How Recordings Are Made Beethoven's 32 Piano

StereoMAY 1970 Rey' 60 CENTS FROM MASTER TAPE TO DISC: HOW RECORDINGSARE MADE BEETHOVEN'S 32 PIANO SONATAS THE VANISHING ART OF WHISTLING THE COMPOSER -CRITIC: ROBERT SCHUMANN

EiY 679Z lit H SSI, 3S/1 50 P 1 OLd3S 960296 Z9Z ZLE 1;E speeds service... cuts repair costs.

change policy is additional protection . . . assur- WHAT WILL EXCHANGE BOARD COST? ing you of continued service at minimal cost no Sample 1970 factory -tested replacement boards matter how long you keep your Scott unit. Scott costs are listed below. A complete list is available is proud of its long-standing policy of servicing its by writing to our Service Manager, Don Whitney. products regardless of age. Even today, Scott owners can bringinamplifiers they bought in Regular Exchange 1947, Scott's first year of production, and receive MODUTRON BOARD Cost Cost* prompt, complete service. 342C Stereo Preamplifier $28.84 $10.00 342C Quartz Crystal FM SCOTT AUDIO COMPONENT, LOUDSPEAKER SYSTEM, IF Amplifier $48.88 $10.00 AND STEREO MUSIC SYSTEM WARRANTY 382C Tone Control $30.32 $10.00 AllH.H. Scott professional quality tuners, amplifiers, receivers, compact stereo music systems. and loudspeaker 382C Power Amplifier $30.64 $10.00 systems are warranted against defectsinmaterial and 386 IC Multiplex $37.52 $10.00 workmanship for two years from the date of sale to the consumer. The unit must be delivered to and picked up 386 Driver Amplifier $25.92 $10.00 from either an authorized Scott warranty service station or 386 Stereo Preamplifier $40.95 $10.00 the Customer Service Department, H.H. Scott,Inc.,117 2506 AM/FM IF Amplifier $40.44 $10.00 Powdermill Road, Maynard, Massachusetts 01754. This warranty covers repair and/or replacement of any *Exchange price applies only if board is not physically damaged. part found by the manufacturer, or his agent,to be defective, including any associated labor cost. NEW MODUTRON CONSTRUCTION The above warranty does not apply to (1) accessory parts explicitly covered by the field warranty of an original man- APPROVED BY EXPERTS ufacturer (2) units subjected to accidental damage or mis- use in violation of instructions; (3) normal wear and tear; The 1970 CONSUMER GUIDE published by (4) units repaired or altered by other than authorized ser- BUYERS GUIDE Magazine discusses Scott Modu- vice agencies; and(5)units with removed or defaced tron construction: "Scott is ... pioneering the use serial number. This applies to 1968 and later model year units. of plug-in modular construction. With entire banks of transistors on plug-in modules, troubles are easier to isolate and service costs are down ac- WHAT UNITS ARE COVERED cordingly. Instead of troubleshooting for a single Most of Scott's new receivers utilize Modutron defective unit in the spaghetti of circuitry, clipping construction. Included are the 342C FM stereo out, and then delicately soldering in a replace- receiver at $269.95, the 382C AM/FM stereo re- ment, the entire module can be yanked out and a ceiver at $299.95, the 386 AM/FM stereo receiver at new one plugged in..." $349.95, and the Scott 2506 compact stereo sys- "Many a hi-fibuff has experienced having a tems, ranging from $399.95. defective receiver, with poorly accessible circuit boards, sit in the service shop for two or three weeks while waiting for the necessary skilled and tediously laborious attention. There is no good excuse for that situation with plug-in modular construction. In fact, a great deal of emphasis for the use of electronic modules comes from the service agencies handling warranty work, and, as for out - of -warranty repairs, modular circuit design can cut service bills by 40-80% compared to what it costs to have a non -modular receiver repaired." S C CO FT nr H.H. Scott, Inc., 111 Powdermill Road, Maynard, Mass. 01754 Export: H.H. Scott, Inc., Maynard, Mass. 01754 Prices and specifications subject to change without notice © 1970, H.H. Scott, Inc. *Or the equivalent 1970 purchasing power.

CIRCLE NO. 100 ON READER SERVICE CARD Scott's New Modutron Circuit Board Exchange Policy:

Let's face it . . . electronicdevices are becom- these boards plugs into place on the chassis. This ing progressively more complex and are therefore means that a failure in any major circuit can be more difficult and costly to repair. repaired instantly by plugging in a replacement Scott engineers have solved this problem two board. ways. First, they minimized the need for service During your first two years of ownership of any through careful selection of parts, then they went Scott Modutron unit, you are entitled to free parts on to simplify servicing through the use of replace- and labor under our traditional Two -Year Warranty; able Modutron circuit boards. after your warrar ty has expired, your service costs are kept to a m nimum by Scott's new Modutron exchange policy.

HOW SCOTT'S MODUTRON EXCHANGE POLICY WORKS Should your Modutron unit ever need servicing here's all you do: Take or ship your component to a Scott War- BUILT TO LAST ranty Service Station. Scott designs -in more Integrated Circuits than Your unit will be electronically tested and the any other manufacturer (as many as eight in most probleM isolated. (Experience shows that 95% of receivers). These frozen -in -silicon devices are vir- problems can be repaired by plugging in a re- tually indestructible. placement board.) Massive power transformers are built to take it The warranty station will then exchange the ... welded typeelectrolytic capacitors are virtually defective board for a perfect one right from stock, or contact Scott for air shipment. fail -proof . . . wire -wrap construction eliminates most solder joints, the most common electronic This means service is faster than ever before bug -a -boo. and that you pay only for minimum service time, With all of this, service isstill an occasional plus the low exchange cost of a perfect factory - necessity. rebuilt Modutron circuit board. NEW MODUTRON CIRCUIT BOARDS SUPPLEMENTS YOUR WARRANTY PROTECTION To make servicing easier and less costly, Scott The Modutron exchange policy is a supplement engineers designed new Modutron circuit boards. to Scott's regular Two -Year warranty. During the All major electronic circuits are modularized on first two years of ownership, there is no charge separate printed circuit boards . . . and each of for either parts or labor costs. The Modutron ex- SCO*INTRODUCES Component

Insurance

NEW MODUTRON CIRCUIT BOARD EXCHANGE POLICY A SERVICE YOU MAY NEVER NEED... (But isn't it grBat to know it's there?) IF ANY SCOTT MODUTRON PRINTED CIRCUIT BOARD EVER NEEDS SERVICE, WE'LL REPLACER.. FREE DURING THE TWO-YEAR WARRANTY PERIOD; AND FOR ONLY $10*THEREAFTER.

*Or the equivalent 1970 purchasing power. Our amazingnew low-cost speaker ismade with arevolutionary substitute for money:Brains.

Two facts stand out about the new cent of speaker design is knowledge, bad such an austere design should Rectilinear XI bookshelf speaker: not money. sound. They stopped only when they Its price is $69.50. So they specified a 10 -inch woofer, a could no longer improve the perform- And its sound is beautiful. 3 -inch tweeter, a choke, a capacitor ance. In fact, it sounds quite respectable even and a volume control. They put these The result is a $69.50 speaker that not in comparison with our top speakers, into a 23" by 12" by 101/2" cabinet and only covers the range from 45 to 17,000 which cost three and four times as much fussed and fussed. Without any pre- Hz without peaks or harmonics but also and have been called the best in the conceived notions as to how good or has extremely low time delay distortion, world. To be on the conservative side, which is Rectilinear's chief criterion of let's say the Rectilinear XI sounds like speaker quality. an exceptionally fine $135 speaker. What's more, the Rectilinear XI is a A year or two ago, a speaker like this high -efficiency speaker. It can be driven would have been just about impossible. to window -rattling levels with a puny Every manufacturer knew that inexpen- 10 watts. sive speakers were supposed to sound A triumph of brain over brawn, you mediocre, so that's how they made might say. them, give or take a few sales features. (For more information, including de- Luckily, our young engineers are some- tailed literature, see your audio dealer what naive about these things. All they or write to Rectilinear Research Corp., know is physics, mathematics, electron- 107 Bruckner Blvd., Bronx, N.Y. 10454. ics and acoustics. As far as they're con- Canada: H. Roy Gray Co. Ltd., 14 Laid - cerned, a correct crossover frequency law Blvd., Markham, Ont. Overseas: costs no more than an incorrect one. Royal Sound Co., 409 N. Main St., Free- The right distance between the drivers port, N.Y. 11520.) no more than the wrong one. Proper phasing no more than improper. And so on, down the line. They act as if they Rectilinear XI believed that at least seventy-five per-

CIRCLE NO. 36 ON READER SERVICE CARD STEREO REVIEW stereoMAY 1970 VOLUME 24el/ow NUMBER 5 THE MUSIC CLAUDE, PIERRE, AND ELVIS Boulez's Pelleas al Covent Garden-and other London events HENRYPLEASANTS 56 THE BASIC REPERTOIRE mafiter's "nes/owe/ion" ,Symphony MARTIN BOC)RSPAN 59 THE VANISHING ART OF WHISTLING Pucker power and some of its notable practitioner- NOELCOPPAGE 68 STEREO REVIEW TALKS TO ALICIA DE LARROCH.A Continuing a series of intewiews with recording artisly WILLIAM LIVINGS"! ONE' 73 THE COMPOSER AS CRITIC: ROBERT SCHUMANN It took three alter egos to embody his thoughts on music HENRY PLEASANTS 74 BEETHOVEN'S 32 SONATAS FOR PIANO Four critics assay Daniel Barenboim's complete set for Angel 98 100 POETS "LIVE" IN A BOX Spoken Arts' new recorded anthology of modern American poetry MICHAEL SILVER"! ON 118 THE EQUIPMENT NEW PRODUCTS A roundup of the latest high-fidelity equipment 22 AUDIO QUESTIONS AND ANSWERS Advice on readers' technical problemc LARRY KLEIN 28 AUDIO BASICS Pitch and Frequency HANSH.FANTEL 32 TECHNICAL TALK Specifications Au-Anti-Skating Compensation; Hirsch -Houck laboratory reports on the Epicuie EPI-100 speaker system. the Acoustic Research stereo FM receiver. the ll'ollensak 6251) tape recorder, the Grado FTE phono cartridge, and the Harman-kardon 820 stereo F/11 receiver JELIAN D. HIRSCH 35 FROM MASTER TAPE TO DISC: HOW RECORDS ARE MADE Part One: from lacquer to stamper 1)XVII/ STEVENS 63 INSTALLATION OF THE MONTH Solving the Space Problem RALiII Hox;Fs 67 TAPE, HORIZONS The Signal versus the Noise CRAIG STARK 123

THE REVIEWS BEST RECORDINGS OF THE MONTH 79 CLASSICAL 87 ENTERTAINMENT 109 STEREO TAPE 121

THE REGULARS EDITORIALLY SPEAKING WILLIAM ANDERSON 4 LETTERS TO THE EDITOR 8 GOING ON RECORD. )ASH'S Goon FRIEND 52 INTRODUCING THE STAFF: RALPH HODGES 106 ADVERTISERS' INDEX: PRODUCT INDEX 126 COVER: "AN1MAUX, ELEURS, ET FRUITS" (DETAIL) BY ERAN(OIS DESPOIITES ;1061.1743); PHOTOGRAPH BY PET1.31 ADELBERG, EUROPEAN ART COLOR SLIDES, INC.

Copyright O 1970 by7.1ff-DavisPublish lna Company-Allrightsreserved.Stereo Review,May, 1970, Volume 24. Number 5.Publishal mosioily al 40: NorioAIII11,i1I1We.. locago.Illinois ii00111, by %FT:Davis 01111/ilt,-:11,0 Maitagemem American Aviation. Boating. Business & Comlnercial Aviation. Car and Drtver, Cyile. Ilectronws World. laiyitm, Madero I trade.POI/WarEl eel ronics.Popolar PholograohY,Skiing.Skiing AreaNews. Slung Trade News.anti Travel Weekly.. rate for U.S.. U.S.Is:swssion, and Canada, $7.00: allilflier emu:me, '18.00. Second eta,, atCilleattn. I ..1101 ;IP tml,111,1.11 nine it iirr...Alitlior1,,P1 as second Mail by the Post ()flier Denartinetir.intawa. Famida. and Ior nn,:nti.in TION SERVICE: Forma3579 and all subscrintion corr....miniboom should beaddressed to Stereo Review, Circulailon Denartment.1..0. Pox IMF), Flushing-. N.Y.1 I':,2.Please allow at least six weeks for change ofauldimss. Include your old address, as well as now-enclosina Ir au address label fronta ror.rit MAY 1970 3 Stereo Review PUBLISHER LAWRENCE SPORN EDITOR WILLIAM ANDERSON MANAGING EDITOR WILLIAM LIVINGSTONE MUSIC EDITOR JAMES GOODFRIEND TECHNICAL EDITOR LARRY KLEIN ASSOCIATE EDITOR ROBERT S. CLARK EDITORIALLY SPEAKING ART DIRECTOR BORYS PATCHOWSKY THE USABLE PAST ASSISTANT TECHNICAL EDITOR RALPH HODGES IT HASlong been almost a canon of American musical thought that the reason PRODUCTION ASSISTANT for our failure to develop a "national" school of serious composition in this MICHAEL MARK country is the lack of a "usable past," a Pierian spring from which any com- CONTRIBUTING EDITORS poser might draw a bucketful of inspiration. To the romantic imagination, CLIVE BARNES MARTIN BOOKSPAN America was a country without a history, a place with no past that might impede HANS H. FANTEL DAVID HALL a fresh start toward the millennium But like many another romantic theory, DON HECKMAN JULIAN D. HIRSCH this one didn't work out that way in practice; the incompatible histories and BERNARD JACOBSON GEORGE JELLINEK cultures of half the world were stowaways and contraband on every ship that IGOR KIPNIS touched these shores. PAUL KRESH REX REED This left the "American" composer with three alternatives. He could write PETER REILLY ERIC SALZMAN European music-which, in the event, usually turned out to mean German music. CRAIG STARK LESTER TRIMBLE He could, with Arthur Farwell and Charles Wakefield Cadman, attempt an LONDON EDITOR unlikely amalgam between the European tradition and what he took to be Amer- HENRY PLEASANTS ican Indian music. Or he could become a bower -bird eclectic, appropriating bits ADVERTISING MANAGER of musical finery from the various traditions buzzing around him. There were JAMES J. SULLIVAN many brave attempts, but no resounding successes. Some very good German music MARKETING MANAGER ROBERT UR has been written in this country, most of it patently derivative. The buckskin ADVERTISING fringe contributed a silly primitivism that boils down to the ONE -two -three-four SERVICE MANAGER of Friml's Totem Tom -Tom. And the eclectic syntheses, however often skillful MARGARET DANIELLO and entertaining, remain synthetic. With but few exceptions, the results are self- GROUP VICE PRESIDENT conscious academic exercises lacking the spontaneity that every creator has the ELECTRONICS & PHOTOGRAPHIC FURMAN HEBB right to expect from his muse-and that every people has the right to expect Editorial and Executive Offices from itsartists. Ziff -Davis Publishing Company One Park Avenue. New York. New York 10010 212 679-7200 Michael Lands. Royce Richard We have had perhaps a hundred and fifty years to develop a usable past, but Midwestern Office 307 North Michigan Avenue, Chicago. Minnie 60601 the best demonstrations that we have not done so are our still heavily European 312 726.0892 Midwestern Advertising Manager: James Weakley Western Office concert programs and our record catalogs. Modern technology has, moreover, 9025 Wilshire Boulevard Beverly Hills. California 90211 213 Citestview 4-0265; BRadshaw 2.1161 recently placed an impossible burden on the serious composer. Because of the almost Western Advertising Manager: Bud Dean Japan: James Yagi 4. Sakuragaoka. Shibuyaku total ubiquity of the phonograph record, he must now compete not only with com- lshikawa Mansion. Tokyo. Japan Telephone: 462-2911-3 posers of the past, but with those of his own time as well. The sounds from one Circulation Office P.O. Box 1099. Flushing. N.Y. 11352 EDITORIAL CONTRIBUTIONS must be accompanied end of the "global village" are heard almost simultaneously at the other, and cur- by return postage and will be handled with reason able care: however, publisher assumes no responsibility for return or safety of art work, photography rent fashion or no, a composer cannot do in Sioux Falls today what he knows was or manuscripts. Member Audit Bureau of Circulation, done in Darmstadt or Tokyo last night. The American problem has been exported, and audiences thirsting for a draft from the usable past are offered instead an international cocktail. But, a paradox. Inimical as recorded music may be to the creation of serious music, its effect on popular music seems to be quite benign. I have before me RCA's new "Nilsson Sings Newman," a collection of songs by Randy Newman ZIFF-DAVIS PUBLISHING COMPANY William Ziff. President W. Bradford Briggs, Executive Vice President sung by Harry Nilsson. It is, quite simply, a knockout, the first hard evidence I Hershel B. Sarbin. Senior Vice President Stanley R. Greenfield. Senior Vice President have heard that we do, indeed, have a usable musical past. It is not simply eclecti- Philip Sine. Financial Vice President Walter S. Mills. Jr.. Vice President. Circulation cism, but a natural, unforced lyric speech that is as sensitive as litmus to the many Phillip T. Heffernan. Vice President. Marketing Frank Pomerantz. Vice President. Creative Services Arthur W. Butzow. Vice President. Production potent musical strains still hanging, thanks to the phonograph, in the national Edward D. Muhlfeld, Vice President. Aviation Division Irwin Robinson. Vice President. Travel Division air. Mr. Newman has quite an ear; I heard everything from tent gospel and George Morrissey, Vice President Sydney H. Rogers. Vice President barbershop to Erlkonig and Three -Penny Opera in the album. But it is quintessentially "American," quintessentially contemporary. 4 CIRCLE NO. 6 ON READER SERVICE CARD Theravereviews keep coming Excerpts from Winter -SpringSTEREO & 1970HI-FI TIMES

At the high end, the speaker continues to go out, without audible peaks and valleys, to well beyond the upper limits Dose 901 of my hearing. As a check of the effectiveness of the directional characteristics, Speaker System I put a 12 kHz signal on the speaker. There was no apparent change in level There are a number of tried-and-true as I walked around the room. In any principles at work in this speaker, all of position there was a uniformity that which combine to create one of the fin- bespoke the excellence of both the dis- est products it has been my pleasure to persion and the compensation of highs. hear in some time. But we don't listen to sine waves, we The Bose 901isa complete stereo listento music. What a lovely sound speaker system. The package consists of these speakers produce! two speaker containers and a control On small groups the sound is clear and box. Each of the speaker boxes contains lifelike; wuth massive forces, the speaker a total of nine drivers, all of them iden- simply expands to take up the slack. tical. One of my favorite tests uses massed choral works. The dispersion charac- The principle of operation has all of the teristics take care of the stereo spread speakers functioning asa woofer to effectively.Thesoniccharacteristics move a notable amount of air. Thus, ex- make the voices sound real. A massed cellent bass is realized from the system chorusisan assembly ofindividual even though small speaker drivers are voices. A good speaker will sound just used. With eight of the drivers facing The Bose 901 speaker system. that way, a less -than -good speaker will rearward, most of the sound you will homogenize the chorus into a confused hear will be reflected off the wall. All of this is very nice. But the proof ofmass.ListentoColumbia'sCarmina the pudding inevitably is sound. And itBuranaon this speaker and hear what a is here that the Bose 901 stands clearlychorus should sound like! It is not new to speaker design to haveaway from the crowd. I've already com- such a multi -directional sound source.mented on the directional characteris- But some of the earlier attempts felltics-they are in no small measure re-Allinall, the Bose 901 produces as short of ideal on sonic qualities. Thissponsibleforthenaturalnessof thewell-balanced a musical sound as one one does not. sound. But the bandwidth and transientcould want. Sharp transients are fol- A multi -directional speaker seems tocharacteristics of the speaker play anlowed faithfully. When a sound stops have its sound escape from its box. Theimportant part,as does the freedomsuddenly, so does the speaker. It does source of the sound becomes an area of not produce bass when there is no bass from coloration. in the music, but it does produce the space above and behind the actual en-I have spent a good deal of time listen- 4 closure. This is created beautifully bying to these speakers. They have beendeepest bass when itis there. these speakers. A stereo pair fills theconnected into a system that containsEach of the enclosures is 201/2 by 1234 wall with stereo, yet each instrument hasthe finest componentry, including a high -by 121/2inches. They are compact in its prescribed space-and it stays there.power amplifier. There are only a fewsize,certainly. The complete system You can spread these speakers muchspeakers I have ever come across thatcosts $476 (including the equalizer). It wider apart than conventional boxesI can listen to for long periods. This iswants a lot of power-if you like to without creating a "hole -in -the -middle"one of them. listenloudly,consider 50 wattsper effect. The bandwidth is certainly there. The.channel as a minimum. But these speak- speaker goes down smoothly to 34 Hzers provide a quality that is not to be . matched. .. the Bose 901 conies with a specialand rolls off slowly below, according to active -equalizer box. This control is con-frequency sweeps I made. There is still nected between preamp and amplifier,useful response at 25 Hz. That is cer- Write us for reprints of the complete usually via the tape monitor controls ontainly as deep as most music will go review and six other rave reviews your amplifier. fromallthemajor highfidelity and, in any case, as deep as recordings magazines. will let you go.

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CIRCLE NO. 38 ON READER SERVICE CARD MAY 1970 7 OPELA\. is alive and well

On 4,0,t(DOT LETTERS TOTHE EDITOR RECORDS 0 The Royal Family Beethoven educational, and institutional use, most of HenryPleasants'complaint( January) our tapes are for pirating. All of which, of of Opera that Beethoven was too "serious" is not, in course, doesn't make the situation correct: it my opinion, well taken. Beethoven may have simply indicts more of us-consumers and R. Strauss: been serious in his life; however, nobody was producers. DER ROSENKAVALIER a greater clown in music, and it is the music JAMES B. WHISKER with Regine Crespin, Yvonne that counts. Morgantown, W. Va. Minton, Helen Donath, Except for Stravinsky, there is nothing in Manfred Jungwirth, Luciano musicasfunnyassome ofBeethoven's As Iliftthe tone arm off one of my Pavarotti-The Vienna scherzos; his harmonic clashes are sometimes treasured "pirate" opera records, I am com- Philharmonic Orchestra- plain crazy; and his trick of playing sudden- pelled to offer my views on the "pirated re- Georg Solti ly soft on a strong beat is as funny as Bot- cordings" problem discussed so extensively OSAL-1435 tom's lines: "I will roar you as gently as a in your February issue. Mozart: DON GIOVANNI sucking dove, I will roar you an 'twere any Ican speak with conviction only in the with Joan Sutherland, Pilar nightingale." area of opera and recitals by operatic artists. Lorengar, Marilyn Horne, As for Mr. Pleasants' jazz fixation,Ire- This kind of material comes primarily from Gabriel Bacquier, Werner vere Jelly Roll Morton just as much as he ancient 78 -rpm recordings, theartistson Krenn, Donald Gramm-The does, but this has not closed my ears to the which are long deceased. To cite only one of English Chamber Orchestra- rest of music. many examples, I cannot be convinced that Richard Bonynge SOL BABITZ,Director RCA will ever reissue recordings of the im- OSA-1434 Early Music Laboratory mortal French basso Pol Plancon, who re- Giordano: FEDORA Los Angeles, Cal. corded almost exclusively for them; yet we with Magda Olivero, Mario del have nearly his total output available on the Monaco, Tito Gobbi - The Mr. Pleasants replies: "1 find it distressing label of a small pirate company. Monte Carlo Opera that my old friend Sol Babitz,' wbo is so per- The small opera -oriented record compa- Orchestra-Lamberto Gardelli ceptive about a Beethoven scherzo, should nieshave rescuedcountlessgreatsingers OSA-1283 be so obtuse about mine." from aural oblivion, and for thisIsalute Now on London them and hope that their efforts can continue. Bellini: NORMA Thanks to everyone (except Henry Pleas - They are performing avaluable historical with Joan Sutherland, Marilyn ants) on the excellent job you did in your set -vice, and will never cut into large -com- Horne, John Alexander, January edition. As I am a Beethoven en- pany profits. The big boys with their -big- Richard Cross-The London thusiast, the issue, as my mother would say, bucks" variety of artistic conscience should Symphony Orchestra- "warmed the cockles of me 'art." call off the clogs. Richard Bonynge RICHARD HIEBERr LESLIE BLUSTEIN OSA-1394 Ft. St. John Minneapolis, Minn. British Columbia May Release Musique a table Now on London A Nation of Pirates? William Anderson's analogy of rock mu- Puccini: TOSCA Iread andr, -read with great interest the sic to pizza struck me as being apt, and led with Leontyne Price, Giuseppe fine article by William Livingstone on rec- me to think of analogies which might be ap- di Stefano, Giuseppe Tadde ord pirating (February). What he did not propriate to other classical composers. The Vienna Philharmonic say was this, however: of all the billions of Bach,Ifeel,islike sherbet:light, deli- Orchestra-Herbert von feetoftapesoldannuallytohobbyists, cate, available in many flavors, rather sweet Karajan wouldn't it be reasonable to guess that ninety and cold. Mozartismore likechocolate OSA-1284 per cent or so of it goes into pirating of radio mousse: also sweet, but old-fashioned, whole- In preparation broadcasts, others' record albums and pre- some, and filling. Gluck: ORFEO ED EURIDICE recorded tapes, etc.? And isn't this the real Beethoven islike Sauerbraten, in which with Marilyn Horne, Pilar reason tape manufacturers sell tape? And the rather ordinary ingredients are improved by Lorengar, Helen Donath-The reason major manufacturers of amplifying virtue of special German handling. Tchaik- Orchestra of the Royal Opera equipment put a tape output on their ma- ovsky is like steak cut up into little cubes, House, Covent Garden-Georg chines? And why transports are sold to the soaked in vodka, and served flaming on a Solti man who already has a recorder-to enable Russian saber. Stravinsky is more like a Mon- OSA-1285 him to copy prerecorded tapes? And even the golian steak: well -seasoned raw hamburger, students who tape my lectures in the class- with a raw egg on top, nourishing but a lit- room are inreality "pirating" my lectures. tle shocking to the senses at first. My guess is that with the exception of studio, (Continued on pa:x 17) CIRCLE NO. 53 ON READER SERVICE CARD STEREO REVIEW Ifyoulikeour$1000 receiver

P41141144

The SA -4000 contains every recenteve opment in transistor and microcircuit design. Ard then some. It s also the first Solid -State hi -f delity receiver without a tuning knob. Instead,it features fully automatic, two -speed Motor Tuning. Fast motion for auto tuning. And slow motion to assure pin -point accuracy. An accessory Remote Control Tuning Unit is included with the receiver. The SA -4000 also features electronic Memory Master Tuning for presetting up to five stations So you can get them instantly. And Panasonic exclusive LuminaBand dial to let you see what you got. With just a touch of a fingertip. See complete specs on page 3. SA -70. 90 WATT (IHF) SA -60. 60 WATT (IHF) SA -50. 60 WATT (IHF) FM/AM, FM STEREO FM/AM, FM STEREO FM, FM STEREO RECEIVER. RECEIVER. $349.95. RECEIVER. $279.95. $249.95. (Mfr.'s suggested list price.) (Mfr.'s suggested list price.) (Mfr.'s suggested list price.) You get things you wouldn't Maybe you ought to settle Our SA -50 is just like expect at a price like this. for a merely superb receiver the SA -60. Except for two things. The FM tuner has 3 FET's instead of daydreaming about a No AM tuner. Anc it costs less. fantastic cne to prevent overload. A two -stage SA -40. 55 WATT (IHF) RF circuit. Four -section tuning The FM tuner utilizes 3 FET's. A two -stage RF circuit. Four - FM/AM, FM STEREO capacitor. And seven tuned RECEIVER. $219.95 circuits to bring in the weakest section tuning capacitor. Six (Mfr.'s suggested list price.) FM stations. tuned circuits and four dual- tunec IF circuits to provide Sounds a lot richer than Four Integrated Circuits its price. in the IF stage give extreme sensitive and clear FM reception. Our AM tuner circuit incorporates The FM tuner features a selectivity to eliminate interference. FET to prevent overload and provide A Ceramic Filter in the AM a ceramic filter to insure pin -point tuner circuit provides iiterference- statioi tuninc. And interference - perfect FM and FM stereo recept or. free receptior. And four sensitive IF circuits tc free AM reception. And our help find even the weakest FM exclusive Ceramic Multiplex A bui t -ii ferrite antenna stations. Filter prevents false triggering employs a revolutionary coil design to eliminate static. The AM tuner circuit of the Stereo Indicator Lamp. includes a built-in ferrite Between -station noise is And a separate AM RF circuit antenna to assure interference - eliminated by a muting switch. and a three -section tuning capacitor provide the highest sensit vity and free reception. Low and Hi Filters remove record Four wide-rarge Linear rumble and high -frequency h ss. selectivity for tuning in even the Sliding Controls provide precise There's a full comolement of weakest staticns. There's a full complement of sound adjustment. sound controls. Exclusie Four rocker switches for LuminaBand dial let yon see sound controls. LuminaBand dial. And jacks on the rear to Loudness. High Filter, Mono/ where you're listening. And Stereo and Tape Monitpr enough back panel jacks for conne:t a hos: of speakers and Facilities for two pairs of two pairs of speakers, a monc accessories speakers, record player, tape recorie- remote speaker and other and auxiliary program source accessories. Pre -amp Output and Main Amplifier Input jacks to convert the SA -40 into a pre -amplifier or main amplifier. Or add units for echo reverberation and tremolo. Our 51000 receiver is pretty impressive. But then io are our less expensive ones. Because Et Panasonic we don't just assemble stereo receivers. We make every vital part that goes in them. With the same quality, consistent y and ear for details. Give all our receivers a listen. At any dealer we franchise to handle the Panasonic Audio Equpment line. You'll see why our less expensive motels might become our $1000 receiver's biggest competition.

MODEL SA -40 SA -60 SA -70 SA -4000 AMPLIFIER SECTION SA -50 without AM IHF Mus c Power 55 Watts at 4 ohms 60 Watts at 4 chm> 90 Watts at 4 ohms 160 Watts at 4 ohms 4) Watts at 8 ohms 50 Watts at 8 onm: 80 Watts at 8 ohms 160 Watts at 8 ohms RMS Power 12,12 Watts at 8 ohms 32/.= Watts at B ohm: (at 1 kHz and rated distortion) 22.5/22.5 Watts at 8 o -ms 60/60 Watts at 8 ohms Harmonic Distortion 0.8 % 0.8 % 0.8 % 0.1 % (at 1 kHz and rated output) intermodelation Distortion 1.2 % 1.0 % 1.0 % 0.2 % (60 Hz +7 kHz, 4 : 1, SMPTE Power Bandwidth 20 Hz to 50,000 Hz 20 Hz to 50,00C Hz 15 Hz to 70,000 Hz 20 Hz to 30,000 Hz -3 dB -3 dB -3 dB -3 dB Frequency Response 20 Hz to 60,000 Hz 20 Hz to 70,000 Hz 30 -tz to 100,000 Hz 10 Hz to 130,000 Hz Power Amplifier -3 dB -3 dB -3 dB Input Sensitivity (for rated output) 3.5 mV (Phono Low) 3.5 mV (Phono Low. 4 my (Phono Low) 3 mV (Phono 1) Phono 10 mV (Phono High) 10 mV (Phono Fight 18 riV (Phono Figh) 5 mV (Phono 2) Input Impedance 50 tohms (Phono Low) 50 kohms (Phono Low) 50 kchms (Phonc Low: 47 kohms (Phono 1) Phono 100 Kohms (Phono High) 60 kohms (Phono Hic -1) 60 kchms (Phonc Hight) 100 kohms (Phono 2) 37; kohms (Ceramic) Hum and Noise 60 c18 (Phono Low) 65 dB (Phono Lowl 65 dB (Phono Low) Phono 65 dB (Phono 1) i.. Bass Range =10 dB at 50 Hz ±10 dB at 50 -Iz AO dB at 50 Hz ±12 dB at 50 Hz Treble Range =9 dB at 10 kHz ±10 dB at 10 kHz *10 dB at 10 I.Hz t10 dB at 10 kHz Turnover Frequency Selector - - - Bass: 250 Hz/500 Hz - - - Treble: 2 kHz/4 kHz damping Factor 20 at 4 ohms 25 at 4 ohms 25 at 4 ohm: 75 at 4 ohms 40 at 8 ohms 50 at 8 ohms 50 at 8 ohms 150 at 8 ohms Recorder Output Level 170 mV 230 mV 200 mV 150 mV FM TUNER SECTION

FM Usable Sensitivity (IHF 2.8 NV 2.2 NV 2.0 0/ 1.5 IN FM Harmonic Distortion tat 400 Hz, 100 % modulation) 0.7 % 0.6 % 0.5 % 0.15 % Signal to Boise Ratio 60 dB 60 dB 60 dB 70 dB Selectivity. Al ate Chanrel 40 dB 45 dB 50 dB 60 dB Spurious Response Rejection (et 100 MFtz) 70 dB 75 dB 75 dB 100 dB IF Rejection (at 100 MHz) 90 dB 90 dB 90 dB 100 dB Image Rejection (at 100 MHz) 55 dB 80 dB 80 dB 95 dB FM Stereo Separation (a: 1 kHz) 35 dB 35 dB 37 dB 45'dB Capture Ratio (IHF) 3 dB 2.5 dB 2 dB 1 dB AM TUNER SECTION AM Sensit vity (IHF. 20 NV 20 0/ 20 p V - Selectivity(at 1 MHz and *10 kHz) 25 dB 25 dB 25 dB - Image Rejection (at 1 MHz) 40 dB 70 dB 70 dB - IF Frequency Rejection (at 1 MHz) 45 dB 80 dB 80 dB - E imensions(W . H . D) 16" .5" .14" 191" .5i" .14" ( ncluding control knobs and fuse post) 1E1" .5i" .14" 204" .7" .164" Weight (Facked) 29 lb. 34 lb. 35 lb. 60 lb. Power Supply 120 VAC 120 V AC 120 V AC 120 V AC 100 Watts 190 Watts 220 Watts 200 Watts

PANASONIC just slightly ahead of our tune. Psnason.e specifications ore ouilt (..1 to Char 9b WIltIOUT notice, With the $650youhave left you can get oneofour tapedecks

RS-796US. "THE SYMPOSIUM." DUAL A four -position digital tape counter tells just CAPSTAN 4 -TRACK STEREO TAPE DECK where everything is on the tape. And the Pause WITH CONTINUOUS AUTOMATIC Control lets you stop the tape for immeoiate source REVERSE. $249.95. (Mfr.'s suggested list price.) editing. This professiona -quality Solid -State tape deck The RS-796US works vertically as well as doesn't take a back seat to any other. horizontally. Comes with a Solar Bro'ze Cover It has features like a continuous automatic that keeps out dust. And a walnut wood -grain reverse that automatically records and plays in both cabinet with silver control panel to keep it beautiful directions. So you don't have to get up and turn over reels. And a special manual reverse switch that lets you change directions in the middle of the tape. An Automatic Shut -Off turns off the deck at RS-768US. "THE TEMPLETON." the end of a tape. Preventing damage to tape or deck. PROFESSIONAL HI -Fl 4 -TRACK STEREO Two precision VU meters indicate the level of sound TAPE DECK WITH PRECISION 3 -HEAD recorded on each channel. SYSTEM. $219.95. (Mfr.'s suggested list price.) And you can record Sound -on -Sound and Nov that you know you can afford a professional - Sound -with -Sound. Sound -on -Sound lets you quality tape deck, consider our 3 -head system. record voice on track 1. And then lay in the musical So you can be sure of individual perection of background on track 3. While Sound -with -Sound Record, Playback and Erase. And extremely high - permits you to listen -o track 1 as you simultaneously frequency response at all 3 speeds. record on track 3. And then play them both back at the same time for comparison.

P411111110viC

RS-768US and still have enough left over

You also get Source Monitoring that lets you -The Symposium"' hear what you hope is being recorded. And Tape RS-796US Monitoring that lets you hear what actually is being MODEL recorded Power Source AC There's also an Automatic Shut -Off system so you don't have to hover over the tape. A Synchronous Power Co-isumption 55 W 45 W Motor that gives you constant tape speed. Our Noise Su3pressor Switch cuts out unwanted Operation System Lever Lever noise. Without affectirg the frequeicy response. Max. Reel Size (inch) Plus you get Sound -on -Sound and Sound - wan -Sound. And an easy -to -use fast forward and Tape Speed 31, 1i 71, 3f, 1i last rewind keep you 'rpm getting mpatient. VU meters give immediate indication of recording Track System level on each channel. And a 4 -position digital tape counter helps you find selections on the tape. Frequenc. Response (7i elm) 20-27,000 Hz 30-20,000 Hz And Pause Control gives immediate source editing. (3i ips) 20 -17,000 Hz 30 -13,000 Hz The RS-768US is constructed with the latest (1i ills) 20-10,000 Hz 30-. 6,000 Hz Solid -State devices and advanced Integrated Circuitry. All in a walnut grain and midnight black cabinet. Recording System Topped with a So ar Bronze dust cover. Erase System

Sound -oft -Sound

Sound -with -Sound

Automatic Continuous Reverse System

Automatic Tape St3p

Tape Pause

Tape Counter

2 VU meters 2 VU meters

Moreno, System Tape, Source Monitor Source Monitor

IVs

Input

Input (AUX)

Outpue (LINE)

Headp-ione

Dimensions 18!" x131" "8" (W "leD)

24) lb.

RS-796US

just slightly ahead of our time. Panasonic speciticat ons are subject to change without notice. foroneofourspeaker systems

SB-88. "TECHNICS." 3 -WAY SB-33. "BOOKSHELF." The 3 -inch cone tweeter FIVE -SPEAKER SYSTEM. 3 -WAY SPEAKER SYSTEM. has a low -mass cone. Far smooth $249.95 PER UNIT. $125.00 PER UNIT. response up tc 19,000 Hertz. (Mfr.'s suggested list price.) (Mfr.'s suggested list price.) A special peak -free cone design The SB-88 is built to The 10 -inch woofer has an accounts for a smooth ticht treble. outperform anything in its price inverted half -roll surround of And a low -loss crossover range. extremely high compliance and network separates the frequeic es The 51 -pound woofer a 11 -inch voice coil. It results at the crossover point of 2,500 magnet structure and a unique in an exceptional free -air Hertz. ultracompliant pure virgin rubber resonance of 25 Hertz. surround provide a free -air The 31 -inch midrange SB-66. "COMPACT." 2 -WAY resonance below 20 Hertz. For speaker has resonance -free cone SPEAKER SYSTEM. $119.95 exceptional low -frequency plus 2 -inch cone tweeter with PER PAIR. response. a 4i -ounce high flux density (Mfr.'s suggested list price.) This pair of speakers sends The mid -frequencies pour out magnetic structure. A three -position treble out a lot of beautiful sound. from two independent 5 -inch At a beautiful p -ice. midrange speakers. Each with a balance control adapts upper frecuencies. The 8-inct- acoustic compliart impregnated half -roll suspension woofer with an surround for magnificent response. inverted half -roll surround gives A pair of 2 -inch horn SB-22. "COMPACT." 2 -WAY tweeters with Mylar Domes gives fundamental bass response down SPEAKER SYSTEM. $79.95 to 40 Hertz. And a 2 -inch wide - 120 -degree dispersion of the high PER UNIT. dispersion tweeter utilizes a treble frequencies. (Mfr.'s suggested list price.) low -mass cone for smooth And an inductive capacitive The 8 -inch acoust c response out to 20,000 Hertz. crossove- network eliminates suspension woofer utilizes a unique And the frequencies are speaker phasing problems plasticized inverted half -roll separated at the crossover point effectively. surround and a 4 -pound magnet of 8,000 Hertz by a low -loss All five of these speakers for a free -air resonance of 33 crossover network. are so well matched acoustically, Hertz. Together with an airtight they'll kn3ck your ear on its ear. enclosure, the fundamental bass And can De adapted to any room response reproduces down to with two three -position treble 38 Hertz without doubling or and midrange balance controls. distortion

SB-77. "TECHNICS." 3 -WAY SPEAKER SYSTEM. 8179.95 PER UNIT. (Mfr.'s suggested list price.) The SB-77's 10 -inch woofer incorpore-es a unique compliant inverted t- alf -roll surround. It has a 41 -pound magnet structure and a 11- nch voice coil for a power -handling capacity of 60 watts. The 5 -inch midrange driver uses an impregnated half -roll surround to prevent cone resonances and assure perfect transient response. The 2 -inch horn tweeter has a Mylar Dome and aluminum horn that eliminate distortion. A low -loss capacitive and inductive network gives controlled impedance and smooth transition at the crossover frequencies. And two three -position treble and midrange balance controls let you shape the music. SB-22

SB-66 MODEL SB-66 SB-22 SB-33 SB-77 SB-88 Typo 2 -Way 2 -Way 3 -Way 3 -Way 3 -Way Wooer 8" 8" 10" 10" 12" Speak.- Midrange - - - 3F 5" 2 .5" Tweeter 2" 3" 2" 2" 2 x 2" Frequency R 40 Hz to 20,000 Hz 38 liz to 19,000 Hz 30 HI to 20,000 Hz 28 H: to 21,000 Hz 24 Hz to 22,000 Hz Recommended Amplifier Power 10 Warts to 30 Watts 10 Watts to 30 Watts 13 Wens to 40 Watts 10 Watts to 60 Watts 10 Watts to 80 Watts Impede -we 8 ohms 8 ohms 8 ohms 8 ohms 8 ohms Crossover Frequencies E000 Hz 2,500 Hz ,301: Hz, 6,000 itz 800 -1z, 6,000 Hz 800 Hz, 6,000 Hz

Woofer Resonance 45 Hz 33 Hz 25 Hz 25 Hz 20 Hz

Woofer Magnet Structure Ferrte Magnet 4 lb. 4 lb. 41 lb. 51 lb. Midranco Magnet Structure - - 6j oz. 21 lb. 2} lb. Tweeter Dispersion 100 degrees 100 degrees 1 a) degrees 123 degrees 120 degrees Acoosstrios (balance control) A 3 -position treble Two 3-aosition treble Two 3 -position treble - - t alae:e control and midrange and midrange Dimensions (W .11 x D) 111" :171" .81" 101".201" .91" 111" .221" .11}- 13*" >23j" .111" 15-14" .26-14" x131" Weight 11 lb. 141 lb. 20 lb. 32 lb. 48* lb.

Cabinet Walnut Walnut Nalnut Walnut Walnut

SB-33 SB-77

just slightly ahead of our time. Panasonic specificatipns are subject to change without notice. SC -666. 80 WATT (40 WATT dispersion tweeter utilizes a low - Our AM tuner circuits provide IHF) FM/AM, FM STEREO mass cone for smooth response the highest sensitivity and MUSIC CENTER. $349.95. out to 20,000 Hz withoJt distortion. selectivity. With static -free AM (Mfr.'s suggested list price.) A low -loss crossover network reception because of a built-in The FM tuner has FET for controls frequency separation. ferrite antenna of unique ccil design. greater sensitivity and selectivity. The precision automatic Wide -range Linear Sliding Four dual -tuned IF circuits and turntable's Cue control lets you Controls provide for precise a unique Ratio Detector to provide interrupt record play by moving adjustment of the. sound. clear reception on FM. a lever. It pays 7, 10 and 12 -inch The rear panel includes The Multiplex Circuit has six records. At 78, 45, 33', and 16rpm. facilities for a tape recorder. Solid -State transistors for error -free Stylus pressure and anti - And an auxiliary program source. automatic Mono/ Stereo switching. skating adjustments assure reliable The compazt speaker A calibrated signal strength operation. And the Pickering V15 incorporates an acoustically tuning meter and automatic Stereo MICROMAGNETIC cartridge matched 64 -inch woofer with Indicator Lamp simplify perfect inc udes an ultracompliant an inverted half -roll surround for center -of -channel tuning. sty us with diamond needle. bass response dawn to 40 Hz. Our full -range Linear Sliding And a 2 -inch wide -dispersion Controls provide smooth and SC -555. 60 WATT (30 WATT tweeter utilizes a wide -dispersion instant adjustment of tonal qualities. IHF) FM/AM, FM STEREO cone for ultra -smooth response And positive action Mono/ MUSIC CENTER. $279.00. up to 20,000 Hz. Stereo and Tape Monitor rocker (Mfr.'s suggested list price.) The precision automatic switches control the whole Stereo The FM tuner features FET for turntable takes 7, 10 and 12-irch Music Center. While Main and greater sensitivity and improved discs. 78, 45, 33and 161 rpm. Remote Speaker switches control rejection o' unwanted signals. Low gram stylus pressure speaker selection. Ard four dual -tuned IF circuits and built-in skating compensa-ion The 8 -inch woofer with an provide clear reception on FM. assure reliable operation. inverted half -roll surround gives The Multiplex Circuit affords The exclusive Panascnic fundamental bass response down automatic Mono/Stereo switching. Magnistate cartridge comes w th a to 40 Hz. And a 2 -inch wide - turn -over stylus and diamond needle.

SC -666

just slightly ahead of our time. One could go on and on, but I will call a dull concerto two hundred times? It's time halt after one more: Ives islike vegetable to stop treating rock as though it must under- soup, with everythingintherefrigerator go the same critical criteria as Elliott Carter's Most people know thrown in and served in a bowl too small to latest composition. Let's listen to rock on its hold it all! own terms, and we'll all enjoy it more. JOHN L. STRACK CHRISTOPHER ROUSE Santa Ana, Cal. Oberlin, Ohio

I was wondering if perhaps the readers of We welcome sweet reason-especially STEREO Review could help me out. In a when it comes from the conservatory. search for references in music toliouor, have only been able to come up with the fol- Imust confess thatI "dig" rock and I lowing:Strauss'Irine,It and Song, think it will continue to exist in some form Mendelssohn's -Scotch- Symphony, and Bee- or other. For me, the vitality of rock is not thoven's -Fifth." Are there others? just the performance of music but rather the ARTHUR S. FORMAN theatricality of the performance. Rock like Philadelphia, Pa. all other music, was and is meant to be performed -live," and moreover rock is a dance Perhaps our bibulour readers c.m prop a music-it isnotjust asit -down -and -listen few more bottler on lib. F011)1.111. S bar. but music but a get -up -and -move music. Itis a Beethoven's Fifth is going to be hard to beat. catalyst, a background, a music for socializa- tion. And for me the doubts about rock begin when it no longer develops out of a culture (i.e., paying your dues), but rather is superimposed a lathe Monkees andthe Archies by people concerned with commercial success. RAYMOND J. KEESLAR New York, N. Y.

It is a great feeling to know that we have jgtethoben people like the Editor and James Goodfriend on our side-loving classicalmusic these days is like a battle. I only began to get in- are you one of those terestedinclassicalmusiclastyearafter reading your magazine for a while, but my WI //4 ./ who also knows why? listening repertoire is increasing steadily: so much beautiful music to discover! The Grenadier 3 way speaker sys- Shirr° lievipw FRANCISCO X. RAmos tem distributes its low frequencies through Summerland, Calif. a complete circle, across your room like an elegant carpet Rock as Ruck American Berlioz Society of sound.It puts the bottom on the bot- As,t'scrwil,..composer whose tastes run This letter announces the formation of tom-whereitbelongs. You get deep, neither to the Beatles nor to pizza,let me the American Berlioz Society at Columbia register an enthusastic bravo for William University. Anyone interested in membership pure total bass. Boomless, growl -free un- Anderson's cool, frank, and lucid appraisal or program information should contact me. distorted bass. Bass so liveitgives you of ''Rock as Ruck." What he said badly MICI AEL BAVAR goosebumps. needed saying. 601 W. 115th St., Apt. 32A Ourfullpresencemid -frequency PHILLIP RAMEY New York, N. Y. 10025 driver makes you feel you're listening to a London, England liveperformance, while theultra -sonic Judy Collins: How Bright a Star? domed tweeter provides crystal clear re- Your correspondent Linda Greer Morales It is regrettable that in his otherwise per- sponse all the way to 20,000 Hz. Then ... statesin her letter that rock musicians, if ceptive and accurate review of Judy Collins' Empire's wide angle lens diverges even better educated, would cease to compose the "Recollections-( January), Don Heckman ''unwritten, unplanned'' songs they do be- chose to say that ''Miss Collins' star has not thehighestofthesehigh frequencies cause they would prefer to use their musical been of the first magnitude,'' and to re ive through a 160° arc. education to write more -intellectualized." the tired and finally unrewarding compari- The combined magnet strength of less''primitive''works. As a composition son of Miss Collins with Joan Baez. the Grenadier drivers produce over one student at a good musical conservatory, I can After years of dues -paying, steadily grow- million lines of force. More than enough testifythatIdoindeed compose rather ing skill and craftmanship, and constant M u- reason why this magnificent speaker sys- planned, intellectualized pieces, and, on the sica 1exploration, Judy Collins has atlast tem can handle a full 125 watts of power other hand,Ialso write a large number of been accorded wide popular acceptance and per channel without overload or burnout. rock songs. Neither branch of musical idiom fame. Crossing the country this past year,I Listen toit. Walk aroundit. Com- influences the other, andIfeel no greater heard Miss Collins' records played again and pride about my -serious- output thanI do again on every kind of radio station, from pare it to any speaker at any price. See if about my songs. Itis also important to note the most commercially oriented AM kind to you can live with anything else. the wide interestin rock here at Oberlin, "underground- college and universitysta- Empire's world famous Royal Gren- particularly among composition students and tions.I have noted with pleasure that for a adier is available complete with imported (yes, Prof. Morales) the theory teachers who couple of years now she has almost always marble top thru better high fidelity dealers supposedly possess allofthissuperior had a best-selling album going, and last year at $299.95. Other Empire speakers from knowledge which puts rock to shame. she had an enormously successfulsingle, $99.95. Now, let's face it: there is good rock and Both Sides Now. Wherever I've been, her Write for free "Guide to Sound De- there is bad rock, just as there is Beethoven concerts have been sellouts. Last spring she sign for 1970." Empire Scientific Corp., and there is Percy Grainger. It is obviously was the subject of a cover story in Life maga- 1055 Stewart Avenue, Garden City, N.Y. not fair to condemn a whole kind of music zine, last summer she got a full page in the simply because some of its composers and arts section of the Sunday New York Times, 11530 exponents are not of very high quality. After and she is now inevitably mentioned as a all, how many people would condemn the vital and influential figure in every substan- entire Baroque period just because of those tive article dealing with women in the new EMPIRE many faceless Italians who wrote the same pop music. In other words, Miss Collins has CIRCLE NO. 52 ON READER SERVICE CARD MAY 1970 17 TT !! ER RI CVEI CS EA Rs E FLAOSWT EE made. it. Allowing,.for the usual prejudice in favor of male performers and groups in pop, and for her own admirable restraint where KAROL'SINVENTORY IS LARGEST! self -exploitation is concerned, Judy Collins is at last a star. Of course, for many of us, Miss Collins Now YOU can buy ANY has never been a second -string anybody. She has always been the most thoughtful, versatile, musical, adventurous, affecting female singer around. . RECORDORTAPE BEN HUNTER on ANY LASEU Gates Mills, Ohio Auvq4 Tchaikovsky ur Chaikovskii? 0 Since transliteration ofpersonal names #411,410%/tWORLD'S LARGEST SELECTION from one alphabet to another has as its basis (or should have as its basis) the desire to AT LOWEST DISCOUNT PRICES render the pronunciation of the name correctly, it would seem to me that a translitera- MN KING KAROL'S Worm Famous MAIL ORDER SERVICE! tion into English should use letters that are normally pronounced with the desired sound. "Where the Schwann catalog is a reality and the record buyer is king." IRVING KOLODIN,SaturdayReview Since English (either British or American) FREE has a perfectly good letter combination-Eli MAILING & HANDLING -to render the sound of the twenty-fourth ANYWHERE IN U.S.A.! OFF LIST PRICES ! letter of the Russian alphabet, can someone THE PRICE OF THE RECORD 25% ANY TAPE give me a good reason for spelling the family IS ALL YOU EVER PAY, name of P.1. Chaikovskii in the Germanic RECORDS OPEN REEL 8 -TRACK OR CASSETTE! fashion, such as Tchaikovsky or its variants, SPECIAL MAIL ORDER PRICES FREE TAPE Ct.TALOG WITH INITIAL ORDER all starting with the unnecessaryTCH?Read- List Prices Your Price ing the just -arrived February issue of STEREo ANY record or taoe mentioned or advertised in this 1.98 1.55 REVIEW, Ibase run across this needlessly 2.50 1.85 publicationisavailable thru KING KAROL'S world 2.98 2 20 famcus -nail-order sery ce! complicated spelling one time too many for 3.98 2 75 YOU NAME IT-WE'LL GET IT FOR YOL ! my equilibrium! 4.98 3 35 5.98 4 15 FREE CATALOG SENT ON REQUEST G. M. KOSOLAPOFF 6.98 4 65 Auburn, Ala. KING KAROL RECORDS Dept.M-P.13. Box 629, Times Sq. Station, N.Y.C. 10036 The Music Editor comments: "The name `Tchaikovsky' (or whatever spelling variant KING KAROL RETAIL STORES: WEST SIDE - 111 West 42 at 6thtote. EAST SIDE - 910 3rd AVE., at 57 St. of it you choose) was never tran.diterated VISIT OUR SPECTACULAR NEW SHOP AT 460 WEST 42nd ST. at loth AVE. - FREE PARKING CIRCLE NO. 26 ON READER SERVICE CARD into English. Had it been, it would logically show many more differences from the above than an opening CH. The transliteration teaS done into German (with the probable desire of making it look exotically 'Russian'), and The brand for all reasons that is the way the name has come down to us. What is more important than phonetic spelling of this or any other name is really a BSR McDONALD 600 general agreementonasinglespelling. 'Tchaikovsky' is a name more read than said today, and it is of primary importance that we know where to find it in an alphabetical listing. Mr. Kosolapoff is surely aware that there are other languages as musically important as English and that were we to render all composers' names phonetically for English-speaking readers, Beethoven, Bach, Massenet, Haydn, and Dvorak would all look quite different than they do at present. And if Mr. Kosolapoff trill just watch for them, he will find that there is a whole batch of 'TCH' combinations in English to catch his eye, all of them 'needlessly complicated.'" French Singers BSR (USAi LTD. George Jellinek's January review of Mas- BLAUVELT, N Y. 10913 senet'sIrertheron Angel is cause for re- Please send FREE &tailed literature joicing for French opera lovers. "In these Every BSR McDonald automatic turntable is cn all BSR McDonald automatic turntables. tenor -scarce years,"as he writes,itisim- precision made in Great Britain to the possible to hear even three or four good re- most exacting specifications. Upon their cordings of French opera. We have such arrival in the U.S., every model is unpacked Narre and re -tested under actualplaying. I ridiculous things as Corelli or Del Monaco conditions. That's why BSR service calls are I inCarmen, Faust, Romeo etJuliette;or the lowest in the industry-and perhaps Addrass routiniercasts including the inevitable but that also explains why BSR sells more too often insignificanthomme a toutfairs turntables than anyone else in the world. co, Nicolai Gedda, or great voices with awful x French pronunciation like Sutherland. When State % iii Ihear the reissues of Bizet'sPecheurs de Mc DONALD polesand Gluck'sOrphee,I find it a scandal Zip that Leopold Simoneau, one of the most 1.11111siesa mst 01. / (Continued on page 20) CIRCLE NO. 4 ON READER SERVICE CARD 18 STEREO REVIEW "...[the Dynaco A -25's)are quite probably the best buy in high fidelity today." The Stereophile Magazine.

Dynaco designed the A-25 loudspeaker system to have the most accurate reproduction of any speaker available, regardless of price, yet at a low cost to the consumer. Here's what two of the most respected publications say about the re- DYNACO A-25 sults of our efforts. $79.95

The Stereophile, Vol. 2, No. 9 Julian Hirsch in Stereo Review, June, 1969

. ".. (when) some really deep stuff came along ". . . the Dynaco had a remarkably neutral . . . what came out of the A -25's simply defiedquality. Many speakers have response irreg- belief, for they went deeper even than two cfularities that... leave no doubt in the listener's

our standard systems . . . We were certainly mind that he is listening to a speaker. The A-25 not prepared to find these piddling little Dyna had less of this coloration than most speakers

systems going flat down to 35 Hz and rattling we have heard, regardless of price . . . nothing windows at a hair below 30 Hz!... these A -25's we have tested had a better overall transient

are better than anything else we've ever response . . . Not the least of the A -25's attrac-

encountered for less than $200 each . . ." tion is its low price of $79.95.

