates sound by ionizing air in a small, fused quartz tube with a high radio frequency potential and modulating the radio frequency signal to produce acoustic output. Variation in intensity of ioniza- tion produces compressions and rarefactions of air in the tube. This minute sound is coupled to an exponential horn like those used in conventional dynamic speakers. Although the lonovac itself has, in principle, no frequency limitations, practical considerations of quartz cell and horn size limit its use to higher audio frequencies. The present version is most effective at frequencies above 3,500 cps. The Ionovac derives its ionizing potential from an oscillator, in which the quartz cell and its electrodes serve as the capacitance in a series resonant tank circuit. Due to the high "Q" of the tank circuit, a very large potential develops across the cell, although the oscillator tube operates with only about 300 volts. The oscillator, a 6DQ6A, is screen -grid modulated through a transformer which matches the 8 -ohm input impedance of the unit to the higher impedance required for screen modulation. The oscillator in the Ionovac we tested operates at about 25.9 megacycles. Although precautions are taken to minimize radiation from the oscillator, our test speaker did radiate some harmonics. The third harmonic obliterated channel 5 on a nearby television set, and the fourth harmonic similarly affected 103.6 me on an FM set. In earlier versions of the lonovac, the quartz cell had a short life. The cell in the unit being considered is guaranteed for 1,200 hours of use, and is replaced with no more difficulty than replacing a phono stylus, and at nominal cost ($6.25). The power supply and input transformer of the Ionovac are contained in a small separate box, connected to the oscillator and radiator unit by a -15 8 Microphone Response,. five -foot cable. No crossover is built in, and an external -ohm crossover i 10 cps should be used. Damage to the speaker cannot ! i S network effective at 3,500 X 0-FREQUENCY RESPONSE result from driving it with low frequencies, but its efficiency falls off. -5 1 1K When the unit is first turned on, it sputters briefly. This should not concern the user. Soon it quiets down and one is aware only of its contribution to the reproduced sound. Some 40 watts are dissipated in the oscillator unit, which heats after a ó 30 period of operation. We do not recommend its operation in a confined space. - 25 20 Distortion (2nd Harmonic) ; In most situations it can be mounted near, but outside, accompanying speakers. 1 = 1s E The Ionovac, fortunately, has many virtues. Its frequency response is `= 10 t-, extremely smooth. The axial pressure response rises at a 6 db /octave rate F. o `- above 3.000 cps. as in high quality electrostatic Continued on page 108 111 1011 200

50 HIGH FIDELITY MAGAZINE GEORG SOLTI'S work on records - pression in a search for the perfection Zurich Tonhalle Orchestra, then with Das Rheingold, Arabella, some Bee- which recording seems to make possi- the London Philharmonic, and sub- thoven symphonies -has long given ble. I am against perfectionism. In sequently with the Israel Philhar- us a great deal of pleasure, and we Tristan I always chose an expressive monic, Paris Conservatoire, and Vi- gladly accepted an invitation to make 'take' with a small blemish in prefer- enna Philharmonic Orchestras. his acquaintance when he stopped off ence to an inexpressive version that For many years Solti's guiding in- in New York this winter to conduct was note -perfect. Of course, ideally spiration was Arturo Toscanini, with a few performances of Tannliauser I should like to have perfect execu- whom he had worked as an assistant at the Metropolitan Opera. On the tion of the notes and beautiful expres- conductor at Salzburg before the War. day we met, test pressings from Solti's sion, but unfortunately the two don't "I was in my early twenties when I forthcoming stereo Tristan had just always go together." came under Toscanini's influence, and arrived from London Records. Nat- Solti's recording career began not of course at that age you see every- urally, the conversation turned to Wag- as a conductor but as a pianist, ac- thing in black and white. To me, ner in the recording studio versus companying the noted German violin- Toscanini could do no wrong. What Wagner in the opera house. Did he ist Georg Kulenkampff in sonatas by most inspired nie was his passion for order things differently for the micro- Mozart, Beethoven, and Brahms. detail. Incredible! I shall never forget phone than for an audience? These discs (made in Switzerland for it. Naturally, as I matured, I began Mr. Solti loosened his tie and English Decca) date from the immedi- to see virtues in other conductors. I moved forward to the edge of the ate postwar period, when Solti was learned to appreciate the greatness of sofa. Yes, indeed he did. "For record- still on an involuntary leave of ab- Furtwängler, to understand his slow ings, I take a quite different approach. sence from conducting. Before the tempos and elastic phrasing. And this The microphone requires more inten- War, he had conducted opera in his had an effect on my own conducting. sity, more nuance, more expression native Budapest, but in 1939 anti - I am getting quieter, phrasing more -everything must be heightened to Semitism forced him to emigrate. The broadly, beating time less nervously. make up for the loss of visual impact. outbreak of war found him in Switzer- Perhaps you will find in my record- But I wouldn't want to give the im- land and jobless. Since a conducting ing of the Eroica a mixture of both pression that I considered Wagner post seemed out of the question, the Toscanini and Furtwängler in- less effective on records than in the Solti brushed up on the piano, won fluences." theatre. As a matter of fact, I find first prize at the Geneva competition Next season Solti will be dividing recording an advantage in some rein 1942, and subsequently eked out his time between Los Angeles and spects. It enables me to let out the a living as a recitalist and accompa- London. He will spend a total of orchestra without burying the singers. nist. thirteen weeks in California, as mu- In the opera house one must often His return to the podium took place sic director of the Los Angeles Phil- hold down the sound of the orchestra in 1946. The United States authorities harmonic, and twenty weeks in Eng- so that the singers can be heard. In in Germany were then finding it diffi- land, as music director of the Royal the studio you don't have to worry. cult to turn up conductors untainted Opera House, Covent Garden. "Theo- On records, everything can be heard. by Nazism, and the pianist Eduard retically," he says, "I can do both. Wagner, I For am convinced that Kilenyi, an old Budapest acquaint- Practically? Well, we shall see." Be- stereo is the ideal medium." ance stationed in Munich as a cul- fore the Los Angeles-to- London com- What, we asked, was essential to a tural- affairs officer with the Army, muting begins, Solti is scheduled to conductor in working before the mi- offered Solti an engagement to con- make a good many recordings, in- crophone? "The ability," Solti replied, duct Fidelio at the Munich Opera. cluding a Ballo in maschera for Lon- "to make up your mind. A conductor Fidelio was a great success, and Solti don Records and an Aida for RCA in the recording studio must realize was invited to remain as a permanent Victor. And if someone would only what is wrong and how to correct it, conductor. "I didn't want to stay," ask hint, he would be most happy to but he must also learn not to lose ex- he told us. "Munich was a shambles; record Alban Berg's Wozzeck. everything seemed disorderly and difficult and discouraging. In fact, I wanted to go to the States, and it was my wife who persuaded me to accept - the Munich offer. She was right, of course. I wasn't ready for America." In due course Solti was appointed general music director of the State Opera in Munich. A few years later, in 1952, he moved to Frankfurt as general music director of that city's opera and conductor of the Museum Concerts. Meanwhile, Decca/London had transferred him from the key- Solti reflective . board to the podium, first with the ... and animated.

MARCH 1961 51 W.AUDIO FIDELITY records

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

by Robert C. Marsh

From the Maestro's Store-

"Electronic Reprocessingsww

Arturo Toscanini

IN THIS ISSUE Of HIGH FIDLLITY, page the tape is a good example of early stereo lion devices attached to his sound system 40, is an account of RCA Victor's engineering, as is the tape of the Wagner can cause far more momentous havoc project to reprocess many of Arturo program with which Toscanini made his with a careless flick of the wrist. It seems Toscanini's recordings, all pre- stereo, in last bow. This performance too is flawed, to me that two questions want answering two -channel form. The three albums but we might in time have at least a part in connection with the new discs. First, here considered are the first results of of it (say Siegfried's Rhine Journey) taken by themselves, are these stereo - that experiment to be released -and I as evidence of the energy Toscanini reprocessed Toscaninis satisfying records? am happy to say that they are well worth brought to even his farewell appearance. The answer to that is yes, as one would knowing. Since I wanted to try the present ex- infer from my friend's reaction. For The only Toscanini performances orig- amples of "electronic reprocessing" on an good results they will have to be played inally recorded in stereo are the tapes, unprejudiced pair of ears, I played them at a higher volume setting than normal, never released, of the Maestro's final anonymously to one of the most astute and it will be noticed, of course. that two public concerts, on March 21 and and knowledgeable record collectors re- the sound is never highly directional, but April 4, 1954. Recorded in stereo as siding locally. He took them for genuine neither matter is of great importance. part of what RCA Victor then described stereo discs of recent vintage. When you The truth is that these synthetic stereo as a "continuing policy of development consider that The Fountains of Rome discs are comparable to the average of and research in recording techniques," was recorded in 1951 and the other titles the real thing as represented in the cur- these tapes were made with a separate date from 1953, this is indeed a tribute rent catalogue. (This, it must be added, microphone set up from that used in the to Victor's engineers. is an interesting commentary on the broadcast. (A monophonic tape, again There are critics who regard the origi- state of the industry.) never used for commercial releases. was nals of the Toscanini recordings as a The second -and more important - also made.) The principal item of the sort of holy writ which cannot be altered question is how well these new discs first concert is the Pathétique. Had the in any way. I am sure this release will stand up when played in direct com- engineers recorded it at the dress rehears- send such people into an absolute frenzy, parison with the monophonic transfers al, which I attended, they would have but I urge others not to join them. Im- of the master tape. It is obvious that had a great performance. but the broad- provements given to some of the Tos- re- recording of this type is possible only cast showed that the eighty- seven-year- canini recordings in the past have not when the monophonic master is a first - old Maestro could not perform the same always been worthy of the name. but class job with a great deal of informa- miracle two days running. Technically, anyone with one of the new reverberation crammed into its single channel. The

MARCH 1961 53 engineer can only divide this information into two parts, and no amount of supplemental reinforcement can help him if there just isn't enough to go around. In the climactic pages of the Respighi scores such a shortage is felt. The mono disc seems rock -solid in registration and filled with music, but apparently it cannot take the stretching. The two -channel version spreads out beautifully in the quiet pages (and the Toscanini devotee may want it just for them), but it lacks brilliance, focus, and weight in the full orchestral passages. The DvoIlk, on the other hand, is a success. It has grown in spaciousness without any loss of definition; indeed, small instrumental details now stand out with a sonic relief they did not possess before. The dynamics are wide- range. The quality is excellent. Naturally, in going from the mono to the stereo in A -B fashion, the listener will notice differ- Antonio Vivaldi ences. (The point of the business is that there should be differences.) For me the merits of the new version exceed those of the old. In the Mussorgsky recording, the issue is more open. Here again one finds Now More Than a Score of Seasons greater spaciousness and some sharpened contours, but there are also some changes of tonal coloring -presumably from the by Nathan Broder intermixing of filtered and full frequency signals. The trumpet in the "Promenade" is plainly better in the monophonic set, but some people may be willing to accept its altered timbre in order to have SINCE the advent of microgroove more into the structure of the baroque violin the spread "Great Gate at Kiev" the than twenty performances of The concerto as into a set of tapestries, is width of their listening room. Seasons have appeared on discs in this again a success, as is indicated by the RCA is selling these reprocessed discs country. This is surely a remarkable number of recordings it has received. A for the same price as the mono versions record for a composer who seems to have large number of those recordings are of -which presumably will remain in the been forgotten in his native city as soon high quality. To that number must now catalogue. The obvious intent, and a as, and perhaps even before, he died. be added two more. worthy one, is to give some of the finer When Dr. Burney visited Venice less Of the three new versions of The Sea- Toscanini performances an extra lease Vivaldi's death, sons one is of the large- orchestra type on life by allowing them to compete than thirty years after he spent time in the - while the other two employ chamber with newer recordings made in stereo. conservatories-es in Pietà, where Vivaldi had orchestras. To begin with the first of It's a depressing thought that a mediocre pecially the these, the Ormandy reading has a big, performance with spectacular been employed for many years -and sound will rich sound bit too rich for this music, take sales from a great one with less questioned their directors on the history -a it seems to me. Despite the apparent size striking sonics, but that's the way the of these institutions and the men who of the group, however, it money goes these had conducted the music in them. In his is extremely days. flexible and absolutely precise. None of these Toscanini perform- account of this visit he mentions many It shows names of Venetian composers connected signs of ponderousness only in the finale ances has been surpassed, or seems likely of Summer. to be for with the conservatories, but Vivaldi's Ormandy does some of the a long, long time. Whether movements very you choose to take them in one channel name does not appear once. This curi- nicely, for example the or two, you will be ously sudden neglect of a composer high- opening one of Autumn and the Largo a lot happier for Winter, knowing them. ly regarded in his own day lasted for of and he sometimes brings out more than two centuries. And it was al- the viola line to good effect. But in most complete: it was only when interest other respects he is not always convinc- DVORAK: Symphony No. 5, in E in Bach was revived, after sleeping for ing, and his judgment is on occasion minor, Op. 95 ( "From the New three -quarters of a century after his questionable. World ") death, that musicians and scholars began This conductor has, for instance, the to wonder about a composer that Bach old- fashioned habit of making a big ritard NBC Symphony Orchestra, Arturo Tos- and crescendo canini, had thought enough of to transcribe. at final cadences. The cond. slow movements of Spring and Summer RCA VICToR LME 2408. SD. $4.98. The Seasons were a success immediately upon their publication about 1725 are very slow indeed, especially that for as the first four concertos in the set of Spring, where the listener is induced to MUSSORGSKY: Pictures at an Exhi- twelve called II Cimento dell'Armonia e follow the goatherd into slumber. The bition (orch. Ravel) dell' invenzione, Op. 8. (For some time opening of Summer seems overexpres- of sive, and in the course of the movement NBC Symphony Orchestra, Arturo Tos- before that they had been favorites Count Morzin, to whom Op. 8 was dedi- Ormandy inverts the piano -pianissimo canini, cond. succession of the printed score. There RCA VICTOR LME 2410. SD. $4.98. cated.) Spring was particularly popular. Pincherle tells us of various transcrip- are passages in this movement where he tions of this concerto published in seems not to trust the harpsichord to RESPIGHI: Pini di Roma; Fontane di France, ranging from a large sacred supply harmonic filling and allots it in- Roma choral work to an arrangement -by Jean stead to the strings. At the beginning of NBC Symphony Orchestra, Arturo Tos- Jacques Rousseau -for flute solo! Today Winter he omits the trills, and thus loses canini, cond. this delightful set of pieces, with their the stipulated effect of shivering with RCA VICToR LME 2409. SD. $4.98. naïve and graphic tone pictures woven cold. The whirlwind finish of this con-

54 HIGH FIDELITY MAGAZINE certo seems to be evoked less by the pro- One asset of this recording is shared that frame they do as fine -sounding, gram than by a desire to display the by only one other stereo version of The nuanced, and musical a job as any group virtuosity of the Philadelphia strings. On Seasons that I have heard: the engineers on records. the credit side of this performance is the (or Mr. Goberman) had the musical in- How do these compare with the other work of the soloist, Anshel Brusilow, telligence to record first and second available recordings of The Seasons? which, considered purely as violin play- violins on separate tracks. This makes From the standpoint of performance, I ing, is the best to be heard on all three especially effective the sound of such should say that the Goberman and discs. movements as the finales of Summer and Baumgartner discs belong with the best - The Goberman recording, which like Winter, where separation of the two sec- those of the Virtuosi di Roma and the all the other Vivaldi releases in its series tions clarifies the proceedings. There are Musici and the large- orchestra versions includes the Ricordi scores, is in some four soloists, one for each concerto: conducted by Cantelli and Giulini. From ways the most imaginative and the most Ariana Bronne (Spring), Sonya Mono - n the standpoint of stereo, the Goberman thoughtfully prepared of the three. Ap- soff (Summer), Helen Kwalwasser (Au- Lánd Musici are the most effective. As poggiaturas are interpreted according to tumn), Nadia Koutzen (Winter). All mono recordings, the loveliest sound, to eighteenth- century rules. In accore four are excellent, if not quite on a par my mind, is offered by the Baumgartner, with the custom of Vivaldi's tin with Brusilow or with Wolfgang Schnei- the Virtuosi, the Centelli, and the Giu- soloist is permitted, as in the Ad- derhan, soloist on the Archive disc. lini. Summer, to elaborate on the p This third of the new versions, by violin part (the double dotting in th, Rudolph Baumgartner, is a first -class VIVALDI: Concertos for Violin and companiment in that movement is performance. The harpsichord is too Strings, Op. 8, Nos. 1 -4 ( "The Four persuasive musically, though progr faint in one or two spots, and the tempo Seasons ") matically it has some excuse -it rep of the first movement of Autumn seems sents "furious" insects). As in the oth a little rushed to me, but otherwise I Anshel Brusilow, violin; Philadelphia Or- Vivaldi performances of this group, tt could hear nothing objectionable. There chestra, Eugene Ormandy, cond. harpsichord realizations of the continue are positive qualities, such as small COLUMBIA ML 5595. LP. $4.98. COLUMBIA MS 6195. SD. $5.98. (played by Eugenia Earle) are unusually touches that enhance the pictorial aspect lively and interesting. Only in the rnys - -- cf the music without departing from good Soloists; New York Sinfonietta, Max terious slow movement of Autumn does taste-for example playing the opening Goberman, cond. the continuo realization seem overdone: figure of Winter with the bow near the LIBRARY OF RECORDED MASTER- it is made so prominent as to achieve the bridge. to give it a nasty, icy feeling. or PIECES, Vol. 1, No. 8. SD. $8.50 on status of a solo part, but the music im- taking the Largo of the same work some- subscription; $10 nonsubscription. provised by the harpsichordist written or what faster than usual so as to give the Wolfgang Schneiderhan, violin; Festival for her here is not substantial enough violin pizzicato the realistic plink -plonk Strings Lucerne, Rudolf Baumgartner, for that, and anyway everybody is sup- of raindrops. Although Baumgartner is cond. posed to be resting, sleeping off the not so bold as Goberman and he and his ARCHIVE ARC 3141. LP. $5.98. effects of a harvest celebration. soloist stick to the printed score, within ARCHIVE ARC 73141. SD. $6.98.

concerto. Bream's playing, too, is lovely same time a kind of lofty serenity as here (as, indeed, in the Arnold composi- well. The Composition for Viola and CLASSICAL tion). Aside from a tendency in the Piano, however, eludes me; I find it stereo version for the guitar to drift over desperately uninteresting, as I do the to the right channel in the first move- Trio by John Bavicchi, a young man ALFVEN: Midsommarvaka ment of this piece, the recorded sound is who, one gathers, is not long out of Har- (Swedish of demonstration caliber. H.G. vard. Bavicchi's Short Sonata for Violin Rhapsody, No. 1, Op. 19) -See and Harpsichord, on the other hand, is a Sibelius: Finlandia, Op. 26, No. 7. rather fascinating piece, thanks in part BABBITT: Composition for Four In- to the curious color of the combination ARNOLD: Concerto for Guitar and struments; Composition for Viola (or, rather, the curious things he does Orchestra, Op. 67 and Piano with it), and the energy, conciseness, tGiuliani: Concerto for Guitar and tBavicchi: Trio for Clarinet, Violin, and thrust of the music as a whole. String Orchestra and Harp, No. 4; Short Sonata for Performances throughout the album Violin and Harpsichord seem impeccable, and the recorded sound Julian Bream, guitar; Melos Ensemble. certainly is. A.F. RCA VICTOR LM 2487. LP. $4.91 John Wummer, flute; Stanley Drucker, RCA VICTOR LSC 2487. SD. $5.91 clarinet; Peter Marsh, violin; Donald McCall, cello (in the Composition for BACH: Cantatas: No. 198, Trauer Malcolm Arnold's new guitar concert Four Instruments). Walter Trampler, vi- Ode; No. 131, Aus der Tiefe is a lively, accessible work composed i ola; Alvin Bauman, piano (in the Com- a conservatively Marri Nixon. soprano; Elaine Bonazzi, dissonant idiom. Thet position for Viola and Piano). David contralto; Nico Castel, tenor (in No. is a lot of lively concertante solo wor Glazer, clarinet; Matthew Raimondi, vi- 198); Loren Driscoll, tenor (in No. 131); in the orchestral writing to supplemen olin; Assunta Dell' Aquila, harp (in the Peter Binder, baritone (in No. 198); the strumming of the solo instrument . Trio). Robert Brink, violin; Daniel Pink - Robert Oliver, bass (in No. 131); Ameri- and for this reason, the piece is, in effect. ham, harpsichord (in the Sonata). can Concert Choir; Columbia Symphony a concerto for orchestra. (The second COMPOSERS RECORDINGS CRI 138. LP. Orchestra, Robert Craft, cond. subject of the first movement, incidental- $ 5.95. COLUMBIA ML 5577. LP. $4.98. ly, is suggestive of parts of Bernstein's COLUMBIA MS 6177. SD. $5.98. Candide, both melodically and harmoni- Tilton Babbitt, professor of music at cally.) The middle, "Blues" section, writ- rinceton and a formidable figure among welcomes ten in memory of the French guitarist One the initiative shown by neorists of modern music, here has his Mr. Craft here in taking a fresh look Django Reinhardt, is a long and at trifle un- first important representation on records. Bach and reinterpreting him in the light eventful in relation to the concise outer Both Compositions employ the technique of the knowledge of baroque performance movements, but the piece is eminently of total serialism. The one for four in- practice gained in recent years. (Some likable. The composer- directed perform- struments falls into fifteen short sections English musicians, notably Thurston Dart, ance here recorded is presumably defini- each characterized by its own instrumen- have been doing the same lately, with con- tive. tal color. The overlapping progression siderable success.) In some respects Mr. I like the string quartet purity of sound of these sections is fascinating to hear, Craft is convincing: the embellishments furnished by the Melos Ensemble in the and the work as a whole has great dig- added here by solo singers and players classical Mauro Giuliani (1780 -1840) nity, strong dramatic tension, and at the usually sound natural and seldom seem

MARCH 1961 55 superfluous. In other respects, however, COLUMBIA ML 5580. LP. $4.98. for Violin and Harpsichord -See it Is difficult to follow Mr. Craft's reason- COLUMBIA MS 6180. SD. $5.98. Babbitt: Composition for Four In- ing. In the big opening chorus of the struments. Ode of Mourning, for example, Bach (if I suppose there must be people who do it is played the printed scores can be trusted) care- not enjoy any music unless BEETHOVEN: Concerto for Piano even and dot- by a large, lush symphony orchestra. Aut fully distinguishes between and Orchestra, No. 3, in C minor, ted sixteenths in the orchestra and be- Kostelanetz (or Mantovani) out nihil. tween a mixture of these in the orchestra There does not seem to be any other Op. 37 against even sixteenths in the voices. Mr. good reason for conductors continuing tMozart: Rondos: in D, K. 382; in A, Craft wipes out these distinctions and to make, and record, transcriptions like K. 386 has everybody performing dotted six- these. Even the excuse that used to be teenths most of the time. That Bach did given in their defense -that otherwise Annie Fischer, piano; Bavarian State Or- not want this in the chorus throughout is some of Bach's great works would not chestra, Ferenc Fricsay, cond. quite clear: in the few measures where he be heard-is no longer valid: there are DEUTSCHE GRAMMOPHON LPM 18607. does want dotted sixteenths sung he many good recordings of these composi- LP. $5.98. writes them that way. The result of Mr. tions played on the organ, as Bach in- DEUTSCHE GRAMMOPHON SLPM Craft's interpretation is that the music tended they should be. 138087. SD. $6.98. skips along breezily and completely ne- The Sinfonia by Johann Christian Bach gates the meaning of the text. This is not is another matter entirely. Here Ormandy If you like the idea of Mozart and Bee- Bach's fault, as may be heard in Scher - follows faithfully a modern edition of thoven played on a music box, this re- chen's grave and powerful, if not as well the score, and the result is a delight, al- cording provides that effect. Miss Fischer recorded, performance on a Westminster most enough to make up for the rest strives for the even, tinkle -tinkle type of disc. of the disc. Although this work would piano sound with enormous success. I The soloists, especially Messrs. Dris- seem to be made to order for stereo. it do not like my Beethoven in lacy under- coll and Oliver, are satisfactory and the is effective in mono too because in the pants, thank you, so my choice remains edition. Fricsay deserves a chorus well balanced. In the alto aria of dialogues between the two orchestras the vi the Backhaus No. 198 the gambas are sometimes too material given to one differs from the wort] of praise for a good accompani- loud for the voice; in the baritone arioso other's in octave register or instrumenta- mens here. The engineering is no better of the same work and in the tenor -alto tion. N.B. than average. R.C.M. duet in No. 131 the harpsichord is too faint, leaving a gap between voice and BACH, JOHANN CHRISTIAN: Sin- for Strings: Otherwise the sound in both ver- BEETHOVEN: Quartets cello. fonia for Double Orchestra, Op. F, No. No. sions is good. The works are sung in Ger- No. 7, in O. 59, l; 1 Bach: Toccata and man; unfortunately, no texts are pro- 18, No. -See 8. in E minor, Op. 59, No. 2; No. vided in the notes. N.B. Fugue in D minor, S. 565 (arr. 9, in C, Op. 59, No. 3; No. 10, in Ormandy). E flat, Op. 74 ( "Harp "); No. 11, BACH: Concerto for Clavier and Or- in F minor, Op. 95 S. chestra, No. 1, in D minor, Amadeus Quartet. 1052 -See Schumann: Concerto for DEUTSCHE GRAMMOPHON LPM 18534/ Piano and Orchestra, in A minor, 36. Three LP. $17.94. Op. 54. DEUTSCHE GRAMMOPHON SLPM 138534/36. Three SD. $20.94. BACH: Concerto for Violin and Or- chestra, in A minor, S. 1041 This set is a good buy. The five works for have been fitted, without any handicap tMozart: Symphonie concertante rather than in E to the purchaser, on three Violin, Viola, and Orchestra, four records, thereby providing a corn- flat, K. 364 plete edition of the most popular Bee- violin; Rudolf Barshai. thoven quartets at a $3.00 saving over David Oistrakh, rec- viola; Moscow Chamber Orchestra, Ru- the customary price. Moreover the and silent -surfaced Barshai, cond. ords are well made dolf what chamber music ARTIA ALP 165. LP. $4.98. -which is exactly requires. a well - Oistrakh's performance of the Bach is to Sym- The Amadeus is a group with BACH, JOHANN CHRISTIAN: deserved reputation. Their performances be rated high, I think, among available phonies, Op. 18: No. 2, in B flat: recordings of that work. The tone is do not have the ultra high polish and singing and pure, there is no sign of No. 4, in D ripeness of tone one hears in the Buda- interpretative tricks or applied intensi- tHandel: Water Music: Suite pest set, but they do have the firm pulse tempos are plausible. and cleanly drawn lines that project the fication, and the Amsterdam Concertgebouw Orchestra, can occasionally be heard, strong musical substance of these works. A harpsichord Eduard van Beinum, cond. but out of the corner of one's ear; In short, the quartet is self- effacing. It only EPIC LC 3749. LP. $4.98. a somewhat boomy bass in the fixes your attention not on what it is except for EPIC BC 1112. SD. $5.98. finale, the sound is satisfactory. playing but what Beethoven is saying. again and that is the way it ought to be. I In the Mozart the approach is Two lively and attractive symphonies are Here, a little enjoyed their performances and look entirely straightforward. presented here in pleasing performances would have helped. forward to returning to them. You will more imagination by the late Eduard van Beinum. Written the viola part too. R.C.M. Mr. Barshai's command of by the youngest son of Johann Sebas- is not, it seems to me, as complete as resemble nothing corn- recording tian Bach, they Primrose's in the RCA Victor by the father; instead, they are BEETHOVEN: Symphony No. 3, in Fuchs's in posed of this fine work, or Lillian examples of the developed Italian E flat, Op. 55 ( "Eroica ") acceptable fine the Decca. but his playing is three -movement opera overture (No. 2 with his Orchestre de la Suisse Romande, Ernest nevertheless, and his rapport did in fact start life as the overture to partner unexceptionable. The oboes are They are Ansermet, cond. Bach's opera Lucio Silla). 9249. LP. $4.98. not well defined here, but otherwise the light- textured and full of LONDON CM consequently CS 6189. SD. $5.98. sound is good. N.B. singing melody. The Handel suite con- LONDON movements from the com- sists of eight Ansermet's edition of the Beethoven nine and Fugue in D mi- plete work. The performance of the Air BACH: Toccata has been appearing gradually and now in grace, but in the Minuet, nor, S. 565; Toccata, Adagio, and is lacking reaches its conclusion with an Eroica of Van Beinum brings out the expressive Fugue in C, S. 564; Passacaglia and impressive vigor and force. Indeed. if secondary line in the bassoon, and in the Fugue in C minor, S. 582 (arr. Or- we look back through this Ansermet remaining movements he does full jus- mandy) series, we find a number of exceptional tice to Handel's splendid music. The J. Double Or- performances and a consistently high ' '`- t Bach, C.: Sinfonia for sound in both versions is good. N.B. I` chestra, Op. 18, No. 1 level of interest in the conductor's points of view and their development. shares with Philadelphia Orchestra, Eugene Ormandy, BAVICCHI: Trio for Clarinet, Vio- The Eroica given us here a fairly cond. lin, and Harp, No. 4; Short Sonata many of the other symphonies

MAGAZINE 56 HIGH FIDELITY When the record is WES TMLYS TER you hear more, because there's more to hear!

SHOSTAKOVITCH: PIANO CONCERTOS No. 1, Op. Valse -Theme Varie et Finale -Twelve Preludes. Maio, Piano. April in Paris (Duke), Spring is 35 and No. 2, Op. 102. Eugene List (Piano), Fritz Stereo WST 14138 Monaural XWN 18957 Here (Rodgers), September Song (Weill), The

Wesenigk, Trumpet. Berlin Opera / Vienna State Last Time I Saw Paris (Kern), Autumn in New Opera Orchs. Jochum / Desarzens, conds. WELL, ALL REED: Byron Parker and His Orches- York (Duke), September in the Rain (Warren), Stereo WST 14141 Monaural XWN 18960 tra. Liza (Gershwin), September Song (Weill), Autumn Leaves (Kosina), A Foggy Day (Gersh- Blue Moon (Rodgers), Solitude (Ellington), With win), Under Paris Skies (Giraud), Summertime ANTONIO VIVALDI: GLORIA. Vienna Academy a Song in My Heart (Rodgers), Embraceable You (Gershwin), I'll Remember April (Raye, de Paul Chorus, The Vienna State Opera Orchestra con- (Gershwin), Body and Soul (Green), Tea for Two and Johnson). Around the World (Young). ducted by Hermann Scherchen. Mimi Coertse, (Youmans), Maria la 0 (Lecuona), Dancing in the Stereo WST 15068 Monaural WP 6134 Soprano; Ina Dressel, Soprano; Sonja Draxler, Dark (Schwartz), Who (Kern), Who Cares (Gersh- Contralto. win). Stereo WST 14139 Monaural XWN 18958 Stereo WST 15067 Monaural WP 6133

OTTORINO RESPIGHI: FOUNTAINS OF ROME; NOTHING BUT PERCUSSION, Vol. 2: Composed FESTE ROMANE, Fernando Previtali conducting and Conducted by Bobby Christian. "Mt. Fuji - the Orchestra of the Accademia di Santa Ce- yama Suite ": Placid, Moonlight, Suicide, Erup- celia, Rome. tion (concluded), Japanese Temple; "Percussion Stereo WST 14140 Monaural XWN 18959 in Velvet ": Valson, Night Shadows, Impressions, Speak Low (Weill), Blue Fog. WESTMINSTER TORROBA; PONCE: A SPANISH GUITAR. John Stereo WST 15065 Monaural WP 6131 Williams, Guitar. F. Moreno Torroba: Sonatina Collectors: Send for your Complete Westminster Cat- alogue. Write: Westminster Recording Co., Dept. HF Nocturna -Suite Castellana.. Manuel M. Ponce: BOURBON ON THE ROCKS, PLEASE: John de 361, 74 Alabama Avenue, Island Park, New York. CIRCLE 93 ON READER -Sa .,..CE CARD MARCH 1961 57 quick, lightly inflected type of perform- speakers into opposing camps. The mono tet bearing this name. The present group ance, but Ansermet does not carry this version, incidentally, is just as carefully is made up of Ornella Puliti Santoliquido, approach to the point of austerity. There engineered as the stereo. R.C.M. piano; Arrigo Pelliccia, violin; Bruno is breadth to the phrase when it is needed Giuranna, viola, and Massimo Amfi- for expressive significance. What Anser- BORODIN: Prince Igor (highlights) theatrof, cello. Those familiar with the met is seeking is a golden mean between personnel, past and present, of I Vir- superficiality and bombast, and I think Valeria Heybalova (s), Yaroslavna; Du- tuosi di Roma and I Musici will probably he finds it. If, among the older Eroicas, san Popovich (b), Igor; Zharko Tzveych be able to recognize these players as your paradigm was the Toscanini, this (bs), Galitsky and Konchak. Chorus and members of those two leading Italian is the stereo account of the score most Orchestra of the National Opera, Bel- string ensembles. P.A. in sympathy with the late Maestro's grade, Oscar Danon, cond. are differences, precepts. Naturally there LONDON 5563. LP. $4.98. BRAHMS: Quintet for Piano and Ansermet is not as fierce as the Maestro, LONDON OS 25202. SD. $5.98. but both stress the classicism in the Strings, in F minor, Op. 34 ways, make music and, in their respective A selection from London's complete ver- Sviatoslav Richter, piano; Borodin Quar- its nobility felt. sion of the opera. this recording is dis- heavy on the tet. The recording is slightly tinguished mainly by Popovich's magnifi- MK -ARMA 1516. LP. $5.98. right channel (although this imbalance cent voicing of Igor's monologue, and by is easily corrected), and resonant to the a good version of the Polovtsi Dances some low frequency def- - These Soviet artists approach this im- point of losing with chorus, really the only way they passioned Brahms score with warmth and inition. The sound, however, is quite should ever be performed. The chief very pleasing to the ear, considerable care. Their ensemble play- spacious and drawback is some embarrassing bellowing ing is very well balanced. and they even particularly in the full -bodied quality of by Zharko Tzveych in Galitsky's aria. R.C.M. take the trouble to repeat the exposition the chords. It must be said, too, that some of the of the first movement. Although their other selections -Konchak's aria and interpretation would have benefited from BEETHOVEN: Wellingtons Sieg, Op. Yaroslavna's "I Shed Tears" -are mighty a bit more incisiveness, particularly in Symphony "); Overtures: dull unless the singing is quite out of the the finale, it is a highly acceptable read- 91 ('`Battle which is not so here. The sound Prometheus, Op. 43; Leonore No. 3, ordinary, ing. clothed in faithful, slightly resonant is fine, except that the solo voices are sound. P.A. Op. 72 recorded too close up. C.L.O. London Symphony Orchestra, Antal BRAHMS: Symphony C Dorati, cond. Piano and No. 1, in LP. BRAHMS: Quartets for minor, Op. 68 MERCURY LPS 5000. $4.98. 1, Op. 25; LPS 9000. SD. $5.98. Strings: No. in G minor, MERCURY No. 2, in A, Op. 26 London Symphony Orchestra, Antal Do- turned the Russian campaign of rati, cond. Having Quartetto di Roma. MERCURY MG 50268. LP. $4.98. 1812 into a sonic smasher, Mercury con- DEUTSCHE GRAMMOPHON LPM 18529/ MERCURY SR 90268. SD. $5.98. tinues the struggle against Bonaparte 28. Two LP. $5.98 each. this climactic moment from the with DEUTSCHE GRAMMOPHON SLPM There are many different ways to in- Peninsular War of 1813. That the Bat- 138015/14. Two SD. $6.98 each. was ideal for stereo (and terpret this heroic symphony; what may tle Symphony he moving to one listener may fail to rather pointless otherwise) became clear Not very long ago, Deutsche Grammo- Morton Gould version ap- touch another. Dorati's approach is es- when the phon issued highly commendable record- sentially muscular, full of rhythmic drive. peared last year. Those who know that Brahms string quartets; may ings of the three Though it is eminently listenable, I my- set and haven't heard this new one now this same company has come out the truth is that self found his conception a bit too ex- doubt my word, but with too Dorati and his cohorts have succeeded troverted, a brilliant surface recordings sound little substance beneath it. It must be in making all previous that the Lon- like pretty mild stuff. Wellingtons Sieg generally agreed, however, Beethoven don Symphony plays here in top form. is not great music -and has provided would be the first to say so. It can be crisp and clean. Mercury quite entertaining, however, and it is of top -quality sound, in which even the lasting antiquarian interest as the only resinous attacks of the strings may be really surviving example of its genre. discerned. In stereo. the orchestra is de- (Battle pieces were once a major item ployed naturally and evenly. P.A. of mass entertainment, and Mercury is obviously out to revive them.) BRUCH: Concerto for Violin and Before we get lost among the artillery Orchestra, No. 1, in G minor, Op. and small arms, it ought to be said that the fundamental advantage of this set 26 is that musically it's a stronger, better - 'Mozart: Concerto for Violin and paced, and more persuasive account of Orchestra, No. 3, in G, K. 216 the score. Dorati plays it straight and Jaime Laredo, violin; National Symphony plays it well in the same manner that he Quartetto di Roma statements of the two Orchestra, Howard Mitchell, cond. provides forthright RCA VICTOR LM 2472. LP. $4.98. overtures on the other side of the record. Mercury once more went to West Point with equally fine disc interpretations of RCA VICTOR LSC 2472. SD. $5.98. for its sound of battle, and this time the first two of the three piano quartets. three cannon and a collection of mus- It is to be hoped that the third will fol- According to Paul Hume's jacket notes, kets provide the gunsmoke. The thing low shortly. The ensemble playing here this disc represents a meeting of three that impresses is that these additions is of a very high order. perfectly bal- nineteen -year -old minds. The Mozart aren't just sound effects. Beethoven anced at all times. The performances Concerto was written and the Bruch Con- wrote 188 cannon shots into his music, have a certain Italianate fluency which certo begun when their respective com- and they blend with the sinister rattle occasionally results in a bit too much posers were nineteen, and the amazing of the musket volleys to produce a strik- speed. yet with this fluency also goes a Bolivian -born violinist Jaime Laredo was ing intensification of the total impact. tonal firmness and an understanding of just two weeks short of his nineteenth (If the wind machine and sheep in Don the German and gypsy elements in mu- birthday when he recorded these two Quixote can be musical, why not patterns sic. Sonics are commendable in both works. of firing ?) In other words, Mercury has versions of both quartets, though stereo Young Laredo has already recorded provided the better disc because it has gives a definite place to each instrument some performances that have been as- gone to the trouble to treat the work on the aural stage-violin to the left, tounding for the technical virtuosity and seriously and give it the kind of per- piano in the center. and viola and cello -far more important -stylistic maturity formance Beethoven intended. to the right. In the two-channel edition, they have displayed. These qualities are Along with the set come a print of the piano tone seems a trifle brighter again to be heard in his deft, delicate, the battle, which adds to the interest of too. often subtle handling of the Mozart Con- the piece, and French and English flags A word about the Quartetto di Roma. certo. Portions of the Bruch, however, for those who wish to convert their Some years ago, there was a string quar- seem unduly heavy and often are square-

