IANUARY 1976 $1.50 LAZAR BERMAN: Mystery HIGH Soviet pianist talks about FIDELITy his coming U.S.A. tour

-rd musical amensea THEProblems MET and prospects

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SAE M. VIB FM tuner Realistic (RA-770 receiver

GAS Ampzilla amplifier kit Thorens ID- 115 turntable lo Lab Test

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liber CG- 360 cassette deck

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Hitachi D-3500 cassette deck Aud;o-Technica AT- 706 headphones Dolby under $200

Twin illuminated VU meters, plus Frequency Response (Chrome Tape): separate input level controls for each 30-16,000 Hz channel help you set accurate Wow & Flutter ( WRMS): 0.12% recording levels. Stereo microphone Signal- to- Noise Ratio ( with Dolby): 58dB inputs as well as the headphone Input Sensitivity: 0.3mV — 63mV ( mic); 63mV — 12V ( tine) output jack are all easily accessible Outputs: 450mV ( line & DIN): 80mV 8ohms on the front panel. (headphones) By any point of reference, compare the CT-F2121's combination U.S. Pioneer Electronics Corp., of performance and features with 75 Oxford Drive, Moonachie, The CT-F2121 comes ready for custom New Jersey 07074. installation. Handsome, optional cabinet wi cassette decks costing much more. walnut veneered top and sides also avoua You can come to only one conclusion West: 13300 S. Estrella, Los Angeles — at under $ 200t this is the most 90248 / Midwest: 1500 Greenleaf, extraordinary cassette deck value Elk Grove Village, III. 60007 / : ever offered. S. H. Parker Co. when you want something be' CIRCLE 26 ON READER- SERVICE CARD

PAUSE E

'Dolby is atrademark ot Dolby Laboratories, Inc. t(Optional cabinet with walnut veneered top and sides. Approximate value, $ 24.95.) Prices listed above are manufacturer's a xtraordi cassette clec value ever offered.

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_IL OFF ON à(JQ op DOLBY SYSTEM FULL AUTO-STOP The new 2121. Witt

Ever since the cassette deck stepped DOLBY MA,

into the spotlight with proven high iCa • fidelity performance, great advances in tape and cassette deck technology have been made. Despite this progress, most of the high fidelity PNONE PI industry was convinced that it was virtually impossible to build a really 0 e superior front- loading, front-control Switch from one mode to another, bypassing Separate bias & equalization switches for any cassette deck equipped with Dolby — the Stop lever. type of cassette tape. that could sell for less than two hundred dollars. Everything's up front for Versatile features increase Pioneer thought it might be optimum operating convenience. listening enjoyment and simplify impossible, too. But we figured it was Pioneer's engineers have designed recording. worth the try. the CT- F2121 to give you the highest Pioneer has outdone itself on the The engineers at Pioneer were degree of flexibility in use. You can CT- F2121 with a host of easy-to- use given the 2121 project two years ago. stack it easily with other components features. A long life permalloy-solid They were asked to build afront- in your system because every control record and play head and a ferrite access, front- control cassette deck function, as well as cassette loading, erase head insure excellent signal- loaded with features. A deck that is operable from the front panel. In to-noise ratio. The transport operating would outperform any unit in the two addition, the illuminated cassette levers that permit, direct, jam- proof hundred dollar price range that had compartment permits rapid cassette switching from one mode to another ever been built before. loading at an easy- to- see 30° angle. without having to operate the Stop The result is the no- compromise An LED indicator lets you know when lever, are a great advancement. And, CT- F2121 — acassette deck with you're in the recording mode. And, like Pioneer's more expensive enormous capability, performance, as all Pioneer components, the cassette decks, the CT- F2121 has a reliability and features. Pioneer controls are simple to use and separate electronic servo- system believes the CT- F2121 has the logically arranged. and a solenoid that provides greatest combination of value ever automatic stop at the end of tape put into a cassette deck at such an Improved sound reproduction travel in play, record, fast wind and extremely reasonable price. with built-in Dolby B system. rewind. The CT-F2121's selectable Dolby B provides as much as 10dB improve- ment in signal-to-noise ratio with standard low noise tapes. There's an even greater improvement with chromium dioxide tape. An indicator light tells you instantly when the Dolby system is in operation. And to insure better, interference-free recordings of FM stereo broadcasts, Pioneer has built in a multiplex filter.

Outstanding performance with every type of tape. Separate bias and equalization switches permit you to use any kind of cassette tape: standard low noise. chromium dioxide — and even the newest ferrichrome formulations. The CT- F2121 brings out the fullest capabilities of each tape. And to produce the best performance, the operating manual of the CT- F2121 gives you a chart listing the most popular cassette tape brands with their recommended bias and equalization control settings. There's never any guesswork. REG

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value orly. Actual resale prices will be set by the individual Pioneer dealer at his own option. Creation of the new Calibration Standard filled aneed...the acceptance of Stanton's 681 TRIPLE-Eis unprecedented!

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It was no accident! quencies. It achieves perfectly flat frequency response beyond The Recording Industry needed a new calibration standard 20 kHz. Its ultra miniaturized stylus assembly has substantially because it had been cutting discs with higher accuracy to achieve less mass than previously, yet it possesses even greater durability greater definit ,on and sound quality. than had been previously thought possible to achieve. So, the engineers turned to Stanton for acartridge of excellence Each 681 TRIPLE- E is guaranteed to meet its specifications to serve as a primary calibration standard in recording system within exacting limits and each one boasts the most meaningful check-outs. warranty possible. An individually calibrated test result is packed The result: the new calibration standard, The Stanton 681 with each unit. TRIPLE- E. As Julian D. Hirsch of Hirsch- Houck Labs wrote in Popular The rest is history! Electronics Magazine in April, 1975: " When we Major recording studios adopted it ... as did many of the used the cartridge to play the best records we smaller producers. Radio stations across the world put the 681 had through the best speaker systems at our TRIPLE- E on all of their turntables, both for on- the- air broad- disposal, the results were spectacular" casting and for disc- to- tape transfer. Whether your usage involves recording, And, audiophiles by their purchases have voted it the outstand- broadcasting, or home entertainment, your ing stereo cartridge available. choice should be the choice of the professionals The Stanton 681 TRIPLE- E offers improved tracking at all fre- ... the STANTON 681 TRIPLE- E. For further information write Stanton Magnetics, Inc., Terminal Drive, Plainview, N.Y. 11803

CIRCLE 35 ON READER- SERVICE CARD

2 HIGH FIDELITY M AGAZINE Double your test reports. See page 41.

JANUARY 1976 VOLUME 26, NUMBER 1 HIGH FUIJELITY and musical america î \ More credit for an innovator. //usc and // See page 16. Sergiu Celibidache Paul Moor Why does this idolized conductor refuse to record? 12 Dizzy Gillespie Gene Lees Giving a major innovator his due 16 Behind the Scenes The French orchestral gavotte ... Great hits revived .. . Kleiber up to date 24 Lazar Berman Unveiled Barry James and Vadim Yurchenkov A mystery Soviet pianist plans a U.S. tour 52 Masks and Bergamasks Nicolas Slonimsky Notes on some of the music world's more eccentric moments 62 Is This Art of Fugue Legitimate? Paul Henry Lang A fine recording from Philips raises performance questions 76 II Prigioniero Patrick J. Smith offers the first recording of Dallapiccola's 78 New Music Remarkably Played Alfred Frankenstein The Boston Musica Viva's debut on records 79 /Lido cnd \deo

Too Hot to Handle 28 News and Views Equalizing the tape formats ... 4- channel radio ... A "universal" audio system 30 Equipment in the News 35 Equipment Reports 41 Ampzilla power amplifier .... Audio-Technica AT- 706 headphones... Hitachi Model D-3500 cassette deck ... KLH Research Ten CL- 4 loudspeaker system ... Realistic Model QTA-770 receiver ... SAE Mk. VI-B tuner ... Shure M-95ED phono cartridge ... Thorens Model TD- 145C turntable... Uher Model CG- 360 cassette deck ... Yamaha CR -400 receiver Recorc Reviews

Essays Art of Fugue . . . Il Prigioniero . . . Boston Musica Viva [ See under Music and Musicians] Classical Milstein's Bach . . . ... Beethoven choral works 81 Critics' Choice— Classical 82 Lighter Side Mike Post ... Tony Bennett/Bill Evans . . . Blossom Dearie. . Labelle 102 Critics' Choice— Pops 103 Theater & Film Miklós Rózsa . . . Moses, the Lawgiver 105 Jazz Barney Kessel ... Barry Harris . .. Stéphane Grappelli 106 The Tape Deck R. D. Darrell Expensive reels, budget cassette packaging . . . Zarathustra in St. Louis 111

Et Ceterc

Letters Vibraslap vs. quijada . . . Recycled Records ... Broadcast quality 6 HiFi-Crostic 38 Product Information An "at-home" shopping service 32, 83 Advertising Index 82 Musical America A new role for Rise Stevens ... A copout on copyrights begins after 30

High Fidelity and Musical America are published monthly by ABC Leisuis Magazines, Inc., The Publishing House, Great Barrington. Mass. 01230, asubsidiary of American Broadcasting Com. ponies, Inc. Copyright c 1975 by ABC Leisure Magazines, Inc. The d«ign and contents of High Fidelity and Musical America are fully protected by copyright and must not be reproduced in any manna'. Second-class postage paid at New York, New York, and at additional mailing offices. Yearly subscription in the U.S.A. and Possessions $ 18. elsewhere $ 20. Subacription Including Concert Artists' Directory $30 in U.S.A. and Possessions: elsewhere $32. Single copies $ 1.50. Change of address notices and undelivered cote« ( Inns 3579) should be sent to High Fidelity, Subscription Department, 1 Sound Avenue, Marion, 0. 43302. Please state both old and new addresses when requesting change. MUM«,Met ei..11. am, in+ e mil US* kra FM ITIF

Cover Design: Ever wonder whether those home tape record- Roy Lindstrom ings you spend so much time, effort, and money on are really the best you can get? In our February issue, Robert Long and Edward J. Foster show how some easily usable charts can help you set the electromagnetic bound- aries your recorder and tape type allow, and how to fit specific kinds of music into these boundaries for The Best Tape Recordings

You'll Ever Make. And Paul Moor takes a close LEONARD MARCUS look at the working methods of the late Walter Editor Felsenstein, whose Komische Oper in East ROBERT S. CLARK has long been a mecca for all who look Executive Editor on opera as a living art. Plus five test reports, Gene Lees on Bill Evans, Paul Henry Lang on KENNETH FURIE Music Editor Angel's new recording of Weber's Euryanthe, and more. ROBERT LONG Audio-Video Editor

HAROLD A. RODGERS SOLUTION TO HIFI-CROSTIC NO. 7 Associate Audio-Video Editor

M[AYAIIE] R. KRYTHE: All about Christmas SHIRLEY FLEMING Editor, Musical America Section "Adeste Fideles" is known to have been popular both in France and as early as the seventeenth WAYNE ARMENTROUT century. In France it was called The Midnight Mass," Director of Production for the monks chanted it as they marched in a pro- REBECCA ABBOTT cession to church on Christmas Eve. Copy Editor

LYNDA CARLOTTA CYNTHIA PEASE ADVERTISING Assistant Editors Main Office: Claire N. Eddings, Director of Advertising Sales. Ra- mon Rush.% Assistant Director of Advertising Sales. Leonard Levine, ROY LINDSTROM Advertising Promotion Manager. The Publishing House, Great Bar- Art Director rington, Mass. 01230. Telephone: 413-528-1300. New York: ABC Leisure Magazines, Inc., 130 E. 59th St., 15th floor, MORGAN AMES New York, N.Y. 10022. Telephone: 212-581-7777. Seymour Res- ROYAL S. BROWN nick, Eastern Advertising Manager. R. D. DARRELL New England: The Publishing House, Great Barrington, Mass. 01230. Telephone: 413-528-1300. PETER G. DAVIS HENRY EDWARDS Midwest ABC Leisure Magazines, Inc., The Publishing House, Great Barrington, Mass. 01230. Telephone 413-528-1300. Leon- NORMAN EISENBERG ard Levine, Midwest Advertising Manager. ALFRED FRANKENSTEIN Los Angeles: ABC Leisure Magazines, Inc., ABC Entertainment HARRIS GOLDSMITH Center, 2040 Avenue of the Stars, Suite 270, Century City, Calif. DAVID HAMILTON 90067. Telephone: 213-553-5648. Andrew Spanberger, Western DALE HARRIS Advertising Manager. MIKE JAHN : Advertising Communications, inc.. New Ginza Biog., 7-3-13 Ginza, Chuo-ku, Tokyo 104, Japan. Telephone: ( 03) 571- PAUL HENRY LANG 8748. Shigeru Kobayashi, President. GENE LEES ROBERT C. MARSH H. C. ROBBINS LANDON Contributing Editors

MILTON GORBULEW

High Fidelity and High Fldelltyildueical America are published monthly by ABC Lei- Senior Circulation Director sure Magazines, Inc . asubsidiary of American Broadcasting Companies, Inc . Warren B Syer. president. IMartin Pompadur. Chairman of the Board, Claire N Eddings. Vice Pres- DAVID LEE ident. High Fidelity Division; Herbert Keppler. Vice President. Photographic Publishing Di. Circulation Manager vision. Milton Gorbulew. Vice President. Circulation. Cathleen Alois,. Assistant to the President Member Audit Bureau of Circulation Indexed in Reader's Guide to Periodical Literature Current and back copies of High Fidelity and High Fidelity/ Musical America CLAIRE N. EDDINGS are availaNe on microfilm from University Microfilms, Ann Arbor. Mich 48106 Microfiche Associate Publisher copies of these magazines ( 1973 forward) are available through Bell 8. Howell Micro Photo Division, Old Mansfield Road. Wooster. 0 44691. Editorial correepondence should be addressed lo The Editor. High Fidelity. Great Bar- WARREN B. SYER rington. Mass 01230 Editorial contributions will be welcomed, and payment for articles Publisher accepted we be arranged pnor to publication Unsolicited manuscripts should be accom- panied by return postage

4 HIGH FIDELITY M AGAZINE STEREOTECH "You'll hear more from us!"

•Ielk Mill MIMI a II • • Make sure you get your moneys worth when you buy a stereo. Modern technology, solid state electronics and contemporary engineering permits most equip- ment available today to have comparable perform- ance. If performance is the only measurement you make you will be in danger of not getting the most for your money. 1230 Stereotech performance has been designed to be " State of the Art" and high value. Not only must each Stereotech perform but each Stereotech product must deliver long trouble- free life. Careful engineering combined with time consuming life and stress test- ing of each component part that goes into aStereotech have assured the performance of Stereotech. Handcrafted construction and unit by unit testing assures you that the Stereotech you get will perform to your expectations. To prove the value of tong life, Stereotech will give you a 5 Year Stereo Technology Division Factory Service Policy when you invest in a Stereotech. Not only 1010 Conklin Rd. is long life promised without additional cost but is assured by this RD 1 Box 413A Stereotech offer - - - Full details are at carefully selected dealers. Conklin, New York 13748 That's right, Stereotech isn't everywhere; only at those specialists that think enough of you to invest in facilities that can care for your NAME needs properly. ADDRESS Or, send us the coupon. We will rush data to help you select the right stereo dealer plus full information on Stereotech and the right CITY STATE ZIP stereo for you. CIRCLE 37 ON READER- SERVICE CARD If you are in a hurry for your information please send the coupon to Stereo Technology Division.