""The excellent overall transient response of the Dynaco A-25 speaker system is shown by the tone -burst

response photos at(left to I '111111 1111i right)600, 2,000 and10,- 000 Hz.91, (Stereo Review)

Send for literature or pick some up at your dealer where you can also hear the A-25

3060 JEFFERSON ST., PHILA.. PA. 19121 dynraco INC IN EUROPE WRITE: DYNIACO A/S, HUMLUM, STRUER, DENMARK

CIRCLE NO. 11 ON READER SERVICE CARD

\I \1 I ') ) 1') refined singers of our time,isleftaside. "Abbey Road" be wrong, but I doubt it, as only the Beatles Could you explain why record companies As a man who considers himself a fan of seem "licensed" to dispense such stuff to the seem to have forgotten him? The scarceness 'Oustallmusic,including someofthe public. of French-speaking singers seems to me a Beatles' work, I wish to question Don Heck - DAVID MANN myth rather than a reality: here in Quebec man's review of the album "Abbey Road" San Diego, Cal. there are several first-rate opera singers- ( January). On what basis did this record Simoneau, Verreau, Alarie,Quilico, Rou- win a judgment of "Best of the Month"? I Furtwangler

leau, Lavergne, etc.-not to mention French have heard it many times, and frankly I can 1 was interestedto read David Hall's stars like Bacquier and Crespin and others. find no real music in the album, save on one comments ontherecentreleasesofre- R. OUELLET or two cuts. Here Comes the Sun and Come cordings by Wilhelm Furtwangler (Decem- Quebec, Can. Together are very fine indeed. Outside of ber). He says that the sound on the Seraphim those two, the album is a waste of time to Death andTransfigurationis"dulland Mr. Jellinek comments: "None of the sing- me, and many of my Beatles -oriented friends muffled." Ihave not heard the Seraphim ers mentioned by M. Ouellet hate been 'for- agree. Also, the sound quality is poor. pressing, but other pressings of this perfor- gotten' by the record companies. In all fair- The questionIraise is not just for Mr. mance reveal this to be one of Furtwangler's ness, other considerations besides excellent Heckman, but for all reviewers and musi- greatest recordings. The disc is available on enunciation enter into the choice of leading cians who are so pleased with this album. If Italian HMV, English HMV, and French roles: a record company must sell a lot of a new group had done this album, would Pathe, and the sound of each is truly glori- recordings to recoup its investment." you be as pleased and excited over it? I may ous. Furtwangler's approach to the Strauss work makes all others seem insignificant. The Everest travesty Mr. Hall reviewed is taken from an old Period disc (SPL 716); the Mozart extract is definitely not conducted by Furtwangler, but rather by the Rumanian conductor Sergiu Celibidache, and the source is the sound -track of the film Berlin Ambas- including the sadors. THOMAS ZIMMERMAN, Director SMALLER Music and Fine Arts Library SPEAKERS Rice University Houston, Texas Basic Repertoire

I normallyenjoyMartinBookspan's "Basic Repertoire" very much, but I want to registerastrongdisagreementwithhis choice of recordings of Schumann's -Rhen- ish" Symphony (December). If Mr. Book - span honestly feels that Toscanini's recording (RCA Victrola VICS 1337)belongs among those which do not deserve consideration, he is of course entitled to that opinion, but I would venture to guess that itis shared by few who have actually heard this performance. Despite the mediocre engineering, Tosca- nini is so successful in clarifying Schumann's thick textures that I actually hear more lines and details in his reading than I do i Bern - Left to right: SUPER SIX ... a new speaker that can be mounted either stein's hefty and over -reverberant recording. horizontallyorvertically. SUPER MIDGET ..."smallestwiththe Moreover, the playing of the NBC Sympho- mostest" in economy speakers. SUPER MONTE CARLO ...smallest ny, especially in the last movement, makes that of Bernstein's New York Philharmonic speaker utilizing the modified Helmholtz principle. sound slovenly by comparison. In case you're thinking I'm just one more touchy Toscanini idolator,let me add that Ask Your nearby FRAZIER dealer my favorite of all Schumann Thirdsisa The Frazier SOUND value in warm,massive,whole-souledeffort by speakersispictured above with for FREE copy of this colorful new full line brochure. Bruno Walter and the New York Philhar- three winners. Allretailforless monic, not available today. than $100 ... arefinishedinoil HARRY WELLS MCGRAW walnut with off-white linen grille. Hattiesburg, Miss. Beauty with power makes all three a Mr. Books pan replies: "My grateful wise choice for listening pleasure. thanks to Mr. McGraw for his kind words. For quality to fit any budget - see Though I have not heard it for maybe twenty FRAZIER speaker systems at your years, I, too, retain fond memories of the old Bruno Walter -New York Philharmonic re- nearest dealer. Write for cording of the Schumann 'Rhenish.' It first his name and address. appeared back in 78 -rpm days, and then was one of the first of the Columbia transfers to the new LP medium. Perhaps Columbia will be inspired to reissue the recording on its Odyssey label. Concerning Toscanini's per- RAZIER formance, taken from an NBC Symphony INCORPORATED broadcast, I am afraid the recorded sound so completely disfigures and misrepresents what 1930 Valley View Lane Dallas, Texas 75234 an orchestra sounds like that I cannot in all Phone 214-241-3441 conscience recommend the disc, fine though the conception and playing assuredly are." CIRCLE NO. 18 ON READER SERVICE CARD 20 STEREO REVIEW 4Z:sh Tai C 10-11r1E1FRIE.0 1E3

When you're #1 in tape recorders, you don't make the #2 tape If you've got a few hundred bucks tied up in a first- Open -reel tape is available in 31/4", 5", and 7" sizes. The quality tape recorder, you're not going to want to gum up new Sony SLH-180 low -noise, high -output tape is available the works with second-rate tape. Especially when just a few onTreels only. And "Easy -Threader- tabs make every extra pennies buy the finest Sony professional -quality Sony open reel self -threading. recording tape. Our professional -quality tape is also available in eight. Not only will Sony tape make any recorder sound its track stereo cartridges plus new Easy-Matic cassettes for best, but it'll keep it sounding that way. Because our tape both functional and stereo units, with 60, 90, or 120 min - won't shed or cover tape heads with a performance-deteri- utes' recording time. orating oxide coating. Head -wear, too,is minimized, To hear the best, play the best. Sony Professional - thanks to Sony's exclusive Lubri-Cushion process, which Quality Recording Tape. From the people who offer the impregnates the tape with long-lasting lubricants. number -one line of tape re - Sony tape comes in all configurations: Open reel. Eight- corders-Sony/Superscope. SONY,F=0:121 track. Cassettes. You never heard it so good?

Sony/Superscope's new Mod- range that corresponds to about a ±5 -Hz variation in A. el 110 cassette recorder has a small Thereisalsoavolume control and an on/off switch. omnidirectional microphone of the Tones produced by the Electronic Tuning Fork are not pure electret-condenser type built into its but contain harmonics, simplifying the tuning of an instru- case, eliminating the needfor an ment's upper register. The unit comes inafabric -bound external microphone in many re - portable case with cover and a carrying handle and mea- cordingsituations.An external sures 7 x 51/, x 3 inches. It is powered by two 9 -volt bat- 11111 = cardioid microphone with a remote teries, which are supplied. Price: $49.95. start/stop switchisalso supplied. Circle 146 on reader service card The Model 110 can be powered by four internal "C" cells (supplied), an optional rechargeable nickel -cadmium bat- Hegeman Labs, a new manufacturer, is introducing a tery pack (charging circuitisbuilt in), or 120 -volt a.c. line of kit and factory -wired modular electronics for audio line current. Frequency response is 50 to 10,000 Hz, wow systems, affording the user a wide variety of options in and flutter are 0.28 per cent, and signal-to-noise ratiois power and control facilities. Shown are the HL -100 pre- 46 dB. A built-intx 234 -inch elliptical speaker is driven amplifier and control unit and the HL -200 power amplifier by a1 -watt amplifier. The recording bias frequency is 30 unit. The HL -100 comprises three separate modules. The kHz. Transport functions, which are controlled by push preamplifier (upper left) has two sets of inputs for stereo keys, include fast forward and rewind, cassette eject, and phono cartridges and tape heads, input selector switch, a record interlock. There are controls for volume and tone, three disc and tape -equalization controls(roll -off,turn- inputs for microphone and auxiliary, and an output for an over, and low frequency), a mono -stereo switch, a low-cut earphone. A meter monitors recording level and checks bat- filter, and separate level controls for each channel. The tery condition. The Model 110 has an automatic recording - control module (upper right) has four sets of high-level level control, and a sonic alert that sounds at the end of a inputs, and volume, balance, bass, treble, and blend con - cassette when Sony Auto -Sensor cassettes are used. The dimensions of the Model 110 are 93/8 x x 23/8 inches; the unit weighs less than 4 pounds. Price, including microphone, earphone, four "C" cells, and a vinyl carrying case: $99.50. Among the optional accessories available are a magnetic-phono adapter, foot switch, telephone pick-up, and car -mounting bracket. Circle 144 on reader service card

Olson has introduced the model AM -372 solid-state trots. There are also switches for input selection, mode, stereo amplifier, which has atotal output of 20 watts loudness, andafront -panelstereo -headphone jack.Be- music power and a frequency response of 50 to 20,000 Hz tween the two modules isa power supply for both, with dB. The signal-to-noise ratio is 40 dB. The amplifier three rear -mounted a.c. convenience outlets, two of them has controls for bass, treble, volume, and balance. Slide switched. The signal-to-noiseratioforthe preamplifier switches turnit on and off and select main or remote module is 69 dB (phono input), and 90 dB for the control speakers and stereo or mono mode. A fourth slide switch module (high-level inputs). The lower tier of components (HL -200) comprises two power -amplifier modules (with self-contained power supplies) and room for a third if a center -channel speaker is used. The output of each amplifier is 50 watts continuous power. Harmonic and IM distortion are 0.5 per cent at rated output. Frequency response is 10 to 100,000 Hz ±-1 selects program source (there are inputs for tuner and dB, and power bandwidth is 10 to 50,000 Hz. An input of ceramic/crystal phono cartridge). An output for tape re- 0.7 volt drives each module to full output. The damping corder connection is also provided, so that program sources factor is 200. Prices of the HL -100 are $380 in kit form can be fed through the amplifier for dubbing. A head- and $190 factory wired. The HL -200 is $342 (kit) and phone jack is located on the right side of the front panel. $398 (wired). Also available is the three -module Volume - Housed in a walnut -finished cabinet, the AM -372 measures Level Indicator and Patch Panel (HL -320), containing two 121/4 x 31/4 x 71/2 inches. Price: $39.98. VU meters, thirty-two jacks, and appropriate controls for Circle 145 on reader service card monitoring input and output signals anywhere in a stereo system's electronic chain. Price: $232 (kit); $304 (wired). Schober is marketing the Elec- Circle 147 on reader service card tronic Tuning Fork, afully transistorized tuning device with built- 3M has announced the introduction of a line of heavy- in speaker that provides any of the duty cassette machines in deck and portable formats for twelve tones from middle C to the use in language labs and other educational audio-visual B above, according to the setting of applications. Among theversionsavailableare record/ the front -panel selector switch. The playback and playback -only decks and portables (Models frequency of the tones is based upon 2505, 2515, 2520, 2510), a remote -control portable (Model the international Standard Pitch (A = 440 Hz). A pitch 2540) available with a variety of hand- and foot -operated control allows any of the frequencies to be varied over a (Continued on page 24) 22 STEREO REVIEW The allnewPE -2040 PErfection in PErformance

Your inevitable choice among automatic turntables. Sooner or later other automatic turntables will incorporate the exclusive features now availableon the new PE -2040: Dial-a-Matic vertical tracking angle adjustment for all records

. . . Independent, ultra -gentle, fingertip cueing control . . . Fail safe stylus pro- tector... Automatic record scanner ...Single lever control for all modes ofopera- tion . . . Continuous record repeat. These are just some of the exclusive features. PErfection in PErformance Stop by at your PE dealer for the complete story and a demonstration of PErfection in PErformance. PE -2040-$145.00; PE -2038-$115.00. Elpa Marketing Industries, Inc., New Hyde Park, N.`1. 11040 >< CIRCLE NO. 14 ON READER SERVICE CARD MAY 1970 NEW PRODUCTS A ROUNDUP OF THE LATEST HIGH-FIDELITY EQUIPMENT controls, a voice -actuated portable (Model 2530), and the range, and a 31/2 -inch cone tweeter. Frequency response is Model 2550 record/playback portable with slide synchro- 25 to 17,000 Hz ±5 dB, and the nominal impedance is 4 nization. All models are a.c.-operated and have a frequency ohms. The power -handling capability of the LWE III is 40 response of 50 to 8,000 Hz. The deck models canbe flush watts program material. A 20 -foot length of cable is sup- mounted on a desk or table surface. Wow and flutter are pliedforconnectiontothe amplifier. The enclosureis finished in oiled walnut and is 221/2 x 15 x 91/2 inches overall. Price: $175. The system is also available in an unfinished enclosure for $115. Other LWE systems also available in finished and unfinished cabinets range in price from $60 to $950. Wooden bases for floor -standing installation can be purchased for most models. Circle 151 on reader service card Adventhas announced the introduction of their Tape - Noise Reduction Center, which employs a "B -Type" single - band Dolby Noise Reduction System. The Advent device is less than 0.25 per cent, and the signal-to-noise ratiois designed to be connected to the inputs and outputs of a better than 46 dB. stereo tape recorder so that all signals going to and from Operating controlsare color -codedand similarlyar- the machine pass throughit. The Dolby circuits work ranged on all units. They include pushbuttons for start, by imparting a 10 -dB boost above -1,000 Hz to low-level stop, pause, and cassette eject, a single lever for fast for- signals during recording, and a complementary cut during ward and rewind, volume and tone controls, and recording - playback. Tape and electronic hiss introduced during the level controls, meters, and record interlock on the record- tape-recording process is thereby considerably reduced. The ers. All models contain a 10 -watt (EIA) amplifier and can symmetrical boost and cut are less extreme for stronger sig- be used with headphones. Price of the unit shown (Model nals, and high-level signals are not affected at all during 2510 playback -only portable): $169.95. Other models will either record or playback, since their strength is generally range in price from $159.95 to $299.95. sufficient to mask background noise. The level -dependent Circle 148 on reader service card Radio Shack'sMinimus 0.5 speaker is designed for use in small installa- 41//1/111 tions or where space is very limited. The diminutive -65/8 x 43/4x 41/4 inches- # 110 L.... walnut cabinet with metal trim contains '10 11) MO Lgoi- IP 4* a single wide -range high -excursion 1 -inch ill acoustic -suspension driver with a nominal impedance of 8 ohms. Power -han- action of the Dolhy circuit prevents tape overload and dlingcapabilityis10 watts program consequent distortion. material.Both screw terminals and a phono-jack input are When connected properly, the Advent unit serves as a providedon the rear of the speaker for connection to an tape-recordingcontrolcenter,withseparate input -level amplifier or receiver. Price: $9.95. controls for each channel for both microphone and line Circle 149 on reader service card inputs, a master recording -level control, separate playback - level controls for each channel, and tape -monitor functions RCAis offering free a color brochure illustrating and throughafront -panel headphone jack. Thereisalso a describing the features of theirline of high- and low - stereo FM multiplex filter that can be switched inifre- impedance dynamic microphones, which includes cardioid, quired. The Dolby section has a test -tone oscillator, meters, omnidirectional, and special-purpose types. There is also a and other appropriate controls and switches for matching comparator chart to aid the purchaser in matching micro- record and playback levelsfor proper operation of the phone to application and a list of accessories available for circuit. (Also supplied are cassette and open -reel calibrat- each microphone. ing tapes that enable the user to adjust for prerecorded Circle 150 on reader service card "Dolbyized" tapes in either format.) The rear panel has a full complement of outputs and microphone and line in- Acoustronhas introduced its LWE line puts. The Advent Tape -Noise Reduction System is13 x of speaker systemsincorporatingfeedback 4 x 81/2 inches overall and costs $250. circuits that send a correction signal to the Circle 1.52 on reader service card amplifier to compensate for any nonlinearities in the drivers' frequency -response characteris- Shureis offering a free sixteen -page illustrated catalog tics and the effects of listening -room acous- giving prices and descriptions of their line of microphones tics. The circuits also limit the amplifier's and microphone accessories, among which are desk stands, output to prevent overloading of the speak- equalizers, mixers, automatic level controls, and accessories. ers' voice coils. Instructions are supplied for There is also a discussion of various microphone types- connecting the feedback loop to those amplifiers and re- dynamic, controlled magnetic, ribbon, ceramic, and crystal ceivers that do not have external feedback terminals. The -and the applications for which they are suited. LWE III (shown) contains a 12 -inch woofer, 6 -inch mid- Circle 153 on reader service card 24 STEREO REVIEW FREE INFORMATION

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FIRST CLASS PERMIT NO. 24475 PHILADELPHIA, PA. Stereo (X TONE 1 460Review 00 CENTS TURNTABLES: A GUIDE TO BUYING COMPOSER -CRITICHECTOR BERLIOZ: BUSINESS REPLY MAIL A CENTENARY-YEAR REAPPRAISAL NO POSTAGE NECESSARY IF MAILED IN THE UNITED STATES BROADWAY MUSICALS: A BASIC LIBRARY FORCOLLECTORS POSTAGE WILL BE PAID BY- Stereo Review P.O. BOX 8051 PHILADELPHIA, PA. 19101

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Stereo ilevio Stereo Review's Free Information P.O. BOX 8051 Service can help you select everything PHILADELPHIA, PA. 19101 for your music system without leaving your home. By simply following the directions on the reverse side of this page you will receive the answers to all your questions FIRST CLASS about planning and purchasing records, PERMIT NO. 24475 tapes and stereo systems: how much to PHILADELPHIA, PA. spend, what components to buy first- and from whom; which records are outstanding and worthy of a spot in your BUSINESS REPLY MAIL music library; how to get more out of NO POSTAGE NECESSARY IF MAILED IN THE UNITED STATES your present audio system; which turntable... cartridge...tuner ... headphone POSTAGE WILL BE PAID BY- ...loudspeaker ...etc., will go with your system. All this and much more. Stereo lie1`11 P.O. BOX 8051 PHILADELPHIA, PA. 19101 "Harman-Kardon was obviously intent upon producing as much receiver as possible for under $300. In this they havesucceeded" Audio Magazine-February 1970.

Nocturne 820-$269.95 Any manufacturer who produces a stereo re-as sensitive as any FM tuner we have tested, some ceiver is bound to say that his product is powerful,46 stations were received acceptably in our ad- brilliantly designed, ultra -sensitive, beautifullymittedly good listening location. Sixteen of these styled and a terrific buy for the money. In fact,were received in stereo. Muting was excellent." that's exactly what we've been saying about our The publication was equally enthusiastic Nocturne 820. about the 820's styling. They said that the unit But it's nice when somebody else says it all forwas ".. soelegant...it would fit in well with you. Especially when that "somebody" is Audioalmost anyone's furnishings." And, in summation, Magazine. the review said,"Harman-Kardon was obviously In the review of the Nocturne 820 in the Feb-intent upon producing as much receiver as ruary issue, Audio said, "Power bandwidthpossible for under $300.00. In this they have extends from 15 to 40,000 Hz, based upon a 30- succeeded." watt -per -channel (rms) power rating." We thank Audio Magazine for their kind The magazine was particularly interested inwords. But words alone will never really tell you the 820's FM performance and stated, "We won-how the 820 performs and looks. Why not see for der why published specifications did not includeyourself. Visit your Harman-Kardon dealer soon. maximum FM S/N, since the measured value wasWe think you will agree that the Nocturne 820 is an excellent 70 dB! 1 dB limiting took place at anabout as much receiver as you can buy for under input signal of only 2 uV while total harmonic $300.00. distortion measured 0.5%, as claimed." For more information write to Harman-Kardon, Audio also said that the 820 was "just aboutInc., 55 Ames Court, Plainview, N.Y. Dept. SR5 harmankardon A Subsidiary of Jervis Corporation CIRCLE NO. 20 ON READER SERVICE CARD MAY 1970 27 AUDIO QUESTIONS & ANSWERS Power and Volume peaks, although they would be equally QA frequent topicof discussion with loud, the 100 -watt amplifier would prob- . my stereo -enthusiast friendsis the ably have a somewhat "cleaner" overall Revox is impossible., relationship between power output and sound and tighter bass response because volume. One argues that, assuming speak- of its lower distortion and superior low- - Impossible ers of the same efficiency are- used, an end performance at high power levels. to describe that is. amplifier with greater power reserve will There drive the speakers to a higher volume; in Initial Question is nothing we can say other words, there is a 1:1 relationship QI know that AR stands for Acous- between power and volume. I maintain tic Research, ADC for Audio Dy- about the Revox that that the more powerful unit can provide namics Corporation, JBL for James B. hasn't been said before, by more power to achieve the same volume, Lansing, E -V for Electro-Voice; but I and that theoretically this will result in have no idea (and I own equipment man- some other manufacturer less distortion. Please clear the air for us.ufactured by the company) what KLH about his tape recorder. JACK STAFFORD stands for. Can you enlighten me? Also, Ventura, Calif. although this may be out of your realm, Every machine from $60 what do the letters BVD signify? AYou are both wrong. In practice, DEAN A.REILEIN to $6000 promises distor- the amount of volume delivered for Mansfield Center, Conn.,,; tion free performance, a given input signal depends more upon the gain of the amplifier than its power. AThe KLH one is easy. The founders from the sub -sonic to the Let's take as an example two high -quality . ofthe company were Messrs. ultra -sonic, with undetect- amplifiers, one rated at 50 watts output Henry Kloss, Malcolm Low, and Anton able wow and flutter. with an auxiliary -input sensitivity of 0.25 Hofmann. So volt and the other rated at 100 watts with According to the public relations de- a 1 -volt sensitivity. ("Sensitivity" refers partment of the BVD Company, the let- what do we say...after to the input signal voltage required to ters BVD, as might be suspected, are the they say they're perfect? drive an amplifier to full power output.) initials of the three men who first mann- If we feed a0.25 -volt signal to each, factured the drop -seat union suit. How- Simply this: we will obviously get a higher power out- ever, my informant went on to say, some Revox de- put from the 50 -watt amplifier. Specifi- years ago the board of directors decided livers what all the rest only cally, we would get 50 watts from the that the company would stop revealing to promise. 50 -watt amplifier and about 6 watts from the public the names for which the letters the 100 -watt amplifier. (Power varies as were the initials. Nothing daunted, how- - Ifyou would like the true facts on this the square of the voltage, therefore 0.25 ever, I marshalled the vast resources of remarkable machine, mail the coupon volt into the 100 -watt amplifier will pro- the STEREOREVIEWResearch Department along with $1 for the 64 page owners duce 1/16 of the amplifier's potential manual. It not only describes the Revox ( she made a phone call to the Brooklyn in detail, but amounts to a home study output.) However, if the two amplifiers Public Library) and was able to discover course in tape recording. were of equal sensitivity (or if they werethat B, V, and D are Messrs. Bradley, P.S. Your $1 may be applied fed input signals of sufficient strength to Voorhees, and Day.. to the purchase price of your drive each to full output), the 100 -watt All of which leaves me with two ques- - first Revox. amplifier would be louder, but the differ- tions: why did BVD decide to suppress ence in volume would be only 3 dB, the names of their founders? (certainly" rRevox Corporation which is just perceptible on music-and they seem innocent enough); and now 212 Mineola Avenue certainly not twice as "loud." that Mr. Reilein has all this information, Roslyn Heights, N.Y. 11577 The significantbenefits afforded by what is he going to do with it? Gentlemen: high -power amplifiers have to do with Enclosed please find $1 for the 64 - distortion and low -frequency response at page owners manual. Automatic Level Control high -poweroperatinglevels.Suppose QI have been considering buying a Name both the amplifiers are playing at equal .goodportable cassette recorder Address volumes and operating well within their to playin my car, but I am having diffi- power ratings-say, 10 watts. The distor- culty gathering information about the City tion and frequency response of both various brands available. I was about to State Zip should then be about the same and they buy one popular brand of machine until IL J should sound alike. However, if both Ifound outit had built-in automatic. SR -5-70 amplifiers are driven to a 50 -watt levelon CIRCLE NO. 37 ON READER SERVICE CARD (Continued on page 30) 28 CIRCLE NO. 103 ON READER SERVICE CARD* To maintain the uncompromising standard of Garrard automatic turntables, we mass produce them. Garrard of England is the world's mer, "We indulge our fussiness with a largest producer of component auto- certain amount of conviction." matic turntables. A mass producer, numerically From Swindon, with love speaking. By hand. Especially curious, since Gar- For fifty years now Garrard has rard remains a staunch foe of mass been important to the people of Swin- Brian Mortimer answers it this don, and they to us. production methods. way. "It would be sheer folly to give up At our Swindon works, final as- Many of our employees are sec- the precision we'd achieved in manu- ond and third generation. (Mortimer's sembly of the Garrard SL95B is in the facture through imprecise assembly." hands of nineteen men and women. father hand -built the first Garrard.) Hands, not machines. And 256 of them have been with The case for fussbudgetry Garrard for more than 25 years. We've been in good hands. A modest record Of the 202 parts in a Garrard Today's SL95B is the most high- automatic turntable, we make all but As Brian Mortimer, Director of ly perfected automatic turntable you a handful ourselves. can buy, regardless of price. Quality Assurance, sees it, "In top form And we do it for just one reason. they turn out twenty units an hour. A Its revolutionary two -stage syn- We can be more finicky that way. chronous motor produces unvarying rather modest record in these days of For instance, in the manufacture mechanized production lines. speed, and does it with an ultra -light of our Synchro-Lab motor we adhere to turntable. "But if we were to speed it up, incredibly fine tolerances. we'd pay for it in quality. And, in my Its new counterweight adjust- Bearings must meet a standard ment screw lets you balance the tone book, that's a bad bargain." of plus or minus one ten -thousandth of At Garrard, we insist that each arm to within a hundredth of a gram. an inch. Motor pulleys, the same. And its patented sliding weight person who assembles a part test that To limit friction (and rumble) to finished assembly.Ifitisn't up to anti -skating control is permanently ac- the irreducible minimum we super fin- curate. standard, it's corrected on the spot-or ish each rotor shaft to one microinch set aside to be made right. And the finished rotor assembly $44.50 to $129.50 And then we test our tests. isautomatically balanced to within Four of our nineteen final "as- .0008 in. -oz. of the absolute. There are six Garrard component semblers" do nothing but testing. So, in the words of Brian Morti- models from the 40B at $44.50 to the Before each unit is packed in SL95B (shown) at $129.50. itscarton,itmust pass 26 final Garrard standards, nonethe- checks that cover every phase of its less, do not vary with price. Only the operation. degree of refinement possible. Is all this fussbudgetry really The choice is yours. However, necessary? your dealer is prepared to help.

c"victd"British Industries Co. levelcontrol, and that,Iunderstand, plays havoc with the dynamics (i.e., the natural range of loud to soft) in a musical composition. Is that true? CI.AUDEE. AUBE Springfield, Mass. A Whether automatic level control

"plays havoc" with dynamics is, 1 think,a questionthatisresolvable only by the individual listener, taking into account the type of musical material he prefers. I would suggest that. except for large orchestral works, the loss of dynamic range would not be particu- larlyperceptible.Besides,thereisan additional matter you should consider. You'll find that if you have a tape that does preservethe dynamics,thevery soft passages will be masked by road noiseunlesstheplaybackvolumeis GUITAR turned up very loud, and then the very It twangs. It resonates. The New York Electric String Ensemble loud passages will he much too loud. And it also plays Bach and For this reason, tapes made to be played TAPESTRY in cars should have their dynamic range Purcell. Because it belongs Jonathan Talbot, Director compressed to prevent a good part of including: to The New York Electric Gervaise /Spanish Harlem/Allegro thematerial from being masked into String Ensemble. Ray Can't Play The PianoAnyMore/Mati inaudibility by environmental noise. On their new Columbia Non -Recording Cassette album they combine r'N The record key on my cassette ma- the spirit of the classics 06.chine won't lock into place and I with the instruments can't locate a service station for my par- and energy of rock. ticular brand. Do you have any idea as to Tapestry. On Columbia Records what might he at fault? CIRCLE NO. 30 ON READER SERVICE CARD H. REID New York, N.Y.

A All cassette recorders have an inter - .C1.. lock mechanism that is designed to Honeywell Pentax. prevent them from being placed in the record mode if a small knock -out tab has been removed from the cassette placed in Designed for the machine. (Each cassette has two tabs on the edge opposite the one that has the exposed tape: each tab serves as a record - Go-ers and Do-ers. safety device for one pair of tracks.) I have had two cassette machines of You like to go, and you go first-class. Whatever you do, whenever different make brought to me with the you buy, price is secondary to quality. You're the kind of man who complaint that they could not he placed into the record mode. In both cases the made Spotmatic a classic-the world's best-selling 35mm SLR. Pre- small metal feeler that serves to test the cise, durable, lightweight, go -able. And so easy to use, it makes you presence or absence of the tab on the cas- an even better photographer than you thought you were. With sette when the record key is depressed Super-Takumar f/1.4 lens, about $300. was misshapen. The cure was simple. I used a pair of long -nosed pliers to adjust the feeler .to that when a cassette with the Honeywell Photographic tab in place was inserted in the machine, P.O. Box 22083, Denver, CO 80222 the tab exerted enough pressure on the Please send me Honeywell feeler to push it out of the way. On the Pentax* literature. 600 basis of my experience with these two machines.I suspect that your machine suffers Name from the same problem and would be amenable to the same cure. Address city Because the numberof questions we State/Zip receive each monthisgreater than we canreplytoindividually, only 'Honeywell Pentax in the those questionsselected forthis Honeywell U.S. and Mexico: Acahi Pentax elsewhere. column can be answered.Sorry!

CIRCLE NO. 22 ON READER SERVICE CARD CIRCLE NO. 49 ON READER SERVICE CARD÷ A -11200U Exclusive triple -motored drive system 3 precision heads for nstant otf the -tape monitoring Mike -line mixing 4 independent amplifiers Automatic tape lifter All -pushbutton controls, automatic. shutoff Stereo echo forspecial sound effects Eversee asonic boom? You're looking at our A -1200U tape deck. Most people would rather listen to it. Even though it's already started its own sonic boom. And no wonder: the A -1200U is our standard four -track model, with all the famous TEAC craftsmanship at an ear -boggling low cost. And plenty of unique features, like the popular ADD recording for simultaneous playback and recording on separate tracks. This is the machine that breaks the price barrier to your sound investment. Without breaking you.

TEAC TEAC Corporation of America 2000 ColoradoAve,,,, .1,1".,1 riPCa,C,infornia 90404 AUDIO BASICS PITCH AND FREQUENCY ATONE differs from noise in that a tone has a definite pitch. We describe a \-\ The pitch as being either low or high, for this is the way we have been taught to label the sonic perception. But these terms have hardly any linguistic justification. outdoor speaker After all, bass and treble are not separated in vertical space, one below the other. that doesn't sound What distinguishes one pitch from another is its frequency, and this is an audio like one. component so important that it can never suffer from too much or too frequent clarification. Sound is actually a rapidly repeating increase and decrease of air pressure created Altec's by a vibrating body. These compressions and rarefactions then radiate outward from the sound source. If the rate of vibration is regular-that is, if each oscilla- 829A Patio Speaker. tory cycle is accomplished in the same length of time-the sound will have a defi- Most outdoor speakers sound pretty nite pitch. (If the rate of vibration is too irregular, the listener perceives the sound bad. The result of too many design as noise.) The more rapid the rate of vibration, the "higher" the pitch will seem compromises, they end up hardly to the human ear. hi-fi. For example, the A -string of a properly tuned violin swings back and forth But, Altec has built an outdoor 440 times per second. The note it produces (A above middle C) is said to have speaker with a quality rivaling some a frequency of 440 Hz. (Hz stands for "hertz," the standard unit of frequency, of our indoor models. named after Heinrich Hertz, the German physicist who, in 1887, achieved the The secret is our famous 755E 8" first radio transmission. In the past several years, "hertz" has replaced the for- full -range speaker. It fits neatly into merly used abbreviation "cps," or cycles per second.) a one -cubic -foot enclosure of a dur- The lowest notes perceptible to human hearing lie in the range between 16 able, cocoa -brown weather -resistant and 20 Hz, such as in the lowest rumblings of thunder. The lowest musical note material. Less than 15" high, our Patio normally encountered is the deep shudder of the low C found on pipe organs Speaker will serve as a portable unit, (for some large instruments these deepest tones may be below the limit of human complete with its own stand, or may hearing and are simply felt in the body). The uppermost audible frequencies, be mounted on walls or beneath extending to about 20,000 Hz, are often present in metallic clicks, and they also eaves. figure in the overtones (to be discussed next month) of some musical instruments. With a frequency response from However, when a man reaches the age of thirty or so, the upper limit of his 70 to 15,000 Hz and a 90° disper- hearing usually declines gradually to the 15,000 -Hz mark or even lower, especially sion of high frequencies, the Patio in our noise -polluted urban environments. Speaker will provide you with beau- The first clues to the relationship between pitch and frequency were dis- tiful music for balmy summer eve- covered more than two thousand years ago by the Greek philosopher Pythagoras, nings outdoors. See it at your Altec dealers. Or though he lacked the technical means for counting vibrations. He found that if write us for our catalog which also the length of a vibrating string was halved, the pitch rose by an octave. Trans- describes otherAltec Lansing speaker lating this into frequency terms, we say today that the interval of an octave cor- systems, including the world's finest responds to a frequency ratio of 1 to 2. Other specific frequency ratios govern - "The Voice of the Theatre®" the relationships of tones within an octave, although the notes within the systems. modern well -tempered octave are not evenly spaced. The frequency of a tone can be visualized as a waveform in which the high- pressure phase is represented by the wave crest, the low-pressure phase by the ALTEE trough, with the horizontal length of the wave representing the passage of time. LANEINE,- It is by such graphic representation that sound can be symbolized on paper or on

A QUALITY COMPANY OF LTV LING ALTEC, INC. the screen of an oscilloscope, one of the many instruments that are now used in 1515 S. Manchester Ave., Anaheim, Ca. 92803 the analysis of sound. CIRCLE NO. 44 ON READER SERVICE CARD -)P. 32 41Xel"otorfan

I= begins ever_ before you've heard a note from the new Sono TA -1144 Stereo AmpiaLer and ST100 FM Stereo/FM-AM Tuner. Pleasure. The switcnes flink fi:mly. The pustbuttcns push back just enough before locking in smartly. Continuous controls (like tuning volume, balance), feel almost viscous -damped. Ypur fingers are guided tc function swiftly, effortlessly. You'3experienced a feeLng of quality that is a hint to the performance you'll enjoy once yoi_ turn on these Scny components. Take the ST -5100. The combination of two tuning meters, a Z.6uV IHF sensitivity, and 1.5dB capture ratio zero in on your first station. FM stereo you can feel. Ncw the TA -1144 Stereo Amplifier. More s:ereo you can feeL Rich (the TA - 1L44 -ruts out 50 watts IHF per channel into 9 DI-1ms, both channels operating,. Cleanless than 0.C.3% Ill, 0.05% harmonic, at 1 watt). And just the wayv31 like it 'thanks to those sintly-detentei bass and treble sliders on each channel. So now you're wondering, of colic -se, about tae prices. Just 3219.50* each; $433* the pair. You'll hardly fee_ that at all. Sony Corporation of America. 47-47 NEW SONY" Van Darr_ St.,Long Island C_ty,N.Y.11101. AMPLIFIER AND TUNER `Suggesed List Products AR's and guarantees: viewpoint.

( 4 l ( t 4 ((( tl(4 tP f (C 44 4,4

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( (((((((r(FREQUENCY IN CYCLES{(((((11((((((((ti[11 PER SECOND

On -axis frequency response of the mid -range unit in the AR -5

The goal of high-fidelity reproduction is the truthful, The accuracy and validity of the data published by AR accurate reproduction of the broadcast or recording and its reliability, even after the products have been chosen by the listener. Writers and reviewers may used, is assured by a guarantee which to our speculate about their preferences in equipment knowledge is without precedent or counterpart in appearance, cabinet size or eccentricity of design, but the audio field: accuracy is a measurable, objective quantity. It is the quality for which the consumer pays when he buys The workmanship and performance in normal use of high-fidelity equipment. Degradation of this quality is AR products are guaranteed from the date of purchase, as offensive in the cartridge as in the tuner, as 5 years for speaker systems, 3 years for turntables, unacceptable in a speaker system as in an amplifier, 2 years for electronics. These guarantees cover parts, for the end result as heard by the music listener is repair labor, and freight costs to and from the factory the same. or nearest authorized service station. New packaging if needed is also free. Acoustic Research publishes comprehensive performance data for every one of its products. The The AR catalog and complete technical data on any AR data given is measured in accordance with standards product are available free upon request. established by recognized government and technical organizations. The specifications for the AR receiver, for example, include 29 curves, carefully plotted on graphs which allow the interested reader to compare I the performance we state to that actually measured on typical receivers. Claims are the language of advertising; data is the substance of science. Acoustic Research, Inc. 24 Thorndike Street, Cambridge, Massachusetts 02141

CIRCLE NO. 1 ON READER SERVICE CARD 34 STEREO REVII.W I r 7-1 INMI -r 1:1111 11111111MININA d I MIMI I 16 noun oii "4- 4 111111 uni ; I 'Or ECHNICALTALK By JULIAN D. HIRSCH

SPECIFICATIONS 12-ANTI-SKATING COM- the effect of a moderate side-thrust-whether from skat- PENSATION:Probably no other aspect of tone -arm de- ing force or drag from friction-on the tracking error of sign has been the subject of as much controversy as "anti - the cartridge. The constant stylus deflection introduced by skating." It is difficult to keep this somewhat overempha- skating force is equivalent to a tracking error of the same sized subject in proper perspective, but I will try. amount. With the better tone arms having less than 0.05 The "problem" is the result of the use of pivoted arms gram of friction, the resulting error is on the order of 0.05 with the cartridge offset at an angle to minimize tracking degree with a typical cartridge and can therefore be ne- error (see Technical Talk for March, 1970). The fric- glected. However, if a very compliant cartridge is used in tional force between the record -groove walls and the stylus an arm with 0.5 gram of friction (a badly mismatched produces a force that tends to drive the pickup toward combination!), there may be a stylus displacement of 0.5 the center of the record. The practical effect of the "skat- degree or more, which could be significant in the inner ing force" (so called because on a blank, non -grooved grooves of a record, especially if the arm itself introduces record the pickup will "skate" toward the center under an appreciable error at that point on the disc.(In my its influence) is to cause the phono stylus to press with opinion, a much more likely source of tracking error is unequal force on the two walls of the record groove. the installation of a cartridge in a slightly askew or later- Since each wall carries one stereo program channel, the ally tilted position in the arm. It is usually possible to in- result is a higher tracking force on the "inner -wall" chan- stall a cartridge within a range of several degrees of tilt, nel and a reduced tracking force on the "outer -wall" and I wonder how many people can visually align a car- stereo channel. tridge to better than one degree? I am not at all sure that Why the upsurge of interest in the skating phenomenon I can.) in recent years? The magnitude of the force producing But let us return to the matter of skating force. Much skating is quite small. When tracking forces of several has been written on this subject during the past decade, grams were the rule, the imbalance resulting from the and the consensus is that-with today's range of tracking skating effect was a negligible factor in quality of repro- forces-the skating force generated is 10 to 15 per cent duction. However, with a high -comp lance cartridge track- of the tracking force at the stylus, and that it is about 20 ing at 1 to 2 grams, the skating per cent greater at the beginning effect becomes detectable. TESTED THIS MONTH of a record than at its end, because

A related factor in arm design of the decrease in linear groove is pivot friction. The friction may, Epicure EPI-100 Speaker System velocity as the playing circumfer- in an extreme case, be so great that Acoustic Research Stereo FM Receiver ence of the record becomes smaller. Wollensak 6250 Tape Recorder the arm will be unable to follow The linear groove velocity (in other Grado FTE Phono Cartridge the inward spiraling of the groove. Harman-Kardon 820 Stereo words, how fast the disc is travel- In such a case, the stylus rides over FM Receiver ing beneath the stylus)is not to the groove edge and repeats the be confused with the modulation groove instead of moving the entire arm inward. Raising velocity of the recorded groove. the stylus' tracking force will help keep the stylus in the The obvious physical effect of skating force-the ten- groove, but this is obviously not the preferred solution. dency for the tone arm to move toward the center of the In a less drastic instance, there may be a constant static record-is of little importance. We are concerned, how- deflection of the stylus toward the left (as viewed from ever, with its effects (if any) on sound quality, as well as the front). This can cause distortion if the stylusis on record and stylus wear. The effects of skating force driven out of its linear range on loud passages. are best observed when playing a stereo test disc recorded Pivot friction, in small amounts, obscures the skating with a very high -velocity tone in the mid -frequency range force, but in a well designed arm friction forces are sub- where most cartridges work at their best. We use a record stantially less than skating forces and can be neglected cut some years ago for Fairchild, with brief segments of for purposes of this discussion. 1,000 -Hz tones recorded at 30 cm/sec (centimeters per Before leaving this subject, however, let us consider second). This is an extremely high velocity, well above

MAY 1970 35 anything likely to be encountered on music records. Most tracking velocities of 30 cm/sec or more, and this capabil- phono pickups will not track it without appreciable wave- ity is predicated on the absence of any significant skating form distortion at any force. However, the important con- force. Since anti -skating is inexpensive to supply, and in sideration is the difference between the waveforms from fact is included on most arms whether one wants it or the two channels, rather than their actual distortion. not, itmakes sense to use it-and use it correctly. Without anti -skating correction, almost any cartridge The method of applying anti -skating force varies from operating at its normal tracking force will produce a one manufacturer to another. Some use weights and cords, clipped, distorted waveform from the channel correspond- some use levers, and a few use springs. All those we have ing to the outer groove wall of this test disc. The signal seen are capable of doing a satisfactory job of correction. from the inner groove wall may also be distorted, but Elliptical styli, because they indent the plastic groove wall usually to a markedly smaller degree. As the anti -skating more deeply, require more anti -skating force for a given correction is applied, in the form of a force tending to tracking force. Most arm manufacturers recognize this and move the pickup away from the center of the record, the provide separate calibrated scales or conversion tables for waveforms from the two channels become more similar spherical and elliptical styli of different dimensions. in appearance. At the optimum anti -skating correction In our experience, not all anti -skating systems are cali- the two waveforms are usually identical, and applying brated correctly. Sometimes the calibration is apparently mote anti -skating correction increases the distortion of based on playing a blank, ungrooved record and setting the the signal from the inner wall of the groove. correction until the pickup remains where it is placed on With atestdisc,itseems unarguable thatanti - the record surface. This is wrong, and will rarely give the skating compensation is a desirable thing to have. How- correct compensation. The most satisfactory method we ever, when the recorded signal velocity is reduced to a have found is to play a high -velocity test record and apply more reasonable level-such as any level likely to be en- compensation until there are identical waveforms in the countered on a commercial stereo pressing-a good car- two channels. This correct anti -skating compensation set- tridge operating at an adequate tracking force will produce ting, if used with a blank disc, would cause the tone arm an essentially undistorted output from both channels, and to move toward the outside of the disc. without benefit of anti -skating. Putting it another way, It is possible to make this adjustment without an oscil- the distortion resulting from skating force can be nullified loscope if you have a test record that can exceed your car- by merely increasing tracking force by 10 to 15 per cent tridge's tracking ability, and has signals that can be identi- above the minimum value. And, at the under -2 -gram fied as left and right channels. An excellent record for forces involved, this increase has an insignificant effect on this purpose is the STEREO REVIEW SR12 Test Record, record and stylus wear. which has an anti -skating test band that correlates very The above pretty much represents the position of well with our lab tests. Even the best cartridges show Acoustic Research, perhaps the only major record-player audible distortion on this band, which is a sensitive means manufacturer not offering anti -skating correction. I con- of establishing the optimum anti -skating correction. sider their argument to be reasonable, and in fact I have If you do not have any other means of setting correction yet to hear any actual improvement from anti -skating with force, you can always use the manufacturer's recom- any of my records. On the other hand, the outer wall of mended settings. In our reviews of record players we the groove still has about 10 per cent more force ap- comment on the accuracy of the anti -skating calibration. plied than the inner wall. In addition, a few manufac- This may guide you in interpreting the manufacturer's turers are now producing phono cartridges capable of instructions and arriving at the proper setting. EQUIPMENT TEST REPORTS By Hirsch -Houck Laboratories

EPICURE EPI-100 SPEAKER SYSTEM EPI-100-the bookshelf model-is enclosed in a sealed walnut cabinet measuring 21 x 11 x 9 inches. It weighs only 20 pounds and is an 8 -ohm, two-way system using an 8 -inch acoustic -suspension woofer. The free -air resonance of the woofer is 18 Hz; the system resonance is 43 Hz. The crossover is at 1,800 Hz, and an 18 -dB -per -octave slope is achieved by a single capacitor and the inherent responses of the woofer and the1 -inch dome tweeter. There are no tweeter -level adjustments on the EPI-100. Epicure felt that the best approach would be to design the speaker to be as flat as possible, and then depend on A NEWCOMERamonghigh-fidelitymanufacturers, amplifier tone controls to modify the system response. The Epicure Products, Inc., of Boston, is producing a line of speaker terminals are spring -loadedinsulated pushclips speaker systems ranging from a compact bookshelf model that simplify connections without risk of short circuits. to a very large (6 -foot) omni-directional "Tower." The (Continued on page 41) 36 STEREO REVIEW The independent test labs thinkashighly of the Dual 1219as we do.

No surprise. Because with every Dual tested,every performance claim we've ever made has been confirmed by independent test labs. With no exceptions. Four years ago, for example, we introduced our 1019. Audio experts ratedit the finest automatic turntable ever made. Butwe were already hard at work on what was to become the Dual 1219. Is it the worthy successor to the 1019 we believed it would be? Stereo Review says it is. "The 1219 is a good illustration of how an already superior product (the 1019) can be further improved by intelligent and imaginative "anti-skating...reduced wear on the record grooves..." design and engineering." Audio High Fidelity also agreed, with such specifics on the 1219's performance as these: "Speed accuracy is greater (than the 1019),wow and flutter are a bit lower, tracking force and anti -skating adjustments are more precise...outstanding in all these characteristics!" "...four point gimbal -bearing system As for the benefits of the 1219's gimbal -suspended 8-3/4"cf extremely low friction." tonearm,The American Record Guide's results showed: American Record Guide "The arm carries the cartridge ina way that permits it to extract every subtlety it possibly could from the record groove." We actually felt the 1219 might have more precision than most people would ever need. But Audio disagreed, we're pleased to note: "Whether or not the advantages of exact setting for vertical tracking and for anti -skating can be identified by theaverage listener, measurements show that there are improvements...reduction in distortion, and...reduced wear on the recordgrooves, particularly on the side of the groove nearest the center of the record." Complete reprints of these test reports are yours for the asking. So is a 16 -page booklet which "...novel adjustment for optimizing vertical tracking reprints an informative Stereo Review angle..." High Fidelity article on turntables and tonearrns. After you look through all of this, you'll understand why most hi-fi experts have Duals in theirown systems. And why every record you buy is onemore reason to "...will have greatest appeal to those who dislike any compromise..." own the $175 Dual 1219. Stereo Review United Audio Products, Inc., 120 So. Columbus Ave., Mt. Vernon,

NewYork 10553.Dual

CIRCLE NO. 50 ON READER SERVICE CARD MAY 1970 37 Now everybody can afford one.Console.120 watts RMS (180 watts IHF). Until last year the least -expensive Yours for only $395. In the market far a Marantz FM stereo tuner you could buy superior power ampLfler? Shop for the cost as much as $750.00! Marantz Model 32 with 120 watts RMS Today, Marantz tuners are available in (18Q watts IHF). Only $295. other than very -high price ranges. And And for those who want the ultimate so are other Marantz components. True, Marantz system, we offer: the Model 33 you can still invest well over $2000.00 in Stereo Console, the Model 16 Stereo a Marantz system, but now we have Power Amplifier with 200 watts RMS components starting as low as $259. continuous (300 watts IHF), and the Though these lower-oriced models do not Marantz custom -calibrated M:xIel 2C FM have every unique Marantz feature, the Stereo Tuner. Total price-W.240 quality of all models is exactly the same. plus speakers. Marantz quality. Ar_d quaLty is what Every Marantz component, regardless of Marantz is all about. pr:oe, is built with the same painstaking Take our tuners for example. You craftsmanship and quality materials. will find the Marantz Model 23 AM/FM That's why Marantz guarantees every stereo tuner attractively priced at instrument for three full years, parts and only $259. Looking for a great Tuner/ labor. Except speakers. They're guaran- Preamplifier? Look at the Marantz Model teed for five years. 24 AM/FM Stereo Console. Just $339. Yo-..tr local dealer w11 be pleased to Need a preampiarnp? Consider the demonstrate Marantz systems. Then let Marantz Model 30 Stereo Amplifier your ears make up your mind. 'Role ea aa.x; puaS "ZSET6 'Ple0 riS 'v66 xc'0 d 'au] 'aCoasladns Jo Aae!mscins v '0L6I "03 ziueleik

vanTapall . suzalsAsJameads . s7uauoduzo3 '.-AW MAIL= 111MBIEL UMW Kentucky straight bourbon whiskeys. 86 proof and 100 proof bottled in bond. Old Grand -Dad Distillery Co., Frankfort, Ky.

716 Bourbons cost less.

We have to charge more because smoother Grand -Dad costs more to make. But that's the price we have to pay to be head of the Bourbon family. The tone -burst response of the EPI-100 speaker, shown in these oscilloscope photos at (left to right) 150,7,000, and 12,000 Hz, is typical of a fine system in the new H -H test facility.

The EPI-100, like most acoustic -suspension systems, is rela- listening position is just about right when they are so in- tivelyinefficient, but not excessively so. Epicure recom- stalled, and the encouragement of reflected sound from mends using an amplifier with a continuous -power capa- the walls imparts a pleasing sense of spaciousness. With bility of at least 18 watts per channel. the speakers facing the listener they are noticeably bright The EPI-100 was the first speaker system to be tested at the extreme high end. This was clearly audible in direct in our new and relocated test facility. After a great deal comparison with other speakers we have tested that had a of effort and the addition of some sophisticated new test wide, flat high -frequency response. techniques-all of which will be the subject of an article The averaged curve (from eight different microphone at a later date-we have arrived at a procedure that, in positions) of the EPI-100 had an extremely even, extended our view, comes very close to revealing the objective qual- low and mid -range frequency response, ±3 dB from 35 to ities of a speaker system. The one area where there is still 2,700 Hz, rising smoothly to about +10 dB in the 10,000 some difficultyisinchecking tone -burst response. The to 13,000 -Hz region. Close-up measurements on axis and EPI-100's tone bursts, as shown, compare favorably with at 45 and 90 degrees off axis showed a response essen- those of other fine speakers taken under the same new tially flat to beyond 15,000 Hz at 90 degrees to the speak- conditions.Tone -burstresponse was goodthroughout, er'saxis. The low -frequency harmonic distortionata with no sign of degradation around the crossoverfre- 1 -watt drive level was under 5 per cent down to 36 Hz. quency, where so many speakers have poor transient re- The sound quality of the EPI-100 was very natural and sponse. In fact, we could not detect the crossover, either -easy." The more we listened to it, the better we liked it, in our frequency -response or tone -burst tests. and it was one of the more faithful reproducers we have Although Epicure claims aflat response to 18,000 Hz had the pleasure of hearing. Although it has some sound and suppliesindividual machine -runcurves with each ofits own-as any speaker does-the EPI-100 is com- speaker to demonstrate this, they recommend placing the parable in most respects to some of the best-and most speakers facing each other, angled 90 degrees away from expensive-speaker systems we have tested in recent years. the listening area. This is quite consistent with our find- The price of the EPI-100 is $89. ings, since the high -frequency balance at a conventional For more information, circle 155 on reader service card

ACOUSTIC RESEARCH STEREO FM RECEIVER balance control. Like the AR amplifier, the receiver has a NULL position on this switch, permitting the amplifier's electrical outputs to be balanced. The FM section is thoroughly modern in design. It has afield-effect transistor (FET) front end and integrated circuits and a crystalfilterinitsi.f.amplifier. On the dialfaceisa red stereo -indicator lightas well as an illuminated zero -center tuning meter. The tuning dial itself is not illuminated, but has clear white -on -black markings. The tuning -meter illumination remains on, ata reduced WHEN Acoustic Research introduced their integrated level, when the other inputs are used, so that it also serves amplifier a few years ago, its most visible distinction was as a pilot light. Three rocker switches control tape moni- the omission of a number of features and functions usu- toring, FM muting, and switch off the speakers for head- ally found on amplifiers at its price level. But behind its phone listening via a front -panel jack. In the rear, in addi- simple, unadorned front panel was a very powerful low - tion to the inputs and speaker outputs, there are a center - distortion amplifier, unequalled by anything then available channel output for driving a separate power amplifier, two in its price range. With this background, we were not sur- a.c. outlets, and the fuses. The amplifier's transistors are prised at the appearance and features of the new AR re- protected by thermal circuit breakers and the line fuse. ceiver. In size and general styling it is very similar to their The speaker lines are individually fusedto protect the amplifier, which infact makes up its audio section. The speakers. tuner dial (FM only)is a simple black "slide -rule" strip The measured audio performance of the AR receiver behind an unadorned rectangular panel cut-out. The dial was essentially the same as that of their amplifier. With calibration is essentially linear, with marks every 0.5 MHz. our Radford low -distortion measuring equipment, we were We found the dial calibration to he extremely accurate; in finally able to measure the distortion of the AR amplifier fact, the dial pointer could be set to a desired station with circuit rather than the distortion of our own instruments. the receiver off and the station would be correctly tuned From 0.1watt to 60 watts (both channels driven into when the receiver was switched on. 8 -ohm loads), the harmonic distortion with a1,000 -Hz The customary amplifier controls are provided, with in- input signal fell from less than 0.2 per cent to less than puts for phono, FM, and special(a high-level auxiliary 0.03 per cent. Clipping occurred at about 63 watts( the input). A tape machine is accommodated by the tape -moni- rated power is 50 watts). IM distortion was under 0.1 per tor switch. An adjustment in the rear varies phone sensi- cent from 0.1 watt to well over 60 watts. At the rated 50 - tivity over a3 -to -1range to match phono-cartridge out- watt output, harmonic distortion was about 0.2 per cent at put. The mono/stereo mode switch is concentric with the (Continued on page 42) MAY 1970 41 data we have taken on a number of other excellent FM tuners. In short, the AR tuner section is,in a number of areas, simply better than we can measure. AUDIO OUTPUT 009 O.78VOLT Using the AR receiver was the "proof of the pudding." N TAPE-OUTPuT JACKS/ _ , The FM sound was notably clean, and tuning was non- a critical. The flywheel tuning mechanism ranked with the best we have used. The FM interstation-noise muting cir- AR RECEIVER FM SECTIONIm0501 cuit also rates special mention. The "off -muting" action is J soft and gradual, with a slight time delay that eliminates -30 IHF SENS TY practically all the thumps and clicks that plague even well - designed muting circuits. The muting circuit cuts in at an internally fixed level of about 4 microvolts, which corre- W -40 sponds to a fully limited signal. This means that there is AL NOISE, HUM DISTORTION RE nAoDuLATION AT 400mk really no need to switch out the muting in order to tune in a weak signal. Any station not picked up with the mut-

5 10 20 50 100 51 10k 20k 50k100k ing on would almost certainly be too noisy for enjoyable R.F. TEST -SIGNAL INPUT IN MICROVOLTS WV ) listening. The AR receiver sells for $120 with a black metal case, 20 Hz, falling to less than that between 35 and 20,000 Hz. and a walnut housing is available for an additional $20. At half power or less,it was under 0.2 per cent over the Considering that their amplifier at $250 isa very good full 20 to 20,000 -Hz range, and over most of that range, value, one is effectively buying a first-rate FM tuner for distortion was well below 0.1 per cent at any power level. $170 more. We have yet to finda component tuner at The power into 4 -ohm loads is rated at 60 watts per chan- anywhere near that price that can compare to the tuner nel. When driven by a sustained sine -wave signal to a 77 - section in the AR receiver. watt level (a very unlikely condition in normal use), the For more information, circle 156 on reader service card speaker -protection fuses blew. Previous experience with the AR amplifier suggests that the receiver's maximum 4 -ohm onz TOTAL HARMONIC DISTORTION output for normal operation on program material is in the ---60/7000 Hr (4:11 IM DISTORTION vicinity of 100 watts per channel. 0.5 AR RECEIVER Magnetic-phono sensitivity was adjustable from 0,72 to

1 H 1 1 2.1millivoltsfora10 -watt output. The corresponding ; phono-overload points were 38 and 115 millivolts, indicat- .2 1,i_ ing that,in effect, the amplifier cannot be overdriven by any currently available magnetic cartridge. Hum and noise g 01 5ww, were 62 dB below 10 watts for phono and 70 dB below 444 Of- 10 watts for the high-level inputs, both of which are in- 05 audible levels. rt The tone controls of the AR receiver are certainly among F .C2 1 the best we have ever used. They are meant to be used, 0.1 0 0.5 1 2 5 10 20 50 100 and do not destroy musical values at any settings. Sub- CONTINUOUS AND EQUIVALENT SINE -WAVE POWER OUTPUT PER CHANNEL IN WATTS stantial high- and low -frequency corrections can be applied with no effect on frequencies between 150 and 2,000 Hz. AR RECEIVER REFERENCE POWER (50w) '1 The RIAA equalization was accurate within ±1 dB from os HALF POWER (-3cIB) - - LOW POWER (-10d13) 30 to 15,000 Hz. cc The FM section's measured IHF sensitivity was 1.8 microvolts (better than AR's specified 2 microvolts). Dis- (-0.2 tortion was under 0.5 per cent-which isas low as our 3

test equipment can measure. FM frequency response was `A 0.1 -±1 dB from 30 to 15,000 Hz. Stereo separation was better than 35 dB at middle frequencies, 22 dB at 30 Hz, and ...... ff, 05 . 18 dB at 10,000 Hz. AR rates the stereo separation at 5 to 15 dB better than these figures, but again, limitations in I our signal generator prevented us from verifying these 02 1( I 20 50 100 200 500 (kHz 21(1.1. 51012 0100L 20 specifications. The results of our tests are consistent with FREQUENCY IN N: (CYCLES PER SECOND) kH

offering a level of performance that only a few years ago wasliterallyunobtainableexceptintrueprofessional machines. WOLLENSAK 6250 The Wollensak 6250 is housed in a slim portable case TAPE RECORDER and weighs only 25 pounds, making it portable in more than name only. It can be operated horizontally or vertically. The three -speed transport has two motors-one for driving the capstan and the other for the two reels.Its mechanically operated controls are perhaps the ultimate in WE HAVE seen a number of tape recorders whose ap- simplicity, with no sacrifice in flexibility. The transport is pearance had a"professional" aura but whose perfor- started and paused by the single START button, which puts mance proved to be quite ordinary. In contrast, consider the tape in motion when it is released. Pushing it in at any the Wollensak 6250, clearly designed for home use, yet (Continued on page 44)

42 STEREO REVIEW GBuildacomplete stereo system aroundanyof these Pioneer Outperformers

SX-1500TD AM-fM STEREO RECEIVER SX-990 AM -FM STEREO RECEIVER Exclusive microphone mixing. Audio output 180 Audio output: 130 watts (IHF); FM Tuner Sen- watts .111F;; FM Tuner Sensitivity: 1.7 uV (IHF); sitivity: 1.7 uV (IHF). Completely versatile with 6 sets Pi ir puts; accepts 3 speaker systems; wal- inputs for: 2 phonc, tape mon:tor, microphone, nut capkiet. $399.95 incl. microphone. auxiliary & main amps; walnut cabinet. $299.95.