58 HIGH FIDELITY MAGAZINE Read what the experts have to say about the FORTISSI_VIO XK 8000 SERIES

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FORTISSIMO FORTISSIMO FOR'l'ISSIMC) FORTI SS I MO

CHESTER SANTON horizontally. Of even greater significance to the record fan are the measures that have been taken to improve the transfer from tape to disc. These include a 92,000 cps tone superimposed over the regular signal while cutting the master disc. It seems that the conventional hot 'gHTr stylus technique cannot do as good a job in the harder material they are using for this series. The finished pressings contain a new and harder compound called Polymax. All these steps produce a stereo disc TENing unlike any I've heard before. 11 Of the four translucent discs released so far, these two records offer the most convincing evidence of the changes this series could make This special series by Riverside is the best one yet. The first feature within the industry. Conventional surface noise is totally absent and you'll notice in these stereo discs is the fact that they play from the response is phenomenal. The pipe organ played by Paul Renard is the inside out. But that's only a very small part of the story. The tone arm second Wurlitzer located in the Radio City Music Hall building. This starts right next to the label with a short band containing a 400 -cycle smaller version of the main theatre organ is located in a studio atop test tone for channel balancing. Once the locked groove at the end of the building that was originally intended for radio broadcasts. Miked this band is hurdled, the pickup then proceeds toward the outer edge at extremely close quarters. the sound of the studio organ has a gleam of the record. impossible to capture in the vast auditorium. The music is sure -fire Cutting the master disc from the inside out has long been advocated stuff by George M. Cohan. The 27 -year old Paul Renard doesn't have the as a solution to the problem now encountered in classical recordings polish and poise of the veteran theatre organists but he sails into these wherever a symphonic work closes with a loud finale at the end of a show stoppers with a complete quota of enthusiasm. This record won't lengthy side. Unfortunately, the four initial releases in this series do be studied for the performance of the music. The attraction is the sound not contain classical material. We won't know how the theory works just as it is in the companion release of jet planes and a helicopter until some one puts out a stereo disc with an "1812 Overture" that recorded at Eglin Air Force Base in Florida. In high and low fly -by, starts next to the label. The Fortissimo series anticipates playback take -off and landing, these jets have the "live" quality formerly avail- equipment considerably better than what we have today. Their master able only on 15 ips professional tapes. Once the word gets around, these tapes are recorded at 60 inches per second with the heads oriented will be the test records in the months ahead. Stereo only - At quality record shops and audio stores everywhere ... $5.98

FORTISSIMOProduced by the Electronic Research And Development Division of Riverside Records 235 W. 46th Street, New York 36, N. Y. CIRCLE 40 ON READER -SERVICE: CARI) MARCH 1961 59 ly phrased. Either consciously or uncon- best of all. The piano sound is not par- sciously, Mitchell and the orchestra re- ticularly colorful or sensuous, but pleas- flect the soloist's moods. They provide a ing nevertheless. H.G. properly light accompaniment for the Mozart and a weighty one for the Bruch. The reproduction in both mono and DVORAK: Slavonic Rhapsodies, Op. stereo is clear and properly balanced. 45; Scherzo capriccioso, Op. 66 A printer's error on the labels of both editions lists the Mozart Concerto with Czech Philharmonic Orchestra, Karel its proper key signature and Köchel cata- Sejna, cond. logue number, but credits that work to SUPRAPIION LPV 407. LP. $5.98. Bruch. P.A. It has been a long time since Dvoiák's three Rhapsodies have been made avail- CHANLER: Nine Epitaphs -See (both for the left hand) and the arpeggio - able on one disc. It is good to have Trimble: Four Fragments from the run F major, Op. 10, No. 8. them back together again, to listen to the Caunterbury Tales. In addition, there is interpretative in- composer giving free rein to his imagina- consistency in the present set: some of tion within the framework of the nation- the pieces are played with exquisite fi- alistic music of his native Bohemia. Here CHOPIN: Concerto for Piano and nesse, while others are treated metro - one encounters appealing juxtapositions Orchestra, No. 1, in E minor, Op. nomically and are quite lacking in of narrative musical drama and the gay li subtlety. Moreover, there are such per- abandon of country folk enjoying a holi- ¡Mendelssohn: Capriccio brillant, in versities as ending the double -sixth étude day. The later Scherzo capriccioso fits B minor, Op. 22 pianissimo and leggiero when Chopin nicely into this program, too, offering plainly indicated that he wanted fortis- as it does an effective blend of the Gary Graffman, piano; Boston Sym- simo there. These more than occasional darkly dramatic and the light, carefree phony Orchestra, Charles Munch, cond. touches of preciosity are recurrent elements of Dvofák's work. RCA VICTOR LM 2468. LP. $4.98. throughout these renditions; they are a Sejna and the fine Czech Philharmonic RCA VICTOR LSC 2468. SD. $5.98. new feature in Ashkenazy's work, and I have captured the spirit of all this mu- hope a temporary one. There are ele- sic admirably, and give performances of The nocturne movement of the Chopin ments of greatness in these performances the highest order. The fidelity of the fares best in the present performance, for and one cannot do other than admire recording is not quite as high; it will pass Graffman's tastetully reticent phraseology them. Nevertheless, I will continue to muster. though it cannot compare to the gives the music a fine, arching line. The r cherish the deleted Concert Hall edition more brilliant sounds that technicians on first movement, however, lacks com- Lof the Etudes by Robert Goldsand be- this side of the Iron Curtain have been municative appeal in this playing, and cause of its greater variety and subtlety. producing in recent years. P.A. the finale too needs more spring and The Ballade and Mephisto Waltz both rhythmic vibrancy (as opposed to Graff - duplicate other Ashkenazy performances man's intellectually precise attention to for other companies. This Aephisto is DVORAK: Symphony No. 5, in E note values). While the emphasis on the a shade faster and more driving than the minor, Op. 95 ( "From the New composer and the music at hand is com- one on Angel. The improved definition World ") mendable, there is also a blank, rather of the piano sound on the present disc objective plainness in evidence here. makes the performance of the Ballade NBC Symphony Orchestra, Arturo Tos- Wayward though it is, Stefan Askenase's sound a good deal more assured and canini. cond. recent DGG version of this concerto convincing. The fine early Nocturne. RCA VIcroR LME 2408. SD. $4.98. seems to me much more expressive and played with engaging flow, is new to interesting. i also prefer the lovely and the pianist's discography. Sonics are very For a feature review including this re- rarely played Chopin Krakowiak which satisfactory throughout, but the surfaces cording, see page 53. that disc offers to the Mendelssohn here. on these Russian -made discs are a bit Munch makes the unfortunately famil- noisy. H.G. iar cut in the opening tutti of the Chopin, ENESCO: Rumanian Rhapsodies, Op. and adds little otherwise to the total. CHOPIN: Fantaisie, in F minor, O. Il: No. 1, in A; No. 2, in D 'Ehe sound is rather clinical in sonority, 49. Mazurkas: No. 17, in B flat I Liszt: Hungarian Rhapsodies: No. but otherwise excellent. H.G. minor, O. 24, No. 4; No. 51, in A 5, in E minor ( "Héroïde -Elé- minor, Op. posth. Scherzos: No. 1, gaique"); No. 6, in D ( "Carnaval de Pesth ") CHOPIN: Etudes: Op. 10; Op. 25. in B minor, Op. 20; in E, Op. 54 Ballade, No. 2, in F, Op. 38. Noc- Adam Harasiewicz, piano. Vienna State Opera Orchestra, Vladimir turne, No. 3, in B, Op. 9, No. 3 EPIC LC 3744. LP. $4.98. Golschmann (in the Enesco), Anatol Liszt: ,1lephisto Waltz EPIC BC 1108. SD. $5.98. Fistoulari (in the Liszt), conds. VANGUARD SRV 119. LP. $1.98. Vladimir Ashkenazy, piano. These flowing, well -paced readings are. J VANGUARD SRV 119. SD. $2.98. MK-AR-1 IA 203. Two LP. $11.96. nevertheless, just a shade on the bland a strong technician Shrewdly combining the appeals of the the side. Harasiewicz is Ashkenazy has little to fear from and he plays with an admirable balance relatively familiar and relatively unfa- extreme technical demands posed by of voice lines, lack of sentimentality. and miliar, the latest release in Vanguard's these works. He can play with astonish- In fact, low- priced demonstration series is un- ing facility and lightness, his pianistic considerable forward movement. he goes such a long way in the right di- commonly attractive for its special musi- endurance is seemingly limitless, and he that cal as well as now expected technical seldom produces a percussive or other- rection of architectural clarification I wish he had thrown aside all the im- interest. The whirling first Enesco rhap- wise unattractive tone in these perform- style." sody has been recorded before with more ances. He does, however, tend to be pediments of "traditional -salon Very often, as in the middle section of breath -taking virtuosity, if seldom with tonally monotonous. The pianist is apt more piquant tonal coloring and delicate to disremember that these pieces are the B minor Scherzo, or in the alla march, introduction to the Fantasia. the art- clarity; but to the still inadequately ap- as much studies in touch as they are preciated, hauntingly songful second, studies in stamina, and his super -legato, ist will build boldly to an inevitable harmonic peak and then retreat from it, Golschmann brings unusually fervent while effective and beautiful in those vibrant sonority. And if études requiring this approach. does tend just before reaching the top. Similarly, nostalgia and Harasiewicz has a slight, but noticeable Fistoulari's lusty drive in the sprawlingly to militate against his rendition as a Rhapsody (No. whole. When crisp articulation of pas- tendency to accelerate the tempo at cli- episodic Sixth Hungarian in the original series for sage work is called for, or independence maxes, and this produces an inevitable 9, in E flat, is much the same as that in of part writing at high speeds. Ash - weakening of rhetorical emphasis. piano solo) 1 through 4 kenazy's fingers are apt to "melt" into The E major Scherzo holds together his memorable set of Nos. better than the other three big pieces (V RS 108), he brings unanticipated one another, and the result is an oc- darkly casional loss of clarity and blurring here recorded; and since the Mazurkas poignance to the less often heard, together of unrelated harmonies. This require grace and can better withstand somber Fifth. Happily, too, the striking the softening effects of rubato. they suit contrasts between one conductor's lyric is most apparent in the Black -Key Etude. are the Revolutionary, and Op. 10, No. 4 this artist's basically lyric temperament grace and the other's dramatic power

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CIRCLE: 67 ON READER-SERVICE CARI) MARCH 1 96 1 6 I preserved both by the versatile Viennese In its poignancy it is quite unexcelled. players and by the Vanguard engineers Technically this disc is unlikely to win whose brightly clean wide -range record- any prizes, but the sound remains ade- ing is admirable in monophony, while quate, with the stereo preferable. R.C.M. revealing still more authenticity in the expansive stereo edition. R.D.D. MARTINU: seminars in the most advanced con- Fantaisies Symphoniques; temporary music, and the state university Memorial to Lidice Blue; An GERSHWIN: Rhapsody in press is in the process of publishing a Czech Philharmonic Orchestra, Karel American in Paris full score of Messiah freed of all edi- Anderl, cond. torial impurities. One of the greenest SUPRAPHON LPV 416. LP. $5.98. Johann von Kurtz, piano (in the Rhap- spots, musically speaking, in the Garden Hamburg International Philhar- sody); State is the community of Morristown, The Fantaisies Symphoniques monic Orchestra, Wilhelm von Luden, was constitute where the present chorus founded Martinet's sixth symphony. There are cond. six years ago. Now boasting more than Tops 6001. SD. $3.85. three movements, all of them laying spe- two hundred members. the choir has cial stress on brilliant been well trained by orchestration, David Randolph, strong contrasts, tunefulness, and a gen- These performances are fairly literal for who has shown excellent taste and a though the brasses seem to eral sense of improvisation and rich stir- Gershwin, commendable adventurousness in his ring of the have captured the spirit and tone quality programs. musical pot. It all comes off Von Kurtz does most impressively under Anderl's inspired of American jazz, and There are apparent here very few of conducting; a passable job with the piano solo in the unfortunately, however, the the faults that might have been expected recording cannot match Rhapsody. Highs are fairly bright in in a suburban that of the same chorus that does not have work by Charles Munch and the Boston An American in Paris, but they're pretty a long experience. The unnamed soloists P.A. Symphony. The Memorial to Lidice is a mushy in the Rhapsody. are all plainly of professional caliber, short, solemn. and heartfelt little piece written the chorus turns in a creditable job. during World War II. A.F. Concerto for Guitar and The recording is especially interesting GIULIANI: because the same disc is equally effec- String Orchestra -See Arnold: tive whether played for stereo or mono- MASCAGNI: Cavalleria rusticana Concerto for Guitar and Orchestra, phonic reproduction. Only one thing Op. 67. keeps the set from being considered Giulietta Simionato (ms), Santuzza; among the big -league performances: the Raquel Satre (ms), Lola; Anna di Stasio (c), Mamma Lucia; Mario del Monaco GRIEG: Peer Gynt: Suite No. 1, Op. accompaniment is played on an organ. N.B. (t), Turiddu; Cornell MacNeil (b), Al- 46-See Sibelius: Finlandia, Op. fio. Chorus and Orchestra of L'Acca- 26, No. 7. HANDEL: Water Music: Suite -See demia di Santa Cecilia (Rome), Tullio Bach, J. C.: Symphonies, Op. 18. Serafin, cond. HANDEL: Concertos for Organ and LONDON A 4240. Two LP. $9.96. Orchestra, Op. 4 (complete) LALO: Symphonie espagnole, Op. 21 LONDON OSA 1213. Two SD. $ 1 1.96. -See Walton: Concerto for Violin This version's chief advantage Johannes Ernst Köhler, organ; String and Orchestra. over its Orchestra of the Leipzig Gewandhaus competitors is in the breadth and natural- ness of London's stereo sound. Orchestra, Kurt Thomas, cond. LISZT: Hungarian Other- Epic LC 3734; 3737. Two LP. Rhapsodies: No. wise. I'm afraid it promises more than it $4.98 each. 5, in E minor ( "Héroïde -Elé- achieves. Simionato is a fine artist who EPIC BC 1101; 1103. Two SD. gaique"); No. 6, in D ("Carnaval on the stage brings a dignity and woman- $5.98 each. de Pestb ") -See Enesco: Rumanian liness to the role of Santuzza that ele- Rhapsodies, Op. 11: No. 1, in A; vates the opera above its normal level Another excellent set of performances, No. 2, in D. whenever she is in sight. On this record- worthy of a place alongside the Biggs ing. however, her controlled performance, (Columbia) and Kraft (Vox) sets. Köh- LISZT: Mephisto Waltz -See Chopin: though well sung, seems somewhat lack- ler has a lively sense of rhythm and a Etudes: Op. 10; Op. 25. ing in passion. The same might be said crisp touch in the fast movements. In the of Serafin's conducting, especially in the slow ones he adds elaborations of line MACDOWELL: Concerto for Piano opening twenty minutes or so. He lavishes and texture that are discreet and in good much care and affection on the villagers' and Orchestra, No. 2, in D minor, choruses and the little instrumental inter- taste. Thomas' style is once or twice, as Op. 23 Prokofiev: Concerto in the opening movement of No. 4, a -See ludes. They are not worth it, and the little heavy, and in portions of Nos. 5 for Piano and Orchestra, No. 3, in music does not sustain itself. With the and 6 the orchestra seems too loud; but C, Op. 26. visual attractions of a good production, generally speaking, the orchestra is first - his slow pacing and careful phrasing rate. and balances and the quality of MAHLER: Kindertotenlieder; Four would undoubtedly be welcome, but on sound are good. My vote still goes to Songs records, it tends to bring things to a halt. the Biggs set, but the present one de- This isn't music to linger over. serves serious consideration. N.B. Jennie Touret, mezzo; New York Phil- Del Monaco here makes his way harmonic, Leonard Bernstein, cond. through the role of Turiddu in an es- COLUMBIA ML 5597. LP. $4.98. pecially graceless fashion, and his voice COLUMBIA MS 6197. SD. $5.98. HANDEL: Messiah \- does not sound as fresh as it did on the previous London Cavalleria. Cornell Mac- Soloists; J. Clifford Welsh, organ; Mas- Both of these groups of songs are real- Neil brings his imposing instrument to terwork Chorus (Morristown, N. J.), ized so well that one must go back to Alfio's music, but the results are not David Randolph, cond. the Kathleen Ferrier -Bruno Walter ver- quite what was hoped for; he betrays an DESIGN COMPATIBLE FIDELITY 3051. sions to find any real competition for insistent throb on sustained tones -par- Three discs. $9.95. them. Actually, not even that closes the ticularly in his entrance song-which issue, since Ferrier did not record Das does not augur well. His duet with San - "New Jersey," wrote Louis Moreau Gott- irdische Leben and Tourel's performance tuzza goes well, though, and makes for schalk in his diary a century ago, "is of this one song justifies acquiring the the recording's most vital moments. The the poorest place to give concerts in the present collection. chorus and orchestra are both first -rate, whole world except Central Africa." I The four songs (three of them from the other soloists average. don't know about Central Africa, but Rückert) are among the finest of Mah- The fourth side of the album, devoted I'm sure that if our first internationally ler's many fine songs and belong in any to a recital of Italian songs by Mr. del celebrated virtuoso could visit New Jer- comprehensive vocal collection, irrespec- Monaco, adds nothing to the merits of sey today he would find it somewhat tive of what one may feel about Mahler the release. C.L.O. improved. The implication that it is a the symphonist. The distinctive emo- musical desert is no longer entirely tional force of his music is fully realized brillant. forms, and the perform- MENDELSSOHN: Capriccio justified. Oases have sprung up that in these simpler 22 Concerto for and ances are wonderfully sympathetic. The Op. -See Chopin: support symphony orchestras other No. 1, in E musical ensembles; one of the great Kindertoten cycle is. of course, a mas- Piano and Orchestra, universities there holds three -week -long terpiece and accepted as such universally. minor, Op. I1.

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JBL products are manufactured by James B. Lansing Sound, Inc., marketed by JBL INTERNATIONAL,Los Angeles 39, Calif. CIRCLE 66 ON READER -SERVICE CARI) MARCH 1961 63 MENDELSSOHN: Midsummer standpoint of performance the Epic and Chamber Choir; Radio Symphony Or- Night's Dream: Overture; Scherzo; Vanguard monophonic discs containing chestra (Berlin), Richard Kraus, cond. Nocturne; Wedding March all four quartets are on a par with this DEUTSCHE GRAMMOPHON LPM 19230. tSchubert: Rosamunde, Op. 26: Over- one, but if it is stereo you want in this LP. $5.98. Entr'- music, this is the disc for you. N.B. DEUTSCHE GRAMMOPHON SLPM ture; Entr'acte after Act II; 136230. acte after Act III; Ballet Music SD. $6.98. No. 2 MOZART: Rondos: in D, K. 382; in DGG has managed to get quite a bit of A, K. 386-See Beethoven: Con- Hoffmann onto this disc, and the engi- Orchestre de la Suisse Romande, Ernest certo for Piano and Orchestra, No. neering job has been well done in both Ansermet, cond. 3, in C minor, Op. 37. mono and stereo. The production's LONDON CM 9237. LP. $4.98. pleasant aura tends to compensate for SD. $5.98. LONDON CS 6186. MOZART: Symphonie concertante the uninteresting vocalism, but it must for Violin, Viola, and Orchestra, be noted that Rita Streich's "Doll Song" Almost every time the incidental music is accurate lifeless in E flat, K. 364 Bach: Con- but (no pun here); from A Midsummer Night's Dream and -See that the other women are just decent pro- Rosamunde appears on discs it appears certo for Violin and Orchestra, in vincial -level singers; that William Mc- back -to -back. These two suites make A minor, S. 1041 Alpine is a competent but but colorless tenor; highly compatible groove- fellows, and that Randolphe Symonette is ponder- this arrangement never allows us to hear MOZART: Symphonies: No. 39, in E ous and unidiomatic. If a potted version either Mendelssohn's or Schubert's lovely is desired, of- flat, K. 543; No. 40, in G minor, however, this is the best disc incidental music complete. Ansermet currently available. C.L.O. fers the more important excerpts here. K. 550 He seems to me rather too heavy-handed PERGOLESI: La Serva padrona with the Mendelssohn, especially in the Vienna Symphony Orchestra, Ferenc ethereal Overture and Scherzo; but his Fricsay, cond. Renata Scotto (s), Serpina; Sesto Brus- DEUTSCHE GRAMMOPHON LPM 18625. Schubert is completely in the proper vein. cantini (bs), Uberto. I Virtuosi di Roma, The sound is rounded, though the stereo LP. $5.98. Renato Fasano, cond. effect is not very great. P.A. DEUTSCHE GRAMMOPHON SLPM MERCURY 50240. LP. $4.98. 138125. SD. $6.98. - MERCURY 90240. SD. $5.98. MOZART: Concertos for Piano and The E flat Symphony has been very well Orchestra: No. 22, in E flat, K. served per- Pergolesi's brief, sad life was distin- on records. There are excellent guished the 482; No. 23, in A, K. 488 formances, finely recorded, by Klemperer, by fact that his comic works Böhm, and to which found a wide degree of acceptance from Jochum, Karajan, his Robert Casadesus, piano; Columbia can now be added the present one. contemporaries, while the serious Symphony Orchestra, George Szell, cond. Fricsay conveys the dramatic character operas over which he labored were near- COLUMBIA ML 5594. LP. $4.98. of the introduction and the mellow ly all flat failures. Today his most popu- COLUMBIA MS 6194. SD. $5.98. lyricism of the main body of the first lar work is still the delectable intermezzo movement. His Andante sings from (or intermezzos, really, since La Serva The last word on K. 482 has not yet start to finish. The Trio the Minuet padrona is made up of two interludes) of which all been said on discs, but while waiting for sounds like a sublimated peasant dance, took Europe by storm within a it we could do worse than accept the and the finale has the proper wit few months of its first performances as present recording; no better one is avail- and spirit. On the other hand, Fricsay's intermezzo to his own 11 prigionier able. Casadesus turns in his customary view of the G minor, which is also that superbo. clean, elegant type of performance, and of some other highly respected con- The only important happening in the in the great slow movement he and Szell ductors, is one I cannot share. He takes plot is the capture of Uberto by his achieve profundity and eloquence. In the both of the outer movements at a de- scheming maid, Serpina. Musically, it is finale the soloist fills in nicely some of liberate tempo. which certainly makes a succession of delightful arias and duets the spaces Mozart left open. for precision and clean -cut playing in in which Serpina alternately defies and in K. 488 Casadesus takes the mar- general but drains these movements of cajoles, and Uberto turns from severity velous Adagio rather fast (in the purely the sweep and fervor that they should to bewilderment to capitulation. The pres- orchestral portions Szell slows it down have. G minor, it is well known. was ent performance is as good as we are a bit), and he sometimes ignores Mo- Mozart's favorite key for passionate out- likely to hear. Fasano and his orchestra zart's legato marks. Here the orchestra bursts; but what we have here is gentle, can't be bettered in this sort of music, sounds particularly beautiful, although well- behaved melancholy. and the two roles are in excellent hands. the sound throughout this recording is Aside from a scrambling bassoon in Scotto manages to convey all of Serpina's very fine; only in one passage of the the finale of the E flat, both works are sauciness and a good measure of her first movement of K. 482 is the balance played with technical finish. The balances pathos, real or affected; her two best - imperfect. It seems to me, however, that permit the woodwinds to be heard when known arias, "Stizzoso mio, stizzoso" both Clara Haskil's and Serkirt s readings they should be, but in the E flat Sym- and "A Serpina penserete," go extremely of K. 488 are warmer and more poetic phony. even with the bass controls well. Bruscantini is an experienced hand than this new version. N.B. turned up considerably more than usual. at the buffo game, and while he is a bit the basses seemed lacking in definition uncomfortable at the bottom of the scale, he is more at home on top than most MOZART: Concerto for Violin and and presence. Otherwise the sound in both versions is good. N.B. basses, and he has the character well in Orchestra, No. 3, in G, K. 216 - hand. See Bruch: Concerto for Violin and Mercury's sound is a trifle harsh and Orchestra, No. 1, in G minor, MUSSORGSKY: Pictures at an Ex- close -to in both versions; the stereo edi- Op. 26. hibition (orch. Ravel) tion contains some nice effects of coming NBC Symphony Orchestra, Arturo Tos- and going that are naturally absent from canini, cond. the monophonic record. Endorsed. MOZART: Quartets for Flute and C.L.O. Strings: in D, K. 285; in G, K. RCA VICTOR LME 2410. SD. $4.98. K. 298 PROKOFIEV: Concerto for Piano 285a; in C, K. 285b; in A, a feature review For including this re- No. 3, in C, Op. 26 cording, see page 53. and Orchestra, Samuel Baron, flute; Members of Fine tMacDowell: Concerto for Piano and Arts Quartet. Orchestra, No. 2, in D minor, Op. M 1215. LP. $4.98. CONCERTDISC OFFENBACH: Les Contes d'Hoff- 23 CONCERTDISC CS 215. SD. $4.98. mann (excerpts) Van Cliburn, piano; Chicago Symphony All of Mozart's flute quartets are here Rita Streich (s), Olympia; Hanna Lud- Orchestra, Walter Hendl, cond. offered on one disc, for the first time in wig (s), Giulietta; Hedi Klug (s), An- RCA VICTOR LM 2507. LP. $4.98. stereo. Baron's playing is first- class- tonia; Ursula Gust (ms), Nicklausse; RCA VICTOR LSC 2507. SD. $5.98. accurate in pitch, practically noiseless Rut Siewert (ms), Voice of the Mother; in production, facile in technique, and William McAlpine (t), Hoffmann; Martin As John Briggs points out in his notes pure, if rather cool, in tone. He is ably Hopner (t). Spalanzani and Nathan; for this album, there is something es- seconded by the string performers, and Randolphe Symonette (bs -b), Lindorf, pecially appropriate about a recording the recording is excellent. From the Coppelius, Dapertutto, Miracle. RIAS of this Prokofiev concerto by the Chi-

64 HIGH FIDELITY MAGAZINE cago Symphony, for the composer gave the work its world premiere at a concert ONLY ON MERCURY of that orchestra in 1921. I was present on that occasion. and I will never FIRST -THE 1812 OVERTURE WITH forget it. There was a steely, relentless REAL CANNON AND BELLS -NOW- all- outness to Prokofiev's playing which THE ONLY WELLINGTON'S VICTORY has never been equaled by any subsequent pianist. but Cliburn comes closer UTILIZING THE COMPLETE FORCES to it than most. One suspects that this IN BEETHOVEN'S ORIGINAL SCORE entire interpretation was based on a close study of Prokofiev's own recording; if so, it couldn't have had a better model. The performance of the MacDowell LPS'M00 S,e.eol ISTEREO LPS S0000M0neu.v1 on the other side is also a beauty. The romantic qualities of the music are su- t)..e.... perbly appreciated as well as its splash and dash. Political or nationalistic con- 'qr siderations of an obvious sort may have dictated this coupling, but no one need apologize for the MacDowell. It ought long since to have taken its place along- e Grieg side the overplayed concertos of BEETHOVEN and Tchaikovsky. and it certainly will do so when it is so finely performed and so WELLINGTON'S magnificently recorded as it is here. A.F. VICTORY PROKOFIEV: Concerto for Violin and Orchestra, No. 2, in G minor, Op. 63 ***-1.61) **-ri* iSaint- Saens: Havanaise, Op. 83 LEONORE OVERTURE NO.3, OPUS 72A / PROMETHEUS OVERTURE, OPUS 43 fTchaikovsky: Sérénade mélancol- ANTAL DORATI, LONDON SYMPHONY ORCHESTRA ique, Op. 26 TWO 6 -POUND SMOOTH -BORE BRONZE CANNONS A 12 -POUND HOWITZER, FRENCH CHARLEVILLE- PATTERN MUSKETS A BRITISH BROWN BESS Leonid Kogan, violin; State Orchestra of MUSKETS, COURTESY U.S. MILITARY ACADEMY, WEST POINT, NEW YORK the U.S.S.R.. Kiril Kondrashin. cond. CANNON A MUSKET FIRING UNDER THE DIRECTION OF GERALD C. STOWE BY THE MONITOR MC 2051. LP. $4.98. REACTIVATED CIVIL WAR UNIT, BATTERY B, 2ND NEW JERSEY LIGHT ARTILLERY SPOKEN COMMENTARY BY DEEMS TAYLOR These performances present Kogan in an unusually lyrical vein. One is not likely to encounter any more songful recorded Allk THREE ORCHESTRAS PLUS &POUND BRITISH CANNON interpretations of any of these three `so AUGMENTED BRASS AND MADE IN 1755 predominantly lyrical works. The vio- PERCUSSION 12POUND 18TH CENTURY HOWITZER 1 1 FRENCH CHARLEVILLE- PATTERN - AND 25 linist's approach causes him to broaden 188 CANNON SHOTS MUSKETS MUSKET VOLLEYS SYNCHRONIZED the tempos throughout most of the BRITISH BROWN BESS MUSKETS PRECISELY WITH THE MUSIC Prokofiev concertos, but this treatment mac- 6 POUND FRENCH CANNON 1.1 is eminently suited to the nature of the / MADE IN 1761 music, and there is sufficient bravura in the last movement to put it across effec- Me/114 tively. The two shorter pieces are marked by warmth and stylistic elegance. RECOROs Kondrashin's accompaniments are sympathetic. if not very polished, and the NEW ON MERCURY FOLLOWING MERCURY'S SPARKLING recorded sound is satisfactory. P.A. PAISIELLO BARBER OF SEVILLE (SR -9010, OL2 -110), A GALA NEW RECORDING OF VERDI'S RIGOLETTO WITH BASTIANINI, SCOTTO, PROKOFIEV: Peter and the Wolf, KRAUS. (SR3 -9012, OL3 -112) Op. 67 jTchaikovsky: The Nutcracker, Op. 71: Orchestral Suite Leonard Bernstein. narrator (in the Pro- kofiev); New York Philharmonic. Leon- ard Bernstein, cond. COLUMBIA ML 5593. LP. $4.98. COLUMBIA MS 6193. SD. $5.98.

The twenty -fourth Peter and the Wolf and the forty -fifth Nutcracker Suite now available on American discs, both skillfully, warmly, and richly performed and beautifully recorded. A.F.

RACHMANINOFF: Concerto for Pi- ano and Orchestra, No. 2, in C minor, Op. 18 tRimsky-Korsakov: Easter Overture, Op. 36 ( "Grande Pique Russe ")

Raymond Lewenthal, piano; Vienna State Opera Orchestra, Maurice Abra- vanel, cond. WESTMINSTER WST 14076. SD. $5.98.