JANUARY 1976 5 3GOOD REASONS Leffers FOR Kaufman's Saint-Saëns

BUYING AN in the September issue Shirley Fleming re- viewed an Orion release of the Saint-Saëns Third Violin Concerto played by Louis EMPIRE Kaufman, with Maurits van den Berg con- ducting the Netherlands Philharmonic. I have owned a ten- inch Musical Master- CART- piece Society disc ( MMS 62) of this material by the same artists for over twenty years. Since neither Mr. Kaufman nor Maurits van den Berg has been really active in record- RIDGE ings of late, it would be interesting to know if these are the same. The old MMS release was certainly pre- stereo by some years. It YOUR RECORDS WILL LAST also contains some thirty-four minutes of 1• LONGER. Unlike ordinary music— very short shrift from a $6.98 LP, particularly if it is areissue of the old per- magnetic cartridges. Empire's vari- formance. able reluctance cartridges have a Donald C. Birkby Louis Kaufman diamond stylus that floats free of its Stamford, Conn. Reissued. yes: rechanneled, no. magnets. This imposes much less Orion confirms that its Saint-Saéns disc is weight on the record surface and indeed areissue of the MMS performance. broadcast. We offer a variety of material. insures much longer record life. It insists, however, that the disc is not re- including orchestral, choral, chamber, and channeled— and since some companies organ concerts performed by American and YOUR RECORDS WILL were already taping in stereo in 1955, when European artists and ensembles. We will be the recording first appeared (at a $ 1.65 list!) 2u SOUND BETTER. Empire happy to supply information about our it could very well be real stereo. service to any radio- station program direc- sound is spectacular. Distortion at tor. standard groove velocity does not Concert Broadcasts Gretchen Schroeder exceed . 05%. Instruments don't Glenwood Audio Thank you for Robert Finn's " Taping Or- waver; channel separation is razor Box 297 chestras for Broadcast" (August). The Somerville, Mass. 02143 sharp. broadcasts of our symphony orchestras are about the best offerings of our poorly pro- In " Taping Orchestras for Broadcast," Rob- MORE CARTRIDGE FOR grammed radio stations. ert Finn has misquoted me and also cast an 3• YOUR MONEY. We use 4 As a ship's officer away frim home for ugly and inaccurate light on the Inter- many months ayear, Ihave ha great pleas- poles, 4coils and three magnets in national Conference of Symphony and Op- ure from my small collection of Boston era Musicians' association with the Ameri- our cartridge ( more than any other Symphony recordings. Iprefer them to rec- can Federation of Musicians. brand). Each cartridge must pass ords, as the audience sounds make me feel Mr. Finn quoted me as saying that " if the rigid tests before shipment. more as though Iwere in attendance and tapes invariably were played without com- very often adegree of excitement is gener- mercial sponsorship, ICSOM would have ated in aconcert that is seldom found on a no objection" What Isaid was that we For more good reasons to buy an disc. My recordings do not, however, ad- might look at taping differently if the local Empire cartridge write for your free versely affect the revenues of record com- stations were not selling the time to spon- catalogue: panies, as Ioften purchase records of the sors and thereby making a profit on our works that Ihave heard on these concerts. EMPIRE SCIENTIFIC CORP., services. This is very different from saying It is apity that Mr. Finn didn't expand his we would approve the broadcasts if they Garden City, N.Y. 11530 subject matter to include chamber music were not sponsored. and the Library of Congress's broadcasts, ICSOM's relationship with the AFM was performed by the best groups available on 'described as " akind of wary but brotherly Stradivarius instruments. Because of sev- Mfd. U.S.A.E1VPIFE relationship— most players in larger orches- eral grants from foundations that sponsor tras hold dual membership." ICSOM is the concerts and dissemination of the tapes, purely and simply a conference of sym- these are available to radio stations. Surely phony and opera musicians within the these concerts would win more friends for framework of the AFM. Many international chamber music if they were better known. unions have conferences within the larger Robert G. Munns organization. Some are based on geo- Woods Hole, Mass. graphic location, and some on various trades and other forms of groupings. We are Your recent article on the transcription all union musicians and have formed acon- services of the major orchestras was ex- ference within the framework and bylaws tremely informative and points out the im- of the AFM, with its full support. to help portance of these services in bringing sym- each other meet and solve problems of our phonic music to the FM- radio audience. profession. The "wariness" and " duality of However, Iwould like to point out that membership" simply do not exist. the services you named are not unique. ICSOM's position on broadcast taping of Glenwood Audio is a recently established symphony concerts was properly stated: company that produces transcriptions for "What we would like is to be paid an estab- CIRCLE 7 ON READER- SERVICE CARD o HIGH FIDELITY M AGAZINE lished union price for the tapes." We want the tapes divorced from pension plans, and it is to this end that we are addressing our- selves. Irving Segall Chairman, ICSOM Philadelphia, Pa.

Broadcast Pioneer

One glaring omission in your August ar- ticle, "Taping Orchestras for Broadcast": William Busiek has engineered the Sym- phony Hall broadcasts of the Boston Sym- phony since 1951, the year when the BSO and other Boston institutions gathered un- der Ralph Lowell's leadership to found WGBH-FM (and later -TV). This certainly qualifies Bill as apioneer of FM symphony broadcasts. And the BSO's interest in pub- lic broadcasting has paid off on television as well, with the popular WGBH-produced Evenings, at Pops and at Symphony, on PBS. It is also perhaps worth noting that high- speed duplication has yet to provide results rivaling live broadcasts. Busiek, who should know, says that these broadcasts had their greatest potential in the WGBH/ WBCN dual- FM broadcasts of about 1960, since the two mono signals gave total stereo separation and were permitted frequency response up to 20 kHz. Despite the present limit of 15 kHz, though, and the reduced separation of FM multiplex, current efforts with Dolby-A noise reduction from the Is it live, or Symphony Hall studio to our transmitter have given New England listeners some spectacularly clean and quiet broadcasts. John H. Beck Radio Manager, WGBH is it Memorex? Boston, Mass.

40, Broadcast Quality (cont.) tio

In regard to Peter Hamilton's October letter concerning the dull sound of American con- cert broadcasts, might it be that we have been so conditioned to the "live" sound of recorded orchestras taping in empty halls that we cannot recognize the much drier sound of an orchestra performing to a full house? When Ifirst played in acommunity orchestra Iwas struck by the difference in sound and balances, a difference empha- sized for me in my years as amember of the Cornell Symphony Orchestra, playing in an extremely " live" hall that, from an on-stage perspective, went absolutely " dead" at concerts. Iwould certainly agree that the beau- tifully lush sound one hears on DG record- ings of the Boston Symphony is far more colorful and enjoyable than the sound on We proved it in our latest BSO Transcription Trust tapes, but neither television commercial with is atrue representation of what one hears in Ella Fitzgerald. Whatever Symphony Hall at aconcert. Each acousti- cal setting emphasizes different elements of Ella can do, Memorex with the music, and sometimes one hears inter- MRX 2 Oxide can do. esting details in transcription tapes that are Even shatter aglass! buried in the more reverberant ambience of empty- hall commercial recordings. Speaking of transcription tapes, the re- cent PBS broadcast performance of the Ives Fourth Symphony, with José Serebrier con- MEMOREX Recording Tape. ducting aPolish orchestra, had some of the Is it live, or is it Memorex? best mono sound Ihave ever heard over a television concert broadcast. The perform- 1976, Memorex Corporation, Santa Clara, California 95052 CIRCLE 20 ON READER- SERVICE CARD JANUARY 1976

"Does it have aHeil?" This is the most important question. you can ask when contemplating the purchase of a quality loudspeake- system.Why? Because ESS Heil air- motion transformer, developed and perfected by physicist and musician Dr Oskar Heil, obsoletes conventional loudsoeakers. It does matter how the sound in a loudspeaker . s propagated. It does matter that sound is " squeezed" instead of " pushed" It does matter that one speaker —the Heii — accelerates air faster than others. It does matter whether it's aHeil air-rnoton transformer.Why? Because the Heil air- motion transformer ssuperior. This is more than me -e opinion, it is fact based on the laws of phys.cs. By discarding bankrupt design concepts rooted in past technology the ESS Heil air- mot -on trans- former approaches theoretical limits of perfection. ONLY the ESS Heil air- motion transformer diaphragm can, alone, accelerate air to aspeed five times greater than that of its own moving surfaces. Instantly. Accurately. Cleanly. ONLY the ESS Heil air- motion transformer has been acclaimed around the world as the first really new air moving principle in five decades. ONLY the ESS Heil air- motion transformer is the loudspeaker of the future. free from bondage to cones, domes, voice coils, mass and inertia. Revolutionary today and ' the standard of comparison for tomorrow. the Heil air- motion transformer is available in awide range of superbly engineered speaker systems from ESS.. Each model ach eves a level of accuracy that sets it light years ahead of the industry. Hear the new ESS standard of excellence yourself.Visit afranchésed ESS dealer, one of a handfur perceptive enough to bypass. the ccrventional ard premier the most advanced state-of-the-art designs ih high fidelity, a dealer who understands the loudspeaker of tomcrrow— the ESS F-lei air-motion transformer. Listen to ESS, you'll hear sound as clear as light.

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p.o box 26226. sacramento. californio 95827 ore ovailaole n Canada th -ough ESS Ca-Inc:Ida The Empire 598 III Turntable Created by concentrating our total effort on asingle superb model.

The Motor ished before lapping it into two oilite, self- Hz, with more than 35 dB channel sep- A self- cooling, hysteresis synchro- lubricating bearings, reducing friction aration. nous type with an inside out rotor, drives and reducing rumble to one of the lowest The Controls the platter with enough torque to reach figures ever measured in aprofessional The coordinated anti- skating ad- full speed in one third of arevolution. It turntable: - 63 dB CBS ARLL.* justment provides the necessary force contributes to the almost immeasurable The Suspension for the horizontal plane. It is micrometer 0.04% average wow and flutter value in Piston damped, 16 gauge steel coil calibrated to eliminate channel imbal- our specifications. springs cradle the arm and platter. You ance or unnecessary record wear. The Drive Belt can dance without your stylus joining in. Stylus force is dialed with a cali- Every turntable is packaged only The Tonearm brated clock mainspring more accurate when zero error is achieved in its speed The aluminum tubular design than any commercially available stylus accuracy. To prevent any variations of boasts one of the lowest fundamental pressure gauge. speed we grind each belt to -± . 0001 frequencies of any arm, an inaudible Atrue- vertical cueing control floats inch. 6Hz. Acoustic feedback is unheard of. the tonearm up or down from arecord The Platter even with gain and turned all the surface bathed in light. Every two piece, 7lb., 3inch thick, way up.The vertical and horizontal bear- At Empire we make only one model die cast aluminum platter is dynamically ing friction is 1milligram.This allows the turntable, the 598III, but with proper balanced. Once in motion, it acts as a arm to move effortlessly imposing only maintenance and care, the chances are massive flywheel to assure specified the calibrated anti- skating and tracking very good it will be the only one you'll wow and flutter value even with the volt- force you select. ever need. age varied from 105 to 127 volts AC. The Cartridge 'Independently tested and recorded in High Fidel- The Main Bearing Empire's best, the 4000D/Ill, wide ity's 1974 Test Reports. Write for your free catalogue: The stainless steel shaft extending response cartridge is astandard feature. EMPIRE SCIENTIFIC CORP. from the platter is aged, by alternate ex- The capabilities of this cartridge allow Garden City, N.Y. 11530 posures to extreme changes in temper- you to play any 4channel or stereo rec- ature. preventing it from ever warping. ord at 1gram or less. And the frequency The tip is then precision ground and pol- response is an extraordinary 5-50,000 Mid. USA EIVP IFE CIRCLE 8 ON READER- SERVICE CARD ance revealed a tonally magnificent en- set ( list price $23.94) in which, on one of the tice to any subsequent purchaser that his semble that outshone the London Philhar- labels, the word " Defective" had been writ- "new" record has been found wanting by a monic's recent RCA recording. ten. Though these are the most flagrant fellow consumer. Arthur S. Leonard cases Ihave encountered, there have been Richard M. Tuckerman Cambridge, Mass. many suspiciously battered booklets, Lenox, Mass. liners, and covers that would lead one to About the Vibraslap believe that the product is not as fresh as One Swan, Hold the Orchestra the company would have you think. (This Regarding Andrew Porter's October review worn packaging has inevitably contained In response to R. D. Darrell's September re- of the Nonesuch recording of George one or more defective records.) Imight add view of Christine Walevska's Philips disc of Crumb's Music for a Summer Evening. I that all of the suspicious records Ihave re- Saint-Saëns's " Complete Works for Cello hope that Imay be of some service to Mr. ceived have been on high-priced ($ 7.98 list) and Orchestra": While Carnival of the Ani- Porter and to your readers concerning the imports distributed by independent distrib- mals is for two pianos and orchestra, " The vibraslap ( which, as Mr. Porter notes, the utors and not by the manufacturers them- Swan" contained therein is for cello and composer specifies " may be substituted selves. two pianos, not cello and orchestra. for the quijada"), inasmuch as Ibelieve it Iwould suggest that the consumer indi- Douglas B. Moore ( cellist) was Iwho first brought the instrument to cate on the label of any record returned that Williams College the attention of Mr. Crumb afew years ago. the disc is defective. This would serve no- Williamstown, Mass. The quijada is indeed the jawbone of a donkey— the sound is produced by slapping the bone against the butt of the hand, thus causing the loosened teeth to rattle. How- ever, not only is the quijada rather hard to come by, but it also possesses a marked propensity to break, as borne out once by my own bloodied and bone- splinter- rid- dled hand. The vibraslap is avery recent invention (manufactured by the Latin Percussion Corporation), hence Mr. Porter's inability to find it in Sibyl Marcuse's dictionary of musical instruments. It was developed spe- cifically to replace the all too fragile qui- jada, and it basically consists of a thin wooden shell inside of which small cy- lindrical pieces of metal may be set in mo- tion. While the vibraslap sound may not be acarbon copy of that of the authentic qui- jada ( the ass's teeth don't seem to rattle We have this different quite so much as the metallic teeth of the vi- braslap), Ihave found that the sounds are quite similar. And it is indeed a vibraslap new speaker system... that is used in the Nonesuch recording of Music for a Summer Evening. Its woofer isn't really awoofer Christopher Rouse but it gets down flat to below forty Hertz (3dB down at 32 Hz) Ithaca, N.Y. It has atweeter on the back Mussorgsky, Anyone? (plus one on the front) so you hear uniform, well-dispersed acoustic output to Iread with interest in the October " Behind beyond 18,000 Hertz. the Scenes" that Philips may celebrate the It's not an acoustic suspension system 225th anniversary of Mozart's birth in 1981 but it's 2 to 3 dB more efficient than almost all sealed by issuing his complete works on disc. I would like to point out that 1981 also marks systems the 100th anniversary of Mussorgsky's It's too small to be really good death. May we dare hope that Philips—or but STEREO REVIEW says, "... the Interface:A can deliver anyone— will take time out from the unde- a level of undistorted bass far superior to that of any other niable joys of, say, K. 28 to give us arecord- speaker of its size that we have heard:' ( March, 1974) ing of in the composer's own scoring? Surely the enthusiasm ac- So it must be really expensive corded last year's Metropolitan production it costs $ 450 per pair. complete! (Suggested retail price) provides some indication that the time is ripe for such arecording. How much longer will we have to wait? And right now we have 320 dealers standing by to show Robert W. Oldani and demonstrate this different new speaker system. For Ann Arbor, Mich. the name of your nearest dealer, write to us today. Recycled Records

In these days of noisy pressings it would seem that there is one largely overlooked contributing factor that should be easily controllable: the practice of resealing and Interface: ATM redistributing defective records. A record- store- owning friend of mine recently received from adistributor afour- ElectroVoice record set ( list price $ 31.92) shrink-wrapped ogultan cormanv and labeled " Direct Import— Factory Sealed." Under the wrap was penned the word " Defective." Ireceived athree- record ELECTRO -VOICE, INC., Dept. 164H, 619 Cecil Street, Buchanan, Michigan 49107 CIRCLE 6 ON READER- SERVICE CARD