SX-440 AM -FM STEREO RECEIVER SX-770 AM -FM STEREO RECEIVER Audio output: 40 watts (IHF); FM Tuner Sensitiv- Audio output: 70 watts (IF=); FM Tuner Sensitiv- ity: 2.5 to/ ilHF); F-equency response: 20-70,000 ity: 1.8 uV (IHF); 4 sets of inputs; 2 speaker out- Hz. Oilec walnut cabi.iet. $199.95. puts. Oiled walnut cabinet. $249.95.

Depending on the number of refinements you're looking for it an AM -FM stereo receiver, Pioneer has one in your price range. Regardless oil what your budget is, you never compromise with quality with a °Ioneer Outperformer.

Hear them and get kill details at your Pioneer deafer. Or fo: more information write.. . PIONEER®

PIONEER ELEC-RONICS U.S.A. CORPORATION, 140 Smith St., Dept. S-5, Farmingdale, N.Y. 11735 t516) 694-7720 West Coast: 335 W. 134th Street, Gardena, Calif. 90247- (21: ) 323-2374 & 321-1076 In Car ada: S. H. Parker Co., Prov. oc Ontario HIGH ROELITY

Mat1971) timehaltsthe tape without disengaging the recording sets of preamplifier outputs are provided for connection mode (ifitis in use). To record, a RECORD button must to an external amplifier. One set is fully controlled by the be pressed simultaneously with the START button. The 6250's own controls; the other is unaffected by any con- STOP button disengages all recording functions as well as trolsettings. A slide switch sets the bias level(itsfre- stopping tape motion rapidly and smoothly. quency is 95 kHz) for optimum performance with stan- A separate lever controls the fast -forward and rewind dard tapes (such as 3M 111) or low -noise tapes. functions. The tape can be shuttled back and forth with We made record -playback frequency -response measure- this control without risk of jamming or damage. An auto- ments at all three speeds, using both 3M Type 111 and matic shut-off turns off the transport when the tape runs Type 202 tapes. At 71/4 and 334 ips, we found no essen- out or breaks in any operating mode. tial difference in the frequency response of the two tapes Two illuminated meters monitor recording -signal levels. when the bias -level switch was set appropriately. At 17/8, There are separate recording -level controls for the two however, the 202 tape had markedly superior highs, so channels,withrecord -modeshut-offswitchesattheir that it yielded approximately the same response as at 33/4 counter -clockwise rotation limits. This permits recordings ips. Typical record -playback response measurements were to he made on either channel individually. In other words, 30 to 20,000 Hz ±2 dB at 71/2 ips, 25 to 10,000 Hz ±2 when a recording -level control is switched off, that chan- dB at 334 ips, and 20 to 10,000 Hz ±3 dB at17/8ips. nel is effectively in the playback mode. Patch cords are Using Ampex test tapes, the playback frequency response suppliedfor sound -on -sound and sound -with -sound op- conformed to the NAB standard within ±1 dB at 71/2 ips, eration. A redlight under the meters indicates when and within ±1.5 dB at 33/ips. either channel is set for record. The Wollensak 6250 has rather high gain in its record- The Wollensak 6250 is a three -head machine, with sep- ing amplifiers, which require only 33millivoltsatthe arate recording and playback amplifiers. Either the original high-level inputs, or 0.37 millivolt at the magnetic phono signal or the taped signal can be channeled to the output inputs, to achieve 0 -dB recording level. The output from jacks. Tape threading is as simple as we have seen on any a fully recorded tape was 220 millivolts from the "uncontrolled" outputs, and up to 1.1volts from the controlled preamplifier outputs. Distortion was a low 1 'ffEENffegiggEsanilillnakii..kr#IFE.fiMBMPEga ==-aMIlliffii per cent at -.RERlitgiqiiialfil_.__'4'-'' q4.°,t5:41MIEffiffiltf-t! 0 dB, and only 1.9 per cent at the maximum meter read- - - -,... .:.:sit....''1-`;',iegig-ffiTiziissidg:Ka":7;q41111k40:-T,E.- -itEltIRMH1REENNSE5.1., ing of +3 dB (which was actually +5 dB referred to a J the 0 -dB level as indicated by the meters). Signal-to-noise , :e,..iiiii .7 WOLLENSAK 6250 'F' a-Namputligtx ,.. RECORD -PLAYBACK RESPONSE 102 ratio, referred to a recording distortion level of 1.9per .MEIRE&IMEE a..c.iiNOSS `11111111111/1 . . F...S 0 50 00 200 500 Ally 2011 (061. tp. cent, was 47 dB, and the noise was principally 60 -Hz LO 20 500 ripple. If the 0 dB had been set by the manufacturer at . PB IPS the 3 per cent level(a common practice), the signal-to- fNNAB PLAYBACK RESPONSE 3 3'ti.r.e, noise ratio would have measured even better. In any case, FREQUENCY IN Ha (CYCLES PER SECOND) hiss levels were extremely low, and no noise was audible The "i'L; and curves show the recorder's response to both in normal use. the III and 202 tapes with the appropriate equalization -switch settings. Although frequency responses are identical at the two Wow and flutter were low: 0.04 and 0.09 per cent, re- speeds, signal-to-noise ratios should be better for the 202 tape. spectively, at 71/4, and 0.08 per cent and 0.12 per cent at 331 ips. Tape -playing speeds were slightly fast, by about 12 seconds in 30 minutes. In the fast -forward and rewind machine; the tape path is a direct wrap across the heads, modes, 1,200 feet of tape was handled in about 67 sec- without any tensioning arms orrollersinthe way. A onds, a good speed. sturdy transparent plastic cover over the heads aids in We checked the amplifiers of the Wollensak 6250 as locating precise points on the tape for editing purposes. though they were part of a component high-fidelity ampli- Tape reels lock onto the reel hubs without the need for fier. The 1,000 -Hz harmonic distortion was under 0.3per external holders. cent from 1.5 to 14 watts, rising to 1 per cent at slightly Like many home recorders,the Wollensak 6250 has over 20 watts and below 0.15 watt. At the lower power, built-inplayback power amplifiersandspeakers. The the "distortion" as viewed on an oscilloscope proved to be speakers are meant for monitoring only and cannot ap- noise rather than harmonic distortion. The IM distortion proach the quality required for appreciation of the record- was under 0.6 per cent up to 8 watts output, reaching 1.2 er'scapabilities. However, there are jacksfor external per cent at the rated 18 watts. speakers, and the machine's internal speakers are discon- At thefull18 -watt output (per channel), distortion nected if the jacks are used. The amplifiers are a distinct was under 1 per cent from 90 to 20,000 Hz. It rose rap- cut above most we have seen in home tape recorders, and idly at lower frequencies. However, at half power orun- actually are good enough to serve as the nucleus of a der,it was well below 1per cent from 20 to 20,000 Hz. moderately good home music system. They are rated at The tone controls had about a ±1-4 dB range at low fre- 18 watts per channel continuous output into 8 ohms, or quencies, and arelatively narrower range (±7 dB) at 62 watts IHF dynamic -power output. When the tape- the treble frequencies. The RIAA phono equalizationwas transport motors have been shut off with the STOP button, accurate within 2 to 3 db. the amplifiers (and internal speakers) can function as a We found the Wollensak 6250 to he exceptionally easy conventional music system with external program sources. to operate. Its controls are wonderfully simple compared All normal hi-fi component -amplifier features are included with those of many recorders we have used, and tape -level and balance controls, tone controls, and an input loading was much less of a chore than usual. Recording selector for microphones, magnetic phono cartridge, tuner, stereo FM broadcasts, we could hear no difference what- and an additional high-level auxiliary source. ever between the original and recorded signals at 71/4 ips, Except for the two microphone jacks on the front panel, and only a slight loss of highs at 33A ips. When record- all input and output jacks are recessed on the left side of ing interstation hiss from an FM tuner (an extremely se- the case. In addition to the inputs listed above, thereare vere test), we could hear a slight loss of extreme highs two mixing inputs that can be used for re-recording ma- at 71/2ips. At 178 ips the quality was very pleasant, if terial coming from the unit's own playback amplifiers,or not exactly "hi-fi," and was comparable to that of the best for adding other external program sources. Asmany as cassette decks we have encountered. Certainly it was more four mono sources can be mixed inthis manner. Two (Continued on page 46)

44 STEREO REVIEW The Super Natural from JVC Now, JVC brings you Super Natural Sound: From a trol for each. So you can boost or decrease bass, bull frog's croak to a Beethoven Symphony, you can middle ranges and ultra -high's, mix and match enjoy stereo so true to life that it's hard to tell from sounds, just like in a studio. And, you can com- the real thing. All made possible by a revolutionary pensate for component characteristics, balance new development-a JVC exclusive-called the acoustics of any room. Sound Effect Amplifier (SEA), shown below. And SEA SEA stereo receivers also have the latest IC and is just one of many great advanced features that you FET circuitry. Extra -wide bandwidths, low distortion will find built right into JVC's 5001, 5003, and 5040 and excellent S/N ratios. Listen to them today at AM/FM stereo receivers, without extra charge. your local JVC dealer. Or write us direct SEA actually divides up the audio frequency for color brochure and the name of range into five separate segments, with a tone con - your nearest dealer. J Catching On Fast JVC Amerca, Inc., 50-35, 56th Road, Maspeth, New York, N.Y. 11378

CIRCLE NO. 23 ONREADER SERVICE ARC, MAY 1970 45 than adequate for background music as well as the usual audio amplifier and control center, its suggested list price speech -recording applications for which this speed is prin- of $379.95 makes ita bargain. This price also includes cipally designed. apair of low -impedance dynamic microphones of sur- When one considers the fine performance of the Wol- prisingly good quality. lensak 6250 as a tape recorder and deck as well as an For more information, circle 157 on reader service card

separation was very uniform across the frequency range, averaging 20 dB on one channel and 25 to 30 dB on the other, up to 10,000 Hz, and was maintained at 10 to 15 GRADO FTE dB or more allthe way to 20,000 Hz. There was no PHONO CARTRIDGE detectable resonance on a sweep from 200 Hz down to 10 Hz with the cartridge mounted in a Dual 1219 arm. The FTE's square -wave response (CBS STR 110 record) was virtually identical to that of the FTR, essentially perfect except for a single cycle of damped ringing at about WHILE preparing our July,1969 phono-cartridge re- 15,000 Hz. Tone -burst response, using the STEREO REVIEW port, we came to the conclusion that the $9.95 Grado FTR SR12 test record, was excellent, with a minor irregularity ranked, when played atatrackingforce of2 grams, between 10,000 and 20,000 Hz. The IM distortion, with among the best -sounding cartridges we had tested. We the RCA 12-5-39 test record, was about 1 per cent up to have recently had the opportunity to test a Grado FTE, a velocity of 12 cm/sec for a tracking force of 2.5 grams, which is the same cartridge fitted with a 0.3 x 0.7 -mil but rose rapidly to 12 per cent at 16 cm/sec. Increasing ellipticalstylus. The resultsconfirm our originalcon- the tracking forceto the maximum rated value of 3.5 clusions, although there were minor differences between grams kept the IM below 2 per cent up to 22 cm/sec, and the FTR and FTE cartridges. to 12 per cent at the maximum recorded velocity (27.1 The Grado F series pickups are moving -iron magnetic cm/sec) on the record. The FTE's signal output was 3.9 types, with user -replaceable styli.In the molded plastic millivolts at 3.54 cm/sec. Its hum shielding was slightly body are four coils, two in series for each channel. The less effective than that of most cartridges, but not serious- coils have an inductance of 55 millihenries per channel, ly so. which isa fraction of the inductance of most magnetic The trackingabilityof the Grado FTE, judged by cartridges. This makes the response of the Grado car- playing the Shure "Audio Obstacle Course" record, was tridgesrelativelyindependent of cable capacitance and excellent. Overall,it ranked among the half dozen or so preamplifier input impedance. top cartridges that we have tested with this record. It had The Grado FTE required a force of 2.5 grams to track some difficultyin tracking high -frequency, high -velocity the low -frequency bands of the Cook Series 60 record, material such as harpsichord and cymbals, where some and 3grams totrackthe30 centimeterper second lossofdefinitioncould be heard. A very few high- (cm/sec),1,000 -HzbandsoftheFairchild101 test pricecartridgeshave,negotiatedthesepassagesrel- record. We used a2.5 -gram tracking force for the bal- atively unscathed, but nothing we have used at ornear ance of our tests. The frequency response, as measured the price of the FTE has matched it in this very demand- with the CBS STR 100 test record, was very similar to ing test. On all other sections of this record the repro- that of the FTR, within ±2 dB up to 16,000 Hz on one duction was virtually flawless and was slightly, but defi- channel and to 20,000 Hz on the other channel. Channel (Continued on page 48)

How to Interpret theCurves

THE upper curve in the frequency response and 1 separation graph represents the averaged fre- I ' quency response of the cartridge's right and left channels. The lower curve, which starts at 500 Hz, representsthe averaged separation between channels. The amount of separation at any frequency isindicated by theverticaldistance between the upper and lower curves, and is expressed in decibels. Inset at the lower left of the frequency -response graphisan oscilloscope photograph of the car- 20 SO 00 200 SOO 04, MS, Sk16, tridge's response to a 1,000 -Hz square wave on a FREQUENCY IN H. (CYCLES PER SECOND) test record. The shape of the reproduced wave is an indication of a cartridge's high- and low -frequen- Note: the frequency - cy response and resonances. response curve shown Note thatthe distortionfigures shown inthe above for the Grado distortion -vs. -recorded -velocitygrapharenotdi- FTE cartridge should rectly comparable, in terms of audible effect, with not be compared at distortionfiguresobtained on other components. higher frequencies with the curves 1- The vast majority of the program material on discs (which were taken / has velocities well below 15 cm/sec and rarely, if with a defective test ever, hits 25 to 30 cm/sec. The curve is therefore record) shown in the usefulas a means of comparing cartridges,but cartridge reports in 0 20 0 not as an indicator of absolute distortion. the July 1969 issue. P P

46 STEREO REVIEW Just like conducting your ownorchestra.

A Complete Stereo Control Center Completely built-in. Consists of a stereo preamplifier and 40 -watt dynamic -power stereo amplifier. Sim- ply connect an FM tuner, turntable or record changer, or another tape deck-flip the selec- Versatle Professional Controls. Includes sepa- tor switch on the 630's control center-and rate bass and treble, left -right volume, stereo you instantly have the desired sound source balance, function selector, speaker selector, for listening or recording. speaker mode selector, power on/off, amplifier on/off, tape/source monitor switch, professional slide controls for recording volume, Stereo Speakers. Two lid -integrated, input selector, echo recording switch, sound - full -range stereo speakers provide rich, on -sound recording switch, sound -on -sound full-bodied sound and extend fully for direction switch. And more. complete stereo separation.

Specs You Can Brag About. Frequency response: 30-22,000 Hz @ 71/2 ips, 30- 13,000 Hz @ 33/4, 30-10,000 Hz @ Ws. Wow & flutter: 0.09%. Signal-to-noise ratio: 50 db.

Non -Magnetizing Record Head. Head magnetization build-up, the most common cause of tape hiss, has been eliminated by an exclusive Sony circuit, which prevents any transient surge of bias.

Full-size Professional VU Meters. These internally lighted instruments provide the precision metering necessary for really serious recording.

Built-in Sound -on -Sound. Three heads permit professional recording techniques, such as echo effect, sound -on -sound and speaker or earphone monitoring of either input source or actual tape while recording for immediate audible comparison.

More Sony Excellence. Sony achieves lowest recording distortion through use of ultra -high bias Sony Model 630 Solid -State Stereo Tape System. frequency. Scrape flutter filter eliminates tape Includes two Sony F-26 dynamic cardioid micro- modulation distortion. Automatic shut-off. Pause phones and other accessories. Less than control with lock. Vibration -free motor. Four -digit $449.50. Also available: The Sony Model 630-D Stereo Tape Deck Recorder, complete with wal- tape counter. Noise -suppressor switch to eliminate nut base and plastic dust cover is available for hiss on older pre-recorded tapes. Automatic tape less than $299.50. For a free copy of our latest lifters for fast -forward and rewind reduce head catalog, write to Mr. Phillips, Sony/Superscope, wear. Public-address capability. Vertical or hori- 8144 Vineland Ave., Sun Valley, Calif. 91352. zontal operation. Retractomatic pinch rollers for easy tape threading.

SONY®SUPEREri7,77= .1970. SUPERSCOPE, INC. You never heard it so good nitely, superior to that of the spherical -tip version (Grado However, we have some reservations about the wisdom FTR) that was tested last year. of using an elliptical stylus-even one with the relatively In general listening tests, the Grado FTE had a slightly mild ellipticity of 0.3 x 0.7 mils-at the tracking forces bright,crisp quality, with good definition. Unlike some of 2.5to 3.5 grams that this cartridge requires. If you cartridges, it was not soft or hazy in sound characteristics, play the same records frequently, you might feel safer but tended rather to project strongly. In fact, we thought with the 0.6 -mil spherical stylus of the FTR. But in any fora moment thatithad a high -frequency peak, but case, itis clear that, just as the Grado FTR is a notable there was no accentuation of record hiss to indicate such value at $9.95, the elliptical -stylus FTE is equally out- a peak, nor could we find any significant peaks in our standing at $19.95. frequency -response or square -wave measurements. For more information, circle 158 on reader service card

HARMAN-KARDON 820 STEREO FM RECEIVER of the receiver's controls. There isa headphone jack on the front panel, and an FM -muting threshold adjustment in the rear. Our only criticism of the 820's FM operation concerns the interstation-noise-muting function; the bursts of noise when tuning a station were so distracting as to nullify much of the value of this feature, and we preferred to keep it switched off. The audio amplifiers of the Harman-Kardon 820 should dispel any doubts as to the quality of performance obtain- able in a moderate -price receiver. With the tone controls switched out, the response was well within ±0.5 dB from 20 to 20,000 Hz-and doubtless goes well beyond these THis stereo receiveristhe first of Harman-Kardon's limits, although we restrict our measurements to the audio import models that we have yet tested. Its styling is very range. The loudness compensation boosts low frequencies much like that of their earlier receivers, with a black panel only, and works well from a listening standpoint. The accented by contrasting polished metal knob caps and edge high -cut filter has a gradual, 6 -dB -per -octave slope above trim, and an opaque black dial face illuminated from the 3,000 Hz. Although it removes noise quite effectively,it rear when the receiver is on. The 820's tuner section has also causes a noticeable dulling of the program material. afield-effecttransistor (FET)front end,afour -gang The tone controls of the unit we tested had an excep- tuning capacitor, and integrated circuits (IC's) and crystal tional range-well beyond the ±12 dB listed in the speci- filters in the i.f. amplifiers. (Continued on page 50) tuning is aided by a zero -center tuning meter; however, because of its recessed location, the meter must be +40 viewed from directly in front to be used effectively. The F.:.AUDIO array of front -panel knobs includes tone controls, volume 008=0.78 VOLT and balance controls, speaker and input selectors, and the (TAPE -OUTPUT JACKS) tuning knob. Two pairs of speakers may be connected and 0 used either individually or simultaneously. a The Harman-Kardon 820 has inputs for reel-to-reel and -40P- cassette tape recorders, both of which can be connected 0 HARMAN KARDON 820 permanently to the system. The front -panel input switch 0 FM SECTION (MONO) can select either of two high-level inputs for the recorders, a and there are separate pairs of tape -output jacks in the rear. The other program inputs are FM MONO, FM STEREO, J and PHONO. The selected input is indicated by small la- -30 beled illuminated bars on the dial face. A similar system indicates when a stereo FM broadcast is being received. Six lever switches complete the front -panel control line- M 40 up. One switches out the tone -control circuits, and others controlFMinterstation-noisemuting,high -cutfilter, NOISE HUM, DISTORTION RE100 MOD AT 4001) stereo/monooperation,tapemonitoring,andloudness -50 compensation. These switches have thin,flat levers that 5 10 20 50 100 58 108 204 50k100 reveal at a glance (by their angle to the panel) the status R.F. TEST -SIGNAL INPUT IN MICROVOLTS (gv) .... -A ARDON 620 5551 _ -___ aim mm.....1811/ TOTAL HARMONIC DISTORTION IM-monO". REFERENCE POWER( 20ro 1 - 60/7000 Hx (4I/ IM DISTORTION - 0.5 HALF POWER (-3,19) 0.5 111INIM111111 ------LOW POWER t- (0O) HARMAN-KAROO/4 520 ENNUI S II 0 1111111

1 1 1 0.2 I 1 -._ 0.21111b...... 11111111

_4. g5i21 M 18E11111 Woi 11111 IIIII 1,01 1=== illiga -1.116.1.1.6=6111MM. 1'1111111AN ion.= U fi m-..... 75111iniC7_`14555.4.M5/ IMIIIIIIMEINII MEIMINIIMENIM155,55111 M115:-.3211111111111111111__1=11115115.55 /----- IAMINE=ONNOMMEMMEI Enlb -....55.11__ MINOMINNON it., .05 MI .05IMIN110.1.111111.11.11111MIIIMINNIBMIIII=r411....1111 All II 111111 II

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City State Zip 0205700 Lii-!!a2..2.-2.2-.22.2---s-- OVERSEAS AND CANADIAN RESIOENTS WRITE TO FISHER RADIO INTERNATIONAL, LONG ISLANO CITY, N.Y. 1110t. CIRCLE NO. 17 ON READER SERVICE CARD MAY 1970 4 ) fications. At 20,000 Hz there was a control range of ±18 dB. At intermediate settings of the tone controls, the in- flection points moved out from their 1,000 -Hz center, affording essentially flat response between 200 and 2,500 Hz while still providing 5 to 8 dB of boost or cut at the frequency extremes. The RIAA phono-equalization error was less than ±0.5 dB over its full range. It was not easy to determine the "maximum -power" rating of the Harman-Kardon 820 amplifiers. Their ratings of 140 watts (using the spurious -±-1-dB system)or 110 watts (IHF dynamic power) into 4 ohms are not readilytranslatableintothe rigorous continuous -power, both channels driven, measurements we make into 8 -ohm loads. A good clue to the amplifier's potential isin the curves that plot 1,000 -Hz harmonic distortion and IM distortion versus power output. The harmonic distortion fell from a few tenths of a per cent at very low output levels to less than 0.2 per cent from 0.5 to 28 watts. Above 28 watts clipping occurred and distortion rose sharply. Below 3 watts, the "distortion" was really mostly inaudible noise -actual harmonic distortion levels were lower than the curve would suggest. The IM distortion dropped from 0.4 per cent at 0.1 watt to less than 0.15 per cent between 1.5 and 30 watts. Though we could drive the amplifiers to 25 watts per channel or more at middle frequencies with low distortion, they could not produce this power at the low frequencies. We finally settled on a continuous "full -power" rating of 20 watts per channel. At this level, distortion was 0.1 per cent or less over much of the audio range, reaching 0.23 per cent at20,000 Hz. At 20 Hz, it was 1.7per cent due to waveform clipping. At half power or less, the distortion was about 0.15 per cent except at20,000Hz, where it reached a "high" of 0.25 per cent. Using visible waveform clipping at 1,000 Hz as the criterion,the Harman-Kardon 820 delivered31.5 watts per channel into 8 ohms, 43.5wattsinto4ohms, and 18.7 watts into 16 ohms. Regardless of the rating method used, it is clear that this is a tine moderate -power amplifier, with low distortion under almost any operating conditions. The amplifier gain is quite high, requiring only 0.13 volt at a high-level input or 1.45 millivolts at the phono input for 10 watts output. Hum and noise were low -64to66 OM -1 OMNI SPEAKER SYSTEM. We've been init from the dB below 10 watts on all inputs. Phono overload occurred beginning ... at point ALPHA in time. Our engineers took at 36 millivolts, which should he compatible with any but audible sounds-electronically produced, and made them the highest -output magnetic cartridges. clear, high fidelity tones. We participated in the design and engineering of speakers to create the world's finest stereo- The FM tuner had a measured sensitivity of 1.9 micro- phonic sound reproduction. Now, we have reached OMNI ... volts with limiting being complete at 4 microvolts. The OM -1 OMNI SPEAKER SYSTEM produces sound uniformly high sensitivity of the Harman-Kardon 820 in a practical for any part of the room. It is "omni-directional," (radiates listening situationis demonstrated by the fact that we 360 degrees). This new concept radiates both direct and were able to pick up forty-three fully limited (and listen reflected sound deftly, creating a real depth sensation. You - can place this OMNI speaker anywhere from the middle of able) signals on a single sweep across the dial one morn- the room to a corner bookshelf. The UTAH Omni Speaker ing, using a folded -dipole indoor antenna in the basement. is a wonderful new way to enjoy music. The FM distortion was about 0.53 per cent, whichis essentially the distortion of our signal generator. SPECIFICATIONS In the stereo FM department, the Harman-Kardon 820 Woofer; 8" diameter, cloth roll sus- had excellent mid -range separation, exceeding 30 dB be- pension, 13/4 pound magnet struc- tween 1,000 and 5,000 Hz. The separation reduced to 16 ture, 1" voice coil. Tweeter; 3" dB at 30 and 13,000 Hz and to12.5dB at15,000Hz. diameter, co -axially mounted, Alnico V magnet. Crossover frequency: This is more than adequate for good stereo reception, since 4,500 Hz. Cabinet; 93/4 x 93/4 x 14'/2" the important middle frequencies are strongly separated. high, durable laminated walnut fin- The FM frequency response, measured at the tape outputs, ish. Power; 30 watts peak, (15 watts was within ±0.5 dB from 30 to 4,000 Hz, fallingoff program).Response,35/18,500 Hz. Impedance, 8 ohms. Shipping gradually to -3 dB at 10,000 Hz and -5 dB at15,000Hz. weight. 15 pounds. In use, the Harman-Kardon 820 sounded first rate- clean and free of audible distortion on all inputs. The available power was more than sufficient for any but the lowest -efficiency speaker systems. It proved to be easy to tune and operate and attractive to the eye. The Harman- Kardon 820 sells for $299.95. An optional walnut cabinet aan is $25.50. HUNTINGTON, INDIANA 46750 CIRCLE NO. 51 ON READER SERVICE CARD For more information, circle 159 on reader service card 50 STEREO REVIEW We putalittle morefeature into each feature. The Miracord 50H not only offers more Stylus overhang adjustment is es- ple, foolproof operation. For example, features than any top quality automaticsential for op!imurn tracking. Another the 50H is the only automatic changer turntable on the market, but each fea-automatic turntable does feature this that can go from manual to automatic ture offers more. Here's what we mean.adjustment, but it's internal and difficult or vice versa without re -setting. to set. The Miracord 50H offers exter- Two worthy competitors offer a kind IN Over the past few years, Miracord of synchronous motor. Neither motor,nal overhang adjustment with built-in gauge - no shifting, no guess work, no 501-1 has proven its reliability and en- however, can qualify as a hysteresis hanced its position of leadership by its synchronous motor. And, neither is atemplates. You can line up your stylus in seconds accurately. superb performance in thousands of Papst hysteresis synchronous motor. home music systems. The finest auto- The Papst is the one used in profes- Now here's the feature no one has. matic turntable available today cost's sional studiorecord -playingequip- ment. The Miracord 50H uses theThose light touch pushbuttons that $169.50. At leadinghi-fi dealers. make it so easy for you to enjoy all of Papst hysteresis synchronous motor Benjamin Electronic Sound Corp., with outer rotor for unvarying speedthose other wonderful Miracord 50H Farmingdale, N.Y. 11735, a division of features. The pushbuttons provide sim- accuracy, regardless of the voltage or Instrumeit Systems Corporation. load fluctuation. When examining the cueing feature, be sure to ask whether cueing works iracord 50H in both automatic and manual modes. Because, in automatic, where one leading automatic turntable doesn't work, cueing represents the ideal device to interrupt play for just a moment when there are a stack of records on the spindle. The Miracord 50H provides silicone -damped cueing in both modes.

CIRCLE NO. 5 ON READER SERVICE CARGO N1A \ I970 5f arrange priorities for its own benefit and By JAMES GOODFRIEND the ultimate benefit of all. Promotion andadvertisingarethe real tools to change the present situation. The key medium is radio, and I say that not only because it is natural that a commodity that is, in fact, sound should he sold through a sonic medium, but also because radio is the chosen medium of virtuallyallthose young people who were perhaps expected to join the ranks of classical music listeners and didn't. Those who are already consumers of classicalmusic arerelativelyeasyto reach; magazines such as this one cater to them. But it is when we go out look- GOING ONRECORD ing for new converts that we realize TURNABOUTIS AIR PLAY that the music must be sold as music, not as descriptive listings. WE ARE still discussing-if my read- will be hard to convince them they have There are, of course, still many classi- ers can bear with me for a while thrown out some good with the bad. cal music stations in the country. And longer-the precarious position of re- No.Ithinkifthesituationisto there are organizations willing to back corded classical music in this country at change, it must change first superficially the broadcasting of classical music. To this time. To recapitulate, it is clear toand then (if ever) at the roots. And the name only two of the latter, Acoustic me, though not to those who disagree superficial problem is how to sell more Research, Inc.,isfinancing a laudable with me, that the situation was engen- classical records. The answer involves program of recording and broadcasting dered by the following factors: the lack of threeparts:programing,cooperation, contemporaryAmericanmusic,and a public tradition of respect for classical and promotion. American Airlines has recently decided music in the United States; the aging The firstis easiest, and because itis to sponsor regular programs of recorded and dying off of an older generation of easiest it has been thought by many to classical music on stations in eight major music lovers; the pathetically poor ex- be the whole answer. "Find new reper- marketing areas of the United States. posure to good music young people re- toirefor the new market," they say, This is all to the good, but unless these ceive in our schools and homes; the lack and at once a host of musical obscuri- efforts develop in a different way than of foresight of our large musical organi- ties make their way into the catalog. But they so far seem to have (present indi- zations( record companies and concert it doesn't work that way, because, for cations are that the broadcasts will be organizations) and their desire to reap the most part, those who could be in- overstationsalreadycommittedto the short-termbenefits of programing terested in new repertoire and new artists classical music), they willnot reach only for pre-existing markets; and the are those who are already familiar with the new, younger market. dogmatic aesthetic attitudes of much of the old. A young pianist is not of interest the student -age population, attitudes that to a young person just because they are IHAVEsuggested at various times to have been formed, as have those of no both young. And only a very few of various people in the industry that the generation before them, by the awesome those not attracted to classical music in most effective way of selling a classical persuasive power of the marketing in- general will find themselves suddenly in- recordtothose who don'tordinarily terests and mass media in this country. terested in the avant-garde. Proper pro- listen to such things is by promoting it In terms of musical culture and con-graming demandsanintelligentap- over a station committed to pops-buy- tinuity we have lost a generation and praisal of the potential market, a sizing ing the air time if necessary (it almost perhapstwo.Assumingthatanyone up of what the consumer is interested in, certainly would be)and pushing the wants to reverse the trend, is there any- what he already has, and what he might record as ifit were a pop single. The thing that can be done? buy-plus what he is already being of- theory behind the idea is too obvious to One cannot,atthislatestage, do fered by someone else. The major point need explanation. much about the prevailing anti -culturalof programing is to expand the poten- To my delight I have now been in- ambiance of American homes, or about tially salable repertoire. formed that exactly this was done just the confusion of values that perverts the recently in Europe. Radio Luxembourg, word "culture" to mean only easy en- COOPERATION, if it ever comes, is likely a station of popular tastes and wide ap- tertainment. Re -orienting the values of to be something new in this field where peal, asked for and received exclusive a societyisa long-term process. One practically everything is looked upon as air rights for two weeks to a new re- also cannot do anything very quickly classified information. But itisreally cording of Vivaldi Mandolin Concertos. about improving the musical education time for classical producers to stop try- The station played the record without our children receive. The record com-ing to blackjack each other(astheir comment, six or seven times a day. At panies canstill,asIsuggested they pop music confreres do) in the fight for the end of two weeks they announced: ought to have done fifteen years ago, the same shrinking market. The poten- "The music you have been hearing was supply teachers with the right materials tial gains are high in the pop musiccomposed by Antonio Vivaldi in 1740. to win over young minds-but it will he field, and the dangers comparatively low. If you liked it you can now buy it at a long time before we can say that we The opposite is true in classics. What is your record store."I presume further haveadequatelytaughttheteachers. needed is a unified effort to sell classical details were given, but perhaps not. The And, I think, it will be no easy task to music to the American people, not to average saleof a classicalrecordin change theaestheticattitudesofthe out -sell the competition by a few hun- Europe is reputed to be between fifteen generation that has learned to hear only dred on abitof therepertoire that hundred and twenty-five hundred. The what it wants to hear. Many of its mem- hasn't the commercial potential to show Vivaldi Mandolin Concertos sold seventy bers, through whatever means, have at- a profit to more than a single company.thousand in a couple of months. Surely tainedtoso many otherwisepraise- Companies need to know what otherthat says something American record worthy attitudes about our world that itcompanies are doing so that each can companies cannot afford to ignore. 52 The Sound Of KOSS Looks Like This... OOOOOOOOOOOOOOOO

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Can You Beat That? To guarantee performance to specifications,thisindividual machine -run response curve comes with every ESP -9 Studio Monitor Headset. You get, for the first time, flat ± 2 db monitoring over the entire audible spectrum because the ESP -9 is a breakthrough electro-acoustical development achieved by exploiting electrostatic principles. Only Koss electrostatics give push-pull balanced acoustical circuitry, cancelling all second harmonic distortion to provide fatigue -free listening through long recording sessions. Now you hear what the program material really sounds like, uncolored by monitor room reflections. Exceeding the range and cleanliness of any speaker system, the ESP -9 gives the measure of separation and accurately positions the soloist. 40 db isolation through comfortable, fluid -filled cushions relieves the noisy distraction caused by producers, A and R men, time -killing artists, and other visitorsinthe control room. The ESP -9 eliminates the masking effect of blowers, breath sounds, clothes rustling and other control room ambients. So now you have a running check on low-level system noise. You monitor KOSS the sounds you only saw before on the VU meter, like the "whoosh" of a MODEL ESP -9 stage door closing, ventilator rumbles and music stand rattles - because ELECTROSTATIC speakers simply don't have the super -wide -range you need to hear them. STEREOPHONES WITH The ESP -9 has a signal handling capacity of 10 volts at 30 Hz with good E-9 ENERGIZER wave form versus 6 volts for the integrated ESP -6 introduced last year. This is made possible by increasing the size of the coupling transformers by a $150.00 factor of 4 and mounting them in the E-9 Energizer external to the cup. The E-9 Energizer offers the option of self -energizing for the bias supply, or energizing through the ac line; choice is made with a selector switch on the front panel. When energized through the ac line, very precise level measurements can be made. Thus the unit is ideal for audiometry, and for evaluating the spectral character of very low level noise in tape mastering machines and recording consoles. SPECIFICATIONS Frequency Response Range, Typical: 15-15,000 Hz ± 2 db (10 octaves) 10-19,000 Hz ± 5 db. An individual, machine -run calibration curve accompanies each headset.Sensitivity: 90 db SPL at 1kHz ± 1 db referred to 0.0002 dynes/cm2 with 1volt at the input. Total Harmonic Distortion: Less than Vs o' 1% at 110 db SPL. Isolation From External Noise: 40 db average through fluid - filled cushions provided as an integral part of the headset. Power Handling Capability: Maximum continuous program material should not exceed 10 volts (12 watts) as read by an ac VTVM; icK provides for transient peaks 14 db beyond the continuous level of 10 volts. Source Impedance: KOSS Designed to work from 4-16 ohm amplifier outputs. External Power Requirements: None, except KOSS ELECTRONICS INC. when used for precise low level signal measurement, when external ac line can be selected by 2227 North 31st Street a front panel switch on the E-9 Energizer. Milwaukee, Wisconsin 53208 See your dealer today or write for free technical paper, KOSS ELECTRONICS S. r. I. "An Adventure in Headphone Design" and ESP Catalog 108. Via Valtorta 21/20127 Milan, Italia CIRCLE NO. 27 ON READER SERVICE CARD MAY 1970 53 FABULOUS SUCCESSOR TO THE

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CIRCLE NO. T4 ON READER SERVICE CARD MAY 1970 5f ductor and singers in opera (or concert) generally, as exposed by this production; but an answer was implicit in their comments. Conductorial sovereigntyisall very well, particularly when large en- sembles are involved, as they are not in PelleasetMdisande.But whenthe subservience of principals to conductor is as obvious as it was here, or as itis, for example,inKarajan's opera productions, something essential to theater is lost-and something essential to great singing, too: the compelling authority of the singing actor, male or female. Too dominant a conductor tends to make of singers what Hanslick thought Wagner had made of Lohengrin, "a 'seraphic' soldierwhosewillandconsciousness repose not in his own bosom but in the ,Ind (.11c1ipinde) furrows of his divine field commander's LONDON LETTER brow." The danger-indeed, thereality-is that the play becomes the plaything of CLAUDE, PIERRE, AND ELVIS composer and conductor. This production,Ifelt, might more appropriately have been called Claude et Pierre. An- THE event of an otherwise uneventful His colleague Peter Heyworth, in the other question-namely, how allthis early winter season has been the Cov- Observer, after similar acknowledgmentsworks out on records-willconfront ent Garden production of Pellet's et Mel* ofBoulez's extraordinaryaccomplish- those who reviewthe CBS recording isande with Pierre Boulez conducting. ment, wrote: made concurrently with this Covent Gar- That one should almostautomati- den production. The strange thing is thatI none the less cally putitinthis way immediately came away from Covent Garden feeling as identifiesthedistinguishingcharacter. ONthe other side of the fence, so to though the work had eluded me. Musically speak, the season has hardly been more isticoftheproduction.Traditionally and dramatically this is a performance that and habitually, one associates Pelleas et reveals the average new operatic production eventful. The rock group Chicago, for- Aldisande with the interpreters of the for the routine hack work itis. Yet the cen- merly Chicago Transit Authority, had a title roles-with Mary Garden and Mag- tral experience is lacking. What then is miss- much publicizeddebutatthe Albert gie Teyte, with Edward Johnson and ing from the mysterious chemical amalgam Hall, but so stupefying was the din of Lucrezia Bori, with Martial Singher and that goes to make up a great operatic occa- organ and guitar that the trumpet, trom- Bidd Sayao. But the Covent Garden pro- sion ? bone, and saxophone, the distinguishing duction will not be associated, in retro- After examining the cast, the staging elements of this group, might as well spect, with George Shirley and Elisabeth and the sets, Mr. Heyworth returned to have been in Chicago. Siiderstriim, excellent as they were.It Boulez and came up with a hold, vivid, The Rolling Stones, returning from will he associated with Pierre Boulez. and, for me, acute formulation: their triumphal tour of America, gave And thereinlayitsvery considerable two concerts in the modest Saville The- virtues and its equally considerable fail- Yet the failure of the performance to carry ater-and bombed! Tony Palmer, in the full imaginative conviction is,Isuspect, fi- ings as well. Observer, summed it up in a perceptive nally to be traced to the orchestra pit.. . . I and possibly prescient notice: Both virtues and failings invited ex- left the theater feeling that every dimension amination on two levels. There was the of the score had been revealed to me with Whilst Jagger and his colleagues have been obvious level of the production itself, of unequalled exactitude, but that in the process imprisoned inside a whole decade's obsession Boulez's approach to Debussy in general of opening it up for examination, something with youth, everyone else has grown up. The and tothis work inparticular. And of its essential spirit had died on the operat- Stones, like the Beatles, are retarded adoles- there was the higher, or wider,level ing table. cents, symbols of a generation which never where one considered the effect on any This evocation of an operating table wanted anything to change. Or, atleast,if opera of a production so minutely con- reminded me of Hugo Wolf's description they did want to change anything, they want- trolled by so exacting a conductor. of Hans von Billow giving a lecture - ed it changed their way. On the first level the judgment of the recital on Beethoven: "The corpseis But the British, in the long run, re- localcritics was curiously and rarely carefully dissected, the organs disclosed main faithful to American music. They unanimous-and, I think, wise. Desmond intheir most subtle ramifications, thesimply prefer the real thing. BBC -TV Shawe-Taylor, in the Sunday Times, for intestines examined with the raptat- hasrecentlygivenusanaffectionate example, put it this way: tention of a haruspex " documentary on the life, times, and ac- complishments of John Philip Sousa. A Boulez gives us a reading of the score that INDEED,Ihave never heard Boulez Christmas Eve feature was the moving - is wonderfully clear and lucid in detail, and picture documentary on Johnny Cash. never wan or insubstantial. . . . The feeling conduct without recalling that inspired was quasi -symphonic, the climaxes were pow- hit of music criticism. And when some- The English contribution to the Euro- erful; and still the last act was a miracle of one told me that Boulez had taken thepean Broadcasting Union's Third Con- restraint and simplicity. Yet there seemed to first eight minutes of one rehearsal just cert Season (radio) was an hour and a me to be a missing element. Something of the to get the orchestra tuned to his satis- half of music by Gershwin, with Andre depth and mystery and human passion of the faction, my reaction was: "Sharpening Previnatthepiano. Andthegreat score seemed to have evaporated-or at any the scalpel?" broadcasting event of New Year's Eve rate to have passed me by without moving me was last year's Elvis Presley television as they can be expected to move a sympathetic None of the critics touched on the listener. question of the ideal relationship of con- spectacular. 56 STEREO REVIEW IN ATDKLASS BY ITSELF

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TDK's exclusive new patented magnetic material and coating techniques give you a cassette tape with FR. heretofore unheard- of -frequency response from 30-20,000 Hz, a signal- to -noise ratio of better than 55dB and extremely wide dynamicrange, and with TDK there is virtually no head wear. The SD cassette mechanism is manufactured by TDK with thesame care and quality control that is used in the tape itself.The result is a smooth running and virtually jam -proof construction. Compare a TDK SD Cassette with thepresent brand you are using. We know you will be amazed at the difference. TDK Cassettes are available at leading audio dealers everywhere.

TDKWorld's leader in tape technology since 1932. -rok ELECTRONICS CORP. NEW YORK LOS ANGELES CHICAGO CIRCLE NO. 48 ON READER SERVICE CARD NI AY 1970 -TON Rally DUNE BUGGY 0' SOMETIMES WEIGHS 3/4 GRAM

L V.15 TYPE II (IMPROVED) The same inertial forces that make a vehicle airborne when cresting a hill affect the tracking force of the phono stylus. Record surfaces, unfortunately, are a morass of miniscule hills and valleys. When the stylus is nominally tracking at 1 gram, this force significantly increases as the stylus enters a "hill," and decreases asitbegins the downward "plunge." In addition, frictional characteristics of the tone arm or record changer mechanism may ORIGINALV.15TYPE further affect uniformity of tracking forces; however, the Shure V-15 Type II Improved Cartridge retains its trackability throughout the audio spectrum. It accomplishes this difficult task within a critically determined latitude of tracking forces (3/4 to11/2 grams) to insure continuous contact with the groove walls regardless of the varying tracking forces caused by the hills and

TRACKABILITY CHART (1 GRAM STYLUS FORCE) valleys in a record groove. Here is why fractions -of -a -gram are important to record and stylus -tip life: 3/4 gram tracking exerts a pressure of 60,000 lbs. per sq. in. on the groove walls-and this rises to 66,000 lbs. per sq. in. at 1 gram, and 83,000 lbs. per sq. in. at 2 grams. At 2 grams you have added over 111/2 tons per sq. in. to the groove walls over 3/4 gram tracking! Think about it.

1-1 L.-) 1=1 V-15 TYPE II LVIPROVED Shure Brothers Inc., 222 Hartrey Avenue, Evanston, Illinois 60204 CIRCLE NO. 42 ON READER SERVICE CARD 58 STEREO REVIEW THE BASIC REPERTOIRE: Item One Hundred Twenty-four By Martin Bookspan

Mahler's "Resurrection" Symphony

engraving by William klake dating Irani 1825: "II ben the Morning Stars Sang Thgether. and .1/1 the Sans of Gad Stymied for Jay."

GusrAv MAHLER'S Second Symphony-the so-called the position was offered to Mahler and he accepted it, -Resurrection"-seemstohavebeeninhis keeping the operatic post as well. That summer he spent thoughts for some time before he actually began the first of four vacations at Steinbach on the Attersee in to put notes on paper; sketches for the score go back Austria. There, away from the petty intrigues, cares, and to the years 1886-1888, when Mahler, then in his mid - responsibilities of Hamburg's musical life, Mahler went twenties, was assistant conductor to the great Artur to work in earnest on his Second Symphony. In what was Nikisch in Leipzig. Mahler's conducting career advanced apparently an enormous burst of creative energy, he seems steadily, and in 1891, at the age of thirty-one, he became to have completed all but the last movement during that opera conductor at the Hamburg Stadttheater. The con- first summer in the Steinbach retreat. ductor of the symphonic concerts in Hamburg at the The last movement gave Mahler considerable difficulty, time was Hans von Billow, probably the most famous and it took an external stimulus to trigger its completion. and respected of all then -living conductors. Though there Mahler has described the circumstances: was athirty-year age difference between Billow and When I conceive a great musical idea,I always come to Mahler, they developed a warm friendship based on the point where I must make the "word" the bearer of the mutual respect. The older man quickly discovered that idea. . . . I had long planned to introduce the chorus into in Mahler the Hamburg State Opera had a young and the last movement, and had only hesitated in fear that this pioneering dynamo who was able to lead extraordinary might be interpreted as a superficial imitation of Beethoven. Just then, Billow died, and I attended his funeral here [in performances. Hamburg'. The mood in which I sat there and thought of Billow's admiration for Mahler the man and conductor the departed one was exactly that of the work which oc- did not, however, extend to Mahler's music. When he cupied me constantly then. At that moment, the chorus, played for Billow a piano reduction of the first movement near the organ, intoned the Klopstock chorale Auf erstehni of the Second Symphony, Mahler tells us, Billow "fell [Resurrection! I.It struck me like a bolt of lightning, and everything stood clear and vivid before my soul. The cre- into a state of extreme nervous terror, carrying on like ator waits for this bolt of lightning; this is his Holy An- a lunatic, and exclaimed, 'Beside your music Tristan nunciation. What Ithen experienced I had to create in sounds as simple as a Haydn symphony!' Indeed, I'm be- tones. And yet, if I had not had this work already in me, ginning to believe it myself ; my symphonies are either how could I have had this experience? maudlin ravings or. .. well, choose your own alternative." The Second Symphony is a veritable colossus. It takes In 1893 Billow was forced by failing health to give nearly an hour and half to perform, requires a large mixed up his directorship of the Hamburg symphony concerts. chorus and two vocal soloists, and is scored for an enor- The orchestra's directors did not have to look far for mous orchestra. The Symphony has been described as a his successor: with a logic not often in evidence today, -tonal allegory of the life of man." Mahler himself called

MAY 1970 59 SYMPHONY NO .2 IN C MINOR Resurrection"

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The massive "Resurrection" Symphony of Gustav Mahler is a natural for stereo, and recordings of it have surely been a factor in its rapid absorption into our musical mainstream overthe past dozen years-the stereo era. Among the best discs are those led by Otto Klemperer (Angel), Leonard Bernstein (Columbia), and Georg Solti (London). the first movement a "Celebration of the Dead" ("Toten- ing the 1930's and 1940's, the only available recording feier"). The second and third movements, following the of the score was a "live" one, done by RCA Victor in tumultuous upheaval of the first, are more reflective: the Minneapolis when Eugene Ormandy was the conductor second is a gentle intermezzo and the third a grim scherzo, of the Minneapolis Symphony. Then, early in the LP era, "a recollection of the world's vulgarities." The fourth Vox released a Vienna -based performance conducted by movement is titled Urlicht (Primal Light) and is a haunt- Otto Klemperer. Both the Ormandy and Vox-Klemperer ing song for contralto and orchestra. The text comes from recordings were disfigured by execrable recording quality, Des Knaben Wunderhorn (The Youth's Magic Horn), a inaccurate orchestral execution, and indifferent conduct- collection of German folk poetry Mahler loved and re- ing. In contrast, the past fifteen years have witnessed eight peatedly used in his music (the third movement also in- new recordings of the music, all of them in stereo, includ- corporates music Mahler originally wrote for a song from ing a remake by Klemperer that does full justice to this Des Knaben Wunderhorn, Des Antonius von Padua veteran Mahler conductor's conception of the score. Fischpredigt). In the last movement, which incorporates the setting of Klopstock's poem "Resurrection," Mahler MYown favorites among the existing recordings are employs soloists, chorus, and orchestra to create a mu- those conducted by Leonard Bernstein (Columbia M2S sical spectacle of the Day of Judgment. In addition to 695), Otto Klemperer (Angel S 3634), Georg Solti Klopstock's verses, Mahler uses some of his own. (London CSA 2217), and Bruno Walter (Columbia After Mahler completed the symphony, he apparently M2S 601). The Klemperer and Walter performances are felt that the tender second movement was out of character both highly perceptive and dedicated, well played and well with the rest of the score. Rather than drop the move- recorded-Walter's surprisingly so, considering that it is ment or change it, Mahler took a different and rather ex- a product of the very early days of stereo reproduction traordinary course: at the end of the first movement he (circa 1957). Solti's is a more violent and dramatic per- directed that a pause of at least five minutes should take formance, even more vividly played and recorded. And place before the Andante begins. He wrote: Bernstein's isat once the most personal and most in- A definite pause for organizationis necessary after the flected performance of the lot. He superimposes on the first movement because the second movement does not score all kinds of rubatos and dynamic contrasts, and achieve an effect of contrast, but is merely a discrepancy he caresses the music shamelessly-almost to the point of after the first movement. This is my fault, and is not due pulling it out of shape in the second movement. But what to any lack of understanding on the hearer's part. . . . a totally convincing and masterful re-creation he gives us! While the first,third, fourth, and fifth movements hang together thematically and spiritually,the second move- This is for me one of the most committed performances ment stands alone and interrupts, in a sense, the stern and of any kind in the recorded literature, and each time I inexorable sequence of events. listen to itI am overwhelmed again by its power and With this appraisal it is easy to disagree. Whether or passion. not he thought so, Mahler created in the second move- Both the Bernstein and Solti performances are also ment the perfect contrast for the heaven -storming music available on four -track reel-to-reel tape (Columbia M2Q of the first movement; the position in the score of the 604 and London K 80187, both 71/2 ips) ; and Klem- graceful contours of the Andante, among the most trea- perer's, too, was once issued in tape format (Angel ZB surable music Mahler has left us, has about it an inevitable 3634), but has now apparently been withdrawn. In any rightness to the ears of most hearers. case, tape fanciers can't go wrong with any one of the The degree to which Mahler's Second Symphony has three: for the reasons cited above, I would give my strong- made its way into our musical mainstream can be seen est recommendation to Bernstein's reel, but either of the in the recording history of the work. For many years, dur- other two offers a deeply satisfying account of this music.

REPRINTS of the latest review of the complete "Basic Repertoire" are available without charge. Circle Number 160 on reader servica card.

()0 STEREO REVIEW "How well does the Heathkit AR -29 perform? Very well indeed! "..."No other receiver in its price class can compare with it!" Julian Hirsch, Stereo Review magazine

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Here's Why...