This strikes me, I'm afraid, as a MERCURY RECORD CORPORATION 745 FIFTH AVENUE NEW YORK 22. N.Y. thoroughly routine record. The tempos CIRCLE 59 ON READER- SERVICE CARD MARCH 1961 65 are fast (which is all for the good), but bargain -price reissues of recordings proc- Quartets by his deafness, and this, his the rhythm and phrase contours are flat essed from inferior Soviet tapes, the only Trio, by the death of his daughter and tensionless (which isn't). The or- piano tone is blatant, and the orchestral Fredericka, aged five. It is not surprising chestral playing is not the best either; playing in the Schumann is shabby and to find pathos here, but for the most the attacks are flaccid and some of the insensitive, with careless attacks, un- part the music rises above personal feel- first -desk playing is mighty shaky. Nor sympathetic phrasing. and incredibly ings to achieve heights of beauty and is the engineering distinguished: an ex- poor intonation. Richter's playing be- purely musical drama. The work as a cessive amount of hall resonance clouds gins with characteristic sensitivity, but whole is immensely attractive, and one the balance, obscuring much instrumental before very long he starts to hustle wonders why it is not more frequently detail. H.G. along with what appears obvious an- performed. noyance at his inept accompaniment. At The short Elegy by Josef Suk, origi- RESPIGHI: Pini di Roma; Fontane the reduced rates, the Bach will pass nally written for small instrumental en- di Roma muster provided one is not too fussy semble without piano, was intended to about the niceties of baroque ornamenta- accompany a tableau celebrating the NBC Symphony Orchestra, Arturo Tos- tion and is undisturbed by the overlarge mythological castle of Vyiiehrad (also canini, cond. orchestra. On the whole. the disc seems pictured in Smetana's tone poem of that RCA VICTOR LME 2409. SD. $4.98. to me an unfortunate exploitation of the name). Later. the composer arranged pianist, H.G. it for violin, cello, and piano. the form For a feature review including this rein which it has been recorded. In contrast cording, see page 53. SHOSTAKOVICH: Symphony No. to Smetana's heroic conception of Vyiehrad, Suk's is quiet and contempla- 11, Op. 103; Concerto for Piano tive. RIEGGER: Trio for Piano, Violin, and Orchestra, No. 2, in F, Op. 101 The Suk Trio, a Czech ensemble com- and Cello; Quartet for Strings, prising Josef Suk (the composer's grand- No. 2 Leningrad Philharmonic Orchestra, Eu- son), violin, Josef gene Mravinsky, cond. (in the Sym- Chuchro, cello. and Josef Hála, piano. plays both works in John Covelli, piano; William Kroll, vio- phony). Dimitri Shostakovich, piano; glowing fashion, and the U.S.S.R. Radio Symphony Orchestra. Al- well -balanced lin; Alexander Kouguell, cello (in the reproduction is faithful- considerably Trio); Kroll Quartet (in the Quartet). exander Gauk, cond. (in the Concerto). better than that of most MK -ARMA 201B. Two LP. $5.98 each. recent Supra - COLUMBIA ML 5589. LP. $4.98. phon releases I have heard. P.A. COLUMBIA MS 6189. SD. $5.98. Shostakovich's Eleventh Symphony is a SUK: Elegy. Issued to commemorate Wallingford huge descriptive affair, filling three LP Op. 23 -See Smetana: Riegger's seventy -fifth birthday, this rec- sides and describing the events of the Trio for Piano, Violin, and Cello, ord presents works selected from highly Revolution of 1905 in some detail. In in G minor, Op. 15. contrasting periods in his career. The reviewing earlier recordings of it by Trio was written in 1920 and reminds Leopold Stokowski and André Cluytens, TCHAIKOVSKY: The Nutcracker, I suggested that its "program" be taken one much of Fauré; its idiom is classi- Op. 71: Orchestral Suite -See Pro - cally inspired, sweetly melodious, often less than seriously and that underneath all kofiev: Peter and the Wolf, Op. 67. exquisitely tender and gentle in expres- its surface rhetoric and descriptive effects sion, but without sentimentality. The lay a work of genius. That opinion is TCHAIKOVSKY: very Pique Dame (high- quartet dates from 1948 and takes us difficult to sustain in face of the lights); Eugen Onegin (highlights) close to Bartók. It is consistently atonal, present performance, which is practically forceful, pungent, and aggressive. but with all rhetoric and nothing else. Valeria Heybalova (s), Liza; Melanie profound reserves of feeling behind it. In reviewing previous records of the Bugarinovich (ms). The Countess: Alex- In both cases the facture of the music - Second Piano Concerto, I have suggested ander Marinkovich (t). Hermann (in its forms, its build, its relationship to the that the old razzmatazz is beginning to Pique Dame). Valerie Heybalova (s), instruments -is altogether masterly; both sound a bit tired, and that view is com- Tatiana; Drago Startz (t), Lenski; Dush- works indicate clearly why Wallingford pletely borne out by the composer's own an Popovich (b). Onegin (in Eugen Riegger is one of the major Americans. interpretation. A.F. Onegin ). Chorus and Orchestra of the He could not ask for more sympathetic Belgrade Opera, Kreshimir Baronovich, interpretation than he receives here, and SIBELIUS: Finlandia, Op. 26, No. 7; cond. the recording is in harmony with the Kuolema, LONDON 5567. LP. $4.98. performance. A.F. Op. 44: Valse triste tGrieg: Peer Gynt: Suite No. 1, Op. LONDON OS 25205. SD. $5.98. 46 RIMSKY-KORSAKOV: Easter Over- Midsommarvaka (Swedish A highly pleasurable selection from Lon- tAlfven: don's complete versions these ture, Op. 36 ( "Grand Pâque Russe ") Rhapsody, No. 1, Op. 19) of two in- -See Rachmaninoff: Concerto for teresting operas. The sound is not quite Mormon Tabernacle Choir (in Finlan- the company's best, and the Belgrade Piano and Orchestra, No. 2, in C Opera minor, Op. 18. dia); Philadelphia Orchestra, Eugene orchestra is not a choice ensemble Ormandy, cond. (the Onegin Polonaise, perfunctory and COLUMBIA ML 5596. LP. $4.98. ragged, is the one disappointing band on SA INT- SAENS: Havanaise, Op. 83- COLUMBIA MS 6196. SD. $5.98. the record). But the singing is all very See Prokofiev: Concerto for Violin good. Heybalova is especially fine as and Orchestra, No. 2, in G minor, These four popular works from Scandi- Tatiana. with a bright, steady tone and Op. 63. navia, here issued in an album called intelligent phrasing; despite a few gusty "Finlandia," are all given rather heavy - moments, her passionate rendition of handed treatment. Ormandy has been Liza's scena on the overside is also splen- SCHUBERT: Rosamunde, Op. 26; O- far more expressive in earlier recordings did. Popovich is in fine, mellow voice for Onegin's verture; Entr'acte after Act II; of the Peer Gynt Suite No. I and Mid - aria, and Startz puts his lovely Entr'acte after Act III; Ballet Music sontnmrraka, while this Finlandia be- lyric tenor to good use in Lenski's. Bu- No. 2-See Mendelssohn: Midsum- comes distorted in a strange version that garinovich is perhaps not quite decrepit - mer Night's Dream: Overture. has the Mormon Tabernacle Choir sing- sounding enough for the Countess, but ing the hymnlike portions of the tone sings well; and although Marinkovich's poem. The reproduction. however. is firm tenor is not really beautiful. he SCHUMANN: Concerto for Piano impressive. especially in the well -sepa- characterizes Hermann nicely. Though a and Orchestra, in A minor, Op. 54 rated stereo edition. P.A. few of these passages are rather awk- tBach: Concerto for Clavier and Or- wardly excerpted, London has at least chestra, No. 1, in D minor, S. 1052 avoided the end -of -band fade -out. Com- SMETANA: Trio for Piano, Violin, mended to those who, unlike myself. Sviatoslav Richter, piano; State Radio and Cello, in G minor, Op. 15 don't care to own complete editions of Orchestra of the U.S.S.R., Alexander tSuk: Elegy, Op. 23 these affecting operas. C.L.O. Gauk, cond. (in the Schumann), Kurt Sanderling, cond. (in the Bach). Suk Trio. SUPRAPIION LVP 302. LP. $5.98. TCHAIKOVSKY: Sérénade mélancol- MONITOR MC 2050. LP. $1.98. ique, Op. 26-See Prokofiev: Con- Richter has made better versions of both Smetana's chamber music was inspired certo for Violin and Orchestra, No. works for other companies. In these by tragic events in his own life -the two 2, in G minor, Op. 63.

66 HIGH FIDELITY MAGAZINE TCHAIKOVSKY: The Sleeping Beau- Whoever is Who is on ty, op. 66 Orchestre de la Société des Concerts du Conservatoire de Paris, Anatole Fis - toulari, cond. RICHMOND BA 42001. Two LP. $3.96.

TCHAIKOVSKY: Swan Lake, O. 20 London Symphony Orchestra, Anatole FISCHER -DIESKAU Fistoulari, cond. Hear "one of the supreme vocal artists of the century" (High Fidelity) RICHMOND BA 42003. Two LP. $3.96. in the STEREO PREMIERE of Now reissued on the inexpensive Rich- mond label, these albums were the first "complete" recordings of Tchaikovsky's Wagner two popular ballets. Actually neither is The Flying complete in the strict sense of the word, though each contains the major portions Dutchman of the evening -long ballets as they are Dietrich Fischcr- Dicskau versions performed today. More extensive Gottlob Frick scores, and more bal- of the composer's Marianne Schech letic recorded performances, have appeared since London Records originally Chorus and Orchestra released these discs; but if you don't mind of Camara Sure Fistoulari's tempos-which seem to me Opera Berlin excessively fast in some of the movements, conducted by great ballet bargains, especially in that Fran/ Konaitschny their recorded sound is still of very high quality. P.A. When Angel's recording appeared a few months ago in Great Britain, they laid: from the Of Fischer- Dieskau "Tremendous performance by Fischer -Dieskau as the TRIMBLE: Four Fragments Dutchman...Sheer magnificence of singing, which...I cannot imagine being Caunterbury Tales equalled." (Records and Recording) tChanler: Nine Epitaphs Of the Cast "Cast is really very strong indeed. Frick is magnificent..." Adele Addison, soprano; Robert Conant, (Music and Musicians) harpsichord; Charles Russo, clarinet; "Miss Schech catches fire and integrity from her predestined man..." Martin Orenstein (in the Trimble); Phyl- (Gramophone) lis Curtin, soprano; F. Ryan Edwards, Of Conductor and Orchestra "Orchestra plays superbly...thrilling reading piano (in the Chanler). by Konwitschny...rich sonority of Berlin brass gives varied range of tone COLUMBIA ML 5598. LP. $4.98. colour." (Records and Recording) COLUMBIA MS 6198. SD. $5.98. Of the Recording A "striking example of stereo opera." (Records and Recording) "Wonderful suggestion of space and distance." (Gramophone) Seldom in a long life of record reviewing 3 records, with German-English libretto and have I been so utterly beguiled, capti- fascinating notes on the opera. Angel (S) 3616 C/L vated, seduced, entertained, and generally piece on discs as by delighted by a new OTTO Lester Trimble's Four Fragments from KLEM PER ER the Caunterbury Tales. The cycle begins KLEMPERER with the nature painting in the first lines of the prologue and goes on from there Hear "the supreme Beethoven conductor of the day" Beethoven to the portraits of the "verray parfit (Gramophone) recreate in Angel Stereo one of the most his squier"; the monumental performances of the "Eroica" ever recorded! Symphony gentil knyght" and "yong n'3 wife of Bath's Now seven of the nine Beethoven symphonies by Klemperer fourth fragment is the Eroica. meditation on "bigamye and octogamye" and the Philharmonia are available on Angel Stereo -more in the opening portion of her own pro- to come soon! Angel (S) 35853 logue. The musical setting is neither PNIIJI.,PM"N i.. OA. II,.+TA., archly archaistic nor self -consciously modern, although the harpsichord provides an archaistic tinge; one feels, GI1BER1 d SULLIVAN ` SIR MALCOLM SARGENT rather, that the composer has followed The Pirates of Planante Can you remember all the words to that famous song, "1 no program but that of good sense and am the very model of a modern Major -General "? Let good taste, has responded to Chaucer's Veteran Savoyard George Baker (as the M.G. himself) magnificent poetry with a rich, subtle, ttsitlbr rr i1ri rtr perk up your memory and your spirits in Angel's latest and sensitive flow of music, and, in gen- addition to its Treasury of Gilbert and Sullivan in Stereo. eral, produced one of the real master- The tender- hearted Pirates of Penzance and cops and girls pieces of modern American song. Part f'xk' SIR MALCOLM SARGENT are conducted by Sir Malcolm Sargent, with nine of Eng- of this impression is due to the perform- land's "top- ranking voices" (Hi -Fi Stereo Review) starring ers. Miss Addison sounds, like Chaucer's in the cast. 2 records, with libretto. Angel (S) 3609 B/L squire, "as fresh as is the month of May," the very lively instrumentalists and so do VON KARAJAN with her. The interpretation is as beautiful as the work which the poet and the "The foremost symphonic and operatic conductor on the Continent of Europe composer have provided, and the record- and, just possibly, in the world" (New Yorker) stirs up a stereo storm to beat ing leaves nothing to be desired in either all in the William Tell Overture! Plus Rossini's sparkling Famous Five: Overtures the stereo or mono version. from Italian Girl in Algiers, Semiramide, Barber of Seville, Silken Ladder, Before commenting on the Chanler Thieving Magpie. With the Philharmonia. Angel (S) 35890 songs one must, unfortunately, observe that Columbia has here reverted to the BEECHAM inexcusable policy of issuing song cycles Love in Bath (an English spa, not a tub) is the pure spirit of Handel, with the without printing their texts in the notes. inimitable stamp of Beecham. "The world's wittiest musical peer" (High Fidelity) Trimble does not suffer from this be- has arranged 20 arias, dances, and choruses from Handel into a delightful ballet. cause Chaucer's text can be found any- Beecham wrote the scenario, Gainsborough painted the lovely Elizabeth Lindley where; but the text of Chanler's Nine portrait which graces the cover. The Royal Philharmonic plays to match. 35504 Epitaphs is taken from an obscure book *CAPITOL RECORDS, I »c. Angel (S) CIRCLE 6 ON READER -SERVICE CARD MARCH 1961 67 by Walter de la Mare. Miss Curtin sings VERDI: Rigoletto in passages properly reserved for a warm very well, with beautiful tone and fine tenderness or resigned sadness. Renata Scotto (s), Gilda; Fiorenza - phrasing, but her enunciation is not clear Cos Let no one accuse any enough to project the poems as they sotto (ms), Maddalena; Alfredo Kraus of the partici- pants of niggardliness. This is the should be projected. This is doubly re- (t), The Duke; Ettore Bastianini (b), most Rigoletto; Ivo Vinco complete Rigoletto on records (as befits grettable because Theodore Chanler has (bs), Sparafucile; a performance long been known as one of the finest et al. Chorus and Orchestra of the Mag- bearing the Ricordi im- gio Musicale Fiorentino, primatur), including some bars usually song writers in the United States, and Gianandrea cut in the Four Fragments is Gavazzeni, cond. Gilda /Duke "Addio "; the the the first important cabaletta to MERCURY OL 3112. Three "Parmi veder" ( "Possente recorded example of his work. LP. $14.94. amor," with The nine epitaphs constitute, one MERCURY SR 39012. Three SD. chorus, but without the re- $17.94. peat called for by the score); and some gathers, a kind of satirical English Spoon music River Anthology. They have been set in the final scene that is sometimes very simply, deftly, and atmospherically. Yet another cut. Most of the directions in the score entry in the Rigoletto don- are followed once They would, one is sure, be marvelous nybrook (the second in stereo), and one -for the baritone ad- if one heres to the specification that he not cry could understand them. That one of the wildest operatic recordings ever out after the cannot understand them is the fault of made by a major company. It has mo- abduction of Gilda- though many of the musical traditions of per- somebody in the Columbia organization ments of thundering melodramatic excite- formance who richly deserves to be spanked. A.F. ment; unfortunately, some of them occur are preserved, particularly with regard to interpolated high notes and holds where none are marked. Indeed, the only omissions of significance occur in the accompanying booklet, which for some reason does not list the singers who take the roles of Monterone, Ceprano, Marullo, Borsa, Countess Ceprano, Gio- vanna. the Page. or the Usher. I suppose this doesn't matter much, except that the Monterone is quite exceptional, delivering his curse with a plentiful voice and impressive fury. Gavazzeni's rhythms are not slack, but they are in general a bit slower than is customary. There are two notable exceptions: the "Questa o quella,". which plumps along so rapidly as to be nearly graceless, and the Vendetta duet. The usual practice with this last number is to start rather slowly, quickening the beat steadily to the climax. Gavazzeni leads into the opening bars at a headlong clip, FAIRCHI leaving the singers to build their own cli- SUPERIOR IN DESIGN, IN EXECUTION, IN PERFORMANCE max. This would work if the singers were highly skilled at variation of color and volume, but they are not, and the piece is to some extent spent before it is half over. COMPONENTS Bastianini and Scotto both have their FAIRCHILD RECORDING EQUIPMENT CORP., 10 -40 45TH AVE., LONG ISLAND CITY, N. Y. problems with this music. The baritone is splendid when dramatic punch is called for -the first scene. the first section of Cortigiani, and most of the last act are fine. He seems unable. however, to scale ARE SUPERI his vibrant voice down below a mezzo - MODEL 412-1. Single Speed Turn- forte, or to bring much variety of color table ($87.50). Model 500 Arm to it. Consequently, the dialogue with Transport and SM -2 Cartridge Sparafucile is totally lacking in atmos- ($55.00). Mounted on Model phere: the long second -scene duet with 412 -BF Walnut and Formica Base Gilda is lost in shouting; the cantabile of ($23.95). Cortigiani ( "Miei signori, pietà ") is MODEL 440. Two Speed Turntable* rough; and many individual lines, such as ($69.95). Model 500 Arm- Trans - "MO in altr'uomo qui mi cangio" (in the port and SM -2 Cartridge ($55.00). "Pari siamo") are treated as so many ' .J Mounted on Model 440CBW Wal- lumpen notes to be hacked over. Scotto, nut Base ($19.95). too. is much too muscular, and frequent- 'Available in Kit Form -$55. ly sounds edgy and short of breath, though it is good to hear a Gilda who can stand up during the Vendetta duet and the last -act ensembles. MORE EXCITING NEWS!!!!! The best of the principals, in fact, is a new tenor, Alfredo Kraus. Reports Fairchild announces with pride the availability of the SM -2 Linear Separation of his European engagements had certainly not Stereo Cartridge. This is important news for those who appreciate fine audio equip- prepared me for the sort of singing heard here: it may be that his voice carries less ment for the introduction of a new Fairchild cartridge is not merely "just another" well than it would seem. For Mercury, however, he is a magnificent Duke, the new item, but a product development that reflects advanced concepts and design. most elegant on records since Dino Borgioli on the wonderful old Columbia is a forward to achieve the complete realization of The SM -2 significant step set. His voice is a true lyric tenor, with the stereo records capabilities. We sincerely urge you to carefully audition this fine, no hint of the robusto on one hand, or the tesorino on the other. It is steady new development ... the SM -2 by Fairchild $37.50 and resonant throughout its range, and of a lovely quality. Kraus seems quite a sen- MAJOR FEATURES INCLUDE -high compliance (5 x 10 -4 cm /dyne) without stylus assembly fatigue for per- sitive and lively artist, and fills his work fect tracking; Linear Separation of 20 db from 20 to 15,000 cps for recreation of the original studio with a measure of grace otherwise miss- concept; smooth frequency response (±2 db from 20 to 15,000 cps) for truthful reproduction of the full ing in this production. He soars to a audio spectrum. ringing D flat at the end of his duet with CIRCLE 36 ON READER -SERVICE CARD Gilda, and to a beautiful, forward D

68 HIGH FIDELITY MAGAZINE natural to round off the "Possente ancor." His "Parmi veder" is meltingly done, "She has created a Golden Age of her own" and he leads the Quartet in memorable fashion. Altogether, a most exciting dis debut (or rather, recorded opera debut, for Kraus, who is himself Spanish, has recorded Spanish music for Montilla) - this may be the tenor we have needed to do justice to Bellini and Donizetti. Fiorenza Cossotto is an excellent Mad - dalena, No Vinco a solid, but not extraordinary, Sparafucile. The chorus sings well, and the orchestra does its job; I have a hunch that some of Gavazzeni's tempos are due to consideration for his rather stiff-voiced baritone and soprano, though even Kraus's "La donna è mobile" is a bit more deliberate than usual. (I have not checked the metronome markings.) Mercury's sound is, to my ears, quite fine, the orchestra being particularly well captured. It is certainly superior to its only stereo competition (Co- lumbia), even if it once or twice seems to place the singer in one speaker, the orchestra in the other. The mono edition is perfectly adequate, but the stereo has considerably more impact. All in all, an interesting, frequently imposing release, though far from the most polished of performances. Now come on, Mercury - who sings Monterone? C.L.O.

VIVALDI: Concertos for Violin and Strings, Op. 8, Nos. 1 -4 ('The Four Seasons ") Anshel Brusilow, violin; Philadelphia JOAN SUTHERLAND Orchestra, Eugene Ormandy, cond. COLUMBIA ML 5595. LP. $4.98. COLUMBIA MS 6195. SD. $5.98. records exclusively for

Soloists; New York Sinfonietta, Max Goberman, cond. ffrr JdyDOY ffss LIBRARY OF RECORDED MASTER- mono RECORDS stereo PIECES, Vol. 1, No. 8. SD. $8.50 on subscription; $10 nonsubscription. PRIMA DONNA Wolfgang Schneiderhan, violin; Festival THE ART OF THE Strings Lucerne, Rudolf Baumgartner, ARNE Artaxerxes, The Soldier Tir'd; HANDEL Samson, Let The Bright cond. Seraphim; BELLINI Norma, Recit. and Aria. Casta Diva (and Cabaletta): ROSSIINI Semi- ARCHIVE ARC 3141. LP. $5.98. BELLINI I Puritani, Son Vergin Vezzosa and Qui La Voce; ARCHIVE ARC 73141. SD. $6.98. ramide, Bel Raggio; BELLINI La Sonnambu a, Recit. and Aria, Corre Per Me Sereno (and Cabaletta); GOUNOD Faust, The Jewel Song; GOUNOD The Willow Song; For a feature review of these recordings, Roméo et Juliette, The Waltz Song; VERDI Otello, VERDI La see page 54. MOZAR- Die Entführung aus dem Serail, Marten Aller Arten; Traviata, Ah! Fors'è Lui and Sempre Libera; THOMAS Hamlet, The Mad Scene; DELIBES Lakmé, The Bell Song; MEYERBEER Les Huguenots, 0 WALTON: Concerto for Violin and Beau Pays; VERDI Rigoletto, Recit. and Aria, Caro Nome. Orchestra Stereo 03A -1214 (2 records) Mono A -4241 espagnole, Op. 21 Lalo: Symphonie OPERATIC RECITAL Zino Francescatti, violin; Philadelphia DONIZETTI Lucia di Lammermoor, Regnava nel silenzio and Mad Scene; Orchestra, Eugene Ormandy, cond. (in VERDI Ernani, Ernani! involami; VERDI I Vespri Siciliani, Bolero: Merce, the Walton); New York Philharmonic, diletti amichi; DONIZETTI Linda di Chamonix, O lu:e di quest'anima. Dimitri Mitropoulos, cond. (in the Lalo). Stereo 03 -25111 Mono 5515 COLUMBIA ML 5601. LP. $4.98. HANDEL ACIS AND GALATEA COLUMBIA MS 6201. SD. $5.98. with Peter Pears, Owen Brannigan, David Galliver, The St. Anthony Singers Adrian 3ou t. It is difficult to understand why the and Philomusica of London -Sir (2 records) Mono OL- 50179.80 Walton is not the most popular of mod- Stereo SOL -60011/2 ern violin concertos. It has everything - BEETHOVEN SYMPHONY NO. 9 romantic long lines, softly caressing or- with Anon Dermota, Arnold van Mill, Norma Procter L'Orchestre de la chestral color, tunes, a big symphonic Suisse Romande- Ernest Ansermet. structure. and plenty of display for the Stereo C3 -6143 Mono CM -9033 soloist. Yet one never hears a live performance of it and this is its only extant MUSIC OF HANDEL recording. at least in the United States. Alcina: Torna a vagheggiar and Ombre pallide (album also includes ex- Perhaps Francescatti's splendid perform- cerpts f-om Esther, Jephtha and RodrigD). ance and the excellent recording which Stereo SDL -60001 Columbia's engineers have given it here Miss Sutherland also appears as a Guest Atist in London's Fledermaus will help to establish the concerto as Gala recording, singing II Bacio. it deserves to be established. Stereo OSA -1319 (3 records) Molo A -4347 A monophonic version of the Lalo on the other side, long a specialty of the house of Francescatti, has been in the record catalogues for some years. Now we can have it in stereo too. A.F. CIRCLE 56 ON READER -SERVICE CARD MARCH 1961 69 Air de la fleur. Auber: La Muette de Muette de Portici number. Every ex- Portici: L'amour sacré. cerpt here is distinguished by Ansseau's RECITALS AND amplitude of voice and soundness of mu- Fernand Ansseau, tenor; Tilkin Servais, sical and stylistic instinct, and no one MISCELLANY baritone (in the Auber); Orchestra. interested in good singing will want to be Ni LP. $5.95. without his exquisitely turned "Le Rêve," Rococo R 26. the three Werther excerpts, or the L'Afri- caine and Carmen arias. In the lively FERNAND ANSSEAU: Recital Fernand Ansseau was what could honest- Auber duet he is rousingly abetted by the ly be described as an exemplary singer. baritone Servais. The quality of the re- Méhul: Joseph: Champs paternels. Ber- The tone was steady and brilliant, evenly cording is surprisingly good, with a lioz: La Damnation de Faust: Nature modulated from a melting half -voice to minimum of surface noise, and the voice immense. Meyerbeer: L'Africaine: O par- a heroic forte. The diction was simply well forward. C.L.O. adis. Massenet: Manou: Le Rêve. Werth - perfect, the attack true, the temperament er: O Nature, pleine de grace; J'aurais strong but never exaggerated or out of sur ma poitrine; Pourquoi me re veiller. good taste. In a career that spanned DIMITRI BASHKIROV: Piano Re- Hérodiade: Adieu donc vains objets. twenty-seven years, he sang roles ranging citai Fevrier: Monna Vanna: Air de Prinzi- from the French lyric repertoire to the valle. Gluck: Orphée et Eurydice: J'ai Liszt: Valse oubliée, No. 2, in A flat. early Wagner operas. Op. 22: perdu mon Eurydice. Alceste: O moments The recordings here are all taken from Prokofiev: Visions fugitives, délicieux. Gounod: Roméo et Juliette: Nos. 3, 10, 16, I1. Schumann: Inter- the period of Ansseau's greatest vocal No. Salut! Tombeau. Saint -Saëns: Samson et prowess; they are acoustical, except for mezzos, Op. 4; Romance, Op. 28, Dalila: Vois ma misère. Bizet: Carmen: the early electrical recording of the 2. Scriabin: Waltz in A flat, Op. 38. Dimitri Bashkirov, piano. MK -ARTIA 1531. LP. $5.98. A pupil of the noted Soviet piano pedagogue Alexander Goldenweiser, Caucasian -born Dimitri Bashkirov was the twenty- five -year -old winner of the 7 Marguerite Long Prize in Paris in 1956. % i Since that time he has concertized / / / / widely, although it was not until this i 1 winter that he appeared in the United States. To judge from the present disc, Mr. Bashkirov is definitely a "pianistic" SEPARATE HEADS pianist. His treatment of the instrument stresses personal charm and exquisite sound. But while this artist places help make the 3 SPEED -4 TRACK emphasis on whether a given effect will sound aesthetically convincing when played on the piano, he appears to be an admirable musician who varies his RTanti bero SERIES 6 personal style according to the material. Thus, Liszt's Valse oubliée No. 2 has piquant charm and silvery shimmer, the 1 STEREO TAPE DECK group of Prokofiev Visions fugitives is given with a sharp "Policeman's Whistle" exactitude of rhythm, and the Scriabin a superior instrument has an appropriate langueur in contrast to the more mellifluous, singing quality on evidence in the Schumann Romance. S The record also contains the only available version of Schumann's outstanding Intermezzos, Op. 4 (once in the catalogue in a performance by Grant Johannesen). Here Mr. Bashkirov is not quite as successful as he is in the other selections. For one thing, the double - dotted notes in the first piece are not quite as precise as they could be, the pianist overlooks some of the attacca markings linking the pieces, and he occasionally exaggerates the tempo, Here's why ... especially at points where Schumann $498 has indicated sharp, and sudden, con- Recording head gap at .00052" w. for trasts between loud and soft. Also. some deeper, wider, cleaner signal impres. of the pianissimos have a dry, "choked - sions on tape. All Tandberg units feature 1'/8" fps off" quality, as if the pianist were pro- Playback head gap at .00012" W. ducing them with the soft pedal instead assures optimum performance and higher "The Professional's Speed of the Future" of with his fingers. (But this effect frequency response. might also be due to distant microphone Erase and record heads completely self- placement; an example occurs in the demagnetizing. TANDBERG 6 STEREO TAPE DECK also offers alternativo section of the last inter- Heads laminated with special finest these outstanding performance features: mezzo.) In spite of these flaws, however, grade Mu metal to eliminate stray field this performance does do justice to one distortions. Sound-on-sound; 4 track and 2 track stereo of Schumann's very finest, and inex- Record and playback heads each have 8 monaural playback; 4 track stereo $ plicably neglected, compositions, and it is total of 2,500 windings -with each monaural record; Built-in remote control; good to have a recording of the work winding 1/2 the thickness of a human Digital available once more. hair. counter; Silent pause control; Di- The sound is a in spots. rect monitor from bit congested Head cleaning remarkably simple and signal source or active but otherwise is satisfactory. H.G. easy. recording; Push button operation. INGE BORKH: Operatic Arias

pl'nit of America, Inc. DvoPák: Rusalka: Song to the Moon. dbei g 8 Third Avenue, Pelham, N. Y. Gluck: Alceste: Divinités du Styx. Mas- CIRCLE 85 ON RE:%I)ER- SERVICE CARD 7() HIGH FIDELITY MAGAZINE cagni: Cavalleria rusticana: Voi lo sa- Beethoven, Schubert, and Sibelius marches Strauss: Zigeunerbaron: Saffis Zigeuner- pete. Verdi: Macbeth: Vieni, t'affreta; in particular, while it gives the super - lied. La luce langue. La Forza del destino: Elgarian Orb and Sceptre overwhelming Madre pietosa Vergine. Un Ballo in weight and power. Definitely not a Elisabeth Rethberg, soprano; Orchestra. maschera: Ma dall 'arido stelo. Debussy: safe choice for apartment dwellers, this Asco A 115. LP. $3.98. L'enfant prodigue: Air de Lia. Giordano: will tempt less inhibited audiophiles to Andrea Chénier: La mamma morta. crash new sound barriers. R.D.D. This disc makes an excellent companion Cilea: Adriana Lecouvreur: Io son to Camden's "Art of Elisabeth Reth- l'umile ancella. ELISABETH RETHBERG: Recital berg"; between the two, we get a fine cross section of the famous soprano's art. Inge Borkh, soprano; Orchestras, Anatole Puccini: Madama Butterfly: Un bel di. Everything here is done with the bright, Fistoulari and Rudolf Moralt, conds. Tosca: Vissi d'arte. Handel: Sosarme: even tone that characterized her singing LONDON 5555. LP. $4.98. Rendi il sereno. Verdi: Aida: O patria at its best. While a bit more dark shading LONDON OS 25195. SD. $5.98. mia; Ritorna vincitor. Weber: Der might be desired in some of the Italian Freischütz: Leise, leise. Mozart: Nozze arias (I find her later Victor electricals For some reason, the "Song to the Moon" di Figaro: Heil'ge Quelle; Deh vieni, non more satisfying in this respect), there from Rusa/ka is given prominent billing tardar. Die Zauberflöte: Ach, ic /i fähl's. could hardly be any improvement in her on the jacket- perhaps because its rela- Wagner: Tannlciiuser: Dich teure Halle. singing of the three Mozart arias or the tive unfamiliarity is thought to be a sell- Lohengrin: Elsas Trarmi. Giordano: An- two by Wagner on this record, or in her ing point. It is a lovely, evocative piece, drea Chénier: La mamma morta. J. version of Saffi's song from Zigeuner- and Borkh sings it affectingly, though she does not erase memory of Joan Ham- - mond's splendid English- language edition. The rest of the recital is uneven. The quality of Borkh's voice is, as usual, ap- incredible bargains pealing -round and cool -and her high tones are really stunning. Moreover, she is an intelligent artist who pays close attention to stylistic matters. Still, she has not mastered the ability to project declamatory recitative without seeming Stereo1.98...-$2.98 to wrench her voice from its moorings, and is unable to sustain high tessitura at less than nearly full volume. These shortcomings are, of course, quite grave in the Verdi numbers, and conspire to keep her versions of these arias out of parliament the top bracket. The Macbeth selections also suffer from a failure to treat runs and ornaments completely naturally (a failure shared by most of her contemporary colleagues), though the ringing top makes an exciting effect. She is at her =71-1=1=0=O best in the verismo numbers where she can set her instrument on a connected persuasive line and give her tone free rein. The ac- polkas companiments are all right (though the Forza aria offers us the scrawniest- sound- ing bunch of monks in many a Pater nosier), and the sound is excellent in a hectic way. C.L.O. I FREDERICK FENNELL: "Marches for Orchestra" 000.4000 Walton: Coronation March, 1953: Orb 10.0000 and Sceptre. Beethoven: Die Ruinen von Athen, Op. 113: No. 4, Marcia cilla (terca. Sibelius: Karelia, Op. 11; Alla top marcia. Wagner: Tannhäuser: Fest- persuasive polkas brass Marsch. Schubert: Marche militaire, in PLP 143 ** PLP 144 D, Op. 51, No. l (orch. Guiraud). Grieg: Sigurd Jorsalfar, Op. 56; Homage Marck. Borodin: Prince Igor: Orchestral GREAT PERFORMANCES ON PARLIAMENT RECORDS Suite: No. 18, Polovtsi March. SVIATOSLAV RICHTER TCHAIKOVSKY: Piano Concerto No. 1 PLP120 Eastman -Rochester "Pops" Orchestra, RACHMANINOV: Piano Concerto No. 2 PLP134 Frederick Fennell, cond. EMIL GILELS BEETHOVEN: Piano Concertos Nos. 1, 2 PLP138 DAVID OISTRAKH FAVORITE ENCORES PLP118 MERCURY MG 50271. LP. $4.98. MSTISLAV ROSTROPOVICN DVORAK: Cello Concerto PLP139 MERCURY SR 90271. SD. $5.98. SOVIET ARMY CHORUS RUSSIAN FOLK SONGS PLP128 Fennell's pops -orchestral releases have THE CZECH PHILHARMONIC ORCHESTRA been fewer and generally less consequen- DVORAK Symphony No. 5, "From the New World" PLP101 tial than those in his deservedly ac- DVORAK Slavonic Dances PLP121 claimed Eastman Wind Ensemble series, SMETANA My Country PLP111 but the present march program is so TCHAIKOVSKY Symphony No. 6, "Pathétique" PLP113 formidably recorded -in blazing mo- SHOSTAKOVICH Symphony No. 7, "Leningrad" PLP127 nophony as well as more broadspread. BEETHOVEN Symphony No. 3, "Eroica" PLP129* if almost too realistic stereo -that it BERLIOZ Symphonie Fantastique PLP131 is sure to achieve popularity as a sonic RIMSKY -KO RSAKOV Scheherazade PLP103 spectacular. Indeed it may be overspec- 'Deluxe 2 LP Set -$3.96 "Also Available in Stereo -$2.98 tacular for some tastes (I should prefer more warmth and less razor -edged for further Information and complete catalog write to: sharpness), yet the sensational engineer- inc. ing further galvanizes the nervous verve parliament records of Fennell's readings of the familiar 38 West 48th Street, New York 19, New York tilt( I- 111 ON RI..I)I.R -SI -RN lUI. C %RD MARCH 1961 71 baron. Her impeccable musicianship and Aksel Schi¢tz, baritone; Paul Ulanowsky, itself, however, was never an exceptional instinct for appropriate style are very piano; Richard Dyer- Bennett, guitar. one -pleasant and flexible, surely, but much in evidence in all these selections. DYER -BENNET DYBX 2. LP. $4.98. not superior to that of many other lyric The sound, considering the acoustic ori- DYER -BENNET DYBXS 2. SD. tenors. What Schi¢tz always had -and gin, is satisfactory. C.L.O. $5.95. still has-is the musical insight to demonstrate for us just how a song should This is the first commercial recording go. The gift is indefinable, but is appar- AKSEL SCHIOTZ: Recital made by Aksel Schiptz since he launched ently the product of a combination of in- his comeback as a baritone after the stinct and training. It is also very rare. Schubert: Liebesbotschaft: Ganymed; operation that ended his career as a With Schi¢tz, the gift is almost entire- Der Wanderer an den Mond; An die tenor. Fortunately, we need not fall back ly musical. He enunciates clearly, but Laute. Bellman: Fredeman's Epistles: on our admiration for his courage and makes practically no effort to inflect or No. 25, Blasen nu alla!; No. 30, Drick determination as justification for this re- shade in the manner of, say, Lehmann. ur ditt glas; No. 31, Opp, Amaryllis! lease, for the essentials of Schiptz's art He knows just where to take a ritard, Wolf: Heb auf dein blondes Haupt: Der are intact. To be sure, his voice has suf- and (just as importantly) where not to; Tambour; Verschwiegene Liebe; Auf dem fered-it is short on range and volume. where to break a phrase, where to carry grünen Balkon; Anakreons Grab. Brahms: (And it is typical of his artistic intelli- it over. He is the musical equivalent of An die Nachtigall; Salamander; ln. gence that he refuses to apply even the the great natural dramatic reader, who in Waldeinsamkeit; Mein Mädel hat einen slightest pressure or force to make the scanning a poem knows from the start Rosenmund. tone sound a bit more secure.) The voice exactly how he will divide and subdivide it. and what curve he will maintain. Thus, even so ambitious a song as Ganymed is done to satisfaction, because the singer comprehends and projects its structure, its musical meaning. And the secret of a gem like Verschss'jegene Liebe, VANGUARD a beautiful little study in parallels, is told with precision. Recordings for the Connoisseur But the record's real treasure is the 4 group of songs by Carl Michael Bellman, a Swedish minstrel who for a time en- NEW RELEASES joyed court favor. They are full of a fine, fatalistic, drain -life -to- the -dregs at- FOR THE DISCRIVNATING COLLECTOR mosphere -one can see the Reaper smil- ing from behind the bar. Schi¢tz does ERNEST BLOCH: THREE JEWISH them to a turn, and GIOVANNI OABRIELI Dyer- Bennet sup- RACRAE POEMS. 4ARON COPLAND: VAR- plies not only the guitar accompani- RYYPHONIAE FOR AND CANZONI IATIONS ORCHESTRA, ments, but a postilion horn imitation. 1957, & FANFARE FOR THE For the other songs, Ulanowsky provides GABRIELI: SACRAE SYMPHONIAE 8 CAN- COMMON MAN. Hartford Sym- some of his very best work, entering fully ZONI, FOR DOUBLE CHOIR, BRASS ANO phony Orchestra, Fritz Mahler into the singer's approach. The sound is ORGAN. Choir and Brass Ensemble of the conductor. flawless, and an excellent accompanying Gabrieli Festival, Gillesberger conductor VRS -1061 a 'VS0.2015 leaflet gives full texts and translations of BG -611 & 'BGS -5031 Bloch's first great work of his all the songs. C.L.O. 'Magnificent representation of the splen- "Jewish cycle," and Copland's dor of Gabrieli's art. High Fidelity, on historic masterpiece recreated The Bach Guild's previous Gabrieli: for orchestra, making their Processional and Ceremonial Mark. fisst catalogue appearance. MAURICE SHARP: "Music for a Golden Flute"