4.— CIRCLE S ON READER-SERVICE CARD II certo ( with Siegfried Bornes) and Scotch Symphony with the Berlin Philharmonic (Electrola HZEL 700), and the Tchaikovsky Fifth with the London Philharmonic (German Decca 641909). Celibidache's distaste for recording carries over in his attitude toward ra- dio concerts. " Ido not give radio con- certs," he says, " Igive concerts. If the radio wants to broadcast or tape them, I cannot say no, otherwise I should have to die or find another pro- fession. But if Ihad the money and could pay for the concert without help from the radio, naturally Ishould pre- fer that." He goes on to explain his method of interpreting music: " Analysis is the essential means of preparing an inter- pretation, but an analysis most con- ductors ignore completely: phenom- enological analysis. "Let us take, say, aC sharp. The suc- cession and the combination of the in- tervals that have led to that C sharp are contained in that C sharp, and so is the future of that C sharp. And so I must feel, must sense, the past and the future. But where? In the simulta- The Conductor Who Refuses to Record neity— that is, in what the philoso- by Paul Moor phers call the ' becoming conscious' and not in the ' being conscious.' "RECORDINGS? The destruction of mu- chooses the few engagements he ac- "On the one hand, what is the mate- sic!" The vehement speaker was the cepts, he has remained less widely cel- rial that Imay not, cannot, interpret? Romanian- born, stateless conductor ebrated than a number of less formi- And what is the relationship between Sergiu Celibidache, long resident in dable conductors whose names what puts the material into motion . regularly appear on record labels. A and the human consciousness? Celibidache ( pronounced chay-lee- student of music in wartime Berlin af- "What, after all, is music? Move- bee-DAH-kay), now sixty-three, ter earlier studies in mathematics, ment! What moves? Nothing more or recently hurled these thunderbolts of philosophy, and musicology, he made less than our consciousness. One can opinion at Dr. Klaus Lang, a young asensationally impressive debut with feel music without hearing tones. The staff member of the radio station the Berlin Philharmonic soon after the farmer who has nothing more in mind Sender Freies Berlin: " You don't listen war, during the period when denazifi- than to express his happiness or his to recordings in the same acoustics as cation proceedings had removed Wil- mood in the morning— he sings, but those where they were made. Acous- helm Furtwangler from his post. In that's not notes, not ascore, nothing. tics have a living function, for in- 1947 Celibidache became that orches- That is a form of dynamics that ex- stance, in determining tempos. You tra's chief conductor. presses itself." cannot take atempo suitable for ahall Berlin still reverberates from the Celibidache's demands for re- in Berlin and transfer it to a hall in imprecations he fired off when he de- hearsal time make orchestra man- London. With short reverberation you parted in 1952, most of them aimed at agers blanch. " Iconcentrate now on have to pick up the tempos, with long Furtwângler, a man never noted for two orchestras, in Paris the National reverberation you have to take care favorably regarding gifted young ri- and in Stuttgart the South German the tempo doesn't cause musical val- vals. Celibidache concedes his own Radio Orchestra," he says [since this ues to overlap, causing frightful con- "combative" nature. In recent years in interview, Celibidache has severed his fusion. Berlin one has heard that another con- connection with the former]. " In Paris "You yourself are an opponent of ductor, , has had Ihave twelve rehearsals for aconcert, recordings, but you do not know it, for three esteemed colleagues on his in Stuttgart fourteen. The number of you are deaf. You think you are not blacklist whom he has allowed no rehearsals depends upon the quality deaf, because you hear me speaking. contact whatever with his manifold of the orchestra, but not in the way You do not hear what really matters. enterprises: Celibidache, Bernstein, you might think. The better an orches- A microphone amplifies certain over- and . tra is, the more you must rehearse tones and cancels out others. There Celibidache fans tend to idolize with it, for it offers you more possi- may be interesting sounds on a him, and he and many Berliners still bilities. In a mediocre orchestra, the record— from aquite unmusical stand- carry on a mutual love affair even flutist, for example, can play in only point. What, in a recording, is gen- with their Prince Charming long since three ways instead of three hundred. uine?" banished. Not only Berliners treasure In such acase Iexpect the orchestra to Although Celibidache demands and the two lone recordings he made long play together— a little piano, a little gets high fees, poses uniquely de- ago before the scales fell from his eyes forte— and that's that. But if it offers manding conditions, and picks and and ears: Mendelssohn's violin con- me five hundred different possibilities

12 HIGH FIDELITY MAGAZINE THE END OF THE DOUBLE STANDARD.

OUR LEAST EXPENSIVE RECEIVER HAS THE SAME LOW DISTORTION AS OUR MOST EXPENSIVE RECEIVER. 1M Distortion Comparison YAMAHA Brand "A" Brand " B" Brand "C" CR-1000 . 1% . 1% .15% .3% At Yamaha, we make all our CR-800 . 1% .3% . .3% .5% top- of-the-line receivers. stereo receivers to asingle CR-600 . 1% .5% .5% .8% Unless you're atrue audio- standard of excellence. CR-400 . 1% 1.0% .9% 1.0% phile, some of the features on A consistently low inter- With most manufacturers, price determines quality. However, in our top-of-the-line receivers he above chart, you can see how Yamaha alone offers the samu modulation distortion of just quality ( low distortion) throughout our entire line, regardle,s of might seem abit like gilding the 0.1%! price. lily. Selectable turnover tone A figure you might expect on less and less distortion. standard in the production of controls, variable FM muting, only from separate compo- Particularly intermodula- fine sound. And now, with our two- position filters, even aspe- nents. Maybe even from our tion ( IM) distortion, the most entire line of receivers and cial five- position tape monitor $850 receiver, the CR-1000. irritating to your ears. By vir- other stereo components, selector. But afigure you'll surely be tually eliminating IM's brittle we've defined the standard of However, you don't have to surprised to find in our $330 dissonance, we've given back its reproduction. pick one of Yamaha's most ex- receiver, the CR-400. to music what it's been missing. pensive receivers to get afull So what's the catch? A clear natural richness and Four different receivers, complement of functional fea- There is no catch. Simply a brilliant tonality that numbers built to one standard. tures as well as our own exclu- different philosophy. Where alone cannot describe. A new Between our $ 330 CR-400 sive Auto Touch tuning and high quality is spelled low purity in sound reproduction. and our $850 CR-1000, we have ten- position variable loudness distortion. two other models. control. You'll find Yamaha's single- A musical heritage. The $460 CR-600 and the mindedness particularly grati- Our seeming preoccupation $580 CR-800. The End of the fying when compared to the with low distortion, in general, Since all are built with the Double Standard. amount of distortion other and the resulting low IM dis- same high quality and the same Just keep in mind that all manufacturers will tolerate tortion, in particular, stems low distortion, you're probably Yamaha stereo receivers, from throughout their product lines. from Yamaha's own unique asking what's the difference. the most expensive to the least (See chart.) musical heritage. The difference is, with expensive, have the same high Particularly gratifying and Since 1887, Yamaha has been Yamaha, you only pay for the quality, the same low distor- easily explained. making some of the finest musi- power and features that you tion, the same superlative cal instruments in the world. need. tonality. Less of what Pianos, organs, guitars, wood- Unless you have the largest, It's ademonstration of prod- irritates you most. winds, and brass. most inefficient speakers, plus uct integrity that no other While other manufacturers You might say we're music asecond pair of the same play- manufacturer can make. And, are mostly concerned with people first. ing simultaneously in the next an audio experience your local more and more power, With our musical instru- room, you probably won't need Yamaha dealer will be de- Yamaha's engineers have ments, we've defined the the abundant po‘+ er of our lighted to introduce you to. concentrated

OYANIAHA International Corp., P.O. Box 6000, Buena Park, Calif. 90620 CIRCLE 39 ON READER- SERVICE CARD JANUARY 1976 of producing tone, then which is the MODEL AT- 706 best for combining the flute with, say, electret condenser the bassoon? That is aquestion of tak- headphones ing time. 20 to 22,000 Hz ± 2 dB* "I have conducted the Phil- harmonic, amediocre orchestra. It has , one single mezzoforte—they cannot at ; PP is ,,, all understand structure, the natural i • order of instruments, sound. And, in addition, no interest. Just imagine, this ,/ nothing% \ is an orchestra that makes cuts in Mo- zart, legalized for all time. In Mozart! short of Imagine! And such an orchestra re- cords twenty Mozart symphonies incredible IN I with a big conductor who does not — LEN FELDMAN 4-- once open his mouth! That's music to- *Mr. Feldman, reporting in Tape Deck day for you. Not for me. Ihave no time Quarterly, Spring, 1975 noted that the for such an orchestra." AT- 706 response varied no more How does he view the younger than + 2dB from 20 to 22,000 Hz. emerging conductors? " There is not He also stated, " What we heard one new conductor who still under- corresponded with what we stands music or who can grasp the dif- had plotted..." Hear the ference between notes and music. incredible new AT-706 None! They are all note- chasers, and • headphones at Audio- Technica dealers music has nothing to do with notes. everywhere. Notes are avehicle for the transport of asubstance. The substance material- • • izes itself through this vehicle, but it is not in the notes. Ifind myself floating in abath of musical ignorance such as i• o-t e chni 'ç a the world has never known before. We have no more technicians today." AUDIO-TECHNICA U.S., INC, Dept. 16H, 33 Shlawassee Ave, Fairlawn, Ohio 44313 "Why is aconductor's ' personality' Available In Canada from Superior Electronics, Inc. supposed to be decisive?" Celibi- dache continues. " It is aprecondition that aconductor have the authority to carry something over to the orchestra, but nobody has asked himself what The Column Restated! [to] carry over. Vulgarity! Triviality! "What does the world know about the composer's intentions? For 150 RTR reaches new heights years it has proven that it has under- stood nothing. Under Wagner's baton, with the 240D music system. the Siegfried Idyll lasted thirty min- utes, under Bernard Haitink's twelve. In 1970, RTR introduced Iassume that Wagner knew better. A you to the column con- scandal! And what a scandal Knap- cept. Now the all- new per tsbu sch was! Everyone spoke 240D restates the column about his ' broad' tempos—that was in asystem of towering not broad tempos, that was nonmusic reproduction capability. to the nth degree! He had absolutely no sensitivity to the relationship be- Audition the 240D. Be tween vertical pressure and horizon- prepared for an unex- tal flow, and that, after all, makes all pected experience in low the difference in music. What did frequency reproduction. Furtwângler leave us in the way of Listen for the open true music? You can't take over one naturalness of live music single bar. Who today can realize the midrange. Revel in composer's intentions? Certainly not superb high frequency Mehta or Maazel or any of those oth- delineation, ambient ers. total dispersion. Yes, this "Urn Gottes Willen, Ido not speak of is the column by which myself. Istarted out the same way. I all others will be do not say now that Ican do it. Isay RTR 240D— S229 measured. only that what Ihear is not music. You Hear the 240D at your nearest franchised RTR dealer. For a must tell me if for you what Imake is dealer list and complete information, write RTR INDUSTRIES, music." Dept. HF, 8116 Deering Ave., Canoga Park, CA 91304. And thousands of Celibidache fans RTR products are distributed in Canada by Canadian Audio Distributors. Toronlo, Ontario in various countries do, vociferously. O CIRCLE 29 ON READER- SERVICE CARD

CIRCLE 2 ON READER-SERVICE CARD —3. "It's agood turntable by itself, and as an added bonus it also stacks records." Creem, MARCH 1975 In the old days, aserious audio enthusiast wouldn't touch anything but amanual turntable. He felt he had no choice. That anything with automatic features simply didn't perform. But as Sound magazine says in its August 1975 issue: "In recent years...the quality of the automatic turntable has risen dramatically. And the performance of the B.I.C. 960 certainly substantiates our belief that aserious music lover can attain extremely high quality in an automatic unit just as in the best manuals." In aSept. 1975 test report, Radio & Electronics agrees, noting that B.I.C: "might well be considered atop- performing manual turntable in its price category." Modern Hi-Fi and Music (Aug./Sept. 1975) reports: "wow and flutter of 0.03% at 33% rpm and rumble less than —65db; specifications which are more typical of agood manual than most automatics." And because they're not imported (B.I.C. turntables are built entirely in the U.S.) the price of this performance comes as a pleasant surprise. If you're serious enough about your system to spend $ 100 or more on aturntable, aB.I.C. 940,960, or 980 has what you want and more of it — all three are multiple-play manual turntables sharing the same quality features and high performance. See if your high-fidelity dealer doesn't agree. He has literature with all the details. Or write to B.I.C. ("bee-eye-cee") c/o British Industries Co., Westbury, N.Y. 11590.

B.I.C.4S A TRADEMARK OF BRITISH INDUSTRIES CO.. A DIVISION OF AVNET INC. C1975 Crown The Known Value... at an uninflated price!

An honest value is hard to find. In 24 years CROWN has established areputation for giv- ing more value per dollar. Nothing has changed that concept. What other recorder can give you day in, day out worry-free reliability and brilliant performance? And that uncommon CROWN reliability is the result of simplicity of design. The few moving parts in aCROWN transport bear this out. The belt drive system provides maximum isolation from tape path to effec- tively dampen rumble and vibration. Smoother tape flow is accomplished with quartzite glass tape lifters, while a unique nylon brush gives optimal tape/head contact without worry of head damaging pressures. For superior head alignment stability. CROWN has combined the head plate, front panel and capstan housing into one rigid assembly. Combine these simple techniques with highest quality electronic components, cir- cuitry, and extra large meters. The result? A professional tape deck, capable of producing studio quality recordings. Back this with 100 hours of testing, a signed performance sheet and a3 year parts, 1 year labor warranty. You have a product that is simple, strong and solid; worthy of the CROWN name. More than ever, why not consider CROWN's greater long-term value and unin- flated price? Visit a nearby CROWN dealer and take ong afavorite tape. Test reports are available from your or by writing CROWN, Box 1000, IN 46514.