Here's what Mr. Hirsch says about Sensitivity: "Its FM tuner had About Assembly: "...the AR -29 construction made a positive im- an IHF sensitivity of 1.75 microvolts, placing it among the finest pression." "... assembly has been markedly simplified." in respect to sensitivity." Says Mr. Hirsch about overall performance: "The test data speaks About FM Frequency Response: "Stereo FM frequency response for itself." "... no other receiver in its price class can compare was extremely flat, +0.25 dB from 30 Hz to 15,000 Hz." with it." About Power Output: "We found the audio amplifiers to be con-Additional Features That Make the AR -29 siderably more powerful than their rated 35 watts (rms) per channel. The World's Finest Medium Power Receiver With both channels driven at 1000 Hz into 8 -ohm loads, we measured All solid-state circuitry with 65 transistors, 42 diodes about 50 watts (rms) per channel just below the clipping level." and4Integrated Circuits 7-60,000 Hz frequency response Transformerless, direct -coupled outputs Greater than And this is what he writes about Distortion:"Harmonic distortion70 dB selectivity Factory assembled, aligned FET FM was under 0.1 per cent from 0.15 to 50 watts, and under 0.03 pertuner Mute Control attenuates between -station FM cent over most of that range. IM distortion was about 0.1 per cent noise Blend Control attenuates on -station Stereo FM at any level up to 50 watts. At its rated output of 35 watts per channel, noise Linear Motion controls for Volume, Balance, Bass or at any lower power, the distortion of the AR -29 did not exceed & Treble Individually adjustable input level controls for 0.15 per cent between 20 and 20,000 Hz. The distortion was typicallysource switching without volume changes Switches for 0.05 per cent over most of the audio range, at any power level." 2 separate stereo speaker systems Center speaker capa- About Input Characteristics: "...the AR -29 can handle any modern bility Exact station selection with two tuning meters cartridge without risk of overload, and provide low distortion and Stereo indicator Stereo headphone jack Swivel AM rod an excellent signal-to-noise ratio." antenna 300 & 75 ohm FM antenna inputs Massive, electronically regulated power supply Modular plug-in About Hum &Noise: "Hum and noise were extremely low: -90 dB circuit board construction at the high-level auxiliary input and -71 dB on phono, both ref- Kit AR -29, (less cabinet), 33 lbs $285.00* erenced to a 10 -watt output level." Assembled AE -19, oiled pecan cabinet, 10 lbs $19.95°

HEATH COMPANY, Dept.10-5 aSchlumbergercompany NEW Benton Harbor, Michigan 49022 FREE 1970 CATALOG! 0 Enclosed is S plus shipping. Now with more kits, more color. Please send model (s) Fully describes these along with 0 Please send FREE Heathkit Catalog. 0 Please send Credit Application. over 300 kits for stereo/hi-fi, color TV, electronic organs, gui- Name tar amplifiers, amateur radio, marine, educational, CB, home Address & hobby. Mail coupon or write Heath Company, Benton Harbor, City State Zip Michigan 41022. *Mail order prices; F.O.B. factory. Prices & specifications subject to change without notice. HF-237 CIRCLE NO. 21 ON READER SERVICE CARD m AY 1970 61 Our new stereo with a built in cassette -corder lets the And the less fortunate hear it back. more talented sing along.

It's a phonograph. An FM stereo and FM / AM receiver. We put the whole works in a beautiful oiled walnut fin- Plus a cassette -corder* with a SONYMATIC electronic ished case, and called it our first pheno/ receiver and recording level control. This will automatically ad- cassette -corder in one. just volume level to optimum, and balance the It costs only $329.95.** volume of the right and left channels. You'll have the chance to entertain everyone on The system has an integrated power amplifier your block. And if you soon find that there isn't with all -silicon transistors. A pair of speaker_ anyone left on your block, don't be discouraged. with a 61/2" woofer and a 2" tweeter. A 4 -speed Most people don't know talent when they changer. And we've even thrown in a dust cover. hear it.

The Sony HP -199. A stereo phono. receiver and cassette -corder in one. c 1970 Sony Corp. of America. Visit our showroom, 585 Fifih Avenue, New Y.rk, N.V. 10022. 'Microohone optiona:. "Mfr.'s Suggested Retail Price. The first step: a cutting head atomt to engrave the master -tape signal ,,atoa virgin lacquer surface. FROM MASTER TAPE TO DISC: HOW RECORDS ARE MADE Part 1: lacquer to metal master to mother tostamper By David Stevens

TFIEphonograph record is a remarkable object. It is been able to improve and refine the processes by which it remarkably simple, in an area full of complication is manufactured-the disc itself does its job in a way that and refinement; remarkably economical, compared nobody has really improved upon yet. with other media with analogous qualities; and remark- Records are simple enough technically that they might ably accurate as a reproducer of sound. In an age replete reasonably have been invented by the ancient Greeks. The with such all -but -daily innovations as opto-electronic and idea of periodic oscillation or vibration was the crucial analog-digital recording, the phonograph record revolves missing link in Aristotle's description of sound: "Sound

quietly onward, basically unchanged in the last eighty takes place when bodies strike the air . . . the air being years. Its position is similar to that of the bicycle amidst contracted and expanded and overtaken, and again struck the marvels of jet -age transportation. The phonograph by the impulses of the breath and the strings." Without disc concept is so durable that the best minds have only strain, we can conceive of a combination record /playback

.o(-CIRCLE NO. 45 ON READER SERVICE CARD 63 phonograph of antiquity, with sound conveyed through a of the master tape to the master lacquer disc (which is funnel to a small elastic membrane (a segment of sheep's the most critical step preceding the pressing process) can intestine?) covering the small end ;a needle glued to the be done in such a way that high-fidelity results are achieved membrane rests on a hand -powered revolving disc of wax. every time. However, this entails a level of technical care Edison's primitive recordings made on cylinders covered and an amount of time-consuming repetitive work that with tinfoil were not much more sophisticated. some companies are unwilling to pay for. Usually, two The mass duplication of records, which is largely re- discs are cut from the same master tape-one after the sponsible for their low cost, was made possible by Emile other-on an enormously complicated and expensive Berliner's idea, in 1888, of recording on a flat disc instead (S 10,000) cutting lathe. The heart of the lathe is the of an Edison cylinder. At that time, no practical way ex- cutter head, which represents about twenty per cent of isted to mold cylindrical records, but discs could be turned out like waffles from a waffle -iron. Pour in the hatter, close the press, wait, and take out the finished product. The The physical analogs of the electrical audio signals are inscribed process is essentially the same today. The ways in which on the lacquer disc by the cutting stylus (Step I) and undergo four transformations on their way to the finished record. In it is different, and some of the problems the method pre- Step 2, a thick layer of nickel is electroplated on the engraved sents, are the subject of this two-part article. This month lacquer surface to make the master. The ridges on the master we shall be concerned with the steps that precede the ac- form grooves on the nickel mother during a second electroplating process (Step 3). These grooves can be played and tual manufacture of the record, and how they affect what checked for imperfections before the mother is in turn plated to the listener hears in the finished disc. Next month we shall voduce the stamper (Step 4). which is applied under pressure visit a modern record -pressing plant to see how the mass to heated vinyl to make one side of a phonograph disc (Step 5) production of records is achieved. CUTTING STYLUS THEphonograph record begins, of course, as a "master" recording made on magnetic tape, usually at 15, but occasionally at 30 inches per second. Although practice varies from one company to another, some consideration LACQUER is usually given to the inherent limitations of disc recording even as the tape master is being made. All records are cut with a frequency -response characteristic-or equali- LACQUER zation-that deviates considerably from "flat" response. One part of the record -equalization process involves boosting the high frequencies to nearly twenty times their "normal" level. The playback equalization is standardized bytheRecordingIndustryAssociationofAmerica (RIAA), and all commercial discs are meant to be played back through a system with a frequency response that con- MASTER forms to the RIAA's particular combination of treble cut and bass boost. The bass is cut before being fed to the cutter head to prevent excessive groove excursion at low frequencies. In regard to the treble boost, the idea is that MOTHER IIIIIIIIllllllllllllll a corresponding treble cut during playback, which rolls 3 back the high frequencies to their normal level, will also 111111111 BIM. reduce hiss and other high -frequency record noise to one - MOTHER twentieth of what it would have been otherwise. Since I the upper harmonics in music are, at least on a statistical basis, much lower in level than other portions of the sound spectrum, the equalization process causes no great problem !STAMPER] -unless, say, a cymbal crash comes through at high vol- 4 ume. In such an event, judicious microphone placement and some care in setting recording levels is required to prevent high -frequency overload of the equipment used to transfer the recording from tape to disc-a problem that we will discuss shortly. John Eargle, formerly of RCA and now Chief Engineer at Mercury Records, believes that transfer of the content

64 STEREO REVIEW These lour relay racks (flanked by Sidney Feldman of Mastertone Recording Studio and Technical Editor Larry Klein) house the waster tape playback deck (seen just behind Feldman) and the electronics used to process the signal from the tape before it is fed to the disc -cutting lathe visible in the right background.

The Scully master -disc cutting lathe operates under the control of engineer Gladys Hopkowitz. Note the built-in groove -inspection microscope on its swivel arm. The precision machining of the lathe-and the massive construction needed to maintain that precision-have to be seen to be appreciated.

The Westrex stereo cutter head looks rather ponderous to audiophiles accustomed to the light appearance of phono cartridges. The tube whose flattened end is adjacent to the cutting stylus is connected to a vacuum pump that draws off the material (called "chip") cut out of the blank acetate surface to form the groove. The "tone arm" that carries the cutter head is the entire massive, elbow -shaped section resting on the lathe bed in the photo above. (All photos by the author.) the cost. The discs, which are made of lacquer or acetate cutting stylus can seriously influence the quality of a bonded onto an aluminum base, are actually the originals company's product. The stylus used is electrically heated of which, the records purchased in shops are molded cop- so that it melts and burnishes the lacquer as it cuts through ies, several generations removed. One lacquer is carefully it, leaving an extremely smooth groove wall. The stylus put away ; the other will be played to check on the results temperature is critically adjusted to produce the lowest hiss of the cutting engineer's work. Eargle points out that as level when an unmodulated groove is being cut. Some en- simple a matter as deciding when to replace the disc - gineers remove the stylus for checking after a certain num-

MAY 1970 65 ber of hours of use; at Mercury, on the other hand, such There then follows one of the most remarkable proce- inspection is not considered to be worth the difficulties in- dures in the process, carried out by a craftsman with ex- volved. They find it simpler and safer just to replace styli treme precision. Carefully studying the surface of the automatically after fifteen hours. (Incidentally, the cutting mother through a binocular microscope, and using a tiny styli are made of ruby, not diamond, because diamonds cutting tool that looks like a needle, he precisely locates cannot be easily shaped and faceted to the dimensions and corrects, where possible, the defects spotted by the required. ) inspector. Tiny bumps in a groove can be cut out, or pits Seymour Solomon, president of Vanguard Records, a filled. However, if there are too many faults, and these label with a high score when it comes to disc quality, ap- are traced to the master or lacquer, the entire process may plies a simple test in the judging of lacquers, especially at have to be repeated from the point at which the problem the inner grooves. Solomon says, "There is only one kind was introduced. of lacquer that we consider acceptable-one that sounds During any of the plating steps a subtle form of hiss exactly like the master tape in an A -B comparison listen- may enter, destined to annoy the ultimate listener if it is ing. Our efforts are consistently directed toward final not detected and eliminated by redoing the step. Some- pressings that sound like the lacquers-that is, like the times the problem shows itself as a steady rushing noise master tapes. And that might mean recutting the lacquer as during playback, sometimes as an unwelcome "swish" that many as six times." Few companies are willing to go to is heard once each revolution of the disc. Either problem such lengths, or even believe that they are necessary. would be enough to cause many record companies to start If the lacquer is approved, it is carefully cleaned and all over again with the lacquer -cutting process. inspected to be sure that every speck of dust is removed. Itis from the repaired(if necessary) and cleaned As a matter of fact, there is fanatic reinspection and re- mother that a solid nickel stamper is next made. As be- cleaning at every one of the stages that follow, since any fore, a potassium dichromate "separator" coating is ap- flaw introduced at any later point in the process will ulti- plied before the mother is deposited in the nickel -plating mately turn up on the commercial disc. The lacquer is then bath. The stamper is made of nickel-and sometimes ready to begin the electroplating processes that will fi- plated with chromium to make it even harder-because nally lead to the finished vinyl records. during the actual stamping -out of a record, at least a ton To enable the lacquer to be plated, it must be treated of hydraulic pressure will be applied by and to the and made electrically conductive by being coated with a stamper. How the stamper, which at this point is a very thin film of silver. The elaborate spraying system that ac- thick but flexible disc without a center hole, becomes part complishes this takes about forty seconds to do its work. of the complex machine that presses records will be de- The lacquer, which had looked very much like a conven- scribed next month. tional vinyl disc of glossy black plastic, now shines like a mirror. Placed in an electro-plating bath, the sprayed -on TE making of the various plated copies and re -copies silver surface is gradually covered by a thick layer of tough, of the original lacquer is carried out at the pressing plant, corrosion -resistant nickel. Then a technician, by carefully of which we shall see more next month when we consider slipping a blade between the original lacquer and its newly the processes in the production of the actual finished prod- deposited metal covering, carefully separates the two. uct. The cutting of the lacquer from the master tape, how- What is now referred to as the metal master is then cleaned ever, appears to industry specialists to be the most critical chemically and with steam, and inspected carefully. step-so critical that many smaller record companies and, The metal master cannot be played, naturally, since the on occasion, even the largest ones, have had their lacquers grooves in the lacquer have now been transformed into cut by an independent mastering service, in order to take ridges on the master. The metal master can be considered advantage of the years of specialized training and exper- a negative of the lacquer. In the next step, which is similar ience available on a free-lance basis. to the first silver-plating process, the master is sprayed Even using the same equipment, different mastering with potassium dichromate and then electroplated with engineers will come up with different -sounding lacquers. nickel. The purpose of the potassium dichromate is to But the biggest differences in quality of the finished reserve as a barrier' to prevent the new nickel plating from sult, experts like Solomon and Eargle agree, arise from fusing solidly to the surfaces of the metal master. The the willingness or unwillingness of the record company result of this step is called the mother. It is similar in to do it over again if it doesn't come out right the first appearance to the master, but it is an exact physical replica time, the second time, the third time.... -if things have gone correctly-of the grooves of the original lacquer. In fact,itis played (carefully!) and checked for noise level, clicks, pops, or other defects. Im- perfections, when heard, are located visually, if possible, David Stevens is the pen name of an engineering consultant deeply involved in audio design work. His last article for STEREO RE- and marked by the listening inspector with a wax pencil. VIEW, (September 1968) discussed "Dollars and Sense in Stereo."

66 INSTALLATION OF THE MONTH SOLVING THE SPACE PROBLEM

CC ITHgood management of space, no room is too 1019 automatic turntable equipped with a Shure M80E small," writes Roy H. Okano of Honolulu, cartridge. The flush -mounted stereo power amplifier (TA - Hawaii. In fact, it would seem that no wall is 3120A) and preamplifier (TA -2000) are both manufac- too small, for Mr. Okano has managed very well with only tured by Sony; the speakers are Pioneer CS -31's. And the part of one. The 13 by 17 -foot living room in which Mr. box at the lower right-hand corner of the equipment cabi- Okano's installation is located at first appeared hopelessly net contains a pair of Teac HP -102 stereo headphones. small for the elaborate system it now accommodates. But As an Aircraft Maintenance Officer with the U.S. Air wood screws, glue, and lumber-plus a liberal measure of Force, Mr. Okano has ready access to the equipment hard work and design ingenuity-served to transform an markets of the Far East, where he purchases all his com- unlikely wall adjacent to a doorway into an intricate and ponents. Among the modifications his installation has pleasingly asymmetrical complex of cubbyholes, book- undergone since the time of this photograph is a conver- cases, and equipment shelves. sion to three-way electronic -crossover systems employing For the sake of flexibility in transferring recorded ma- a Sony TA -4300 network, two more Sony stereo power terial, Mr. Okano has duplicated the facilities for his two amplifiers, and new speaker systems containing Pioneer program sources-tape and disc. The Teac A-7010 tape and JBL drivers. In music, Mr. Okano's tastes cover the deck at the upper left does the greater share of the re- broad spectrum from pops and movie soundtracks to the cording work, with the A-6010 at its side being used classics. Not that his musical life is an entirely passive mostly for second -generation dubbing. The Sony TTS- one; on the opposite side of the room, facing his compo- 3000 turntable (left) with PUA-286 tone arm is the usual nent complex, Mr. Okano has installed another important means for dubbing discs onto tape. The record player that adjunct to the family's entertainment center-a Yamaha serves the family for general listening purposes is a Dual grand piano. R. H.

MAY1970 67 THE VANISHING ART OF WHISTLING By Noel Coppage alHISTLING is an unmistakable sign of the mor- The New York Times duly reported Professor Shaw's We might call it a part of his defense comments and then found the reaction story was bigger mechanism. After he has set up his psychologi- than the original. Dr. Shaw, the Times said later, was "del- cal barricade of sullenness, he sounds a note of war in his uged by mail and perturbed by the incessant whistling of foolish whistling. He resolves not to care. He's right and students who paraded up and down the corridor adjoin- the world wrong." ing his office." The United Press conducted an investiga- Those were the words of a college professor, Charles tion and reported that the late President Theodore Roose- Gray Shaw, who at the time (1931) was on the faculty of velt,Colonel Charles A.Lindbergh, Mayor Jimmy New York University and the author of a recent book, The Walker, Henry Ford, and John D. Rockefeller were whis- Road to Culture. They were, in those days, fighting words, tlers. A letter to the New York Herald Tribune said that but Professor Shaw was either in a fighting mood or didn't other whistlers were President Woodrow Wilson and know when to quit. He added: George Bellows, the artist. Sculptor Augustus Lukeman, No great or successful man ever whistles. Can you think who had known Einstein, confirmed that, sure enough, of Einstein or Mussolini tuning up to 'Just One More the brilliant physicist had indeed suffered his lips to in- Chance'? Can you think of Mr. [President] Hoover whis- dulge in such a birdlike act as whistling. Dr. Shaw tling? Some of his critics may think that the time has come apparently was right about President Hoover, though. for him to brace himself by puckering his lips for "Yankee The professor subsequently modified his statement to Doodle," but the strength of the Hoover mind and will is such that there will be no whistling in the White House. this extent: "Whistling with the throat is often done by No, it's only the inferior and maladjusted individual who intelligent people." The type of whistling he identified ever seeks emotional relief in such a birdlike act as that of with morons, he said, was that done "by puckering of the whistling. lips [which, of course,is the only kind most people

68 STEREO REVIEW can do]-puckering of the lips is merely a hangover from now depend on something else for their livelihood. Gene childhood days." Conklin, one of the best, is also a singer and plays saxo- Most of those who had any opinion about it at all felt phone, clarinet, andflute. Muzzy Marcellino, whose that President Hoover was not likely to whistle because whistling was immortalized on the sound track of the film he felt pretty glum most of the time-not, as Dr. Shaw The High and the Mighty, is musical director of Guedel suggested, that he (or anyone else) would use whistling and Linkletter Productions, producers of Art Linkletter's to cheer himself up. Whistling was seen as a result, not a House Party on television. cause, of cheerfulness. Are fewer people whistling in 1970, or does it just seem AMERICA hasn't paid real homage to a whistler-for his so? Offering valid proof is impossible, of course, but one whistling-since Elmo Tanner's recording of Heartaches senses something in the air-or a lack of something in with the Ted Weems Orchestra more or less overwhelmed the air. In this country's innocent years before World the nation in the late Forties. The recording was already War II, newspapers and magazines occasionally printed about fifteen years old, at that; it had been pressed in 1933 editorials on the subject of whistling. Harper's, in January and enjoyed only fair success until a North Carolina disc of 1892, made it clear that here was one magazine liberal jockey found it in his files, dusted it off, played it on the enough to condone whistling by women ; The Independent air, and got a response that passed in 1948 for SOCKO. in 1912 warned readers to watch out for the boy who never The record's popularity lasted well into the 1950's. whistles; the Atlantic in 1910 said whistling was good, In fact, if one asked a person over thirty to name a rec- although most whistlers' repertoires could stand improve- ord that featured whistling, he probably would be able to ment; and Literary Digest in 1931 countered Professor think only of Heartaches. And it is doubtful if he could Shaw with an editorial saying whistling is "the foundation come up with the name of any whistler other than Elmo of all other music." An editorial about whistling these Tanner. days would look pretty silly, with war, pollution, racial And if anyone over thirty were asked to name a few strife, and revolution competing for the opinion -writer's pieces of music identified with whistling, he probably attention. But nobody bothers to attack whistling any more would mention such standard-and old-ditties as Indian either, and if it has stopped getting on people's nerves, Love Call, Listen to the Mockingbird, Whistle While that may mean that their neighbors have stopped doing it. You Work, the inevitable Heartaches, and, of course, The Dr. Harvey Mindess, a Beverly Hills clinical psycholo- Whistler and His Dog. Ah, The Whistler and His Dog gist, senses this. One hears people whistling, he says, when -practically all of the people with whom I have discussed they are feeling good, when they are engaged in some- whistling(admittedly a select group) recognized the thing they enjoy doing and are, therefore, unburdened for melody, but a fair percentage did not know the title of the moment. "It certainly is an expression, on my part, that particular song. Very few indeed knew the lyrics, and of feeling good," he says. "So why don't more people do a fair number thought there were no lyrics. The Boston it? Are there fewer people feeling good these days- Pops Orchestra used to play a chorus of The W histler and 'good' in a simple, carefree way, I mean? I suppose there His Dog, then stop all instruments and whistle a chorus, are, though I don't know how one would prove it." There was no doubt about it, the melody, by Arthur Pryor, One thing is clear: whistling as a profession isn't what was a whistler's tune. It had lilt, but it had words, too, it used to be. The Los Angeles Musicians Union directory written by Brainerd Kremer, who also wrote the words to lists only eleven professional whistlers compared with, for a thing called National Emblem March, and, for allI example, eighteen clavietta players and twenty-eight bass know, many more words. trumpet players (it lists no fewer than eight washboard Though it is by no means a lucrative occupation nowa- players). And practically all the professional whistlers days, professional whistling still has an impact on popular

Theodore Roosevelt, Henry Ford, James J. Walker, and Albert Einstein, according to reports, were all whistlers of note, though their repertoires ore unknown. Itis probably safe to assume, however, that Henry Ford's did not include In My Merry Oldsmobile.

MAY 1970 69 a sort of flapper in The Boy Friend, her first Broadway musical comedy, in which she sang-and whistled. Her whistling can still be heard on the record album the show's cast made. The literature on Julie Andrews, voluminous as it is, is not very helpful to one trying to find out how she learned to whistle like that, but it seems safe to assume she picked it up as a pre -teen trouper on London's pantomime circuit, or touring with her mother and stepfather in vaudeville. Miss Andrews still whistles a song over and over when she is in various stages of re- hearsing it. At any rate, her performance in The Boy Friend -and who's to say how vital whistling was to that performance ?-led directly to the offer to play Eliza in My Fair Lady, and no young lady in search of wealth and Disney's Snow White and the Seven Dwarfs added a memorable fame could ask for much more than that. Still, though she "standard" to the whistler's repertoire: Whistle While You Work. is famous, she is not famous for her whistling. Whistling, even in commercials, has not always been music. Remember Hugo Montenegro's Hang 'em High such a shadowy, background apparition. In the golden recording and its eerie mood ? Without the whistling, per- days of radio, Gene Conklin opened The Amos 'n' Andy formed by Muzzy Marcellino, it would have been just Show with the three -note theme that for years was identi- another arrangement. Whistled themes occur fairly regu- fied with Rinso detergents. It was roughly the call of the larly in movie sound tracks, and some of them capture bob white, or partridge. Conklin is one of the few pro- the fancy of large audiences. Gene Conklin's dubbed fessionals who still whistle before live audiences. "I have whistling earned considerable, though anonymous, fame been with the Long Beach Municipal Band for about in the theme of The Bridge on the River Kwai. He also fourteen years, playing clarinet and doing singing and whistled a happy tune in the song of that name in the film whistling solos regularly," he says. version of The King and 1, and his whistle was dubbed for Elvis Presley in Follow That Dream, for Tom Ewell WHEN America was younger and more relaxed-and in Some Like it Hot, and for Kirk Douglas in The Last had to listen to "live" music or none at all, for the most Sunset. There is a moderate amount of whistling in tele- part-it produced a few whistlers who were acclaimed and vision commercials, says whistler Lou Halmy, who earns respected as artists. Mrs. Alice Shaw, "la Belle Siffleuse" most of his money as a music arranger in Hollywood. The of the late nineteenth century, whistled strictly highbrow whistling is unobtrusive, however, and itis doubtful music and, as often as not, puckered up before crowned whether the average television fan, awakened in the mid- heads. "No jazz or cheap crooning stuff had a place in her dle of the night, could remember ever having heard any repertoire, and her performances were equally sensational whistling in a commercial. "I believe that a whistler who in the drawing rooms of kings, czars, emperors, and ma- does not do commercials could find himself starving to harajahs and the homes of the intelligentsia of the world's death in a very short time," Halmy says. "I get about six capitals," the New York Afusical Courier said of her in whistling calls a year, so you can see it's not exactly a a nostalgic piece in 1931. career." Mrs. Shaw's performances were among the first to be Incidentally, those who have heard Heartaches on the recorded and circulated by Thomas Alva Edison for use radio in the last decade probably heard Halmy, not Tan- on his phonograph in 1887 and the years following. Much ner, doing the whistling. A few years ago, he whistled later the great lieder singer Elisabeth Schumann recorded Tanner's part, and the Freddy Martin Orchestra played a couple of songs (Lied aus Wien and Wie mein Ahn'l Ted Weems' part, in a Heartaches cut on a Capitol album ztvanzig jahr) in which she did some whistling, but it called "Salute to the Big Bands" (Volume Two). "I was didn't affect her career much one way or the other. instructed not to change a note of Tanner's original solo," Mrs. Shaw, however, attracted so much attention and Halmy says. influenced so many to try their puckers on the professional Halmy also has recorded Winchester Cathedral as a circuits in the early twentieth century that Brunet's Dic- whistler with Lawrence Welk, and The Three -Penny tionnaire de la Musique in 1926 asserted: "In the United Opera Theme withBilly Vaughn. Whistling hasn't States of America, whistling has become a real art, and made him (or anyone else) rich lately, but in its own lovers of whistling have arrived at the point of combining quiet (in a manner of speaking) way it may have played in whistled performances of duos, trios and classical quar- a part in promoting the career of no less a figure than tets." That assertion implies that some on these shores Julie Andrews. As a scared nineteen -year -old, she played had learned to whistle cello or vocal bass parts, and skep-

70 STEREO REVIEW tics, including the Oxford Companion to MuJic,were radio networks and had several other fairly successful duly skeptical. recordings. He also wrote what turned out to bea suc- None could deny that whistlers were making themselves cessful song, Shad rack. heard and their names known, though. Therewas Agnes There was also Edward B. Dolbey, Jr.,or Andrew Woodward, perhaps the best of the great bird imitators, Garth, Whistlist, as he preferred to be called when he who transcribed the songs of birds and then whistled was performing. A1928graduate of Bucknell University, them back to them. Perhaps she didn't know what she he worked in his father's chemical shop in Philadelphiaon was saying to them, but they did, and after a while they weekdays, but on Saturdays and Sundays,as Andrew took to answering her and approaching her. Shespent Garth, he repaired to his studio and practiced, entertained several months in a shack in the mountains doing this friends, and worked on an opera in which the hero,natur- sort of thing, then went to Los Angeles and founded the ally, was a whistler-er, whistlist. School of Artistic Whistling. She also wrotea textbook on He had two telephone listings in the Philadelphia di- her favorite subject: IV'histling as an Art. In1930,she rectory, one for Edward B. Dolbey, Jr., and one for An- organized some of her pupils into America's Bird Whis- drew Garth, Whistlist. Time said of his liveconcerts in tling Chorus, said to be the only whistling chorus of its Philadelphia that he was "ambitious enough to undertake kind in the world (a claim no one challenged). It was a the Mad Scene from Lucia, a Schubert sonata, and the first- thirty -member all -girl group and appeared at conventions, act love music from Wagner's Die Walkfire, in which he banquets, church services, weddings, and funerals. "Favor- took turns being the orchestra, Sieglinde, thesoprano, and ite hymns sympathetically whistled at funerals," saida Siegmund, the heroic tenor." Dolbey trained rigorously, 1930 article in the American Magazine, "are reallyvery drank only lukewarm water because anything colder would touching." tighten up the membranes of his mouth, avoided drafts, And then there was Bob MacGimsey, the Louisiana and never brushed his teeth before whistling because the lawyer whose recording of ill) Blue Heaven/Girl of natural film coating that builds up in the mouth between Dreams with tenor Gene Austin sold almost two million brushings provides a necessary natural lubricant, he said. copies. In the early Thirties, he was thought to be the only He visited his dentist every month. person in the world who could whistle harmonies, two And there was Fred Lowery, the most beloved whistler or three parts of a musical score simultaneously. He proba- of all, the blind man who whistled without puckering and bly wasn't; in 1935,the Austrian Society for Experimental thus may have been appreciated even by Dr. Shaw,one Phonetics examined the case of a youngman who could presumes. His first recording, the finale to the Irithan; whistle two notes at the same time-and hum along with Tell Overture backed by Listen to the Mocking Bird, his whistle as well. In the Egmont Overture, he obtained was a sell-out. His recording of Indian Love Call/1 Lore "real orchestration," the society said. Atany rate, Mac- Thu Truly sold a million copies, and he had eleven other Gimsey in the Thirties was appearing regularlyon the records out by 1943. Fritz Kreisler wrotea special arrange -

Breathes there a man with pucker so unpracticed that hecannot whistle up the theme from the film Bridge on the River li%:ti? /t nzay beargued that the cast had little to whistle abo, Gene Conklin's pet -format:, in the best tradition the n I art.

MAY 1970 ment of his Caprice Viennois for Lowery to whistle, and who was a contemporary of Lowery, had a straightforward Lowery admirers included Charles Kellogg, the original style with just a hint of wind -splitting in the trills and fast bird -call whistler for Victor Records. Lowery made changes. Mostly his sound was pure and direct and with- $15,000 a year with the Horace Heidt Orchestra in the out much ornamentation. Forties. He was the first whistler to have his image, as well So is Gene Conklin's and Muzzy Marcellino's and Lou as his whistle, appear in a movie, doing his thing in Hold Halmy's, and so is that of most of the other professional Your Hats. whistlers who work more or less regularly now. Joe King, Lowery could whistle two tones simultaneously and who currently turns down almost all of his whistling of- could raise or lower one without changing the pitch of the fers, preferring to stick with his Gay Nineties piano act, other. He practiced three to five hours a day, and he could taught himself double tonguing. The main requirements expand his chest six and a half inches. He learned to producers make of a whistler, says Marcellino, are that whistle without puckering because, he said, puckering he "perform in tune and read music." diminishes the wind content of a whistle, creating a nar- Performing in tune, easy as it sounds, does not come row rush of air and a harsh tone at any pitch. The lips naturally to everyone. Studies have indicated that many should be held almost normally but firmly, he maintained. people, when asked to whistle a tune being sung, will un- When one achieves good tone at any pitch, he is ready to consciously whistle at an interval of a fifth or an octave try double noting (or "splitting wind"), the mechanics and a fifth off the notes used by the singer. Some believe of which Lowery described this way: place the tongue this is "natural," or intuitive, in that it may be involved as if to pronounce a "t" sound and permit air to flow with a kind of innate feeling for harmony. under the tongue as well as over it, the tongue tip touching the back of the upper teeth. It won't work at first, but can THE human whistle is a peculiar sort of musical instru- be mastered with practice, he said. He managed to ma- ment, in any case. Air expelled through the lips causes nipulate the two different tones by curling the tongue back them to vibrate, producing the sound, but the pitch is slightly and holding it as air flowed over and under it. changed not by changing the shape of the lips but by Part of Lowery's appeal was the rags -to -riches story manipulation of the resonating chamber, the mouth, be- that came with him. He lost both his parents and his eye- hind them. sight when he was a child in Jacksonville, Texas. He A small percentage of us never learn to whistle-at wanted to be a concert violinist, but didn't have the op- least anything that can be recognized-and I, for one, portunity to study, and wasn't sure he had the talent, so would be interested in knowing whether the percentage is he polished his whistling skills. During the early, lean increasing. Whistling has always been the most common years, he pounded studio doors and offered to whistle way of making music; people who could never learn to any classical piece the impresarios could name. sing well can master whistling, and most people can whis- He was known as the whistling page boy of the Texas tle a range almost an octave greater than their voices. But Legislature in 1930 when Dallas radio station WFAA de- is this poor man's art form about to atrophy? We know cided to feature his whistling in a broadcast. On the that besides the complexities of society that make men strength of that exposure, he was able to book some small- feel less like whistling we have the technology-the re- time concerts and appearances at parties and in vaudeville. cording of performances-that has diminished the desire He went to New York in the early Thirties and almost to produce all live, amateur, for -pleasure -only music. Few starved, but he finally obtained an audition at NBC, and family string quartets develop now that the stereo record that got him a few sustaining radio program appearances. is always handy. He stopped the show with The World is Waiting for the But it would be tragic if whistling went the way of the Sunrise on Rudy Vallee's program. One of his first regular passenger pigeon and whooping crane. Heaven knows jobs was for $50 a week with the Vincent Lopez Orches- we don't need another passing of an institution to lament. tra, in which he whistled in the chorus. Horace Heidt Perhaps they were all wrong about Hoover; perhaps if we hired him in 1938 and shoved him out to the front of the all tried whistling it would make us feel better, and then stage, and he became a sensation. we'd feel more like whistling. If we did, then an editorial The average record store doesn't have Lowery's record- or two, even in the Times, wouldn't seem so silly. From ings, but a few of them are still available. The H. Royer the viewpoint of seventy per cent of the way through the Smith Company of Philadelphia tracked down for me the twentieth century, such a pastime as attacking or defend- albums "Fred Lowery Whistles Your Gospel Favorites" ing whistling looks luxurious indeed. Will we ever again (World),"Walking Along Kicking the Leaves" (Decca) be able to afford such a luxury? and "Whistle a Happy Tune" (Decca) and the single Indian Love Call/Moon Love (Decca). Noel Coppage, a journalist who has written a number of feature Lowery was the last of the fancy -mouthed whistlers to articles for STEREO REVIEW, makes his debut as a record critic make much of an impression on America. Elmo Tanner, in the entertainment department of this month's review section.

72 STEREO REVIEW Stereo Review talks to ALICIA DE LARROCHA

WHEN the Spanish pianist Alicia de Larrocha made her most Spanish music is based on dances. Besides this rather New York debut in 1955, she received favorable re- severe or rigid rhythm, the pianist must have imagination views. But when she returned to the United States in 1965 and restraint as well.It may also help alittle to be a after a decade of quiet maturing in Europe, she was well - Spaniard, but any person with adequate musical sensitivity corned as one of the greatest living keyboard artists. During who knows Spain and is willing to give enough study to thelastfiveyearscritics throughout the country have Spanish music can learn to play it correctly and with per- struggled to find an adequate vocabulary to praise her im- fectly authentic style. peccable technique, her magnificent sense of rhythm, her "The greatest error foreign musicians make is to confuse subtle phrasing, her lack of mannerisms, her delicacy, and the work of serious Spanish composers with gypsy dances. her power. All have been amazed that such a small woman They think itisall tambourines and castanets. Although possesses such strength-Sra. de Larrocha measures only Granados and Falla used popular source material, they 4' 9", and even with platform shoes her feet barely reach raised it to the level of high art. Pianists who fail to see the pedals. this give very exaggerated interpretations." Although she has played the standard piano repertoire She answered personal questions with a cheerful lack of across the continent, Sra. de Larrocha isstill known to pretension.''I didn't return to this country between 1955 American and Canadian record collectors only for her re- and 1965 because nobody invited me," she said, and went cordings of works by Spanish composers on the Columbia, on to credit her flourishing American career to her man- Decca, and Everest labels. That situation will be remedied ager Herbert Breslin, who learned of her work through this year by the release of her performances of Ravel com- records made in Spain. positions by Columbia and a recital of pieces by Grieg, Mendelssohn, and Schumann by London. ASKED how such a small woman produces so much sound Interviewed at tea in a New York cafe shortly before at the keyboard, she laughed and replied: "Strength at her Ravel recording session, she wore a chic blue polka-dot the piano does not depend on physical dimensions. It's dress and a matching hat, and with the combination of aquestion of temperament and training.I have some poise and vivacity typical of Latin women she chatted muscles, after all, but if I had a larger hand, that would amiably about her work. "I am recording Ravel's Gaspard be convenient. de la nuit, Alborada del gracioso, and Valses nobles et "If I were to single out a pianist of the past whom I sentimentales. I love the whole piano literature and would held in special esteem,it would be Rachmaninoff," she like to record my entire repertoire," she said, "but I adore commented. "I admired him enormously, and I feel a per- the Valses nobles et sentimentales. On my current tour I sonal identification with his manner of playing. My only haven't played much Spanish music because I've been ap- teacher was Frank Marshall, who was the favorite pupil pearing mostly with orchestras, and although Spanish com- of Granados. Although of English descent, Marshall was posers have written a great deal for solo piano, we have born in Barcelona and was thoroughly Spanish in tempera- few concertos for piano and orchestra. ment. He gave many concerts, and when Granados died, "The Spanish school of writing for the piano shows the he founded the Marshall Academy to continue the tradi- individualism that is a trait of the Spanish national char- tion left to us by Granados. Since Marshall's death in acter-each composer has his own technique. You cannot 1959, my husband [the pianist Juan Torra] and I have really compare the technique of Falla with that of Grana- directed the academy. My performing schedule now leaves dos or Albeniz. Granados was first of alla very great me little time for teaching, but I have had many pupils. pianist. He was also a very poetic man and a great Ro- "In my free time I listen to all kinds of music. Chamber mantic. All of this is reflected in his works, but above all music, jazz, opera-when I was a child my greatest hope his great pianistic facility. Falla was also a pianist, but not was to sing. I used to accompany myself at the piano, and of extraordinary ability, and his music is based much more as I played my solfeggio exercises, I sang them as though in the orchestra. Albeniz is somewhere in between, but each they were operatic arias.I had ruined my voice by the is quite individual. time I was eleven. Now there are not enough hours, days, "The proper interpretation of Spanish music requires a or years for me to encompass all the music I would like knowledge of the styles of the various composers, but for to study, play, or simply listen to for pleasure. Music is all of them great rhythmic stability is necessary because not just my career, it is my life." -William Livingstone

MAY 1970 73 THE COMPOSER AS CRITIC: ROBERT SCHUMANN IT TOOK A WILDLY FANCIFUL RHETORIC AND THREE ALTER EGOS TO ACCOMMODATE ALL THE THINGS SCHUMANN HAD TO SAY ABOUT MUSIC By Henry Pleasants

As a music critic, Robert Schumann has many distinc- In respect to the Chopin review, the only comparable tions, but none is more extraordinary, certainly, example of such precocious prescience that comes readily than the fact that he is remembered primarily, by to mind is Eduard Hanslick's confident description of all but specialists, for his very first and his very last Wagner, in 1848, as "the greatest dramatic talent among notices: in the one he heralded the genius of Frederic all contemporary composers." Hanslick was then twenty- Chopin, in the other the promise of Johannes Brahms. one, as was Schumann in 1831, but Hanslick was review- The auguries themselves are astonishing, based as they ing Tannhauser and was already familiar with The Flying were on the scantiest of omens. The Chopin notice, pub- Dutchman and Rienzi. To match Schumann's feat he lished in the Allgemeine Musikalische Zeitung of Leipzig would have had to discern Wagner's genius in nothing on December 7, 1831, was concerned with nothing more more advanced than Das Liebesrerbot. than the Variations for Piano and Orchestra on "La ci But prophecy is not the principal concern of music darem la mano" from Don Giovanni, Opus 2, composed criticism-which is just as well, since critics generally, in 1827 when Chopin was seventeen. All that Schumann and young critics particularly, are given to hyperbole knew of Brahms when he wrote the subsequently cele- and are remembered more frequently and more vividly brated notice titled "New Paths" for the Neue Zeitschrift for their misses than their hits. Schumann was lucky; fur Musik twenty-two years later, in 1853, were the young his hits were spectacular. But among those familiar with composer's Opp. 1 through 5, none of which had been the whole body of hiscritical writings, he istaxed published at that time. with immoderate and, in retrospect, undue enthusiasm in

74 STEREO REVIEW the cases of such composers as William Sterndale Ben- The review continues in that vein, linking the variations nett, John Field, Niels Gade, Stephen Heller, Adolf to characters and incidents in the opera: Henselt, Herrmann Hirschbach, and others. The Adagiois Schumann's "An Opus 2" is remarkable for more fun- iB -flatMinor,tobesure,butI [Florestanican think of nothing more appropriate.It damental attributes than those which go to make a talent seemstoimplya moral admonitiontothe Don.It's scout.Itis an original, imaginative, and, for its time, naughty, of course,but also delightful,thatLeporello uniquely picturesque approach to music criticism. In her- shouldbe eavesdropping-laughing and mocking from alding a young Polish composer it also introduced, though behind bushes; that oboes and clarinets should pour forth it could not so quickly establish, a young German critic their charming seduction and that B -flat Major, in full bloom, should signal the first amorous kiss.... as extraordinary in his own way as Chopin was in his. Schumann's subsequent fame as a composer has over- and it closes with Julius, the pseudonymous narrator, shadowed his literary and propagandistic accomplish- bidding Florestan good night and observing: ments of the decade between 1834 and 1844, when he These private feelings may well be praiseworthy, if rather was first a co-founder and then almost immediately the subjective; but obvious as Chopin's genius may be, I, too, editor of and a principal contributor to the Nene Zeit- how my head to such inspiration, such high endeavor, such Jchrift f rir Musik. Chopin's variations can hardly have mastery! been more startling to those who first heard them than As is true of much of Schumann's critical writing, and was the lead of Schumann's notice to the unsuspecting especially of his encomiums, we learn a lot more about readers of the stodgy Allgemeine Musikalische Zeitung: Schumann in this little literary excursion than we learn Eusebius dropped by one evening, not long ago. He entered about Chopin and his variations. This fact was not lost quietly,hispalefeatures brightened by that enigmatic upon G. W. Fink, editor of the Allgemeine Musikalische smile with which he likesto excite curiosity. Florestan Zeitung, who found the piece so fanciful and so wanting and I were seated at the piano. He, as you know, is one in both sobriety and specifics that he bracketed it with a ofthoserare musical persons who seem toanticipate everything thatis new, of the future and extraordinary. second notice of the same work by "a reputable and worthy representative of the older school," who supplied . . . This time, however, there was a surprise in store even for him. With the words 'Hats off, gentlemen, a genius!' the specifics, including musical examples, but found in Eusebius spread out before us a piece of music. them only "bravura and figuration." We were not allowed to see the title. I turned the pages idly; there is something magical about this secret enjoyment of music unheard. It seems to me, moreover, that AMONG the essential things we learn about Schumann every composer has his own musical handwriting. Beetho- is the impressionable character of his approach and re- ven looks different on paper from Mozart, just as Jean action to music and the many-sided nature of his complex Paul's prose differs from Goethe's. Here, however, it was and elusive personality. Schumann's own awareness of a as ifI were being stared at oddly by strange eyes-eyes persistent ambivalence is reflected in his invention of the of flowers, basilisks, peacocks, maidens. In certain places it became clearer-I thought I could discern Mozart's 'La Davidsbund, whose charter members we meet here: the ci darem la nano' being woven through a hundred chords, impulsive, impatient, decisive, and effusive Florestan, the Leporello winking at me, and Don Giovanni hurrying by moderate, cautious, slower, sometimes skeptical Eusebius, in a white cloak.... and the mature, detached, paternal Master Raro.

It was characteristic of the Romantic era that two of the greatest influences on Robert Schumann, both as writer and as composer, were literary figures: the novelist Jean Paul Richter ( far left), and the multi -talented E. T. A. Hoffmann. seen (near left) in a self-portrait painted about 1810.

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MAY 1970 75 And in the reference to Jean Paul there is a clue to Weber, and Schubert had lived among us! Mendelssohn's Schumann's literary tastes and predilections. Jean Paul star was, to be sure,in the ascendant, and wonderful things were spoken of a Pole named Chopin, but their (Richter) and E. T. A. Hoffmann were his principal enduring influence would not be established for some years models, and Jean Paul may be held responsible for Schu- to come. mann's frequent excessive use of high-flown metaphor, One day those young hotheads were seized with an idea: obscure allusion, coy disguise and evasion, trivial mysteries Let us not sit idly by; rather let us do something to im- and riddles, and ambiguous syntax. This tendency to rhe- prove matters, to restore the poetry of the art to its right- ful place of honor! Thus emerged the first pages of the toricalextravagance diminished over the years. The Neue Zeitschrift fur Musik. The pleasure of a firm and Davidsbund and the feverish articulation of its members close association of young talents was of short duration. gave way to a more sober-and also moreconventional- Death claimed one of our dearest associates. Some of the style of criticism. With it, true, went much of Schumann's others left Leipzig for a time. The enterprise was on the charm as a writer and critic, but this charm never vanished point of dissolution when the musical visionary of the group, who heretofore had spent more of his life dreaming entirely, and it re-emerged in all its former uninhibited at the piano than with books, undertook the direction of exuberance, appropriately, perhaps, but also appallingly, the magazine and continued as its editor for ten full years, in the "New Paths" heralding Brahms in 1853: until 1844. Seated at the piano, he [Brahms] began to disclose most wondrous regions.It was also most wondrous playing, EVEN here, Schumann was romanticizing. As Leon B. which made of the piano an orchestra of mourning or Plantinga has emphasized in his book Schumann as Critic, jubilant voices. There were sonatas, more like disguised Schumann was more solidly grounded in literature than symphonies; songs whose poetry would be intelligible even in music, and literary predilections had been apparent to one who didn't know the words, although a profound from his earliest childhood. The son of a book dealer and vocal line flows through them all;a few piano pieces, partly of a demoniac character, charmingly formed; then publisher in Zwickau, he grew up with books. His edu- sonatas for violin and piano, string quartets, etc.-all so cation was classical. He was translating from Greek and different one from another that each seemed to flow from Latin at fifteen, and was widely versed in German litera- a separate source. And finally it seemed as though he him- ture. Even before going off to Heidelberg he was writing self, a surging stream incarnate, swept them all together aphorisms and fragments of novels. His musical ground- into a single waterfall, sending aloft a peaceful rainbow above the turbulent waves, flanked on the shores by playing, by comparison, was superficial and haphazard. ful butterflies and the voices of nightingales. . . . This tardy maturation of a latent musical genius may help to explain the conspicuous change in Schumann's The term "Davidsbund" (League of David) does not literary style after the first two or three years of the Nene occur in "An Opus 2," although its members are present. Zeitschrift fur Musik. It seems reasonable to suppose, in It made its debut in two essays in Der Komet in 1833. retrospect, that with the flowering of his compositional The concept, of course, was a circle of high-minded ideal- talent, music replaced literature as a vehicle for his poetic ists and enthusiasts united against the Philistines as rep- imagination. What remained of the writer was a solid resented by the current vogue of virtuosity, especially of professional, producing music criticism of a far more con- the keyboard variety. The Davidsbund existed largely in ventional cast than one would ever have expected from the Schumann's imagination, and he retained for himself the author of "An Opus 2." characters of Florestan and Eusebius ; but the term, or, as The mature criticism was also more conventionally he used it, the Bund, was extended to include others of German. That Schumann's early idols included Chopin, his musical and literary persuasion, some of whom became Berlioz, and William Sterndale Bennett would seem to co-founders with him of the Neue Zeitschrift ffir Musik suggest an international or cosmopolitan disposition and or contributors to its pages. experience. But Schumann was not, in fact, so disposed. When Schumann published a collection of his own He was, on the contrary, a thoroughly provincial German, contributionsin1854 as Gesammelte Schriftenfiber ill -traveled even in Germany, with characteristically Ger- Musik and Musiker, he recalled the circumstances and man attitudes toward the outside world, and especially discussions that had led to the periodical's founding: toward the Latin world. He rated Italians as capable of Toward the close of the year 1833 a group of musicians, nothing more than sweet melody. And Paris, in his view, mostly young, living in Leipzig, established the custom of was a way station where the frivolous gathered to applaud nightly gatherings. The meetings were informal, asif purely by chance, and primarily social, although they ob- Meyerbeer and Thalberg while they awaited passage to viously also served the exchange of ideas about the art Purgatory. which was food and drink to them all-music! The state Thus, one of the most celebrated and most extended of music in Germany at that time can hardly be said to of Schumann's critiques-the appreciation of Hector Ber- have offered any grounds for rejoicing. Rossini still reigned lioz's Symphonie fantastique in 1835-emerges as an supreme in the theater; among pianists Herz and Hiinten had the field pretty much to themselves. And yet only a anomaly. It is not, really; for Schumann obviously sensed few years had passed since Beethoven, Carl Maria von in Berlioz a kindred idealist rebelling against all that

76 STEREO REVIEW Schumann detested in what he knew, or thought he knew, With Beethoven's Ninth Symphony, the greatest of all about musical life in Paris, and one prone, moreover, to purely instrumental works inrespecttosheersize,it the kind of visionary fancy so characteristic of his own seemed that the ultimate had been reached in terms of both proportion and objective. Now, in an obscure corner aesthetic predilections. of France, a young medical student has thought up some- Berlioz and Schumann had much in common, both as thing new. Four movements are not enough for him. He composers and as critics. History has tended to view them prefers the full five -act form of the theater.... as prototypes of the nineteenth-century Romantic and as pathbreakers, Schumann in his picturesque and coloristic Schumann found in Berlioz, in other words, a re- employment of the piano, Berlioz in his exploitation and assurance about the continued vitality of the idiom, just refinement of the new resources of the orchestra. And as he would find a similar reassurance nearly twenty years this is accurate enough-up to a point. Certainly they later in the symphonic implications of Brahms' early piano shared a graphic approach to music (although Schumann sonatas and string quartets. Similarly, he had little pa- objected to the scenario of the Symphonie fantastique). tience with those whom we regard as the true radicals or Schumann was easily capable, as his review demonstrated, progressives of the nineteenth century, Wagner and Liszt. of providing a scenario of his own. But he would have It is true that during the decade of Schumann's activity as disdained doing so. "The German," he observed smugly, a critic Wagner had not yet emerged, and Liszt was still "with his sense of tact and his distaste for intimate detail, in the virtuoso phase of his career. But when Schumann does not welcome such explicit instruction." heralded Brahms in 1853 he had heard Tannhauser, and But what united them even more fundamentally than was aware of Rienzi, The Filing Dutchman, and Lohen- an overactive fantasy life was, paradoxically, a deeply grin. Plantinga notes pertinently that in a list of promising rooted conservatism. Their contempt for Rossini and composers of the time, appended to the "New Paths" pan- Donizetti, and for the glittery virtuosity of the keyboard egyric, the name of Wagner is missing. matadors of the day, was motivated by a reverence for One is tempted to point out a certain contradiction im- the masters of the past, whose memory they felt was vio- plicit in the conservatism of Schumann's taste as opposed lated in the fashionable music of the time. Berlioz's early to the bold originality of both his compositions and his idols were Gluck and Spontini ; Schumann's were Bee- criticism. His originality as a critic is most conspicuous in thoven and Schubert. They were both traditionalists. What what may be termed an inferential approach to music ap- attracted Schumann to Berlioz's symphony was the fact preciation. Schumann habitually heard music in terms of that it was-a symphony: persons, pictures, experiences, incidents, reminiscences, dreams, etc. Before his time, criticism had been concerned Approaching middle age, composer -critic Robert Schumann and primarily with craftsmanship. The critic assessed the mu- his wife Clara are seen in a contemporary lithograph by Hofelich. sician's accomplishment, whether as composer or execu- tant, in technical terms against conventional criteria of performance. Schumann, more than any critic before him, listened to music and evaluated it with the ear and imagination of a poet. E. T. A. Hoffmann's famous appreciation of Beetho- ven's Fifth Symphony in the July 4, 1810, issue of the Allgemeine Musikalische Zeitung was the prototype of this new kind of creative, or interpretive, criticism. It is frequently offered as evidence by those at pains to prove that Beethoven was not the misunderstood and neglected genius of legend. For that there is weightier evidence ; the importance of Hoffmann's article lay rather in the substance and manner of the exegesis. And no one knew better than Hoffmann that his appreciation of Beethoven was driving him into a new area of critical enterprise and critical endeavor. He wrote: The reviewer has before him one of the most important works of the master whose pre-eminenceisdenied by none. It is permeated through and through with that subject which is paramount in the reviewer's thoughts, and thus no one should takeitamiss if he [the reviewer] transgresses the normal bounds of criticism in his effort to encompass in words what he experienced in the study of this composition.

MAY 1970 77 Carefully distinguishing pure instrumental music from so to speak, no doubt prompted by the dramatic, philo- all other forms as the ideal medium for the expression of sophical, and picturesque implications of Beethoven's the Romantic spirit, Hoffmann first salutes Haydn and masterpieces. It would shortly lead to a new "interpretive" Mozart as forerunners of Beethoven who also breathed approach to performance and to a kind of composition the same Romantic spirit, and then hails Beethoven as that was either explicitly programmatic or that assumed an the man who "disclosed to us the region of the colossal "interpretive" performance. and the immeasurable." What this region contained, for The fancy has persisted in music criticism to the pres- Hoffmann, at least, is then spelled out in a prose whose ent day, especially in the approach of sympathetic critics density cannot be pruned without damage to its innate to the major works of Brahms, Bruckner, Mahler, and characteristics: Sibelius. And it has a curious descendant in the "inferen- Radiant beams penetrate the dark night of this realm, and tial art" of our own time, which goes Hoffmann and we become aware of gigantic shadows, weaving up and Schumann one better by putting the creative responsibility down, embracing us ever more tightly, crushing all within upon the listener, or onlooker, totally. A work of art, ac- us except the pain of endless longing, in which every cording to this aesthetic philosophy, is what you make sensual impulse first surges upward in joyous tones, then of it. falls and disappears, leaving nothing but this pain which, consuming love, hope, and pleasure, destroys nothing, but seems rather to burst our breast with a full -voiced po- SCHUMANN would not have concurred. He was a fanci- lyphony of every passion-and we live on and are en- ful listener and a fanciful writer. But he was also both a chanted disciples of the spirit world. fine musical craftsman and an admirer of fine craftsman- No one was more enchanted than Schumann. This ship. The often extravagant and sometimes far-fetched inferential or interpretive approach to criticism, so boldly character of his inferential exercises has called attention adopted by Schumann at the outset of his carreer as a to itself at the expense of a vast amount of sober, expert critic in "An Opus 2," is illustrated vividly in many of comment on the work of fellow composers by one who his subsequent articles. His account of a performance of knew what he was talking about. Mendelssohn's overture Meeresstille and gliickliche Fahrt Indeed,it was in his craftsman's appreciation and under the composer's direction in Leipzig in 1835 pro- assessment of craftsmanship that Schumann stands pretty vides as good as an example as any. It is in the form of an much alone. Other critics after him have written imagi- imaginary letter to Chiara (Clara) : natively and fancifully and have espoused worthy aesthetic ideals. Other critics have had a wider range of interest and Do you remember that evening when we drove along the Brenta from Padua? The oppressive Italian night air sent have written from a wider range of experience. And, in us off to sleep. And then in the morning there was a sud- any case, the relative brevity of his preoccupation with den cry: Ecco, ecco, signori, Venezia!-And the sea lay criticism rather disqualifies him as a contender for a place stretched out before us, motionless and monstrous; far out in the history of criticism alongside such career practi- on the horizon a distant tinkle, as if the little waves were tioners as Burney, Chorley, Davison, and Newman in conversing ina dream. Thus itcoils and shimmers in `Meeresstille.' One dozes, more lost in thought than think- London, Rochlitz in Leipzig, Rellstab in Berlin, Hanslick ing. Beethoven's chorus, also based on Goethe, with its and Kalbeck in Vienna, Berlioz and Fetis in Paris, and accentuation of every word, sounds almost rough com- Krehbiel, Aldrich, and Henderson in New York. He is pared with this sounding spiderweb of the violins. A har- to be numbered more appropriately with Hoffmann, Hugo mony is unleashed toward the end that seems to suggest Wolf, Shaw, Debussy, Dukas, and Virgil Thomson among a daughter of Nereus casting a seductive eye at the poet, as if to lure him down. But then, for the first time, there those brilliant, perceptive and articulate people for whom comes a higher wave, and little by little the sea grows criticism was an avocation rather than a calling, but who everywhere more sportive, and sails flutter in the breeze, would probably have ranked among the great critics had and gay pennants, and now away, away, away! they devoted their lives to it. Schumann was not alone, of course, in this inductive Of the trinity constituting Schumann's complex per- propensity. It was Carl Friedrich Ebers, in the periodical sonality it was Florestan who made the big impact and Caecilia, in 1825, who had read into Beethoven's Seventh who lingers in the memory. It was through Florestan, too, Symphony a village wedding-Schumann enthusiastically that Schumann spoke for his own time. But Eusebius and enlargeduponthisdubiousconceit-andFriedrich Master Raro were always at Florestan's elbow, ready to Wieck, Schumann's future father-in-law,significantly, restrain their impetuous comrade, to leaven his fancies contributed to Caecilia in 1831 a review of Chopin's Opus with a becoming sobriety, to encourage reverence for 2 very similar to Schumann's. It was Wieck's article, not tradition, and to inspire the quest for perspective. Schumann's, incidentally, that excited Chopin's scorn. But Chopin would undoubtedly have reacted similarly to Schu- Henry Pleasants, our London editor, has written numerous arti- mann's. cles on famous critics for this magazine and has edited collec- This way of listening to music was simply in the air, tions of the criticism of Eduard Hanslick and Robert Schumann.