Johann Sebastian Bat h S' FRIOPNONIc MMONSIVIAITIN MSC /Maurice Sharp, flute; Cleveland Sinfoni- 1. S. BACH: CANTATA NO. 12, "WEINEN, etta, Louis Lane, cond. KLAGEN, SORGEN, ZAGEN" AND NO. 29, l EPIC LC 3754. LP. $4.98. "WIR DANKEN DIR." Davrath, Ross:. EPIC BC 1116. SD. $5.98. Maiden, Dermota, Berry; Choir and Or- chestra, Mogens Woldike conductor The Cleveland Sinfonietta is made up of BG -610 a 'BGS -5036 Cleveland Orchestra people, and on this disc several of its "Stunning production ... an all time elegant soloists are great performance." The New Records, most elegantly put forward. Most im- on Wuldike's Bach's Cantatas Nos. 33 portant of the soloists in this program and 105. This is the second in the his- is, toric Bach Cantata series by Woldike. of course, Maurice Sharp, who plays the Griffes Poem, for flute and orches- Vanguard Demonstration Disc tra; Arthur Foote's Night Piece, for flute -51.98 (Monaural) and $2.98 and strings; Honegger's Concerto da (Stereo lab) Camera, for flute, English horn, and DELLER'S CHOICE -A CONCERT OF strings; and Howard Hanson's Serenade, MUSIC BOTH RARE AND REWARDING. MUSSORGSKY: PICTURES AT for flute, harp, and strings. The Foote Works of Cipriano de Rore, Viadana, Pur- AN EXHIBITION (ARR. RAVEL) and Hanson pieces are slight. The cell, Schutz, Locke and others. Alfred A NIGHT ON BALD MOUNTAIN. Griffes may well be that composer's Deller, counter- tenor, and instrumental Vienna State Opera Orchestra, finest work; much of his music begins ensemble. BC -612 & 'BGS -5038 Vladimir Golschmann conduc- to sound sadly dated, but the free, rhap- This is sheer delight." Pittsburgh Press, tor. SRY -111 i 'SRV -111S1) sodic, highly colored impressionism of on and in Deller others The Connois- "Golschmann's trenchant sen- seur's Handel. An exciting voyage the Poem still holds interest. The of sitivity of reading, and a sound musical discovery, like all Defier pro- quality of which Vanguard is Honegger is a delightful, somewhat grams. obviously proud, would justify neoclassical piece with a strong con- this album's issuance no mat- trapuntal texture offsetting the lack of ter what it sold for." San Francisco Chronicle. on the polyphonic variety in other compositions Vanguard Demo Disc of on the disc. BrabmrFourth Symphony. Sharp's grand playing is fully matched SONGS OF THE AUVERGNE by that of his colleagues, Harvey Mc- (Arr. Canteloube.) Netania Davrath, so- Prices: Monaural $4.98 Guire (English horn), Alice Chalifoux prano, with orchestra. Stereolab $5.95 (harp), the orchestra, and the conductor. VRS -9085 & 'VS0-2090 Except special price Demo Discs The recording is excellent, and the whole 15 songs. the fullest representation on. listed above. distinction. A.F. discs of these perennial favorites. "The thing has real Send for Catalogue to: voice, grace and simple dignity of a great artist." N. Y. Herald Tribune, on Dav- Vanguard Recording Society, Inc. rash's Folk Songs of Russia. 154 West 14 Street, New York 11 LIANG TSAI -PING: "China's Instru- mental Heritage" CIRCLE 91 ON READER- SERVICE CARD 72 HIGH FIDELITY MAGAZINE Liang Tsai -Ping and His Group. processing and on the accompanying had recourse to arrangements. Of the LYRICHORD LL 92. LP. $4.98. literature; seven arias for nearly six dol- ten works on this disc, at least seven - lars is a dubious bargain, though. by John Stanley (1713- 1786), Purcell, The appeal of Oriental music -as with C.L.O. Legrenzi, Telemann, and Daquin-are Oriental art -lies in a sparse beauty of either transcriptions from keyboard line rather than in chromatic opulence. ROGER VOISIN and JOHN RHEA: pieces or highly doctored editings. Pur- Yet, on the emotional plane, the impact Music for Trumpet and Orchestra, cell's Overture to the Duke of Glouces- of an understated, time -polished theme Vol. 3 ter's Birthday Ode seems not to have plucked out on the zitherlike Cheng can been tampered with much; it is a delight- be as devastating as the Berlioz Requiem Roger Voisin, John Rhea, trumpets; ful piece, with an animated, dancy sec- in full cry. Lyrichord's third release in Kapp Sinfonietta, Emanuel Vardi, cond. tion in which telling and idiomatic use the realm of Chinese instrumental music KAPP KC 9050S. SD. $5.98. is made of the trumpet. The other two features, in addition to the Cheng, the genuine trumpet pieces are interesting Hsiao, or bamboo flute; the gourdlike Fanciers of the prince of brass instru- curiosities. One is a march for three Sheng; the Hsun, resembling an ocarina; ments will find here more of the admir- trumpets and timpani by C. P. E. Bach and the fiddlelike Nan-Hu. The music is able playing we have come to expect of and the other a piece for seven trumpets exotic, but lovely. Anyone willing to Roger Voisin, first trumpet of the Boston and timpani by J. E. Altenburg, an meet the fascinating world of the Orient Symphony Orchestra. In an attempt to eighteenth- century trumpeter who wrote halfway will be thoroughly beguiled by build up a repertory where very little a valuable treatise on his instrument. Wild Geese Alighting on the Sandy exists Mr. Voisin and his colleagues have Good sound. N.B. Shore, the haunting Farewell, and the 1,300- year -old Spring River in the Flowery Moonlight. Professor Liang and his fellow musicians provide definitive performances, and the reproduction is superb. O.B.B. EVA TURNER: Operatic Arias Verdi: Aida: Ritorna vincitor; O patria mia. Il Trovatore: D'amor sull'ali. Mas- cagni: Cavalleria rusticana: Voi lo sa- pete. Puccini: Tosca: Vissi d'arte. Tu- randot: In questa reggia. Eva Turner, soprano; Orchestra, Sir Thomas Beecham and Stanford Robin- son, Gonds. ANGEL COLC 114. LP. $5.98.

Eva Turner's large, steely voice is well caught here, and delivers its knockout punch in the Turandot excerpt -no one would care to belittle the record, even presuming his ability to get up off the floor at its end. By and large, though, she strikes me as an amazingly uninteresting performer, with almost no sense of color or proportion, still less of character or even mood projection. Her only noticeable effort in these directions here is the dismaying sob at the conclusion of " Vissi d'arte." I don't doubt that the voice and temperament must have made considerable impact in the opera house; singers do not achieve Turneresque reputations with a "good field, no hit" sort of endowment. But on records, in these oftheard selections? Well. . It should be observed that Angel has done its usual painstaking job on the

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In Good King Arthur's Days

"Camelot." Original Cast Recording. Columbia KOL 5620, $5.98 (LP); KOS 2031, $6.98 (SD).

Burton, Lerner, Andrews, T. H. White.

AI (ER LISTENING to Columbia's original cast re- to introduce "period" music into his score. What a

cording of Camelot, I simply cannot reconcile relief . . . not a madrigal, or even the suggestion myself to the generally negative reviews this musical of one, included. Although Lerner's lyrics seem to received. Certainly the music does not strike me me to be in general prosaic or even pedestrian, I as the inept, feeble collection of tunes sc. many critics will go on record as saying that I think Loewé s score alleged it to be. If they expected Loewe to produce quite the best written for a musical since My Fair a score superior to that he provided for My Fair Lady; I ask for nothing better. Lady, or for that matter even to equal t, that surely In a cast which is a little short of vocal strength, was whistling in the dark. The music for a My Fair the always dependable Julie Andrews must carry Lady or for a Show Boat comes along once in a life- most of the load. Needless to say, she does so to time, and one should be thankful that both these perfection. Most of the time she sings like an angel scores came in our lifetime. (or as I assume angels sing) and always sounds like In my opinion, Loewe has written in Camelot a the lady Queen Guinevere should be. Loewe has gay and altogether charming collection of melodies, provided her with some very graceful songs, partic- distinguished for the elegance of the writing, for ularly The Simple Joys of Maidenhood, 1 Loved You the tremendous variety of mood and pace the com- Once in Silence, and the lightly tripping Then You poser achieved, and for his refusal to succumb to May Take Me to the Fair, in which she is utterly the temptation, which would have been very easy, captivating. Her vis -à -vis Richard Burton is a mu-

MARCH 1961 75 sical comedy lead in the Rex Harrison tradition, Prokofiev about it that is decidedly piquant. (I but Burton can muster up more voice than Harrison. might add that this appears on the printed program What's more, in How To Handle a Woman he proves as being on Side 1, whereas it is on Side 2 of my that he knows how to use it, as he does also in review copy -an error which may have been recti- I Wonder What the King Is Doing Tonight, which fied in later pressings.) Sonically, Columbia has he fills with a sort of questing melancholy. Marjorie lavished considerable care on both versions; the Smith doesn't really do justice to a particularly lovely monophonic edition is excellent, but the stereo, with Loewe number, Follow Me, but Robert Goulet makes a reasonable exploitation of movement, is even bet- a manly Lancelot and in If Ever I Would Leave You ter. This disc is also one of Columbia's best albums shows himself to be a baritone of some considerable from the point of view of visual appeal, with its stature. double -fold album, excellent art work, fine photo- I was also particularly attracted by the brief graphs (in color) of several striking stage settings, orchestral interlude Parade, which has a touch of and portraits of the cast. J.F.I.

An Intimate Revue - And Nothing's Sacred

"Dressed to the Nines." Original Cast Recording. M -G -M E 39140C, $4.98 (LP).

Julius Monk, entrepreneur.

WITH intimate revues no longer capable of making veterans Ceil Cabot and Gerry Matthews, and has grade on Broadway, the task of keeping this corraled a group of lyricists and composers to pro- once popular form of entertainment alive and avail- vide gay, satirical material and pleasant tunes. The able to the public seems to have devolved upon Julius result is a bright, funny, and spirited romp that takes Monk. Since 1956, Monk, an intrepid entrepreneur a swipe at everything from teen -age dope addicts to and colorful Manhattan Boniface, has presented for the college crowd at Fort Lauderdale. If you've the pleasure of habitués of his Off -Broadway bistro wondered why, as the ad has it, "You've been smok- a series of postprandial entertainments, which in ing more and enjoying it less," Gerry Matthews and form and substance have all been revues intintes. Mary Louise Wilson give you the answer in Smoke. The first three revues were housed in The Playgoers, For Names, Jack Wilson has written an extremely which Monk once described as a subterranean pas- funny lyric, and Miss Wilson indulges in the name sage and street level bar, then situated at 51st Street dropping with very obvious relish. Radio program and Sixth Avenue. In 1958, Monk acquired the one- sponsors, D. H. Lawrence, and that tiny town off time town house of John Wanamaker on West 56th the Merritt Parkway all serve as butts for the humor- Street, and since then his charades have been pre- ous shafts aimed in their direction. In fact, hardly sented there, either at Upstairs at the Downstairs or anything is considered sacrosanct, which is just as it Downstairs at the Upstairs (though how one makes should be in an intimate revue. certain which of these rendezvous is which has been If Monk continues to present these gambols so something of a mystery). Over the years, a number successfully (Demi- Dozen, an earlier production, ran of artists whose names are now more familiar to the for more than five hundred performances), his ex- public than they were when they first appeared ample may prod some adventurous producer to pre- under the Monk banner have appeared in these resent them where they really belong, on Broadway. vues. Among the more illustrious alumnae are Dody With twin pianists William Roy and Carl Norman Goodman, Ronny Graham, Annie Ross, Ellen Han- nobly providing the necessary musical accompani- ley, Blossom Dearie, Nancy Dussault, and Tammy ment and M -G -M engineers recording the entire Grimes, all of whom have gone on to bigger things. program in bright, live sound (including all that For Dressed to the Nines, Monk has again as- audience appreciation), this is an excellent disc of sembled a bright and talented cast, building it around nonparochial entertainment. J.F.I.

76 HIGH FIDELITY MAGAZINE One Gay Hoyden Carries the Show

I "The Unsinkable Molly Brown." Original Cast Recording. Capitol WAO 1509, $5.98 (LP); SWAG 1509, $6.98 (SD).

Tammy Grimes and cast.

THIS is just about the most old -fashioned musical vests Bea- u- ti -ful People of Denver with a charming to appear on Broadway since the days of George insouciance that is entirely in character. The same M. Cohan, who, as a matter of fact, might well have sort of amused indifference is heard as she sings written the book, with an assist from David Belasco. Bon Jour, where she has an opportunity to display Meredith Willson's score, though not as ancient - her newly acquired, if rather limited, linguistic tal- sounding, adds up to little more than a rewrite ents. And so it continues, with Miss Grimes deter- of his music for The Music Man. Yet despite these mined to project every facet of the personality that handicaps the show sounds like wonderful fun, is Molly Brown. thanks mainly to the presence of a Boston hoyden, For a change these days, we have a leading man Tammy Grimes. Without any previous musical who can sing, although I find Harve Presnell's per- comedy experience, this remarkable artist sings and formance of Leadville Johnny Brown rather wooden. acts with all the aplomb and command of an Ethel (But anyone stacked up against the tremendously Merman. In fact, Molly Brown is kept afloat only vibrant Miss Grimes could suffer this plight.) In by the extraordinarily vital and versatile perform- any case, Willson has not really given the hero ance of this enormously gifted girl. much in the way of songs. I'll Never Say No is a Two years or so ago, I enthusiastically reviewed tediously old- fashioned number, and If / Knew her only previous recording, but even that did not little better. Presnell does, however, rise to the prepare nie for the devastatingly brilliant work she challenge of Leadville Johnny Brown, a soliloquy of produces in this otherwise ordinary musical. Miss some substance. There is practically nothing pro- Grimes is not content to play the role of Molly vided for the remaining members of the cast, al- Brown, a girl from the wrong side of the Denver though they do their best with the little that conies tracks who has ambitions to become someone of their way. importance, in the usual superficial manner of mu- Capitol has expended great care on this produc- sical comedy leading ladies. She really lives it, as tion, even if it has hardly taken fullest advantage you may hear in / Ain't Down Yet, and again later of the stereo possibilities offered. Once again this in the wistful wonder of her delight in owning company has followed its custom of including a sep- My Own Brass Bed, a number which many singers arate booklet giving complete details about the ca- would turn into something offensively mawkish. As reers of everyone associated with the production. Molly's career takes a turn upward and she acquires This is an excellent innovation and one I would a certain amount of social status, Miss Grimes in- recommend to become general practice. J.F.I.

"Sound Effects in Stereo, Vol. 1." Audio household cacophonies-barking dogs, Luckily for timid investigators, each Fidelity DFS 7006, $5.95 (SD). dripping water, creaking doors, and the of the fifty bands ends in a locked Sidney Frey's compendium of fifty char- imperious peal of the telephone bell. A groove. so that there is no chance of acteristic sounds of our times may well few of these sounds (like the too closely one effect automatically succeeding an- be the ne plus ultra of sonic divertisse- miked tap- dancer steps which explode other. This means, of course, that the ments for fanatical audiophiles. This as violently as the immediately follow- intrepidly omnivorous listener needs a disc is, in brief, a sampling of the ing firecrackers) are grotesquely larger sharp eye and steady hand to guide his plethora of mostly man -made noises than life; others, like the jet planes, pickup to the next or some specific other commonplace in our life today: from just have to be attenuated to levels at band. But this handicap, to say nothing jet planes, air hammers, racing cars, and least somewhat below those capable of of the anguished protests which may be steamship whistles to the clatter of office rupturing eardrums. Mainly these sound raised on the part of his family and machines and the insidious battery of effects are only too realistically "live." neighbors, has little chance of dampen-

MARCH 1961 77 Record Connoisseurs: ing the confirmed addict's craving for "Romantique." Capitol Symphony Or- such powerfully stimulating audiodisiacs. r chestra, Carmen Dragon, cond. Capitol In fact, we don't doubt that he'll fully P 8542, $4.98 (LP); SP 8542, $5.98 /help che share the zestful relish with which we (SD). elect music to boosee recorthded; suspect Sid Frey assembled this collec- This is one of Carmen Dragon's quieter tion. R.D.D. excursions into the realm of light classical mood music, as well as one of his /Look at theselect "An Evening with Mike Nichols and most successful. In general, "Roman- tique" is the below available Elaine May." Mercury OCM 2200, appropriate title for the only direct-to -you immediately! 4_ $4.98 (LP). program of concert miniatures he has selected, including With these thirty- one -and -ono -half min- as it does such salon favorites as Elgar's utes of uninterrupted merriment, the Salut d' amour, Bol - PURCELL: Indian Queen. Opera; Anthony zoni's Minuet, team of Nichols and May again prove the Melody in F of Bernard cond. London Chamber Singers, Rubinstein, and themselves to be, as they did Tchaikovsky's Chant Orch. & Soloists. In orig. English. M -1 Only! in their sans paroles. earlier recording Improvisations to Music (The term seems misap- HANDEL: Ode On St. Cecilia's Day, Anthony plied, however, (Mercury 20376), two of the most crea- to the sonorous and in- Bernard cond. London Chamber Orch. Solo- tense Adagio for Strings of Samuel Bar- ists: Teresa Stich -Randall, Alexander Young. tive humorists of today. Three of the sketches, highlights from their ber, the one really substantial piece of English by Dryden. M-2 or S-2 current music in this Broadway show, are based on situations concert.) The conductor's HANDEL: Organ Concerti, Op. 4/1, 4/2, 4/4, string arrangements as familiar as the back of one's hand, are discreet and taste- 7/1. Ralph Downs, Org., London Chamber ful, and make no but I doubt that they have ever before effort to inflate these Orch., Anthony Bernard, Cond. M-3 or S-3 little pieces been so brilliantly exploited. you've beyond reasonable limits. If They are played RAMEAU: Six Concerts En Sextuor, Chamber ever tangled with the telephone company to perfection by the Orch. of Toulouse, Louis Auriacombe con- string section of the Capitol Symphony or its operators over the return of a ducting. M -4 or S-4 wayward nickel (sorry, Orchestra, and the whole project is dime), then greatly benefited BACH: Cantata #79 "Gott der Herr "; Cantata Telephone will hit you until the by the very consider- chuckles able warmth #32 " Liebster Jesu ". Chamber Orchestra of hurt. New York residents will readily and crystalline purity of Karl Risten- Capitol's recorded sound. the Sarre, Chorus & Soloists, recognize, in Disc Jockey, the now de- J.F.I. Sung in German. M -5 or S-5 part, cond. parted impresario who conducted after - BACH: Cantata #82 "Ich habe genug"; Can- midnight radio interviews with visiting "Folk Songs tata #159 "Sehet wir gehen". Sanie perform- nonentities and will relish of France." Monitor MF the team's 339, $4.98 ers as M -5. Sung in German. M-6 or S-6 cuttingly satirical treatment of his pro- (LP). gram. Mother and A bright array of songs and dances JEAN OCKEGHEM: Three Motets. Instr. and Son is a six -minute from French vocal ensemble, cord. by Roger Blanchard. telephone conservation provinces steeped in rich capable of con- and original folk tradition. JOSQUIN DES PRES: Missa (Hercule D'Este) vulsing all but the staunchest adherent Sometimes sung in the patois of the Vocal ensemble, in Latin. M -7 or S-7 of Momism. How the problem in region and to Adultery is solved, I would the accompaniment of infrequently SCHUTZ: The Resurrection. Kammerchor of leave you heard instruments Salzburg Mozarteum and soloists, Ernst Hin- to discover for yourselves. Everything -like the txistu, a flute with three holes held and reiner cond. Sung in German. M-8 Only! adds up to a real feast of genuine played with one hand, humor. J.F.I. and the atabe!, a drum BEETHOVEN: Piano Trio, Kakadu Var. Op. 121 A. played with one stick -these old folk BRAHMS: Piano Trio Op. 87. Albeneri Trio: songs still retain the primitive overtones Artur Balsam, P., Giorgio Ciompi, Vn., Benar "I Believe." Mahalia Jackson; Chorus of a popular art now refined. High spots Heifetz, Vc. Ready in March. M -9 or S -9 and Orchestra, Johnny Williams, cond. of the record are the tender Magali HAYDN: Piano Trio =3 In C Majoj. Columbia CL 1549, $3.98 (LP); CS from Provence, a droll version of Mon MOZART: Piano Trio K 548; Piano Trio K 564. 8349, $4.98 (SD). père m'a donné un mari from Cham- Alberreri Trio. Ready in March. M -10 or S -10 Mahalia Jackson is so immersed in the pagne, and a lovely Agur Maria (Ave meaning of her songs that the Mono records $5.50 ea. Stereo $6.50 ea. effect Maria) from Pays Basque. Texts and of her singing is always inspiring. In this translations are enclosed, and jacket The Music Guild now brings you these and particular collection, a moving works, with statement notes sketching the history of each song other hitherto unobtainable every of her personal credo, her detail of each record -done with a connoisseur's belief in lend added interest. O.B.B. taste and musical integrity. You may join the God, she sings with her usual ardor Music Guild as a Member and vote for the works and dramatic conviction. As is customary you want recorded, or you can limit your partici- on her records, the orchestra and chorus, "Percussion Orientale." David Carroll pation to the purchase of records. In either case providing a very effective accompani- and His Orchestra. Mercury PPS 2002, you are not committed to buy! These records are ment, include members of Mahalia Jack- $4.98 (LP); PPS 6002, $5.98 (SD). superb, folly guaranteed, individually boxed with son's church. Columbia's sound is fault- As in his first release ( "Latin Percus- complete texts and notes. Send for your free copy in of the Music Guild Newsletter with information lessly clear in both stereo and mono- sion") the "Perfect Presence Sound" on how to become a Member and get a 25% phonic versions, but it seems to me that series, Carroll's materials may have little discount on records you buy now, and other Miss Jackson's voice is better delineated ethnic authenticity, but they rise well details. Order now! on the mono disc. O.B.B. above the usual pseudoexotic and "spectacular percussion" levels by their lack of affectation (in performance as well "Tambó." Tito Puente and His Orches- as scoring), their interpretative verve, Xj)fte tra. RCA Victor LPM 2257, $3.98 and of course by the crystalline clarity L (LP); LSP 2257, $4.98 (SD). of their recording. The present dance Guild,, Puente, whom I've known mainly by his band divertissements on the Ballet Egyp- hard -driven Latin -dance performances, tien, In a Persian Market, Saint -Saëns I THE MUSIC GUILD, INC. H-11 surprises me here (and gives the "pro- Bacchanale, Scheherazade, Cui Orientale, 111 W. 57th St., New York 19, N. Y. vocative- percussion" purveyors stiff corn - Borodin Dance of the Slave Send the records checked below. Maidens, petition ) by the sheer energy and t enclose check or M.O. for S thun- etc. are amusing translations rather than including 50e for postage and packing. I derous weight of his present showpiece tasteless caricatures; and apart from understand I am under no obligation to buy program, topped by an all- percussion finger cymbals, sponge -hammered piano any further records. and that if I become a Member later, I will receive a 25% discount Rumba- Timbales, fast and intricate strings, bamboo log, and an extremely on all records I have bought. Cicero Pelao, fascinatingly antiphonal odd Bakoura (shell trumpet ?), the prime i would like to know more about the Ritual Drtim Dance, and vibrant Son aural attractions are provided by more Music Guild. Please send me my free copy of the Newsletter. Montuno. There are more conventional conventional instruments. The mono- screaming -brass bits and some of the phonic edition is excellent, the SD even MONAURAL STEREO pieces break down in raucous chaos, better. M1 M6 NONE S6 but R.D.D. M2 M7 S2 S7 there also is a prodigal wealth of original M3 M8 S3 NO NE timbre contrasts, permutations, and com- M4 M9 S4 S9 binations in as dramatically full -blooded "Rosie Solves the Swingin' Riddle." MS M10 SS 510 0 and realistic recordings as I've ever heard Rosemary Clooney; Nelson Riddle and Name in a pops disc. The LP has no less His Orchestra. RCA Victor LPM 2265, EEEEEE 1.11 $3.98 LSP 2265, Address sonic impact, but in such tumultuous (LP); $4.98 (SD). music making the air spacing and pan - In her two previous recordings for RCA LCity Zone ...State oramics of stereo are incomparable ad- J vantages. R.D.D. Continued on page 80 CiRCLE 61 ON READER- SERVICE CARD 78 HIGH FIDELITY MAGAZINE Can that be my Ride of the Valkyries? I wouldn't wish such sound reproduction even on that Italian organ grinder- Puccini ! Now try it through a'ikt 654 stereo receiver. Some difference. You can hear the rich resonance of every hoofbeat, the startling clarity of every shriek. The Pilot 654 is the only all -in -one stereo component with a harmonic distortion factor of only 0.5 %. lust I-ook up a pair of speakers. The 654 supplies the rest: separate FM and AM tuners, a 60 watt stereo ampl:fir, and 16 different contro's- all on a compact, cool- operating chassis. If you can't attend the Bayreuth Festival, get the Pilot 654. With eicicsure, $299.50. See the Pilot 654, and the 30 watt 602 Stereo Receiver. $249.50, at your authorized Pilot dealer. 3oth are U.:..- listed. Write for literature to: - 0.O O .0.10.80.0_ Noel NoelRadio Corporation, 37 -16 36th Street, Long Island Ci :y 1, N. Y. Götterdiimmerung!

CIRCLE 65 ON READER-SERVIICE C4RD MARCH 1961 79 for sound bugs Victor, Miss Clooney, usually one of the Ash Grove, where the trio's perform- most unruffled of vocalists, often seemed ances, on this evening at least, were re- to me to sound uncomfortable with the ceived with boisterous acclaim by the who love hip arrangements of Bob Thompson and audience. I.F.I. the blatant ones provided by Perez Prado. One has no great such feeling in "Written in the Stars." Dick Jacobs and listening to these smooth, swinging per- His Orchestra. Coral 757339, $4.98 formances of some great songs in which (SD). the singer is admirably supported by entertainment This suite of twelve orchestral vignettes Nelson Riddle and his orchestra. Riddle's typifying the signs of the zodiac is the ability to write arresting and unusual work of Rod McKuen, who according arrangements tailored to fit a singer's to the liner notes writes not only serious individual style has never been more music but also double entente (sic!) handsomely showcased, and Miss Clooney songs for Elsa Lanchester. His Zodiac seems inspired by what he has provided Suite falls into neither of these cate- for her. Her simple and honest way of gories, being a series of short mood selling a song is admirably displayed in pieces that are long on pretty melodies great versions of I Get Along Without but rather deficient in character and You Very Well, By Myself, and April originality. This is pleasant, light listen- in Paris, in which Riddle's orchestral ing, however, with much of its appeal writing for the Clooney vocal is com- stemming from Dick Jacobs' artful and pletely fascinating. As a matter of fact, sonically imaginative arrangements. This the entire record is such a joy that I is easily one of the best examples of can even forgive Miss Clooney for tam- Coral's stereo engineering I've heard. It pering with Douglas Furber's original presents the orchestra in perfect balance, lyric for Limehouse Blues. J.F.I. with adequate but not overemphasized directionality and in a sound clean as a the Sound of Midnight -NAKED CITY whistle Paul Phillips and his Band "Italian Songs and Dances." Monitor and smooth as velvet. I.F.I. 345, $4.98 This is the city -full of sound -full of fury - MF (LP). ever awake. Here, at midnight you will find Moving up and down the Italian pen- "Wandering with the Obernkirchen the honkeytonk, the sophisticate, the store insula in a whirl of tarantellas, cab ma- Children's Choir." Edith Mueller, keeper, the hoodlum, the ubiquitous zurkas, waltzes, driver... all blending together to give you and quadrilles, Monitor's cond. Angel 35839, $4.98 (LP); 35839, the naked sound and soul of a city that is program is a sparkling and fast -moving $5.98 (SD). sometimes happy ... sometimes sad ... but one. These are the songs and dances of Includes: Dancing In The Dark With considerable charm, the Obern- never silent. the people performed in Harlem Nocturne Stardust Tenderly and every city and kirchen Children's Choir present a pro- MS-7517 village, many others. in the streets and at home, on gram of traditional and children's songs. u,a,lable In monoph.nic & 7' p 1pa every festive occasion. Popular tunes set They sing with a pureness to lively of tone quality rhythms, they are easily re- that is all loveliness, and a skillful use MEDALLION flective of the warmth and exuberance of choral effects enhances their per- found in Italian folk music. O.B.B. formance. My only criticism is that con- RECORDS ductor Edith Mueller keeps her charges A product of Kapp Records, 136 E 57 St. N.Y. "The Scots Guards at the Opera." Regi- singing inevitably the same type of song CIRCLE 50 ON READER -SERVICE CARD mental Band of the Scots Guards, Lt. -always in the upper ranges and always Col. S. Rhodes, cond. Angel 35789, Alpine -sounding. The same dynamic level $4.98 (LP); S 35789, $5.98 (SD). is maintained as is the same balance of It's surprising how good such familiar voices. A venture into a more varied save on opera overtures as Zampa, Cenerentola, repertoire with an occasional dramatic Pique Dame, Orpheus in the Under- entry would help dispel this monotony. world, Mignon, and Barber of Seville The stereo version underscores the stereo in crystalline qualities of the recording with can sound expertly scored transcriptions, at least when these are played by finer, brighter sound than its monophonic hi -fi an ensemble as large and skilled as the counterpart. O.B.B. forty- four -man Scots Guards Band. In- terpretatively these performances may be "Brazen Brass Goes send for the 1961 Hollywood." Henry a bit routine, but sonically they are de- 0 Jerome and His Orchestra. Decca DL lightfully piquant as well as impressively 74085, $4.98 (SD). ,GILL /ED sonorous. They are impeccably recorded As in his earlier "Brazen Brass" (DL CATALOG in both monophony and stereo, but of 74056), Jerome's performances feature course enjoy a more appropriate open - antiphonies between open (left) and air ambience in the latter. R.D.D. muted (right) brass choirs, and the extremely stereoistic recording makes the most of the "Tonight in Person." The Limeliters. contrast -and -combination SAVE MOST! Here's your complete potentialities, as well as of some fine RCA Victor LPM 2272, $3.98 (LP); growling trombone money -saving guide to Hi -Fi, including LSP 2272, $4.98 pedal tones, Donald products available only from ALLIED. See (SD). Butterfield's tuba contributions, and the how you save on our recommended com- The Limeliters (who after a success- glitter of an effective plete Stereo systems. Choose from the ful record debut for channel -linking world's largest stocks of famous -name Elektra have now centered rhythm- and -percussion section. amplifiers, tuners, changers, speakers, switched their allegiance to RCA Victor) The program itself is -style cabi- devoted to film enclosures, period equipment are a trio of very talented artists who score hits, which seldom have sounded nets, tape recorders, accessories; save obviously have a tremendous potential. most with KNIGHTS deluxe components. Whether as excitingly sonorous as they do here. Build your own -save even more with this potential will ever be The modulation level, is our exclusive Hi -Fi KNIGHT -KITS®. For however, far realized depends mainly on their ability too high for comfort and must be dras- everything in Hi -Fi and Elec- to develop a more individual manner tronics, get the FREE 444 - of tically lowered in playback for one to page 1961 ALLIED Catalog! handling their material, both vocally and relish these varicolored timbres at their stylistically, than they now possess. Until best. R.D.D. ALLIED RADIO this is achieved they will continue to sound like The Weavers and to resemble The Kingston Trio in the matter of "Face to Face." Pete Martin interviews ALLIED RADIO, Dept. 144 -C1 presentation. Since they are so success- , great entertainers. Decca DXD 166, 100 N. Western Ave., Chicago 80, III. ful with unaffected and moving versions i. $7.96 (Two LP). of The Far Side of the Hill, Seven Daf- The faces that meet here are those of Send FREE 196; ALLIED Catalog. fodils, and Molly Malone, it is evident a dozen great people in show business Name that they do not need to fall back on the and that of the Saturday Evening Post's glib introductions or the too hearty at- Pete Martin, a handy man with a micro- Address tempts at humor that disfigure some of phone, a much better one with a pen. City Zone-State_ their songs here. The recording comes from a live performance at Hollywood's Continued on page 82 CIRCLE S ON READER -SERVICE CARD 80 HIGH FIDELITY MAGAZINE pealz performance...