Dizzy Gillespie More Credit, Please

by Gene Lees

A REMARKABLE NEW ALBUM, titled " Os- bands— specifically the two bands he car Peterson and Dizzy Gillespie" led in the late ' 40s and ' 50s. Film com- (Pablo 2310 740), presents two of the poser Lalo Schifrin, a member of the major figures in jazz, trumpet and pi- large fraternity of musicians discov- ano in duet, without bassist or drum- ered and trained by Gillespie, played mer. With no rhythm section, Gil- piano in one segment of the perform- lespie and Peterson are all but naked. ance. This is how he described that But they bring it all off with dazzling evening: " It was practically the origi- élan. nal big band on that stage, with many This recording, which contains El- of the same musicians, including lington's " Caravan," Gillespie's lovely Charlie Persip [ the drummer in the "Con Alma," some blues, and some '40s band]. It was like traveling down standards, such as "Alone Together," atime tunnel. It was weird. The band was issued two weeks after a sellout had only one rehearsal, but it played retrospective on Dizzy's career in the charts as if it were a road band New York. The concert touched on coming in off asix-month tour. It was crown various phases of his life, on his work one of the most exciting concerts I wHEn LisTeninG BECOMES Rfl RRT with both small groups and big have ever heard." CIRCLE 4 ON READER- SERVICE CARD

HIGH FIDELITY M AGAZINE Now learn the secrets of enjoying great music and understand the works of the masters as never before NEW from TIME LIFE RECORDS Great Men of Music superb boxed collections of representative works by the greatest composers of all time, performed by the world's outstanding artists

As your introduction, you are invited to audition TCHAIKOVSKY free for 10 days Hear Leonlyne Price singing the Letter Scene from Eugene °nee; the Boston Symphony's performance of fiery Francesca da Rimini. Van Cliburn recreating his performance of the 1vÉ First Piano Concerto which catapulted him into international fame, and more. YOURS FREE frkOKOF151 BACH with purchase of Tchaikovsky album THE GOLDEN ENCYCLOPEDIA OF MUSIC

An important secret of enjoying great Then, in a lavishly illustrated com- Deluxe, 720- page composers' works is to understand the panion booklet, you'll discover facts about hardbound edition, unique genius each one brings to his mu- the composer's life, the forces that shaped a must for every his music, the people and places that sur- reference shelf, sic. And to become so familiar with their retails for $ 17.95. individual styles that you can instantly rounded him and you'll learn exactly identify the creator of each work you hear. what to listen for in his work. Now TIME- LIFE RECORDS, in coopera- Altogether you get nearly four hours tion with RCA, has developed an exciting of listening enjoyment on 4 stereo rec- new series which provides " total immer- ords, plus the illustrated booklet and rich sion" in the lives, times, musical styles of gold-stamped slipcase and box. A collec- a subscriber to the series you may keep such masters as Beethoven, Bach, Chopin tion of these albums makes not only an this $45.87 value for just $17.95 plus ship- Mozart, Handel and Prokofiev . and impressive array for your music shelf, ping and handling as described in the shows why they stand, for all time, as but a magnificent addition to your music reply card. music's great men. library. Or, if you decide against the album, In each album, devoted exclusively to To acquaint you with the series, you return it and The Encyclopedia within the life and work of one great composer, are invited to audition the first album. 10 days without paying or owing any- you hear outstanding selections of all Tchaikovsky, free for 10 days. And as an thing. You will be under no further obli- musical forms in which he excelled, per- added bonus, we will send you the deluxe gation. To take advantage of this free formed by our finest artists—Van Cli- edition of The Golden Encyclopedia of audition, mail the bound- in postpaid burn, Emil Gilels, Jascha Heifetz, Eugene Music at no extra cost. Records of this reply card. If the card is missing, write Ormandy and the Philadelphia Orches- calibre usually sell for $6.98 each. The Time Life Books, Time & Life Building, tra, Leentyne Price, to name just a few. Encyclopedia retails for $ 17.95. But as Chicago, Ill. 60611.

19 JANUARY 1976 During the years when the record companies were interested almost ex- clusively in cheap and profitable pop- ular music, Gillespie's work was shamefully ignored. Now we are get- ting aflow of his records again, and he is— as musicians agree— at the peak of his form. John Birks Gillespie just keeps get- ting better. His invention is more fluent than ever. His control of the horn—whether he is playing with a broad, open tone or that intimate close- to- the mike muted sound that is so distinctly his own, or is even squeezing out those mocking, laugh- ing, sensual half- valve sounds— is quite incomparable. Considering the respect— no, adula- tion— in which Dizzy is held by musi- cians, it may sound odd to say that I don't think he has been given enough recognition in the history of American music. The critical word there is "enough." The emphasis, in academic and crit- ical writings, is usually placed on his friend and colleague Charlie Parker. Why is it? Ithink the reason lies in puritanism and the love of dramatic darkness. Bird shot dope, suffered, and died. The yearning for resurrec- tion is manifest in the phrase " Bird lives." Dizzy has lived, prevailed, and Thir...protectr your mort expenrive even enjoyed life. He isn't the stuff of which books and movies are made. But he is the stuff of which music is hi.fi invertment. made, and that is what matters. Ifind it hard to accept that Dizzy "got it" from Bird. For one thing, be- bop was to an extent an inevitable de- Recognizing that a penny saved is a penny earned, may we suggest velopment out of the previous sim- that trying to economize by putting off the replacement of a worn plistic harmony of jazz. Chromaticism stylus could be like throwing away five dollars every time you play a was in the air, and Charlie Christian record. ( Multiply that by the number of records you own!) Since the was moving in the direction of what would be called bop when Dizzy and stylus is the single point of contact between the record and the balance Bird arrived on the scene. (As amatter of the system, it is the most critical of fact, even the word " bebop" wasn't new. Irecently came across it in the KO component for faithfully reproduc- me lyrics to " Spaghetti Rag," atune pub- ing sound and protecting your rec- BUYING GUIDE lished in 1910!) The double-time char- ord investment. A worn stylus could irreparably damage your valuable acteristic of bebop was presaged in IFIRee the work of and Cole- eo record collection. Insure against 9 man Hawkins. Quincy Jones, another 116 S te &. this, easily and inexpensively, sim- of the people that Dizzy helped to de- Dite ct° -de ply by having your dealer check 'tog Ge% shute velop, points out that, if you play Bel rctee lore your Shure stylus regularly. And, you dges 6 Hawkins' " There Will Never Be An- when required, replace it immedi- cet" h 1 ig7 • other You" at 45 rpm instead of 33, it marc- citahs ately with a genuine Shure replace- sounds exactly like Parker. (s eueeav0 ment stylus. It will bring the entire "The controversy about Dizzy and cartridge back to original specifica- Parker," says Schifrin, " reminds me of tion performance. Stamp out waste: the controversy about cubism. Was see your Shure dealer or write: [cubism] invented by Braque or Pi- Shure Brothers Inc. casso? Braque was doing in France 02) 222 Hartrey Ave., Evanston, IL 60204 5 I-IL.) FREE what Picasso was doing in Spain. In Canada: A. C. Simmonds & Sons Limited FI "Bird was doing in Kansas City • FREE! 1976 Stereo Directory & Buying Guide with the purchase of a Shure V-15 Type Ill, or the what Dizzy was doing in New York, M95 series, M75 Type II or M91 series of cartridges. Simply send us your warranty card with the notation " Send Free Buying Guide" before March 1, 1976. ( Offer subject to supply and may be and when they met and heard each withdrawn at any time.) CIRCLE 34 ON READER- SERVICE CARD other in Minton's, they couldn't be-

20 HIGH FIDELITY MAGAZINE The BOZAI% Concert rand

In 23 years there has never been afiner speaker. çAbout $ 2,200 a stereo poir) At selected Bozak Dealers

BOZAK Inc Box 1166 Dorien, Connecticut 06820 lieve it. They had been making paral- lel developments." In terms of dissemination of the in- fluence of bebop, every musician I know who was close to the situation believes that Gillespie was the major factor— because he was, and is, an ut- terly generous teacher. You simply hang around, and sooner or later he starts showing you things. Schifrin says, " He would have the patience to show a bassist the changes to all the tunes, with all the passing chords. "Dizzy told me when Ijoined him, 'I'm not going to tell you what to do. I'm going to tell you what not to do.' If By eliminating the static you're doing the right things, Dizzy won't tell you anything." charges that attract and hold Iasked what Schifrin got from him. dust to the records' grooves! "Everything," answered the man who, Only Staticmaster, with its exclusive Polonium 210 ele- before his stint with Gillespie, had ment, completely eliminates static and whisks away dust studied at length with Messiaen and in one quick and easy operation. It works in seconds to pro- Koechlin. tect your investment, prolonging record and stylus life. Another musician whose career has Suggested retail price $ 14.95. To find out more about Static- been influenced by Gillespie is Ray master's unique Polonium 210 element, see your audio dealer or Brown, considered by many to be the write to us. greatest bassist in the world. He was with the late- 1940s band that was re- created at the retrospective concert. Of the years with Gillespie, Brown itOtl

NAME ment over the chord changes to " Jit- terbug Waltz." Ray said, " Hey, man, TODAY! ADDRESS un-uhn, don't argue with me. I CITY STATE ZIP learned from you— you made me go and learn this stuff. Now Iknow it." If you are in a hurry for your catalog please send the coupon to McIntosh. Dizzy laughed. They played it Ray's For non rush service send the Reader Service Card to the magazine. way. O CIRCLE 19 ON READER-SERVICE CARD

22 HIGH FIDELITY M AGAZINE ee Stretched out on your back has to be odeof the nicest ways we can think of to listen to music. Except for one thing. Everytime you change cassettes you have to maneuver yourself into asitting position and lean over to do it because just about all cassette decks load on top. Well, we've been thinking about that. And we've been working on that. And now we've got some that load in front. Akai's new 700 series* stereo cassette decks. The controls are in front, the Dolby** noise reduction circuit, the vertical head block assembly, the memory rewind button, pause control switch, peak level lights— everything. After all, when you're listening to music you're supposed to be relaxing.

'Ake 700 serves suggested retatl from $39510 $575 o•Trademark of Dolby Laboratores. Inc For further mformaten. erne Aka, Amenca Ltd 2139 E Dol Arno Blvd Compton. Ca. 90220 The $300 situation, the September 1975 issue of the French magazine Harmonie quotes Vozlinsky at length on his ar- alternative. tistic philosophy, and he makes clear that the orchestra must maintain an innovative role with respect to reper- tory (while maintaining the highest standards of quality), both as abroad- cast orchestra and as one of the domi- nant forces in Paris concert activity. Naturally recordings will play a ONF. In 1974, the Orchestre National part in the ONF's future. In Septem- de l'ORTF celebrated ahappy fortieth ber, guest conductor Leonard Bern- anniversary; after the disastrously stein conducted and recorded the Ber- lackluster Sixties, and despite the lioz (for which Stuart challenge of the newly created Or- Burrows and the Orchestre Phil- chestre de Paris (which proved little harmonique were also pressed into challenge after all), the orchestra had service) and aRavel program ( includ-

MM 1.0 4.1. ! a • regained the prestige of its prewar and ing Shéhérazade with ) a • ** .1•••• postwar glory years, thanks primarily for CBS. Decca/London plans aSchu- to the directorship of a remarkably mann disc conducted by Kurt Masur,

ov•• wise and able administrator, Pierre including the piano concerto played Vozlinsky. Then came a near- fatal by one B. Rigutto. SAE MARK XVII blow: As part of a bureaucratic shuffle designed to streamline the cen- Dual- Channel Equalizer Kleiber. A word of clarification con- tral government, the Office de Radio- cerning our November report on Car- diffusion-Télévision Francaise itself los Kleiber's EMI contract: If the re- was " dismantled," its numerous func- port gave the impression, without tions variously fragmented, cut back, Your tone controls are just not precisely saying so, that the contract switched to other government agen- designed to compensate for is exclusive, that's because our infor- DRoom acoustics cies, or eliminated altogether. mation did the same. In fact, though, The ORTF's regional orchestras DSpeaker placement the EMI contract covers only the com- DOld or bad recordings were reduced to three, and in Paris the plete Wozzeck and one or two orches- Orchestre Philharmonique and Or- tral recordings. EMI certainly hopes We built the Mark XVII Equalizer to chestre Lyrique will be merged. The for agreat deal more, but Kleiber con- solve these problems and more. National became the Orchestre Na- tinues to make his recordings on an in- These are some of the ways: tional de France, but mère than the dividual basis. DG, which already has DIndividual Octave Control for each name was streamlined. The démantle- his highly successful Freischütz and channel ment was designed to " trim person- Beethoven Fifth in its catalogue, re- OLong throw, oil- damped linear nel" ( the official phrase is "dégraisser mains very much in the picture. slide pots for greater accuracy les effectifs," which has aparticularly DDual range operation ( controls ugly and impersonal ring); the princi- Great Hits from Yesteryear. That's the operate over either ± 8dB or pal strategy was forced retirement at series name of the first records on the ±16dB) sixty and generous early retirement at Realistic label, available from Radio Plus fifty-five. As aresult, the National was Shack dealers for $2.99 each ($3.99 for OCapable of driving any system decimated, losing not only numerical cassettes and eight- track cartridges). OLow distortion— less than 0.03% strength (" effectifs"), but also its most Each of the first five records contains THD and IM experienced players. ten original recordings from its pe- OLow noise— greater than 90dB Somebody apparently realized that riod. " Hits of the ' 40s," prepared for O5-year parts and labor service you can't " trim" asymphony orches- Radio Shack by Capitol Records, fea- contract tra, and the National is now budgeted tures such performers as the Andrews 0SAE's reputation as the finest for 117 people, ironically an increase Sisters, Harry James, and Johnny Mer- manufacturer in the audio field of nine over its previous size. But to cer. The other records were manufac- You'd have to look a long time to reach that figure, forty-four new mu- tured by Columbia Special Products, find an EQ that delivers this much sicians will have to be hired all at though not necessarily drawn from value. SAE innovation has done it. once, whereupon the whole will have the Columbia catalogue: "Top Hits of to be reforged into an ensemble. ( No the ' 50s" (the Everly Brothers, the Components br the connoisseur. doubt there is abureaucrat paid to ex- Penguins, et al.); " Top Hits of the '60s," plain where the " economy" comes in Vols. 1 and 2 ( the Kingsmen, the here. The new retirement program is Byrds, et al.); and " Top Hits of the surely costing asmall fortune; and un- '70s" ( Santana, Mac Davis, et al.). til permanent replacements can be Scientific Audio Electronics, Inc. HF 176 hired, the ONF must engage large Die verkaufte Braut. Eurodisc has P.O. Box 60271, Terminal Annex numbers of free-lance musicians, made a new quadriphonic recording Los Angeles, California 90060 many of whom are the newly retired of Smetana's Bartered Bride, with Please send me the reasons ( including available liter- ature) why the SAE MARK XVII Dual-Channel former members of the orchestra!) Czech conductor Jaroslav Krombholc Equalizer is the -6300 Alternative."' Vozlinsky meanwhile seems deter- conducting Bavarian Radio forces. NAME mined to preserve and expand the Na- Teresa Stratas, René Kollo, and Wal-

ADDRESS tional's role as a " means of anima- ter Berry sing Marie, Hans, and Kezal, tion" in French musical life. In afirst- CITY STATE 71F respectively. (We haven't inadvert- rate " dossier" on the ONF's current ently substituted the German forms CIRCLE 30 ON READER- SERVICE CARD 24 HIGH FIDELITY MAGAZINE ^ eTEN TO OUR DIRECT-DRIVE TURNTABLE. OU WON'T ONLY HEAR HOW ACCURATE IT IS. rY YOU'LL SEE IT.

Your valuable record collection deserves to be heard on the best equipment. And that includes the best turntable. The Toshiba deluxe Model SR- 355 turntable has abuilt-in stroboscope that lets you see just how accurate it is. The SR- 355 is atotally manual, direct drive unit. It's equipped with aDC servo-motor, an S-shaped static-balanced tonearm with damped arm elevator, stylus force adjustment, and anti-skate adjusting knob. The screw-in cartridge shell fits auniversal mount. And the platter is made of die-cast aluminum. Its wow/flutter measurement is . 04% and the two operating speeds (33 1/3 and 45) have a2% adjustment. Sit back and enjoy your music on the Toshiba SR- 355 turntable. It may be the first time you really hear it. The stroboscope offers 2% adjustment of the two operating speeds.

TOSHIBA osinba America. Inc. 280 Park Ave.. New York. N Y. K1D17 • 3727 West Olympic Blvd.. Los Angeles, Calif. 90019 • 3225 East Carpenter Freeway. Irving, Texas 75060

Cartridge not included. CIRCLE 38 ON READER- SERVICE CARD

JANUARY 1976 25 for the Czech character names; the Realistic? recording is in German.)