78 STEREO REVIEW BESTSTEREO REVIEW'S OFSELECTION THE OF RECORDINGS MONTH OF SPECIAL MERIT '1*

CLASSICAL

THE ART OF GERARD SOUZAY Philips' three -disc retrospective is a flattering portrait of a gifted interpreter

RECORD-INDUSTRY premises behind comprehensive are incomplete, they do contribute their share to a reason- releases of the "Art of ...," "Best of ...," and ably complete portrait of the artist. And the portrait is, "Greatest Hits of ..." variety are seldom clear- in the main, a very flattering one. This is particularly cut. Aside from the fundamental one that such omnibus true of the songs, for opera is not Mr. Souzay's metier. sets have of late proved their salability, they also pro- He has the intelligence, the style, even the flair for it, vide a much -needed shortcut to an overview of the but his voice is undersized and falls short of rendering artistry of extremely well -recorded performers (Fischer- some of the dramatic effects inherent in the music. The Dieskau, De los Angeles), they restore to the cat- production efforts to compensate for this deficiency by alog many affectionately remembered deletions (which beefed-up resonance are, of course, unrewarding. should be appreciated by those who missed them the But the songs are altogether another story. Souzay's first time around), they furnish something of a historical mastery of the French repertoire is total, and side two, perspective on the growth of individual artists, and at ranging from familiar Hahn to rare Ravel, offers exqui- times mark a consolidation point, the approaching end, site lyricism and expression of utmost refinement, even or, indeed, the end of a career. All these premises are though the tone approaches fragility at times. The Schu- sound ones, and without in any way presuming to single bert songs (side three) have been carefully chosen to out any one of them as being the demonstrate Mr. Souzay's delicacy principal motivation in the case of phrasing and clear enunciation. at hand, I would like to extend a And when more intensity is de- hearty welcome to Philips' new manded (in Mein!, for example), three -disc sampling of "The Art he achieves pleasing results by of Gerard Souzay," in which all scaling his dynamics within that the material is drawn (except for limited range over which he ex- the Beethoven and Brahms items, erts an almost scientific control. which I don't recall encounter- The Schumann group on side ing before) from recitals that five is also sensitively done, with appeared previously on either the the voice expertly darkened for Epic or Philips label. The oldest the needed dramatic effect in Die group in the survey goes back beiden Grenadiere. The lyrical only about ten years, so it is all Beethoven songs could hardly be in legitimate stereo. done better, and though some of A three -disc set can contain a the Brahms songs suffer from a lot of music, but even this format certain lack of vocal weight, here has its limits, and I am therefore again the choices seem to have not offended by the appearance been wise-they bring out the here of one -fifth of Die schene best of Souzay, if not necessarily Midlerin, one -sixth of Die Win- the best of Brahms. The Strauss terreise,andthree -eighthsof GERARD SOUZAY songs (side six) are also extremely Dichterliebe: though the cycles Master o/ the French repertoire good, with lively humor in Ach

MAY 1970 79 web mir, ungliickhaftem iliann, and tender, wistful lyri- There is much here to savor. There is also much to cism in Die Nacht and Preundhche Vision. think about, particularly if one puts himself back a few Dalton Baldwin complements the singer admirably generations, to the time when Satie was "doing his thing" throughout. Without a doubt, he is one of the most versa- quite on his own. It is also fascinating, on hearing again tile and sensitive accompanists before the public today. I the Gymnopedie No. 1, to realize that-of all people- recommend this set both as an effective introduction to the the Beatles (to say nothing of Blood, Sweat & Tears) art song and as an impressive showcase for Gerard Souzay, must have listened cannily to this music. There, to one's who has scaled remarkable heights of interpretive artistry surprise, is the identical "baby voice" in the melody, the that have foiled many of his peers despite their oftimes same turns of phrase that have made some of their tunes superior vocal safety gear. George fellinek so ingratiating.Isuspect that Satie must be, for them, the same kind of "clean old man" that he was for Debussy GERARD SOUZAY: The ArtofGerard Souzay. and Le.r Six. Gluck:OrfeoedEuridice:Che farosenzaEuridice. But enough about Satie; we should be talking about Mozart: Don Giovanni: Deh vieni alla finestra.Bizet: La joliefillede Perth: Quand la flamme de /'amour. Masselos. And I must report that he has again made a Meyerbeer: L'Africaine: Adamastor. roi des vaguer. Thom- recording that could be duplicated by few pianists. His as: Hamlet: 0 vin, dissipe la tristesse. Massenet: Manon: tone, as always, is glowing. Musicianship is so completely Epouse quelque brave file. Gounod: Romeo et Juliette: his, so innate, that he does not have to struggle with a Mab, la reine de.r mensonges. Gerard Souzay (baritone); composer's materialsina personality contest,or ap- LamoureuxOrchestra,SergeBaudocond.Gounod: proach them from a distance by bare intellection. He L'absent. Chabrier: Lescigales.Faure:Prison. Hahn: L'heure exquise. Ravel: Sur l'herbe. Duparc: L'invitation simply knows and plays. The result is as simple, alive, an voyage; Le manoir de Rosemonde; Serenade Florentine; and natural as music should always be. A stunning disc, Phidyle. Schubert: Four songs from "Die schone Miillerin"; splendidly recorded. Lester Trimble Four songs from "Die Winterreise"; Das Fischermadchen; Friihlingssehnsucht. Schumann: Widmung; Die Sennin; SATIE: Sports et divertissements; Gymnopedies Nos. 1, Requiem; Meine Rose; Die beiden Grenadiere; Six songs 2, and 3; Celle qui parle trop; Nocturne No. 3; Danse from"Dichterliebe."Beethoven:AnsGoethesFaust; cuirassee; Le Piege de Meduse; Premier Menuet; Gnos- Wbnne der Wehmut; Nene Liebe. neues Leben. Brahms: Die Mainacht; Auf dent See; Sapphische Ode; threeothers.Strauss: Die Nacht; Zueignung; Morgen; WILLIAM MASSELOS Standchen; lch liebe dich; Mein Auge; five others. Gerard Checking playback in the studio control room Souzay (baritone); Dalton Baldwin (piano). PHILIPS PHC 3019 three discs $8.94.

NOW HEAR THE ORIGINAL: MASSELOS PLAYS SATIE

A new RCA release offers a privileged view of the French master's quirky piano works

HAVING used up all superlatives on a review of Wil- liam Masselos playing Dane Rudhyar (see this month's "Classical" section), I'll have to search the nooks and crannies of the English language to find something that will adequately describe his latest RCA release. What is one to do about a pianist who keeps playing like that? Superlatively, I mean. This time around, it's Satie he's giving the treatment to, and even though I've never been all that much of a Satie addict, with the help of these performances I can almost put myself into the skin of the French Six or the American Virgil Thomson, all of whom insist that the music of this precursor of every beatnik and flower -child of our own epoch laid the cornerstone for their own revolt against musical tradition.

80 STEREO REVIEW siennes Nos. 1, 2, and 3; Veritables preludes flasques; Espanana; Embryons desseches. William Masselos (piano). RCA LSC 3127 $5.98.

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HOW TO MAKE JAZZ PIANO BUFFS VERY, VERY HAPPY

Anew disc combines perfect ingredients and perfect recipe for ten perfect solos

Ft, where would jazz be today if all recordings of it were produced with the kind of tender loving care that went into the making of this one? In a considerably better economic and artistic condition, I suspect. The idea was simple enough. Get five superb jazz pianists who play in traditional mainstream style, bring them into a studio to record two solo performances each-a blues and a standard-and call the result what it is, "Master Jazz Piano." Good production alone, of course, does not make good records.It also takes talented performers, and in Earl Hines, Claude Hopkins, Cliff Jackson, Jay McShann, and Sonny White Master Jazz Recordings has assembled some of the very best available. Listen to the brilliant variety they bring to the blues: White and Hopkins' pensive, EARI. HINES understated ruminations; McShann's driving, Kansas City A remarkably modern expansion of the blues rifling;Jackson'snear -classicalstatementof W. C. Handy's traditionalMemphis Blues;Hines' dissonant, Rhythm; IWant a Little Girl; Anything for You; Squeeze remarkably modern expansion of the form. All, of course, Ale;Lady Be Good.MASTER JAZZ RECORDINGS MJR 8105 are impressive examples of the astonishing invention that $5.00 postpaid (available only by mail from Master Jazz can still be brought to bear upon this oldest of jazz forms Recordings,Inc., Box 579, Lenox Hill Sta., New York, N.Y. 10021). the one that is still the best test of a jazz man's ability. (One wonders, for example, bringing things into a still wider area of applicability, whether even Chopin could have delivered an impromptu performance superior to what Hines does here with the blues. I doubt it.) The second side of the record is equally impressive. JUST PLAIN Hines comes up with a seemingly impossible accomplish- "ELLA" ment-a bright new interpretation of 1Got Rhythm. Sonny White builds a series of progressively more complex variations on 1lrant a Little Girl.And listen to Her latest recording for Reprise offers Claude Hopkins' lean, controlled, highly stylized version a coolybeautiful survey of contemporary songs ofAnything forYou, Cliff Jackson's deceptively conservative rendering of Fats Waller'sSqueeze Ale,and Jay GUESS I've always loved you, Ella.I was a toddler McShann's characteristicallylive -action,full -of -vinegar I in 1938 when you took a nursery thyme and made it run-through ofLady Be Good.All in all, a superb collec- into the fantastic hitA Tisket, a Tasket.I grew up listen- tion. The recording and stereo quality are very good. I ing to mother's old acetates, wondering at your voice, and can't wait for Volume Two. Don Heckman moving with the Chick Webb drumbeats that backed you up. Seven years afterTisketI learned to cha-cha to MASTER JAZZ PIANO, VOLUME 1. Sonny White, Earl Hines, Cliff Jackson, Jay McShann, Claude Hopkins Stone Cold Dead in theMarket. And suddenly I was old (piano). Blues For Betty C; Fifty-seventh Street Blues; enough to fall in love toLady Be Good.Since then I Friday Strut; Alemphis Blue; Feelin' Fine Blues;I Got have earnestly collected all your fabulous song -book al -

MAY 1970 81 ELLA FITZGERALD: good music and great artists know no generation gap. bums-Cole Porter, Rodgers and Hart, Gershwin, Elling- Wood. Ella's great in it, and shows that, if she'd had a ton, and others. But today I love you more than ever. mind to, she could have sung us through the Monkey and You arestillthe top-the National Gallery, Garbo's the Watusi as easily as she did the Jitterbug. salary, and cellophane. The Beatles have not been ignored in this album, but, What leads me to carry on in this fashion is Reprise's again, they are not represented by their super hits. I've new album called simply "Ella." This one record is proof already mentioned that the big surprise of this great album that good music and great artists know no generation is the lack of "hits"-not only surprising, but the secret of gap. But before going on to praise Queen Ella more, I its success. And so we get the up, up, and away Got to Get want to pause long enough to give special kudos to pro- You into My Life ending side one on a crescendo, and ducer -arranger Richard Perry. Thank you, sir. You have George Harrison's Savoy Truffle smack in the middle of displayed perfect taste in both repertoire and musical side two. There are also two Randy Newman songs that backdrops ;the best surprise here is that there is none I doubt you've heard often, if at all:I Wonder Why of that "Ella Sings the Big Hits of Today" bravado so (total gospel soul) and the strange ethnic Yellow Man. appalling when attempted by singers of later generations. Two other rarities, Get Ready and The Hunter Gets Only one song really falls into the "super -hit" category- Captured by the Game, by William Robinson, open side I'll Never Fall in Love Again-but itis included for one. Now that takes nerve. And talent. I guess my favorite contrast (a la Nilsson's version of Fred Neil's Everybody's of the entire shooting match is Smokey Robinson's Ooh Talkin'). Ella gives it her own very special lyric quality, Baby Baby (1966). Here Ella is nonpareil. But then isn't and it is short, sweet, and delightful. she always? Rex Reed She also sings Nilsson's little-known Open Your Win- dow, treating it as respectfully as she would a Cole Porter ELLA FITZGERALD: Ella.EllaFitzgerald(vocals); classic. Perry has polished up this particular arrangement orchestra, Richard Perry arr. Get Ready; The Hunter Geis with an overall soft jazz -bop sound of near -yesterday, and Captured by the Game; Yellow Man; I'll Never Fall in Love Again; Got to Get 1%in into My Life; I Wonder Why; Ooh the results are fabulous-vocally, Ella still has a for- Baby Baby; Savoy Truffle; Open Your Window; Knock on midable bottom and a graceful top. The beat then flips Wood.REPRISE6351 $4.98, ® B 6354 (33A )$6.95, C) to the hard Memphis rock of Cropper-Floyd's Knock on 4 RA 6354 $5.98, ® 8 RM 6354 $6.95, © CRX 6354 $5.95.

82 CIRCLE NO. 32 ON READER SERVICE CARD -)10. The incomparable old WILHELM FURTWAI'Ail.ER WILHELM FURTWANGLE-7,2

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2549 003 Cassette 3313 003 2543 011 Cassette 3313 011 2549 005 Cassette 3313 0052549 006 Cassette 3313 036 ARNOLD SCHDENBER ISANG V JN VARIATIONS ON A RECITATIVEGERD ZACHER, ORGAN LOYANG FOB CHAMBER ENSEMBLE LIOCZ:1 REM: FOR FULL ORCHESTRA (1960 FOR ORGAN. OP. 40 TUYAUX SOIJORES FOR ORG N (1967I VARIATIONS FOR OBC:HESTFIA GASA FOR VIOLIN AND PIANO (1963) Wergo for OR 31 Modernists

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Heliodor Records anc Cassettes are ci.stributed in the USA by Polydor Incorpera-ed; In Canada byolydor Records Canada Ltd. The New York Times called George Szell's Cleveland Orchestra "The finest orchestrain the land." But sinceyou can't always see it, it's good to know that The Cleveland Crchestra is just as fine on Columbia Records. Harper's Magazine, for instance, said of Szell's album, "The Three Great Symphonies of Dvofak," "The recorded soundis brilliant, Szell is the most authoritative ofDvofik's interpreters, his orchestra is brilliant." And Stereo Review said of the Szell/Wagner album, "Beyond adequate description-orpraise- is Szell's sense proportion with this music, the scale and logic of his climaxbu_lding, the consistent rightness of his tempos." And that's :he kind of acclaim all ofSzell's albums receive. So, ifyou can't hear The Cleveland Orchestra inperson, you owe it to yourself to hear it On Columbia Records.

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84 STEREO REVIEW CLASSICAL Reviewed by BERNARD JACOBSON DAVID HALL GEORGE JELLINEK IGOR KIPNIS PAUL KRESH ERIC SALZMAN LESTER TRIMBLE

ALBENIZ (Friihbeck de Burgos arr.): this is not the typical modern performance court cond. TELEFUNKEN SAWT 9539 B Suite Espanola. New Philharmonia Orches- either: one person per part is the rule for Ex $5.95. tra, Rafael Frilhbeck de Burgos cond. LON- Nos. 3 and 6, and the Third Concerto even DON CS 6581 $5.98. has a smallish violin -viola cadenza before BACH, J. S.: Cantata No. 89, "Was soil Performance: Tangy travelogue the two slow -movement chords. Also, gam - ich aus dir machen, Ephraim?"; Cantata Recording: Excellent bas are used in No. 6, and lying behind No. 90. "Es reifet euch ein schrecklicb Stereo Quality: Just enough everything isa most inventive harpsichord Ende"; Cantata No. 161, "Kamm, du siisse continuo by Philip Ledger, who also con- Todesstunde." Sheila Armstrong( soprano, Isaac Albeniz's Suite Espanola is a kind of tributes a fine cadenza to No. 5. These per- in No. 89); Helen Watts (alto) ; Kurt Equi- miniature musical tour of Spain, with sec-formances have excellent spirit and style; luz (tenor, in Nos. 90 & 161) ; Max van tions subtitled Sevilla, Granada, Cataluna, they are polished but involved, and they Egmond (bass, in Nos. 89 & 90); Junge COrdoba and the like, shifting constantly in have been impeccably recorded. I. K. Kantorei, Joachim Martini dir.( inNo. 89); pace and mood, and drenched in the charac- MonteverdiChorus of Hamburg, Jurgen teristic colors of the land it evokes. A num- a jiirgens dir. (in Nos. 90 & 161); Concerto ber of the pieces are familiar to radio listen- Amsterdam, JaapSchriiderleader.TELE- ers through those programs that alternate FUNKEN SAWT 9540 B Ex$5.95. brief selections of music with commercials Performance: All worthy for restaurants, but heard in its entirety, the0 3 Recording: Very good (MHS) to excellent score rises above the commonplace. If there (Telefunken) is any danger to be avoided in interpreting Stereo Quality: Each fine Albeniz, itis that slack sweetness that can reduce the material to the level of salon mu- Cantatas 32 and 57, part of a continuing sic. The dynamic Frilhbeck de Burgos makes Bach cantata series on Musical Heritage So- no such error. His arrangements of the orig- ciety (via the French firm, Erato, all con- inal piano music for orchestra are rich but ducted by Fritz Werner), are both of the sinuous, and he leads the New Philharmonia dialogue type and are primarily contempla- through a dazzling and appropriately tem- tive in mood. No. 57, which opens the first peramental performance. P. K. side, begins with an unusually fine bass aria whose theme ("Blessed is the man who en- dures temptation") is continued in an equal- RECORDING OF SPECIAL MERIT ly effective soprano aria. The work, which BACH, J.S.: Brandenburg Concertos was intended for the Second Day of Christ- (complete). Richard Adeney and Norman mas (the Feast of St. Stephen), concludes on Knight (flutes); Peter Graeme (oboe) ; Da- an optimistic note. The cantata on the over - vid Mason (trumpet); Ifor James and An- side was written for the first Sunday after thony Randall (horns) ;Emanuel Hurwitz Epiphany, two weeks later than the occasion (violin); Philip Ledger ( harpsichord ) ; En- for No. 57. It, too, is meditative, except for glish Chamber Orchestra, Benjamin Britten BENJAMIN BRITTEN a joyous concluding duet. The singingis cond. LONDON CS 6634/5 two discs $11.96. Conducts a polished set of Brandenhurgs highly satisfactory throughout, and the conducting has a pleasant lyrical quality toit. Performance One of the very best sets Only in the bass aria of No. 32 does one Recording: Excellent RECORDINGS OF SPECIAL MERIT feel, in spite of Barry McDaniel's fine rendi- Stereo Quality: Well done BACH, J.S.: Cantata No. 32, "Liebster tion, that the direction is a bit stiff. The in- This is one of the most enjoyable Branden- Jesu, mein Verlangen"; Cantata No. 57, strumental accompaniment isfirst-rate,ex- burg sets I have heard in several years. To a "Selig ist der Mann." Agnes Giebel (so- ceptfor aninflexible,clanky harpsichord certain extent,itrepresents a compromise; prano) ;Barry McDaniel (bass); Heinrich continuo. The sonic reproduction hereis that is,it does not have the authenticity of Schutz Choir of Heilbronn; Pforzheim Cham- quite satisfactory, and complete texts and stylethattheConcentusMusicus'Tele- ber Orchestra, Fritz Werner cond. MUSICAL translations are sensibly provided. funken set has, because modern instruments HERITAGE SOCIETY MHS 1007 $2.50 (plus The first of the Telefunken discs goes in are used throughout and flutes are substituted 50¢ handling charge,available from the for authenticity but not at the expense of the for recorders. (The latter are most beauti- Musical Heritage Society, Inc., 1991 Broad- vitality of the music. Boy sopranos and altos fully played, however, asisthe excellent way, New York, N. Y. 10023). are used, rather than women, for the arias, trumpet solo in the Second Concerto.) But BACH, J.S.: Cantata No. 50, "Nun ist and the instruments are all originals or re- das Heil and die Kraft"; Cantata No. 83, productions. The net result is aurally most "Erfreute Zeit im neuen Bunde"; Cantata attractive, and the cantatas themselves are Explanation of symbols: No. 197, "Gott ist unsre Zuversicht" (Wed- distinctive. Number 50 is considered to be ®= reel-to-reel tape ding Cantata). Soprano (in No. 197) and a fragment (it consists of a single chorale C) = four -track cartridge alto (in Nos. 83 and 197) soloists from the movement-but what a movement!), all that © = eight -track cartridge Vienna Boys Choir; Kurt Equiluz (tenor, in remains of a cantata possibly written for the © = cassette No. 83); Max van Egmond (bass, in Nos. Feast of St. Michael: "Now has the hope Monophonic recordings are indicated by 83 and 197); Chorus Viennensis and Vienna and the strength and the right and the might the symbol C); all others are stereo. Boys Choir (Hans Gillesberger, dir.) ; Con- of our God and His Christ been assured centus Musicus, Vienna, Nikolaus Harnon- us." This text elicits from Bach one of his MAY 1970 85 most powerful choral fugues, a gem that ranks with his greatest masterpieces. Number 83, written for the Feast in Celebration of Review the Purification of the Virgin, depicts the Stereo yearning for death. It has an unusual bass recitative with a liturgical intonation, as well Record as a splendid "hurrying" aria for the tenor, "Haste ye with a joyful heart." The disc's final cantata, No. 197, is believed to have been written for the wedding celebration of Lfand Tape some notable person; it is perfectly gorgeous, with meltingly beautiful arias, and this ap- -r pears to be its first recording. The clarity of Service the instruments inallthree works isex- tremely impressive, the choruses in 197 and 50 are beautifully accomplished, and the overall direction is very stylish. The idea of Have you been having a little using boys for the higher vocal solos, al- difficulty obtaining some of the though part of Bach's tradition, is something records and tapes reviewed in this that does not please everyone today; some critics feel that the voices lack maturity and issue? STEREO REVIEW Record weight, and that boys of this age are not and Tape Service to the rescue! sufficiently able to cope with the meaning of Not a record club-no discounts, the texts. I don't say that these performances will convince such critics otherwise, but the, no special deals. We're here sim- would do well to hear what boys at theit ply as a service to those of our best can accomplish-certainly the soprano faithful music -loving readers who and alto in No. 197 here are both amazingly are about to give up the search for good. The second Telefunken disc uses more "hard -to -get" records and tapes. conventional performing forces, but the solo If you want help in your musical ists as well as the fine instrumental body dilemma, all you need do is com- are scarcely less impressive. Cantata No. 8, was written for the twenty-second Sunday plete the coupon below and mail after Trinity and is built around God's la- it in with your remittance. We'll ment at the defection of the world; the mooc see to it that your records and tapes are mailed to youpromptly, well is one of dissatisfaction, even anxiety (the craggy vocal line of the first part), butit packed and fully guaranteed against damage or defects. shifts toward the conclusion to the promise of bliss. Number 90, as one can gather frorr And if you've been having a hard time finding some favorite record- the opening text-"A fearful end awaib ing not reviewed in this issue, we'll do our level best to find it for you you"-is a Last Judgment cantata; its high lights are a marvelously agitated tenor aria also. Simply fill in as much information as you have available (title, in which Kurt Equiluz once again displays manufacturer, record number) on the coupon below and we'll do the one of the finest Bach vocal styles to be heart rest. If you're not sure of the price, we will be happy to mail your order today, and an impressive bass aria with g spectacular trumpet obbligato. Cantata No C.O.D. 161, for the sixteenth Sunday after Trinity contains a sensitive, sighing aria in which STEREO REVIEW RECORD & TAPE SERVICE DEPT. SD the theme of longing for death is apparent, ONE PARK AVENUE NEW YORK, NEW YORK 10016 a fine alto aria well sung by Helen Watt:, Please send the records and/or tapes requested below. I understand you will and, at the end, a pastoral chorus and con- pay shipping and handling charges and that all records and tapes are fully guar- cluding chorale, of which the latter, with it. flute descant over the Passion Chorale,is anteed against damage or defects. particularly effective. None of these three D Check or Money Order for $ is enclosed. cantatas is very familiar, but all are worth EJ C.O.D. (Within the continental limits of the U.S. only. No C.O.D. for APO's hearing when played so well and sung so and FPO's). sensitively. Both Telefunken discs are splendidly recorded, and full texts and translation For Air Mail shipments in the United States only, add $1.00 per record I. K. ordered. For Air Mail shipments to foreign countries add $3.50 for the first are provided. record ordered, plus $1.00 extra for each additional record. RECORDING OF SPECIAL MERIT RECORD (TAPE) PRICE PAGE NO. RECORD OR TAPE TITLE NUMBER (SEE MANUFACTURER OF REVIEW (SEE REVIEW) BACH, J. S.: Cantata No. 213, "Hercules REVIEW) auf dem Scheideweg." Sheila Armstrong (soprano), Wollust; Hertha Topper (alto), Hercules; Theo Altmeyer (tenor), Tugenc'_; Jakob Stiimpfli (bass), Mercury; instrumental soloists; Chorus of the Gedichtniskirch,. and Bach-Collegium, Stuttgart, Helmuth Kil- ling cond. NONESUCH H 71226 $2.98. Performance: Quite delightful (New York State residents add local sales tax) Recording: Good Total Stereo Quality Satisfactory So far as I have been able to determine, Name (please print) thisis the first domestic recording,if no 570 thefirstever,ofthisparticularcantata, Address which was intended as a birthday offering City State Zip for the Electoral Crown Prince Friedrich of 86 STEREO REVIEW Saxony September 5, 1733. The text is an al- "complete Beethoven cycles." Always the theless, having said these negative things, legorical tribute to Friedrich for his wisdom same; and yet always different. must also point out that the the Amadeu and virtue:Herculesatthe crossroadsis In making comparisons between perfor- Quartet has certainly done a respectable job. faced by two alternatives, Pleasure (Wol- mances in these recordings made at the Eliza- L. 7 lust) and Virtue (Tugend); before the first beth Sprague Coolidge Auditorium of the recitative,the chrous may be heard asa Library of Congress, and the later ones re- BEETHOVEN: Symphony No. 3, in E-fiat kind of Greek Decree of the Gods, and at corded in stereo,itis almost eerie to note Major, Op. 55, "Eroica." Berlin Philhat the end it becomes the choir of the muses. the exactness with which, if they so wished, monic Orchestra, Wilhelm Furtwangler This is the closest Bach came to being an the Budapest could duplicate an earlier per- cond. TURNABOUT g TV 4343 $2.98. operatic composer; but actually he is neither formance. But then, perhaps in the very next more nor less operatic than his usual vocal movement, one can see that they had re- Performance: Remarkable manner permits, for, curiously enough, with thought the music a bit and were highlight- Recording: 1944 but good the exception only of the final chorus, all of ing different details here and there.I doubt BEETHOVEN: Symphony No. 3, in E -flat thismusic waslaterreworkedintothe that anyone will find any "better" or "worse" Major, Op. 55,"Eroica."Concertgebouw Christmas Oratorio (for instance, the open- performances among them. But the compari- Orchestra of Amsterdam, Pierre Monteux ing chorus of this cantata turns up as the son game can be fun when it's played on cond. WORLD SERIES PHC 9137 $2.98. opening chorus of the fourth part of the such a high level as this. L. T. oratorio). In fact, one has the curious sen- Performance: Classical control sation throughout of hearing familiar music Recording: Very good BEETHOVEN: String Quintet in C Ma- Stereo Quality: Very good with different lyrics and an occasional change jor, Op.29;String Quartet in F Major of voice or instrumentation. The work is In spite of what most people think, classicism quite charming and receives a solid perfor- basically belongs to the unromantic Latin mance here; the soloists, including a very I )1 while Romanticism (small or capital "r") i steady -sounding Hertha Topper in the title a deeply imbedded trait of the Germans. Thus role, are excellent, and Rilling directs his it was Toscanini who revived the classical forces with his customary skill and under- Next Month in style in modern orchestral performance and, standing. The recordingissatisfactory on of the present company, itis Monteux who almost all counts, except for some lack of represents the severe style-firm, clear, su- clarity in the opening and closing choruses. Stereo Review perbly controlled, laid out in big lines. On Texts and translations are provided, as usual the other hand, Furtwangler was a master of with Nonesuch. I. K. the great Central -European Romantic tradition-now, to all intents and purposes, ex- BEETHOVEN: Sonata No. 29, in B -fiat Cataloging and Storing tinct. He conducts orchestralaccelerandor Major, Op. 106, "Hammerktavier." John andritardsthroughout as a perfectly regular Ogdon (piano). RCA LSC 3123 $5.98. the Large Record Collection: procedure and a basic part of theinterpreta- Performance: Sturdy An Insoluble Problem? tion! And the orchestra follows him to a Recording:Okay hemidemisemiquaver. The whole performance isa study in orchestral phrasing th Stereo Quality: Resonant likes of which we simply do not hear any This is a typically big Ogdon-style perfor- more. This is an "interpreted" Beethoven- mance. The first movement is disappointing; The Piano as the Key right down the line-and, like it or not, it is it's all there, brisk but much too business- to "Late" Beethoven a lost art which must compel our contem- like. The slow movement is an impressive porary admiration. achievement-for oncethe wholefifteen By Charles Rosen The Eurtwangler performance was record- minutes seem unified-andthefinaleis ed in Germany in 1944 under circumstances strong. The piano sound lacks presence (but which are tactfully not described but which, thenIhardly like anybody's piano record- frankly, I'd rather not know too much about. ings any longer, and this is by no means the How Records Are Made-Part II By the way, each movement is slightly more weakest around). As much of an Ogdon sharp than the preceding, an oddity which I fan as I am, I have to say that I prefer other G""%4049 -Z am at a loss to explain. The Monteux dates "Hammerhlaviers": e.g.,Rosen, for intellec- from the age of stereo, and quite decent tual depth and a virtuosic approach to the stereo it is too. Monteux liked to divide the almost insoluble tempo problem. E. S. violins right and left, and Beethoven's typi- (transcribed from the Sonata for Piano in E, calstring antiphonies emerge very clearl BEETHOVEN: String Quartets, Op. 18, Op. 14, No.1). Amadeus Quartet, with indeed. E. 5 Nos. 1-6. Budapest String Quartet. ODYSSEY Cecil Aronowitz (viola). DEUTSCHE GRAM- g 32 36 0023 three discs$8.94. MOPHON 139444 $5.98. BERLIOZ: La Mort de Cleopaire; Sara 1 Performance: Prime cut of Budapest Performances Good Baigneuse, Op. 11; Meditation Religieust Recording: Great Recording: Good Op. 18, No. 1; La Mort d'Ophilie, Op. 11: Stereo Quality: Good No. 2. Anne Pashley(soprano inCiec This Odyssey reissue of the Budapest String patre); St. Anthony Singers; English Chan- Quartet's first (1951) Columbia LP record- With this new recording of the Beethoven ber Orchestra, Colin Davis cond. L'OISEAU ings of the Beethoven Opus 18 Quartets will C Major String Quintetandtherarely LYRESOL304 $5.95. give a lot of pleasure in itself, and will also noticed String Quartet in Three Movements provide those so inclined with an opportuni- (which Beethoven himself transcribed from Performance: First-rate ty for some decidedly nuanced hours of per- his E Major Piano Sonata, Op. 14 No. 1), Recording: Less thanoptimum Stereo Quality: Satisfactory formance -comparison. Deutsche Grammophonjoinsthesmall For a period so long thatit seems like group of companies who have already placed For anyone interested in gaining a picture o forever, the Budapest Quartet had the Amer- these works inthe catalog. The Amadeus the total Berlioz-as opposed to the flam ican chamber -music public firmly in its tail- Quartet, with Cecil Aronowitz adding a sec- boyant image that emerges from anecdotes coatpocket.Itsabilitytocombinea ond viola to the ensemble, gives solid, tra- legends, and caricatures-thisis an indit no-nonsense,almost"efficient"kindof ditional readings to both works.I am not pensable disc.La Mort de Cleopatfe(al music -making with emotional warmth, tech- entirely enchanted with some of their idio- ready known from the recorded version b nical flair, and impeccable musicianship has syncratic rhythmic habits, nor with the old- Jennie Tourel and Leonard Bernstein on been unduplicated. Equally unusual has been fashioned wide vibrato which makes its ap- Columbia MS 6438) failed to win the Prix the group's ability to hold steady in musical pearance mainly in slow movements. Con- de Rome for its composer in 1829 for the concept over a long period of time, and yet sidering the high-level competitionrepre- simple reason that neither its unconvention- always to change sufficiently so that the sense sented by performances already in the cata- al structure nor its striking originality of har- of spontaneity remained. Year after year, the log.I would be tempted to shop around a monic idiom was acceptable to the academic BudapestQuartettouredAmericawith bit before settling on this recording. Never- minds of the day. Here, then, Berlioz re MAY1970 87 vealed his penchant for creating works that BOUCOURECHLIEV: ArchipelI(see long for Carmen as she was wrote, singing defy pat categorization: La Mort de Cleo- XENAKIS) her siren songs rather than snapping, crack- ling, and popping so crisply and so over- patreisa dramatic cantata with operatic BIZET-SHCHEDRIN: The Carmen Ballet. poweringly. P. K. overtones. Itislong, but so replete with melodic ideas that Berlioz was able to mine Boston Pops Orchestra, Arthur Fiedler cond. RCA LSC 3129 $5.98, Qe R8S 1141 $6.95. its riches for three subsequent works-Lalio, RECORDING OFSPECIAL MERIT Benvenuto Cellini, and Romeo and Juliet. Performance: Snap, crackle, pop BRAHMS: Serenade No. 2, in A Major, Sara la Baigneuse and Meditation Religi- Recording: Superb by Vic- Op. 16. Marlboro Festival Orchestra, Pablo euse draw on literary inspirations Stereo Quality: Airy Casals cond. MOZART: Sonatas: F Ma- tor Hugo and Thomas Moore, respectively. The gypsy girl from Seville has sashayed jor (K. 13); A Major (K. 12). Pina Car- In the former, the poetic vision of a bathing (piano), beauty elicits from the composer a musical into our lives in so many guises over the mirelli(violin),Rudolf Serkin years that one sometimes wishes all those David Cole (cello). MARLBORO RECORDING setting of delicate virtuosity for three choirs. clever people who have worked her over The latter gives eloquent and moving ex- SOCIETY MRS 1 $6.50 postpaid (available would let her go back to the opera house only by mail from the Society, 1430 Spruce pression to the poet's philosophical musings. once and for all. Since her original appear- St., Philadelphia, Pa. 19102). As for La Mort d'Ophelie (which can be ance in Prosper Merimee's novel, she has heard in its earlier version for solo soprano come to us not only via Bizet, but in black - Performance: Intensely vital with piano accompaniment on SOL 298), let Recording: Good face as Carmen Jones, in movies in several me only say that I know of few thingsin StereoQuality: Good music to equal its haunting quality. All four languages,in any number of symphonic pieces carry the Berlioz mark of exquisite suites, stretched out under the body of Don The Brahms A Major Serenade is the focus originality. Anne Pashley sings the part of Jose in Roland Petit's utterly Parisian ballet of interest here, since in my opinion the Cleopatre with something less than Jennie other existing stereo -recorded performances Tourel's dramatic conviction and inventive- are rather on the fussy side. No adjective ness, but with a consistently pleasing tone could be less applicable to this performance led by the venerable Pablo Casals, whose and reassuring control. The work of the conducting here displays the same sense of chorus and orchestra under the sympathetic organic phrasing that made his mid -Thir- hand of Colin Davis is exemplary. The engineering, however, is somewhat lacking in ties recordings of the Bach solo Cello Suites warmth of ambiance and clarity. Notes, texts, such an utterly unique accomplishment. Here G. J. every phrase in the Brahms is given its due and translations are supplied. in metrics, rhythm, dynamics, and relation to the movement as a whole. There is no RECORDING OF SPECIAL MERIT untoward lingering, and neither is there any BERLIOZ: Les Troyens a Carthage: Prel- ill-considered pushing of tempo such as Tos- ude; Symphonic funebre et triomphale, canini did in the finale of his 1942 broadcast Op. 15; Funeral March for the Last Scene performance issued on RCA. The resultis of "Hamlet." John Alldis Choir; London thefirst wholly satisfying record of the Symphony Orchestra,ColinDaviscond. Brahms A Major Serenade to come my way. PHILIPS 802913 LY $5.98. This performance, in common with the Performance:Very good other Marlboro Recording Society issues, is Recording: Good "live" (including rousing applause) and pre- Stereo Quality: Good sumably recorded free of the tape editing One of the very "special merits" of this disc that is common practice for studio -made re- is the first authentic recording, complete with leases.Ifind the sound wholly satisfying, wordless choir, of the Funeral March for both in the Serenade and in the two sonatas the Last Scene of "Hamlet," a singular, im- for piano, cello, and violin from the pen of pressive, and uncannily imaginative short the eight -year -old Mozart. An occasional vo- masterpiece. It was composed in 1848, along COLIN DAVIS cal obbligato from Serkin only adds to the with La Mort d'Ophelie, and Berlioz even- A sympathetic hand for Berlioz spontaneity of the occasion. I heartily wel- tually gathered these two pieces and a re- come these first Marlboro Recording Society vised version of Meditation religieuse (dat- conception, and now as a Soviet Russian discs! D. H. ing originally from 1831) into a collection temptress of almost alarming vigor. Rodion called Tristia (Op. 18); these last two pieces Shchedrin wrote The Carmen Ballet for his RECORDING OF SPECIAL MERIT are available on another disc led by Colin wife, Maya Plisetskaya, the prima ballerina Davis (L'Oiseau-Lyre SOL 304, reviewed of the Bolshoi Ballet. One can imagine what BULL: Consort Pieces: Fantasia a 3, in G above). the Bolshoi's treatment of Carmen was like; Minor; Dorick a 4, in A Major; In nomine a The somber and brief prelude to The Tro- the score, already recorded once in Moscow 5, in G Minor. Harpsichord Pieces: My Self ; jans at Carthage serves merely to whet the and just now transported to Boston and re- My Choice; My Jewel (I); Dallying Alman; appetite for the complete recording of the corded in staid old Symphony Hall with Ar- Alman; Regina Galliard (I); Gaillard; My epic Les Troyens now finished in London by thur Fiedler at his most alert,is Bizet on Grief; What care you. Organ Pieces: In Colin Davis and scheduled for release here benzadrine. There are no woodwinds or brass Nomine (XII); Dorick Music: 4 parts; Fan- before the end of the year. The Symphonic in Mr. Shchedrin's orchestration, just strings tasia; Te lucis ante tersninum; Pavan and funebre et triomphale (1840), though im- -lots of them-and forty-seven (count 'em) Galliard ("Symphony"); Eight Dances from posing inits apparatus of massed winds, percussion instruments to add allsorts of Benjamin Cosyn's Second Virginal Book: chorus, and strings,fails,in my view, to spicy instrumental effects. All those bells, Germans Almaine; Dutch Dance; Galyard transcend the category of bombastic public - castanets,woodblocks, and what -have -you Italiano;EnglishToy;French Almaine; square music (it was commissioned by the are calculated to keep the drowsiest listener Carol,"Den Lustelijackenmeij";Bull's French governmenttocommemorate the awake through a musical synthesis that not Goodnight. Johannes Koch Gamba Consort; tenth anniversary of the July Revolution of only makes use of every motif from the Lady Susi Jeans (virginal); Francis Cameron 1830). This latest stereo recording, however, changing of the guard to the final stabbing, (organ of the church in Westerhusenat isinfinitely superior to its predecessors on but also throws in a couple of rousing pas- Emden). DEUTSCHE GRAMMOPHON AR- every count, most especially in the superb sages from the composer's La folic. Fille de CHIVE ARC 198472 $5.98. playing of the augmented wind choir of the Perth and a sock -it -to -'em bolero based on Performance: Generally first-rate London Symphony Orchestra. the Farandole from L'Arlesienne. The result Recording: Excellent Every confirmed Berliozian should acquire is not really the mess it might seem, and Stereo Quality: Fine thisdisc without delay. So should every Fiedler creates a lovely lyrical flow in the Shakespearelover whose imaginationre- connecting passages between percussive out- John Bull, one of the most fascinating of sponds to the somber ceremonial imagery of bursts. In the end, however, though stimu- the Elizabethan composers, spent thefirst Fortinbras' final lines in Hamlet. D. H. lated and consistently entertained, I began to (Continued on page 91) 88 STEREO REVIEW "My perfect martini? Button mushrooms marinated in vermouth. And the perfect martini gin, Seagram's Extra Dry:'

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He re- recording bespeak, with regard to the music mained there for the rest of his life as or- of ElliottCarter. The same work-EightRECORDING OF SPECIAL MERIT ganist of that city's cathedral. To judge from Etudes and a Fantasy for Woodwind Quartet DVORAK:Requiem, Op.89. Pilar Loren - his portraits, he was a saturnine individual -which a few years ago would certainly gar (soprano) ; Erzsebet Komlossy (mezzo- with strangely hypnotic eyes and a lean, al- have been interpreted with an accent on its soprano ); Robert Ilosfalvy(tenor); Tom most emaciated face; to judge from much "American" or "neo-classical" characteristics, Krause (bass) ; Ambrosian Singers; London of his work, which is technically among the is now played simply as an exemplary piece Symphony Orchestra, Istvan Kertesz cond. most difficult of Elizabethan music, he was of music, minus extraneous connotations. As LONDON OSA 1281 two discs $11.96. obviously the Horowitz of his day. aresult,"Americanisms" and "neo-classi- On discs one may hear a fair representa- cisms" fade away, and one hears just a stun- Performance: First -rote tion of Bull's keyboard music, notably in a ning composition, a composition played with Recording: Rich and at times tooecho -y StereoQuality: Good splendid harpsichord collection by Thurston suchmusicalandtechnicalskillthatit Dart for L'Oiseau-Lyre. The rest of his out- amounts to a virtuoso experience in every The Dvoiak Requiem is a beautiful work, a put one doesn't hear atall, and thus itis dimension. personal expression of faith of a kind some- good to have this varied program from Ar- The same can be said for the performance where midway between the refined tender- chive. One full side, the second, is devoted of Carter's Woodwind Quintet, which dates ness of Faure and the all-out theatricalism to the organ, including a number of pieces from two years earlier. This, properly speak- of Verdi. The middle ground implied by that were to be played on any keyboard in- ing, is really and openly a neo-classical work. this description, however, turns out to have strument; the opening side includes three But-and so much depends on the mental beenelusive.Intheir own and different lovely, brief works for viol consort, which do ways, both Verdi and Faure created works of not,it seems to me, quite come up to Wil- unquestionable effectiveness; Dvoiak's Re- liam Byrd's in quality. The remainder of this quiem, though ingeniously constructed and side is devoted to nine rather short virginal C rich in melodic and dramatic felicities, seems pieces, but unfortunately most of these are somewhat overlong and not consistent in its more representative of Bull the miniaturist level of inspiration. and self -portraitist than of Bull the extra- The beauties, however, are real: the ex- ordinary virtuoso. The performances are all citingDies Iraewith itsfolkloric sugges- extremelystylish;Cameronplays afine tions (the national element, so characteristic Dutch organ dating from 1642, and is ap- of Dvoiak, is never much to the fore in the pealingly brilliant-that side is the most en- Requiem); theRecordareandConfutatis, joyable. Lady Susi Jeans, performing on a both mildly influenced by Verdi; the love- virginal dating from the second half of the ly quartet in thePie Jesu;and theAgnus sixteenth century, has some rough going oc- Dei, withits blazing climax. casionally, but itis still worthwhile to hear The work islovingly performed under this music played so authentically. The sonic Kertesz, whose affinity for Dvolik's music reproduction isfirst-class. 1. K. has so often been demonstrated. This isa warm and lyrical performance that rises to RECORDING OF SPECIAL MERIT convincing and never overstated fervor. The voca'istsform the kind of homogeneous CARTER:Eight Eludes and a Fantasy for blend that is essential to a work in which the Woodwind Quartet(1950);WOodwind ensemble isstressed more than individual Quintet (1948).HENZE:Quintet (1952). contributions. Still, the limpid tones of Pilar The Dorian Quintet(Karl Kraber,flute; Lorengar soar into the high register with a Charles Kuskin, oboe; William Lewis, clar- lovely effect. Tom Krause renders one of his inet;Barry Benjamin, horn; Jane Taylor, ISTVAS Kular(:sz most impressive achievements to date in the bassoon). CANDIDE CE 31016 $3.98. Dvoidk's Requiem with convincing fervor Requiem's congenialtessitura,and Erzsebet Performance: Splendid Komlossy and Robert Ilosfalvyare com- Recording: Excellent processes of people who play a composer's mendable. The occasionallyover -reverber- Stereo Quolity: Good music-the Dorian Quintet does not play ant recording does not obscure vocal and it with an accent on its superficial stylistic orchestral details, but one could wish that The dynamics of a composer's career in the aspects. They play it as ifit were splendid, they stood out in more natural focus. G.J. United States are soineffable, whimsical, "normal" music, out in the open and free and wayward that someone should do a of nationalism or, for that matter, any "ism." RECORDING OF SPECIAL MERIT foundation study about them. Elliott Carter The music that comes outisracy,tonal, has always written important music. But it clean-cut, and very, very good. HAYDN: The Creation (sung in Ger- was not until his First String Quartet won a Hans Werner Henze's Quintet from 1952 man).Gundula Janowitz (soprano); Christa European prize that he really broke into the is shallow and facile,like every work by Ludwig (mezzo-soprano) ; Fritz Wunderlich headlines, complete with atechnicallabel that composer I have ever heard. The Dorian and Werner Krenn (tenors); Dietrich Fisch- (so useful for the journalists), namely "met- Quintet playsitbeautifully,but what a er-Dieskau (baritone); Walter Berry (bass); ric modulation." From the moment ofits waste of breath! WienerSingverein ;BerlinPhilharmonic arrival, every new Carter premiere was a Candide has included a splendid feature Orchestra,HerbertvonKarajancond. major musical event. However, simultane- whichIreally wish some other recording DEUTSCHE GRAMMOPHON 139282/3 two ously there began a tendency torefer to companies would imitate:asingle, nicely discs $11.98. everything he had written previous to the designed sheet of program notes, printed on Performance:Very fine First String Quartet as "neo-classical"(a both sides, to supplement those on the record poisonous term), or "slightly dated" (the Recording: Very good jacket. It can't hate cost much, and it con- Stereo Quality: Excellent end of the line forthatpiece). tains a bundle of welcome information. (I Many things have changed inthe past must share with you the pungent observation For this release,I award bouquets to DGG, decade, though, and what was, yesterday, is about Elliott Carter made by Dr. William Herbert von Karajan, and his performing notnecessarily what willbe,today. The B. Ober, the program annotator:". . . he forces for a beautifully nuanced and splen- United Stateshas developed some young has received two Guggenheim fellowships, a didly recorded version of Haydn's musical performing groups who have technical and Prix de Rome, and many other awards in evocation of Genesis. But DGG deserves interpretive capacities that nobody possessed tribute to his prowess. Thecoup de grace brickbats, too, for not explaining either on even such a short period of time ago. View- was added when he was elected to member- the record labels or in the program notes the points have changed, too. ship in the National Institute of Arts and reason for the use of six soloists instead of The Dorian Quintet, a woodwind group, Letters.")Both sound andstereo quality the usual three and for not offering precise was founded in 1961. It was a good ensemble are excellent. L.T. information on who sings what. I am told 4-CIRCLE NO. 40 ON READER SERVICE CARD 91 by a DGG representative, however, that shop gris; La lugubre Gondola No. 1; Trans- these influences add up to quite an appealing sets of thisrelease will contain aninsert cendental Etude No. 8 ("Wilde Jagd"). whole. with some of the particulars. Jean-Rodolphe Kars (piano). LONDON CS Montemezzi was probably still alive in the The mechanical copyright date in the run- 6604 55.98. early Fifties when his opera was first record- off grooves is 1969; but tenor Fritz Wunder- Performance: A-1 ed, as a byproduct of a Milan broadcast (still lich died prematurely in Heidelberg in Octo- Recording: Bass a trifle wooden available on Everest 447). The sonics of that ber of 1966 as the result of a fall. Knowing Stereo Quality: Sufficient recording show their age badly, and one can that standard operating procedure in the re- only applaud the enterprise of a New York cording of large-scale vocal -orchestral works Jean-RodolpheKars,twenty -three -year -old artist's agent named James Sardos who took is to record all numbers calling for similar protégé of the prematurely departed Ameri- it upon himself to produce an up-to-date re- performing personnel in the same series of can pianist Julius Katchen, is a young man placement. He persuaded a group of singers sessions, it seems clear that Vi"underlich had who bears watching ifthis unusual recital and conductor Richard Karp of the Pitts- recorded the major tenor arias-No. 2, "Now disc is any measure of his prowess. He is burgh Opera to finance the venture on a col- vanish before the holy beams," and No. a master not only of keyboard technique, but lective basis, and got the opera recorded in 24,"In native worth" --and arioso recita- also of the exacting stylistic demands posed Rome in the fall of 1968. tives in 1966, and that Werner Krenn han- by the Messiaen works and by the uncanny The star is Ezio Flagello, and he is by far dled the recitatives assigned to Uriel for the late Liszt works Nudges gris and La lugubre the outstanding performer here. His sono- balance of the recording sessions. A little Gondola. rous basso cm/tante has been an admired more problematic is the sudden entrance of In the more theatricalworks,suchas commodity at the Metropolitan for years, and Dietrich Fischer-Dieskau and Christa Lud- Messiaen's bird piece, the Liszt St. Francis, if Mr. Flagello prefers tocallhimself a wig into the picture on side four, where he and "Wilde Jagd," Kars displays unerring -bass-baritone,- he hasan impressive sings the role of Adam to Gundula Jano- keyboard marksmanship and total control of enough command of the top range to qualify witz's Eve. Miss Ludwig presumably fills out for that designation. He sings with powerful the vocal quartet participating in the fugal dramatic expression, and makes much of the section of the final chorus of praise to the opportunities the role of the blind King Lord for his handiwork. To sum up my Archibaldo offers.I wish he had not been gripe, it would have been nice to be able to microphoned so closely-such imbalance is verify these artist credits instead of having one of the recording's cardinal flaws. The to rely on guesswork. orchestra is consistently slighted, despite the All this, however, detracts not one whit fact that it plays an essential part in Monte- from arecorded performance which asa mezziGs scheme, and very often has more to whole has given me enormous pleasure- say than the vocal declamation that accom- first and foremost by virtue of the music it- panies its flow. self, which is not only Haydn at peak power, Unfortunately, Mr. Flagello's colleagues but also shows us the composer as a lover of come off less successfully in their over -ex- nature-one is taken back to a more inno- posure. Pierre Duval is an able artist, but he cent time when Man and Nature were still at sings with an unpleasant hardness of tone one with each other. and considerable strain. There is more ex- Save for an occasionaltendency to go pression in Enzo Sordello's voice, but he "white" and vibrato -less in her upper regis- often strays from pitch. Mariano Caruso ap- ter, Gundula Janowitz does well with her pears to be somewhat uncomfortable in his all-important role of Gabriel/Eve: itis as a none -too -demanding role, and Luisa Mala- fetchingly tender Eve to Fischer-Dieskau's grida-what an ominous name for aso- proud and virile Adam that she makes her prano!-fails to supply the audible equiva- finest impression. The lamented Fritz Wun- lent of thatfatal charm of Fiora's which derlich and his later stand-in, Werner Krenn, causesthree kingstolosetheir crowned are both heard infine form; and Walter heads over her. Berry makes for an impressively authorita- EZIO FLAGELT.0 AS KING ARCHIBALD° Conductor Karp clearly knows what he is tive Raphael, a high point for me being the Powerfully expressive in Montemezzis opera about, but he secures only adequate playing extended melodic recitative (No. 21)de- from the orchestra, wanting both in intensity scribing terrestrial animal life. dynamics and rhythm.Indeed,the name and in lyrical flow. This is not easy music to Herbert von Karajan, with a fine chorus Horowitz comes to mind as one listens to play, particularly with what I take to be in- and superb orchestra at his command, is able Kars' handling of dynamic differences within sufficient rehearsal. You may be fortunate to bring to hear at its best and most effec- the ppp-rip range. enough to get an orchestra of fastsight - tive his special gift for subtle detail of line Save for a rather thudding bass in thereaders, but all you can get from them is and texture and for nuancing of phrase and extreme low register of the piano, the record- fast sight-reading; nuance and illumination dynamics. In a work as episodic as The Cre- ing here is excellent. D. H. cannot be improvised. ation, this is indeed an asset rather than an A venture of this kind underlines the need annoyance, asitisin some of Karajan's MONTEMEZZI: L'amore dei tre re. Ezio in such an enterprise for an experienced rec- symphony and concerto readings. The record- Flagello (bass), Archibaldo; Enzo Sordelloord producer. Someone like RCA's Richard ed sound has brilliance, spaciousness, and (baritone), Manfredo ; Pierre Duval (tenor),Mohr or London's Erik Smith would have warmth. Despite my unhappiness regarding Avito; Luisa Malagrida (soprano), Fiora; turned the available resources toward a more matters of documentation,Ifind this Crea- Mariano Caruso (tenor), Flaminio; others.satisfying end product, eliminating the un- tionasa listeningexperiencealtogether Chorus and Orchestra Sinfonica di Roma, due prominence of singers (whose presence satisfying to the mind and enriching to the Richard Karp cond. DELPHI EC 69014-Das "partners" in such an enterprise may not heart. D. H. two discs $11.96. be such a good idea, after all ...) and seeing to it that important orchestral details are re- HENZE: Quintet (see CARTER) Performance: Fair vealedinthe musicaltexture. However, Recording: Fairly good when allis said and done, we have here a JOLAS: Quatuor II (see XENAKIS) Stereo Quality: Good good opera given a performance that could Italo Montemezzi (1875-1952) was no ep- have been better but is still adequate, and in MENNIN: CantoforOrchestra(see och -maker, butin1913 he accomplished up-to-date sound. The set is neatly packaged SCHUMAN) what very few composers have done since: with a complete libretto. G. J. he wrote a good, viable, exciting opera. It is MESSIAEN:Catalogued'Oiseaux:Le called L'amore dei tre re, and utilizes a li- MOUSSORGSKY (ed. Rimsky-Korsakov) : Merle bleu; Vingt Regards sur l'Enfant- bretto by Sem Benelli that is a model of its Khovanschina. Miro Changalovich (bass), Huns: Regard de !'esprit de joie; Regard kind. This is an eclectic work, indebted to Dosifei; Zharko Tzveych (bass), Prince Ivan du silence. LISZT: St.Francis de Paul both Wagner and Debussy without really Khovanski; NIelanie Bugarinovich (mezzo- Walking on the Water; Piano Piece No. 2, abandoning theItalianmainstream.Bus, soprano), Martha; Alexander Marinkovich in A -fiat (from Four Short Pieces) ; Nuages since Montemezziisnoslavishimitator, (Continue," on page 94) 92 STEREO REVIEW THE DEPENDABLES! TAPE DECKS Dy KENWOOD