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A DIVISION OF THE SIEGLER CORPORATION 00.21 CIRCLE 22 ON READER -SERVICE CARD MAIttH 1961 81 In these brief interviews, actually care- "How To Bowl Your Best." Joe Wilman. decided that its lower- priced alter -ego fully screened excerpts from lengthier Epic LB 2700, $3.98 (LP). label, Grand Award, warrants a "Pro- conversations Martin held while gather- 1946 Champion and ABC Hall of Fame - vocative /Persuasive" series too, and ing material for his Post articles, the er Wilman doesn't try to make it seem many of the same instrumentalists, stars are given a chance to comment on easy: bowling for him is a deadly serious headed here by bongoist Rodriguez, are some aspect of show business. For me business and his pupils will sweat hard no less sensationally and stereoistically the most interesting sequences were as he goads them on through endless recorded in the present strenuous batch Mary Martin's account of how she got drills in fundamental foot- and arm -work. of cha -chas, mambos, sambas, and her start on Broadway, Crosby's and But he also makes the impossible seem merengues. Some of them get tiresomely Como's opinions on today's pop singers, at least plausible -that the novice bowler raucous, but the best of them communi- Hope's concern for the rising comedians, willing to follow directions, and indif- cate their gusto to listeners only scarcely and Danny Kaye's affectionate tale of ferent to looking ridiculous as he prac- less effectively than to avid dancers. Re- his farewell to Edinburgh. tices swinging his wife's flatiron. actu- markably, the monophonic edition is al- By the merest coincidence, all these ally can improve his game by home most as impressive, sonically, in every- stars record for Decca, which has re- study with a phonograph record. As a thing save the stereo version's spaced trieved from its vaults recordings made non -kegler, however, it all sounds to me antiphonies. R.D.D. by these artists years ago. Some might like far more work than play. R.D.D. well have been permitted to gather a "Blazing Latin little more dust, while others will be as "Great Music from European Operettas." Brass." Nick Perito and welcome today as they were when orig- Halina Mickiewicz; Polish Radio His Orchestra. United Artists WWS inally issued. Among the latter put Orchestra, Stefan Rachon, cond. Bruno 8502, $5.98 (SD). Danny Kaye's delightfully demented The 50165, $3.98 (LP). Newest and gaudiest of all the current Lobby Number, Hope and Crosby in These are such indifferent performances sensationalist series, United Artists' also Road to Morocco, and Hope with Shirley the music and they are of- boasts the most inspired of title slogans, Thanks of operetta Ross in their original version of fered in such dismal sound my "Wall -to -Wall Stereo." Well, it's broad - like that for the Memory. The rest seem interest was neither aroused by the fa- spread, all right, but to my ears stretched very small beer these days. J.F.I. miliar music nor piqued by the more a mite thin in the center, and I regret obscure excerpts. Only the two arias that the full potentialities of the truly "Banjos Back in Town." The Banjo from Malutin's operetta Unquiet Happi- ultrabrilliant recording have not been ex- Barons, Jimmy Carroll, cond. Colum- ness, well enough sung by Krystyna ploited by arrangers and performers as - bia CL 1581, $3.98 (LP); CS 8381, Bodalska, held my attention at all. Com- imaginatively inspired as UA's advertis- $4.98 (SD). pleting this curious assortment of music ing -copy writers. The present program Old -time tune -favorites are so often are several coloratura show stoppers, has energy as well as brilliance to burn. fancied -up or percussively atomized Arditi's farla, Dell'Aqua's Vilanelle, but the excessively high -level brass often nowadays that it's a great relief to hear Benedict's Carnival of Venice and La is painfully strident and the percussive Carroll's frankly corny treatments domi- Capinera among them, all sung in Polish decorations are plastered on far too nated by two or three lusty banjo strum- by Halina Mickiewicz, purportedly "The extravagantly. The less strenuous pieces mers. To be sure, an electric organ has Nightingale of Warsaw." Chivalry de- here demonstrate vividly how well anachronistically snuck in, but it's pretty mands silence. J.F.I. Peritti s ensemble (which includes Fer- well drowned by the rest of the energetic rante and Teicher with their prepared little orchestra. which also includes, ap- "Tenderloin." Original cast recording. pianos) can play when it forgets about like trying hard to be sensational. propriately, what sound to me Capitol WAO 1492, $5.98 (LP); SWAO R.D.D. kazoos. The dozen medleys here include 1492, $6.98 (SD). no fewer than thirty -six tunes (of the Having espoused in Fiorello Shines, Nellie the cause "1) nanhic Twin Pianos." Ferrante and Wait Till the Sun and of The Little Flower in his Ta- Ra -Ra- Boom -De -Re genera) and they attempt to Teicher. United Artists WWS 8504, never have been packed with more clean up New York politics, the team $5.98 (SD). rowdy gusto. The more cleanly focused of Jerry Bock and Sheldon Harnick now Latest entrant into the field of sonic take up the cudgels in support the LP edition is less coarse- toned, if also of spectaculars is Ultra Audio's "Wall -to- less expansive, than the SD, but in late Dr. Brock's crusade to remove the Wall Stereo," an effect achieved by the volume iniquitous Tenderloin district from the use of almost every recording technique either case be sure to turn the face way down in playback or the closely of New York City. This begins to known to modern engineers. There is a miked overamplified banjo explosions look like a flagrant case of typecasting deliberate exploitation of intentionally are likely to burst your eardrums. which might. heaven forbid, involve them wide separation and channel switching, R.D.D. in musicals on Samuel Seabury or and the listener who does not object to Joseph McCarthy. Unfortunately, Dr. thirty -five minutes of almost continuous Brock has not proved the inspiration head -swiveling will find this a feast of "On the Swingin' Side." Vic Damone; that La Guardia was, either to com- sound. Whether the unusual sounds that Orchestra, Jack Marshall, cond. Co- poser or lyricist. Although Bock's score the team summon from their prepared lumbia CL 1573, $3.98 (LP); CS 8373, contains a few good tunes -notably The pianos are musical will be a matter of $4.98 (SD). Picture of Happiness and Good Clean personal taste. One can hardly object to Two of the most somnolent of today's Fun -it is on the whole very uneven. their treatment of the original works pop singers tried to blossom forth as and it seems to me that Harnick has written expressly to demonstrate their addicts of vocal swing recently, though fallen down rather badly in his lyrics. neither Perry Como nor Dean Martin sound theories, but the well -known stand- Most of the better songs fall to the ards take a severe beating at the hands could really make it. Now Vic Damone men in the cast, and both Maurice Evans, tries to make the same transition, and of these dynamic pianists. The double - making his American debut in a musi- fold album is handsome, the liner notes though he is perhaps a little nearer the cal. and Ron Husmann, a refugee from mark, his is not a completely successful refreshingly frank both as to the re- Fiorello, make the most of them. In voice cording techniques and the manner in venture either. When, as in Falling in and technique Evans sounds very much Lore with Lore or Swinging Down the which the pianists achieve the innumer- 'I like Martyn Green -which is to say able odd sounds. You're also told ex- I Lane, a free- swing- Damone establishes voice is serviceable and used ing momentum and carries it through that the actly how the latter should emerge from t_ very knowingly. In view of the impor- your speakers. J.F.I. to the end, he is pretty convincing; but they too often he seems to slip back, perhaps tance of the ladies to the plot, subconsciously, into his more accus- seem to have been shortchanged. Only tomed role of ballad singer. In two Wynne Murray and Eileen Rodgers are "Ireland, My Ireland." Eileen Donaghy; cases he was up against an impossible given a solo apiece; and since neither Orchestra. Epic LF 18004, $3.98 (LP). task, I think, for neither Speak Lou' nor song makes much of an impression (the Miss Donaghy possesses a bright, fresh Deep Purple lends itself to any sort of fault of the composer), it would be un- voice that, in its limpid quality, seems to swinging manipulation, not even by Ella fair to judge them by these efforts. LP be the soprano equivalent of the famed Fitzgerald. Presumably the arrangements and SD are very similar. J.F.I. "Irish tenor." Girl with the Brogue. are by conductor Jack Marshall, since Homes of Donegal, and Glenswilly stand they carry the stamp of his usual busy "A Bunch of Bongos." Willie Rodriguez; out in an unpretentious, unhackneyed style. In any case, they serve as an ad- The International All- Stars. Grand array of songs. Avoiding both burlesque mirable prop to the Damone voice, Award GA 33 -421, $3.98 (LP); GA 253 and bathos, Miss Donaghy's recital which, on this occasion, is in excellent SD, $4.98 (SD). should raise an echo in any displaced shape. J.F.I. Crest -riding Command evidently has Irish soul. O.B.B.

82 HIGH FIDELITY MAGAZINE "Patachou Sings Hit Juaags from Hit sively; my own sympathies are all witn "The Shearing Touch." George Shearing, Broadway Shows in French and Eng- the hapless animals and uirds now at the piano; String Choir, Billy May, cond. lish." Patachou; Jo Basile. His Ac- mercy of today's technologies. R.D.D. Capitol ST 1472, $4.98 (SD). cordion and Orchestra. Audio Fidelity Although Billy May's string arrangements AFSD $6.95 5948, (SD). "Swingin' Spirituals." Delta Rhythm are full of treacle, George Shearing is Patachou's program of a dozen - Franco Boys. 57358, $3.98 (LP); always in superb form. It is not easy to American comedy songs is Coral CRL an enterpris- CRL 757358, $4.98 (SD). single out any one number for special ing venture, but one that is only partially The appeal of these souped -up spirituals commendation, but I particularly liked successful. The French side, which in- his diaphanous treatment of Misty, his cludes four of the best songs from Irma will vary with the tastes of the individual Suffice it say rollicking, humorous statement of Honey- La Douce, is a complete joy, while the listener. to that the Delta Rhythm Boys bring sucklekle Rose, and the lightly jazz- inflected American side is only intermittently their customary tight harmonies and free -wheeling style version of Like Young. In the last the pleasurable. The fault lies mainly with string choir suddenly comes to life in her songs, which to bear upon the likes of Joshua Fit de choice of -though all Battle of Jericho and The Old Ark's an equally brilliant effort, and the excellent numbers -are not particularly unanimity of musical ideas produces what well A- Moverin'. The results are jazzy rather suited to her style. Her voice is too than reverent -which seems precisely is probably the finest band on the record. heavy for so lighthearted a song as / what the group intended. Excellent sound, I.F.I. Could Have Danced All Night, and so with the neatly separated stereo edition wistful a number as Hello, Young Lov- "Spectacular Harps." Robert Maxwell, version placing the Delta Rhythm Boys in their His Harps and His Orchestra. M -G -M ers; and her of Just in Time lacks customary squad -front formation. O.B.B. the lilt necessary to bring this song to E 3836. $3.98 (LP); SE 3836, $4.98 life. Her most successful efforts are (SD). reserved tor a sardonic account of Mack "'I'he Exciting Eloise Trio." Decca DL The glittering but overclose and sharp the Knife, and a quite charming version 74077, $4.98 (SD). recording. the extremely high modulation of / Could Write a Book. J.F.I. Eloise Lewis and her two vocal side- level, and the exaggerated stereoisms here men, Bucky and Bert, swing their way are characteristic of the whole new through eleven exemplars of Caribbean M -G -M "spectacular" series (which also "Game Calling in HI -Fi," Vol. 1. Russ song. ranging from easygoing calypsos to devotes a disc each to accordions. brass. Caede, caller; Art Mercier, narrator. torrid cha -chas. The trio keeps a collec- percussion. and harmonicas). My main Mercury GC 100, $4.98 (LP). tive weather eye on mainland audiences. objection, however. is less to the glassy The most singular and specialized instruc- As a result. their style is closer to New unnaturalness of the sonics than to the tion record yet, but much more impres- York than to Kingston: however, they fanciness of the scoring, in which harps sive (to non -Nimrodian listeners at least) command their material well enough to are used more like super -guitars and for its raucously realistic "calls" for fox adapt it without deforming it. Marianne, glockenspiels than themselves. When and coyote, crow and hawk, squirrels, for example, emerges in a fast. low- Maxwell relaxes a bit, as he does in his geese, and ducks of both the puddler down arrangement that barely relates to own more songful Ebb Tide and Chapel and diver species than for its somewhat the calypso -type original. Yellowy Bird in the Pines, or swings with verve in his high- powered and overdramatized narra- and Jamaica Farewell display still other jumping arrangement of Little David tion. Perhaps actual hunters will better facets of this versatile, skilled. and highly Play on Your Harp, there is less mean- relish the Mercier pep talks on how to attractive group. Decca's sound is warm ingless jangling and a lot more real mu- kill wildlife more efficiently and exten- and polished. O.B.B. sical interest. R.D.D.

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CIRCI.E 78 ON READER -SERVICE CARD MARCH 1961 83 AHMAD JAMAL

A delightful listening experience. Violinist Joe Kennedy and guitarist Ray Crawford augment the Jamal trio to make up a stirring quintet. ARGO LP 673

ART FARMER

Nat Hentoff best describes this remarkable Farmer outing. "This album is the fullest and most complete evoca- tion yet of Art Farmer as a soloist." ARGO LP 678

BUDDY RICH

The brilliant drummer is heard here in a- context that co- features vibist Mike Mainieri and

flutist Sam Most. Rich AL ORLY « 7tle T1I7 TN/', ;AN'^ 7tL:.c'>r ., has never been heard

BUDDY RICH to greater advantage. Iticr, Wrvr , at. .a abt .. .. n1++ . - T, A el, +Sr. .a. AND HIS BUDDIES ARGO LP 676

1+ l. .n. 1,. tr.,an t. ' , lat.,Ut .If pl.. a ......

I+S^, Tan m,nf 11a. mn .ta . .-. AL GREY .R, Ta., I Jn sm. 11,r . wen vn,. ! . , 11."Q, twin yew w:nE trlit.r r.s ru1 br..N cf inagelri 11TT, !Sol t .if. ,un. 1 U. t. n.. rvr ce Romping, striding tar as I- U!l. xutn L.tt.r jazz from trombonist 10.r: i .a...dnt n.nt , Iua, ._a tlm,na,m Grey and an eight -man contingent from the -`T, Sn. r. , .. bn. mla. Basie band. Billy Mitchell and Joe New- man are among the soloists. ARGO LP 677

L J

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CIRCLE: 7 ON READER -SERVICE CARD 84 HIGH FIDELITY MAGAZINE 1Count Basie, Joe Williams: "Just the Dave Brubeck: "Brubeck à la Mode." which make one realize that he is not Blues." Roulette 52054, $3.98 (LP); Fantasy 3301, $4.98 (LP). yet quite the polished and assured musi- S 52054, $4.98 (SD). vf Brubeck's arrangement with Fantasy cian that he at first appears to be. He No one else can tease the blues from a Records where he is able, apparently, to is helped on both sides by a stimulating piano with the sly effectiveness of Count record with anybody except his regular young drummer, Clifford Jarvis, who Basie, but lately he has rationed his blues quartet (which is under contract to Co- churns up an exuberant stream of excite- solos more than reason would seem to lumbia) seems to have a happily relax- ment that complements Hubbard's buoy- demand. Here he makes up for this ing effect on him. as though he were ant style beautifully on the faster selec- with solo spots on almost every selection. playing for his own kicks instead of try- tions. The other members of the group And his band shakes the stiffness out of ing to impress the Brubeck cult. This are Tina Brooks, an occasionally provoc- its muscles in these pieces, too. sneaking time he is heard with two regular mem- ative tenor saxophonist; pianist McCoy and slithering around with cogent effect bers of his quartet (Joe Morello, drums, Tyner; and Sam Jones, bass. both in ensembles and solos. Even Joe and Gene Wright. bass) plus clarinetist Williams. a rather wooden singer, warms Bill Smith in a group of airy, swinging Franz Jackson and the Original Jazz All - up occasionally, notably on Mean Old originals by Smith. With Morello and Stars: "A Night at Red Arrow." Pin- World, a performance that gets the best Wright providing a wonderfully lifting. nacle 103, $4.98 (LP). of everything from Williams, Basie, and propulsive foundation, the entire set There is nothing wrong with traditional the band. Williams is at his worst on moves with an infectiously rhythmic jazz. The real problem lies with those ballads and fortunately there are only quality. Smith plays his clarinet more who play it and those who pay to hear a couple in the set. But Basie and the or less in the Goodman tradition. getting it. Jackson heads a fine group of vet- band are heard sufficiently- particularly a pleasantly ripe, seasoned sound, and eran traditionalists who are capable of on the first side -to make up for Wil- Brubeck's piano solos are blessed with overcoming the performance problem. liams' ubiquitous presence. simplicity and an absence of the preten- But even this fine group has to kow -tow tiousness that clouds so much of his play- to its audiences. On this disc, which is Oscar Brown, Jr.: "Sin and Soul." Co- ing with his own quartet. presumably representative of the band's lumbia 1577, $3.98 (LP); CS 8377, evenings at the Red Arrow, a club out- $4.98 (SD). Stan Getz and Strings: "Cool Velvet." side Chicago, there are magnificent per- Brown is not, strictly speaking. a jazz Verve 68379, $5.98 (SD). formances by trumpeter Bob Shoffner performer. However, many of the songs i Getz's long stay in Europe appears to and banjoist Lawrence Dixon (abetted he sings in this remarkable collection of have given him a tremendous lift mu- to an only slightly lesser degree by his own compositions come directly from sically. His playing on this disc is so Jackson on clarinet, and John Thomas, jazz (he has written words to three jazz richly serene, so full of calm assurance trombone) recorded cheek by jowl with instrumental pieces, Nat Adderley's and strength. that one scarcely recog- some of the tiresome comic ( ?) vocal Work Song, Bobby Timmons' Dat Dere nizes him at times. This is a mood al- routines that the customers apparently and Bob Bryant's Sleepy) or draw on bum, but in place of the wispiness that insist on. But the good portions of this some aspect of it. "Being a Negro," has sometimes characterized his playing. disc are so good that one can easily over- Brown remarks in the liner notes, "is not Getz expresses himself with quiet guts. look the trite sections. always pleasant but it is vigorous exer- He takes greater advantage of the full I haven't heard a trumpeter develop a cise for the soul. . . . The melodies I range of the tenor saxophone than he solo with the casually moving assurance make up grow out of tunes, rhythms, used to, occasionally reaching down into that sixty -year -old Bob Shoffner shows chants. calls, and cries that have always its nether regions for a rough -toned. bari- on Red Arrow Blues since the unaffected sung to me. My lyrics are verses about tonelike grunt to give momentum to a days of Louis Armstrong in the Twenties. feelings I've felt and scenes I've dug." lyrical flight. The accompaniment, how- The man is magnificent all through the And what a wonderful, meaningful ever, is the usual big string orchestra set -crisp, clean, unhurried, and exactly mixture he has made of these basic ma- business -swoops of violins and trickling right. And Dixon plays the banjo with terials! His songs are skillfully drawn harp glissandos. It would smother a less the driving lift that makes it a mar- vignettes, each with a sharply focused assertive performer than Getz has be- velously effective rhythm instrument. in- point of view-poignant, ironic. humor- come. But he manages to rise above it stead of plodding along with the dull ous. or glaringly bitter. He makes espe- as he goes through a generally well -se- thump common to the young revivalists. cially effective use of street cries and lected program -'Round Midnight, Born There are times when the band has work songs. His humor is Rabelaisian to Be Blue, It Never Entered My Mind. trouble getting together. but once Shoff - in an essay on the importance of staying However. Whisper Not, which should be ner takes command, with Dixon pulsing "cool." He creates a gentle lullaby that right down Getz's alley, is strangely limp. exuberantly under him, it swings irresisti- gives dignity and strength to a sentiment bly. Traditional jazz becomes a vivid, that was once expressed mawkishly by i Freddie Hubbard: "Open Sesame." Blue vital, current reality. Now if they could Irving Berlin in Russian Lullaby. And he Note 4040, $4.98 (LP). get rid of those vocals. the millennium builds a brilliantly chilling and vivid por- Freddie Hubbard is in the forefront of might be with us. trayal of a slave auction in Bid 'Em In. the new school of young jazz trumpeters As a performer, he projects with tremen- who combine virtuosity and an essentially Don Jacoby and the College All -Star dous authority, and he is given unusually melodic solo conception with a gorgeous- Dance Band. M -G -M 3881, $3.98 (LP). good accompaniment. Not all of the ly full -blown tone that takes advantage V Notice the word "dance" in this band's songs in this collection hit the mark of the fact that this is a brass instru- title. It is important because this seven- squarely. What is amazing is that most ment they are playing. For some reason. teen -piece group. representing as many of them do, and that they treat with fresh- this disc is split between three pieces different colleges, is not a show -off band, ness and honesty themes usually consid- that show off Hubbard's prowess splen- out to demonstrate that. despite its youth. ered only in terms of stereotypes. didly (Side 1) and three on Side 2 it can sound just like a Herman Herd or

MARCH 1961 85 a Basie Brigade. It is a dance band in Earl Hines s band from 1935 to 1942, Ramsey Lewis Trio: "In Chicago." Argo with jazz colorations but, unlike profes- a colleague of Dizzy Gillespie's in the 671, $3.98 (LP). sional jazz bands making a dance album, Forties and, last year, one of the stand- The Lewis trio shows more honest, swing- this group does not equate dancing with out members of Gil Evans' twelve -piece ing spirit in this set than in any of its sleepwalking (vide the recorded efforts band, Johnson has been in the jazz van- earlier discs. Lewis, the pianist, has a of Count Basie or Maynard Ferguson). guard all these years and has constantly light, tickling style that can be worked These players have life and spirit and, made his influence felt. But it is only in up into a strong head of steam (Old considering that they were brought to- the past few years that he has received Devil Moon), and he even ventures to gether for the first time for this record- recognition as a strong and distinctive make a direct, forthright attack occasion- ing, they form a remarkably clean and soloist on tenor saxophone (he also ally (Delilah). But along with this the bright ensemble. This is easily one of played, with Evans, soprano saxophone). trio continues to dish out pretentious the best jazz- tinged dance albums that On this disc he has assembled a magnif- nonsense (the prime example here is a has come along in quite a while. icent brass section (Ray Nance, Clark thing called Folk Ballad), and to resort Terry, Nat Adderley. and Harry Edison), to such unrecordogenic gimmicks as long and has written arrangements for this hand -drum solos. Still, for that twilight Budd Johnson: "And the Four Brass quartet, his tenor saxophone, and a audience that wants something meatier Giants." Riverside 343, $4.98 (LP); rhythm section that sparkle with vigor than Liberace but lighter than Brubeck, 9343, $5.98 (SD). and zest. The brass team really roars there is no doubt that Lewis has worked Although Budd Johnson has been an im- when it gets together, its individual mem- out a highly viable pastiche. portant contributor to a steady string of bers are all fascinating soloists, and John- consequential jazz groups for more than son himself plays in a clean, surging thirty years, he has managed to remain style that cuts through the accompanying Little Brother Montgomery: "Tasty Prestige 1012. $4.98 in relative obscurity (even to many jazz horns like a sharp knife. This is an ex- Blues." /Bluesville fans) until quite recently. A product citing, swinging group heard in a varied (LP). Montgomery is one the blues of Kansas City in the late Twenties, a set of arrangements (Nance switches to Eurreal of member of Louis Armstrong's big band violin on two of them) that allow every- in the early Thirties, the right -hand man one to appear in his best light. Continued on page 88

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CIRCI.E 49 ON READER -SERVICE CARD

8 6 HIGH FIDELITY MAGAZINE COMING NEXT MONTH . . . Tenth Anniversary Issue

When you see the bulky, informative April issue of HIGH FIDELITY, you're likely to say it's worth its weight in diamond styli. It will enhance immeasurably your enjoyment of listening to music at home. It's sure to become a collector's item. Among the many scheduled features by distinguished writers-

Ten Years of High Fidelity The Barons of Bayreuth by Roland Gelatt by Paul Moor In Germany, anybody who's anybody must be seen in the house that Wagner built. The Claude Hummel Diary edited and annotated by Martin Mayer Out, Out Damned Knob Mr. Mayer, himself a record reviewer, here chroni- by Charles Fowler cles the melancholy tale of another dedicated A flight of fancy by the former publisher of HIGH record critic, for whom the perils of his profession FIDELITY, who in ten years has accumulated forty - finally proved too much. four knobs on his scutcheons.

Conversations with Stokowski The Jazz Dilemma by Robert C. Marsh Good -Time Music -or Pure Art? A dialogue with the most controversial conductor by John S. Wilson of the twentieth century. There are those who think of jazz as "show biz" and those who think of it as musical esoterica. Does it have to be either or? FM's Next Chapter by Norman Eisenberg Major Armstrong's problem child, coming out of Great Recordings of the Decade the kinks, now is threatened with a split person- A summary of what HIGH FIDELITY'S critics said stereo. What are the prospects? ality- about them at the time of their appearance.

Confessions of an Ex- Claqueur by Joseph Wechsberg The word "claque" has an ignoble sound to today's ears. It should not have, says the author, himself a sometime claqueur with a most distinguished company.

the magazine for musk listeners ;.- The Shape of Sound to Come by Robert Silverberg GREAT BARRINGTON, MASS.. A futuristic whimsey which is no fantasy, being based firmly on foreseeable fact.

MARCH 1961 87 men who built a degree of reputation in THE BIG NEW the Thirties and Forties, and seemingly disappeared in the Fifties when rock 'n' 1. ECHOING VOICES AND TROMBONES DON COSTA roll came along to overwhelm and cor- WW 7501 (Mono.) WWS 8501 (Stereo) rupt his métier. Now he is being redis- 2. BLAZING LATIN BRASS NICK PERITO covered for recording purposes, and the SOUND WW 7502 (Mono.) WWS 8502 (Stereo) return to the studios represented by this disc provides very +THE 3. GUITARS, WOODWINDS AND BONGOS AL CAIOLA a pleasant renewal of BIG WW 7503 (Mono.) WWS 8503 (Stereo) acquaintance with his gently moving 4. DYNAMIC TWIN PIANOS FERRANTE AND TEICHER piano playing and his plaintive, pene- WW 7504 (Mono.) WWS 8504 (Stereo) trating singing. About half of these se- All lections are instrumental is accom- T 5. MISTER PERCUSSION TERRY SNYDER P. the Stars (he ES WW 7500 (Mono.) WWS 8500 (Stereo) panied by Julien Euell, bass, and Lafa- yette Thomas, a guitarist who is new to ARE ON THE FABULOUS me but is extremely effective in this type of blues performance) and in this setting Montgomery's piano is consistently charming. His singing is erratic, however. There are times when his nasal keening fails to project and turns listless and monotonous. But when he becomes properly involved in his songs (as he does with Something Keeps Worrying Me, for Featuring The Greatest Sound On Records instance, he has the true blues singer's By The Star Of Persuasive Percussion cry. TERRY SNYDER Jimmy Rushing and Dave Brubeck. Columbia CL 1553, $3.98 (LP); CS j51E 8353, $4.98 (SD). DÉ55 COMING SOON! Jimmy Rushing rarely has to fight for ..:Ñ . 1FEapY GOLDEN PIANO HITS FERRANTE AND TEICHER attention on his records. But he is con- r,N°I stantly crowded here by Paul Desmond, COZY EYDIE GORME AND STEVE LAWRENCE who plays some of his most warmly airy Return of the Doodletown Fifers SAUTER FINNEGAN alto saxophone in this set. Offhand, the mixture of Rushing and the Dave Bru- 88 STRINGS Voices & Orchestra RALPH MARTERIE beck Quartet would seem to be one of Motion Picture Themes Cha Cha Cha TITO RODRIGUEZ the more unlikely meetings in jazz. Yet it has worked out splendidly. Rushing is WALL TO WALL STERE_ thoroughly relaxed, showing no evidence ULTRA AND WALL TO WALL SOUND . . . MONAURAL of the hurry and strain that have ap- A product of UNITED ARTISTS RECORDS 729 7th AVENUE NEW YORK 19. N.Y peared on his recent records. And the AUDIO Brubeck Quartet, settling comfortably CIRCLE 88 ON READER -SERVICE C RI) into the role of accompanist with no pressure on it to be "significant" or MONIAGU CHARLES FRANKE! thought -provoking, holds to the sim- MORISON plicity that is by far its best quality. PARKINSON Drummer Joe Morello and bassist Gene BROWN Wright lay down a powerful rhythmic base for Rushing, while Desmond noodles behind him understandingly and turns GREAT MINDS! his solos into models of intense feeling expressed with disarmingly casual direct- GREAT IDEAS ness. In this atmosphere Brubeck drops all pomposity and falls into his most (,real EiIierlidninei1l! winningly unaffected style. The tunes Through the Academic Recording Institute "Time for Ideas" recording series, are standards that Rushing has done fre- classroom facts and theories into the art of conver- quently before. One interesting variant brilliant scholars convert is the slow, silken approach to Es'enin' sation. Interviewers include John Fischer of Harper's, Serrell Hillman of which Rushing has always done in the Time, Virgilia Peterson and others. past as a rousing shouter. It makes a AMERICAN HISTORY-10 records by Samuel Eliot Morison of Harvard. American history from good switch. too. Columbus and John Paul Jones. through the Civil War. western expansion. World War II, and up to the present world crisis. Ben Webster: "The Soul of Ben Webster." PHILOSOPHY - 10 records by Prof. Charles Frankel of Columbia. A look at the past. present and future of free society in philosophical perspective. An intellectual treasure. Verve 68359, $5.98 (SD). A sterling group of swingers take off on LETTERS- HUMANITIES -10 records by John Mason Brown. noted critic. A witty and lucid eval- of great plays. actors. writers. books and many other facets of contemporary culture. this disc. They include, in addition to uation Webster. tenor saxophonist Harold Ash- POLITICAL SCIENCE -10 records by C. Northcote Parkinson of Parkinson's Law. The world's by, who is a leaner. rougher -toned ver- most unstuffy political scientist discusses various forms of government and advances important theories on how these forms of government rise and fall. sion of Webster. trumpeter Art Farmer, new guitarist Mundell Lowe, pianist Jimmy ANTHROPOLOGY - 10 records by Ashley Montagu. noted anthropologist- author. Explorations of Jones. bassist Milt Hinton. and drummer evolution. race. birth, morality. crime. love. religion. education and leisure. A perceptive view disparate as- of modern American civilization. Dave Bailey -a seemingly semblage which jells remarkably well. Ten 12 -inch 33 rpm records per subject (almost IO hours of discussion per subject). Also Webster does two of his broad -bottomed available on 33 ips tape. ballads (Chelsea Bridge is one of them), Write today for free 14 page brochure outlining each of the fifty rliscusiona ... but otherwise he is heard in an urgent. driving groove that has been slighted in ACADEMIC RECORDING INSTITUTE his recent recordings. When Webster Dept. 9A 18 East 50th St., New York 22, N.Y. puts his mind to it-as he seems to here Send details on Great Minds records, easy payment -there are few jazzmen who can match plan and money -back guarantee. the tremendous surging strength of his Name - playing. There's nothing fancy here - just straightforward. swinging jazz, for T Address which one should be grateful. I City and Zone State L JOHN S. WILSON CIRCLE I ON READER- SERVICE CARD 88 HIGH FIDELITY MAGAZINE A major achievement! Viking quality and dependability in a stereo recording playback unit for home use and priced a quality stereo tape recorder below $200. The new Viking 76 Compact is the simplest, most rugged built in America of all tape mechanisms with complete stereo recording to sell for under $200 electronics. ALL THESE FEATURES PLUS A BUDGET PRICE: Records and plays monaural and stereo quarter -track tapes (33/a and 7'; ips). Uses your existing music system for top playback fidelity (As wi-h the 85 Series "Stereo- Compact," you buy only a hlgh- The New gLality transport and recording amplifiers.) A single motor for maximum signal -to -noise ratio. Motor hum 50 db below normal tape output. Wow and flutter less than .2% rms. 80 ac bias for smooth. extended range recording -25 to 16.0OJ cycles± 3 d Viking Tremendously flexible. One quarter -track stereo model which can be used for all types of monaural and stereo recording and duplicating records and tapes. Recoruing and playback quality to meet or exceed professional standards. 16 Compact You'll find the new Viking 76 Compact at most major hi -fi- stereo dealers now. 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CIRCLE. 29 ON READER-SERVICE CARD `all HIGH FIDELITY MAGAZINE Reviewed by R. D. DARRELL