Verdi's pirate. " All in all, this Masna- Pioneer? dieri sets a new standard for the 'Verdi revival' recordings." So An- drew Porter concluded his December Marantz? review of Philips' recorded premiere of the work, and Verdi fans should be heartened to learn that Philips has re- enlisted Montserrat Caballé, the big gun of its Masnadieri maneuver, for the latest offensive in its early-Verdi campaign. For Il Corsaro, Caballé is joined by , José Car- reras, Gian Piero Mastromei, Clifford Realistic STA-225 • Grant, Alexander Oliver (singing two Stereo Receiver _ Y About $ 400 parts, a eunuch and a slave—sounds like one of those days when it just doesn't pay to get out of bed), and Which one has Auto- Magic tuning? John Noble. The conductor, of course, Of the top three hi-fi receiver brands, only Realistic* makes is Philips' resident Verdiano, Lam- perfect tuning an instant electronic reality on the FM band. We call berto Gardelli. our creation Auto-Magie because " like magic" is how it works. Now you only need atuning meter to show relative station strength, Boulez. and the New not for fishing around for optimum reception. York Philharmonic returned from Realistic is also the audio brand that helped knock out the $ 20 to $30 extra charge for wood receiver cabinets. By not charging extra! their European tour in time to open Now you see why Radio Shack sold over 3,000,000 Realistics in their 1975-76 season, the last in the 1975 and really merits your next " good music" purchase. Philharmonic/Fisher Hall we have come to know and ... er, know. (At the end of the season the interior of Radio lhaelt GAreTaa tsoyuCnodmst:nacneynd 1923 the hall will be gutted and rebuilt

Over 4000 Stores,Dealers — USA. Canada. England, Australia, Belgium, Germany, Holland. France from scratch.) Naturally that means •Reg.stered Trademark periodic trips to the recording studio; CIRCLE 27 ON READER- SERVICE CARD this fall's first projects were Stravinsky's Song of the Nightingale PRE-PlIBLICATION OFFER (completion of a project begun last season), Bartók's Wooden Prince, and 1976 Edition, High Fidelity's Test Reports Wagner's Liebesmahl der Apostel (The Last Supper— a piece for men's chorus and orchestra written in 1843 Order now and save more than 15% as part of Wagner's official duties as Hofkapellmeister in Dresden), fol- HiGh FICIŒLIITIrS The new 1976 edition of High Fidelity's Test Reports is lowed by Falla's Three- Cornered Hat TEST REPORTS packed with more than 200 (the complete ballet, with Jan DeGae- test reports of currently tani) and Stravinsky's Pulcinella Suite. over q3. 200 stereo products available stereo and evaluated four-channel Berlin, 1908-9. In February 1975, An- ET 1—mm • equipment and drew Porter reviewed Discophilia's uyin rar-i accessories. release of the acoustical recording of Receivers ( KS 1/3), with Emmy Destinn Guide Tuners and Karl Jorn, made in Berlin in 1908. Hat you me thy most lev your money. Amplifiers At the time Discophilia promised to rm. wry Tape Equipment issue the , also in German, made Speakers the same year. Now German News Turntables & Pickups Company, the U.S. distributor, in- Headphone! forms us that the Faust is on its way. - ... and more! Destinn and Jorn are the Marguerite and Faust, with Paul Knüpfer (Mé- This new book is bigger and phisto), Desider Zador ( Valentin), High Fidelity's Test Reports better than ever before! Marie Gifitze ( Siébel), and Ida von 1976 Edition 300 pages of in-depth analyses 1Sound Avenue, Marion, Ohio 43302 with charts, tables, pictures and Scheele -Müller (Marthe). The conduc- Please send me copies of the 1976 prices, plus aguide to technical tor is again Bruno Seidler- Winkler. High Fidelity's Test Reports at $2.50 each audio terms. Another Berlin acoustical set is an- (regularly $2.95) Order now. Indicate the number nounced in Preiser's Court Opera (postage and handling included). of copies you want and return Classics series: the 1909 Tannhduser NAME your check or money order with Act II with Fritz Vogelstrom (Tann- this form. ADDRESS häuser), Anny Krull ( Elisabeth), Her- HURRY! mann Weil ( Wolfram), and Leon CITY STATE ZIP Rains ( Landgraf). Preiser too is dis- DA6A3 QUANTITIES LIMITED .... —I tributed by German News.

26 HIGH FIDELITY MAGAZINE INTERNATIONALE TESTBERICHTE AN DIE 901 BOSE DIRECT/REFLECTING LAUTSPRECHER SYSTEM.

"For the first time the critics all over the world are unanimous in ( their) verdict on aloudspeaker."*

BELGIUM AUSTRIA La Revue des Disques de la Haute-Fidelité- Jaques Dewèvre *Oberiísterreichische - Nachrichten Linz "It is grand! It is no longer recorded music... the "BOSE contains more technical innovations than any orchestra is there in front; and the atmosphere of the other speaker of the last 20 years." concert hall, all around!"

UNITED STATES of AMERICA DENMARK Stereo Review - Hirsch- Houk Laboratories Hobby bladet + Lyd & Tone - Claus SOrensen "...I must say that Ihave never heard aspeaker system "The 901 can produce lower notes than any speaker I in my own home which could surpass, or even equal, have ever listened to...the class is elite...." the BOSE 901 for overall ' realism' of sound."

!I o

HOLLAND The one review that really will convince Disk - Jan de Kruif you is your own. We invite you to com- "The BOSE speakers pare the 901 SERIES II with any con- belong to the small group ventional speaker, of the best and most and hear the difference valuable speakers we know. for yourself. Without doubt, for some it will be the very best."

For information on the BOSE 901 FRANCE SERIES II and the Revue du Son - Jean-Marie 501 SERIES Il Marcel und Pierre Lucarain Direct/Reflecting ® "....901 with ( its) equalizer speakers., and other system is absolutely tops... BOSE products, sets new standards for write us at loudspeaker music Dept. H-9. reproduction."

The Mountain, Framingham, MA. 01701 SPEAKERS AT $600 A PAIR?

Some time back Ithink you ran an article say- other. Where the effect is extreme, therefore, ing that head wear with chromium dioxide it could contribute to premature record wear. cassettes is no worse than it is with ferric cas- settes; yet Istill hear warnings ( from two Icame across an Audio-Technica ad, and I dealers, among other people) about not using would like to know if the claim made about its chromium dioxide if you want maximum head Shibata-tipped cartridges is justified. Does life. Should Ibe using chromium dioxide, or the Shibata stylus make four times as much should Iswitch to a high-performance ferric contact with the record groove as an elliptical brand like TDK SA or Scotch Classic?— Lloyd stylus? Does this make record wear one- M. Davis, Brooklyn, N.Y. fourth as much?— Michael Mainiero, The article you presumably are referring to Lynnfield, Mass. actually said that wear with chromium diox- It is true that the Shibata stylus distributes ide is not nearly as horrendous as early re- its contact with the record groove over ap- ports had led some recordists to believe. proximately four times the area that an el- Chrome is more abrasive than ferric oxide, liptical stylus does— as does practically any however, and tests do show that it will wear stylus designed for CD-4 use. This means heads faster. Many home machines have fer- that the pressure exerted on the vinyl surface rite heads and are used relatively in- with aCD- 4 pickup is about one- quarter that frequently; in such a situation the transport of a stereo pickup for any given tracking OR THESE may give up from sheer old age before the force. This is offset, wholly or in part, by the heads wear badly even with chrome tape. generally higher tracking forces that such AT $49.75* With heavy use and permalloy heads, on the cartridges require. So, though the pressures other hand, you should be able to postpone may be lower with a Shibata, don't expect head replacement somewhat by avoiding them— let alone the record wear— to be one- APAIR? chrome. fourth as much. TDK SA is a possible alternative. But, though it is intended for use with the same Your review of the Royal Sound Add-N-Stac If your ears are ready for bias and equalization as chromium dioxide cassette storage modules [ test reports, Au- $600 speakers, but your tapes, it is more sensitive than chromium gust 1975] was very enthusiastic. But Iuse 8- budget isn't, we have away dioxide and ( assuming you use Dolby B noise track cartridges. Does the company make 8- reduction) would require some readjustment track modules, and are they equally good?— to satisfy both. Sennheiser of your recorder for optimum Dolby tracking. A. Robert Walters, Detroit, Mich. headphones. Using the Classic, unlike SA, is a ferrichrome—that is, Yes, it does; no, they aren't. We found them same acoustic design prin- it has a layer of ferric oxide under a surface an overly snug fit for some cartridges unless ciples that have made our layer of chromium dioxide— which obviously we discarded the cardboard covers. The 8- determines its wear properties. professional microphones track storage unit therefore encourages dis- carding the covers, which sometimes have industry standards, Senn- For several years Ihave been using a " One- fuller notes than there's room for on the la- heiser Open-Aire' head- Wipe Dust Cloth" on my records, and it bels of the cartridges themselves and, in any phones reproduce sound seems to remove dust and fingerprints well, event, add dust protection when the tapes without leaving harmful deposits. Will this with arealism most loud- aren't stowed in the storage module. hurt the records in any way? Sometimes I speakers can't begin to use a Watts Preener. How does this compare Switchcraft's new Model 622P1 de- emphasis approach. With wide, flat with other devices of this type? Is it best in us- compensator for Dolby FM seems to be the response. Low distortion. ing such a device to rotate the record by same as the one you reviewed [ Model 621P1, Excellent transient re- hand— or should it be rotated on the turntable test reports, April 1975] except that the new at 33'/3 rpm? Lastly, are all brands of poly- sponse ( even in the bass one has added inputs for tape playback, level lined sleeves equally good?— Mike White, controls for both sets of inputs, and an input region!) And sheer intimacy Petaluma, Calif. selector switch. And it costs about twice as with the music. All without Without knowing exactly what chemicals are much [$ 24.95]. Idon't really see the advan- sealing in your ears. used in these dust cloths, it is impossible to tage of the tape inputs. My dealer has some say whether they are safe for records or not. Whether you're waiting for information from Switchcraft, but he It would seem prudent, therefore, to use only couldn't figure it out either. How is the that pair of $ 600 speakers cleaning products that are specifically meant 622P1 to be used?— James B. Martin, New or just curious about apair for records— and formulated by reputable York, N.Y. of headphones some ex- manufacturers. The Watts Preener is among If your dealer has Switchcraft Bulletin 286, the most respected devices of its type. The perts have compared with which " explains" the 622P1, we can under- manual for Watts record- care products gives stand the confusion. We have entertained a $1000 speakers... the an- no instructions as to whether the record is to high opinion of Switchcraft in terms of prod- swer's at your audio dealer's. be turned by hand or power on the turntable, uct variety and reliability, but that opinion *Manufacturer's suggested list for though it may be a little awkward to use with doesn't always extend to its literature. We Model HD414. Deluxe Model HD424 the record placed on some turntables. must say about Bulletin 286 what we said also available at $ 79.75. Poly- lined sleeves represent adilemma: To about the instructions on the earlier unit: Ig- be sure, they keep away dust, but— depend- nore it and, instead, think very carefully ing on their own chemistry and that of the about the required signal routings in your _1" ,%ZENINIHEIZIER record— they can cause plasticizers to mi- ELECTRONIC COPPORAT'ON system. It appears to us that in most setups 10 West 37th Street, New York 10018 ( 212)239-0190 grate in or out of the disc, rendering the vinyl the new model will offer little if any practical Manutactunne Plant Ellesendorl/ Hannover. West Germany too soft in the one case or too brittle in the advantage. CIRCLE 32 ON READER- SERVICE CARD 28 HIGH FIDELITY M AGAZINE 92 94 96 98 100 82 114 106 , 1,08

54, SO 10 88

The value shown is for informations: purposes only. The actual resale price will be set by the individual Sherwood dealer at his option. The cabinet shown is constructed of plywood with a simulated w000grain vinyl cover.

A recent Hirsch- Houck appraisal of For a complete, unedited sample of Sherwood's Model S7010 stereo the unit that prompted these words of receiver (Stereo Review, September praise, visit any Sherwood dealer. '75): MINIMUM RMS POWER OUTPUT: "It would be an understatement to 10 WATTS PER CHANNEL'[@ 8 say we were impressed with the OHMS, 40-20,000 Hz.; MAXIMUM Sherwood S7010 ... It is a TOTAL HARMONIC DiSTORTION, thoroughly competent little receiver NO MORE THAN 0.9%]. that gratifyingly sells for a fraction cf Provision for two sets of speakers. the price of many of the stereo The latest integrated circuitry. receivers we have seen in recem months. 2.6 ,L\/ FM Sensitivity. Solid- State Ceramic FM IF Filters. "Very little has been sacrificed in performance to achieve the unit's low All for under $ 200. Complete with price. In the important areas of case.* effective sensitivity, noise and Sherwood Electronic Laboratories distortion ( to say nothing of uniform 4300 North California Avenue channel separation across the audio Chicago, Illinois 60618 frequency range), the ( S- 7010's tuner) ranks with some of tne most highly regarded tuners and receivers. "... a lot of receiver for the money. It sounds good, looks good, feels good, and the price is right." For a complete, unedited copy of this review, send us a self-addressed, envelope. Quadriphonie Radio and the Separation Blues

It's not how close to mono astereo signal gets, it's how and The situation would have been entirely different had the where you make it that way. At least that seems to be the encoder been installed upstream of the control panel. Un- position taken by the Federal Communications Commis- der those circumstances, admits the FCC, the matrix- en- sion in a recent decision. Paradoxically enough, the issue hanced stereo program—whatever its separation may be— involves the enhancement of stereo program material is perfectly acceptable, and the capabilities of the broad- (that presumably will be heard through aquadriphonic de- cast chain remain intact. coder) by means of aquad encoder in the broadcast chain. Schanker points out that enhancement of this kind is For some time now, the FCC has permitted broadcasting really unnecessary since, as most people familiar with of SQ- and QS- encoded discs as well as any material that a quadriphonics know, matrix decoders are capable of pro- station may have encoded onto two- channel tape via either ducing an approximation of four- channel sound from two of these methods. Apparently the commission believes stereo channels without any pre- encoding or enhance- that a matrix- encoded signal makes no additional de- ment. Stations are doing this, he says, for the promotional mands on an FM broadcast channel and is compatible with value— so they can advertise themselves as " going full- stereo as far as the listener is concerned— and this seems time quad." " Separation of 7 to 8 dB is not really bad," to make sense. Some stations, in order to heighten the Schanker contends, adding that " most stereo listeners four- channel effect of regular stereo when passed through would not notice the difference, although amono listener a quadriphonic decoder, have taken to " encoding" this gets asmall reduction in audio level. But it seems that ma- material as well. trix- system manufacturers are waiting for broadcasters to When Jack Schanker, chief engineer of WCMF in Roch- popularize the medium for them before they release ester, New York, informed the FCC that he planned to in- enough encoded discs to support real full-time quad." stall aSansui QS-E5B encoder used in the " enhancement It seems to us that these manufacturers may be their mode" into the chain between the audio control panel and own worst enemies in this case and that their promotional the transmitter, and that, by his measurements, the re- machinations and infighting may yet succeed in killing off sulting " enhancement" of astereo signal would reduce its what could be agreat contribution to musical enjoyment in separation for anyone receiving in stereo to about 7.8 dB, the home. Also, might not the FCC be more forthright in the commission replied in aletter of September 2that this setting standards for signal processing? And why is it so is a no- no. Stereo channel separation, say the broadcast fussy about 29.7 ( not 30) dB minimum stereo separation regulations, must be maintained at 29.7 dB minimum, so while permitting program material that comes nowhere Schanker removed the encoder. near that? Answers sometime— if one may hope.

will, of course, accept any power amplifier you choose. ( For Modulus— A New a true state-of-the-art quadriphonic system, Heath sug- Standard of Flexibility gests apair of its AA- 1640 superamps, rated at 200 watts per channel.) In our October 1974 issue we commented that noise re- So here is a " universal" audio system— stereo, quadri- duction, as well as quadriphonic circuitry, might well use phonic, whatever— that can be expanded or updated at plug-in boards so that equipment could both be tailored to any time. If a local FM station adopts Dolby only after the use at hand and be rendered largely obsolescence- you've built the AN- 2016 control center, you can add the proof. ( It's much less expensive to change— or add— a Dolby board. If, five years from now, Heath finds an SQ de- board than to replace a whole component in order to get coder circuit that will outperform its present full- logic- plus- the latest circuit feature.) This, we said, might be an idea variable- blend design, you can update. Nice going, Heath. whose time has come. CIRCLE 158 ON READER- SERVICE CARD Looking over the recently announced Heathkit Modulus series, we find that it represents just the sort of design we High- Bias Ferrics to Surface had in mind. The control center around which this concept revolves is a digital AM/FM stereo/quad tuner- preampli- For owners of the many cassette decks adjusted for Maxell fier. The basic unit can be customized by the addition of UD or comparable tapes— tapes that have been hard to plug-in modules for Dolby FM decoding, SQ matrix decod- find in some areas— two major manufacturers have told us ing ( with sophisticated logic), and CD- 4 demodulation. they will be releasing new formulations with similar proper- Even without the optional plug- ins, the Modulus control ties ( including bias requirements). By the time you read center is an elaborate piece of work, including output me- this, TDK should have announced its new Audua cassette, ters and headphone amplifiers for all four channels among apparently the " super ED" that was mentioned in this col- its many interesting features. Power amplifiers ( either one umn last July as under development. And the 3M Com- or two stereo units are used) are housed in matching out- pany is expected to introduce its entry later this month, board modules, and a choice of output capabilities- 60 though at this writing it has not yet decided on aname for watts or 35 watts per channel— is available. The system the new formulation.