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CIRCLE NO. 25 ON READER SERVICE CARD MAY1970 93 (tenor), Prince Andrei Khovanski; DragoAlthough the participating artists cannot be scenes. I hope this Richmond performance is Martz (tenor), Prince Vasilli Golitsin; Dus- faulted for deficiencies of involvement and only a stopgap; itis the better of two cur- han Popovich (baritone), Shakloviti; Anita teamwork, many of them betray a serious rently available, but a stereo recording with, Mezetova (soprano), Susanna; Stephan An- lack of polish. This is especially noticeable say,Marilyn Home and BorisChristoff drashevich (tenor), the Chancellery Clerk; in the case of Alexander Marinkovich in the would be most welcome. Michael Mark Sofiya lankovich (soprano), Emma; others. small but important role of Prince Andrei. Chorus and Orchestra of the National Opera, His tight, constricted tenor sound is a trial to MOZART: Fantasia in C Minor (K. 475); Belgrade, Kreshimir Baranovich cond. Rim- the ear, and quite unaristocratic. Sonata in C Minor (K. 457); Praeludium MONDSRS 64504 four discs $9.96. There are, however, three outstanding art- and Fugue in C Major (. 394); Sonata Performance: Uneven istsinthisset. Melanie Bugarinovich as in F Major (K. 533); FanTasia in D Minor Recording: Good Martha possesses the kind of big, velvety (K. 397); Rondo in D Major (K. 485); Stereo Quality: Not very contralto voice that Slavic countries seem Rondo in A Minor (K. 511). Peter Serkin to produce in abundance. Itis not a youth- (piano). RCA LSC7062two discs $11.96. Moussor,gsky's opera ofreligiouspersecu- ful -sounding voice, which is a minor liabili- tion and political feuds in seventeenth -cen- ty-Martha is a fortune teller and religious Performance: Excellent and/or exasperating tury Russia willalways be aproblematic fanatic but she is also a young girl in love. Recording:Good work. la,v.imi-chifia was only arelatively As the religious leader Dosifei, Miro Chan- Stereo Quality:Good complete piano sketch when the composer galovich seems at times to be weeping with Imagine the scene: your friendly neighbor- died, and Rimsky-Korsakov edited and or- his voice, notably in the monk's exhortations hood record shop (or what passes nowadays chestrated the work for its first performance to his followers as they are facing death. for same). The Mozart lover's eyes light up in1886. Rimsky performed extensive sur- Despite a tendency to go sharp, his voice is inanticipationof Peter Serkin Mozartian gery on the score, mainly inthe form of impressive for its attractiveness and power. delights. The phones are on; the tone arm is internalcutsinariasandchoruses,and Also noteworthyisDushan Popovichas lowered onto side one. First a look of aston- though later versions of Khoranmhina, no- Shakloviti. He acts with his voice, yet always ishment; then laughter --the wild maniacal tably Shostakovich's, have attempted to be siugs-and canactuallylaugh menacingly laughter of disbelief. Not even Glenn Gould more faithfulto the original by restoring without snarling. himself ever imagined anything so audacious some of the deletions and giving the whole As with Boris Godounor, the real protag- as Peter Serkin's performance of the C Minor a more Moussorgskian sound, it is the Rimsky onist of Khotanschina is the chorus, and the Fantasia-more adagio than adagio, slower edition thatis most often performed today Belgrade Opera Chorus is quite spectacular than time itself.ittakes him a full twenty -and itis the version heard in this Rich- and very theatrical. When a group of peas- minutes to get through it. In the sonata he mond reissue. ants is pestering a guard in Act One, there takes all repeats (including development re- The major flaws of Khotanschina as an is the actual feeling of a rapid-fire argument. cap); the whole thing lastsa good three- opera are thatitis episodic and that many Less spectacular is the conducting of Kreshi- quarters of an hour (average time for the twists ofplot are unresolved; one never mir Baranovich. His tempos-in the famous Fantasia might be about twelve minutes with knows all the reasons for the political feuds Dance of the Persian Slaves, for example- less than another twenty for the sonata). in the work. But what a wealth of magnifi- are well chosen, but the orchestral playing The Fantasia is unbearable. But, between cent music is here! lacks real verve. Still another drawback is oddities, thisisa brilliant record. There is The Belgrade National Opera performance the (presumably genuine) stereo; thereis musical and historical justification for play- dates from 1955 and is quite a mixed bag. little or no stereo illusion in the many choral ing that never -taken second sonata repeat. And Serkin's more convincing decisions are Ivan Rebroff. backed by an intense musicality and an al- Introducing most visionary insight. The gem of the album The voice responsible for is the profound and moving performance of the richest,the European hit of "Those the F Major Sonata, but the A Minor Rondo, Were The Days." Which he slow though it is, has a lot going for it. The darkest, lowest,sang in French. final section of the D Minor Fantasia is also on the slow side; it is (somewhat illogically) highest bass And now he presents an made to serve as a kind of introduction to album of what he calls the (very well played) D Major Rondo. The in the world."True Russian folk singing... Praeludium and Fugueisuncharacteristic simple, basic and unpreten- pseudo -Baroque Mozart. That leaves the C Minor Sonata, which (if divorced from the tious.The melody is the impor- Fantasia) makes a strong and rather monu- tant thing in these songs, mental impression. The recorded piano sound and it can only be projected is okay, but the discs seem to be afflicted with effectively in the old manner allmannerof extra noise. E. S. of one voice set against a MOZART: Sonatas for Piano and Violin background of balalaikas." (see BRAHMS); Fantasias in C Minor All it required was a three - and D Minor (see SCHUBERT) octave -range voice. One which is the richest,darkest, RECORDING OF SPECIAL MERIT lowest, highest bass in MOZART: Symphonies: No.13,in F the world. His. Major (K. 112); No. 14, in A Major (K. 114); No. 15, in F Major (K. 124); No. A million records sold on the European comment 16, iu C Major (K. 128). Academy of St. RCBROFF Martin -in -the -Fields, Neville Marriner cond. The richest. dnrkest. lowest, highest bass in the world ARGo ZRG 594 $5.95. An incredible three -octave range Performance:Delightful Lara's Theme Two Guitars Recording: Superb Dark Eyes Song of the Stereo Quality:Spacious Volga Boatman and more Sung in Russian This is a peach of a record. Hans Keller's Accompanied brilliant chapter on Mozart in the Pelican by Balalaika - Ensemble Troika symposium The Symphony is a useful anti- dote to romantic notions about the greatness of the music Mozart wrote while he was still On Columbia Records in swaddling clothes. Keller argues: "What (Continued on page 96) CIRCLE NO. 8 ON HEADER SERVICE CARD-* THIE INTIERIEST ^I= 13IETTIER SOUND

The new premium cassette tapes with a bright ruby light wnen it has stopped There's a tape make any cassette recorde sound counter with an instant reset button and eas.ly-accessible a little better. But the new Concord microphone and stereo headphone jacks that hide behind F-106 stereo cassette deck makes a sliding panel when not in use. new tapes sound even better. Its the first cassette deck to More quality features a noise filter, and a servo -type drive make true high fidelity recordings. motor with electronic speed control. The secret is a little switch and a unique circuit that adjusts But f he real joy of the F-106 is its superb sound -- sound the record bias from the normal value used for standard you never expected to hear from a cassette. Hear it yourself tapes to the higher levels that let the premium cassettes just at your Concord dealer (he's biased in the interest of good open up and sing. sound, too). The price $149 50 includes a high quality There are lots of conveniences built into the F-106: Sep- dynamic microphone, remote control, C-60SD super dy- arate record level meters and controls, so you can set proper namic cassette. record levels for high fidelity recording. A remote control Concord Electronics Corporation, 1935 switch makes it easy to omit commercials when recording Armacost Avenue, Los Angeles, California off the air; automatic stop shuts off the motor when the tape 90025 / a subsidiary of Ehrenreich Photo - ends (preventing motor and drive wear) and signals you Optical Industries, Inc. MNfl CONCO111) 1"106 CASSIETTIE MAY1970 95 was so incredibly precocious about Mozart deal for the most partin Olympian gen- Kraus to fill out the side consists of Nos. 1 was his talent, and it was the very facility eralities. They aim for a quality that might through 6 and No. 15 from the Liindler, springing from it that inhibited the growth be described as "cosmic -orgiastic," and suc- D. 366, and the first of two Deutsche Tiinze, of his genius: his true personality emerged ceed very well in reaching their destination. D. 974. The Schubert works are played by later than Beethoven's, who was not blessed The works by Ruth Crawford Seeger, Mine. Kraus with great feeling, verve, and and cursed with that credit account that is a though splendidly played by Joseph Bloch, sparkle. Her readings of the Mozart fan- genius's initial dexterity." are less compelling. A rather improvisatory tasias-the dark -hued and dramatic K. 475 But even if you agree that the genius came atmosphere prevails for most of the distance, in C Minor and the contrastingly melan- later, and that the four symphonies recorded and they do not come to grips with many choly and serene D Minor-are rather on the here,writtenaroundMozart'ssixteenth noteworthy ideas. Nevertheless, as part of "up -tight"side for my taste. The Mozart birthday, are basically expert exercises in the the documentation of this remarkable wom- side of my review copy was decidedly off- style of the period, yet, more clearly perhaps an's oeuvre, these performances are welcome. center. The piano sound israther closely than Keller acknowledges, the signs of ge- L. T. miked, making for a bright, clean, but not nius are already showing through. The finale especially warm tone. D. H. of K.128,and some of the minuets, seem SATIE: Piano Music (see Best of the innocent atfirst; butitisinthese move- Month, page 80) SCHUMAN: New England Triptych. ments that a touch of individuality every MENNIN: CantoforOrchestra. WE - now and then makes itself felt, often by so SCHUBERT: "Grazer" Fantasie; Liindler BERN: Passacaglia for Orchestra, Op. 1. simple a means as the achievement of balance Suite (arr. Kraus). MOZART: Fantasias: DALLAPICCOLA: Variazioni per Orches- without symmetry by the insertion of an ex- C Minor (K. 475); D Minor (K. 397). tra. Cincinnati Symphony Orchestra, Max tratwo -measurephraseinaneight -bar Rudolf cond. DECCA DL 710168 $5.98. scheme. And oddly enough, it happens more often here than in some slightly later works Performance: Very good -Symphonies Nos. 21 through 24, which Recording: Very good are gathered on a record by Karl Biihm, con- Stereo Quality: Very good tain more empty music than the four assem- "Twentieth -Century Orchestral Showpieces," bled here, and arguably nothing as gracious the omnibus title of this disc, is a rather awk- and lovely as K. 114, with its pliant melodic ward attempt to pull together the disparate lines and its textures illuminated by the re- elements of this record. None of these pieces placement of the regular oboes with flutes. are showy in the Daphnis and Chloe sense, The music is most persuasively played by and one of them-the Dallapiccola-is so this small and polished orchestra. A harpsi- reticent that it rarely uses more than a few chord would have been a welcome addition instruments, these generally playing piano or in music of this period, but otherwise both pianissimo. Such titles have a reverse effect sound and style are impeccable. A perfect when people's expectations are raised in the choice for late -night playing. B. I. wrong direction. Side one might be called the Juilliard/Lincoln Center side. William RECORDING OF SPECIAL MERIT Schuman,a former directorof both the school and the center, is represented by his RUDHYAR: Paeans; Stars; Granites. Wil- attractive pieces after William Billings. Peter liam Masselos (piano). SEEGER: Study in Mennin, the current director of Juilliard, Mixed Accents; Nine Preludes for Piano. composed his Canto for Orchestra in 1963; Joseph Bloch (piano). COMPOSER'S RECORD- the piece is, in spite of its title, a typically INGS, INC. CRI SD 24785.95. nervous, pulsing, brooding example of Men- Performance: Monumental (Masselos); nin's kind of symphonic verismo. The We- splendid (Bloch) KRAUS bern is that composer's early post -Romantic Recording: Lustrous A "new" .Selothert work Played with feeling work, so apparently unlike the Webern we Stereo Quality: First-rate know, and yet already based on the accumu- Lili Kraus (piano). ODYSSEY 32 16 0380 lation of the briefest, most intense phrase William Masselos is undoubtedly the finest $2.98. structures. The Dallapiccola is a delicate and pianist any contemporary American composer Performance: Sparkling Schubert refined espressivo orchestration of the com- could hope to have as an interpreter of his poser's Quaderno Musicale di Annalibera- keyboard music. Although he is still a young Recording: Bright Stereo Quality: Not noticeable note for note and not merely, as the album man, he has been at the head of his chosen notes have it, based on the same tone row field of concentration for a long time, and in The "Grazer" Fantasie was discovered last (the writer of the notes also thinks that this new recording of Dane Rudhyar's Pae- year in Graz, Austria, among papers belong- Webern uses tone clusters and that Webern ans (1927), Stars(1925), and Granites ing to a descendant of the Huttenbrenners, and Schoenberg espoused "minimalism"). (1929) he repeats the same astonishing feat longtime friends and colleagues of Schubert. The performances are good; the recording is of performance already encountered in his Though the manuscript was not in Schu- excellent, combining clarity with attractive recording of Aaron Copland's tough-minded bert'shand,stylisticandotherevidence quality. E. S. Piano Fantasy and of the same composer's pointed conclusively to its being his composi- PianoVariations (these,originally is- tion, and another charming Schubert work SCHUMAN: "To Thee Old Cause" (see sued by Columbia, are now available on the has thus been added to the pianistic reper- THOMPSON) Odyssey label). toire. The extended polonaise episode in the Masselos' particular virtue as a pianist is Fantasie, taken with the fact that Schubert SEEGER: Study in Mixed Accents; Nine that he has every virtue. His tone is sump- composed a number of works in that genre Preludes for Piano (see RUDHYAR) tuous, his technique astonishing, his under- during 1817-1818 (D.580,D. 599), would standing total. Even more, he seems to pos- seem to indicate that the "Grazer" Fantasie JOHANN STRAUSS, JR.: Treasure Waltz; sess a kind of internal effulgence that makes is from this same period, contemporaneous Morning Papers; Emperor Waltz; Tales even the starkest of contemporary lines arch with the "unfinished" F -sharp Minor Piano from the Vienna Woods; Where the Cit- forth inhis playing with all the warmth Sonata. The onlyotherpolonaises from rons Bloom; Artists' Life. Philadelphia Or- intended by the composer. Hard as it may Schubert's pen date from 1825 (D. 824). chestra, Eugene Ormandy cond. RCA LSC sometimes be to believe, very few contem- The Fantasiebeginsmost promisingly 3149 $5.98, ® R8S 1142 $6.95, © RK 1142 porary composers intend to etch their struc- with a wistful long -lined melody of genuine- $6.95. tures in ice. ly Schubertian cast. There follows the po- In works by the French -American Rudhyar, lonaise and a whole string of -varied and Performance:Rigid but ravishing cold playing would have been particularly contrasting episodes-after a time it seems Recording:Excellent out of place. These are by turns murmuring, to ramble. The piece concludes with a re- Stereo Quality: Spacious brooding,thundering massesofsonority, prise of the lovely opening melody. Johann Strauss, Jr., wrote some five hundred somewhat mystical in effect, and seeming to The EindlerSuitecontrivedbyLili (Continued on page102) 96 STEREO REVIEW COMMArlDPERFORMAIICE5' 50 Most Wanted Seraphim Albums at Once -a -Year Savings Our regular price (optional with dealer) is $2.98. Amazing. Yet during this spring -long special, you can buy Seraphim's 5o most -wanted albums at remarkable savings. The artists.Legendary names. Exciting young talent. Consider just a few. Fischer-Dieskau. Callas. Giulini. Gieseking. Wunderlich. Rozhdestvensky. Anievas. 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CIRCLE NO. 2 ON READER SERVICE CARD MAY1970 97 Beethoven's32 Sonatas COME jobs may be just too big for essarily consistent. Reviewers arein- thoven sonatas on the top rung of the avail- - one man. Playing and recording dividual men of individual taste and able versions. If they don't, Istill think he the complete Beethoven piano sonatas temperament; they need not all hear plays these six incomparably well, and I was once thought tobe. Now even the music the same way. Mr. Baren- derived great pleasure from listening to that has become purely a matter of boim himself may have very different such distinguished playing. I. K. the opinion of the individual man: feelings about one sonata than about Records 4-6: Sonata No. 6, in F Major, some very fine pianists abjure the task; another; he need not be consistent in Op. 10. No. 2; Sonata No. 7, in D Major, some others are ready to takeit on either approach or achievement. And Op. 10. No. 3; Sonata No. 8, in C Minor, several times over. the recordings too were made over a Op. 13 ("Pathetique"); Sonata No. 9, in Reviewing the complete Beethoven span of time, perhaps in different stu- E Major, Op. 14, No. 1; Sonata No. 11, in sonatas has never been considered an dios with different microphones or dif- B -fiat Major, Op. 22; Sonata No. 13, in E- impossible task, but itis a devil of a ferent engineers; they need not be all lla/ Major, Op. 27, No. 1; Sonata No. 14, lot of work. And it is also the sort of alike in quality either. All we hope to in C -sharp Minor, Op. 27, No. 2 ("Moon- work in which one's opinion of one give the reader from this (or any oth- light"). performance tends to influence one's er) Still under thirty, husband to one of the review is some idea of how the most artist giftedandpersonableoftoday's opinion of another, a kind of striving plays, how the records sound, younger cellists, achieving a solid reputa- for a consistency of critical view even and how the achievement ranks in the tion as orchestra conductor, and busily ex- when the object of criticism may not minds of five capable, experienced, and panding his keyboard repertoire beyond the be all that consistent. sensitive critics. Mozart-Beethoven-Brahms orbit to include In reviewing Angel's new complete One further note: the records were twentitthcentury masters, Mr. Barenboim set of the Beethoven sonatas, we have reviewed from finished pressings made seemsbentonconqueringallmusical opted for a divergency of viewpoints availablebeforethepackagedset; worlds-like a young tycoon set on making (not necessarily a divergency of views; which, when it arrived, proved to he a his first million while still in his twenties. that simply comes out as it comes out) handsome production. But it contained It appears that Barenboim is the youngest artist ever to tackle the complete cycle of and assigned portions of the complete notascrap of printed commentary thirty-two Beethoven sonatas for records. set to five different reviewers. The in- about the music or the artist, save for To judge from these six LP sides, he has dividual sonatas covered by each are a single sheet indicating which sonata handled the job with convincing authority indicated above each sectional review; is on which record.James Goodiriend and aplomb, aided by some of the finest the signatures below each are the usual recorded piano sound I have ever heard on initials of the reviewers concerned. BEETHOVEN: PianoSonatas(com- Prom the rhythmic security, full-bodied The reader should bearinmind plete). Daniel Barenboim (piano). ANGEL when reading such a multi -directional tone, and sense of movement that inform SNLV 3755 fourteen discs,limited -time critical appraisal that nothing is nec- the very opening bars of Op. 10, No. 2, special price $61.98. there was no doubt in my mind that this young artist not only knows his business in terms of sheer execution, but that he has Records 1-3: Sonata No. 1, in F Minor, they came to me in listening through six a very definite interpretive point of view, Op. 2, No. 1; Sonata No. 2, in A Major, sides: sensitive, warmly romantic, skillful solidly based on the one hand on the op. 2, No. 2; Sonata No. 3, in C Major, handling of chords and weighting of notes, Schnabel tradition, but also on his own in- op. 2, No. 3; Sonata No. 4, in E -flat Major, a blending of both Beethoven's poetic and nate temperament, which responds to the Op. 7; Sonata No. 5, in C Minor, Op. 10, vigorously impetuous natures, an unusually manly aspects of Beethoven's musical idiom No. 1; Sonata No. 10, in G Major, op. 14, wide dynamic range with lovely pianissimo in both its assertive and lyrical aspects. No. 2. effects,greatcontrolof dynamics,gra- First major high point for me in these Because of the nature of this relay -race ciousness, an amazing ability to bring out performances was the magnificentlysus- reviewofDanielBarenboim'sintegral the lyricism of a melody, smooth and bril- tained line and eloquent phrasing of the Beethoven sonatas, I decided to take fairly liant fingerwork, very slow but still valid Op. 10, No. 3, slow movement-undoubt- copious notes on thesixearlysonatas tempos for slow movements, mystery and edly the finest of Beethoven's early essays which had been assigned to me, a pro- grandeur in the slow movements, excellent in this special vein of pathos and Innigkeit. cedure I do not follow invariably. Glancing spirit in fast movements, delicacy as well The finale of the -Pathetique" was another at the notes, I see for every work approxi- as strength, flexible tempos (for a lyrical one, the subtle changes of tempo and dy- mately the same comments and adjectives. section, Barenboim doesn't plow ahead at namics, as well as a slightly easier tempo Before summarizing them, it might be of the same speed as the previous part), dra- than is usual, lending far more interest to interest for me to admit to a rather strong matic, brooding, beautiful tonal qualities, the music than is the case with the monot- bias: Mr. Barenboim's playing has never probing andsustainedslow movement, onously febrile run-throughs one usually particularly appealed to me. His digital transitions very naturally accomplished, ex- encounters. In the middle -movement AI - talents were never in question; but I have cellent view of any one movement asa achieves just the right blend of easy tempo found him uneven and at times preten- whole, rhythmically alert, humor well cap- legrettoof the "Moonlight" Barenboim tious,self-indulgent,and oftenwithout tured, thoughtful. and light touch to give the music buoy- real depth, and his musicianship seemed to What about adverse criticism after all ancy and "sing." Too often itis made to me more instinctual than understanding- of that? Well, ifI want to nit-pick, which sound either flip or heavy-handed. this for those of the pianist's previous re- I don't, I might say that on rare occasions Indeed, occasional heavy-handedness is cordings of Mozart, Brahms, and Beetho- Mr. Barenboim is a mite deliberate. That's the only area in which I would seriously ven that I have heard. all. Summed up, these early sonatas are a fault Barenboim, most especiallyinthe With this admittedly undesirable bias, I pleasure.I would very much like to find finale of Op.27,No. 1, which needs both a sailed into Beethoven's first sonata expect- out whether the remaining sonatas main- fleeter pace and a lighter touch. The 1932 ing the usual. Now, here are the comments, tain thislevel.If they do,I would not Schnabel performance (poor sound, flut- not in any particular order, but simply as hesitate to put Barenboim's complete Bee- ter, and all) provides an object lesson on

')); STEREO REVIEW thispoint. Even Kempff (in the DGG Major, Op. 49, No. 2; Sonata No. 22, in F voting an entire year's study to the Beetho- mono set), who favors a more deliberate Major, Op. 54; Sonata No. 23, in F Minor, ven sonatas and nothing else would still pacing than Schnabel, keeps things moving Op. 57 ("Appassionata"); Sonata No. 24, give a man less than twelve days to spend in more telling fashion than Barenboim. in F -sharp Minor, Op. 78; Sonata No. 25, on each. As with all cycles of this kind on records in G Major, Op. 79; Sonata No. 26, in E - The hardest thing to play in these four I look to the day when all the records will flat Major, Op. 81a ("Les Adieux); So- sonatas is the theme of the Arietta in the be available individually (several are now), nata No. 27, in E Minor, Op. 90; Sonata C Minor, Op. 111. It has to be quiet and for no one artist can be said to possess No. 29, in B -flat Major, Op. 106 ("Ham- radiant, yet contain the seeds of later ac- all -encompassingomnisciencewhenit merklavier"). tion; it has to be slow, with the steadiness comes to the thirty-two Beethoven sonatas. Beethoven bouquets for Barenboim! An- of perfect poise, yet not in such a way And even if he could, one series of re- athemas and maledictions for Angel!I that the performer seems to be counting corded performances only reveals the state think (although I am not absolutely posi- "ONE -two -three,ONE -two -three."Baren- of his interpretive insight for the given tive) that I had the privilege of introducing boim plays it as exquisitely as I have ever period of the recordings in question. D. H. Barenboim in this country when I put him heard it played, with wonderful control of on WBAI-FM, the Pacifica radio station in tone, dynamics, and pulse; his Adagio is a Records 7-9: Sonata No. 12, in A -flat New York, in 1962 or 1963. He was an real Adagio, without falling into the ex- Major, Op. 26 ("Funeral March"); Sonata Israeli boy wonder whose specialty was cessive slowness he has sometimes affect- No. 15, in D Major, Op. 28 ("Pastoral"); (already) complete cycles of the Beetho- ed, and itis both "molto semplice" and Sonata No. 16, in G Major, Op. 31, No. 1; ven sonatas -not the sort of thing that "cantabile." The nuances areallto be Sonata No. 17, in D Minor, Op. 31, No. 2 aspiring teen-age pianists usually under- found in the score; they are not some- ("Tempest"); Sonata No.18,in E -flat take.I was impressed then and I'm still body's cute ideas stuck on from outside. Major, Op. 31, No. 3; Sonata No. 21, in C impressed now. I suppose that if I'd been The movement's variations are built up Major, Op. 53 ("IValdstein"). asked (I wasn't), I would have told him with matching strength and sensitivity, with Barenboim isa curiously irritating pi- to wait a bit. Still, this is the Beethoven a true and rare dolce at the second varia- anist in these six sonatas. Obviously he year, and he has been playing these pieces tion and a superb sense of haven reached has technique, and lots of it. But the dis- -all of them -for a long time. And these at the end. crepancy between what he could supposed- are damned good performances. He makes Other slow music inthe set,like the ly do, and what he does, is great. Only in the kiddie sonatas (Op. 49 and Op. 79) variation theme in Opus 109, taps com- the Opus 31, No. 2, sonata does he show sound like music, reveals the extraordi- parable veins of poetry in Barenboim, and himself as the complete musician. In this narybeautiesoftheall -too -raretwo- the quick movements are firmly structured, instance, one has a sense that the piano - movementers (Opp. 54, 79, and 90), gives with a clear feeling both of their internal player has turned into an artist, and that fresh readings of old favorites (Op. 57 and organization and of their function for con- thevoice of Beethoven speaksclearly, Op. 81a), and subdues (nay, seduces, em- tinuity and contrast in the whole scheme. through his careful interpretive ministra- braces) the impossible (Op. 106). He is In the development section of the A -flat tions. Everywhere else, Barenboim is cen- always insightful, expressive, and power- Major sonata's first movement, Barenboim ter -stage, chutzpah shining, and Beethoven ful,if occasionally inconsistent (he will is particularly impressive:his very tone becomes a secondary issue. take a leisurely, lyric tempo, hold it for a captures the cold,indecisive, wandering I'm surprised, not tosay slightly ap- while, but finally sneak up on it just a bit), feeling in the music (suggestive of mo- palled, to see the amount of carelessness or sometimes wrong (his "Hammerklarier" ments in the Nielsen symphonies)toa the pianist allows to pass in making a set first movement istoo slow), but never degree not quite achieved in Arrau's other- of recordings so ambitious and important less than engrossing. Thetechnical wise superb reading (which will soon be as this. Some of his messy rhythmic habits, achievement is generally hardly even no- available here). such as cavalierly dislocating the metrical ticeable -and that'sa high compliment. Being myself, like Barenboim, aFurt- accent in syncopated triple meters, are in- Barenboim'ssenseofphrase,rhythmic wHnglerian, findscarcely any trace of defensible. Even the Opus 31, No. 2, suf- phraseology, and timing produces tension mannerism inhisplaying.It'spossible fers from this aspect of poor musicianship, and big architecture withoutsacrificing that Toscaninians will be infuriated by for the last movement simply can't end. flow, nuance, flexibility, or spontaneity. many details. One such, which I find con- Because the principal accent has been for a Now comes the bad part. The piano vincing and you may not, is his portentous long time shoved out of place, the sonata sound is maddeningly fuzzy/ugly. And the treatment of the principal motif (rising - dwindles off inconclusively into space. records themselves -the physical product scale triplet followed by three longer notes) But one could make a long list of other -are of generally poor quality. Why? in the first movement of Opus 111. Such lackadaisicalflaws:unevenfingerwork; Why? Why? E. S. things are questions of taste. What can be coarsesforzandi;staccatopassagesthat saidisthat BarenboimisintheFurt- are either unpleasantly dry or don't stay Records 13-14: Sonata No. 28, in A wangler tradition, and worthy of the name. stacatto; reiterated pedal -points that are so Major, Op. 101; Sonata No. 30, in E Major, What can further be said, specifically,is randomly overemphasized that they steal Op. 109; Sonata No. 31, in A -flat Major, that he is one of the few musicians alive, attention from the material they should be Op. 110; Sonata No. 32, in C Minor, Op. of any age, who are able, when confronted supporting. Etc., etc. 111. with a rest, to "play" it (if that's the right Barenboim strikes me as a fine young The most astonishing quality of these word) for its full value and not rush nerv- pianist in danger of taking on too much too performances is their maturity. In my com- ously on to the next note. The same is true early in his career. The talent and tech- parisons with some of the greatest inter- of his treatment of long -held notes. Ulti- nique are obvious, andgreat.Perhaps, pretations inor out of the catalog, by mately,itisthis rhythmic strength, this though,like the youthful Artur Rubin- pianists from Schnabel and Myra Hess to perception of the relation between long stein, he would benefit from a period of Arrau and Bruce Hungerford, I have, nat- and short, between the piers and the spans "retreat," in which to think about music, urally, not always been able to conclude in music, that makes his playing so glori- to consult his soul and Beethoven's. I find "Barenboim is best." But I have consistent- ously life-giving. the recording quality fine. L. T. ly found his playing to be comparable, on The recording is admirable. And now level terms, with that of any rival, living thatI have completed this assignment,I Records 10-12: Sonata No. 19, in G or dead. That's astonishing indeed at this shall go on eagerly to hear the rest of Minor, Op. 49, No. 1; Sonata No. 20, in G stage of his career, if you reflect that de- the sonatas. B. J.

MAY 1970 99 DCDO 0000

\-1r

James B. Lansing Sound, Inc., a division of Jervis Corporation 3249 Cositas Ave., Los Angeles, California 90039.

100 STEREO REVIEW On May 1st. listen. Environmental sound. Everythingyou hear is true.

Aquarius by JBL: The next generation. CIRCLE NO. 54 ON READER SERVICE CARD MAY1970 101 dances in his day, but dreamed all his life to the first of these,the multi -movement nored in recent years, is a product of the of being freed from what he considered the partitas or suites, and side four to a sonata early Thirties, when many artists were feel- tyranny of that form. In his greatest waltzes plus some isolated character -programmatic ing a special need to create a national per- he was thinking of concert halls rather than tidbits from the Getreue Musikmeister. A sonality. Thompson has been quoted as say- ballrooms, and several of his masterpieces, good bit of it is not top-drawer Telemann, ing that he wanted to compose music that such asTales from the Vienna Woods, but most of it is full of charm, and certainly expressed "our own genuine musical heri- Artists' Life, and The Emperor Waltz-all these works are great fun to read and play tage in its every manifestation, every inflec- of which are heard on this disc-are in- through for one's own amusement if you tion, every living example." deed more "symphonic poemsinthree- happen to have a recorder, oboe, flute or vio- Itis fascinating to observe how he set quarter time," as Richard Freed calls them lin, and a harpsichord. To listen to, one or out to achieve this end in his Second Sym- in hisliner notes here, than mere dance two pieces at a time, you need a recording in phony:fourclassicallyclean,contrasted tunes. It is always a thrill to hear a Strauss which the players have a good sense of style, movements which present and manipulate waltz played inits entirety by a great or- and know that repeats need to be embellished in straightforward symphonic fashion mel- chestra-the Tales complete with that charm- and bare spots amplified beyond the written odic and rhythmic ideas ranging all the way ing zither solo, for example-and Mr. Or- notes. In Die kleine Kammermusik, Hum- fromSouthernspiritualsto"Gershwin mandy lavishes a great deal of affection and bert Lucarelli, a fine free-lance oboist from blues" and the cakewalk; from what might verve upon them, winning brilliant responses New York, and his colleagues have an ex- be called "penthouse melody, vintage 1930" from his forces. There is neither the flexi- cellent understanding of these techniques, to bucolic New Englandisms. If I'm not go- bility of tempo nor the tender way with a and it is a pleasure to hear the way in which ing too far in tune -sleuthing, there are even melody that Bruno Walter could bring to these players embroider the score. The tem- some playful references to The Star-Span- Strauss, but there are a flair and intensity in pos are generally extremely well calculated gled Banner in the last movement. By rights, the playing that make up for this, and the (the partitas, with their succession of fast some sort of hodge-podge should have re- program as a whole is enough to bring tears sulted. But the composer's handling of his of nostalgia for Vienna to the eyes of even a materials wassocivilized,elegant,and listener who has never been there. P. K. craftsmanlike that everything came together nonetheless in a delightful and worthy per- SUBOTNICK: Touch. Buchla Electronic sonal statement. Synthesizer. COLUMBIA MS 7316 $5.98. William Schuman's "To Thee Old Cause" Performance: Synthesized issubtitled"Evocation for Oboe,Brass, Recording: Superb Timpani, Piano, and Strings." Commissioned Stereo Quality: Built-in by the New York Philharmonic in celebra- tionofthe orchestra's125th anniversary Thisisthethirdof Morton Subotnick's season, the work was dedicated to the mem- symphonic synthesizer pieces, and, although ory of Martin Luther King, Jr., and Robert it will probably not achieve the popularity Kennedy. Itis,as one might expect, sober of its rather more accessible predecessors, it and brooding, and, like others of Schuman's is easily the best of the three. The Buchla scores, has meanings that seem to reside in is such an easy instrument to compose on lofty generalizations rather than precise de- that itis only too simple to let it take over tails. The excerpt from Walt Whitman's the serious part of the job. And one Buchla Leaves of Grass used as a preamble to the boop is much like another. This time, how- score and for itstitledeals in just such ever, Subotnick manages a domination of broad, elevated concepts as the music evokes. materials and a sense of big form that carry The word "seething," in the excerpt's final his rather striking alternation of gamelan- line, comes closer than any other to charac- like percussive sounds and long -held tim- terizing this tense, dissonant, dark-mooded bres to a surprisingly dramatic and evocative memorial. finish. The Buchla never runs away with the Leonard Bernstein's performances could composer's imagination, and one never has WILLIAM SCHUMAN not be better. His interpretations are suave, the feeling that he (or it)is filling out a His brooding memorial piece suavely played meticulous,andrespectful;theorchestra commissioned record side. Some of itis,I sounds gorgeous, and so does the recording. suppose, "cute" or pop-sy, but frankly that movements, pose considerable problems), al- L. T. bothered me (almost) not at all.I'll take though in the case of the sixth partita, arias creative switched -on Subotnick to parasitic numbers 3 (a Chaconne), 5 (allegro), and 6 WEBERN: Passacaglia for Orchestra, Op. switched -on Bach any day. E. S. (minuet) all seem to me to be taken too I (see SCHUMAN) slowly.Lucarelliistechnicallyexcellent TELEMANN: Die kleine Kammermusik (but he could make more of dynamics to aid RECORDINGS OF SPECIAL MERIT (complete); Der Getreue Musikmeister: in expression), Gerald Ranck provides some Sonata in A Minor; L'Hiver; Naise; Na- very effectiverealizationsforthe harpsi- XENAKIS: Polla to Dhina ; St 10-1,080262; politana; Air Trompette. Humbert Luca- chord, and Alan Brown is a singularly sensi- Akrata; Achorripsis. Children's Chorus of relli (oboe); Gerald Ranck (harpsichord) ; tive bassoon -continuo player. I. K. Notre Dame de Paris, Paris Instrumental En- Alan Brown (bassoon). MUSICAL HERITAGE semble for Contemporary Music, Konstantin SOCIETY MHS 996/7 two discs $5.00 plus Simonovitch cond. ANGEL 36656 $5.98. 50¢ charge for mail and handling (avail- RECORDING OF SPECIAL MERIT able from The Musical Heritage Society, RANDALL THOMPSON: Symphony No. XENAKIS: Herma. JOLAS: Quatuor II. Inc.,1991Broadway, New York 10023,2. SCHUMAN: "To Thee Old Cause". BOUCOURECHLIEV: Archipel I. Mady New York). New York Philharmonic, Leonard Bernstein Mesple(soprano),FrenchStringTrio; Performance: Effective cond. COLUMBIA MS7392 $5.98. Georges Pludermacher and Claude Helffer Recording: Excellent (pianos); Jean-Claude Casadesus and Jean- Performance: First-rate Pierre Drouet (percussion). ANGEL 36655 Stereo Quality: Fine Recording: Beautiful $5.98. Among Telemann's huge output of music de- Stereo Quality: Splendid signed for home consumption are Die kleine Leonard Bernstein and the New York Phil- Performances: Authoritative Recordings: Excellent Kammermusik, a 1716 publication of "little harmonic have givenushereextremely Stereo Quality: Excellent chamber music," consisting of six partitas beautifulperformancesof music by two for treble instrument and continuo, and Der American composers who, though they are These records document the contemporary getreue Musikmeister (The Faithful Music - a generation apart in stylistic thinking, are musical "ecole de Paris." "Paris school" re- master), a music periodical containing both rather close in their belief that something fers to non -French artists living and working vocal and instrumental pieces, which Tele- specifically American can be expressed in in Paris. It used to mean visual artists (Pi- mannpublishedininstallmentsinthe musical terms. casso, Brancusi, Chagall, etc.) but now might 1720's. Three sides of this album are devoted The Randall Thompson work, vastly ig- (Continued on page 104) 102 STEREO REVIEW Tune in stations electronically, farmore precisely thanyoucould evertune by hand!

While all other receivers are rate in tuning to center of desired the crystal filters tuned to boasting about their two tuning channel than can be accomplished average operating conditions in meters, oscilloscopes, words that manually." some competitive receivers. light up, and various other devices As a bonus, a remote control That is one of the reasons why to help you tune in stations more unit is included with the Fisher the 450-T will bring in more FM accurately, we at Fisher have 450-T, so you can tune from across stations than other, equally quietly been equipping all our best the room. Of course, standard sensitive receivers. (2.0 AV.) receivers with simplified push- manual tuning is also provided. The price? No more than other button, automatic tuning. Power enough for two receivers. receivers you have to tune in AutoScan"' is a purely The 450-T delivers 90 watts person. electronic tuning system with no into each 8 -ohm channel. A total of $399.95. moving parts. Devices called 180 watts in all. varactor diodes are used to lock in With that much power, -I stations at their most powerful, and with the controls on the Mail this coupon for your free most distortion -free tuning point. 450-T, you'll be able to drive copy of The Fisher Handbook, 1970 edition. This reference This is accomplished auto- two sets of stereo speakers, guide to hi-fi and stereo also matically, at the touch of a button. and select to hear either or includes detailed information Press one of the AutoScan both at any given time. on all Fisher components. buttons and the next FM station Our L/C circuits Fisher Radio on the dial is brought in. Pre c; are more selective than 11-33 46th Avenue the other, and the ordinary crystal filters. Long Island City, N.Y. 11101 entire dial is scanned To make certain automatically. that the FM section In a report on will be highly Name Fisher AutoScan, Audio selective, the magazine stated what 450-T incorporates Address our engineers already specially designed knew: IF circuitry. City State Zip "Station lock -in is Because of flawless. That is, when its unusually the AutoScan stops on high Q, this type a station it stops on of L/C circuit, The Fisher 0205701

the exact 'center' of when individually OVERSEAS AND CANADIAN RESIDENTS PLEASE WRITE TO that channel. aligned, is FISHER RADIO INTERNATIONAL, LONG ISLAND CITY, N.Y. 11101. "AutoScan is measurably more probably more accu- Fisher Remote Control selective than PRICES SLIGHTLY HIGHER IN THE FAR WEST. CIRCLE NO. 17 ON READER SERVICE CARD MAY 1970 103 equally well be applied to the group of corn- alt. Her technique is smooth, with accurate posers associated with the American Stu - staccati and perfect intonation in all regis- lent Center (surprisingly, a center for new 14 ters. Nothwithstanding her easy access to music for a number of years) and the en- the highest reaches, Miss Geszty reveals ;ern:31e of Konstantin Simonovitch. By far sound musicianship in resisting the unwritten the most prominent of these composers is high ending in Caro nome. In the Bellini Xenakis,atransplanted Greek, a scene, she provides the needed da capo em- transplanted architect, and,at the present billishments, but these are not the note - time, one of the most influential composers happy exhibitionistic sort currently in vogue in European music. Xenakis' "thing" is the among sopranos. (She's got it;there's no rationalization of chance-accomplished need to flaunt it.)In short, there's a new with the aid of mathematics and the com- star on the horizon. puter and then turned out into a (conven- Unfortunately, on this record she lacks a tional) score. This is less odd and remote conductor of equal stature. Masur obtains a thanitsounds; Xenakis uses these tech- nice orchestral sound, but beyond that we niques to create fields of sound-patterns, have only languid Mozart, unexciting Verdi, timbre, and texture-which have a great and downright dull, rehearsal -tempo Offen- deal of very concrete reality, not to say fasci- bach. By contrast, "Qui la voce" sounds nation. Polla to Dhina strikes me as the best rushed, without the proper elegiac feeling. work of Xenakis that I know. It is based on But Miss Geszty manages, through it all, to avery ancient idea-a children's chorus delight one with her wonderful singing. (from Notre Dame!) sings on a single pitch, G. J. maintaining it against the storms of swirling, sweeping, sliding instrumental sound around YANNIS XENAKIS JOSEF HOFMANN: PlaysAgain-in it. The piece with all the letters and numbers A disc survey of the Paris -school's doyen Stereo (see RACHMANINOFF) for a title is a chamber -instrumental work, and one of the composer's more refined and ich liebte. Offenbach: The Tales of Hoff- subtle compositions. Akrata isa piece for mann: Olympia's Air. Rossini: II Barbiere RECORDING OF SPECIAL MERIT winds; its germinating idea comes out of di Siviglia: Una voce poco fa. Bellini: Puri- MUSIC ALL POWERFUL (Music to En- patterns of repeated and sustainednotes. tani: Qui la voce . . Vien diletto. Verdi: tertain Queen Victoria). Sullivan: I would Achorripsis isa similar work for a larger Rigoletto: Caro nome. Un Ballo in Maschera: I were a King; The Long Day Closes. Men- ensemble, more highly developed and more Volta la terrea; Saper vorreste. Sylvia Geszty delssohn: The Passage Bird's Farewell; Song long-winded. Herma is a piano piece and (soprano); Berlin Radio Symphony Orches- Without !Fords, op. 38. No. 2; Autumn not a very interesting one; Xenakis' field is tra, Kurt Masur cond. LONDON OS 26114 Song. Pinsuti: Good night, beloved; Tours: timbre and the shades of differentiation that $5.98. The Stars Beyond the Clouds. Chaminade: he needs are simply not very effectively re- Performance: Remarkable singer Arlequin. Smith: 0 That We Two Were alized on the piano. Recording: Very good Maying. Barnby: Sweet and Lou.. Calcott: Betsy Jolas is a rare example of a female Stereo Quality: Very good The Lark Now Leaves His Watery Nest. Six avant-garde composer; she is of partly Amer- If the name of Sylvia Geszty, a Hungarian - other selections. Purcell Consort of Voices, ican background and is also-I think I have Grayston Burgessdir.,Jennifer Partridge it right-the daughter of one of the most born soprano currently based in Berlin and at the threshold of international fame, is not (piano); Iona Brown (violin) ; David King famous interpreters of Schoenberg's Pierrot (speaker). ARGo ZRG 596 $5.95. Lunaire. Quatuor II, for voice and strings, is very well-known here at this juncture, the a lyric work of considerable character-in- present recital indicates that a radical change Performance: Affectionate tense, compressed, highly expressive, rather is in the making. Miss Geszty is the Zerbi- Recording: Very good florid and even (good heavens!) quite beau- netta in Angel's recent recording of Ariadne Stereo Quality: Appropriate tiful. Andre Boucourechliev is a Bulgarian auf Naxos, and she repeats Zerbinetta's fien- emigrated to France; his Archipel is a power- dishly difficultaria here with even more What an engaging idea:a nostalgic Vic- ful open -form work for two pianos and per- dazzling results than on the Angel disc. This torian souvenir of fading lavender charm cussion here presented in two realizations- is a spectacular vocal performer. Her lovely, tendered to the world of Henry F. Chorley one of which scales down from high e warm timbre is nicely equalized from a fully and Sir Joseph Barnby, conceived in the outputs of tremendous intensity,t' 'pported low range (impressively displayed "rn, 1" England of John Osborne and John of which works its way up from n. "(dna voce poco fa") to an effortless E in Lennon. The program conjures up visions of forms to percussive climaxes that just countless "musical soirees" presided over by reach the outer limits of trackability. An SYLVIA GESZTY the beloved and durable Queen and raptly impressive piece of work stunningly rea- On the threshold of international fame? attended by heavily corseted ladies and stiff - lized by the excellent performers. collared and -upper-lipped gentlemen. What Actually, everything is well recorded and they heard, and what we are here given, is a presumably equally well performed (I did sequence of ornate and amiable trivia: minor not manage to locate any of the scores). The inspirationsof Mendelssohn and Sullivan Greek text and a translation of Polla to coupled with what must be the major efforts Dhina (a well-known excerpt from Soph- of salon composers wrested from oblivion. A ocles' Antigone,herecalled"Hymnto prancing tune by Cecile Chaminade rubs el- Man") is enclosed in the album; but note bows with an exercise in earnest pursuit of that the band break on side two of this disc virtuosity played on the ophicleide, a brass incorrectly falls during a pause in Akrata, instrument now extinct and probably unla- while the actual break between the two mented. There isa madrigal by William pieces on this side is not banded at all.E.S. Bealethatincludesthesepreciouslines: "While the fauns and satyrs round/Dance COLLECTIONS alongonfairyground/Andthemerry nymphs and swains/Gaily trip these rural CLAUDE DEBUSSY: Plays Again-in plains," and then descends into interminable Stereo (see RACHMANINOFF) fa-la-las. You may not believe it, but there is even a Melody for Violin by Prince Albert himself, whose sincere love for musicis RECORDING OF SPECIAL MERIT warmlycomplimentedbytheotherwise SYLVIA GESZTY: Opera Recital. Strauss: tongue-in-cheek sleeve annotator, Geoffrey Ariadne auf Naxos: Grossmiichtige Prin- Coleby. zessin. Mozart: Die Zauberflate: Der Mlle And so on. There is also a Mazurka by Rache. Die Entffihrung aus dem Serail: Ach, its (Continued on page 107) 104 STEREO REVIEW An Improved Version... 'ACRI-TUNE" of A Widely Acclaimed Receiver!

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CIRCLE NO. 28 ON READER SERVICE CARD mAy 1970 105 to Lester, during much of that period Irismusic wasn't being played. Ulti- mately, however, performances of his works by the Composers Forum, Mu- sk in Our Time, and other such series had their effect. The music began to be heard more frequentlybothinthis country and abroad, and as a sort of culmination his Four Fragments from the Caunterbury Tales was recorded by Columbia Records in 1961 for their Modern American Music Series. In 1963, Lester accepted the post of Professor of Composition at the Uni- versity of Maryland; in 1968 he was once more back in New York as Com- poser -in -Residence with the New York Philharmonic. Over these years he received a Guggenheim Fellowship, the Twenty-third in a series of short biographical sketches Award and Citation from the National of our regular staff and contributing editors, the Academy of Arts andLetters,and "men behind the magazine"-who they are and how numerous other honors and commis- they got that way. In this issue, Contributing Editor sions. Today the Trimbles areper- manently established in New York.

LESTER'S first contribution to STEREO LESTER TRIMBLE REVIEW, an article on Oriental music, By RALPH HODGES appeared in the magazine as long ago as 1962. More recently he has written REVIEWING the recent premiere of berg, then living in California, and re- about Schoenberg and Gottschalk, and LesterTrimble'sPetitConcert, ceivedan enthusiasticreply.(Inter- on the occasion of the death of con- Alan Kriegsman, music critic for the estingly,itwas Schoenberg's overtly tributingeditorWilliamFlanagan, Washington Port, wrote: "The music romantic V erklarte Nacht rather than Lester wrote an appreciation that ap- . increased my already formidable the later serial works that compelledpeared in the November 1969 issue. respect for Trimble's powers. If you the young composer's admiration.) Soon afterward William Anderson in- are on the lookout for a contemporary After discharge from the ,Air Force, vited him to join the roster of regular composer . . . who is a slave neither to Lester returned to the East and five reviewers-an invitationhe accepted formula nor fad, who can experiment and a half years at the Carnegie In- with some enthusiasm.Inhis own without succumbing to faceless eclec- stitute of Technology. His enrollment words:"I've always had an almost ticism, and who never lets the expert- atCarnegie coincidedwithNikolai superstitious feeling about certain as- ness of his craftsmanship get in the Lopatnikoff's appointment as Professor pects of my life.In particular, com- way of his musicality, then you mightof Composition, and the presence of posing and prose -writing seemed to go well pursue Trimble." this great teacher persuaded him finally hand in hand from the beginning. In Lester Trimble, who officially joined to switch from violin to composition. high school, I had a regular column in STEREO REVIEW's classicalreviewing In hissenior year he married Con- our little newspaper at the same time I staff with the March issue, hasre- stance Wilhelm, an art student at the was practicing violin from five to seven ceived many such press notices over the Institute. hours a day. In college, thanks to the past decade. In style and tessitura much While in graduate school at Car- novelist Gladys Schmitt, who thought of his music evokes the instrument in negie,Lester was recommended by I should be a novelist too, I did a lot of which he received his earliest musical Lopatnikoff and his musicology profes- writing. It was not until years after my training-the violin. Nine years after sor,Frederick Dorian,tothePitts- term as associate music critic for the his birth in Bangor, Wisconsin, Lester burgh Post -Gazette, and the paper put Pittsburgh Post -Gazette that I learned moved with his family to Pittsburgh, him to work as associate music critic. Frederick Dorian, one of my sponsors where he began taking lessons from He also spent a memorable summer at for that position, was a close friend of RobertEicher,aviolinistwiththe Tanglewood studying with Darius Mil- Virgil Thomson. And so there was a Pittsburgh Symphony and one of the haud. In 1951, Lester and his wife went connection between my first post as a decisiveinfluencesinhischoiceof to Paris, where he had a year's further music critic and my later job at the career. In six years' time Lester was study with Milhaud and Arthur Hon- Herald Tribune. making his first attempts at compos-egger. In Paris he met the American "I think I was wise in choosing to ing, efforts generated by his interest in composer Virgil Thomson, who the continue composing rather than trying Beethoven, Hindemith, and Debussy. following year invited Lester to join to be a novelist. My royalty checks are At the onset of World War II, Lester the music staff of the New York Her- certainly a lot smaller than they might joined the Army Air Force and wasald Tribune as acritic. Concurrently have been (although you never can be senttoSalt Lake City,wherethe he held a similar post with The Nation sure!), but I love music too much to be abrupt change of climate brought on magazine until his appointment as gen- away from it.I do enjoy writing, how- an attack of arthritis that all but end- eral manager of the American Music ever, and music criticism gives me a ed his hopes of becoming a concert Center in New York, which required chance to ride both horses. After a few violinist. While recuperating he stud- all his energies. years of not writing, itis a joy to he ied harmony-in bed. He alsosent The Trimbles had now been in Newback inaction, and I'm grateful to some early scores to Arnold Schoen- York for eight years, hut, according STEREO REVIEW for the opportunity."

106 STEREO REVIEW N. W. Galkin (a poor man's Wieniawski ?) they to what the pianist actually sounded No. 5: Aria. Bidn Sayao (soprano); various and, surprisingly,a finesetting for male like at the keyboard? We know that the rolls orchestras, Paul Breisach, Erich Leinsdorf quartet of the ode "Music, All Powerful" could be edited. We also know that the speed Heitor Villa -Lobos, Fausto Cleva, and Pietrc by T. F. Walmisley before the deferential could be adjusted,with(of course)no Cimara conds. ODYSSEY 32 16 0377 $2.98 Loyal Ode is recited by speaker David King change in pitch; a good example of how mis- and the "long day" closes with appropriate leading one of these recordings could be Performance: Cherishable music by Sir Arthur Sullivan. The entire made to sound is Everest's Cortot perfor- Recording: Good (1941-1950) program is performed with a dedication, af- mance of the Chopin Andante Spianato and Value and price are often found in inverse fection, and purity worthy of the best pages Grand Polonaise, which is absurdly fast. Just ratio in the record industry, as witness this of Handel, Purcell, or Vaughan Williams. as critical, and much less well understood, documentation of Bidn Sayao's artistry. The Here is a disc that is easy to live with, an is the problem of the player mechanism (the enchanting presence of this gifted and versa- ideal gift for the record fancier "who has Vorsetzer) and the condition of the roll it- tile Brazilian soprano brightened up many everything." But where and under what head- self. Argo demonstrated initsrecordings Metropolitan evenings in the sometimes un- ing is he going to file it? G. J. (which emanated from several BBC broad- derrated Johnson era, and here before us are casts)to what lengths restoration of the documentations of her exemplary Manon, SERGEI RACHMANINOFF: Plays Again player mechanism had to go to make the her delicate Violetta, and her neat and musi- -In Stereo. Chopin: II dtz in E -flat Major, rolls sound the way they were intended to. cianly Susanna and Zerlina. The aria from Op. 18; Nocturne in F Major, Op. 15, No. 1; Itis quite obvious from the variety of Bachianas Brasileiras No. 5 (conducted by Scherzo in B -flat Minor, Op. 31. Rachmani- strange effects to be heard in these Sony- the composer, with Leonard Rose heading the noff: Prelude in C -sharp Minor, Op.3, Superscope piano -roll releases that most of eight cellists)is of course a recording land- No. 2; Prelude in G Minor, Op. 23, No. 5; the necessary care was not taken. If it had, I mark. The sound of the recordings is excel- Etudes Tableaux: in B Minor and A Minor, doubt whether Debussy's Cathedrale engloti- lent for their age. As for Madame Sayao's Op. 39, Nos. 4 & 6; Elegie in E -flat Minor, tie would have sounded so improperly loud singing, it impresses me even more now than Op. 5, No. I. Sergei Rachmaninoff (piano at its conclusion, or Minstrels so rhythmical- when I first heard her years ago. Hers was a rolls). SONY SUI'ERSCOPE KBI 1 $3.95. lyuneven. Iam certainthatRachmani- voice neither large in size nor given to strat- ospheric dazzle,butitwas sensitive,ex- CLAUDE DEBUSSY: Plays Again-In pressive, and technically above reproach, and Stereo. Debussy: Children's Corner Suite; all the elements of her artistry were com- D'une Cahier d'esquisses; Preludes, Bk. I: bined in a beautiful balance. G. J. La Cat bedrale engloutie;Minstrels;La Dance de Puck; Danseuses des Delphes; Le Vent GERARD SOUZAY: The Art of Gerard dans la plaine. Claude Debussy (piano rolls). Souzay (see Best of the Month, page 79) SONY SUPERSCOPE KBI 2 $3.95. JOSEF HOFMANN: Plays Again-In RECORDING OF SPECIAL MERIT Stereo. Beethoven: Son,da in E -fiat Major, A TRIBUTE TO GERALD MOORE. Nin: Op. 31, No. 3. Chopin: Polonaise-Fantaisie, M.daguena; Halffter: Panxolina (Galician Op. 61; Nocturne in D -flat Major, Op. 27, Folk Song) ;Victoria de los Angeles (so- No. 2. Mendelssohn: Rondo Capriccioso in prano). Bach(trans. Powell): Siciliano E Major, Op. 14. Josef Hofmann (piano fromCantataNo.29;LeonGoossens rolls). SONY SUPERSCOPE KBI 3 $3.95. (oboe). Richard Strauss: Hochzeitlich Lied, Performance: Variable and questionable Op. 37, No. 6;IVeisser Jasmin, Op. 31, Recording: Excellent No. 3; Dietrich Fischer-Dieskau (baritone). Stereo Quality: Natural Weber: Theme and Variations for Clari- noff would not ha. e played the Chopin Waltz net and Piano, Op. 33; Gervase de Peyer Iremember that when Columbia released and Nocturne so languorously, that he would (clarinet). Mahler: Friihlings morgen; the first reissued piano -roll recordings just not have been unable to articulate fast notes Scheiden and Meiden; Janet Baker (mezzo- twenty years ago, there was a curious reac- at the start of the second scherzo (it sounds soprano). Faure: Etegie, Op. 24; Jacqueline tion on the part of many listeners. "Could like faulty damping to me), or that he would du Pre (cello). Wagner: Traume; Elisabeth Debussy really have played as clumsily as have been tonally so hard in his own familiar Schwarzkopf (soprano). Ravel: Habanera; that?" "How could he have been so tech- C -sharp Minor and G Minor Preludes (on Debussy -Hartmann: La fille aux cheveux nically uneven ?" "What about the lumpy the other hand, the sixth Etude Tableau is de lin; Yehudi Menuhin (violin). Tchai- pedaling?" These seem to have been the quite close to how Rachmaninoff sounds on kovsky :Don Juan's Serenade; At a Gay standard comments,along with questions records). Josef Hofmann, that most elegant Ball; Nicolai Gedda (tenor). Dvaik: Sla- about the lack of atmosphere, the dynamic ofhisgeneration'skeyboardexecutants, vonic Dance in G Minor, Op. 46, No. 8; contrasts, and the insensitivity. That applied, would never be guilty, I am certain, of the Daniel Barenboim (piano) ;Gerald Moore of course, not only to Debussy, but to Ravel, insensitivity and speed he seems to display (piano, on all bands). ANGEL S 36640 $5.98. Richard Strauss, and even some of the com- in the Beethoven sonata and in the Men- Performance:All-star caliber posers who were known to have been superb delssohn Rondo Capriccioso. The tempo this pianists. Almost all later piano -roll issues on last work goes at is patently impossible for Recording: Good (1941-1950) Stereo Quality: Appropriate discs have elicited similar reactions, but per- a man. In comparison,Itried a broadcast haps because of improved recorded repro- recital version by the pianist of the same Here is another tribute to the beloved Gerald duction of the player piano, a great many music. Hofmann was ingreat form, the Moore, and the lineup of contributors speaks people were deluded into thinking that be- pace was much slower but still quick, and, for itself. They all perform at their expected cause the piano sound seemed so new the above all else, the playing, in spite of the peak capacity, and some (Fischer-Dieskau, playing as it came across could be taken at sonic limitations, was consistently elegant Gervase de Peyer. Janet Baker, and Nicolai face value. In other words, this is what De- and refined. I defy anyone to hear that in Gedda) have laudably utilized the opportu- bussy and Rachmaninoff and Hofmann really the Sony-Superscope recording, for all of the nity to come up with unfamiliar or at least sounded like in the earlier part of the cen- excellent stereo reproduction of a fine -sound- surprising choices. As for the amazing Mr. tury (roughly the early teens). To the best ing Bi5sendorfer. The question remains open Moore, he is at his best in the two -piano ver- of my knowledge, only Argo, in its three -disc . . . how reliable are piano rolls? I. K. sion of the Dvoi-iik number (in which I pre- set of piano roll recordings (DA -41/2/3), sume Mr. Barenboim plays secondo to Mr. has beenatallsuccessfulin reproducing BIDU SAYAO: Recital. Mozart: The Mar- Moore's primo), and holds his virtuosic own these rolls, and even there some questions riage of Figaro: Porgi amor; Deh vieni, non against Mrs. Barenboim's poetic phrasing of about the correct reproducing speed of the tardar. Don Giovanni: Batti, batti. Bellini: the Faure Elegie. I must also call attention to rolls were raised by critics. La Sonnambula: Ah, non credea mirarti. the sensitive phrasing and beautifully graded In other cases of recent piano -roll discs, Verdi: La Traviata: Ah, fors'e lui ... Sent - dynamics in the piano postlude to Triiume. the bevy issued by Everest and those by the pre libera. Massenet: Manon; Je suis encore; If Angel chooses to make such tributes to Book of the Month Club, the same old ques- Voyons Manon; Adieu, noire petite table; Gerald Moore a yearly affair, they'll get no tions again had to be raised. How true are Gavotte. Villa -Lobos: Bachiana.r Brasileiras argument from me. G. J. MAY 1970 107 The AR-2aX: an evolutionary new speaker system.