The following reviews are of 4 -track DVORAK: Symphony No. 4, in G, an angel here, and his own relaxed yet 7.5 -ips stereo tapes in normal reel Op. 88 resilient grace is matched to perfection form. by Maag's tender, appropriately small I Cleveland Orchestra, George Szell, cond. but sturdy little orchestra, and by the BEETHOVEN: Symphony No. 5, in EPIC EC 806. 36 min. $7.95. most translucent and air -borne of stereo C minor, Op. 67; Coriolan Over- recordings. Barry Tuckwell's perform- ture, Op. 62 I may have been unduly kind to Perlea's ance in the two horn concertos has many Teutonically romantic Fourth (on Vox) of the same qualities; more romantically Chicago Symphony Orchestra, Fritz Rein- in my anxiety to win as wide a tape au- suave than Stagliano, he lacks some of er, cond. dience as possible for music as endearing the Bostonian's bravura; and of course RCA VICTOR FTC 2032. 38 min. as this. In any case, Szell's deservedly neither he nor Stagliano ever can efface $8.95. famous, far more idiomatically "Czech- the memory of Dennis Brain's unap- ish" performance completel y overshad- proachable monophonic versions. Yet BEETHOVEN: Symphony No. 7, in ows Perlea even at his best, and its ap- there is ample enchantment here, and A, Op. 92 pearance now provides a Dvorák Fourth De Peyer's work alone is irresistible. that I cannot merely recommend but as- Symphony of the Air, Leopold Stokow- sert to be quite mandatory for every seri- ski, cond. SAINT -SAENS: Symphony No. 3, in ous tape library. Not only is the proc- UNITED ARTISTS 2215. 34 C minor, Op. 78 UATC essing ideal, with an absolute minimum min. $7.95. of background noise and optimum chan- Berj Zamochian, organ; Leo Litwin and BEETHOVEN: Symphony No. 9, in nel differentiation, but the smooth ex- Bernard Zighera, piano; Boston Sym- D minor, Op. 125; Leonore Over- pansiveness of the stereoism, the airy phony Orchestra, Charles Munch, cond. acoustics, and the luminosity with which RCA VICTOR FTC 2029. 34 min. 2 ture No. the Clevelanders' inspired playing has $8.95. Joan Sutherland, soprano; Norma Proc- been captured combine to give this first tor, contralto; Anton Dermota, tenor; Epic tape release a top technological As the enthusiastic author of the liner rating. stress Arnold van Mill, bass; Chorale de Bras - I these sheerly sonic virtues notes for the disc version of this work, sus; Choeur de Jeunes de l'Eglise Na- because they are likely to be taken for the farthest I can decently go here is to tionale Vaudoise; Orchestre de la Suisse granted by auditors spellbound by the claim that the present taping approaches Romande, Ernest Ansermet, cond. wondrously songful music itself. my memory of the original master tape LONDON LCJ 80051. 80 min. $9.95. I heard even more closely than the stereo disc edition. Even after long and Throughout the whole recorded reper- HAYDN: Symphonies: No. 94, in close familiarity I can find nothing in tory it would be hard to find a more G ( "Surprise "); No. 101, in D the recorded performance that might dramatic Fifth than Reiner's, a more ( "Clock ") make me want to revise my initial esti- richly romantic Seventh than Stokowski's, mate of it. But it behooves me to state or a cooler or more classical Ninth than Vienna Philharmonic Orchestra, Pierre that Paul Affelder (May 1960) and Ansermet's. And each of these exerts Monteux, cond. other reviewers have been less unreser- such powerfully polarized magnetic at- RCA VICTOR FTC 2030. 47 min. vedly enthusiastic-some of them noting tractions and repulsions that for once $8.95. an excess of hall resonance, others find- potential purchasers can find little help ing that the organ and brass tend to from reviewers -who themselves split The Frenchman's restraint. lucidity, and overwhelm the strings in the finale, and widely in their evaluations of the earlier piquancy reveal a Haydn considerably at least one comparing Munch's per- stereo disc versions. You'll just have to different from the more relaxed and ex- formance unfavorably (except in the hear them for yourself to decide whether pansive "Papa" of Viennese -schooled finale, ironically) with the famous old (for you) Reiner's vigor is exciting or conductors, but his individual approach monophonic one by Toscanini. For- repellent; whether Stokowski's somewhat -is one I find invigorating. though -in the tunately there. is an alternative choice: feminine grace is or isn't beguiling; Clock Symphony -scarcely as searching the generally praised Mercury version whether Ansermet's lucidity enhances or s W¢ldike's. The Vienna Philharmonic's conducted by Paul Paray with the great minimizes the grandeur of the Ninth. vibrant timbres and warm sonorities . Marcel Dupré as organist. And there About the only features here I can are revealed here in the unflawed trans- may be some tape listeners who will still be reasonably objective about are the re- parency of the original master recording. cling to the out -of -print Urania 2 -track cording characteristics: somewhat coarse reel by Swarowsky and Eitner. which and hollow in the louder passages of the remains the most poetic of all, although Fifth; purer and more luminous in the MOZART: Concerto for Clarinet and it is less sensationally stereoistic. other two reels, although I personally Orchestra, in A, K. 622; Concertos for Horn and Orchestra: in D, K. crave greater sonic weight and more of a SCHUBERT: Symphonies: No. 2, in big auditorium ambience in the Ninth. 412; in E flat, K. 447 This last tape has the advantage, how- B flat; No. 8, in B minor ("Unfin- ever, of eliminating the inner -groove dis- Gervase de Peyer, clarinet; Barry Tuck - ished") tortions of the too crowded disc sides. well, horn; London Symphony Orchestra, Vienna Philharmonic Orchestra, Karl Ansermet's performance is also notable Peter Maag, cond. Münchinger, cond. for its exceptionally fine vocal quartet; LONDON LCL 80053. 54 min. $7.95. LONDON LCL 80038. 50 min. $7.95. Van Mill is perhaps a bit overexpressive in his solo recitative, but I don't know At last we can supersede the competent SCHUBERT: Symphony No. 9, in C of any other version. old or new, in but never wholly satisfactory Goodman which all four voices are as freshly at- Munch Clarinet Concerto taping of 1957 London Symphony Orchestra, Josef tractive and as well matched in ensemble. with what is surely the finest version. in Krips, cond. And the "filler" overture is one of the performance as well as sound, which has \' LONDON LCL 80043. 50 min. $7.95. most tautly dramatic readings I've ever yet appeared in any medium. De Peyer's heard of Leonore No. 2. is a new name to me, but he plays like Münchinger's Unfinished will appeal most

MARCH 1961 91 ; A strongly to listeners of romantic tempera- VERDI: La Forza del destino der the veteran Knappertsbusch. Yet ment who are not likely to be disturbed even the tender loveliness of Nilsson's by its somewhat exaggerated tempo and Renata Tebaldi (s), Donna Leonora; singing in the quieter passages and her dynamic contrasts. The lovely Viennese Mario del Monaco (t), Don Alvaro; Et- magnificently ringing high tones in the playing and warm stereo recording are tore Bastianini (b), Don Carlo: et al. climaxes must share honors with the shown off to even greater degree in Chorus and Orchestra of Accademia di stereo engineering here, which gives us the more smoothly lyrical Second. in Santa Cecilia (Rome), Francesco Moli- true opera house depth as well as lateral a first tape edition which in itself nari- Pradelli, cond. spaciousness. As in Das Rheingold, the makes the whole reel a rewarding in- LONDON LOV 90009. Two reels: Wagnerian orchestra is never belittled, vestment. Krips's Ninth. however, is a approx. 85 and 81 min. $25.95 (with yet the more distant soloists are not sheer necessity for more than Schu- libretto). submerged by it. A promising augury for bertians only, for it is music of universal future -and hopefully more extensive - Nilsson and Tristan tapings! appeal. This first tape edition is happily Trovatore the most engaging and invigorating of VERDI: Il all available stereo versions. I long cher- Renata Tebaldi (s), Leonora; Giulietta "G. I. Blues." Sound Track Recording ished the 1952 monophonic LP by Krips Simionato (ms), Azucena: Mario del with Elvis Presley and the lordanaires. and the Amsterdam Concertgebouw. but Monaco (t). Manrico; Ugo Savarese RCA FTP 1045, 27 min., $7.95. his newer reading is more mature. more (b), Count di Luna; et al. Chorus of Victor dramatically robust in the imperious fi- the Maggio Musicale Fiorentino; Orches- The one and only Elvis. echo -chambered nale, and yet- thanks in part to the tre de la Suisse Romande, Alberto Erede, here to overlifesize proportions but more soaringly expansive stereoism -even more cond. personality- packed than ever, sings a radiant and heart -moving. If you've ever LONDON LOR 90005. Two reels: lusty Frankfort Special and the title wondered why the work itself has been approx. 51 and 77 min. $21.95 (with song, a heavily rocking Blue Suede Shoes called the symphony of "heavenly libretto). and Shoppin' Around. even a quite length." you'll find the answer in these straightforward Pocketful of Rainbows, all- too -short fifty minutes of truly an- Here are two of the favorite Verdian in addition to other songs from his cur- gelic music making. standards in the extensive London cata- rent film hit. You may not like him, but logue, both notable for more nearly com- it's impossible to deny that he commands plete scores than competing versions on a powerful magnetism of a distinctively STRAUSS, RICHARD: Don Juan, discs, and both exhibiting characteristic individual kind. Op. 20; Till Eulenspiegels lustige merits (and defects) of London's star Streiche, O. 28: Tod und Ver- singers and early stereo engineering. "The Great Sound of Les Elgart." Les klärung, Op. 2.1 Technically the shortcomings are few Elgart and His Orchestra. Columbia and minor: if we never get the thrills of CQ 695, 28 min., $6.95. Cleveland Orchestra. George Szell. cond. the more recent Rheingold and Aida, These big -hand performances. in broad Eric EC 805. 54 min. $7.95. the less markedly stereoistic technology stereo, have enormous energy, weight, is still sufficient to provide authentic and brilliance. They lumber STRAUSS, RICHARD: Also sprach opera house breadth and immediacy. cumber- somely at their worst. but at their best Zarathustra, Op. 30 Although Tebaldi and Del Monaco are (as in the antiphonal, marchlike Ginger in fine voice throughout (the former. as Snap and a sonorous I Could Be with Vienna Philharmonic Orchestra, Herbert singing the at If always. beautifully; latter You One Tonight) are infec- von Karajan, cond. flour they least robustly, if with scant refinement), tiously swinging. LONDON LCL 80023. 33 min. $7.95. neither brings vivid characterization to his respective role. For me, the honors The more popular Strauss tone poems go to lesser luminaries: Bastianino and "Hits from the Hills." The Merrill Sta- inexplicably continue to fare poorly on Corena in La Forza; Tozzi in /l Trova- it ton Choir. Epic EN 606, 34 min., tape. Stokowski's recent Till for Everest tore. Simionato's Preziosilla and Azucena $6.95. was humorless and graceless, and his both have been highly praised. but a cer- The somewhat misleading title actually coupled Don excessively emotional. al- tain vocal unsteadiness prevents my en- refers not so much to the country -styled though its languishing moments were joying them wholeheartedly. Perhaps it music as to the predominance of com- balanced by some remarkably high -spir- is simply musical prejudice which colors positions by Billy Hill ( Wagon Wheels, ited ones. Szell avoids these extremes in my personal reactions to the over -all per- In the Chapel by the Moonlight, etc.) his generous grouping of all three favor- formances. but /l Trovatore only spo- augmented by an even jauntier Indiana ites. yet for all his energy and dramatic radically approaches full dramatic con- and a richer You're the Only Star. But forcefulness I feel a lack of essential viction, it seems to me. whereas the what gives these lightweight materials gusto in his overinsistent Till and Don. fresher imagination in La Forza and real distinction is the charming and fresh - And his Tod and Verklärung, effectively the more assured craftsmanship (on the voiced singing and the unmannered, somber and agitated in its earlier pages. part of both composer and conductor) buoyant accompaniments. Expansively falls short of genuinely transfiguring hold me spellbound for the full two and brightly recorded, in rather close radiance and compassion in its last ones. and three -quarter hours the present tap- mikings, these varied performances make The recording itself, which dates back ing runs. In this case. at least. the whole a far better "sing along" program than several years, is cleanly competent and is greater than the sum of its parts: one most issued specifically for that purpose. natural rather than particularly impres- may quibble a hit about details. but these sive. I should add, however, that the detract only from the infinitesimally En- tape is not as free from background noise force of the music drama itself. "Soul of Flamenco." Sabicas and as its companion (Dvofák Fourth) debut semble. ABC Paramount ATC 817, 39 release. min.. $7.95. Von Karajan's Zarathustra is disap- WAGNER: Tristan und Isolde: Is- Sabicas is incapable, I think, of ever pointing. One would think it almost im- olde's Narrative and Curse; Prel- producing an uninteresting or a sonically possible to minimize the drama here. but ude and Liebestod ineffective record. This all- flamenco pro- for once even the "Sunrise" opening fails gram (in which he is supported by his to make an electrifying impact. Perhaps Birgit Nilsson (s), Isolde; Grace Hoff- guitarist- brother Diego and an unnamed the conductor takes the Nietzschean man (c). Brangiine: Vienna Philharmonic singer and dancer) is likely to have a metaphysics more seriously than Strauss's Orchestra. Hans Knappertsbusch, cond. stronger appeal for aficionados. how- score: at any rate he makes the music LONDON LOL 90022. 38 min. $7.95. ever, than for listeners unfamiliar with seem unconscionably sluggish. schmaltzy, the subtle idioms and intricate techniques and pretentious. Even the recording Pending the receipt of the just announced of this genre. As always, his perform- seems a bit muddy at times. although this complete Turandot reels from RCA Vic- ances are distinguished by enormous vi- well may be the fault of the orchestra tor. the present work gives tape -ophiles tality and virtuosic bravura. and the close- rather than of the engineers. since many their first hearing of the fabulous Miss ly miked, well- spaced stereo recording details are captured extremely well -not Nilsson. It is no disappointment. for the is dryly brilliant. Even so. some of the least the usually submerged climactic soloist lives up to her great reputation rhapsodies are spun out to what seems midnight chime strokes. I shan't aban- for both vocal and dramatic virtuosity. to a nonspecialist unconscionable length. don my old but still incomparable 2-track In addition, she is given superb support Yet even the newcomer cannot fail to be tape by Reiner, at least until that ageless both by the well -contrasted and scarcely spellbound by the originality and variety masterpiece is reissued in a 4 -track ver- less attractive voice of Miss Hoffman of the spirited Farruca del Camino for sion. and by a sumptuously rich orchestra un- guitars alone.

92 HIGH FIDELITY MAGAZINE -A,r

"Spectacular Harps." Robert Maxwell and Ensemble. M -G -M STC 3836, 27 min., $7.95. Like many other "spectaculars," this most interesting of M -G -M's entries struck me as painfully strident in its excessively *Ott" high -leveled and closely miked stereo saus MARILYN KING disc edition, but the taping proves to be of the famous King Sisters far less sonically sharp and intense, and at the same time more authentically Capitol recording stars glittering. And if Maxwell is too often BREAK -THROUGH determined to make harps sound more you've been waiting for!" like super guitars. mandolins. and glockenspiels than like themselves, he also is says GLENN FORD capable of less jangling music making when he relaxes a bit. as he does with his own songful Ebb 7 ide, and Chapel in the Pities.

"Swing Dat Hammer." Harry Belafonte; L Belafonte Folk Singers, Robert de Cormier, cond. RCA Victor FTP 1025. 38 min.. $7.95. Pure folklorists may legitimately criticize Belafonte for some softening of the rough edges of his prison - and work -sons materials here; but if he does tend to dramatize them, he is careful never to sentimentalize their essential pathos and irony. The moving lament Look Over Yonder, the rollicking Grizzly Bear, and the vigorous Rocks and Gravel are first - rate songs, yet what gives this expansively recorded program its distinction is the GLENN FORD Joins a long concluding jailhouse evening scene, Talkie' and Signifyin'. It is an extraor- Host of Music Lovers dinary spoken and sung sound -picture of in Acclaiming Negro prison life which surely must rank the among the most authentically evocative Startlingly Different of all documentaries which have been given us on records.

Tchaikovsky: Nutcracker Suites Nos. I and 2. Swan Lake: highlights. Orches- tre la "440" MAGIC MEMORY de Suisse Romande, Ernest An- sermet. cond. London LCL 80037. 43 min.. and LCL 80045, 44 min.; $7.95 4 -TRACK STEREOPHONIC each. These are abridged versions of Anser- TAPE RECORDER -REPRODUCER met's celebrated complete Nutcracker ONLY THE crG'fitts and his extensive Swan Lake recordings, WITH BUILT -IN STEREO and they provide intoxicating introduc- "990" 4 -TRACK STEREO tions to the musical delights and techno- SOUND SYSTEM logical splendors of those releases. Yet TAPE RECORDER 1 can recommend them only to those The sensational Roberts "Magic tape buyers who are convinced they can- COMBINES THESE FEATURES not afford the longer Memory" automatically re -plays all or reels. Fine as the "Instant" multiple adjustment head 4- more familiar excerpts may be. they can any selected portion a track stereo record /play 4 -track monaural of recorded give no more than tantalizing tastes of record /play 2 -track stereo playback dual tape Fastest re -wind in history Re- the unbounded treasures to be heard in head outputs dual pre -amp outputs dual cords the complete works. and plays 4 -track stereo Plays power amplifier outputs dual monitor 2 -track stereo Records and plays 4 speakers portable and easily custom "Wild monaural tracks Complete with Percussion and Horns A- Plenty." installed. Dick Schory's New Percussion En- NEW! FOR YOUR CUSTOM power amplifiers & speakers. semble. RCA Victor FTP 1056, 31 min.. $7.95. INSTALLATION THE ROBERTS ALSO AVAILABLE: Model 144 DPA with - 199 -D This reel edition reveals even more im- pre -amps only - in portable case. TAPE DECK & A -905 AMPLIFIERS pressively than the magnificent stereo (na used in Model 990 above) Send for Roberts great NEW Stereo Informa- disc both the inspired bravura of the Send for Roberts great NEW Stereo Informa- tion Kit. 34 tape applications covered. Enclose Schory Ensemble performances the tion Kit. 34 tape applications 25r for handling and postage. and covered. Enclose magnificent authenticity of these big 25c for handling and postage. Roberts Electronics, Inc. Dept. HF -3 -i) auditorium sonics. Lou Wills. Jr.. taps Roberts Electronics, Inc. Dept. HF -3 -A 829 N. Highland Ave., Los Angeles 38 buoyantly in Dancing on the Ceiling, Please send me: and a broken -field runner staggers cata- 829 N. Highland Ave., Los Angeles 38 Roberts Stereo '1-ape Information Kit con- Please send me: taining 39 stereo and monaural applications. I strophically in Stunrh/in'. And as always, Roberts Stereo Tape Information Kit con- enclose 250 leash, stamps) for postage and Schory also explores the more delicate taining 38 stereo and monaural applications. I handling. enclose 25c (cash. stamps) for postage and The name of my nearest dealer. and poetic potentialities of percussion handling. I want a free. no- obligation demonstration. and brass timbres and of stereo tech- 'l'he name of my nearest dealer. Name nology: hear the French horn sonorities I want a free. no- obligation demonstration. Address of Till There Was You, the echoing Name City State multi- trumpet pyramids of The Peanut Address L Vendor, and above all the haunting cym- City State bal surges and evocative French horns L in a magical realization of Beyond the CIRCLE 72 ON READER -SERVICE CARD Sea. CIRCLE 73 ON READER -SERVICE CARD

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Tape Turntables. Ampex has added two stereo. the longer arm also offers greater frequency response to plus or minus two units to its tape recorder line -well, not accuracy in channel balance and greater db from 3 kc to 22 kc. really, because the new Models 934 and equality in crosstalk. "Fortunately, the tweeter operates al- 936 are not recorders. Actually, they Hafler calls the new TA -16 arm the most as well without it. You'd be sur- are tape "turntables." Both are two -speed "Isodyne" (iso, equal; dyne, work, unit of prised how many people write to ask if (71 and 334 ips) units for playing four - work or force). By means of a ten - the bit of plastic is packing material. ttack stereo, two -track stereo, full -track degree offset in the lateral pivot of the I'm astonished that they are able to find and monophonic tapes. Neither of the arm. the TA -I6 is supposed to counteract it. and I'm sure that many others simply new units can be used to make re- the rotational force inherent in a spinning take it out without considering what it's cordings. disc. This force inclines the stylus to for." "There are a lot of fine recorded tapes work slightly harder against the right side Then Brociner brightened and placed on the market," an Ampex executive. of the groove than the left. "Isodyne" a small plastic case with a metal mesh John Larson. told us, "and plenty of (the ten -degree offset) cancels out the front on his desk. people who just want to listen to them." rotational force and makes the stylus "This is our new model T -203 for peo- work equally on both sides of the groove. ple who don't want to tear apart their Also new from Dynaco is a viscose - old enclosure to install it," he said. "The damped arm -lifter, or cueing bar, to be crossover is built in, and the tweeter can sold "for under $10" as an accessory be connected right to the amplifier termi- for both the 12 -in. and 16 -in. arms. nals or across the main speaker connections. Simple? Makes it easier for the Polyurethane Pocket-fuzz. Some compo- user, and we'll cut down the number of nent buyers incline to a curiosity that queries we get about that little piece of runs them smack into trouble with their plastic." purchases. This thesis was aired by Uni- versity's Victor Brociner as he explained Ultrasensitive. Avery Fisher buzzed for the finer points Tape player without preamps. of the firm's new "Spher- his secretary and asked for a special file. icon Super Tweeter" (Model T -20I ). "Anyone can make fancy claims for a The unit's The 934 and 936 differ in one major diaphragm is tiny -about the piece of equipment," he said. "I prefer respect. Whereas the 934 ($199.50) size of a nickel. To disperse its sound to have my customers speak for our new feeds the recorded signals to an external over a wider area. a "diffractor sphere" FM -200 tuner." sits directly in preamplifier, the 936 ($249.50) has self - front of the diaphragm. When the file came, Mr. Fisher plucked This sphere. contained preamplifiers. with an assist from the out a letter and tossed it across the desk. "conoidal ring" around The deck and playback heads in both the diaphragm. It bore the signature of a delighted Mil- disperses the are the same as those included in the sound -says Brociner-I20 waukee listener who had. among other degrees in all planes. Ampex record /playback units, Models things. pulled in a station in Cleveland, 960 and 970. The new units possess How does the customer run into trou- 325 miles away. ble? "See gap a reasonably full complement of controls this between the sphere "FM has now gone well beyond AM and the diaphragm ?" Brociner asked. (fast wind, play, stop, speed, and a head - for enjoyable listening," Avery Fisher shift lever to change from two to four "We insert a little piece of damping ma- maintains. "If you live in New York City track). The 936, with its built -in pre- terial here to smooth out the response. and tried to bring in an AM station from Let me show amplifiers, also has listening level and you." Philadelphia. the noise would be un- With tweezers. on -off controls. Until April 30, purchas- Brociner extracted bearable. With a sensitive FM receiver. ers of any Ampex 900 series playback or from the eighth -of -an -inch gap a minute on the other hand, we can pull in distant square record /playback unit will receive at no of plastic foam (polyurethane stations with ease and without noise." charge six four -track stereo recorded isocyanate, we learned), reminiscent of tapes, along with a brass- finish metal the bits of fuzz one often finds in one's pockets. Reverb Reducer. So much has been said rack for tape storage. about reverberation -inducing "Just as a car's shock absorbers smooth devices that one reads with a the ride," Brociner explained, "this bit sort of perverse pleas- Arms Against Distortion. Dynaco has in- ure about a product that rejects of plastic foam smooths the tweeter's it. The troduced a I6 -in. version of the B & O product? A microphone, Electro- Voice's tone arm and cartridge. In so doing. B "664" cardioid dynamic unit. Not new the manufacturer underscores the longer (it has been around for about two years arm's stereo advantages. or so), the 664, in the manufacturer's "You wouldn't think." Dynaco's David words, "features highly directional sound Hafler told us, "that you could hear the selectivity that reduces pickup of rever- difference between two per cent and one beration and ambient noise up to fifty per cent distortion; the difference between per cent." E -V spokesman Larry Le- a 12 -in. and a 16 -in. arm. But it is audi- Kashman emphasizes that directionality ble." is by no means the only virtue of the The fact that tracking -error distortion 664; but he points out that, for many diminishes with an increase in tone arm amateur recordists attempting stereo - length should come as no news to any phony at home, a directional microphone reader of this magazine. Less well known The T -210's Dif fractor Sphere (A), Di- makes two -channel effects easier for the perhaps is the contention that, with aphragm (B), and Conoidal Ring (C). amateur recordist to control.

MARCH 1961 95 Only PRIGS MAGAZINSM FIDELITY BY TIIGTI pUBT.ISHED e iii EDITION high fidelity s 1961 now offers you Easy Now Stereo's

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THIS economical new annual knocks the conf u- nents, showing how easy they are to install. Page after sion out of stereo. It shows you how to have stereo at page of pictures generate ideas on ways to install stereo low cost ... how to assimilate stereo in any decorative in your home attractively and to the best advantage scheme . . . how popular, jazz and classical music is acoustically. enhanced by stereo ... and lots more. Charles Sinclair asks and answers- stereo on the

Specifically . . . air waves: how much and how soon? R. D. Darrell gives you 10 "sonic spectaculars on stereo discs" and Ralph Freas, audio editor of High Fidelity, discusses lots more information to assist in more active listening. the progress and promise of stereo and tells why you how to the can safely buy it now. Norman H. Crowhurst points Norman Eisenberg tells you get best out the moves toward simplification in stereo compo- sound from your stereo system, large or small. John Diegel guides you to build -it- yourself, including a listing Fill in and Mail the Form Today! of what the wife can do in such a project! John Indcox points out the joys of stereo as experienced by expert listeners. Ralph Berton discusses differences between mono and stereo recordings of outstanding jazz releases High Fidelity, Great Barrington, Mass. 3 61 and offers a "Jazz Starter Set in Stereo." Frances For the enclosed dollar, send me a copy of STEREC -1961 Edition. Newbury reviews briefly 100 outstanding stereo discs of the recent past. The concluding section describes and Name illustrates the very latest stereo equipment.

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From time to time, a component has appeared on the market which was "as good os Marantz". Fortunately for our morale, subsequent investigation has always proved our position secure, and strengthened our reputation for making the finest custom preamplifiers and amplifiers in the world. We invite you to compare the performance of other makes with Marantz characteristics described below:

MOST DEPENDABILITY Repoiss ore so rare that Moron?: devotes less ,-hon 8 manhours per week to service. Compare!

Model 7 Stereo Console LOWEST DISTORTION I.M. Distortion Q 10 v. equiv. ph. RMS ... maximum permissible,- 0.15 %. typical, - 0.1%. Reduces to o few hun- dredths at 1% below about .5 volts output. Distor- tion oes n_t increase significantly al frequency A Prescription For extremes. LOWEST NUM i NOISE Equivalent total noise input. 20- 20,000 cps ... 1 microvolt max., 0.8 microvolt typical f80 db below 10 millivolts input).

Housing Components HIGHEST GAIN At 1000 cps, RIM equalize- von,- 0.4 millivolts f400 microvolts!! for 1 volt our put. FINEST CONSTRUCTION Instrument -type, precision construcnon throughout. Basic circuit on By applying a bit of craft to $126 worth of materials, heavy, fully shock -mounted turret- terminal booed. Wiring neatly cabled. Noise -selected film resistors. Power transformer double -shielded with mu -metal you can shelter your audio gear in fine style. before "polling ". Triple -filtered D.C. filament supply. Fully finished chassis. Front panel, Vert thickness brushed aluminum, pole gold onodyzed. with precision -machined marching knobs.

GREATEST ACCURACY Equalization and tone control curves matched in both channels to 0.5 db. CONSTRUCTING sheets walnut veneer the complete compo- of plywood. A - typical, 0.2 db. nent cabinet (shown above) was, for local carpenter gave assurance that RCA engineer Doug Climenson, a neces- cleat-reinforced butt joints would pro- sary afterthought to assembling audio vide desired strength. The trickiest gear. After getting the rig that suited problem Climenson faced was the place his tastes and pocketbook, one end of to build it. Model 8 his living room was a tangle of "spa- "Joining the two horizontal and four Stereo Amplifier ghetti" and hardware. Let's admit right vertical pieces for each half of the cabi- away that component manufacturers net was done in the kitchen in one 30 WATTS RMS, per chonnel (conservotively have come far in the aesthetics of de- evening," Doug Climenson explains. nosed/ '*0.2 db 20- 20,000 cps. sign. The wires and cables that link "Thereafter, I did the detailed work with HIGHEST STABILITY Will not oscillate under these attractive pieces of equipment to- the frame in place in the living room. any condition, with or without load. Completely stable to capacitive loading. Instantaneous recov- gether, however, still pose a problem. Gluing veneer strip to the exposed ply- ery from major overloads prevents breakup noticed The fact that the three Climenson chil- wood edges took the most time." in other circuit designs. dren -all under seven -live an active The entire job, at a relaxed pace in life in the listening room added spare time, took III LOWEST NUM A NOISE Better than 90 db still Climenson about a below 30 watts, open circuit, with input, typically, another complication. Cabinetry was in- month. Periodic oiling of the surface, better than 100 db below 30 watts. dicated. the only finishing needed, followed. FINEST CONSTRUCTION Sprague type 17D Commercial cabinets didn't suit Mr. "The cabinet has been in use," he telephone- quolity electrolyrics. Epoxy -encapsulated Climenson for several reasons. As he estimates, "for about six months -sub- mylar coupling condensers. Silicon rectifiers. Cabled tells it, "Few I examined gave adequate jected to child and party hazards-and wiring. Metered bias and signal- balance adjustments. speaker separation. The hanging shelf I don't think I would change the design MOST CONSERVATIVE EL34 output tubes idea, used successfully by many, was if I had to do it again." operore coolly. at only 50 mo plate current. considered and discarded. Shelving The principal material costs totaled LOWEST DISTORTION At 30 watts, less thon didn't solve the exposed wire $126. The problem. over -all dimensions of the 0.1% harmonic distortion Q 1 kc, less than 0.3% Nor did I think it rugged enough." cabinet are: 10 ft. 4 in. long, 27 in. high. Q 20 cps. I.M., less thon 0.5 %. Do- it- yourself cabinetry seemed to he 24 in. deep. Detailed construction notes the answer, and a series of drawings he and drawings of the Climenson cabinet The cost? Necessarily a little more...but made brought the project into reasonable are available to HIGH FIDELITY readers. well worth it. Write for booklet 41F. perspective. Power tools weren't needed Send requests to the Audio Editor, High since the local lumberyard agreed to Fidelity, The Publishing House, Great m ra Ira I AK do the cutting from four -by- seven -foot Barrington, Mass. 25 -14 Broadway, Long Island City 6, N. Y. CIRCLF: 57 ON READER -SERVICE CARI) MARCH 1961 97 Continued front page 43

THE MIXTURE THAT IS MILHAUD

eccentric offshoot of Satie, was far too canttm No. 2. that he conducted in full of genuine musical ideas to suc- London on his first appearance there cumb to an image created by journal- after the War. I was at that time in istic sensation seekers. He had begun charge of his studio concerts for the composing during his student days at BBC Third Programme, and our diffi- the Paris Conservatoire, and had already culty was to arrange for him to proceed a substantial number of large -scale without discomfort from his wheelchair works behind him. Furthermore, he to a comfortable seat on the rostrum. believed that the musical language did It is a piece of bitter irony that this not really lend itself to an expression most active and energetic of composers of the comic. The production of Le had become almost wholly crippled by Boeuf sur le toit had been a hilarious af- arthritis. From 1940 there were periods fair, it is true, but this early score is not when even his arms and hands were af- really comic; it is a brilliantly orches- fected and music then simply couldn't trated fantasy on popular South Ameri- be written. The wonderful thing was can tunes (Milhaud had spent some that throughout this time his musical twenty months in Brazil as secretary to mind seemed to become all the more the French Ambassador Paul Claudel), alive and acute. I shall never forget the one of which happened to have this impression made at the London concerts faintly amusing title. by his brilliantly vivacious Kenttcckiana THE ONLY TAPE With the success of Le Boeuf, Milhaud suite. This was a new Milhaud, jaunty, began to pour out a vast quantity of jocular. and alive with fantastic rhythms. FORMULATION THAT CAP- works, which over the years were to "The poor man may have lost the use embrace examples of all forms of sec- of his legs," my neighbor whispered to ular, sacred, and dramatic music and me as we watched Milhaud conducting TURES THE FULL DYNAMIC which he was to conduct in many parts from his armchair. "but they go on of the world. He must be the most dancing in the relentless rhythms of his RANGE OF MUSIC AT NO widely traveled of contemporary com- music." posers. Several of his major works have Dear Darius! Anyone else so afflicted EXTRA COST! been written on journeys across the At- would certainly have been forgiven for lantic and the Pacific -he writes with resting on his laurels. Not so with In the year since their introduction, Sound- incredible speed -and although, as we Milhaud. When he was not actually craft Tapes with FA-4 frequency adjusted shall presently see, he is deeply rooted laid up. his activities were redoubled. formulation have won unprecedented ac- in the traditions of an ancient Jewish Nor did he travel any the less. His de- claim from professional and home record- family from Provence, travel has con- voted wife, the cousin Madeleine whom ists. The ability of these tapes to capture stantly excited his musical imagination. he had married in 1925, looked after the more of the full dynamic range of sound Impressions of the East and of the folk wheelchair, and the journeys went on ... to reproduce subtler "highs" with full music of North and South America are as before all over Europe and across clarity, was instantly hailed as a major im- echoed in his music; folk songs from the Atlantic. It was about this time that he provement in tape recording - and a par- France jostle with Hebrew tunes. Mil- began to return for several months each ticular boon in 4 -track and slower speed haud is able to tackle anything-operas. year to Mills College. California. where applications. Whether your equipment is oratorios, symphonies -but he is not in he had taught during the War and until new or old - you will never enjoy its full any way immodest in his outlook. On 1947, as well as to teach at the Paris capabilities until you hear your first reel the contrary, he approaches certain of Conservatoire. of Soundcraft Tape with FA -4! his bigger tasks with true humility. It was in Jerusalem that I next saw While in chamber music he boasted that him. He was there with his lifelong FA -4 formulation exclusive with he could rival the production of Beetho- friend. the poet and philosopher Armand ven, he announced that the symphony Lunel, to make arrangements for the SOUNDCRAFT TAPES for full orchestra (as opposed to his opera David which he was to write for "symphonies" for chamber orchestra such the three -thousandth anniversary. in frequency as the early Printemps and Pastorale) re- 1954, of the founding of Jerusalem. quires maturity and that he would not Milhaud is a devout Jew, and I could adjusted attempt to write in this form until the see that this visit to Israel had aroused age of fifty. His first large -scale sym- deep associations. In his memoirs Notes phony was in fact written when he was Wit/tout Music, Milhaud gives a fascinat- forty- seven, for the anniversary of the ing historical account of the old Jewish REEVES SOUNDCRAFTCoRP Chicago Symphony Orchestra. communities in Provence, of which he is Great Pasture Rd., Danbury, Conn Chicago: 28 E. Jackson This was the work, together with the Blvd. Los Angeles: 342 N. LaBrea Toronto: 700 Weston Rd. suite Kentuckians and the Opus Ameri- Continued on page 100 CIRCLE 70 ON READER- SERVICE CARD 98 HIGH FIDELITY MAGAZINE THE A.E.S.

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CIRCLE 3 ON READER -SERVICE CARD MARCH 1961 99 MILHAUD

Continued front page 98

a descendant. Jews, he explains there, had settled in this region as traders long before the Christian era. In remote times there were persecutions, but in the later Middle Ages the Provençal Jews lived peacefully as subjects of their benevolent overlord, the Pope at Avi- gnon. Strange as it may seem to us today, the Pope's portrait normally hung on the walls of ancient Jewish homes in Provence, facing an engraving of Moses and the Tablets of the Law, and in the picturesque old synagogues prayers were offered for the Pope as head of state. One of these papal prayers of the Jews, Milhaud set to music. It is one of a series of works inspired by ancient Provençal texts, another being the cantata Couronne de gloire ( "Crown of Glory ") written to commemorate the founding of the modern synagogue at Aix -en- Provence by Milhaud's great - grandfather. On his maternal side there are similarly fascinating records. One of the Jewish patriarchs among his maternal ancestors had been the Pope's doctor. Like many of the Jews of this community Milhaud remained closely attached to his family and its traditions. The opera David was first given in Jerusalem in concert form with the Kol SARKES Israel Orchestra augmented by the Israeli Police Force band. The following year it TARZIAN was magnificently produced at La Scala under Nino Sanzogno. It was not, of course. the first of Milhaud's works in- TAPE spired by Jewish subjects. His two magnificent song recitals, the Poèmes juifs Engineered for Highest Fidelity ( 1916 ) and the Chants populaires hébraïques (1925), for instance, were psychological interpretations of Jewish Here is a tape that you can safely (and scenes and characters. It is illuminating. High Output -can accept signals wisely) adopt as your personal "stand- I think, to compare these rather somber with dynamic range to realize the ard" tape. It is a professional quality tape song recitals with the Quatre chansons full potential of even the finest list price as many de Ronsard, written for Lily Pons, an professional equipment. that carries the same tapes of inferior quality. Consider that unmistakably Gallic work sparkling with gaiety. Behind such works of Jewish Wide -Range Response-virtually inferior tapes frequently damage record- flat response for all recording fre- and French associations is an ancestral quencies. ing heads by abrasion; that their con- background built from the merging of tinuous flaking reduces recording -head two cultures. Milhaud is a Frenchman Low Distortion- distortion is less sensitivity; that the quality of sound is and a cosmopolitan, a Jew attached to than 2'/,% at maximum record level evidently poor even on immediate play- ancient religious practices and a twen- as measured by Navy Specifica- tieth- century sophisticate. tion W -T -0061. it rapidly deteriorates fur- back and that It was thus natural that Milhaud should High Uniformity- uniformity with- ther in storage. Compare the quality char- feel himself perfectly at ease in coöperat- in a 1200 -foot reel is within plus acteristics of Tarzian tape listed at left. ing not only with Armand Lunel but with or minus'/. db. A new oxide for- Tarzian tape makes every tape recorder writers closely associated with the Roman mula and special "selectivity of Catholic and Protestant faiths. He col- oxides protect recording heads perform at its very best. Prove this to laborated over many years with Paul from wear and prevent abrasion. yourself with your personal listening test. Claudel, the great Catholic writer who Humidity and Temperature Pro- There's a written guarantee in every box! provided him with the text of his opera tection-special coating, prim- Ask your dealer for Tarzian tape. If he Christophe Colomb and the scenario of his ballet L'homme et son désir. Mil- ing, and binding techniques help cannot supply you, send us his name, keep Tarzian tape in new condi- haud also wrote the incidental music for tion longer in ordinary good tape and we will see that your needs are several of Claudel's religious plays, storage conditions. promptly supplied. among them La Sagesse and L'Annonce faite ù Marie, and set his translation of the 129th Psalm. The correspondence between Claudel and Milhaud, covering a period of forty -three years, is shortly SARKES TARZIAN, INC. to be published. Likewise Milhaud has World's Leading Manufacturers of TV and FM Tuners Closed Circuit TV Systems Broadcast been inspired by the Catholic poet Equipment Air Trimmers FM Radios Magnetic Recording Tape Semiconductor Devices Francis Jammes, the author of the text MAGNETIC TAPE DIVISION BLOOMINGTON. INDIANA of his first opera, La Brebis égarée; and Export: Ad Auriema, Inc., New York his long friendship with André Gide.