30 HIG H FIDELITY M AGAZINE HUGH JANUARY 1976 FM IDELIT"Ir and Copyright revision— a cop-out? musical america Haydnfest at JFK

Musician of the month: Rise Stevens piece called The Trial of Anne Opie Wehrer and Unknown Accomplices for Crimes Against Humanity, in which letters Wehrer had responded to a barrage of unrehearsed and often personal new . questions in what turned out to be an A question of discrimination intense, probing evening. On another occasion she went into an isolation To the Editor: music chamber, where she could respond Ihave read descriptions of Serge only indirectly to questions of observ- Koussevitzky's elegant dress, of Seiji TOM JOHNSON ers. On the night two years ago of Ozawa's love beads and embroidered which I speak, however, she just shirts. Critics have remarked upon talked informally with the other two Leonard Bernstein's dancing on the T IS ALWAYS a challenge to write participants, and the result was quite podium, ' about Robert Ashley's work, be- unlike anything else Ihave seen. Too spontaneous leaps of excitement, of 1cause it comes in so many vari- casual to seem like a performance, William Steinberg's minimal baton- eties. On one hand are big multi- and yet too remote to be accepted as work. Commentators have also noted media productions such as the Wolf- any sort of normal cocktail party situ- the apparent health of Arthur Fiedler man Motorcity Revue, which he put on ation, the evening took on a strange and the above-mentioned Steinberg, at the University of Michigan in the reality and became provocative on and the exuberant vitality of Mstis- 1960s. Then there are pieces like his many levels. What happens when we lav Rostropovich. exceptionally beautiful String Quartet, talk? Why is it so odd to listen to a But never do Irecall writers com- which involve manipulating live normal conversation when one is not menting negatively on a conductor's sound with specially designed elec- allowed to participate? Is it even pos- figure until now. In the November is- tronic circuitry. Then there is that sible to have atruly normal conversa- sue, Andrew DeRhen's mention of curious choral work in which the tion in aperformance situation? And Antonia Brico's " matronly figure" singers respond with eerie sounds how can we relate pieces of this sort to and " the rather unchic impression" it while, over and over, asolo voice says Ashley's other work? For example, is makes is an outrageous example of "She Was a Visitor." There are also there any similarity at all between the kind of prejudice that has stifled the dozens of scores Ashley has done this and something like In Memoriam Brico's career. I dare say he would for film makers George Manupelli Esteban Gomez, a piece for four play- never think to remark on amale con- and Phil Makanna, which involve ers in which the musicians make min- ductor's imperfectly maintained or dozens of approaches, from electronic iscule changes of asustained, blended shaped body. He would understand collage to country music. And run- sound? implicitly that such things are imma- ning through all of this is a long se- Not only are Ashley's pieces highly terial to the business of music- mak- quence of works which involve nei- varied, but even particular works can ing. ther electronics nor instruments, but sometimes be realized in anumber of Women conductors have no more simply speech. " Conversation ways. Even the composer's own per- obligation to be chic, well- toned, pieces," we might call them. formances of a given work may take slender, and attractively propor- many different forms during the tioned than men. Especially women A normal conversation? course of afew years. For that matter, of 73 years. his pieces can be quite different even Ellen C. Pfeifer I particularly remember a per- on two consecutive nights, because Music Critic formance of one of these a couple of they often rely on improvisatory ele- Boston Herald American years ago. The event consisted of Ash- ments which simply can't be re- Boston, Mass. ley and two women simply sitting peated. P.S. I'd like to know when the readers around a table in front of the au- He is, Isuppose, an eclectic, but an are going to wise up to the fact that dience, drinking and discussing vari- unusual new type of eclectic. He has MUSICAL AMERICA'S editor is awoman ous topics, mostly related to the arts. never written art songs or piano con- and stop sending their letters to the One of the participants, Anne certos; for that matter, he has seldom Editor as " Sir." Wehrer, had worked with Ashley be- written at all for traditional types of fore: indeed, Ashley once staged a performers. Almost everything he has Mr. DeRhen replies: Ms. Pfe¡ferflatters me done is fairly radical, falling into by her confident assertion that I "would CORRECTION: In Mr. Johnson's ar- ticle on Charles Dodge in October what we might call Cage-derived never think to remark on amale conductor's forms and mediums. But that is a it was incorrectly stated that imperfectly maintained or shaped body." Dodge's The Story of Our Lives and very broad range. Let me assure her that my characterization In Celebration would be issued on of Antonia Brico as a "matronly figure" Nonesuch Recordings. These The danger of image-making was never meant as an insult. Iwould only works, along with Speech Songs, are hope that my indiscretion does not encourage Ashley's home base for the past six reporters less gallant than Ito apply strict scheduled for Winter 1976 release on Composers Recordings, Inc. years has been in the San Francisco critical standards to the physical flaws of Continued on page MA- 12 male conductors.

MA-2 HIGH FIDELITY / musical america Leonard Marcus Editorial Director Shirley Fleming Editor Susan A. Elliott Managing Editor Claire N. Eddings Assoc. Pub., Dir., Adv. Sales David B. Lee Circulation Manager

Warren B. Syer Publisher C1§11:1P;âff2

HIGH FIDELITY Contributing editors:

Charles B. Fowler, education Tom Johnson, new music Jacqueline Maskey, dance Inusical america Patrick" Smith, book reviews Dorle J. Soria, personalities

C011telliS higliligi s01 * an

MA-2 New Music FRIDAY 9 Public Broadcasting Service, through Exxon's Great Tom Johnson Performances series, televises first showing of the La Letters Scala production of . Berganza, Alva, and Prey head the cast; Claudio Abbado conducts. MA-4 Rise Stevens Done J. Soria

MA-6 Artist Life TUESDAY 13 Sarah Calwell becomes the first woman to conduct at Dorle J. Soria the . She directs aperformance of

MA-8 On Education La Traznata, with in the title role. Charles B. Fowler

MA- 10 The Dance SATURDAY 17 Kenneth Schermerhorn, conductor of the Milwaukee Jacqueline Maskey Symphony, leads the orchestra in the premiere of awork MA- 13 Here & There of his own, Monodrama for Soprano and Orchestra.

MA- 14 The Met: What Next?

MA- 16 The Copyright Revision Bill: WEDNESDAY 21 The Juilliard Quartet, in East Lansing, opens the first of Somebody's Losing three complete Beethoven cycles in the U.S. this season. Robert Sour Performances in New York and Chicago follow. MA- 18 Musical Whirl The Baltimore Symphony, under Sergiu Commissiona, MA- 19 Debuts & Reappearances plays the premiere of acommissioned work by Lukas MA-31 Haydnfest at J.F.K. Foss: Folksong, for full orchestra. Washington/Kenneth Furie

MA-32 Handel Hits Houston WEDNESDAY 28 Rudolf Serkin's concert at Carnegie Hall celebrates the Houston/Carl Cunningham fortieth anniversary of his debut there. MA-33 Lyric Limps Into 21st Season Chicago/Karen Monson

SATURDAY 31 The Chamber Music Society of Lincoln Center presents MA-34 Still An All- Star Festival Salzburg/Dale Harris the premiere of Sir Lennox Berkeley's Quintet for Piano and Winds. John Browning is the guest pianist. MA-36 Book Reviews Patrick J. Smith, editor

Cover photo by Christian Steiner

Advertising Sales Office, 130 E. 59th Street, New York, N.Y. 10022. Telephone ( 212) 581-7777, ext. 6834. George Dickey, Advertising Sales Representative. Published at Great Barrington, Mass. 01230 by ABC Leisure Magazines, Inc., asubsidiary of American Broadcasting Companies, Inc. Copyright e 1975. Musical America edition published monthly. Yearly subscription in the USA and Possessions $ 18; elsewhere $ 20. Subscription including Concert Artists' Directory $ 30 in USA and Possessions: elsewhere $ 32. Subscriptions and change of address: write Musical America subscription department, 1Sound Ave., Marion, 0. 43302. N EAST SEVENTY-FOURTH STREET there is a white, wide, low- pillared Colonial- style building, once four adjacent New York brownstones. It is the site of the Mannes College of Music, a New York cultural landmark for over half a century. Last spring, however, the institution went through two traumatic experiences. Lack of funds threatened its existence. The death of its president left it without a head. Miraculously, Mannes survived both crises. Despite the times, asuccessful finan- cial drive brought support from foundations and private sources; the College was saved for future music gener- ations. The search for a new president lead to an unex- pected but brilliant choice, opera singer Rise Stevens. We visited " Madam President" at Mannes shortly after she had taken over her new post. Walking up ashort flight of narrow stairs we found in asmall room Peggy Tueller, former secretary to Schuyler Chapin, now executive as- sistant to President Stevens. Promptly, the door beyond opened and Rise—an old friend—emerged. She lead us into her office, explaining that it was not quite finished— the rug was still to come. It was astormy day and she was trimly dressed in a blue wool, brass-buttoned slack suit with agolden R, apresent from husband Walter Surovy, decorating the lapel of the jacket. Her ash blonde hair was rolled back over her forehead in a pompadour. She wore horn-rimmed glasses. She is slim and erect, warm and friendly. She could have been a Vogue model for her latest part. The room was light and uncluttered, with a few per- sonal touches—flowers on a table and on the bookshelves informal pictures of her family including son Nicolas RISË STEVENS who, following his father's footsteps, has begun acareer as an actor; agraduate of the Juilliard School of Drama he is now a member of The Acting Company of John House- man. There were also photographs of two women who musician of the month had greatly influenced Rises life: her teacher Anna Schoen-René ( looking like Gertrude Stein) with whom she had studied at the Juilliard School of Music and the German mezzo Marie Gutheil-Schoder, the great Octa- vian, with whom she first coached the role in Salzburg. to lunch. When we sat down he came straight to the point. On the wall opposite the desk was an autographed picture "We are looking for apresident. We had never thought of of , dated Garmisch 1940, a cherished you. Then one of our pupils said: ' Why have you never possession. On another wall was the school's charter, approached Rise Stevens?' Iam here to ask you to become framed, and portraits of Mr. and Mrs. David Mannes. our president." David Mannes had been aviolinist, aconcertmaster with What had made her accept? A great artist is tradition- the New York Symphony, a conductor, and a dedicated ally not agreat administrator! For years Rise Stevens had educator. His wife Clara, daughter of Leopold Damrosch led the life of aglamorous prima donna, acclaimed at the and sister of Walter, was apianist. Together they founded Metropolitan and other major opera houses in such roles the David Mannes School of Music in 1916. Their son as Carmen, Octavian, Orfeo, Dalila, Orlofsky. She had Leopold joined them in 1940 and eventually became the toured in concert and made recordings, appeared in films school's president. A musician, he was also the co- inventor and on television. She had been chosen to be the mistress of the Kodachrome color process. During his regime he of ceremonies at the Gala Bing Farewell. What had the expanded the Mannes curriculum, including liberal arts groves of academe to offer compared to all this? Then we courses. In 1953 the school obtained a charter from the remembered that Rise Stevens—a Gemini— has two sides University of the State of New York and became the to her nature. She is also apractical person and afighter Mannes College of Music. for agood cause. As co-general manager of the Metropoli- Rise Stevens was, we thought, the first woman to be- tan Opera National Company she had developed atour- come president of an important music conservatory. How ing organization to provide young American singers with had it all happened? " By accident," she answered. " Last the experience she had had to go abroad to find, the spring, when Mannes began its intensive search for anew chance to have training and exposure in their own coun- president many names were suggested. But not mine. In try. At Mannes she will again have the opporuunity to fact, at that very time Isigned acontract with Juilliard to open new doors to American artists. join its voice faculty. One day early last summer Ihad a Risi Stevens said: "When the Mannes offer came Iwent call from David Tcimpidis, dean of Mannes, asking me home to talk with my husband, who has helped me with

MA-4 HIGH FIDELITY / musical america so many decisions." Married thirty-seven years this went to coach with Gutheil-Schoder. Iremember it was month, Risë first met Walter Surovy in Prague when she almost impossible to get a window open at the Mozar- was an unknown young singer and he asuccessful young teum! Mannes and the Mozarteum—the same smell. It actor. Now areal estate executive, he was for many years was asign. Something said to me: ` Rise, do this!' Iknew I his wife's personal manager. "Walter said: ' You must de- must go to Mannes. It was achallenge Icould not refuse. cide for yourself.' But first Ihad to get arelease from Juilliard. Peter Men- "Do you know what decided me? It was the smell." Risë ni was sorry about my decision, but understanding. laughed as she said it—her first name in Norwegian "I think it is the smallness of Mannes which attracts me. means " laughter" and her laugh is infectious. Then she It is the right size, the size Juilliard was when Iwas astu- turned to us and asked seriously: "Are you susceptible to dent. It is aschool equipped to give the young musician a smells?" We told her about a recurring spicy fragrance more individual kind of training. Besides, everyone con- which used to tantalize us in Italy; every now and then, nected with the school is so marvelous! When the school driving through the countryside we would catch awhiff of almost had to close for lack of funds everybody pitched in. it. But we could never identify it. Then, summer before The faculty didn't take acent of salary during the crisis. last, visiting critic Bill Weaver at his home in Tuscany, we The students went out on Fifth Avenue and played and found its source. It was a tiny yellow-flowered ground- collected money." covering plant. Nobody knew its name. President Stevens ticked off some of her projects and Rise nodded. "Then you will understand. When Ifirst plans. She was setting up strong public relations and de- walked through Mannes there was asmell familiar to me, velopment departments. " Iam very much interested in a smell Ihad known before—of old walls, used things, a fund raising." She wants to build a much stronger vocal kind of mustiness. Ican't describe it but Iwas completely department. The school, though it has produced such aware of it. Iam very conscious of the odors of buildings. I singers as the Metropolitan's , has al- smell the glue onstage. Suddenly, at home—when Walter ways been better known for its instrumental and conduct- wouldn't help me— it came to me. The smell was the smell ing teaching. Among well-known Mannes graduates on of the Mozarteum in Salzburg where, as a young girl, I the podium and in the pit are conductors , Continued on page MA-39 January 1976 MA-5 East Room for cocktails; guests re- erything else she is working at pho- turn there after dinner for the enter- tography. A girl has to keep busy.' tainment. When everyone has gath- Mrs. Ford said this with emphasis!" • ered, the doors open. Trumpets Roberta took a little time out to sound, a military band plays Hail to drink a glass of orange juice and to artist the Chief, four men of the different start her chicken salad, then returned armed forces enter, followed by two to her story. "The President always men carrying flags, one the American introduces you before you sing and flag and the other the flag of the President Ford had done his home- life country being honored. Vice- Presi- work. He knew all about me and my dent and Mrs. Rockefeller entered, career! Afterwards there was dancing DORLE J. SORIA then the President and Mrs. Ford, fol- and the President danced with me for lowed by the President of Colombia almost half an hour— mostly fox-trots and Mrs. Lopez. A reception line and things like that. He's a good