1970AR -2a'

The AR -2 series of speaker systems made by Acoustic Research has 1964AR -2a' long been considered a standard of high-fidelity performance where cost requirements made technical compromise necessary. The best speaker system in the series, the AR-2ax, was the result of a series of refinements of the original AR -2. The most important such change has probably been the conversion of the older unit to a three-way system.

IIB Now, the AR -2a' has been changed to incorporate the same two 1959 AR -2a speakers as are used in the AR -5 for reproduction of the lowest and highest frequencies (the AR-2ax midrange speaker remains the same) Both of the new speakers are among those most recently designed at Acoustic Research.

The high -frequency unit is the same miniature hemispherical device as is used in the AR -5 and AR -3a, and is only 3/4 -inch in diameter. It is the best high -frequency speaker we know how to make. The 1957 AR -2 low -frequency speaker cone uses a newly developed material and process of manufacture which make its absorption of high frequencies very high, suppressing a form of coloration frequently found in conventional cones its size. The circular suspension ring around the cone is also of a new material, silent and highly stable. The voice -coil is a new high -temperature design, triple -insulated and wound on a form of Dupont Nomex.

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Acoustic Research, Inc. 24 Thorndike Street, Cambridge, Massachusetts 02141 CIRCLE NO. 1 ON READER SERVICE CARD 108 STEREO REVIEW ENTERTAINMENT POPS JAZZ FILMS TH EATER FOLK SPOKEN WORD

Reviewed by DON HECKMAN PAUL KRESH REX REED PETER REILLY

THE ASTROMUSICAL HOUSE OF I figure it all goes back to Eddy Arnold, who temptation to push buttons and turn knobs SCORPIO. Unidentifiedorchestra.The started fooling around with violins instead to boost the volume of Mr. Snow's acoustic House of the Rising Sun; Stormy; Summer- of fiddles, and appearing without his guitar guitar. When an acoustic guitar and an elec- time; Fever; Jealousy; Temptation; and five on television shows. and wearing business tric guitar appear on the same stage, they al- others. GWPRECORDS1008 55.98. (as opposed to cowboy) suits in public, and most never get the acoustic guitar to sound Performance: More like Astromuzak getting involved in Tennessee politics, and I quite as loud as the electric one. Mr. Atkins' Recording: Good don't know what all. Now two other good electric guitar conies out a little louder here, Stereo Quality: Good old boys from Nashville, Chet Atkins and and it sounds just right. Hank Snow, have collaborated in this record Listening to this disc made me feel good How much further can this astrology craze of background music for the cocktail hour in \\ hen I could pretend that Atkins and Snosv go? If Inever again hear anyone tell me Levittown. It's beginning to look asif you were two other guitar players. The problem what his rising constellationis,itwill be can take the country out of the boys. Mr. is that you know what they would be capable too soon. Ihave vowed to myself that the Snow. as zillions of fans know, is one of the of if they ever chose to get together on a real, next time I am seated next to a lady at din- best country singers alive, and has been for down-home country record. Noel Coppage ner who, afterIreluctantly confess to my birth sign, proceeds to eye me with an I - BREAD LOVE AND DREAMS. Bread might -have -known -itlook, her lap will be Love and Dreams (vocals and instrumen- the recipient of an overturned plate. And I tals). Switch Out the Sun; Virgin Kiss; The willnever-repeat, never-againlistento Least Said; Lad) of the Night; Main Street; such goulash as is proffered in this idiotic Mirrors; Poet's Song; and five others. LON- album. Itis nothing more than a random DON PS 566 S-1.98. collection of music that might have been recorded for the Muzak company, and pasted Performance: Nice with the label -Scorpio." (There are eleven Recording: Good other albums in this series, each supposedly Stereo Quality: Good amusicalrepresentationof aparticular Bread Love and Dreams is a two -man, one - sign.) The big attraction here, then, has got girl group that sounds like an English Peter, to be the enclosed booklet, since the record Paul and Mary. Their big problem is that sounds like one of those $1.98 supermarket neither their repertoire nor their voices are jobs. Said booklet is written by "the world as good as that famous American trio. Some- renowned astrologer Carroll Righter" and thing rather strange happens to English per- includes such insights as -Stranger on the formers whentheyattempttoduplicate Shore depicts the native secrecy of the Scor- Americanphrasing and intonation. In pio," and -La Mer describes the mixed emo- straight -on hard rock, it isn't asannoyingto tions of Scorpio," and "In Jealousy the lis- the ear, because the rock beat almost dictates tenerislured along thecertainpath of the way a song should be sung. In folk - passionate possession." Righter drops lines oriented material, such as is included here, from famous poets at every opportunity, and 1111.-rII BROWN however, what happensisthat instead of if I were Shelley or Milton or Masefield or Return of a great blues singer achieving evena mid -Atlanticplausibility Goethe I'd sue. P. R. the voices take on a ventriloquist -like quali- years, but the only singing he does in (his ty-much like an imitation of a recording. CHET ATKINS AND HANK SNOW: collection is a teensy bit on Poison Lore, on Too bad, because thisisa group thatis C. B. Atkins and C. E. Snow by Special which Mr. Atkins (who shouldn't have) also solidly musical and cancreate some very Request. Chet Atkins and Hank Snow (gui- sings. Mr. Snow has been pickin' for all those pretty sounds. I'd like to hear them in some tars and vocals); instrumental accompani- years, too, and we all knew he could handle a of the lesser -known English folk songs, par- ment, Bill \X'alker arr. Limbo Rock; Tammy: guitar--he didn't has e to p -rove anything- ticularly things like the lovely I Know IV he; e 11 -heels; Jamaica Farewell; I Sale the Light; but on this recording he mostly picks. As for l'm Going. At the moment that seems to be and six others. RCA LSP 4254 $4.98, 0 Mr. Atkins, his skill with the guitar, electric something they don't really know. P. R. PSS 1524 56.95. andotherwise, is knownandadmired throughout the land.I Performance: Tooslick figure he must have noticed the uncommon devotion of the fans RECORDING OF SPECIAL MERIT Recording: Excellent of, say, Johnny Smith and Stereo Quality: Just right ... well, it sticks RUTH BROWN: Black Is Brown and in a man's craw,Iguess, being big and fa- Brown Is BeautiPil, Ruth Brown (vocal;); mous and knowing, deep down, thathe's with instrumental accompaniment. Yeih,/,/.1); just as good as the obscure guys. Anyway, he Pleme Send Me Someone to Love; Looking Explanation of symbols: has made thisjazzyrecordingwithMr. Back; Try Me and See; and four others. = reel-to-reel tape Snow. I hope they both got it out of their SKYESK -I 3S5.98. = tour -track cartridge systems. Performance: Return of a great blues singer (:)= eight-traek cartridge Not thatit'sa bad record;it it quite © = C3S.felh- pleasant. The lush strings in the background Stereo Quality: Very good Monophonic recordin.,;s are indicated by are even restful at times, although they do Recording: Very good the symbol g: all others are stereo tend to intrude on the ,::ood pickin'. RCA's Ruth Brown was one of the genuine rhythm- engineers deservecreditforresistingthe and-blues originals. Her hitsinthe early MAY1970 109 Fifties helped establish a style that had enor- he can express pain, joy, or sorrow better JACKIE DE SHANNON: Put a Little mous influence on the rock music of the Six- than the rest of us. Mr. Cohen gives me the Love in Your Heart. Jackie De Shannon ties. But like so many of the seminal black impression he has only observed these emo- (vocals) ;orchestra, J. Langeford and Rene performers of those long -gone days, Miss tions, was never really the victim. Itis un- Hall arr. Put a Little Love in Your Heart; Brown hasn't been heard much lately, and it fortunate that he sings of so many women- You Are the Real Thing; River of Love; has been a great loss. Susan, Patty, Marie, and finally, Sara-on Keep Me in Mind; Mama's Song; Movin'; This new release should help. The pro- one side. All those names gave me the feel- and six others. IMPERIAL LP 12442 $4.98, gramiswellchosen, mixing blues with ing S. David might be somewhat fickle. Vo- C) F 9000 $6.95, ® 9000 $6.95, © C 1000 standards, an original, and even a couple cally he is also unsure whether it's Hank $5.95. of current hits. Gary McFarland has finally Williams, Johnny Cash, or even Bob Dylan Performance: No sock, just sighs in produced some arrangements that are sym- he most admires. Somewhere, possibly Recording: Snappy pathetic, appropriate, and unencumbered by another part of the musical forest, the heart Stereo Quality: Okay hisusualexcesses. Welcome back,Miss and soul of the real S. David Cohen must Brown. Your presence should do a lot to be longing to be heard. R. R. Listening to Jackie De Shannon sing her own make up for all those little cookies who've songs always reminds me that itis the sing- been trying to pass as blues singers lately. COUNTRY JOE AND THE FISH: Great- er who must sock it to you, not the song. D. H. est Hits. Country Joe and the Fish (vocals Miss De Shannon has composed many of and instrumentals). Maria; Who Am I; Por- the big hits on past charts. Jackie is talented PETULA CLARK: Just Pet. Petula Clark poise Mouth; Bass Strings; Here I Go Again; and sweet and has lovely hair, but vocally (vocals) ; orchestra. Light of the Night; Fill and fourothers. VANGUARD VSD 6545 she seems to be always auditioning her ma- the World with Love; Houses; Hey, Jude; terial. Now and then a certain Dusty Spring- Butterfly; For T bore in Love; and four others. field sexiness escapes from Jackie as an un- WARNER BROS. 1823 $4.98, ® B 1823 stifled sigh leaves the yearning bosom of (33/4) $6.95, C) X 1823 $5.95, C) 8 WM a shy wallflower. But only now and then. 1823 $6.95, © CWX 1823 $6.95. No punch can be found in the arrangements. either; they are only a cut above bubble -gum Performance: Apro -is -a -pro -is -a -pro quality. Once Ipassed,gentlynodding, Recording: Slick through Put a Little Love in Your Heart, I Stereo Quality: Excellent found little else to do but nod off to sleep. If I owned a new Cadillac I think I would This record does leave me wondering, with call it Petula. Now, among luxury -car mak- interest, which songs here will be chosen by ers the Cadillac is considered underpriced what performers, so that Miss De Shannon for the engineering value thatit offers- can take her place back on the charts-as a what turns many people off is the gaudy and composer. Nov then, Dusty, sock it to me. over -commercialbodydesign.The same R. R. might apply to Miss Clark. She is a solidly good singer with a distinctive voice, a gift RECORDING OF SPECIAL MERIT for phrasing and honest -to -god musicality. Why am I quibbling then about this album DION: Sit Down, Old Friend. Dion (vo- in which she sings some excellent songs cals and guitars). Natural Man; Jammed (Her Jude, If I Only Had Time, and The Up Blues; Little Pink Pony; If We Only Fool on the Hill) in her usual expert fash- Have Love; I Don't Believe My Race is ion? Just this. It's all just a little too smooth. Run; and six others. WARNER BROS. 1826 a little too commercial, and a little too much $4.98, C) 8WM 1826 $6.95, © CWX 1826 geared to a known market. $5.95. In her sheer professionalism she reminds DION Performance. Just right me at times of Dinah Shore, but whereas A variety of challenges successfully met Recording: Excellent Shore has always kept a certain flavor of the Stereo Quality: Very good South about her performances, so that there $4.98, ® 8VM 6545 $6.95, CVX 6545 is a basic rooted quality about her work, Miss $6.95. With one song, Abraham. Martin, and John, Dion DiMucci wiped from his image the Clark often sounds as if she had sprung full- Performance: "Greatest Hits" grown from the mind of a co-ordinator of layers of unsightly glop that had accumulated Recording:Good while he was the leader of an unspeakably the latest musical styles. As I said before, this Stereo Quality: Good is probably only my quibble-for her fans I bad Fifties -style rock-and-rollorganization am sure this is another must -have album. Rock changes faster than a transvestite dur- known as Dion and the Belmonts. After P. R. ing a raid. It seems only yesterday (was it?) Abraham circulated among FM rock stations that one of the more daring and insolent for a few weeks, all was forgiven, and Dion S. DAVID COHEN: Me. S. David Cohen groups was Country Joe and the Fish. Not could hold up his head on any campus in the (vocal and instrumentals). Mama Tried; that they aren't stilltrying, superficiallyat land. Now, with this recording, he estab- Lady Fair; Atlanta Farewell; Turning To- least, because on the back of this collection lishes himself as one of the eminent ballad- wards You; Isn't That the Way It's Supposed of "Greatest Hits" isa picture of Joe and eers or our day. Accompanied by classical or To Be; and six others. REPRISE 6375 $4.98. company as jaybird -naked as if they were at steel -stringguitars,andsometimesboth, a casting call for Oh! Calcutta! If it proves Dion challenges an awesome variety of ma- Performance: Imitative anything, aside from the fact that the chaps terial here, and does so in a relaxed but not Recording: Okay would be better advised to keep their clothes casual manner. He doesn't have the kind of Stereo Quality: Occasionally uneven on, it proves that they are trying to keep in voice I usually like very much-too thin and It'sa measure of how far the world has step. (If only Kate Smith or Lawrence Welk nasal-but there's a certain richness init, turned that the newest Tennessee country- or Tiny Tim could learn to get with it in and it conveys a lot of emotional sincerity. and-western advocate is named S. David Co- similar style, they might squelch all those He goes right up to the brink; one more step hen. He's a nice boy with a nice big voice put-downs about their datedness.) andhe would plungeinto the maudlin and a perfect Nashville guitar and harmonica Just why Country Joe's performances and abyss. He goes along the edge, not gingerly, accompanying him. He's also a fair poet. He material have dated so quickly I really don't mind you, but in a springy, confident gait. I has down pat all of the generic Tennessee know. Perhaps it is because they were never cannotimagineanyothersinger-even laments about women, love, home, allof really allthat important in the first place, Jacques Brel, one of the song's composers- them lost. Down too pat. For unlike Dylan, but simply in the right place at the right time equalling him on If We Only Have Love. who also chose the home-grown culture of for the right audience. Since I was never an Since leaving the Belmonts, Dion seems to America's back -country music ashis me- enthusiastic part of that audience, you will have become rather picky about the songs he dium, S. David doesn't have anything new to have to forgive me for my lack of enthusiasm records. The result here is a balanced, if per- say. In truth, there is nothing new to say on about an album of their "Greatest Hits." haps too ambitious, mixture of ballads, blues these matters. But a poet isapoet because P. R. (Continued on page 112) 110 STEREO REVIEW SHERWOOD ELECTRONIC LABORATORIES

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CIRCLE NO.31ON READER SERVICE CARD MAY 1970 numbers, and up -tempo lightweightslike The Dead are one of those groups that arouse DISCOUNTS You Can't Judge a Book by its Corer.He strong emotions, both positive and negative, isn't a great blues singer, but he does a fine and Isuspect that one of the keys to ap- SELLING HI-FI job onSweet Pea,which he helped write preciating their music is hearing them per- (and which, I hope, won't be taken for the form "live." Like many of the West -Coast NATION- WIDE sillyca.1963 bubble -gum song of the same groups that played for dancing in the mid - WORLD name). He is at his best with the slow ballad, and late Sixties, the Dead take a lot of time and on this disc he's at his very best on Just a to get started: four- and five-minute record WIDE Little Girl andLet Go, Let God(the latter, cuts are not the best demonstrations of their a DiMucci composition, will remind many skills. SINCE ofAbraham, Martin, and John). King Con Finally, however, they've been given am- Man,another Dion original, is a hip novelty ple time to stretch out on a recording. Warn- 1948 piece CI can sell you so many hot dogs/You er Brothers has released this two -disc set of COMPONENTS RECORDERS wouldn't look a cold dog in the face") with performances recorded "live" at various Dead blues rhythms, the sort of thing I was think- concerts. No effort was made to cut the KITS SPEAKER SYSTEMS TAPE ing only Tim Hardin, among current singer - music arbitrarily, or to focus on short pieces. songwriters, could do well. Consider that Two sides, for example, are devoted to single opinion revised. tunes-Turn OnYour Love Light(15" New Lower Prices If this recording has a flaw, it is that Dion 30') and DarkStar(23" 15') ! Only one side Same Day Reply To Your Inquiry has tried to do too much. For my taste, he has as many as three pieces (and one of Mfrs. Sealed Cartons could have thrown out YouCan't Judge a Double Boxed Where Possible Bookand one or two other up -beat pieces in Fast, Insured Shipments favor of more pretty ballads of the Justa Package Deals Save You More Little Girlsort-but this is about as critical Franchised Distributors for Over as I can get. Dion, after all, wrote four of the 50 Mfrs. songs, helped write four others, and arranged Open Monday thru Saturday the (excellent) accompaniment . . . he prob- Free Parking at Door ably had a lot on his mind. Noel Coppage Phones: N.Y.C. (212) 369-6212 Danbury, Conn. (203) 775-2562 THE FIFTH AVENUE BAND. The Fifth Avenue Band (vocals and instrumentals). Fast Freight; One Way or the Other; Good WRITE FOR SPECIALS VISIT Lady of Toronto; Eden Rock; Country Time OUR SHOWROOM/WAREHOUSE Rhymes; Calamity Jane;and five others.RE- if/// PRISE RS 6369 $4.9S, ® 4RA 6369 $5.98, CARS -TON ® 8RM 6369 $6.95. R.F.D. #3 - ROUTE 7 Performance: Wholesome to a fault BROOKFIELD, CONN. 06804 Recording: Okay CIRCLE NO. 7 ON READER SERVICE CARD Stereo Quality: Okay I highly recommend the Fifth Avenue Band A "New" Baroque Instrument as a better -than -average popular music group The Tenor Violin,recently rediscovered, toplayat your better -than -averagesocial bridges the gap between cello and viola. functions. But don't waste money on this This stereo recording samples both Ba- record. These six boys are personable and do THE GRATEFUL. DEAD roque and Contemporary uses of its beau- not appear-from the jacket photo-to have tiful sound and great agility. Wildly eclectic talents in fine form any bad habits.Icould go as far as to say they are wholesome -looking. The music they ALBERTA HURST thoseisa quick thirty -six -second sign -off produce and create is wholesome also. But track). TENOR VIOLIN then, milk is wholesome and it's been some The choices are good ones, representing J. S. Bach, Arioso time sinceIfound myself getting excited some of the best Dead on record, and those Boccherini, Sonata in A over a glass of milk. Musically, the boys' who have had difficulty accepting the Dead Telemann, Trio -Sonata style can best be described as that of white mystique should be won over by what is in- Hans Gal, Suite early Impressions, which inthis day and cluded here. The Dead's wildly eclectic tal- with Recorder, Viola da age is like being offered a wad of already - ents-from jazz -based modal improvisations Gamba, and Harpsichord chewed bubble gum. A sampling of the lyr- tocountry -tingedrock and hokeyFifties ics:''Nice folks/Got me singing all day/I Album includes a 4 pg. r-&-b-are heard in fine form. Try this one. article, "History of the think about sitting down along with nice D. H. TenorViolin." folks/Got a certain style/Drinking up the tea or maybe have one on me." I mean, these MAHALIA JACKSON: What the World Crystal Records, 5735 boys are too naive and precious to be ex- Needs Now. Mahalia Jackson (vocals) ;or- Other New Recordings posed to the dangers of living with today's chestra, H. B. Barnum arr. and cond.Day Is PERCUSSION BY WILLIAM KRAFT corruption. I wonder if there are six girls Done; Let There Be Peace; Everywhere I "Momentum," "Triangles," and "Theme and left in the world who still have dowries? Go; Joy in the Morning;and seven others. Variations," featuring members of the Los These sweet fellows would make perfect COLUMBIACS 9950 $4.98. Angeles Philharmonic, Wm. Kraft conducting husbands for such anachronistic ladies. R. R. -S104. Performance: Excellent Recording: Good ROGER BOBO & TUBA ELLA FITZGERALD: Ella (see Best of Stereo Quality: Excellent with Ralph Grierson, Piano. Music by Hinde- the Month, page 81) mith, Galliard, Kraft, Wilder, Barat -$125. The enormous amount of real conviction that WESTWOOD WIND QUINTET THE GRATEFUL DEAD:Live Dead. Mahalia Jackson has always brought to her Quintets of Nielsen and Hindemith - S601. The Grateful Dead (vocals and instrumen- work occasionally gets a little out of hand ...ultra -refined and precise playing... tals).Dark Star; Saint Stephen; The Eleven; here. It is not that I doubt her depth of feel- -Stereo Review Turn On Your Love Light;and three others. ing about the subject matter of a song such Order from your dealer or send $5.79 WARNER BROTHERS1830 two discs $9.96. asAbraham, Martin, and John,but that her each plus 50c postage and handling to: approach to the material seems more like Crystal Record Company Performance: The Dead finally "live" on breast -beating than a tragic cry. This let's - P.O. Box 65661, Los Angeles, Calif. 90065 record all -sit -down -and -have -good -cry attitude pre- Send for free Catalog Recording: Good to very good vails throughout most of the songs. A happy Stereo Quality: Good (or at least happier) exception isJoy in the CIRCLE NO. 55 ON READER SERVICE CARD ill STEREO REVIEW Morning, which Miss Jackson does superbly. them! Ithink I'lljustlet them have their By now Maha!ia Jackson is something of an little-though expensive-joke. The label is American institution, but like many institu- calledDeity andcarriesthe sophomoric tions she might be becoming a little too com- observation Deus Est Vivus. Well, it's true; placent about past achievements. To evoke somewhere God does live and Ihope He feeling, it isn't really necessary to lay on the takes His revenge on these fellows. A just dramatics with a trowel, something that hap- punishment would be to have this record pens rather frequently here. P. R. really succeed and allthe royalties go to the Salvation Army Band. I doubt that this ROSLYN KIND: This Is Roslyn Kind. foolishness can succeed, however. Most of Roslyn Kind (vocals) ;orchestra, Bhen Lan- the lyrics contain obscenities too rough for zaroni, Lee Holdridge, David Shire arr. and even the most liberal radio stations, especial- cond. Taximan; 1 Only Wanna Laugh; Please ly 1 Can't Get No Nookie. Everything here Take Me Home; It's Gotta Be Real; and is a joke, but so ineffectual I never realized seven others. RCA LSP 4256 $5.98, C) PSS just when the punch lines were being de- 1523 $6.95. livered. I hope the Masked Marauders have enjoyed themselves; very few others will find Performance:"A" for production Recording: All right this nonsense even amusing. R. R. Stereo Quality: Good NANA MOUSKOURI: TheExquisite Istart this review with great trepidation, for Nana Mouskouri. Nana Mouskouri(vo- I am very sensitive to the rivalries of sib- cals);instrumental accompaniment. Hello lings.I wish I didn't have to mention that Love; The Last Rose of Summer; Dance Till Roslyn Kind is Barbra Streisand's half-sister. You, Shoes Fall Off; Oh, Had I a Golden From that moment on, a comparison isal- Thread; II n'esl jamais trop tard pout vivre; most impossible to avoid. (More than any- Christos Genate; and six others. FONTANA thing, I have a monstrous curiosity to know SRF 67608 $4.98. if Roslyn's name once had an -a- in it which Performance:A girlfor some seasons Roslyn's was dropped justlikeBarbra's.) Recording: Good life will most likely always be a bittersweet Stereo Qua I ity Okay pillfor her, because sheisso obviously where she is because of who she is. She has a Nana Mouskouri("theexquisite" Nana better -than -averagevoice which has been Mouskouri, she is called on the jacket, right commercially packaged for mass consump- above a photograph of a plain -looking kid tion. Everything about this album isslick with straighthair and thick black -framed and professional, from the beautiful front glasses) is a girl from Greece who made her and back photos to the middle -of -the -rock - debut in an Athens tavern and has since road arrangements and the best recording toured the United States with Harry Bela- techniques. And the result isa large yawn fonte. She sings in French, Greek, and Eng- and a lingering feeling of pity for the pretty lish, and I would like to say that she sounds little thing. What Roslyn lacks,ironically, as at home in Paul Simon's Feelin' Groovy are her sister's fabulous flaws: the gorgeous and Bob Dylan's Love Minus Zero No Lim- hunk of nose, eyes too close together, the it as in Les parapluies de Cherbourg, except tendency to overreach vocally, the sappy sen- that she doesn't. Ragged numbers with non - timentality in selecting songs, the insecurity rhyming lines bring out the worst in her-a and vulnerability for which no amount of kind of patronizing condescension toward success can compensate. Barbra had to sing the material-but more conventional and for her supper, and she got breakfast, lunch, formal European songscallintoplay an dinner, and room service too. Roslyn wants elegance of style which is quite impressive. to sing. She's not wrong for wanting to, but She strikes exactly the right mood in 11 n'est the pity is Roslyn may never know that the jamais trop laid pour vivre. Greek songs main ingredientinstardustisdust-the such as Christos Genate, and even that tired plain, ordinary kind one finds on top of the old Last Rose of Summer. She manages to pianos in seedy night-clubs named Bonne lend a certain substance to the cloudsin Chance or the like, and in drafty rehearsal Joni Mitchell's Both Sides Now; but her at- halls. A singer shouldn't have to starve to tempts at Pete Seeger's Oh, Had I a Golden succeed, but it seems most of the best ones Thread and Kathe Trello Pedi, for example, have. R. R. come over as calculated and affected. Miss What'snewPussycat? Mouskouri should settle on a repertoire in We hereby declare 1970 The Year of the THE MASKED MARAUDERS. The harmony with her talents, rather than go on Pussycat. Our national prize-winning Masked Marauders (vocals and instrumen- trying to prove she can sing everything. P. K. drink has become a great success. No tals). I Can't Get No Nookie; Duke of Earl; wonder. This sunny, orange -sweet sour Cow Pie; I Am the Japanese Sandman (Rang - RECORDING OF SPECIAL MERIT makes you want to purr. And mixes up Tang Ding Doug); The Book of Love; and quick as a cat. Just combine a packet of four others. DEITY/REPRISE 6378 S4.98, ® ESTHER AND ABI OFARIM: Ofarim "Instant Pussycat Mix," water and Early 4RA 6378 $5.98, ,C) 8RM 6378 $6.95, © Concert. Esther and Abi Ofarim (vocals); Times. Ask for Instant Pussycat Mix at CRX 6378 $5.95. instrumental accompaniment. In the Alorn- in,g; Lord of the Reedy River; Never Grow your favorite food or liquor store. Performance: It's a joke, son Old; Oh11':11y, Willy; El Vito; and nine Recording: Okay others. PHILIPS PHS 600330 $4.98. StereoQuality: Good Performance: Runs the gamut This group is a facetious bunch of somewhat Recording: Good "on location" sound talented musicians who have indulged in the Stereo Quality: Real sneaky trick of putting together a "put-on" album. There is no clue on the album or the Israel -born Esther Ofarim and her husband recorditself who the Masked Marauders Abi are young, gifted, and Jewish and if this To get a set of 4-10% oz. Pussycat glasses reallyare. There are no photos, and the concert (recorded in Germany, where they and 4 packets of Instant Pussycat Mix*, elaborately sly liner notes do not give a hint. are immensely popular) is any indication, we send $2.95 to: Occasionally the music is good enough to are probably going to hear alot more of EARLY TIMES PUSSYCAT GLASSES, make me curious, butthen,tohell with them over here. They can sing, as the pro - P.O. BOX 378, MAPLE PLAIN, MINN. 55395 CIRCLE NO. 12 ON READER SERVICE PAGE MAY 1970 113 gramnotesclaim,inEnglish,Hebrew, job of chronicling the youth cult movement. French, German, Spanish,Italian,Dutch, They are, in anyone's terms, "with it," and GET Greek, and Russian. I am, on principle, put yet they are able to tell the straight people off by bright young couples who can sing in about it. Their music's importance should MORE and BETTER so many languages and tackle everything not be blown up out of proportion-this is, FM Stereo Multiplex from Brahms to ballads by the Beatles, but after all, fashion-but it describes what is the usually cautionary light in my brain soon going on as accurately as any form of com- stopped flashing in this case. The Ofarims do munication has managed to. And, to many BROADCASTS everythingwellandmostingratiatingly, people, fashion is fun. Noel Coppagr whether it is Donovan's Lord of the Reedy WITH River, Milt Okun's wistful arrangement of THE RIGHTEOUS BROTHERS: Re - Oh lValy,W'aly,an absolutely authentic - Birth. Righteous Brothers (vocals and in- sounding flamenco treatment of ElVito, strumentals); Bobby Hatfield, Jimmy Walk- Cinderella-Rockaf ella,or-yes,the)have F7A/C O er,andBarryRilleraarr.Woman, Man the nerve to ring it in, and the skill to bring Award WinningFMComponents Needs Ya; Born on the Bayou; Lighten Up; it off-Brahms' Lullaby. As the concert pro- Good N' Nuff ;You Don't Know Like I FM ANTENNA ceeds from one surprise to the next, the audi- Knott';andfiveothers.VERVEV6-5076 Model FM -4G ence grows audibly wild with enthusiasm, $5-98. and I found myself drawn into the general contagion. Miss Ofarim's treatment of Frank Performance: Strictly for sophomores $27.25 list Mills, the song about the motorcycling young Recording: Good idol that stops the show in Hair, may be StereoQuality: Good more serious than its creators intended, but As it says in the title, the Righteous Brothers itisalso more affecting thanI have ever have been re -born. The blessed event hap- FM BAND FM INDOOR heardit.Her rock -country version of the pened when Jimmy Walker joined Bobby PASS FILTER story -song Garden of My Home isexactly Model 3007 AMPLIFIER Hatfield to form a new brotherhood of blue- $7.30 list Model 65-7 right in style. In short, although these two eyed soul music. This album is the first issue $24.95 Wunderkinder are equipped with less than of the new alliance. Wonder of wonders. spectacular vocal equipment, their talent, in- I can hardly tell the difference. I don't mean telligence, and versatility carry the day. P. K. to say that Bill Medley, the original Broth- er, is not missed. Bill's voice was more of a JIM RADO, JERRY GARNI, GALTMAC- contrast to Bobby Hatfield's than Walker's DERMOT:DisinHAIRited. Jim Rado and voice, which is similar to Bobby's in range Jerry Ragni (vocals) ; chorus, orchestra, and and style. Personally, Ifeel some of the fire various soloists, Galt MacDermot arr. One- is missing. But Idon't know whether that Write Dept. SR -5 - for Catalog 20-213 Thourand-Year-Old Man; So Sing the Chil- is the fault of a new partner, or that their dren on the Avenue; Manhattan Beggar; white rock and soul beat may just be becom- THE FINNEY COMPANY Washing the World; The Bed; Mess O'Did; ing passe. The rhythm is still infectious and 34 W. Interstate St., Bedford, Ohio 44146 Dead End; and eleven others. RCA LSO itiscertainly great dance music, but the 1163 $5.98, ® 085 1043 $7.95, OK 1043 Righteous Brothers are still playing the same CIRCLE NO. 16 ON READER SERVICE CARD $7.95. musical game they succeeded at back in 1962, Performance: Adequate and I think maybe they're beginning to push Recording: Very good their luck alittle.I found an amusing re- Stereo Quality: Good verse parallel on this record. Years ago, soul WRITE FOR music often sang the praises of big fat ma- The use of the chorus in Hair troubled me. mas. Here, Bobby Hatfield has writtena The chorus is generally identified with the soul song titled Lighten Up as a warning QUOTATION theater, but it is not a part of contemporary to his gal to shake some of her calories or lifein the pop -culture avant-garde, about she'll lose him. I wonder if this type of glib- FACTORY SEALED CARTONS which Ithought Hair was speaking. Does ness isn't getting to be a little too blue-eyed FRANCHISED DISTRIBUTOR this mean Jim Rado, Jerry Ragni, and Galt to meet the requirements of soul music. Only MacDermot are bowing, somehow, to tradi- QUICK SHIPMENT time will tell. The success of the new Right- tion? That they do have a hang-up, after all? eous Brothers depends on whether or not Or does it mean that 1 do, in expecting a cer- today's youngsters will growuparound them tain consistency of behavior from this mes- and believe. R. R. sianic triumvirate? Whatever it means, the chorus is used expertly in this collection of ROXY. Roxy (vocals and instrumentals). WE GIVE odds and ends (several pieces are less than Love Love Lore; Sing a Song; New York two minutes long) connected with the pro- City; Somebody Told You; Love for a Long duction of Hair. These are songs that have Time; and five others.ELEKTRAEKS74063 been taken out of the show, or have changed $4.98. DISCOUNTS in form, or are init in a different context than they were originally. The recording is Performance: Anonymous rock ON HI-FI vitality fiber alles,a youth trip, crammed Recording: Very good with sex and put-ons and drugs and freaky Stereo Quality: Good COMPONENTS stuff and groovy stuff and funky stuff and all Roxy is a West -Coast group that no doubt the rest of it. There is fun and games with has more individuality inits "live perfor- the equipment, bops and squeaks and filters mances than it does on its first recording. all over the place. On the song Hello, There Oh, they play well enough, and may even (replaced on stage by a speech) there isa have a wider stylistic range than other new fake "stuck record" sequence. The perform- groups that come to mind. But that's about SOUND ersare suitablyloose and relaxed-Rado all. And the competition is a little too tough and Ragni are poor singers, but they're all for groups that can't come up with more con- REPRODUCTION, right in this context-and the chorus, in- sistently engaging material. D. H. congruous or not, is beautiful, a collection of INC. soul singers who can harmonize. LESLIE UGGAMS: Leslie. Leslie Uggams The recording is a gas, as they say, and I (vocals); Mitch Miller's Sing Along Gang, 460 CENTRAL AVENUE took it East Orange, New Jersey 07018 off the turntable with the thought chorus and orchestra, Garry Sherman arr. that itis fortunate Rado, Ragni, and Mac - (201) 673-0600 and cond. More; Tenderly; He's Got the Dermot have been given, or have seized, the Whole World in His Hands; Summertime; CIRCLE NO. 46 ON READER SERVICE CARD 114 STEREO REVIEW Lonesome Road; Trolls y'Song; Moonlight Isit, month after month, at my bartered in Vermont; Am I Blue; Someone to Watch turntable, waiting for something-anything! Over Me; And I Love Her (Him).COLUM- -that I can stand to listen to twice, and I BIACS 9936 54.98. am rewarded practically never. That's why Performance: V is for vibrato the voice of Marlene VerPlanck fills me with Recording: Good such fulfillment and happiness, and with Stereo Quality: Good such hope for the future of popular music. In anageof sound -alike no -talent screamers, Some years ago when Ifirst saw Leslie Ug- she is pure, undiluted joy. gams on Broadway inHallelujah, Baby,I There are times when Ithink the only said, "Boy, she's cute, but she's gotsome good singers left in this world of cacopho- vibrato."Today,Leslieisbeautiful,and nous rock are the unidentified voices in tele- she'sstill got some vibrato. Now vibrato vision commercials. Holden Caulfield,in frequently wins out over the voice entirely, The Catcher in the Rte,used to wonder but Leslie seems to have made peace with where the ducks on the Central Park lake hers, and uses it to tickle such chestnutsas went in winter when the water froze over. I Trolley Songpractically todeath.Iwish wonder where those clear, on -pitch, sensi- You already know something would kill off that song, along tive, finely -honed voices go when they finish withMoonlight in Vermont, Tenderly, Sum- selling cigarettes and detergents. Marlene's is one of those voices, and she should beon our name... top of the entertainment world right now. It a is with unreserved enthusiasm, then, thatI can endorse her talents and abilities as a flesh -and -blood creature who isalive and well and doing her musical thing with dedication and success on a small label called Mounted Records. This unique and immensely appealing album isproof. Her training (with the John LaSalle Quartet on the old now get to know Capitol discs by that group) and herex- tensive experience (jazz, TV entertainment our pipes. shows, big bands., and-heaven forbid !- Winston commercials) have prepared her for the many moods of this album. She handles her solo flight with the ease ofan angel. Marlene is one of those rare singers whose every phrase and note comes out with impeccable taste and perfection. Her control is more than musical;it seems to come from some higher inspiration. On up -tempo tunes, especially those based on bossa-nova (like MARI.I NE VERPLANCK Jobim'sWave),she is so relaxed within her Impeccable taste and angelic ease groove that she carries the audience right along with her. The ultimate example of what mertime, Lonesome Road,He's Got the I mean can be heard onI'm All Smiles, Whole World in His Hands, Someone to with its flashes of gently swinging humor, lratch OverMe, andAm I Blue.Or maybe and its high-octane Kentonish finale. Even it's the vibrato that should be killed off. Or at breakneck tempos, her dictioniscool could it be that I'm allergic to Mitch Miller and crisp as new celery. and his Sing Along Gang. This album is a For reflective tastes, she is equally at home bad combination. Between Uggams' vibrato with throbbing ballads. There is anarrange- and Miller's follow -the -bouncing -ball jump- ment of the old chestnut,I Have Dreamed, iness, a fellow could get to thinking maybe that is as personal and lusciousas anything Kaywoodie. A century old name. You won't he had a slight case of what my grandmother I have ever heard. These, and all the other find it on just any pipe. But when you do, called "the palsy." Only two selections here tracks on the album, are arranged by Mar- you know it's special. Like the Kaywoodie save this album from beingacuriosity piece. lene'stalentedhusband,Billy VerPlanck, Flame Grain treasured almost as a collec- The) areAnd I Lot e Him (Her)andMore. with a firm knowledge of the commercial de- tors' item. Because only one in 1,000 briar These two "moderns" are the bacon on a mands of today's record buyers and a superb- blocks has this natural flame -graining. And very limp drugstore BLT. But Mitch Miller lyhip understanding ofjazzeclecticism. only Kaywoodie takes the time to select them. lays on so much mayo that the whole affair is And of course the most important thing is too drippy for words. R. R. that, when all the talk about technique and But that's Kaywoodie, the rare one. Cut sophistication and musical know-howare put from the oldest and finest briar, then pain- stakingly shaped, hand -worked and hand RECORDING OF SPECIAL MERIT aside and the record is on the phonograph, - she has a magnificent voice.Itis warm, rubbed. The permanent, built-infilteris MARLENE VERPLANCK:This Happy sexy, healthy, alluring, fresh, and gorgeous added to condense moisture, trap tars and Feeling. Marlene VerPlanck (vocals); Billy to listen to. Her style could be analyzed to irritants. Whether it's a Kaywoodie Flame VerPlanck, arr. and cond.This Happy Feel- all hell and back, but I still couldn't tellyou Grain at $20 or any other Kaywoodie from ing; I'm All Smiles; The More I See You; how she does it. Listen and learn foryour- $6.95 to $100, the result is a thing of beauty. Down Here on the Ground; How Can I Be self. What I can tell you is that in theage of A smoother, milder, more flavorful smoke. Sure?; Wave; A Little Love Should Rub Off freaks and publicity -promoted phonies who All you have to choose is the style. We've on Us; Mission Impossible; I Have Dreamed; don't know the first thing about music, Mar- already done a lot of choosing for you. I Chase a Rainbou. Dream; Go Flya Kite. lene VerPlanck makes them all sound sick and MOUNTED M -I14 $5.25 (available by mail silly. She is what sane and intelligent singing from Mounted Records, 888 Eighth Ave., is still all about, and as long as she's around New York, N. Y. 10019). to remind us all that good music is nothing KAYWOODIED to be ashamed of, listening to her sing will The hand -made pipe Performance: Luscious not only be a pleasure but a privilege.R. R. Recording: Good Send 25? for complete catalog. Tells how to smoke Stereo Quality: Good a pipe; shows pipes from $6.95 to $250; other prod- (Continued on next page) ucts: write Kaywoodie, N. Y. 10022. Dept. 1S5. MAY 1970 CIRCLE NO. 24 ON READER SERVICE CARD 115 $6.95, ® Liberty 8997 56.98, © Liberty C 0997 $6.95. Performance:The most of McCann Recording:Perfection on a disc HI-FI Stereo Qualify.Excellent "More or Les McCann" is a perfect album. I COMPONENTS keep trying to find a flaw init,but after forty-seven playings, I'm still unable tolo- TAPE cateits Achilles heel. Of course, to agree with me, you have tolike jazz, atleast a little. Believe me, even if you only like jazz RECORDERS a little, when you first play this, you'll love TAPES, ACCESSORIES RECORDING OF SPECIAL MERIT McCann a lot when you've finished. If you are familiar with jazz, you willalready love SLEEP LEARN KITS HERBIE MANN: Concerto Grosso in D McCann, and with the help of this disc you'll Blues. Herbie Mann (flute) ;instrumental enter a new phase called worship. MERITAPE soloists; Berlin Symphonic Orchestra, Wil- Let's go straight to basics. First, there are liam Fischer arr. and cond. Concerto Grosso eight perfect songs on this album; McCann in D Bluer; Senre of No Return; niling sings three of them and plays piano on all. SAVE MONEY If My Little Ones.ATLANTICSD 1540 $5.98. LOWEST PRICES Performance:Mann's best ii INTEGRITY SERVICE Recording:Excellent Excellent FRANCHISED DISTRIBUTORS Stereo Quality: WRITE FOR OUR VERY LOW If I free -associate the instant I hear the name PACKAGE QUOTATIONS Herbie Mann, flute, jazz, stoned, a go go, Nationally Advertised Brands beard, smoke, more jazz are what come to let alone Factory Sealed Cartons my mind. I don't think of concerts, a concerto grosso. But then, if Ithink further, WriteFREE CATALOG it really would be the logical thing. George Visit Our Showrooms Gershwin mixed jazz and concert; Igor Stra- vinsky did too,so why shouldn't Herbie, DRESSNER along with William Fischer, compose a con- 1523 G JERICHO TPKE. certo grosso in D, and throw in theword NEW HYDE PARK, N.Y. "blues"justso the world shouldn'ttake 11040 them too seriously? Jazzmen have always been defensive about their music. They have CIRCLE NO. 10 ON READER SERVICE CARD also always been fascinated with the concerto as a medium. The title piece takes up all of side one and is eerily beautiful. It has large chunks of Gershwin memories, and is romantic and lush, with climaxes expertly expressed by a LES MCCA N N THIS Sunny, outrageous, warm, and wise stellar team of soloists: Mann on flute, Roy Ayers on vibes, Sonny Sharrock on guitar, OVER 65 YEARS Ron Carter on bass, and Bruno Carr on All are arranged by Gerald Wilson, and drums, with the eighty -man Berlin Symphon- bassists Herbie Lewis and Victor Gaskin, OF RELIABILITY ic Orchestra. This is no meat -and -potatoes and drummers Ron Jefferson and Paul Hum- production.Itisa magnificently produced phrey, are present for the session. The sound ragoutthat has been spared no extrava- is good and the pacing is great. McCann gances in either ingredients or chefs. wrote the first band, Someone Stole MyChit - IS WHY STEREO & HI-FI On side two, the quintet, with a brass thins, and it can only make you smile. Then ensemble, plays William Fischer's Sense of they switch to the classically lonesome Since BUYERS CAN BE SURE OF No Return, which is more like Mann as you I Fell for You, by Buddy Johnson. This is usually hear him, So it goes with the quin- an arrangement so compassionately sungit tet, and a double string ensemble, in Herbie made me want to hear it over and over. Then Mann's 11.:/i/ingIt'all and Al) Little Ones. stay with the record as the mood changes to Very, very sweet flutingis heard through- the grandest version of John Lewis' Django. SAVINGS out. Special praise should go toibist Roy Then comes a soft and warm Falling in Love AT RABSONS Ayers, whose sound is distinguished above with Love in an effective blend of piano, AtRabsonsCompetitivePrices,Reliabilityand all others. He isabrilliant musician. The bass, and strings. PersonalServicehave been bywords for over 65 ensemble playing asa whole,too,leaves Side two starts with Please Send Me Some- years. nothing to be desired. It's Mann and com- one to Love and the pleasure is exquisite. deal withRabsons. It'sso EASY and SAFE to pany at their best. R. R. Lavande is another McCann original with As close as your telephone - as near asyour jazz foremost on his mind, and he follows mailbox Fast AirMail Response on Quotation through similarly with It's Way Past Sup- Fi Requests Franchised Distributor for Hi Lines MASTER JAZZ PIANO, Volume I(see factorysealed pertime and Narobi Nights. Les McGann is Allmerchandise brand newin Best of the Month, page 82) of cartons, shipped double -packed, fully insured sunny, gifted, deep, outrageous, but most

promptly from our warehouse Greater sayings all warm and wise. This record is one of my on complete systems Export packing 220 Volts, RECORDING OF SPECIAL MERIT most cherished of the new year. It will take 50 Cycle merchandise aspecialty Freelistof another creation of genius to stand next to it. monthly specials. LES McCANN: More or Les McCann. Les McCann (vocals and piano); orchestra, Who said jazz wouldn't travel to the moon? BEFORE YOU BUY GET A RABSONS Gerald Wilson arr. and cond. Someone Stole R. R. QUOTE... YOU'LL BE GLAD YOU DID! My Chittlins; Since I Fell for Yon; Django; Falling in Love with Lore; Please Send Me Someone to Love; Lavande; It's Way Past RABSONS57 ST. 119 West 57th Street, New York, N. Y. 10019 Supper Time; Narobi Nights.WORLD PA- Tel. Area Code 212-247-0070 CIFICST 20166 $5.98, ® B 20166 (334) 5S ONREADERSF RVICFCARD CIRCLE NO STEREO REVIEW 1I 6 Most automatic THE EXOTIC SOUNDS OF BALI. Per- formed by Gainelan Gong Sekar Apjar and Gender Wajang Quartet, Dr. Mantle Hood dir.Baris-Bapan; Sekar Sungsang; Tabuh Teluh; Rebong; Legong;and four others. ODYSSEY 32 16 0366 $2.98. automatic. Performance: Lovely percussion music Recording: Very good Stereo Quality: Seems to be okay This is highly esoteric stuff, but more appealing than you might imagine. Balinese music, of course, is intimately related to a narrative form of dance. Lacking the visual stimuli that the sinuous Balinese dancers provide, the gently soothing sounds of percussion instruments and gongs (which are struck,clanged,stroked,and, no doubt, rubbed) becomes a bit wearing. The program was prepared under the direction of Dr. Mantle Hood, a major authority on Balinese music; he wisely has kept most of the pieces under five minutes. This is a reissue, by the way, originally available as Co- lumbia MS 6445. D. H. HUNGARIAN STATE FOLK ENSEM- BLE: Rainbow Garland. chestra of the Hungarian State Folk Ensem- ble, Rersi; Lantos and Miklos Paszti cond. Gypsy Dance Suite; Slovakian Spring Caller; Swabian Ball; Serbian Wedding; Rumanian Christmas Plays; Nagyrede Wedding.QUALI- TON LPX 1281 $5.98. Performance: Rousing Record in gFirst -rote Stereo Qua I ity Ear -opening Lusty energy isthe hallmark of the Hun- garian State Folk Ensemble, a group founded If there's one thing you want when in1950 to "promote the artistic develop. you travel - ment of Hungarian folk song and dance and around the blc 2k or around the world- it's a camera to popularize them abroad." This determina- that's fast and easy. tion may be reflected in the fact that the al- This is it. Th.e Kodak Instamatic 814camera. The most bum comes with liner notes in four lan- automatic autcmatic. Just drop in the film guages. The music played on thisextra- cartridge. ordinarilyvivacious recording was scored The "814" accepts any 126 -size film, forsnapshots or to accompany dances that represent many slides; adjusts itself to the speed of the film;computes aspects of Hungarian folklore-gypsy, Slo- the exposure; tells you when touse flash; adjusts vak, Swabian, Serbian, and so forth-and it automatically for flash exposureas you focus. It's so does not spare the cimbaloms. Itis difficult to keep from dancing yourself when you automatic, it even advances both film andflashcube for listento the instrumental ensemble under the next picture after you've clicked theshutter! the vigorous baton of Rerso Lantos, and the You could hardly make a mistake choral forces led by Miklos Paszti. There'sa even if you tried. gypsy dancesuite;a compositioncalled l'lieb'diintended as a caricature of a Swabian Complete and self-contained, this ball held in Hungary byemigreGermans traveler's aid comes with a precision that captures every mannerism of thegenre rangefinder anC. a superb 4 -element with wicked humor; and aTurka,or Christ- f/2.8 Ektar lens. Travel right. It's less mas game, redolent of Rumania, during which than $145 at your photo dealer's. a "gruesome animal figure" is escorted from house to house by a band of singers whoper- formkolindas(carols) and dances guaran- Kodak Instamatic8814camera. teed to wake up slumbering neighbors. A Prize subject to change without notice. village wedding, a kind of lushLes Noces, winds up a dazzling program. P. K. MAY1970 CIRCLE NO. 13 ON READER SERVICE CARD 1 1 7 radio broadcast, not for LP's), I think I can ANabsolutelytrue story: Mr. W., who recording of Hart Crane, that sad man, is a was reading his poems one night to good case in point: it was simply discarded say with impunity that most living poets 1. are usually delighted to read anytime, any- a large group of poetryenthusiasts at the because, seemingly, no one recognized its famous X -Marks in the Bowery, was inter- value. Thus, no Hart Crane in the Trea- where, for almost any reason, for any fee rupted by a bang, a firecracker a neighbor- sury. Other seminal figures are absent too, or for none. I must conclude, then, that the for any number of acceptable reasons-but Treasury's lineup is about what the gen- hood kid had tossed in the entrance. Mr. tlemen in charge wanted it to be. In my W. looked up, smiled, and announced that then thereisEliot. As you may know, Mr. Y., a poet of a different cut, had just Eliot never appears in anthologies. The opinion, the choice of the younger poet - participants is far too conservative, and T committedsuicide.Everybodycheered. Treasury manages to slip him in, however, Which serves to point out (I hope) how it reading some foolishness he wrote about think the overall quality of the Treasury is with partisanship among poets, poet - cats. He had a ponderous sense of humor, suffers therefrom. and/or poetry-lovers-were allas mean and his absence from these proceedings A repeating blurb on the record sleeves says, in part, that poetry to each other as socialists. would not have bothered me much, though At any rate, Spoken Arts has just re- it would be insane for me to deny his position as an American poet of the first magni- .. (returns) once more tothe celebra- leased a vast and unique set of records tion of clarity, precision, and form in the called "A Treasury of 100 Modern Amer- tude. (It is my personal hope that Wallace (discipline) of Karl Shapiro, Theodore ican Poets," an eighteen -disc compilation StevenswillsoonreplaceEliot-and Roethke, Sylvia Plath, Robert Lowell, of American poets, living and dead, read- Pound, too-as our major poet on that Howard Moss, Peter Viereck, Richard ing selections from their own work. In Wilbur, W. D. Snodgrass, Ann Sexton spite of its enormous size, no one poet re- and Ruth Stone. ceives a great deal of attention, and some of what we find here is available on other Spoken Arts What's going on here? Howard Moss? releases by previously recorded individual presents Peter Viereck? These people don't belong poets. Yet the Treasury does contain excit- on any list of world-beaters, nor do a few ing rarities, it is the only thing of its kind others of the names cited. Even allowing as regards size, and it should be of real use for the general significance of this particu- to any person or institution requiring a lar listing, the focus is a terribly academic collection of authentic oral American po- 100 POETS one and simply ignores a large and vital etry in a "handy" format. sector of American poetry. A handsome production, with its Leon- ard Baskin art -work and its three hinged AGAIN, to single out but one poet, why boxes within a large slip -case,the total "LIVE" does Ogden Nash-that relentless middle- package costs $117 (wow!) but the con- brow who is to poetry what Paul White- tents are also being made available sep- man was to jazz-receive so much space in arately at $6.50 per disc. This should be the collection, while Kenneth Koch re- especiallyinterestingtosomeone who IN A BOX ceives no space at all? Koch is one of the would like to get his hands on the rarities wittiest poets of this or any other American and avoid the reissues. But if you fancy the Reviewed by generation. Many of the losers in the Trea- whole package, you'll need a clearing on Nlichael Silverton sury are even less well reputed than Mr. the coffee table big enough for helicopter Nash; to identify them would be irksome and probably uncharitable-I do not mean landings. ora The Treasury deals with the idea of po- to make this an armchair trapshoot. Rather, etic modernity in conventional fashion, as let us say that Lawrence Ferlinghetti is an starting with Whitman (who is not a read- interesting poet (he's one of the readers), er, of course); it begins with Edgar Lee system of pedestals academic folk use as a but is he really chiefest among the Beats? Masters reciting bits from his Spoon River means of ordering their mental lives.) One What about Gregory Corso and the late Anthology and leadsatlasttoRobert of the more dazzling scoops in the Treasury Jack Kerouac? CharlesHenriFord,a Kelly, the youngest of the participants, in is a group of a few poems by Gertrude homegrownsurrealist,isalsomissing, orderof birthdate-asensible way of Stein, recorded by this outstanding lady as though he stands for an important aesthetic going about things in view of the set's bulk a favor to a teacher who asked her for adevelopment in the United States. And and diversity. (Kelly, a dear person and a demonstration of how her work should be where is that gloomy independent Alan fine poet, is in his middle thirties.) read. The cuts were taken from the alumi- Dugan? And where is Charles Olson, a num originals and are, for me, especially unique reader and a charter Black Moun- FIE readings are mostly grand (as good intriguing. tain poet, and therefore extremely signifi- poetry and good performance), and I got to The gentlemen who are responsible for cant? It would also have been nice to see hear many of my favorite poets reading assembling these recordings are not strang- JackSpicer,Ed Dorn,RussellEdson, CharlesSimic,JamesSchuyler,Robert whatIhad previously known onlyas ers to American poetry and do explain, as printed words. But there is always the I've said, why certain older poets are miss- Duncan, Philip Lamantia (the only other question of which one prefers, the reading ing. One senses their deep regret at not American surrealist of any stature), Gary of the poem by oneself, or what we have having been able to do as thorough a job Snyder,thelateFrank O'Hara, Louis here, the final word, by its author, on how as they'd have liked. As we close in on the Zukovsky, Philip Whalen, Michael Mc- the poem should be read. For myself, read- contemporary scene, however, the "Mod- Clure, Ted Berrigan, and Andrew Hoyem ing wins over listening. I enjoy seeing how ern" in the title of this set becomes more as canonized Treasures. I won't say that all lines look as well as sound (in that room and more difficult to square against the of the above -mentioned delight me, but in our heads where we hear what we read). choice of poets, the omissions of poets, and, they are at least as important as, and far Often, as exemplified in the Treasury, the consequently, what amounts to an editorial more interesting than, about a third of author of a poem does not do as well with posture. I have it via a confidence that one those who have been canonized. After all, it as an aesthetic event as does the profes- of the active moderns whom the editor and one does not run about making treasuries sional reader, usually an actor. Many poets producer would have liked to include asked without,in the process, implying some are accomplished mumblers, the age of $500 for each poem, and that it was im- kind of merit to the contents. some of these recordings doesn't help, and possible to comply with this nutty condi- The notes to the collection consist of a theacousticsandtechnicalequipment tion. The poet in question is anti -white and brief essay, from which I quoted above. aren't always of the best. anti -Establishment and wanted to be re- Its repeated on every sleeve. In addition The Treasury is,though, a real on- fused, I think. But as someone who has there are Paul Kresh's biographical notes slaught of native genius. Were it not for been in the business of recording poets (for on each of the poets and his assessments of efforts like this one, a lot of recorded ma- the contribution each has made to American terial would eventually become misplaced Michael Silverton is a poet and teacher of poetry. Of course, the pedagogue in me and then lost forever. The loss of a rare English in a Brooklyn, N. Y., high school. screams for some kind of text or booklet

STEREO REVIEW I I 8 that would supply a better overview of the whole held. Evenifitwould have raised the price of the package, such an in- clusion should have been seen as absolutely LOW PRICES essential. American poetry-particularly the Stereo Corporation of Ame-ica Is One Of the Largest Wholesale modern variety-is too full of aesthetic and Franchised Distributors. All merchandise shipped same day fromour warehouse, fully stylistic directions to be apprehended with- insured in factory sealed cartons. Our one aim isyour complete satis- out a great deal of help. faction, - merchandise -wise, price -wise! From HI -Fl componentsto com- So, then, the "Treasury of 100 Modem plete stereo systems,ifit's nationally advertised, we have it! Discounts American Poets-is neither complete nor of course! Right now, write now. . . for your special quote. Savings are heaven-sent, though one doubts that the bigger than ever in honor of our recent expansion. -schools, libraries, and scholars'' for which and whom the project was undertaken will be terribly scandalized. In the main, it's good-stodgy maybe, but asI warned you [Kilnibl:ITION OF AMERICA at the start, I'm partisan. And, of course, it 2122 Utica Ave., Bklyn., N.Y. 11234 (212) 338-8555 leaves plenty of room for another Treasury. STEREO The sound is mono and de faun: poor, CIRCLE NO. 47 ON READER SERVICE CARD fair, and good, depending on the source. Pressings are very clean, and the old ma- ABOUT YOURSUBSCRIPTION terialin particular has been welldealt Your subscriptionto STEREO REVIEWis with. start sending you two copiesof S TEREO maintained on one of the world's most mod- REVIEW each month. Other examples of com- THE SPOKEN ARTS TREASURY OF ern, efficient computer systems, and if you're binations of names that would confuse the too MODERN AMERICAN POETS like 99% of our subscribers, you'll never computer would include: John Henry Smith READING THEIR POEMS. Arthur Luce have any reason to complain about your sub- andHenry Smith; and Mrs. Joseph Jones and Klein, producer; Paul Kresh, editor. SA- scription service. Mary Jones. Minor differences in addresses P -18,18 discs $117(also available for We have found that when complaints do can also lead to difficulties. For example, to $6.50 per disc). Volume I: Edgar Lee arise, the majority of them occur because the computer, 100 Second St. is not the same as 100 2nd St. Masters, James Weldon Johnson, Gertrude people have written their names or addresses Stein, Robert Frost, Carl Sandburg. Vol- differently at different times. For example, So, please, when you write us about your subscription, be sure to enclose the mailing ume II: Wallace Stevens, Witter Bynner, if your subscription were listed under "Wil- label from the cover of the magazine-or else Max Eastman, William Carlos Williams, liam Jones, Cedar Lane, Middletown, Ari- copy your name and address exactly as they Louis Untermeyer. Volume III: Ezra zona," and you were to renew it as "Bill appear on the mailing label. This will greatly Pound, William Rose Benet, John Hall Jones, Cedar Lane,Middletown, Arizona," Wheelock, H. D. (Hilda Doolittle). Vol- reduce any chance of error, and we will be our computer would think that two separate abletoservice your request much more ume IV: Robinson Jeffers, Marianne subscriptions were involved, anditwould Moore, John Crowe Ransom, T. S. Eliot, quickly. Conrad Aiken. Volume V: Robert P. Tris- tram Coffin, Archibald MacLeish, Donald Davidson,DorothyParker, Mark Van Doren, e. e. cummings. Volume VI: Bab- ette Deutsch, Louise Bogan, Lenore G. Marshall, Stephen Vincent Benet, Malcolm McIntoshCATALOG Cowley. Volume VII: Allen Tate, Leonie Adams, Yvor Winters, Oscar Williams, Langston Hughes. Volume VIII: Theo- and FM DIRECTORY dore Spencer, Ogden Nash, Countee Cul- len, Merrill Moore, John Holmes, Richard Get all the newest and latest informationon the new McIntosh Sol- liberhart. Volume IX: Robert Penn War- id State equipment in the McIntosh catalog.In addition you will receive an FM station directory that covers all of North ren,StanleyKunitz,KennethRexroth, America. W. H. Auden, Theodore Roethke. Volume X: Paul Engle, Winfield Townley Scott, Elizabeth Bishop, J. V. Cunningham, Ken- neth Patchen, Brother Antoninus (William Everson). Volume XI: Hy Sobiloff, Karl Shapiro, John Frederick Nims, Delmore Schwartz, Muriel Rukeyser, Barbara Howes. Volume XII: Randall Jarrell, John Berry- man, Owen Dodson, Jean Garrigue, Ruth Stone,Hollis Summers. Volume XIII: John Ciardi, Peter Viereck, John Malcolm Brinnin, Robert Lowell, Gwendolyn Brooks, William Jay Smith. Volume XIV: Wil- liamMeredith, May Swenson, Howard MX112 Nemerov, Lawrence Ferlinghetti, Richard FM STEREO/AM TUNER PREAMPLIFIER Wilbur, Howard Moss. Volume XV: An- thony Hecht, James Dickey, Louis Simp- -ALL SOLID STATE son, Denise Levertov, Philip Booth, W. D. Snodgrass. Volume XVI: James Merrill, McIntosh Laboratory Inc. Robert Creeley, Allen Ginsberg, David 1 Chambers St., Dept. SD7 Wagoner, Robert Bly, Galway Kinnell. SEND Binghamton, N.Y. 13903 Volume XVII: John Ashbery, James NAME Wright, Peter Davison, Donald Hall, Anne Sexton, Adrienne Rich. Volume XVIII: ADDRESS Robert Pack, John Hollander, John Up- TODAY! dike, Sylvia Plath, Mark Strand, Robert CITY STATE ZIP Kelly. CIRCLE NO. 29 ON READER SERVICE CARD MAY1970 119 Music doesn'thave tobe dead justbecauseitisn't live.