CIRCLE 75 ON READER -SERVICE CARI) HIGH FIDELITY MAGAZINE the most prominent Protestant writer in France of his time, resulted in his setting of Ali.ssa, the text of which is drawn from Gide's La Porte étroite. In the technical spheres of composition Milhaud in his youth created something of a stir by innovations with polytonality. By what law, he asked, must music re- volve around a single tonal pivot? The musical mind, he maintained, is perfectly capable of responding to music based on two or more such pivots, and he pro- ceeded to show that there were examples of two or more keys employed simultaneously in the music of Bach. The last movement of his Fifth String Quartet. written in 1920 and dedicated to Schoen- berg. ends with each of the four instruments playing in a different key (A, D flat, C. and B flat). This was an extreme example of Milhaud's harmonic audacities. and though there are some daring passages in many of his later works, notably the great climax of Les Euménides, polytonality has not been systematically cultivated. Here and there in his work we find combinations of several tonalities, but never for long stretches. His technical procedures have been simplified. Polytonality has been reduced to tritonality or bitonality. I have frequently thought that one is likely to find the surest clue to the work- ings of a composer's mind in his opinions of other composers. Milhaud happens to have some very strong feelings both It's the neu on contemporary figures and on those of the past. He must be one of the few French composers who wholeheartedly Sonotone Ceramic "Velocitone" admire Berlioz. It is an odd fact that in modern times the reputation of this No stereo cartridge -not even the finest great French composer has been almost entirely confined to countries other than magnetic in the world- outperforms it! France. The French are notoriously cruel to the children of their revolutions, and the common opinion held by French Listai .'. . with your own magnetic ... or with any magnetic you can buy musicians -at least until just the other today -at any price. Then replace it directly in your component day -was that the harmony of the revo- system with Sonotone's new " VELOCITONE" STEREO CERAMIC lutionary Berlioz is crude and that his CARTRIDGE ASSEMBLY. Listen again! We challenge you to tell genius as an orchestrator has been vastly the difference. Experts have tried...in dozens of A -B listening tests. And, in every single one, Sonotone's " VELOCITONE" performed as well as or better than the world's best magnetic. Listen! .. perfectly flat response in the extreme highs and lows (better than many of the largest- selling magnetics). Listen ! .. excellent channel separation- sharp, crisp definition. Listen!., highest compliance - considerably superior tracking ability. Listen!.. absolutely no magnetic hum - quick, easy, direct attachment to any magnetic inputs. Listen !. , remarkable performance characteristics unexcelled anywhere. (Write Sonotone Corporation for specifications.) Now listen to the price. Only $23.50...about one -half the price of a good stereo magnetic cartridge. Yet Sonotone's overrated. Milhaud sees Berlioz in an "VELOCITONE" stereo ceramic car- ,. utterly different light. On a recent visit tridge system cannot be outper- ~ to him at his apartment in the Boulevard formed by any magnetic -regardless á de Clichy in Paris I observed that Berlioz of price. is one of the two composers -the other is Erik Satie -whose portraits hang from the walls of his music room. The un- expected sight of this portrait intrigued me, and I was anxious to know more Sonotone® P. about Milhaud's admiration for a com- ELECTRONIC APPLICATIONS DIVISION, ELMSFORD, N. Y., DEPT. C4 -31 IN CANADA, CONTACT ATLAS RADIO CORP., LTD., TORONTO Continued on next page LEADING MAKERS OF CARTRIDGES SPEAKERS TAPE HEADS MIKES ELECTRONIC TUBES BATTERIES CIRCLE 79 ON READER -SERVICE CARD MARCH 1961 101 MILHAUD

Continued from preceding page

beauty IS poser who, though his genius cannot be denied. was guilty. I suggested. of certain harshnesses or extravagances. The Bozak speakers embody furniture passage in Berlioz's Requiem for flutes art at its best. and trombones alone seemed to me a Every cabinet is authentically styled, case in point: 1 find it a self- conscious effect. Milhaud insisted that this was a flawlessly executed in the very finest woods, hair- raising piece of instrumentation, then painstakingly hand finished. and he made it clear to me that Berlioz

They are a pleasure to see and touch, and will was altogether a composer after his heart -he could do no wrong. Mahler, handsomely complement the most similarly. is a composer he greatly ad- elegant decor. mires. though not uncritically; Schoen- berg too, though not Bruckner and certainly not Brahms. Gradually. I began to have a new light on Milhaud's musical personality. What he stands for is music that must on no account be precious. Preciosity. he maintains. an excessive attention to pret- tiness of detail, a supersensitive response to the beauty of sound for its own sake -this "decadent" aesthetic as it used to be called. and rightly so. as Milhaud

believes -can lead nowhere. He is the enemy of Impressionism, "which caused music to be scattered into pieces," as he put it. "or to vanish away like smoke or beauty DOES a show of fireworks." Here, I believe. we may begin to understand Milhaud's phenomenal fertility. If musical Im- Bozak speaker systems, pressionism, where the color of every superbly engineered and built to note must be carefully pondered and as- sessed. where a refinement of sensibility uncompromising quality standards, are brings to the surface all sorts of ambiva- unequalled for realistic reproduction lent feelings which ultimately cancel of vocal and instrumental music. themselves out and leave music to vanish into thin air all these ravishments You can't buy better. -if can be forgotten. then indeed the way For example, the Provincial three -way system may be opened for a sturdier and more shown above is a perfect choice vigorous type of music. Milhaud believes that once Impressionism has been for a moderate -size room. Mono or stereo, abandoned. music will again be written its performance is transcended fluently and abundantly. only by the larger Bozak Systems. What. in this context. had Milhaud to say of the two idols of the golden age of French music. Debussy and Ravel? Provincial systems star! ai $217 and are available through Bozak Franchised Dealers. Debussy had been the greatest revelation of Milhaud's youth. and he maintained that his admiration has not diminished over the years. He did not mean this in any contradictory sense. Debussy. in Milhaud's view, is not essentially an Im- pressionist composer: the poetic reverberations in his work go far beyond the fleeting Impressionist aesthetic. With DARIEN, CONN. Ravel it was another matter. Though the two composers were rather close friends -at the beginning of his career Milhaud received much encouragement T H E V E R Y B E S T I N M U S I C from Ravel -the latter's artistry and refined workmanship. his preoccupation CIRCLE 25 ON READER -SERVICE CARD with dainty filigree work. is precisely

102 HIGH FIDELITY MAGAZINE what Milhaud feels to be so sterile. There are only a few pages of Ravel that genuinely move him. Significantly, they are the big dramatic effects in the Concerto for the Left Hand and the tenderness of the final scene of L'Enfunt et les sortilèges. Milhaud denounced La Vnlse as "an overelaborate work in the style of Saint -Saëns shot through with memories of the Russian ballet." I have been privileged to know Mil - haud's music over many years. I have followed his evolution and observed the response to his music in many countries. But it was in this close scrutiny of his own personal reactions that I felt I had come nearest to an understanding of his musical mind. In the end I felt that the choice of those pictures of Berlioz and Satie told me as much as anything about Milhaud. He has the idealism, the vigor, and the rough -hewn qualities of the one and, deep down, the naïveté and poetry of the other. As for his theory that the musical language does not lend itself to an expression of humor, this may very well be. But a fantastic story Milhaud told me about Satie and Schoenberg proved that he himself has a very keen sense of humor. I had not known that the works of these utterly dissimilar composers were known to each other. In- credible as it may seem, Schoenberg, during the time he was lionized in Vienna, was much attracted to Satie's tiny pieces and planned to have them performed there. A difficulty arose, however, over the inscriptions that appear in Satie's works. His pieces, as is well known, are covered with all sorts of droll remarks, printed in red, intended for the private amusement of the performer. This point had completely escaped Schoenberg, who arranged to have Satie's freakish remarks translated into German and declaimed in a rhetorical manner from the platform during the performance. "Ali, le fourneau!" ( "the fat- head") Satie burst out when told of this ponderous project. And as he told me Decorate your home with... of this untoward episode, Milhaud laughed heartily. Living Music She,nmeAHI -FI

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CIRCLE 44 ON READER- SERVICE CARD MARCH 1961 103 COMPRIMARI Continued front page 46

eight a week. She remembers all too vividly the time in the middle of her career when she sang ten performances in a row. Nowadays the pace is not so hectic, nor, for that matter, so exciting. Basically, the difference is due to AGMA, which has established a maximum of four appearances a week per artist in return for the weekly paycheck. Beyond that, the management must pay an extra the sight fee, which the artists often would welcome but which is seldom forthcoming. and sound Managerial foresight and an extensive roster have reduced the average number of beauty of performances for even the most sought -after comprimario to a relatively quiet two or three a week. Miss Votipka has used this unaccus- tomed leisure not only to teach, but also to reflect a little on the pleasures and vicissitudes of her way of life. She refers to her repertoire as "Western union TSE -3AS $3995 NET parts"-not many lines, but usually important ones. "What's more, it's all the job I want or can really handle. Leading WITH 3 JENSEN SPEAKERS parts? No, I never had such great ambitions, because I never thought I'd be Superbly styled shelf or table -top "compact" with full hi -fi range of fine consoles. better than Flagstad or Traubel. Those Jensen 12" woofer and two 3%" tweeters wired in crossover network to 8 -ohm input. women and others like them were born Woofer and enclosure perfectly matched with Argos Tuning Tube. Overall range for star roles. I had a nice voice, and I 40 to 17,000 cycles. Polarized screw terminals phased was always a good musician and a quick for stereo. Exclusive "wood grain" pyroxylin covering, study, so I've stayed right in my little walnut or blond. 27W x 14!.x" x 10" deep. O nest. I do my little part, and I love it At your high fidelity store, or write Dept. H, Argos there. It's warm and comfortable." Products Company, Genoa, Illinois. Products Company And from that nest Tippy and her col- CIRCLE 8 ON READER- SERVICE CARD leagues have been insulated from the Sturm and Drang of the prima donna world. It has given them all delight to see the ascent to fame of one -time members of their league -Harshaw and Listening Post Votipka were fellow Valkyrs more than once, and Paul Franke was often a Mes- to the world of senger to the Verdian King of Egypt whom Lucine Amara served as a Priestess -but essentially they remain content Opera away from the uncertainties of stardom. As Votipka says, "the star's dressing room Britain's only magazine devoted entirely to Grand is right next to the exit." Opera - "OPERA" - is your listening post to The rewards of a comprimario career world performances. Vivid reports by British are not for everyone, though. "It de- and Continental authorities, With graphic photo- pends on your personality. If you're al- graphs. OPERA. founded by the Earl of Hare - ways wishing for the top, then its rough. But if you enjoy your little without wood, is essential reading for opera lovers. bits, that consuming desire to be bigger than Edited by Harold Rosenthal with regular con- anyone else, then it's marvelous." tributions from John Warrack, Philip Hope - There are others who appreciate this Wallace. William Mann, Andrew Porter and Desmond Shawe -Taylor. attitude, and not the least of these are the opera managers. Among those who So that you may enjoy and judge this magazine for yourself, mail the coupon most fervently bless the availability of a

below with $ 1 bill or check, and three different specimen copies will be sent flexible roster of comprimari is young to you by return of post. Then you will want to have it sent to you regularly. Robert Herman, Artistic Administrator of the Metropolitan (and son of Brook- lyn Dodger baseball immortal Babe Her- Send $1 for three specimen man, an unlikely but evidently effective heritage). Generally speaking, Herman, copies of OPERA together with Rudolf Bing and other members of the managerial staff, has the CLIP COUPON AND MAIL WITH $1 BILL OR CHECK leading singers for most productions set To: OPERA, Rolls House Publishing Co. Ltd., Rolls House, Breams Buildings, London, E.C. 4, England well over a year in advance- subject only of I enclose $1. Please send me three different specimen copies OPERA. to the vagaries of whim, weather, and viruses. Final complete casts for the NAME majority of the operas are not promul- ADDRESS gated until five weeks in advance. The complexities of scheduling and running rehearsals so that all the space and all HF 61 the artists are efficiently utilized is the CIRCLE 63 ON READER- SERVICE CARD 104 HIGH FIDELITY MAGAZINE responsibility of Company Manager Frank Paola, but the initial headaches are Herman's. With seven and sometimes eight works to mount each week of the season, the headaches can be profound. S -2200 -S -3000 DI-Sherwood tuners have The stars, though, and not the myriads consistently won outstanding honors from of small parts, give the trouble. "The most recognized testing organizations. They comprimari are no problem at all." Her- feature 095yv sensitivity, Interchannel Hush noise muting system, "Acro- Beam" tuning man claims. "The Metropolitan has the IMF eye, cascode balanced input, automatic fre- finest group in the world, soloists so rich S2200 FM /AM /MS Staraa Toner -5111.00 quency control, and on the S -3000 III, "local- and flexible that we can without hesita- distant" switch, "Corrective" inverse feedback. tion substitute one for the other and be assured of high standards. If De Paolis S -5000 II -"The Sherwood S- 5000... shows no has sung a role one night, then Paul compromise or corner-cutting in design or Franke could do it the next, or Charles construction." -HIGH = IDELITY MAGAZINE.

Anthony the third." -7 The Sherwood S -5000 was highest rated by the were easier in the pre - Perhaps things 8400011I/MX liewi aw-SIDs so American Audio Institute (and other testing AGMA days, when a good leather- lunged agencies)... now even better, the S -5000 II comprimario could be used until he has 80 watts music power, scratch and rumble filter effective on all inputs. Plus Single/ dropped for not a dime more than his Dual Bass and Treb e Controls, Mid -Range weekly salary, but Herman doesn't yearn Presence Rise, Stereo -Mono Function Indicator

II . 0 Lights, Phase -Reverse Switch, and Damping Factor Selector. Á a1 5-5500-Same as S -5000 II except 50 watts SSOOOtt Stow Dual Amptihar- Praamp music power, no presence rise. 80 with murrt poar- $199.50 $159.50.

New modular component furniture-The sera ous hi-fi enthusiast will appreciate Sherwood's new cabinetry In fine hand -rubbed walnut. Sherwood also makes FM Multiplex Adapters and Crossover Networks as well as these out- for the past. More often than not he tries standing Monophonic units: S -2000 II FM /AM Tuner $145.00. S -1000 It "Music Center" to use his casting assets in a sparing and Amplifier-Preamp. 36 watts $109.50. sings roles careful manner. "If an artist Sherwood Electronic Laboratories, Inc., 4300 like Guillot, Remendado, and L'Incredi- N. California Ave., Chicago 18, Illinois. bile, then three performances a week is the absolute maximum I'd ask for him." There's no sense in squandering hard-to- come-by riches. The requirements of drama being what they are -very few Western Union messengers are female -active male c'om- primari outnumber their sister artists by close to two to one, with tenors and baritones predominating. The Met's roster book has three pages devoted to men, two to women. This disparity is one of the guides Herman and the Met staff must use in hiring new talent. Another and more cogent criterion is established by the Association's long -term plan to develop new stars. Harshaw and Amara were not accidents. The chance for growth and development is most definitely offered, and talent and ambition are nurtured. As Herman puts it, "We Modular Component Furniture don't engage a comprimario as a general rule unless we feel that the artist has potential. And an artist will usually have the opportunity to sing major roles, at least at the student performances, to ex- hibit that potential on the stage. Only for those wonderful "There are, though, those who want the ultimate few, such as De Paolis, Cehanovsky, Lawrence Davidson, Calvin Marsh, and Thelma Votipka, who are happy doing the tiny roles and who make a real artistic performance out of them." Backstage at opera houses and recording companies the wheels turn and plans are made and schedules are published, but for any managerial operations to make sense, the basic need must still be human artistry and, more particularly, human devotion. To labor beautifully in relative obscurity is the eomprimario:s lot; that there are enough opera singers to whom this is reward enough is one of the wonders of this irrational art. CIRCLE 97 ON READER- SERVICE CARD

MARCH 1961 105 RECORDING HALLS proximates the resonance of a real hall. The discovery and exploitation of halls Continued front page 33 with fine acoustics thus remains a subject of major concern. violinist took precipitous flight. Any list of recording locales in com- Often musicians are turned around to mon use has to begin with London and aim the sound at some part of the hall Vienna -the two major international re- (usually made of wood) which reflects. cording centers. In London the halls our On the other hand. when Everest re- most prized and used are Kingsway Hall cords in Pittsburgh, the engineers remove in the building of the West London Mis- components wooden the shell in the Syria Mosque. sion of the Methodists and Walthamstow This reflector supposedly enhances sound. Town Hall. From the plethora of record- but Everest finds that it actually soaks are ings made by many companies at these up the lows of the double basses. tim- places one can mention as examples from pani, and big The wall at not drum. brick Kingsway Hall the London Daphnis and the back gives those instruments "some- Chloi' under Pierre Monteux and the so thing to push against." Angel Der Rosenkavalier, Abduction Walthamstow a Town Hall, British from the Seraglio, and Falstaff; the .Lon- hot auditorium much favored for recordings. don Peter Grimes and the Angel record- has a big balcony which the engineers ings of Delius and Sibelius under must decide either to cover up or lea* Beecham tell what is being done at open. The problem is solved according Walthamstow. One or the other is ranked to the taste of Those working there or the first by nearly every company recording requirements of the situation at hand. in London. When they are unavailable, Curved ceilings are notorious for slap - the Town Halls of the suburbs of hack. and at Manhattan Center in New Wembley. Hornsey. and Watford are York (a difficult hall to work with in often used. The only other really im- spite of its popularity) goboys-an acous- portant recording site in London for or- We mean that literally, and fact is, were tical shield-are sometimes placed on the chestral music (the Royal Festival Hall ceiling to prevent sound from leaking is virtually never used) is the EMI stu- proud of it: into the balcony. dios in Abbey Road, St. John's Wood Most engineering triumphs have been (the Handel- Beecham Solomon is an ex- achieved over exceptionally lively halls. ample of EMI studio sound). No high fidelity unit can be expected to Excess reverberation can be dampened provide long, reliable performance unless and brought under control with drapery and careful mitring, but there is relatively' its components are completely stable. little that one can do with a dead hall This is why Sargent -Rayment design where the sound is blotter -dry and high frequencies die aborning. The result: engineers take extreme care to minimize most engineers prefer an overlive hall. But wait: the choice is not always heat dissipation within the chassis of S-R clear -cut. Once a recording has been tuners, control centers, and amplifiers. made. reverberation cannot be eliminated. It can, however, be added. Some engi- For example, all heat -producing resistors neers would rather risk an overly dry are mounted on top of the chassis, rather recording, knowing that a nice. round echo can be added later. The classic than inside, which effectively prevents technique for this is the echo chamber. the internal ambient temperature from The recorded sound is simply played into the chamber and re- recorded en route rising and damaging sensitive components. from its resonant walls. The echo chamber is de rigueur in the pops and semi - pops field; it produces a poly- voiced- Try the hand heat test on conventional Presley or creamy -Melachrino effect - Vienna's halls are many. The Mu- equipment, then on Sargent -Rayment. the sort of I -love -you-even- though -l'm- sikvereinsaal (home of the Vienna Phil- way-out -here kind of sound. Pop records. harmonic) is popular; its elaborate ba- We guarantee S -R will be cooler by far. so the story goes, are made by setting up roque interior produced the quality sound an echo chamber and then deciding of Beethoven's Ninth under Von Karajan whose voice will be sent into it. (Angel). The Sofiensaal (a ballroom in The echo chamber apparently saw which Johann Strauss used to conduct) more use in recordings of classical music is used exclusively by London. and was Ask your dealer about Sargent -Rayment's some years ago. when skills to bring the scene of the Rheingold, Aida, and "seven steps to superior reproduction," about consistent sound at the recording Fledermaus stereo recordings. And. of session were lacking. To this day Colum- course, Vienna's bulky Konzerthaus has and, if you're planning a component sys- bia has a famous stairwell in which very three different halls that are frequently well -known recordings have bounced up employed by the smaller companies (see tem, ask for a copy of the S -R High Fidelity and down stairs picking up some needed "Night Lights in the Konzerthaus." HIGH Planning Folder. reverb. A while back. Scheherazade was FIDELITY. November 1959). sent down the stairwell, awakening a In Paris, the Salle Wagram (a big. stray dog who sought refuge from Sev- barnlike convention hall structure that enth Avenue. The dog was, it turned was the scene of Capitol's Carmen under out, something of a music critic. His Beecham). the Salle Pleyel. the Salle de opinions may be heard occasionally on la Mutualité (favored by London's en- the finished recording. gineers), and the Théâtre de Champs S Columbia. Everest. and Capitol ac- Elysées have been used but without really R knowledge the use of the echo chamber exceptional results. In Milan. the Scala Sargent - Rayment Co. and electronic reverberation devices, ar- theatre is commonly used for operatic 4926 E. 12th Street, Oakland 1, California guing that any means of improving sound recordings but it has drawbacks -its desirable. Many others. plushiness eats up the brilliance of the 30 Rockefeller Plaza, New York 20, N.Y. is legitimate and however, feel that their effect hardly ap- sound, and streetcars bang and rattle CIRCLE 74 ON READER- SERVICE CARD 106 HIGH FIDELITY MAGAZINE outside. An abandoned basilica is sometimes used as an alternative but it too has the streetcar problem -solved only by recording in the dead of night. The lobby of the Brescia Opera House the served for Mercury's recent recording of Paisiello's Barber of Seville. The theatre itself was deemed unsatisfactory; as the well- mannered engineers were on their way out, dejected and discouraged. one of them took note of the lovely resonance produced by their record footfalls in the lobby! In Rome. the small hall of the Ac- cademia di Santa Cecilia, the Rome Op- changer era House, and the Foro Italico concert hall of the Italian Radio are used. Vie- s Soria Hall in Geneva (for the Orchestre de la Suisse Romande) and the Con - certgebouw in Amsterdam are two fine European concert halls which hold up as recording studios -their rich, mellow sound is distinctive. Germany has many new halls and studios -the old ones were gutted during the war. Good results have been obtained in Berlin and Cologne. In New York. ballrooms are the thing: Manhattan Center (favored by RCA), the St. George Hotel in Brooklyn (favored by Columbia), and the Great Northern Hotel (favored by Mercury). All provide spacious quarters well adapted to stereo recording. Elsewhere Treats your treasured records respectfully,gently, in this country, the big concert halls are *GENTLY AUTOMATIC* with all the care you would want them to receive. commonly used: Boston's Symphony G LASER * STEERS Superb for stereo and monophonic records. Hall and Chicago's Orchestra Hall World's only changer with "Turntable Pause ". (noted for its proscenium which radiates $59.50 at hi -fi dealers. Write for brochure. Dept. out into the hall itself, obviating the usual proscenium problems) are consid- GLASER- STEERS CORP. 155 ORATOR STREET NEWARK 4, N. J. GS*77 A subsidiary of American Machine and Metals ered particularly good. The Syria Mosque Inc. in Pittsburgh, Northrup Memorial Audi- CIRCLE: 41 ON READER -SERVICE CARD torium, Minneapolis, and the Eastman Theatre, Rochester, are used in recording the orchestras of those cities. Other locales include a beer hall in St. Louis, the Capitol Tower in Los Angeles. and the Broadwood Hotel Ballroom in Phila- delphia. In Detroit, what with the short- (300060000 comings of the Ford Auditorium, a dilap- idated old theatre and a high school audi- "THE GRAMOPHONE" IS TO BRITAIN AS torium have been used. Several years "High Fidelity" IS ago Columbia /Epic abandoned Severance TO AMERICA. Hall in Cleveland in favor of the more resonant Masonic Hall; but the former * .4uthoritatfre Record Reviews has since been renovated. the acoustics are now satisfactory, and the recording * Interesting and Informative engineers have moved back in. Articles According to the people who ought 0009090.00o to know -recording directors- stereo has * Technical Reports not signaled any fundamental change in recording philosophies. But it has enor- "The Gramophone" is available mously magnified old problems and in- by Annual Subscription S4 which troduced some new ones. Stereo demands more room to work in so that direction- can be remitted by International ality can be achieved. Even more im- Money Order or Personal Dollar portant, it demands optimum reverbera- Cheque to: tion for its sense of depth. Columbia's THE RECORD STAND move from the Academy of Music to .k,,. "The Gramophone" IN amnion MN' WM the Broadwood Hotel Ballroom for their MOW Subscription Department (2), owl .0.111 MINN Philadelphia Orchestra recordings was 49 Ebrington Road, prompted by the need for better stereo Kenton, Harrow, separation. A specimen copy will be sent free, The ultimate choice of a hall for re- on request. Middlesex, England. cording and the use made of it rests on a subtle combination of taste and technique. "Realism" is a relative and a "THE GRAMOPHONE" also publish quarterly the subjective term, and recording acoustics LP CLASSICAL and POPULAR RECORD CATALOGUES is still more art than science. Like any - art, it demands skill, knowledge, taste, Annual Subscriptions $3 and $1.50 respectively and discretion; it is certainly not the easiest to master. CIRCLE 43 ON READER- SERVICE CARD

MARCH 1961 I 0 EQUIPMENT REPORTS WOLLENSAK Continued front page 50 WORLD FAMOUS FOR PRECISION QUALITY SINCE 1899 tweeters. In a "live" listening room, the diffusion of high frequencies effectively compensates for this rise, resulting in what sounds like a flat response. Above POWER- ZOOMCAMERA Fully automatic. II kc, where our microphone response Takes zoom- action begins to roll off. the Ionovac continues telephoto, normal or to hold forth without change. With due wide angle views at touch of a button. allowance for the 6 db /octave slope of Electric eye expo - the characteristic, the response of the sure.Cont inuousrun feature. Moderately tweeter could be said to be within plus priced. or minus 1.5 db from 3 kc to beyond 12 kc, with the upper end limited by our microphone. Such smooth response would be expected to sound good, and it does. It has a clean and very transparent character, completely free from stridency or other unpleasant characteristics. Of course, its contribution is solely that of the upper harmonics of musical programs. But the highest frequencies are AUTOMATIC PROJECTOR. Feeds film right important not only to realistic reproduc- onto the take -up reel. Starts movies by itself. Forward, reverse, still. Zoom tion. but severely mar the over -all sound lens increases picture to almost twice if they are peaky or distorted. The the size without moving projector. 750 watts. Moderately priced. Ionovac does its job exceedingly well in its frequency range. Tone burst pictures showed good STEREO TAPE RECORDER. Compact and powerful. Choose from: Monaural, Stereo or transient response. The photo of a the new Stereo Electronic Control that plays continuously, repeats any portion, turns off by itself. Plays all the latest 2 or 4 track stereo tape releases with second channel directly through radio, TV or hi -fi for magnificent 3rd dimensional sound. Simplified keyboard controls, dual speeds, unique "Balanced-Tone" hi- fidelity. Light enough to carry anywhere. Hear a Wollensak at your dealer ... check the features and low prices. WOLLENSAK OPTICAL COMPANY CHICAGO 16, ILLINOIS

CIRCLE 94 ON READER -SERVICE CARD

Typical burst (with "reflections "). Trader's Marketplace Classified Advertising typical tone burst, taken at 3.6 kc, was taken indoors. and some ringing is due to room reflections. ORDER FORM Polar response, or dispersion. of the Ionovac at high frequencies is unsurpassed by anything but the most elaborate tweeter arrays. It is very smooth Fill in coupon below and mail, with check or money order and free from minor lobes, with a 3 -db (no cash). Rates 45c per word with no charge for name and +30 +20. +10 0 -10' -10° -30 address. Print or type your ad below.

HIGH FIDELITY MAGAZINE Great Barrington, Massachusetts

beamwidth of about 80 degrees at 7.5 kc. In listening, practically no directivity can be detected. The Ionovac, we feel, is well suited for use with "efficient" speakers such as NAME which Next issue only folded horns, are difficult to mate STREET with electrostatic tweeters because of ef- El Next 3 issues ficiency differences. With suitable level Next 12 issues CITY ZONE padding, it is equally compatible with the á Payment Enclosed lowest efficiency speakers, particularly STATE those having smooth, clean upper- middle frequency response. H. H. LASS.

HIGH FIDELITY MAGAZINE TOSCAi\li\[ IN STEREO COMPONENTS -Best Quotations -Turntable sale. Bayla Co., Box 131 -F, Wantagh, N. Y. Continued from page 41 TRADER'S MARKETPLACE

HIGH FIDELITY, 1 -96. Best Offer. J. C. Taylor, equally, with one side in antiphase to the 4212 Glencrest Rd., Minneapolis 16, Minn. other in order to increase the reverber- Here's the place to buy, swap, or sell ance of the sound and produce greater used equipment, records or what have ACROSOUND S -1001 stereo preamp and stereo 20-20 spatial realism. At appropriate levels you. Rates are only 451, a word (no amplifier, like new, assembled, in factory boxes. these signals also add filler to the po- charge for name and address) and Sell both for $110. $200 value. Schultz, 373 Car- your ling Rd., Rochester tentials gaps left by the filter system. advertisement will reach more than 110,- 10, N. Y. In the early days of my work I found 000 music listeners. Remittance must accompany copy and insertion instructions. that certain repertoire lent itself more FOR "HARD TO GET" records -all speeds -try our readily to successful stereophonic simu- Copy must be received by 5th of 2d Rare Records Department. Record Exchange, 812 month preceding is Seventh Ave., New York 19, N. Y. lation kinds: music of publication and sub- than did other ject to approval of publishers. massive quality with wide tonal con- SELL: Weathers long and FM cartridge and arm. Best Offer. trasts, orchestrations with Warren L. Roepke, Route 3, Manhattan, Kansas. frequent solo passages where solo instru- RARE 78's. Write RecordLists, P.O. Box 2122, River- ments emerge clearly from the accom- side, California. WANT: McIntosh MC -60's, C -20, Marantz amplifiers, panying orchestral colors, slower move- Model 7 preamp, AR -3 speakers. R. G. Brandom, ments offering greater time opportunity 403 Dogwood, Mount Pleasant, Texas. HARPSICHORDS, CLAVICHORDS -Excellent modern Ger- for adjustment -all these offer excellent man instruments by Sperrhake. Beautiful cabinetry, moderate prices. Robert S. Taylor, 8710 Garfield EXCELLENT QUALITY potentialities for conversion. Mussorg- Street, Bethesda, Maryland. RECORDING TAPE -7" reels. sky's Pictures at an Exhibition, Respighi's 30 -15000 cps guaranteed. 1800' Acetate, 3/5.10- 6/10.00; 1800' Mylar, 3/6.60.6/13.00. SPECIAL, Pines of Rome and Fountains of Rome, 2400' Mylar, 3/7.20- 6/14.25. Plus 15c PP 8 Han- dling per reel. Foto Sound, 88 with their massive colors and program- PROMPT DELIVERY, We will not be undersold. Harbor Road, Port Washington, N. Y. matic nature proved ideal. Contrapuntal Amplifiers, tape recorders, tuners, etc. No catalogs. Air Mail quotes. Compare. L. M. Brown Sales works with little tonal contrast (in terms Corp., Dept. F, 239 E. 24th St., New York 10, N. Y. of separation of instrumental ranges) AMPEX- FISHER -LEICA: Ampex 601, 960 recorders, 620 speaker -amplifier; Fisher amplifier, preamp, represent much more of a problem. This tuner. Excellent or unused. Big reductions. Scotch tape is not to say that their conversion is not ALL MAKES HIGH FIDELITY speakers repaired. bargains. Leica camera with projector, dirt Amprite, 168 W. 23rd St., New York 11, N. Y. cheap. List for 25c. Foster Gunnison, Suite 806, possible or desirable, merely that it is CHelsea 3-4812. 600 Asylum Ave., Hartford, Conn. more difficult.