T A RESTAURANT across from forms. Everybody files past the Presi- dancer. He didn't leave until half Lincoln Center, Roberta Pe- dent to meet him." past one. We talked about Vail, Aters took time off between a where he always goes for his vacation. Met Bailo in Maschera rehearsal and Singing for Presidents Ihad been there last year with my another at CBS for the Captain Kan- two boys. Since it was right after the garoo show ( introducing opera to chil- Of all the administrations she had attempt on his life Itold him we were dren) to lunch with us and talk about observed, the atmosphere of the all concerned about him. He said: Presidents. In a becoming turquoise present one was the most informal, 'There are many kooks around. Don't blue wool dress and matching felt hat observed the singer. " For instance, worry.'" she looked like a college girl dressed there was no dais, no table of honor. I Did they mention music? " Not for adate. It was hard to believe that sat at the same table with Mrs. Ford, really. He says he leaves 'such classi- she was celebrating her silver anni- who was between the Colombian cal things' to his wife. The song Isang versary at the Metropolitan. She had President and the Colombian Am- which he liked best was I'll See You made her debut there November 17, bassador. Iwas next to the Ambassa- Again; it was a song he knew. Mrs. 1950, as Zerlina in , still dor." And her husband? ( In private Ford particularly liked Mio babbino one of her most delightful roles. She life Roberta is Mrs. Bertram Fields.) caro and the Laughing Song from Fle- had come back the day before from "He was there, too, and— for the first derrnaus." Roberta summed up her Washington, where she had sung at time— my pianist John Wustman. Be- impression of the President in what the State Dinner given by President fore this the accompanist was only in- she obviously meant as a compli- Ford for the President of Colombia. vited after dinner. ment: " He's Mr. Average Man." The soprano has been six times to the "The tables were very pretty— a She had sung twice for President White House and has sung for four porcelain flower piece in the center of Nixon. "The first time was on the oc- presidents— Kennedy, Johnson, each one. The food was delicious but casion of a State Dinner for British Nixon and, now, Ford. Undoubtedly, Ihad eaten beforehand and just pre- Prime Minister Wilson. The Presi- come rain or shine, Republican or tended to eat. At the end of dinner dent was relaxed and talkative and Democrat, she will be entertaining the President speaks. Iwas relieved Mrs. Nixon was most kind. Ihad had there again next year. when Isaw him take from his pocket a long rehearsal and no time to get only afew reference cards. Iknew the my hair done. When Mrs. Nixon at the White House speech would be short. It was, and it heard this she offered me her own was good too. But when the President White House hairdresser. She is a We talked about her most recent of Colombia stood up Isaw him take lovely person. The second time was a experience. " They reached me at a out about twenty pages, which he dinner in honor of Prime Minister motel in Flint where I was singing proceeded to read. It is terrible to Tanaka of Japan. It was the begin- Noel Coward's Bittersweet. The day wait so long when you have to sing! ning of Watergate and Nixon was before, a friend had telephoned and, Before coffee was served Imanaged to very tense. But for me the evening for ajoke, had himself announced as leave. The East Room, as usual, was was marvelous. When the marine Clive Barnes. And so, when the oper- now set up with gilt chairs. The small who always escorts you to your place ator said 'The White House is call- platform was banked with greenery." at the dinner table brought me to my ing,' Isaid ' stop, your kidding.'" What did she wear? " A rose- pink seat I found myself next to Henry Roberta Peters enjoys the pomp dress with no jewelry except the dia- Kissinger. It was so exciting. With and protocol of her White House vis- mond earrings my husband gave him you could talk music. He loves its. " Everything is arranged for you. me." all the old romantic Viennese songs, You are met at the plane. You stay at What had she talked about with like Wien, Wien, nur du allein. He said the Hay-Adams across the way from Mrs. Ford? " Our children. My older his favorite composer was Mozart." the White House. An official car with son Paul and her daughter Susan are The chicken salad, nibbled at, was a sergeant-chauffeur calls for you. the same age, eighteen. They both en- removed by the waiter. Over acup of This time, arriving at the White tered college this year. Paul is afresh- tea Roberta Peters informed us with House, security was very tight— it was man at Ithaca. Mrs. Ford said ' Susan mock seriousness. " I have a Nixon after the assassination attempt on the is just like her father. She has tre- tape— his introduction to my concert." President. You meet at eight in the mendous energy. In addition to ev- During the Johnson administra-

MA-6 HIGH FIDELITY / musical america MEEKEMIÉ1i1E1=1

Roberta Peters, with Jerome Hines, meets the Kennedy:: "He was gorgeous!" tion Roberta Peters was invited When Imet Kennedy Ialmost died. Carnegie Café. The violinist and his twice. "The second time was the best He was so gorgeous! He had light wife Vera sat at a table with old because Ididn't have to sing. It was a blue eyes and sandy hair and such friends Marit Gentele Gruson and Christmas party. Van Cliburn was charm. There Iwas, a little girl from her husband, New York Times execu- there, too. After dinner there was the Bronx— it was like being in afairy tive vice-president Sydney Gruson, dancing and Johnson loved to dance. tale." And Mrs. Kennedy? " She was and with atall long-haired woman in My first partner was Van. No sooner pleasant and cool. But she did have black silk whom we recognized as had we taken afew steps than Ifelt a the most beautiful taste. The tables Nancy Kissinger. We also noticed a tap on my shoulder; it was Vice- Pres- were set with exquisite china and the number of men standing about, all ident Humphrey cutting in. A min- fresh flower arrangements were works wearing earphones. We realized they ute or two later there was another of art." Roberta added regretfully, " I were secret service men. In fact, we tap. This time it was Johnson. The could have danced with President left our coat on abench next to one of next thing Iknew the President was Kennedy all night. But Ididn't have them and asked him if he minded leading me upstairs to his library. He the chance. He didn't stay. He went keeping an eye on it! When we picked said he wanted me to see the view of upstairs as soon as the entertainment it up later he told us he had heard the the big Christmas tree on the lawn was over." concert. He said. " Inever heard Isaac from their private quarters and to "Then that was your most memo- Stern before. He's wonderful!" show me the Lincoln bedroom. My rable White House experience?" Suddenly we noticed from across absence did not go unobserved. Next "No," said Roberta, " the time Ien- the room that Eugene and Gretel Or- day Ihad acall from columnist Jack joyed most was the time Isat next to mandy, escaping from backstage ad- Anderson who asked: 'Where were Kissinger." mirers, had arrived and had joined you?' They are really vultures, those the Sterns. Then Kissinger himself White House watchers!" We had also Kissinger postscript appeared. He had come directly from become a little curious. "Were you the U.N. We watched him talking nervous, alone with the President?" That very night— it was Monday, animatedly with Isaac; both eating "I tell you, I'm not talking," Roberta September 29—we went to aconcert. stuffed cabbage rolls. Eventually, said demurely. It was aspecial occasion. Eugene Or- when everybody got up from the The very first time the soprano mandy and the Philadelphia Orches- table, we were introduced to Dr. Kiss- sang at the White House was in 1961, tra had returned to Carnegie Hall inger. We said: " Iwas talking about after a State Dinner that President and the soloist was the hall's presi- you just today with Roberta Peters." Kennedy gave for the President of dent and saviour, Isaac Stern. Boris "A lovely girl," he said. " And she told Peru. " It was much more formal in Sokoloff, manager of the orchestra, me that your favorite composer is those days. Now it is black tie but had invited us into his box. After- Mozart. Is that true?" For once then everybody wore white tie. Iwore wards Julius Bloom, Carnegie's exec- Henry Kissinger had the freedom to astrapless dress— that was the fashion utive director, and Isaac Stern were give asimple answer to an important then— and long white kid gloves. hosts at asmall, informal party in the question. " It is true," he said. A

January 1976 MA- 7 .."

greatly during the past five years as struments. During October 1975, for museum directors have become in- example, a Haydn Festival [ see page creasingly aware of serving the broad MA-31] featured thirteen concerts interests of their growing audiences. performed on instruments of Haydn's Perhaps the Smithsonian Institution time. In one of these Lili Kraus on in Washington, D.C., one of man- played the late sonatas on the kind's great storehouses of history, Dulcken forte-piano ( c. 1780). science, technology, and art, best Through this approach, people par- education exemplifies what museums can and ticipate rather than simply look in are doing in out- of- school education scholarly silence. The difference en- CHARLES B. FOWLER in the arts. The museum's music pro- gages. And educates. grams, in particular, provide unique The Institution's Division of Per- educational opportunities for people forming Arts, operating with a man- of all ages. date for cultural conservation, gives

MERICANS, practical as they recognition to and preserves living are, have never lavished the A "living" museum cultural traditions. James R. Morris, Apublic schools with the arts. If Director of the Division, explains the you want a fine music education for S. Dillon Ripley, Secretary of the approach this way: " Museums can- your children, you might find it in the Smithsonian, views the museum not not tell the tale of America's cultural schools, but chances are, you will as arepository of static objects but as history using artifacts alone. To com- want to supplement what is offered a " living" record of culture that plete the record, living performances there with opportunities available breathes life into the past and edu- of creative human expression are nec- outside. One can study music at com- cates people's perceptions in the essary. It is that role we are dedicated munity schools of the arts, participate present. While the Smithsonian's col- to filling." in classes and productions of commu- lection of musical instruments is one nity amateur and professional per- of the world's largest, it took Ripley Preserving jazz traditions forming groups, enroll in preparatory to make them sing. His idea of amu- departments in conservatories and seum is to restore the instruments to One way the Division attempts to colleges, study with aprivate teacher, operating condition and play con- accomplish this is through aseries of or attend special programs sponsored certs with them. Each year, the Divi- concerts and demonstrations. The by community organizations and in- sion of Musical Instruments produces Jazz Heritage concerts, funded in stitutions. Among the latter are arts concerts, demonstrations, and record- part by the National Endowment for education activities that are offered ings of restored instruments that the Arts, bring to the public those art- by museums. show how differently music sounds ists who have been definitive leaders Museum programs have expanded when it is played on the original in- in various styles of jazz. This year's program includes an evening of jazz tap dancing, solo piano with Teddy Wilson, John Lewis, , and the music of Bix Beiderbecke per- formed by members of the New York Jazz Repertory Company. Another series, devoted to the Jazz Connois- seur, features The Countsmen ( Basie alumni), the Heath Brothers (Jimmy, Percy, and Albert), and Sam Rivers. The concept behind these concerts is to bring to audiences atrue picture of the importance of jazz in the Ameri- can musical heritage. According to Martin Williams, Jazz Program Director, " When you talk about Ellington, you're not speaking simply about a 'jazz' com- poser, or bandleader, or songwriter, you're talking about a man who is among the greatest composers Amer- ica has produced. Jazz should not be thought of as an isolated form of mu- sic, but rather as part of the musical mainstream." To help preserve jazz traditions, many of which are improvisatory, the Smithsonian in 1973 issued American-German band demonstrates Old Ways in the New World a Collection of Classic Jazz record-

MA-8 HIGH FIDELITY / musical america T21 MDM The Smithsonian: Teaching our musical heritage F OM EZI ings. This collection of six LPs in- tained minuets, country dances, reels, cludes eighty-four original recordings the Duke of York's march, waltzes, MM from the archives of seventeen record the Spanish Fandango, an " Al- companies. Included is a forty-eight- maine," a " Corant," and aquick step. page booklet of jazz history, photo- This program of authentic music and graphs, and adiscography by Martin dances of this period, with costumes, Williams. The music ranges from scenery, and lighting, was premiered Scott Joplin's own rendition of his in Washington on November 14 and Maple Leaf Rag, through the work of then toured to four states. Again, the John Coltrane and Omette Coleman. music is available on recording. These recordings are available only through the museum or by writing Festival of American Folk Life Smithsonian Collection, P.O. Box 5734, Terre Haute, Indiana 47802; Undoubtedly the most educational $24. Fall 1975 releases included the of the Smithsonian's arts activities King Oliver Jazz Band ( Louis Arm- will be the 1976 Festival of American strong and his second wife were mem- Folk Life. This tenth annual festival bers), Louis Armstrong and Earl will be held on the fifty- acre Mall be- "fatha" Hines, and Classic Rags and tween the Lincoln Memorial and the Ragtime Songs conducted by T.J. Washington Monument from June Anderson. Through recordings, the 16 through September 7. Extended concept of the jazz series is extended from two to twelve weeks on behalf of to the public at large. the Bicentennial, the festival will con- stitute the largest free public event in Mabel Mercer & others the and the major Bi- centennial event in Washington. Mabel Mercer, that grande dame Over five thousand performers will

of song styling, will headline the appear on the ten stages. Thirty LL 1975-6 American Popular Song countries will be represented in addi- Utah Phillips sings railroad songs series. Whenever possible, the settings tion to folk artists and artisans from for these programs, like the jazz series, throughout the United States. is not taught in our educational insti- are informal and the artists are in- The festival will present the music, tutions, performed in our concert vited to share anecdotes, give demon- dances, crafts, foods, and other folk- halls or housed in our museums. Folk strations, provide explanations, and ways of ethnic populations in the songs and dances may be taught in otherwise converse with the audience. United States in direct comparison to schools and interpreted by profes- People and Their Culture, another these folkways in the country of ori- sionals in concerts; material culture concert series, is designed to bring to gin. The plurality of American cul- appears in museum exhibitions and life, through music and dance, the ture is represented by the festival collections, but living folkways are folk instrument collections at the themes: Old Ways in the New World, drenched with rich, vital style which Museum of Natural History. This Native Americans, Working Ameri- only the living tradition- bearers year there will be groups from Tibet, cans, African Diaspora, and Re- themselves can impart to the per- Japan, Czechoslovakia, and , Burma. gional America. Through lullabies, formance of a song, to the execution Other series are devoted to chamber songs of work and celebration, and of a complex craft technique, to the music and music from Marlboro. other folkways, the public is invited telling of a tale. The Festival cele- In addition to these concerts there to leaf through the many fabrics of brates folk cultures as they persist in is aconcert of American Band Music American life to gain an under- thousands of styles among millions of from 1876, programs of American standing and appreciation of the people who inherited folkways as banjo music, and an evening of Mu- multiple roots of American culture. part of their life styles." sic and Dance from the Age of Jeffer- For those who cannot attend any of Museums—and the Smithsonian is son. The latter program has been the events in Washington, the foreign by no means alone in this kind of ef- carefully researched—the musical as- folk groups will tour to ninety cities fort—are supplementing and extend- pect by James Weaver, Associate throughout the country. ing the arts education available in Curator, Division of Musical Instru- In perpetuating national and fam- schools. For a quick and engaging ments, the dance by Shirley Wynne, ily folkways, the festival also gives look at what other such institutions Director of the Baroque Dance En- recognition to them and thus helps to are doing, send for a free copy of the semble, and member of the faculty at preserve these traditions. There is no 112-page booklet, Museums: Their New the University of California at Santa question that the festival is, above all, Audience, published by the American Cruz. They found that Jefferson and educational. As James Morris states: Association of Museums, 2233 Wis- his daughters took dancing lessons, "The living art that the American consin Avenue N.W., Washington, and that his music collection con- people make of their own experience D.C. 20007. A