RCA tapes put life in your recordings.and reel-to-reel. And we have whatever kind of And Red Seal cassettes and Red tape it takes to do it. Seal reel-to-reel for personal recording. Low noise mastering tape for the These tapes don't miss a note. pros. In %-, I/2-,1- and 2 -inchwidths. Your music sounds alive on RCA tapes. Back -lubricated tape for Stereo 8 Sound us out. Write RCA or 4 -track cartridges. Magnetic Products, 201 E. 50th St., Duplicating tapes for cassettes New York 10022. Rcn RCA Recording Tape

CIRCLE NO. 33 ON READER SERVICE CARD STEREO REVIEW 120 STEREOTAPE

Reviewed by DAVID HALL DON HECKMAN IGOR KIPNIS PAUL KRIzsli ERIC SALZMAN BACH: Prelude and Fugue in ElicitMa- the harpsichord is used incontemporary mu- hearing again, and the performance jor (BWV 552); Prelude andFugue in E sic, but Cage's must be the is ex- Minor (BWV 548); Trio Sonata most perverse traordinarily skilled. No. 5, use of the instrument(actuallythreeof in C Major (BWV 529); Chorale Prelude, The original Nonesuch disc hadnotes on them) since the first such piece writtenin "Kommst Du nun, Jesu, the back and front of the album;the Ampex von Himmel this century by Delius. There isnothing berunter"; Chorale Prelude, "Wachetauf, tape package reproduces only the frontcov- ruff uns die Stimme" (BWV inherently wrong, I feel, with theconcept of er, cutting off a sentence right in the mid- 645). Karl chance composition, whicha computer here Richter (Organ). dle. And Ampex does not includethe disc's DEUTSCHE GRAMMOPHON has worked out to unusualcomplexity. In DGC 9321 (71/2) $7.95. addition to combinations involving computer -arranged special sheet for the lis- fifty-one tener to adjust his own bass, treble, volume, Performance: Good electronic tape sounds, thereare three harp- and balance controls for further Recording: Churchy sichords(HPSCHD, refinement we are told, is the com- of anarchy in the Cage -Hiller. I. K. Stereo Quality: All reverb puterized versionof the word), each of Playing Time: 53'26" which has a different program to play: an LISZT: Mazeppa, Symphonic PoemNo. 6; These are presumably good performances, Hungarian Rhapsody No. 5, in E Minor; but I find it hard to tell. Thepreludes and Hungarian Fantasia for Piano andOr- fugues are played ona big -sounding organ chestra; Hungarian RhapsodyNo. 2, in ina Church in Copenhagen and recorded C -sharp Minor (Piano:No.12). Shura Cherkassy with enough ambiance to wake thedead and (piano);BerlinPhilharmonic send sinners scrambling torepent. The bass Orchestra, Herbert von Karajan cond. booms out, but one almost hasto imagine DEUTSCHE GRAMMOPHON ©923086 $6.98, ® 88692 $6.95. treble entries. Personally I can'tthink who suffers through organ recordings likethis, Performance: Glossy unless it be some lapsed believer wholikes to Recording: Good imagine himself back in church. In fairness, Stereo Quality: Good the softer stops of side two-the TrioSonata Playing Time: 57'30" andchoralepreludes-emergewithfar greater clarity and are musically persuasive. These 1961 readings by Karajan andhis Ber- liners of the rather obvious The tape transfer seems respectable. E. S. Mazeppa,the piano -orchestra Fantasia elaborated fromthe BORODIN: String Quartet No. 2, inD Hungarian Rhapsody No. 1 (Piano No.14, Major (see TCHAIKOVSKY) -MohacrField"),and two lesser -known and more interestingHungarian rhapsodies, CAGE -HILLER: HPSCHD, for stress the lyrical detail and coloristicaspects Harpsi- of the music in such a chords and Computer -GeneratedSound way as to minimize its more blatantly vulgar moments. Except for Tapes(1967-1969).AntoinetteVischer, a Neely Bruce, and David Tudor (harpsi- fairly high hiss level, the excellentsound of chords). JOHNSTON: String QuartetNo. the disc original comes through well incas- 2 (1964). The Composer's Quartet. sette format, with excellent stereo localiza- NONE- KARL RISTENPART SUCH ®E 1224 (33/4) 54.95, ® M 81224 tion. Incidentally, the programnotes in the $6.95, © X 51224 $5.95. Delightfully fresh and amiable Schubert cassette package state correctly the number of the C -sharp Minor HungarianRhapsody Performance: Johnston excellent, Cage aleatory waltz by Mozart, twelve-tone equal- -No. 2 of the orchestral series of six, and anarchistic temperamentditties,passagesofMozart, not the very familiar one-but cover and Recording: Excellent Chopin, Schumann, Gottschalk, Beethoven, label call it No. 4. D. H. Stereo Quality: Does what it's supposed to Busoni, Schoenberg-and Cage and Hiller. Playing Time: 36' It lasts twenty-one minutes; I hada headache SCHUBERT: Symphony No. 1, in D Ma- after the first five. And I objectonce again, You have all heard of desert -island record. jor (D. 82); Symphony No. 2, inB -flat not because of the concept but because of Major (D. 125). South German Philhar- ings. Well, this is the one thatIworth/tit the execution, which is total, controlled or monicOrchestra,KarlRistenpart take along first, and primarily because ofthe uncontrolled, cacophony. At first noisy, this cond. Cage piece. Normally I'm delighted NONESUCH ©N-5-1230 $6.95. when -experience" ultimately becomes one ofte- dium and almost unrelieved boredom. What Performance: Amiable a waste of three harpsichords, which you Recording: Generally good Explanation of symbols: can hardly hear through the din! Personally, Stereo Quality: Acceptable g=reel-to-reel tape I find the New York subway offersas much Playing Time: 59'49" ) = four -track cartridge sonic anarchy, and atleast there you are C) = eight -track cartridge The late Karl Ristenpart hada nice way with getting from one place to another. these pieces from the pen of the © = cassette Ben teen -aged Johnston'sSecondStringQuartet Schubert. He didn't tryto blow them up The firstlistingisthe one reviewed; seems to have the stature of late Beethoven into virtuoso showpieces or to endow them after the Cage -Hiller; it may not, of other formats (if available) followit. course, with unfitting weightiness. Tomy ear, they but within its highly organized framework come out just as intended-delightfully fresh Monophonic recordings are indicatedby it has some very interesting ideas, notably the symbol C); all othersare stereo. Hausmusikwritten to be played by enthusi- the use of just tuning and microtonal in- astic amateurs. tervals. This is a piece worth hearing and More to the point here is somecomment MAY 1970 121 Donovan's life view is a fairly sunny one: last, and Gaye manages to make each seem to on the cassette format,in terms of sound and advice in have the same melody as the last. Just one, thing, I miss not having "Fly Trans -Love Airways" is the breaks ease of use. For one called Preachin. Love, Only a Lonely Man Would Know, program notes. Theoverall sound quality is one song, another is out of the rut, and even it is atbest a medi- Mellow Yellowisunrestrainedly cheerful sufficient for medium -price homeplayback and Poor ocre song. The otherssound like the products equipment. On more criticalrigs, the hiss about the aforementioned Saffron, of a bored computer. Marvin Gaye'svoice, high -end fre- Love-mis-labeled on my copy as Poor Cow zing level and sense of restricted "sunshine eyes." though, does have a certain promising apparent -is all about a girl with quencyresponsebecome more with to it, a little like that of thelate Sam Cooke makes for more But he can move his devotees to tears in (boosting the highs simply like Widow with Shawl, aballad -who, for all his ability, spent his career hiss). My review cassette wasalso afflicted songs a similar kind of musical rut.But then he about an eighteenth -century sailor'swife who with a few spots of unsteadymotion on side and was performing in 1957. Noel Coppage fine so far as this went, waits vainly on the shore for her man, one. Side two was can get them all worked upagainst the cal- but there were noticeable "drop-outs" at the Rules and LIGHTHOUSE: Lighthouse.Lighthouse lous ways of the Establishment in various accom- beginning. Regulations. Since this program wasrecord- (vocals and instrumentals) ; and func- paniments, Paul Hoffert arr. IF hat, terFor- The actual insertion, removal, ed under field conditions at somemammoth tioning of the cassette in myNorelco deck (with Don- ever; Eight Miles High;Marsha, Marsha; reserve shrine like the Hollywood Bowl was simplicityitself. Nevertheless I him, and Mountain M.m; Follow the Stars;Never for high - ovan's father on hand to introduce judgment on cassettes as a medium Flower Quartet to back Say Goodbye; and four others. RCA® TP3 have heard many a group called the qualitylistening untili him), it's a little unfair to say muchabout 1023 (33/4)$6.95. more and until thereisreal improvement D. H. Performance: Very good, but ... in sound quality. Recording: Superb TCHAIKOVSKY: String QuartetNo. 1, Stereo Quality: Very good in D Major, Op. 11. BORODIN:String Playing Time: 43'14" Quartet No. 2, in D Major. DrolcQuartet. Caution: this recording may behazardous to DEUTSCHE GRAMMOPHON ® L9425 (71/2) your mental health,particularly if you hap- $7.95. pen to be going through anidentity crisis. Lighthouse is so big and complicated thatI Performance: Juicily lyrical is. The group produces Recording: Warm -hued don't know what it someextremelyinterestingsounds-let's Stereo Quality: Good intending, Playing Time: 60'25" make that clear right away-by apparently, to take rock beyond the simpli- My complimentstothe DGG a -&-r man fied jazz thing that Blood, Sweatand Tears who had the wit to pair in a singlepackage got into, and it uses anoverwhelming assort- the two most popular string quartetsin the ment of instruments to thatend. At the same Russian repertoire. The Andantecantabile time, Lighthouse seems bent on carrying on fromthe Tchaikovsky andthe Notturno now and then like LedZeppelin, the Jeffer- from the Borodin have, of course,been fear- son Airplane, and otherheavy rock groups fully vulgarized and maltreated inpopular that use big, distorted guitar chords.And to arrangement, anditis good to hear them complicate things even more, the vocalists beautifully performed and recorded intheir keep sounding like other groups-sometimes proper form. like the Airplane, occasionally something This isafirst for both quartets in four - like the Who, and now and then a littlelike track tape format, though thereis ample -so help me-the Mamasand the Papas. disc competition for the Borodin, in particu- Versatility is one thing, but we seem tohave offered by lar the lighter -textured treatment here a case of wandering identity. the Borodin String Quartet of theUSSR in DONOVAN Lighthouse has set a difficult task for itself London's Stereo Treasury series. Whether A sunny celebration of life and, in my opinion, hasn't quite broughtit one prefersalighter -style reading tothe off. In some ways this is one of the better re- German -Romantic one by the Drolc ensem- the technical quality of the cassette.I don't think, however, that this will muchalter cordings I have heard in recent months, but ble is a matter of individual taste. The re- overall it lacks something. Noel Coppage corded sound is warm, full, and altogether the joy "Donovan in Concert" willbring to with satisfying. D. H. the lad's admirers-or the irritation HERBIE MANN: Moody Mann. Herbie which it will be greeted by anti-Donovanites, Nimitz pseudo - Mann (flute and bass clarinet) ; Jack ENTERTAINMENT who, one hears, regard his efforts as (bass clarinet, baritone sax); Urbie Green folk and toothache -sweet. Where do Istand? P. K. (trombone) ; Joe Puma (guitar); Oscar Pet- DONOVAN: Donovan in Concert. Dono- Well, I guess I rather like Donovan. tiford (bass); Charlie Smith (drums). Let accompaniment. Out; van (vocals); instrumental MARVIN GAYE: M. P. G. Marvin Gaye Me Tell You; When the Sun Comes Isle of Islay; Young Girl Blues; There Is a Professor; Lazy Bones; and four others. Mountain; Poor Love; Celeste; The FatAn- (vocals); unidentified accompaniment. Too A Bury Thinking About My Baby; ThisMagic RIVERSIDE ® X 3029 (33/4) $5.95, ® gel; Guinevere; and seven others. EPIC© 3029 $5.98, ® M 83029 $6.95,© X 53029 $6.98, Moment; That's the Wty Love Is; TheEnd N16 10132 $6.95, ® EN 655 (71A) Love; $5.95. ® N14 10132 $5.98, ® N18 10132$6.98. of the Road; Memories; Try My True and six others. TAM LA ® X 292(33/4) Performance: Reissued mid -Fifties jazz Performance: A likeable love -in $5.95. Recording: Good Recording: Adequate for on -location Stereo: Electronically added Performance: Monotonous Stereo Quality: Good Playing Time: 39'42" Playing Time: 54'66" Recording: Excellent Stereo Quality: Good Caveat emptor: these sides are over twelve Donovan is an agreeable young fellow with Playing Time: 37'24" years old (as the ri ry fineprint on the back a twinkle in his Welsh voiceand a tendency of the box informs us) and comefrom a named Saffron Put on "M. P. G.," close your eyes and- to sing the praises of girls 1957. Your thoughts range period that was hardly Alarm's most scintil- and Celeste and Guinevere (King Arthur's). suddenlyit's by through the domino theory, Fats Domino, lating. Fortunately, he was accompanied When he makes an appearance, the stage,I some good players, particularlythe late (and, is covered with flowers, and his and Sputnik, then play on the profundities am told, implicit in such phrases as "See you later, as they say, great) bassistOscar Pettiford, listeners shudder with rapture evenbefore and the material is excellent. Those recent . . ." Most Motown music (Tamla he opens his mouth. This recording was alligator. Mann fans who don't recallthat he once made with what sounds like a huge audi- is a Motown label) affects me this way,but the undistinguished Motown music does es- played other woodwinds (including an extra- ence on hand, and eachnumber on the pro- ordinarily average tenor sax) will find a taste gram is so familiar to the fansthat they sigh pecially, and that's the kind of music Marvin Gaye makes here. This disc seems to last for of interest in his bass clarinet on Lazy Bones. with delight even before the first note is Not much else, though. Don H. out. hours. Each song has the same beat as the STEREO REVIEW 122 ByCRAIG STARK Why DO THOUSANDS OF STEREO ENTHUSIASTS BUY FROM AUDIO UNLIMITED It's Obvious! LOWEST PRICES TAPE HORIZONS FAST SERVICE THE SIGNAL VERSUS THENOISE FACTORY SEALED UNITS FULLY INSURED SHIPMENTS -Tsit correct to assume that the higher the signal-to-noise ratio, the lower will PACKAGE DEALS-SAVE MORE be the tape hiss on playback andon record -playback?" That was the question FRANCHISED DISTRIBUTORS recently asked by a reader seeking adviceon how to determine which of the recorders he was considering had the least electronic noise. Checking the Hirsch- Write for FREE Listing today Houck Laboratory reports, he foundone deck that was singled out for its lam audible hiss. But the H -H measurement methodshowed its signal-to-noise ratio SEND US YOUR LIST (abbreviated S/N) as 50 decibels (dB),whereas the manufacturer claimed55. FOR OUR AIR MAIL "Five dB is quite a difference, isn't it ?" thereader asked. Yes, it is; but using the QUOTE TODAY very same test data given in the report, the manufacturer inquestion could have made a solid case for rating his machine Visit Our Store Warehouse at 60 dB instead ! CLOSED MONDAYS The procedure followed in making S/Nmeasurements is beguilingly simple. A pure tone (usually 400 to 1,000 Hz in frequency) isrecorded at "maximum per- AUDIOunlimited, inc. missible recording level," and the output it produces on playback is measured in :96-3 Third Ave. (Nr. 28), N.Y., N.Y. 10016 decibels and defined as "signal." Thetape is then rewound and recorded again, but with no input signal, so that theprevious tone is erased. The erased sectionis played back and whatever output ispresent is measured in decibelsas "noise." The decibel difference between the signal andthe noise is the S/N ratio. At this point confusion begins, however, for just what should countasthe "maximum permissible recording level ?" Atape recorded to its absolute maximum REAR HERE output (i.e., saturation) is so distortedas to be unlistenable, but clearly the larger the reference signal, the higher the S/N ratio will be. Since audiophilesmust rely FOR THE UTMOST IN on the "0" reading of the recorder's VU meter, this isthe reference used byH -H Labs in its tests. But manufacturers can set this reading to correspond toany distortion level they choose. The majority oftoday's high -quality machinesseem to use a record level that produces 3 per cent harmonic distortionas their S/N refer- DISCOUNTS ence point, however. This is frequently called "peak-recording level," because ON NATIONALLY peak -reading indicators suchas oscilloscopes, "magic -eye" tubes, andsome meters ADVERTISED use it as the maximum or 0 -dB reference level. VUmeters should read "0" at a level 6 to 8 dB lower than this in order to compensate for the slower action of HI -F1 STEREO the needle. Using the figure of 3per cent distortion, S/N ratings basedon other recording levels (if specified)can be approximately converted for comparison. For recorders using 5 per cent distortionas a reference figure, you must substract COMPONENTS about 3 dB. On the other hand, WRITE FOR OUR QUOTE 3 dB should be added to specifications basedon the 1953 NAB standard of2 All Merchandise Shipped per cent distortion. To a rating referred to 1per cent PromptlyFullyInsured From distortion, "standard operating level,"or "Ampex reference level," add 6 to 8 dB. Our Warehouse. (I'm aware that some of my figures contradict those of other authors, butthey are all derived from recently performed tests.) Finally, there is the problem of what counts as noise. Conventional metersreg- DOWNTOWN ister all audible frequencies equally, butthis is not the way our ears hear the low- level 60, 120, and 180 -Hz components of noise. For this reason,some instruments AUDIO, INC. use a weighted scale that emphasizes hiss and minimizes the hum frequencies that 17 WARREN ST. the ear's insensitivity is likelyto make inaudible. Thus, to converta "weighted" to NEW YORK, N.Y.10007 an "unweighted" S/N specification it would probablybe accurate to subtract about 267-3670-1-2 7 or 8dB. DEPT. S.R. MAY1970 CIRCLE NO. 9 ON READER SERVICE CARD 123 STEREOREVIEWCLASSIFIED (including name and address). Minimum order COMMERCIAL RATE: For firms or individuals offeringcommercial products or services. $1.10 per word discount: 5% for 6 months; 10% $11.00. Payment must accompany copy except when ads areplaced by accredited advertising agencies. Frequency for 12 months paid in advance. address). No minimum! Payment must accom- READER RATE: For individuals with a personal item tobuy or sell. 65g per word (including name and pany' copy. subject to publisher's approval. Closing Date: 1st of the GENERAL INFORMATION: First word in allads set in bold caps at no extra charge. All copy and remittance to: Hal Cymes, STEREO REVIEW,One 2nd month preceding cover date (forexample, March issue closes January 1st). Send order Park Avenue, New York, New York 10016. CASSETTE and 8 -track blanks, language tapes. STEREO COMPONENTS at low discount prices. Litera- EQUIPMENT Send for our low quotes today and our cartridge dozens of accessories and recorders. trade-in specials (Shure, ADC, Pickering, Em- ture 250. CASSETTES UNLIMITED, P.O. Box WRITE for quotation on any Hi-Fi components: pire, etc.). Send $1.00 for our discount catalog. 13119-S, Pittsburgh, Pa. 15243. Sound Reproduction Inc., 460 Central Avenue, DEFA ELECTRONICS,2207Broadway, New BEFORE RENTING Stereo Tapes try us. Postpaid East Orange, N.J. 07018. 201.673.0600. York, N.Y. 10024. both ways - no deposit - immediate delivery. HI-FI Components, Tape Recorders, at guaran- Quality - Dependability - Service - Satisfac- teed "We Will Not Be Undersold" prices. 15 -day MIDWEST'S LOWEST COMPONENT PRICES. tion -prevail here.If you've been dissatisfied No Write for system quotation. Unbeatable prices in the past, your initial order will prove this is money -back guarantee. Two year warranty. STANTON Catalog. Quotations Free. Hi -Fidelity Center, 239 on SHURE, EMPIRE, PICKERING, and no idle boast. Free catalog. Gold CoastTape. as well as RECORDING TAPEincluding blank 8 - Library, Box 2262, Palm Village Station, Hia- (HC) East 149th St., New York 10451. track. Box 127, Oak Lawn, Illinois 60454. FREE! Send for money saving stereo catalog leah, Fla. 33012. #H5R and lowest quotations on your individual ENGLAND'S LEADING MAIL ORDER SPECIAL- SCOTCH RECORDING TAPE,lowestprices. component, tape recorder, or system require- ISTS supply all makes of gramophone records, TAPE CENTER, Box 4305, Washington,D.C. ments. Electronic Values, Inc., 200 West 20th hi-fi or audio equipment anywhere in the world. 20012. St., N.Y., N.Y. 10011. Send $2 for fullclassical or popular record STEREO TAPES, save 20, 30% and more, post- TAPE recorders. Hi-Fi components. Sleep Learn- catalogue, or details of equipment required for paid anywhere U.S.A. We discount batteries. ing Equipment tapes.Unusual values.Free free quote. All makes -Quad, Leak, Revox, SME, recorders, tape/cassettes. 80 page catalog 250. Wharfedale, etc. at lowest prices. Visitors wel- SAXITONE TAPES, 1776 Columbia Road, N.W., catalog. Dressner, 1523R Jericho Turnpike, New Broad- Hyde Park, N.Y. 11040. come. Sound Incorporated Ltd., 114/126, Washington, D.C. 20009. way, London, S.W. 19, England. LOW, Low quotes: all components and record- RENT stereo tapes $1.25 week postpaid -NEW ers. Hi Fi, Roslyn, Penna. 19001. THE ULTIMATE IN DISCOUNTS on Acoustic Re- catalog 25g. Tape Library, Box 8126, Washing- search, Shure, Pickering, Pioneer, and Dual and ton, D.C. 20024. THE Price is Right! Hi-Fi Components. J. Wright to Co., 65-B Jensen St., East Brunswick, N.J. 08816. many others. Write for our free catalogue RADIO YESTERYEAR! Biggest and best in the ULTIMATE ELECTRONICS, 29 EGERTON ROAD, industry we created. Over 7,000 of those great NEW low prices on all stereo components and ARLINGTON, MASS. 02174. old-time radio shows. ANY program you remem- tape recorders. Write for our quote. Stereo Corp. ber, drama, band, serials, comedy, etc. Highest of America, 2122 Utica Avenue, Brooklyn, New BUY DIRECT FROM ENGLAND'S HI-FI MAIL fidelity possible with Ampex duplicators. Send York 11234. ORDER SPECIALISTS! Save money on Leak, (refund- Quad, SME., Goldring, Decca, Bowers & Wilkins, $1.00 for our huge 104 -page catalog QUOTES: STEREO COMPONENTS. Box 18026, able) to RADIO YESTERYEAR, Box H, Dept.B Seattle, Washington 98118. Thorens, Tandberg,Revox, Tannoy, Garrard, Lowther, Wharfedale, Goodmans, K.E.F., Celes- Croton -on -Hudson, N.Y. 10520. Member Better GET OUR LOW QUOTATION ON HI-FI COMPO- tion, Transcriptors, W.B., Ortofon, Jordan -Watts, Business Bureau. NENTS. 125 page catalogue 250. Airex Radio Radford, Armstrong, etc., etc. Insured shipping RENT 4 -track open reel tapes -all major labels - Corp., 132 Nassau St., New York, N.Y. 10038. quotes free, or send $1.00 bill ($2.00 airpost) to 3,000 different -free brochure. Stereo-Parti,5E AMAZING DISCOUNTS on famous brand high include illustrated catalogue. Goodwin Ltd., 7, St. James Drive, Santa Rosa, California95401. fidelity stereo components. No small wonder Broadway, Wood Green, London, N.22. Visitors OLD Radio Programs on tape. 6 hours for$8.00. that we have set new sales records each year welcome to showrooms. Catalog 50g. Don Maris, 1926 Cherokee, Nor- since 1959. Write: Arkay Electronics, 1028-01 man, Okla. 73069. Commonwealth, Boston, Mass. 02215. HIGH FIDELITY Cabinets? Ask your dealer about Toujay Designs or visit our factory showroom. CONSUMERS CASSETTES andAccessories. ELECTRONIC TUBES, Semiconductors, Equip- 146 East 53rd Street, N.Y.C. 10022. Tuesday Blank Cassettes as low as C-30 ... 500, C-60 .. ment and Parts. Lab matched tubes. Finest qual- 540, C-90 ... 994, C-120 ... $1.22. All Cassettes Serving TV/Hi-Fi Servicemen, Engineers, through Saturday 10:00-5:30. Full line brochure ity. and color chart, send 250. licensedquality controlby North America.: and Industry for 20 Years. Advise your needs. Phillips. Lifetime guarantee. WRITE FOR FREE WriteforCatalog.BarryElectronics, 512 CATALOG! CONSUMERS ELECTRONICS CO., 101 Broadway, New York, N.Y. 10012. (212) 925- FOR SALE Park Avenue (SR -5), New York, N.Y. 10017. 7000. LOWEST PRICES on all 4 Track Stereo Tapes - SAVE over 331/3 on a pair of one of the world's FREE ELECTRONICS PARTS FLYER. Large cata- postpaid U.S.A. Free Brochure. Write STEREe., best speaker systems shipped direct to you log$1.00deposit. BIGELOW ELECTRONICS, TONE TAPES, P.O. Box 657, Sterling,Illinois from factory. Try them in your home for thirty BLUFFTON, OHIO 45817. days. Write: KGLL, Inc., Water St., Lewiston, 61081. ELECTRONIC Bargains - Diodes,Transistors, CLASSICAL tapes -willsell, swap. Rodda, 9! Maine 04240. Tubes, Courses. Free Catalog -Immediate Ship- Kiel, Butler, New Jersey 07405. NEW YORK prices in the Midwest. ACOUSTIC ment. Cornell, 4215-H University, San Diego, COMPUTERIZED 80 -PAGE TAPE CATALOG am RESEARCH a specialty. WRITE for lowest system Calif. 92105. magazine with 10,000 4, 8 -track, cassette, open quotes on AR with Dyna, Dual, Fisher, Scott, reel listings by artist, label, title, catalog nun Shure,Thorens,Rabco.Authorizeddealers. JAPAN & HONG KONG DIRECTORY. Electronics, all merchandise. World trade information. $1.00 ber, and price. Year's subscription, 6 issue HOME HIGH FIDELITY, 1233 So. 8th St., Terre $3.00. You paid over $100 for your tape equip Haute, Indiana 47802. today. Ippano Kaisha Ltd., Box 6266, Spokane, ment-shouldn't you spend $3.00 more an, LOWEST PRICES ON ALL COMPONENTS. RMG Washington 99207. know what you can play on it? Send checks ti STEREO, 536 W. 114TH, NEW YORK, NEW YORK SENCORE TEST EQUIPMENT UNBELIEVABLE ListenMagazine,1808RittenhouseSquari 10025. 212-865-5106. PRICES. FREE CATALOG AND PRICE SHEET. Philadelphia, Pa. 19103. BACKGROUND MUSIC -SOLID-STATE SCA DE- FORDHAM RADIO, 265 EAST 149TH STREET, USED Mylar Tapes 1800'. Ten for $9.00. Fr CODER DELIVERS SUBCARRIER COMMERCIAL - BRONX, N.Y. 10451. merman, 4041 Central, Kansas City, Mo.6411, FREE MUSIC PIGGYBACKED ON MANY FM BURGLAR ALARM SYSTEMS and accessories. VIDEO Tape Recorders. New Norelco.Onl. STATIONS. LINE -POWERED ADAPTER SIMPLY bells, sirens, hardware,etc. OMNI- Roci PLUGS INTO ANY FM TUNER. NEW DESIGN Controls, $585.00. DENSON ELECTRONICS CORP., GUARD radar intruder detectionsystem,kit ville, Conn. 06066. BREAKTHRU GUARANTEES OPTIMUM PER- form or assembled. Write for free catalog. Mi. FORMANCE, LOWEST PRICE EVER! $35 POST- OLD Time radio programs --all yourold crotech Associates, Inc., Box 10147, St. Peters- vorites. 500 for catalog. Robert Mussehl,R PAID. K -LAB, BOX 572, S. NORWALK, CONN. burg, Florida 33733. 06856. Brooklyn, Wisc. 53521. REVOX TAPE MACHINES, Box 499, Maywood, CIRCUIT BOARDS: Complete Job Shop Opera- OPERA TAPES -live performances of past Illinois 60153. tion. Jetca, Inc., Box 418, Monon, Indiana 47959. years. Free catalog. Ed Rosen,P.O. Box 5. REK-O-KUT Turntables, Tonearms, and Replace- CONSTRUCTION PLANS: LASER ... $2.00. Sur- Lynbrook, N.Y. 11563. ment Parts are now available. Contact our Main veillance Devices -two F.M. Bugging Transmit- BORED WITH YOUR OLD CARTRIDGES?Tint . . . bet yc Plant at Rek-O-Kut, 1568 North Sierra Vista, . . . $1.00. Tail Transmitter $1.00. of high prices for new cartridges? You ters handling ar Fresno,Calif.Phone: (209) 251-4213 or our Sound Telescope. . . $2.00. Infinity Transmit- are! Then send us 950 (plus 304 label Parent Company CCA Electronics Corp., 716 ter . . $2.00. Equipment and kits available. postage and one of your present major Jersey Avenue, Gloucester City,N.J.08030, Howard, 20174 Ward, Detroit, Michigan 48235. track cartridges (MUST BE IN GOOD CONC Phone: (609) 456-1716. TION) and we will send you a previously owns choic DIAMOND NEEDLES AND STEREO CAR- 8 -track cartridge in the field of your TRIDGES at low, low prices for Shure, Pickering, TAPE AND RECORDERS (Leave the selection to us) EXCHANGE ATAP Stanton, Empire, Grado and ADC. Send for free 98 Montague Street, Suite 241,Brooklyn, Nis catalog and price sheet. We will be happy to TAPEMATES makes available to you ALL 4 - York 11201. quote on any cartridge -Magnetic, Ceramic or TRACK STEREO TAPES -ALL LABELS -postpaid BLANK 8 -Track Cartridges. Do your own reco- Crystal. All merchandise brand new and shipped to your door -at tremendous savings. For free brochure write: TAPEMATES, 5727 W. Jefferson ing on 8 -track cartridges. Write Stereo Sha. PREPAID. LYLE CARTRIDGES, Dept. S, 265 East Box 794, Miami, Florida 33143. 149 Street, Bronx, New York 10451. Blvd., Los Angeles, California 90016. STEREO REVIE 124 RECORDS ADDRESSERS (CommissionMailers)Wanted Everything Supplied. Details 250.Smyre's, Box 953-D, Newark, N.J. 07101. SPORTS ACTION FILMS UNBELIEVABLE Classicalrarities.Catalogue FREEI M.I.T.M. 271 AutumnAvenue, Brooklyn, N.Y. 11208. WANTED $1.00 DISCOUNT with thisad for Free Catalog. Super 8/8mm. Send to: FREE 64 PAGE CATALOG offers SPORTLITE FILMS, hundreds of re- Dept. SR, 20 North WackerDrive, cordings ofrare Renaissance, Baroque and QUICKSILVER, Platinum, Silver,Gold. Ores Ana- Illinois 60606. Chicago, Classical music. Some records lyzed. Free Circular. Mercury priced as low as wood, Mass. 02062. Terminal, Nor- $1.00 each! All late recordings. InStereo only. MHS RECORDS, Box 932 -HS,New York, New BINOCULARS AND TELESCOPES York 10023. MAGAZINES "HARD To Get" records --allspeeds. Record BINOCULAR specialists. Repairsand sales. Free Exchange, 842 Seventh Avenue, New BACK DATE MAGAZINES! Send literature. Tele-Optics, 5514Lawrence, Chicago, 10019. York, N.Y. needs. Midtown, Ill. 60630. Box 917 -HS, Maywood, N.J.07607. SPECIAL interest records available,produced by the editors of the world'sleading special in- INSTRUCTION EDUCATIONAL terest magazines. Send for freecatalog. Record OPPORTUNITIES Catalog-HF,Ziff -Davis Publishing Company, LEARN Electronics Organ Servicingat home. All One Park Avenue, New York, N.Y.10016. makes, including transistors. Experimental kit - LEARN WHILE ASLEEP,Hypnotize! RARE, Classical Vocal LP's. Free trouble -shooting. Accredited catalog Strange list. D. Jorge, NHSC, Free Book- free. Autosuggestion, Box Box 1012, New York City 10001. let. Niles Bryant School, 3631Stockton, Dept. A, Olympia, Washington 98501. 24-ZD, Sacramento, Calif. 95820. PROTECT your records --Poly sleevesfor jackets 50; Inner sleeves 31/20; Polylined paper R.E.I.'s famous (5) weekcourse for the First sleeves 100; white jackets 200.Minimum order Class Radio Telephone License RUBBER STAMPS $5.00. Record Supplies, Hil!burn, is the shortest, N.Y. 10931. most effective course in thenation. Over 98% CASH for excellent unwanted of R.E.I. graduates RUBBER ADDRESS STAMP $2.00.SIGNATURE LPs and prere- pass F.C.C. exams for 1st $3.50. FREE CATALOG. JACKSON, corded tapes Reder, 81 ForshayRoad, Monsey, class license. Total tuition$360.00. Job Place- BOX 443-G, New York 10952. ment free. Write for brochureRadio Engineering FRANKLIN PARK, ILL. 60131. LIKE new LPs and prerecorded Incorporated Schools, 1336 MainStreet, Sara- tapes. Catalogue sota.Florida33577 -or 3123 Gilham 500. Records, Hillburn, New York10931. Kansas City, Missouri 64109 Road, HYPNOTISM POPULAR organ albums factory -or 809 Caroline direct. Concert Street, Fredericksburg, Virginia22401 -or 625 E. Recording, Lynwood, Calif. 90262. Colorado Street, Glendale, California FREE Hypnotism, Self -Hypnosis,Sleep Learning 91205. Catalog! Drawer H400, Ruidoso, COLLECTORS JOURNAL -valuabledata, record DEGREE in New Mexico mart. Six issues -$1.50. RECORD ElectronicsEngineeringearned 88345. RESEARCH, mostly by correspondence. FreeBrochure. Dept. 65 Grand Ave., Brooklyn, N.Y.11205. G-9, Grantham School of AMAZING self-hypnosis record releasesfantastic Engineering, 1505 N. mental power. Instant results! Facts "VIBRA-DREAM CURRENTS," stereoalbum fea- Western Ave., Hollywood, California90027. free. Write: turing John Case freely improvising Forum (AA5), 333 North MichiganAvenue, Chi- ha rpmusic solo vibra- F.C.C. License training bycorrespondence. G.I. cago 60601. $6.00.Also,"PIANO MUSIC," Bill approved. Money -Back stereo album $4.00. 2300 Lincoln,Fort Worth, Warranty. Free bro- Texas 76106. chure. Write: Dept. Z-9,Pathfinder School of Electronics, 1505 N. Western Ave.,Hollywood, MUSICAL INSTRUMENTS OLDIES -45 RPM original hits.Over 4000 avail- Calif. 90027. able. Catalog 252. C & S RecordSales, Box 197, UNCOMMON Musical Instruments; Wampsville, N.Y. 13163. GUITAR Instruction Book, $1.25.Jack L Lamb, Historical, Rt. #4, Box 3018, Lakeland, ethnic, exotic; recorders, classicalguitars. We FREE CATALOGS Broadcasts. Florida 33803. buy antique and unusual Sound Tracks of $1 instruments. Catalog Thirties, ARG, 341 Cooper Station, retunded firstpurchase.ClassicalInstru- City 10003. New York PRINTING ments, 133 Gateway Bldg., New 70130. Orleans, La. PROTECT YOUR RECORDS.Cardboard replace- FREE LITERATURE: ADDRESS ment covers, plastic lined inside LABELS, BUSI- 30% DISCOUNT any namebrand musical in- and 45 covers and sleeves, sleeves, 78 NESS CARDS, PRINTING,RUBBER STAMPS. strument. Free catalog. Freeport multiple record set JORDAN'S, 552 WEST O'CONNOR, Music, 127-E boxes, 12", 10"7". Cabco 122, 89 East Wood- 45801. LIMA, OHIO West Sunrise, Freeport, N.Y. 11520. ruff, Columbus, Ohio 43201. DELETED LP CLASSICS, shows,tracks, person. MOVIE FILMS alities, jazz. No 45s or 78s. No EMPLOYMENT INFORMATION want list for prices. Dayton's,catalogues. Send 824 Broadway, FOREIGN and USA job opportunities 16mm SOUND Features, Shorts,New. Used for New York, N.Y. 10003. Telephone212 -AL 4-5084. available Sale. Free Catalog. National Cinema, now.Construction,alltrades. 333 W 57 CLASSIFICATION SYSTEM FOR RECORDS Earningsto St., N.Y.. N.Y. 10019. AND $3,000.00 monthly. Paid overtime,travel,bo- TAPES. Organize yourcollection. Comprehen- nuses.Write: 8MM Super 8 cartoons, adventures, sive, proven. New-ANSCR UniversalEmployment, Wood- sports. Dis- Book -$10.00 a copy. bridge, Conn. 06525. count pricing. Send for listings.Fotoshop, 136 Bro-Dart Publishing, Box SR -039,1609 Memorial W. 32nd Street. New York 10001. Avenue, Williamsport, Pennsylvania 17701. AUTHORS' SERVICES TUBES TREASURE FINDERS AUTHORS! Learn how to haveyour book published, promoted, distributed.Free booklet "ZD," TREASUREPROBES patented transistorized RECEIVING & INDUSTRIALTUBES, TRANSIS- Vantage, 120 West 31 St., New de- TORS, All Brands -Biggest York 10001. tector signals "dig" by earphone "beeping."5" Discounts. Techni- search head, PC boards, two colpitt cians, Hobbyists, Experimenters-Request FREE improve oscillators Giant Catalog and SAVE! PERSONALS stability. Kit $13.95, assembled ZALYTRON, 469 Jeri $18.88. with speaker $24.88. 60 day cho Turnpike, Mineola. N.Y.11501. Send for Free Bibliography, "Treasureguarantee. MAKE FRIENDS WORLDWIDE Maps and through interna- Books of U.S." Treasurehouse,SJ50, Tennent, tional correspoidence. Illustratedbrochure free. N.J. 07763. REPAIRS AND SERVICES Hermes, Berlin 11, Germany. CUSTOM RECORDING SERVICE.Tape and disc. MISCELLANEOUS Stereo and mono. Live andcopies.Editing. PHOTOGRAPHY -FILM, Masters and pressings. Highquality at reason- EQUIPMENT, SERVICES able rates. Joseph Giovanelli,Audio -Tech Lab- WINEMAKERS. Free illustrated catalogof yeasts, oratories, 2819 Newkirk Ave., equipment. Semplex, Box 12276,Minneapolis, 11226. IN 9-7134. Brooklyn, N.Y. SCIENCE Bargains -Request FreeGiant Catalog Minn. 55412. "CJ" -148 pages -AstronomicalTelescopes, Mi- croscopes, Lenses, Binoculars, Kits,Parts, War AS YOU SCAN THESE COLUMNS,more than PLANS AND KITS surplus bargains. Edmund ScientificCo., 300 300,000 monthly buyers of STEREOREVIEW Edscorp Bldg., Barrington, New Magazine are doing the same. Thesereaders Jersey 08007. share with each other the satisfaction BUILDColorOrgans, Computers, COLOR Slides of paintings, travel, derived Alarms, Slide -Synchronizers, Stereos, events. Free from active involvementin the enjoyment of Catalog. Workshop, catalog. Fotoshop, 136 W. 32ndStreet, New recorded music. STEREO REVIEW 33E Cain, Plainview, New York11803. York 10001. readers look to the pages of the CLASSIFIEDeach month for prime sources of products andservices of in- BUSINESS OPPORTUNITIES GOVERNMENT SURPLUS terest to them -Components, Accessories,Tape, Records, Special Services -everythingthey need I MADE $40,000.00 Year by JEEPS Typically From $53.90 to make their favorite specialinterest even more mailorder! Helped . . . Trucks From others make money! Startwith $10.00 - Free $78.40 . Boats, Typewriters, Airplanes, enjoyable. Are they buying from you?They will, Proof. Torrey, Box 318-N, Multi - you know, if your classified advertising Ypsilanti, Michigan meters, Oscilloscopes, Transceivers,Electronics appears 48197. Equipment. Wide Variety, Condition, regularly in these columns. Toappear in the 100,000 Bid next available issue, July, FREE BOOK "999 Successful Bargains Direct From GovernmentNationwide. on sale June 18th, Little -Known Busi- Complete Sales Directory and forward copy and payment nesses." Work home! Plymouth445-Y, Brook- Surplus Catalog before May 1st lyn, New York 11218. $1.00 (Deductible First $10.00Order). Surplus closing deadline to: Hal Cymes,Classified Ad- Service, Box 820-L, Holland,Michigan 49423. vertising Manager, STEREO REVIEW,One Park MAY 1970 Avenue, New York, N. Y. 10016. 125 STEREO REVIEWADVERTISERS' INDEX

ADVERTISER PAGE PAGE READER SERVICE NO. READER SERVICE NO. ADVERTISER 18 34, 108 26 King Karol Records 1 Acoustic Research, Inc. 53 32 27 Koss Electronics. Inc. Altec Lansing 105 97 28 Lafayette Radio Electronics 2 Angel Records 8 123 53 London Record Audio Unlimited, Inc. 38, 39 18 Marantz, Inc. 4 BSR (USA) Ltd., McDonald Division of America 9 thru 16 51 MatsushitaElectric Corp. 5 Benjamin Electronic Sound Corp. 119 5 29 McIntosh Laboratory Inc. 6 Bose Corporation 40 29 Old Grandad 103 BritishIndustries -Garrard 9 thru 16 112 Panasonic 7 Carston Studios 3rd Cover 30, 84, 94 41 Pickering & Company, Inc. Columbia Records 43 95 Pioneer Electronics Corp 8 Concord Electronics Corp. 83 112 32 Polydor, Heliodor 55 Crystal Record Company 120 123 33 RCA Magnetic Tape 9 Downtown Audio 116 116 35 Rabsons-57th Street, Inc. 2 10 Dressner Rectilinear Research Corp. 37 36 50 Dual 28 19 37 Revox Corporation 11 Dynaco. Inc. 6,7 113 38 Roberts 12 Early Times 54, 55 117 39 Sansui Electric Co., Ltd. 13 Eastman Kodak Company 2nd Cover, 1 4th Cover 100 Scott, Inc., H.H. 19 Electro-Voice, Inc. 89 23 Seagram Distillers Company 14 Elpa Marketing Industries, Inc. 90 17 40 Seiko Time Corp. 111 52 Empire Scientific Corporation Sherwood Electronic Laboratories, Inc. 114 31 16 Finney Company, The 58 49, 103 42 Shure Brothers, Inc. 17 Fisher Radio Company 33 20 44 Sony Corporation of America 18 Frazier,Inc. 62 27 45 Sony Corp. of America 20 Harman-Kardon, Inc. 21, 47 61 Sony/Superscope, Inc. 21 Heath Company 114 83 46 Sound Reproduction, Inc. 32 Heliodor Stereo Corporation of America 119 30 47 22 Honeywell Photographic Products 57 45 48T D K Electronics Corp. 23 P/C America. Inc. 31 100, 101 49Teac Corporation 54 lames B. Lansing Sound 37 115 50 United Audio Products, Inc. 24 Kaywoodie Pipes. Inc. 50 93 51 Utah Electronics 25 Kenwood Electronics, Inc. 124, 125 Classified Advertising

STEREO REVIEWPRODUCT INDEX classifications, the productsadvertised in As an additional readerservice, we list below, by product you are shoppingfor, look for its listing and thisissue.Ifthereisa specific that equipment. turn to the pagesindicated for the advertisementsof manufacturers supplying

PAGE NUMBERS PAGE NUMBERS CLASSIFICATION CLASSIFICATION 27, 43, 45, 54-55, 61, 103, 105, 111, 4thCover 49 Receivers, Stereo 9-16, Books 8, 18. 30, 83, 84, 97 117 Records Cameras Speakers and Speaker Systems 33, 58, 3rd Cover 108 Cartridges 2nd Cover 1, 2, 5, 9.16, 17, 19, 20, 29, 32, 34. 50, 119 21. 57, 120 Catalogs Tape, Recording 38-39 6-7, 9.16, 28, 31, 47, 93 Components Tape Recorders and Decks 53 95 Headphones Tape Recorders. Cassette 40, 89, 113 Liquors 18, 23, 37, 51 Turntables and Changers 9-16 Modular Music Systems (Compacts) 90 115 Watches Pipes

Printed in U.S.A. STEREO REVIEW 126 Anew concept100% MUSIC POWER®

111157121111 LOST MUSIC POWER - SOPRANO CLARINET

254, USEFUL MUSIC POWER SNARE DRUM I I I I 20 40 80 100 200400 8001.000 2030 4 000 10030 201000 OL FREQUENCY Hz 200 400 600 1.0002000 000 10030 20000 rat 08N6r Hz ... a serious loss of definition occurs: because car- CARTRIDGE "C" tridge "C" has completely at 25% Music Power lost 75% of the Music Power at the higher frequencies.

MUSIC POWER IIIIMESMIN

SOPRANO CLARINET

USEFUL MUSIC POWER MISMill 25% SNARE DRUM

I I I I 20 44 80 IGO HO 400 803 1.000 200134.003 10.000 MOO 00 200 400 FREQUENCY Hz FREQUENCY Hz .nthis case youlose CARTRIDGE "B" definition of tone and instruments: because cartridge at 50% Music Power "B" loses as much as 50% at higher frequencies.

100^ LOST MUSIC POWER MEGILAIMI 75°

SOPRANO CLARINET USEFUL MUSIC POWER MM. 25 SNARE DRUM

I I I I 20 40 80 103 200403 800 1.0113 2000 4.000 10.000 20300 00. FREQUENCYMHz 400 600 1030 21005 OM 10000 20030 FRI QUENCY Hz ... the instruments seem a little faded in the upper fre- CARTRIDGE "A" quencies: because cartridge at 75% Music Power "A" attenuates higher frequencies as much as 25%.

111.1/331.1 75,

SOPRANO CLARINET USEFUL MUSIC POWER WM=

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I I I I TO 40 80 100 200 NY0 800 1 003 2000 40.00 106103 20000 0 200 400 NO3 11330 2003 5000 10003 204'03 FREQUENCY FREQUENCY HO ... the instruments, allof XV-15 them, are distinct and clear throughout the entire funda- at 100% Music Power mental frequency range. With the Pickering XV-15 Cartridge You Get 100% Music PowerYou Hear It All! Only Pickering's XV-15 series of cartridges features 100% Music Power. With the Pickering, a harp sounds like a harp, a trumpet has the biting sound that you expect from a brass instrument, the flute has a rich romantic tone, the orchestra is the full-throated instrument the composer called for. So choose Pickering - and make the enjoyment of 100% Music Power a part of your life. PICKERING For those who can /HEAR/ the difference THE NEW PICKERING XV-15/750E. PREMIER MODEL OF THE XV-15 SERIES. TRACKS AT 1/2 TO 1 GRAM. DYNAMIC COUPLING FACTOR OF 750 FOR USE IN FINEST TONEARMS. $60.00. OTHER XV-15CARTRIDGES FROM $29.95. PICKERING & CO., PLAINVIEW, L.I.,N.Y. CIRCLE NO. 41 ON READER SERVICE CARD 7arguments in favor of buildingyour own speaker system from scratch.

The easiest way to buy high fidelity 3. You enhance the illusion of "live" being "stuck" with a compact that fits speakers may not always be the best. music by hiding or disguising the sound today's budget but can't meet your ul- Because a complete pre-packaged sys- source. You listen to the music - not timate listening goals. tem may be far from what you need. the speakers. Take a few minutes to study the Consider some of the advantages of 4. You end the conflict between fine variety of Electro-Voice component separate component loudspeakers: sound and handsome decor by making speakers. 21 models from $14.00 to 1. You choose from an almost infinite the speaker system an integral part of $250.00. From super -tweeters to giant variety of sizes and levels of perfor- the room or the furniture. 30" woofers. Consider how they can mance. Your system will exactly reflect 5. You save money by paying only for aid in creating a speaker system that your specific listening preferences. performance. uniquely expresses your musical needs. And ask your Electro-Voice high fideli- 2. You save space by building speakers 6. You can up -date your component ty specialist for his recommendation. into walls, ceilings, closet doors, even system as often as you wish to meet Finally, take the time to listen carefully. in floors! Or use existing cabinets or advances in the state of the art. Freedom of choice. It's at the nub custom-built enclosures that better suit 7. You can use the building-block meth- of high fidelity. your decor than any mass-produced od of planned improvement as your ELECTRO-VOICE, INC., Dept. 504F, system. budget permits. There's no problem of 616 Cecil Street, Buchanan, Michigan 49107

giee.Zrofcce CIRCLE NO. 19 ON READER SERVICE CARD A SUBSIDIARY OF GULTON INDUSTRIES, INC.