The requirements of the stereo syn- FOR SALE: HIGH FIDELITY, 1 -91, $27.00. John COMPONENTS, RECORDERS, Tapes. Send for whole- thesist include ability to read and under- Pattee, 429 Evergreen Blvd., Scotch Plains, N. .1. sale catalogue. Carston, 215 -A East 88th Street, stand orchestral scores and thorough New York 28, N. Y. familiarity with all the elements in the WANT: 1957 edition "Records in Review." Ernest original monophonic recording. He can Stavenhagen, 1701 Church St., Galveston, Texas. WANTED: Altec- Lansing 820A corner system in handle most easily those elements that cabinet. Karl Riemer, 397 Nahatan Street, West- wood, Mass. FOR are outstanding in the original single SALE: STEREO PAIR, Jim Lansing 34001 two - sound mass. Although the variation of way speaker systems. 130A driver, 175DLH tweeter and acoustic lens, N1200 crossover. Oak with beige filter frequencies be and gold grill cut-off can planned WRITE FOR cloth. Condition: Like New. Price, QUOTATION on any Hi -Fi components. 5495.00 in advance Sound Reproduction, FOB Baton Rouge, La., J. M. Edelman, according to the music's Inc., 34 New Street, Newark M.D. 700 2, N. J. Commerce Bldg., Baton Rouge, La., scoring, it remains only a framework in DI 2 -6801. which the synthesist must operate. His judgment depends more upon response to SALE: 78 R.P.M. RECORDINGS, 1902-1950. Many FOR SALE: Berlant Series 33 stereophonic tape types. Free lists. his last move than upon any complete Collections bought. Mr. Ellie recorder in two portable cases, $650.00; complete Hirschmann, P. 0. Box 155 (HF), Verona, N. J. pre -planned series of moves. set of HIGH FIDELITY magazines, $30.00; McIntosh Continual MC -60 basic amplifier and preamp with external guidance of the elements of the system power supply, 5150.00. Wilbur W. Smith, Jr., P. 0. Box 1187, Alfred, N. Y. will enable him to maintain a fairly TAPE RECORDERS, Hi-Fi components, Sleep learning consistent instrumental location without equipment, tapes. Unusual values. Free Catalog. Dressner, 1523A J^rricho Turnpike, New Hyde YOUR alteration of the original musical values. Park, N. Y. INQUIRIES INVITED. Authorized distributors. Professional service. F.T.C. Brewer Co., 1714 N. This all takes much experimenting and Pace Blvd., Pensacola, Fla. many failures before a satisfactory RECORDS IN CHAOS? Let us show you how our result is achieved. Record Index and simply handsomely solves the EUROPEAN FESTIVAL TOURS, varied problems arranging itineraries, free In the recordings now released of and indexing your records. time; informative, thrilling, ninth year; - Brochure indicates congenial solutions to ten aesthetic and adults, taping, photographing; First Invofzik's Symphony No. 5 in E minor, practical problems Class, Cartan of the serious collector. Sample Travel, See agent, or request Folder Record Index cards included. NOW. Dr. Op. 95 (From the New World), Mus- About 5¢ to 8t per Sterling Wheelwright, San Francisco record. Recocards State College, (H13), 503 Hyde Park Bank San Francisco 27 -H, Calif. sorgsky's Pictures at an Exhibition, and Building, 1525 East 53d Street, Chicago 15, III. Respighi's Pines of Rome and Fountains -- - of Rome -the essential content is the 2 AR -3 SPEAKERS, 2 Dyne Mark Ill amplifiers, 2 music the composers wrote and the per- AMPEX, CONCERTONE, Magnecord, Presto, Bogen, Dyna preamps, Dyna DSC -1 stereo control, Harman - Kardon ODE FM -AM. formance Tandberg, Pentron, Sherwood, Rek-O-Kut, Scott, $665.00. Miller, New York City, Arturo Toscanini gave it. In Shure, Dynakit, others. Trades. Boynton Studio, FI 3 -1130, SU 7 -8304 evenings. its reprocessing I have had the good Dept. FH, 10 Pennsylvania Ave., Tuckahoe, N. Y. fortune to have the advice and counsel HIGH FIDELITY, 6 -96, less = 67, Best offer. A. R. of Richard B. Gardner, the RCA Victor Baker, 310 East 71 Street, New York 21, N. Y. PRECISION RECEIVER ALIGNMENT- FM -S5; FM /AM YU 8 -6784. engineer who spent many years as the -S9. HiFi equipment meticulously serviced. Kit Maestro's personal engineer and who problems solved. I. Pollack, Westbury, L. I., N. Y. ED 4-4490. genially slapped my hand when he heard RENT STEREO TAPES -over 2,000 different -all ma- any non -Toscanini sounds emanating ¡or labels -free catalog. Stereo -Parti, 811 -D Cen- tinela Ave., Inglewood 3, Calif. from my equipment, and of the con- DON'T BUY HI -FI components, kits, tape, tape recorders until you get our low, low return ductor's son, is mail Walter Toscanini. It quotes. "We guarantee not to be undersold." hoped that through our work the Mae- Wholesale catalog free. Hi- Fidelity Center, 1797AC LOW PRICES ON STEREO COMPONENTS, Tape Re- First Avenue, corders and tape. We accept stro will live on, not just in the New York 28, N. Y. trades. Write for memory quotation C. M. Sales, Box 140, Simpsonville, but in the active hearing of his music. Maryland. HI -FI PROBLEMS SOLVED on -the -spot by "The Hi -Fi - Doctor." Audio, Acoustic, Radio Engineer. Profes- WANTED: Van-- -Amp type A, General sional visits, day, evening, New York area. William Apparatus or C. Bohn, 550 Fifth Ave., New York City. PLaza equivalent. C F. Semonious, 5019 Elm Street, San 7-8569. Diego 2, Calif.

MARCH 1961 109 PURCHASING COMPONENTS CABINETS FOR front page 39 the cortridge designed to A HI -FI Continued meet the most stringent pro SYSTEM? fessional requirements. 0.52 TIME PAYMENTS AVAILABLE cabinets, including kits, to be announced. mil stylus; frequency diomond Up to 2 years to pay! ronge 20 to 20,000 c. p. s. $45 Cabinart, Inc., 35 Geyer St., Haledon, ONLY! Jim Lansing' Altec Lansing N.J. -new line to be announced. Us Electrovoice Send JensenHallicrafter Hartley Gonset Country Workshop, 95 Rome St., New- USL Cititen Band ark, N.J.- ready -to-finish line of lift -up Your List of Texas Crystals top cabinets. University Acoustic R h J Viking Design International, 17 East 53rd St., Components Wharfedale Concertone New York, N.Y. -basic cabinet that may Bell G.E. be divided and arranged as needed. For A Weathers Harman- Kardon Eico Pilot Drexel Furniture Co., Drexel, N.C. -new Sherwood' equipment cabinets and storage units. Package Tandberg ESL Sup er scope Furniture Craftsmen, 3596 Alpine Rd., Dual Changer' Comstock Park, Grand Rapids, Mich. Leak - Quotation Bogen Dynakit Fisher cabinets in various styles and woods; YOU CAN BUY WITH H. H. Scott chair -side type cabinet; "floating" speaker CONFIDENCE AT AMEX Thorens' TEC Roberts enclosures for shock -mounting. All merchandise De Wald is brand new, Sony Challenger Heath Company, Benton Harbor, Mich. fresh & Wollensak factory Garrard -equipment cabinets, assembled and fin- guaranteed. Miracord ished. assembled and ready-to- finish, or Steers FREE Hi Fi Glasers- in kit form. of selected dealers Catalog Avail- Rek -O -Kut able on Request Components Norelco Conrac Homewood Industries, 26 Court St., Fairchild Pickering Gray Brooklyn 1, N.Y. -ready -to- finish equip- BENJAMIN AIREX Audio Tape ment cabinet; also some kits, ELECTRONIC SOUND CORPORATION Magnecord 97 -03 43rd Avenue, Corona 68, New York Rockford Cabinets RADIO Artisan Cabinets Kates Case Co., 828 S. Los Angeles St., MIRACORD &STEREOTWIN PRODUCTS CORPORATION Fair Traded Los Angeles, Calif.- individual compo- N. Y. 7, CO 7-2137 CIRCLE 21 ON READER -SERVICE CARD 8S-NF Cortlandt St., nent housings; storage cabinets. -SERVICE CARD CIRCLE 4 ON READER Kersting Manufacturing Co., 504 S. Date Ave., Alhambra, Calif.- equipment cab- The Original inets; record storage cabinets and record NE filing system. SAVE°T°4O HNFI cc Ps Lafayette Radio, 165 -08 Liberty Ave., Bogen AC- 210A -20 W Stereo Amp S 99.95 Bogen Tt- 200- A -FM /AM Tuner 129.95 Jamaica 33, N.Y. -equipment cabinet in Garrard RC-210 Changer 8 Base 49.00 kit form; record storage cabinet and Shure M7D -Diam. Cart 24.00 by SWITCHCRAFT add -on units in kit form. 2 -Univ. S -80 3 -Way Spk. Sys 113.90 All Interconn. Cables 4.95 McCobb, Paul, c/o B. G. Mesberg Corp., Regular Catalog "Guide to Mgg h 160 East 56th St., New York 22, N. Y.- Fidelity" regularly Price . 421.75 various cabinets in space storage system 50S- yours FREE YOUR COST .. 252.00 when you ask for or as individual pieces. quotations. No obligation to buy. You Save over 405 169.75 Miller. Herman, Inc., 305 East 63rd St. Our policy: We Will Not Be Undersold." Test New York, N.Y. -new line of cabinet us . . . send for quotations on package or single components. FREE WHOLESALE CATALOG. equipment; also basic storage units that may be divided and arranged as needed. HI -FI RECORDING TAPE Mills- Denmark, 227 East 56th St., New 7" Spools Splice Free Freq. Resp. 30 15KC York, N.Y. equipment cabinet; also

3-11 12-23 24 8 Up basic cabinets that may be divided and

12A 1200' Acetate 5129 S1.17 S .99 arranged as needed.

18A 1800' Acetate 1.79 1 59 1.45 GET THE 18M 1800' Mylar 2.09 1.99 1 85 Radio Shack Corp., 730 Commonwealth ,- 2 24M 2400' Mylar 2.99 2.69 2.49 MOST FROM Ave., Boston, Mass. -equipment cabinets. Any assortment permitted for quantity discount. YOUR RECORDS finished and ready-to- finish; record stor- Add 15c per spool postage. 10c more. 24 or age units in kit form. PRE -RECORDED TAPES -RCA -VICTOR, BEL CANTO Incorrect turntable speeds cause Wow 2 8 4 Track. Write for FREE, and Distortion. Check the speed of Complete Catalog Risom Design, Inc., Jens, 444 Madison and Wholesale Discounts. your turntable the easy and simple way. Ave., New York, N.Y. -basic cabinet JR. TAPE SPLICER Reg. 56.50 Special 52.95 "Strobolamp" quickly tells you if 16.;, that may be and arranged. DELUXE TAPE SPLICER " 8.50 3.95 331 45 or 78 rpm speeds are correct. divided A HI -FI NECESSITY. Consists of stroboscopic disc and Rockford Special Furniture Co., 2024 molded neon lamp with 6 ft. AC cord. Only $1.95 list. 23rd Ave., Rockford, Ill. -equipment Send for Hi -Fi Catalog A -403. Contact cabinets, various styles and finishes; your local Hi -Fi specialist or write record storage cabinets. CENTER factory for dealer nearest you. matching "The House Of Low Low Prices" Ruxton Electronics Co., 11168 Santa Monica Blvd., Los Angeles 25, Calif. 1799 -A First Ave., New York 28, N. Y. - CIRCLE 48 ON READER -SERVICE CARD 5577 N. Elston Ave. Chicago 30, III. equipment cabinets, various sizes, finishes. CIRCLE 84 ON READER-SERVICE CARI)

1 10 HIGH FIDELITY MAGAZINE Scott Radio Laboratories. Inc., 241 West PROFESSIONAL St.. Annapolis. Md. -basic cabinets that DIRECTORY may be divided and arranged as needed. NEW JERSEY NEW YORK HI -FI RECORDING TAPE Seiler Design Products, 10460 San Pablo Splice Free (except 2400') WRITE FOR QUOTATION 15 day money -back guarantee Ave.. El Cerrito, Calif.-"stereo module" 3+ 12+ 24+ ON ANY HI -FI COMPONENTS 1200' 7" A $1.29 $1.17 $1.09 units as single cabinets or complete set, 1800' 7" acetate 1.79 1.59 1.45 woods. 1800 7" mylar 2.09 1.99 1.85 all in kit form, walnut or teak 2400' 7" mylar 3.29 2.99 2.75 SOUND 2400' 7" tensilixed mylar 4.2S 3.95 3.75 Can Be Assorted. Add 15e Postage Per Reel. Stereocraft Division. Twentieth Century 10e For 24+ Lot Orders. Pl., REPRODUCTION, INC. HI -Fl COMPONENTS TAPE RECORDERS Woodworking Co., 79 Clifton Brook- available from wide variety of stock and lyn 38. N.Y. -ready -to- finish equipment shipped within 24 hours. Write for free 34 New Street, Newark 2, N. J. wholesale catalogue. "WE WILL NOT BE cabinet, bookshelf -type case for equip- l'NDERSOL D." Write us and see why. Mitchell 2 -6816 East 88 ment and/or records. CARSTON New York 28, N. Y. CIRCLE 27 ON READER- SERVICE CARI) Structural Products. Inc., Charlotte, CIRCLE 80 ON READER -SERVICE CARD Mich. -"Omni" line of cabinets for in- NEW YORK dividual use or as part of wall storage TAPE RECORDERS system: new Audax equipment cabinet; FOR THE TOPS IN VALUE HI -FI line marketed by Rek- O -Kut. AND THE BEST TRADE -IN ON el* Components HIGH FIDELITY EQUIPMENT Universal Woodcrafters, La Porte. Ind. - ERITAPE SLEEP LEARN Ow( mill, Arran r basic cabinet in various finishes: also rec- ,w' Clint, KITS let (luality ord storage units. e e ord ing Unusual tupe. In bocea or eons. Values Wellcor. Inc.. 1214 -18 N. Wells St.. Chi- ARROW ELECTRONICS, INC. FREE 1961 Catalog cago. III.-cabinets in various finishes. 65 Cortlandt St., New York 7, N. Y. 1523 FA Jericho Turnpike, Dlgby 9 -4730 DRESSN ER New Hyde Park, New York CALIFORNIA 525 Jericho Turnpike, Mineola, N. Y. QUICK -SEE Pioneer 6 -8686 CIRCLE 32 ON READER- SERVICE CARD ALBUM FILE CIRCI.E 9 ON READER-SERA IL C'ARD Gm Professional QOality Eliminates bottom RECORDING TAPE jacket wear. Rolls F& B forward for front - 111 1 view, flip- through Unconditional 25 Year Money -back Guar.! 1 IS selection. 9 models SERVICE! fit any cabinet, T °01 0ó c s3.5 . GUARANTEED closet or shelf. 90 Day Warranty y $7.95 up. Also 1200 ft., 7" reel 3 for $3.89 cab- JAMAICA -JA 3 -8850 1800 ft., 7" reel 3 for $5.22 FOR available with 1800 ft. MYLAR, inet shown. Deal- MANN ASSET -MA 7 -5737 7" reel 3 for $6.59 2400 ft. MYLAR, 7" reel 3 for ers, inquire. MROOKLYN -Bu 2 -5300 $9.93 add 15c per reel tor postage k handling 25 WHITE PLAINS -WH 8 -3380 FORMAN & KERSTING MANUFACTURING COMPANY The Original HiFi Toding Orgonitailon BABB, Inc. 504 S. Date Street, Alhambra, California 68 West 45th St. New York 36, N.Y. YEARS CIRCLE 51 ON READER -SERVICE CARD i audio exchange CIRCLE 39 ON READER- SERVICE Çt CARD DISTRICT OF COLUMBIA JAMAICA 153-21 Hillside Aw. NORELCO SPEAKERS CIRCLE: 15 ON RI :ADI:R- SERVICI: CARD WINNERS Famous 9777M-succes- sor to the 9710M, twin- ALL* cone 8" speaker, original Be a winner tool Write list $39.95, usual NET a Note to the ili -Fi buyer for our big discount $23.97, NOW. while they prices on all of your last 12 off net ... $11.98 AIR MAIL us your 1 hi -fi needs -and send plus postage. I Discontin- for our unusual money- ued model.) Frequency requirements for an saving audio catalog 40- 20,000 cy. IMMEDIATE WHOLESALE QUOTATION A -12. It's free! Other SENSATIONAL '71,592 Speaker reductions on a Components, Tapes and SATISFIED CUSTOMERS first come, first served Recorders SHIPPED basis. Send for Speaker Specification Sheet. Key Electronics Co. COMMISSIONED ELECTRONICS CO. PROMPTLY AT LOWEST PRICES FREE 120 Liberty St., 1776 Columbia Road Washington, D. C. N. Y. 6, N. Y. unlimited CATALOG CIRCLE. 29 ON READER -SERVICE CARI) CIRCLE 52 ON READER -SERVICE C'RD AIJDIU 190 -F Les. Ave., N.Y. 22, N.Y CIRCLE 17 ON READER -SERVICE CARD PENNSYLVANIA

IN WASHINGTON, D. C. SOUNDTASTIC! That's what our customers are & 1 0 "Y mane saying upon receiving our prices! Write for special low prices on EMCO all hi -fi components, tape re- MAIN STONE: KEW Bulls 1950 509 11TH ST.. N.W., WASH.. D.C. corders, etc. INDIVIDUAL QUO- STB.1932 d usYOURTn list F)'eeborqainsheet TATIONS ONLY! pe Caf. Brochure bef&newelYOR&ANS. , á3 73 EASTON ROAD, No catalogs. OSLYNB,PEA.N,' 'Rr' Aae Drae dome.11 %tasetoá i. t, 2057 Coney Island Ave., Brooklyn 23, N. Y. CIRCLI. 62 ON RI:a'DER-SF :RV ICI: C 'RD Í"° MARYLAND CIRCLE 18 ON READER- SERVICI: CARD CIRCLE 48 ON READER -SERVICE CARD DIXIE ADUT OF SVACf? SORTS HIGH FIDELITY WHOLESALERS You bel we'd be..... if we were lo tell you Largest discount High Fidelity component All about AUDION's distributors in the South. Wholesale prices on "Out of this World" Ili Fi Values. package or individual components. All latest 0 models in factory sealed cartons. Write for free catalog. RECORDS Black wrought -Iron cabinet ta Just waiting for your Are prices too high ? -Write: Ilectlon to grow into! 'Shown -of" 200 I.P albums. Ten compartments to Ale records by symphonies. op audidn ern.. ballets. Jazz. folk. chamber and show music! DIXIE HI -FI 25 -HF Oxford Road Sturdy: 25 "x22 "x I2 ". Fully assembled! Remit $11.115. or chg. Diners' Acct. Exp. chg. collected n 12402 Connecticut Ave., Silver Spring, Md. Massapequa, New York delivery. AIR- MAIL $s 95 `Leslie Creations Relit. 209W Lafayette Hill, Pa. CIRCLE 31 ON READER- SERVICE CARD CIRCLE 19 ON READER- SERVICE CARD CIRCLE 55 ON READER -SERVICE CARD LAFAYETTE ADVERTISING INDEX

Key Key No. Page No. Page

1 ... Academic Recording 53 .. Lafayette Radio 4 An Integrated Inst. 88 54 . Lafayette Radio 112 STEREO 2 Acoustic Research, Inc. 27 66 .. Lansing, James B., TRANSCRIPTION 3 A.E.S., Inc. 99 Sound, Inc. 63 4 Airex Radio Corp. 110 55 .. Leslie Creations 111 Tone Arm 5 Allied Radio 80 56 .. London Records 69 & Moving Magnet 6 Angel Records 67 Cartridge with 7 Argo Records 84 57 Marantz Co. 97 8 ... Argos Products 104 ... Diamond Stylus 58 McIntosh Laboratory, 9... Arrow Electronics 111 .... 11... Audio Devices 24 Inc. 19 50 ... Medallion Records 80 12 . Audio Dynamics 20 59 .. Mercury Records 65 13 .. 1 Audio Empire 60 Minnesota 14 Audio Exchange 18 ... Mining & Manufacturing Co. . 8 15 Audio Exchange 11 1 ... 61 Music Guild 78 16 Audio Fidelity 52 .... 62... Myer's Emco 111 17 . Audio Unlimited 111 18 Audio World 111 PLUG -IN STYLUS 19 Audion 111 63. Opera Magazine 104 Diamond- magnet assembly . virtually constitutes a revitali- zation of the cartridge. 20.. Bel Canto 90 10.... Parliament Records, Inc. 71 21 ... Benjamin Electronic 64 .... Pickering & Co. 2 Ball Bearing Sound Corp. 110 65 ... Pilot Radio 79 22 Bogen- Presto 81 I Sub 44 .. Precision Electronics 103 9 Weight 23 Book -of-The -Month Professional Directory 111 Club 5 B ampere 24... Book -of-The -Month Club 7 67 .... RCA Victor Division 61 PERFECTLY 25 .. Bozak, R. T., Co. 102 68 ... RCA Victor Division 74 BALANCED 26 ... British Industries Corp. 28 69 RCA Victor Division / Turntable Inside Front Cover leveling 70.. Reeves Soundcraft 98 27 Carston Studios, Inc. . 111 is not 71 Rek -O -Kut 6 28 Records critical - tracks Columbia 72 Roberts Electronics, Inc Inside Back Cover 93 properly even at 73 Roberts Electronics, Inc 93 angles in excess of 45°. 29 .. Commissioned Electronics 111 74 Sargent- Rayment Co. 106 Completely Compatible 75 Sarkes Tarzian, Inc. 100 Signal -To -Noise Ratio Over 31....Dixie Hi -Fi 111 ... 100 DB 32 .... Dressner 111 76 Scott, H. H., Inc. 17 Minimum Of Tone -Arm Resonance 77 Sherwood Electronic Feather Light Stylus Pressure 3 Grams 33 .. Dual 16 Distortion Free Response From 20 Labs. 105 16,000 cps 78 Shure Bros. 83 F Diamond Stylus -Up to 2000 Hours 34 .. EICO 94 79 Sonotone Corp. 101 Playing Time Electro -Sonic Labs. 10 HumFree -Arm & Cartridge Case Shielded 35 .... 80 ..Sound Reproduction 111 With Mu Metal 81 ... Stromberg -Carlson 21 Meets The Most Critical Studio Requirements 82 23 . . Integrated design of the cartridge and 36 ... Fairchild Recording ... Stromberg -Carlson tone arm provide an exact alignment of the Equipment . 68 83 Stromberg- Carlson 25 stylus in the record groove -a working relationship that is impossible in conventional 37... Fisher Radio Corp. 11 84 ... Switchcraft, Inc. 110 units. Arm structure, balance and compliance 38 .... Fisher Radio Corp. 13 have been precisely engineered to compliment & Babb 111 its superb moving magnet stereo cartridge. 39....Florman 85 Tandberg 70 Overall arm length is 11' ", height is adjust- 40 ... Fortissimo Records 59 able from 1',j to 2',," for use with any turn- 86 .. Thorens 26 table_ Trader's Marketplace . 109 26 .. Garrard Sales 28 87 ... Transis -Tronics 9 41 . Glaser -Steers Corp. 107 LAFAYETTE 42 .... Grado Laboratories, Inc. 73 RADIO ELECTRONICS 43 Gramophone 107 88 .... United Artists 88 Dept P.O. Box 190 44 .. Grommes 103 33 ... United Audio Products 16 Jamaica 31, N. Y. 89 . United Stereo Tapes Back Cover FREE 324page 1961 Catalog 610 95 .. Harman- Kardon, Inc. 22 90.... University Loudspeakers, PK448 "Lafayette Panasonic Tonearm 45 .... Heath Co. 14 Inc. 12 46 .... Heath Co. 15 Enclosed 47,,- HiFi I 1 1 48 ... Hi- Fidelity Center 110 91 .Vanguard Recording Name Society, Inc. 72 92 .. Viking of Minneapolis 89 49 .. KLH Research & 'Add re ss 1 Development Corp. 86 51 ... Kersting Mfg. Co. .. 111 93 Westminster Records 57 City Zone ... State11 52 ... Key Electronics 111 94 .. Wollensak 108 CIRCLE 54 ON READER -SERVICE CARD 112 HIGH FIDELITY MAGAZINE >.._. BERG, WEBERN won ,. SCHOENBERG, .`.. A great school of contemporary `...E. music Schoenberg, his stu- ® -teacher dents Berg and Webern - is cele- .."A brated by an ardent interpreter, Conductor Robert Craft. Combined New for for the first time on one record are Berg's Three Pieces for Orchestra, Webern's Six and Schoenberg's Listening... Music for the Cinema, a moviedrama score that moves from Danger to Catastrophe.

....Elba. .,<111,..,0.r,.,,. SACRED SERVICE The magnificent power of Bloch's Sacred Service is transmitted with impassioned reverence by Leonard Bernstein, the New York Philhar- BERG: THREE PIECES FOR ORCHESTRA, Robert Merrill and Op. 6 / SCHOENBERG BEGLEITUNGS- monic, baritone MUSIK, Op. 34 / WEBERN. PIECES FOR a forty -voice choir. The first stereo ORCHESTRA, Op. 6 ' MS 6216 /ML 5616' recording of this noble work. ERNST BLOCH: SACRED SERVICE / NEW YORK PHILHARMONIC. LEONARD BERN - STEIN. CONDUCTOR ' ROBERT MERRILL. has CANTOR; THE CHOIRS OF THE METROPOL- PHILIPPE ENTREMONT,.. ITAN SYNAGOGUE AND COMMUNITY been compared to his great com- CHURCH OF N.Y.. MAURICE LEVINE, DI- patriot, French piano virtuoso, Alfred RECTOR; DR. JUDAH CAHN, RABBI / Cortot. Entremont's latest: a De- MS 6221/ML 5621' bussy recital. CLAIRE DE LUNE / A DEBUSSY PIANO RE- MS CITAL ' PHILIPPE ENTREMONT / 6214/ a unique BERNSTEIN . . conducts ML 5614' collection of blazing concert and opera overtures, from Beethoven's STRAVINSKY- Leonora No. 3 to Mendelssohn's A SELF PORTRAIT rarely- recorded Ruy Blas. IGOR STRAVINSKY CONDUCTING / EUGENE ORMANDY. CONDUCTOR / D3S 614/D3L 300' MS 6224 /ML 5624' awards, including Grand Prize in the first Franz Liszt competition. His debut record: a bravura Liszt recital. INTRODUCING IVAN DAVIS / PLAYING PIANO WORKS OF LISZT / MS 6222/ Critics .Applaud: Orffs Carmina Burana ML 5622' "...one record I'd not pass up on a bet 'Regular ...stereo or mono... a stunner... the Brahma Double Concerto cleanest choral -orchestral stereo I've "...takes precedence over all other con- heard to date...Ormandy has never temporary versions. .. Fournier ... makes been in better form..." 011 a splendid partner for Francescatti, and David Hall, HiFi /Stereo Review the two together for Walter..." CARL ORFF: CARMINA BURANA /JANICE HAR - Irving Kolodin, Saturday Review SANYI (SOPRANO), RUDOLF PETRAK (TENOR), Columbia HARVE PRESNELL (BARITONE); THE RUTGERS 'RAM'S: CONCERTO IN A MINOR FOR VIOLIN UNIVERSITY CHOIR, F. AUSTIN WALTER, DIREC- AND CELLO /ZINO FRANCESCATTI, VIOLINIST, TOR AND THE PHILADELPHIA ORCHESTRA, Records PIERRE FOURNIER, CELLO WITH BRUNO WALTER EUGENE ORMANDY, CONDUCTOR/MS 6163/ML CONDUCTING /MS 6158/ML 5493' 5498'

6(` CoW't.a K' Manas Reg P,,nted in U S A iudrT1pT rt? I%IIp kc Keels LoWcfoh 9átiui Puccini: Madama - buttërtiy a,ompiete) lr:baldr (z Heels) London 9010 - Verdi: Aida Tebaldi Von Karajon I- na Philharmonic (2 Reels) London 90015 - Gilbert & Sullivan: HMS Pinafore (Complete) D'Oyly Carte Opera London 90024 - Verdi: II Trovatore (Complete) Tebal- Del Monaco (2 Reels) London 90005 Boito: Mefistofele - (Complete) Tebaldi Del Monaco Seidi $erafin (2 Reels) London 90011 - Leoncavallo: Pagliacci (Co ete) Del Monaco Tucci London 90021 VOCALS Ridin' High Teresa - Brewer Coral 57315 - Rosemary Clooney Swings Softly MGM 3834 - 100 Strings and Joi n Broadway /Joni Sings Hollywood 100 Strings and Joni James (Twin -Pak) MGM 3839- Connie Francis Sings Spanish and Latin -American Favorites MGM 3853 - Eydie- rme Vamps the Roaring 20's ABC -Paramount 802 My Heart - Sings Paul Anka ABC -Paramount 811 - We Got Us Eydie Gorme and Steve Lawrence ABC -Paramount 1907 Margaret Whiting Sings the J. Kern Song Book (Twin -Pak) Verve 243 DANCE - - Music Les Brown Swing Song Book Coral 57300 - Mr. Cha Cha Cha /: he Crescendo Touzet (Twin -Pak) GNP 1101 - Stereo Dance Time Fields Omegatape 4005 - Dancing By The Firelight Tutor Singers Warner Bros. 1345 Stt_ Dance Festival Fred Martin Orchestra - Livingston 29 -- Valentino Tangos Jack Pleis & Castillians Decca 8952 - Music In The Morgan Manner Russ Morgan Everes pes 1054 Rhythms of the South Edmundo Ros London 70013 Let's Dance' Let's Dance Again David - - Carroll Mercury 1 - Dance and Stay Young David Carroll ercury 60027 Swingin' Col. for Dancing Ferguson - /Jazz (Twin-Pak) Roulette 511 - Dance Along With Basie Roulette 517 - Ira lronstrings Best Damn Dance Bar Strauss Waltzes Mantovani London 70002 SYMPHONIES Shostakovich: Symphony No. 5 - - Stokowski Everest Tapes 3010 - Schubert: Symphony No. 8 /Mozart mphony No. 40 London Symphony Orchestra Everest Tapes 3046 - Dvorak: Symphonies No. 2 & 5 Kubelik Vienna Philharmonic Orchestra (Twin -Pak) London 8000f- Mendelssohn: Symphony No. 4; Schubert: Symphony No 5 G. Solti Israel Philharmonic London 80009 - Berlioz: Symphonie Fantastique Argenta Paris Conservatory L on 80012 Beethoven: Symphonies No. 6 & 7 Ansermet Orchestra Suisse Romande (Twin -Pak) - London 80052 - Brahms: Symphonies No. 3 & 4 Kubelik Vienna Pi armonic Orchestra (Twin -Pak) London 80055 Saint -Saens: Symphony - Mo. 3 Paray Mercury 90012 - Schubert: Symphony No. 8/ Mozart: Symphony No. 35 Schuricht enna Philharmonic Orchestra Richmond 40006 Beethoven: Symphonies No. 6 & 7 Boult - (Twin -Pak) Vanguard 1606 - Lalo: Symphonie Espagnole / Mendelssohn: Con PPRIP

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to in E Elman Vanguard 1623 Dvorak: Symphony No. 5 "From the New World" - Golschmann Vanguard 1622 - Tchaikovsky: Symphonies No. 4 & 5 Hoilreiser (Ta Pak) Vox 707 Beethoven: Symphony No. No. - 5/ Schubert Symphony 8 Rodzinski (Twin -Pak) Westminster 118 - Beethoven: Symphonies No. 5 & 9 Josef Krips L on Symphony Orchestra (Twin -Pak) Everest Tapes 43 -006 Tchaikovsky: - Symphony ,No. 5 Sir Malcolm Sargent /Dvorak: Symphony No. 5 (New World) Leopold Ludwig - e London Symphony Orchestra -Pak) Tapes (Twin Everest 43 -007 - Brahms: Symphonies No. 1 & 2 Kubelik Vienna Philharmonic Orchestra (Twin -Pak) London 80002 Berlioz: Symphonie Fantastique Audio Fidelity 50003-4 - CHAMBER MUSIC Schubert: "Trout" Quintet Fine Arts Quartet Concertapes 4004 - Mozart: Clarinet ntet Kell Concertapes 4005 Gabrieli; Processional and Ceremonial Music Vanguard 1616 Mendelssohn/Bruch: - - Violin Concertos Olevsky Westminster 129 - B 3 in D Magnificat /Cantata No. 50 Prohaska and the Vienna State Opera Choir and Orchestra Vanguard 1629 -SOUND TRACKS BROADWAY SHOWS The M cal World of Cole Porter MGM 3843 - The Glenn Miller Story Soundtrack Decca 8226 - Around the World in 80 Days Soundtrack Decca 9046 - Gigi Soundtra :' MGM 3641 Ben -Hur MGM 3800 Musical World Rodgers & - - of Hammerstein Ornadel MGM 3817-Oklahoma/Carousel London Theatre Co. Richmond 45001 The K. & I/ My Fair Lady London Theatre Co. Richmond 45002 - Carousel; Oklahoma Frank Chacksfield Richmond 45004 - The Big Hits From Broadway Cyril Stapleton Ric and 45013 JAZZ Marching Dukes of Dixieland Vol. 3 Audio - Fidelity 1851-4 - Hamp's Big Band Lionel Hampton Audio Fidelity 1913 -4 - Pete Fountain's New Or ns Coral 57282 -Like Blue Andre Previn David Rose MGM 3811 -Salute to Benny Goodman Members of the Goodman Band Omegatape 813 -Chairman of the Bof Basie Roulette 510 - I Want to Live Gerry Mulligan United Artists 2202 - Back to Back Ellington Hodges Verve 209 - Have Trumpet, Will Excite Gillespie V ve 211 Oscar Peterson Plays Duke Ellington Verve The - 232 - Dixieland Story Matty Matlock (Twin -Pak) Warner Bros. 1202 - The King and I Mastersounds V- Id Pacific 1001 - Chico Hamilton Quintet World Pacific 1002 - The Boss of The Blues Joe Turner K. C. Jazz Atlantic 1901 - Jazz Messengers Art Blakey with Thel3r s Monk Atlantic 1902 No Sun In Venice/Pyramid Modern - Jazz Quartet (Twin -Pak) Atlantic 1904 -Blues and Roots Charlie Mingus Atlantic 1909 -Memories Acs -L- Basie & Joe Williams Roulette 513 - BALLET Khatchaturian: Gayne Ballet Fistoulari London Symphony Orchestra Everest Tapes 3052 - Tchaikovsky: Sleeping Bi uty (Complete) Ansermet Orchestra Suisse Romande (2 Reels) London 80035 - Ravel: Daphnis et Chloe Monteux London 80034 - Tchaikovsky: Swan Lake (Con etel Ansermet Orchestra Suisse Romande (Twin -Pak) London 80028 - Tchaikovsky: Swan Lake Ballet /Grieg: Peer Gynt Alwyn London Philharmonic Orchestra Richr nd 40005 - Ballet at the Opera Aliberti Westminster 112 - Tchaikovsky: Nutcracker Suite (Complete) Ansermet Orchestra Suisse Romande (Twin -Pak) London 027 - SOUND SENSATIONS A Journey Into Stereo London 70000 - Bongos & Brass Hugo Montenegro Time 2014 - Persuasive Percussion Terry Snyder mmand 800 - Bongos Los Admiradores Command 809 - Sound In Round Cunningham Concertapes 3001 - Taboo Arthur Lyman HiFiTapes 806 - Taboo Vol 47005 - Percussion and Guitars Time 2000 - FOLK MUSIC More Jewish Folk Songs Theodore Bikel Elektra 1502 - Chain Gang Songs Josh White Elektra :5 - The Limeliters Elektra 1509 - Echoes of Russia Vox 719 - Travelling On With The Weavers Vanguard 1603 - Odetta: My Eyes Have Seen Vanguard 162; POPULAR Deep Charles Singers Decca 8988 - Boating Songs, Wild Blue Yonder Oscar Brand (Twin -Pak) Elektra 1511 -More George Wright George ' ight HiFiTapes 7 wn Hall Concert Roger Williams (Twin -Pak) Kapp 45009 - Harry lames Today MGM 3848 - Hawaiian Village Nights Alfred Apa.a Ted Heath IT 0031 - Oldies But Goodies Griff Williams Mercury 60068 - Music of Leroy Anderson Vol. 2 Fennell Mercury 90043 - "Nola" Other lnstrumen . egatape 853 Glenn Miller Sound In Stereo Members of the Miller Orchestra Omegatape 4001 The : - - Million Sellers Frank Cia sfield Richman Inside erman & Out (Twin -Pak) (Monaural) Verve 229 - Wonderful World of Jonathan Winters Verve 234 - Jerome Kern! Cole P ter George Fey 710 Continental Visa Raoul Meynard Orchestra Warner Bros. 1215 Ten - - Greatest Pop Piano Concertos Greeley Warner Bros. 1 49 Escape Jo er Bros. 1266 Pop Piano Concertos George Greeley Warner Bros. Orchestra Warner Bros. 1291 - - - Spike Jones in Stereo Warner F os. 1332 - Most of All Time Buddy Cole Warner Bros. 1357 - The Button -Down Mind of Bob Newhart Warner Bros. 1379 - Liebert Takes Richmond ebert Westminster ,_. e ert Takes Broadway Top Show Tunes Westminster 133 That's All Bobby Darin With Richard - Weiss Orchestra ATCO 1401 - Ragtime E is Knuckles 0 TRACK STEREO TAPE209 -The Roaring 20's Grand Award 229 - My Very Good Friends the Band Leaders Ted Heath London 70009 - Jose Melis at Mir ight The Many Moods of Jose Melis (Twin -Pak) Seeco 301 - George Greeley: Ten Greatest Pop Piano Concertos/ Renowned Pop Concertos Warner Bros. Orchestra (Twin -Pi here's only a few of the 1012 selections (from over 30 recording companies) now on 4 -track stereo tape... and the list Is growing every da ...to keep up with It, see your local tape dealer or write for free catalog to: 1024 Kifer Rd., Sunnyvale, California. United Stereo Tapes y/e