January 1976 MA- 9 deux as a young officer leaves his be- trothed, a mourning party strings it- self out in silhouette across the back of the stage and asingle female figure detaches herself from the group to lay flowers on what is presumably a grave. To bring off his American cav- alcade, Arpino throws in whatever comes to hand. Some of it works, like the minstrel-flavored finale, asweep- ing company cotillon, and a rowdy Oh! Susanna, and some of it doesn't. I think particularly, in this context, of the jolting insertion for Paul Suther- land and Ann Marie DeAngelo in which neither the choreographer nor the dancers seem quite to have de- cided whether to play it straight or as atongue-in-cheek comment upon the absurdities of the classical pas de deux. There is also rather too much made of Foster's languishing ballads, one of which supports a particularly silly the trio for Erika Goodman, Kevin McKenzie, and an interferring third party who carries aviolin and point- lessly pantomimes playing it. dance The support which Arpino receives from his collaborators ranges from JACQUELINE MASKEY the adequate to the inspired. Peter Link's orchestration of his variations on Foster's songs is varied and well- paced and brings into the ballet the-

HE BEST IS last in Gerald Ar- and like the events which so far have ater some fresh sounds—banjo, har- pino's Drums, Dreams and Ban- commemorated that national birth- monica, and tambourine— not usu- Tjos, his new ballet for the City day it is entertaining, embarrassing, ally associated with Terpsichore. Center Joffrey Ballet. Almost the en- confused, lively, yawn-making, senti- Rouben Ter-Arutunian's contribu- tire company is on stage in the sort of mental.. . athorough theatrical stew tion is auseful drop depicting foliage organized explosion which in pieces in which somehow the company and in full leaf which dissolves from fresh like Trinity has become an Arpino sig- the choreographer rise bubbling to green to autumnal gold to vaudeville nature. The dancers, all in white, the top. glitter as required. Stanley Sim- charge the stage as though it were a One can admire Arpino's boldness mons's costumes are adelight, partic- territory to be taken, regardless of the in making a ballet with so wide a ularly his bouncy-skirted ballgowns cost to life and limb. They dash, leap, compass: the piece not only salutes in delicate pastel shades and a rain- turn; they throw or are thrown and the American composer Stephen Fos- bow- hued butterfly outfit for Starr are miraculously caught. Regrouping ter ( 1826-1864) but attempts to distill Danias, complete with wings and an- into acompact little band they move and contrast the peculiarly American tennae. The dancers, of course, give— in accelerating unison downstage vigor and vitality found in such songs and give—and give—with that combi- with a kind of cheerful insolence, ev- as Oh! Susanna, Camptown Races and nation of heart and energy which is a ery swing of every hip accentuated by Ring de Banjo with the sickly, Euro- Joffrey hallmark. There are out- the smart rap of atambourine. At the pean-derived romanticism of I Will standing performances throughout height of movement on stage and vol- Be True to Thee and Ah! May the Red by Pamela Nearhoof, Denise Jackson, ume in the pit, both dancers and or- Rose Live Alway. Arpino also makes his Ann Marie DeAngelo, Russell Stulz- chestra stop dead and ashower of red ballet a kind of survey of the social bach, Chris Jensen, and Kevin Mc- and blue ribbons descends from dances (high and low) of the period— Kenzie. above to put the final period to the the waltz, polka, jig, et al.—inter- ballet. Needless to say, the audience polating vignettes of the theatrical "Offenbach" back goes wild. dancing styles as well. Unexpectedly, there are no portrayals of either sla- While the impetus for Drums, A theatrical stew very or the " brother-against-brother" Dreams and Banjos is clearly the Bicen- aspect of the Civil War. There is, tennial, it is hard to imagine what Drums, Dreams and Banjos is the Jof- however, one delicate reference to the prompted the Joffrey management to frey company's Bicentennial ballet conflict when, at the end of apas de revive Offenbach in the Underworld, or

MA- 10 HIGH FIDELITY / musical america even what prompted Antony Tudor Corkle—a cheery little body who was Fraley) while an anonymous corps to choreograph it. It is set in a Pari- born to play a number of Dickens' looms up now and again to interfere sian café in the 1870s and it chiefly minor female characters— is saddled gloomily with the principals. The concerns romantic encounters in with the part of The Operetta Star. piece is set to Webern's Passacaglia, changing combinations between A Hair-do and make-up contrive to Opus 1, which is about its only dis- Debutante ( Starr Danias), A Painter make her look on the ungrateful side tinction. CWHIUMMili5IMMI (Burton Taylor), His Imperial Excel- of forty and although she is amarve- lency ( Paul Sutherland), Queen of lously talented dancer with anumber Nancy Hauser Dance Company the Carriage Trade ( Denise Jackson), of endearing qualities of her own, nei- A Young Officer ( Russell Sultzbach), ther in personality, looks, or tempera- Among the modern dance concerts and The Operetta Star ( Francesca ment does she display any of the which took place during September, Corkle). Since it is basically Gaité characteristics of a belle. Russell one—the Nancy Hauser Dance Com- Parisienne bereft of its comic center Sultzbach as the Officer meets asimi- pany from Minneapolis at the (the Peruvian) and set to another or- lar Waterloo. The pity of it is that this Hunter Playhouse—seemed in its un- chestration of that ballet's score, you is Tudor's only representation in the familiarity to promise something spend most of your time regretting Joffrey repertoire; better a blank in rather out of the way. This, alas, was that it is not, indeed, Gaité. Tudor's the company catalogue, Isay, than a not the case, with the company choreography is smooth but bland lemon like this one. presenting some warmed-over and singularly uninventive in the Humphrey in Hauser's Partapartita mélée which is the climax of the bal- Why " Opus 1"? (Hauser, who does not dance herself let. The Can-Can is the only part of it any longer, was a student of Doris which rises above the routine. Tu- Another imponderable high- Humphrey and Hanya Holm) and a dor's Local Ladies, led by Sara Yar- lighted during the season was the Jof- long, self-conscious and obscure essay borough, Alaine Haubert, and Mi- frey's continued infatuation with by Heidi Jesmin called Dal-A - Bye. yoko Kato stripped down to their John Cranko's ballets. The company The most entertaining piece was from camisoles, are presented as a thor- already performs the best of his a guest choreographer, James Cun- oughly disheveled lot. Unwashed and shorter ones, the gay Gilbert and Sul- ningham, whose droll consideration tousled, they look as if their under- livan Pineapple Poll, and it has neither of human relationships in Moose Lake wear could not stand even the most the resource, personnel, nor inclina- was loose in construction, puckish in cursory inspection. They come on like tion to attempt his full-length pieces humor, and suited to the varying ca- a DeMille parody—aggressive and like or Romeo and Juliet. pabilities of the small troupe. Miss knowing, with lots of pelvic thrust. So why trivia like last season's feu de Hauser did have one surprise in store Besides its essential feebleness and Cartes and this season's Opus 1? Opus 1 in Beginnings, an evolutionary cav- a drab black-and-blue set by Kay is another of those ballets where Man alcade which began in the Void and Ambrose, there are examples of gross (Burton Taylor) grapples with birth, ended up, logically and without sen- mis-casting in Offenbach. Francesca existence, death, and Woman ( Ingrid sationalism, in the nude.

Offenbach in the Underworld: it prompts a wish for Gaité Parisienne

January 1976 MA- 11 NEW MUSIC Continued from page MA-2 area, where he teaches at Mills Col- lege. But this year he has been on leave and has been spending much of his time in New York. Iwent to see him, hoping to be able to find some general attitudes which would help me to present aclearer picture of his work as a whole. It didn't help. The more I tried to pin him down, the more Ashley resisted any kind of cate- gorization. For Ashley this kind of labeling and image- making is not anatural or healthy thing for acomposer, because it forces one to oversimplify his work and limit his scope. There are, of course, disadvantages in Ashley's at- titude, career-wise. He spoke quite openly about the kind of public rela- tions practiced by artists, and about how many composers want to be- come known as creators of avery spe- cific type of music. Naturally it is much easier for a composer to make an impression on critics, foundation officials, and the public at large if his work presents a direct and relatively consistent image and an easily identi- fiable style. "There is alot of pressure on artists who take adouble role or a multiple role," he said. "The way music is being produced is becoming more and more centralized around certain funding agencies, most of which have a vested interest in certain types of music. There should of course be sup- port for the arts, but the danger of bureaucratic support is that it threat- ens diversity. That's particularly un- fortunate for artists when they are at Robert the beginnings of their careers and Ashley: not to be should be trying a lot of different categorized things. I've always resisted the idea that composers should all have sepa- rate roles. Isee myself in many roles. Even composing itself is not that im- ley's point of view. The plan is to in- to let the chips fall where they will, portant. Ialso teach, Italk to friends, terview each of them, collect essays with little editing or rewriting. and so on." about them by younger writers, and Also in preparation is a series of compile everything in alarge volume, European perfoernances, which he is A critical work- in- progress which will clarify many things about giving this winter in collaboration an important segment of new music. with a few other composers, known Ashley's latest project lies in yet an- Primarily, then, the project is acriti- collectively as the Sonic Arts Union. other area. For this he has selected cal work, but at the same time it will And meanwhile, he is forming asmall eight composers: David Behrman, be acreative work, not terribly differ- record company in order to be able to Philip Glass, Alvin Lucier, Gordon ent from some of Ashley's composi- issue some of his works without rely- Mumma, Pauline Oliveros, Roger tions. As in many of his performance ing on the whimsies of larger, estab- Reynolds, Terry Riley, and La pieces, he is carefully laying the lished companies. Monte Young. All are Americans, all groundwork for the execution of the And next year? Well, artists who are about forty years old, and all have project, but once the interviews and play multiple roles are not predict- similar concerns, at least from Ash- essays start to come together, he plans able. We must wait and see. A

MA- 12 HIGH FIDELITY / musical america General News ant professor of music at Co- lumbia University and The Saint Louis Symphony executive director of the Group Youth Orchestra will be the for Contemporary Music. ... first American orchestra to be Former principal conductor of in residence at the Fifth Inter- the American Ballet Theatre national Youth and Music Fes- David Gilbert is the new assist- tival in Vienna in July. . . . The ant conductor of the New York Music Teachers National Asso- Philharmonic. Mr. Gilbert, who ciation and the Texas Music won the 1970 Dimitri Mitro- Teachers Association commis- poulos Competition, is also sioned composer Karl Korte of music director of the Green- the University of Texas to write wich ( Conn.) Philharmonic. anew work in honor of MTNA's 100th anniversary. His Con Walter Klauss, organist and certo for Piano and Winds choir master at the Broadway will be premiered in March.. . . United Church of Christ ( N.Y.), James Drew's string quartet, is the new conductor of the Lux incognitus, received its Brooklyn Philharmonia Choral Society. . . . James Edwin Ogle here & there premiere by the Concord String Quartet on October 5at Jr. has been appointed assist- the Albany Arts Center. ant conductor of the North Carolina Symphony. Mr. Ogle Lewis Dalvit, Jackson Sym- won the Symphony's 1974 phony music director, serveo Young Conductor's Competi- International Singing Compe- twenty-six and under. For in- as conductor of the Ballet Rep tion. . . . The Barrington ( R.I.) tition in ' s- Hertogenbosch, formation, write to Oliver Dan- ertory Company orchestra on Boys' Choir has appointed Holland: soprano Maria Ve- iel, BMI Awards, Broadcast its midwest tour in November. Charles C. Mello musical direc- nuti, U.S.; mezzo-soprano Pa- Music, Inc., 40 West 57th . . . The Symphony for United tor. . .. Violist George Gross- tricia Price, England; bass- bar- Street, New York, N.Y. 10019. Nations, with Joseph Eger as man has been named musical itone Vladimir Pankratov, . . . The New Music for Young music director, has been director and president of the U.S.S.R. There were no first Ensembles 1976 composition founded to " mobilize the en- Chamber Music Conference at prize winners in the tenor and contest will close in April. Write ergy of music for improving Bennington ( Vt.) College, a counter- tenor categories. to Claire Rosengarten at communications among the workshop and performance NMYE, 490 West End Avenue, world's people in these crucial center for professional and Detroit Symphony music direc- New York, N.Y. 10024. times." Co- chairpersons are amateur musicians. tor Aldo Ceccato has received Marta Casals Istomin and Gen- an honorary Doctor of Music The 1976 Augusta Symphony eral lndar Jit Rikhye, president Harpist Susan McDonald suc- degree from Eastern Michigan Young Artists Competition for of the International Peace ceeds the late Marcel Grand- University. . . . Composers Joe pianists will take place in June. Academy. jany as head of the Juilliard Ambrosio and Philip Hough, Deadline for application is School's harp department.. . . both of , won April 9. For information, write Duo- pianists Richard and John Composer/pianist Malcolm first and second prizes in the Mrs. Leland Stoddard, Au- Contiguglia, along with Je- Williamson succeeds the late first annual national competi- gusta Symphony, 619 Bourne rome Rose, participated in a Sir Arthur Bliss to become the tion sponsored by New Music Place, Augusta, Ga. 30904.. . . Franz Liszt birthday celebra- ninteenth Master of the for Young Ensembles, Inc. The Pianists twenty-nine and un- tion over National Television in Queen's Music in Great Brit- prize works will be performed der are eligible to enter the Budapest last October. . . . Pi- ain. at Mannes College. University of Southern Colo- anist José lturbi turned eighty rado's National Piano En- on November 28.. . . Awards Competitions semble Competition (two pi- recently sang anos and one piano- four John Proctor in Ward's The Twenty- five- year- old violinist U.S. citizens under thirty with hands). Deadline is March 12. Crucible with the Pittsburgh Elmar Oliveira has won first conducting experience but no For information, write to Mar- Opera and appeared in Bern- prize in the Walter W. Naum- affiliation with amajor orches- kowski and Cedrone, Univer- stein's Trouble in Tahiti on burg Competition. ... Kazu- tra are eligible to enter the Bal- sity of Southern California, N.E.T. yoshi Akiyama, former con- timore Symphony's Young Music Department, 220 Bon- ductor of the Tokyo Symphony Conductor's Competition. For forte Blvd., Pueblo, Co. 81001 Pianist Byron Janis has com- and now conductor of the Van- information, write to Ann Gold- couver Symphony, has won Ja- berg at the BSO, 120 W. Mt. pleted atelevision film on Cho- Obituaries pin for world-wide distribution. pan's Toni music award for his Royal Avenue, Baltimore, Md. . . . The Chamber Orchestra of contribution to the develop- 21201. Deadline is April 30. New England made its debut ment and advancement of ... For information concern- Wafter Felsenstein, director of performance in November un- classical music in Japan. ing the Southeastern Compos- the East Berlin Komische der music director James Sin- ers' League Arnold Salop Me- Oper, died on October 8 at the clair. The New Haven- based At the 1975 International Mu- morial Composition Contest, age of seventy-four. ( His last ensemble consists mostly of sic Competition in , write to Charles Knox, Music interview will appear in HIGH Yale University School of Music New York pianist William West- Department, Georgia State FIDELITY next month.. . . Tim• alumni. ney and cellist Frederick Zlot- University, Atlanta, Ga. panist Karl Glassman, formerly kin of the N.Y.C. Ballet Orches- 30303. Deadline for entries is with the NBC Orchestra under Appointments tra won top prizes in their cate- January 6. Toscanini, died on October 11. gories. Twenty- five- year- old He was ninety-two. . . . Soviet Nicolas Roussakis succeeds Staffan Scheja of Sweden has Deadline for application to the ballet master Leonid Yakobson Charles Dodge as president of won Italy's Busoni Piano Com- BMI Awards to Student Com- died at the age of seventy-one the American Composers Al- petition. ... The following posers is April 1. The compe- in . His death was an- liance. Mr. Roussakis is assist- were awarded top prizes at the tition is open to students nounced on October 21.

MA- 13 January 1976 Louis Mélancon

THE MET:

WHAT NEXT?

John Dexter

HE WORD THAT most accurately describes the status should they decide to extend further, the AGMA contract of the Metropolitan Opera as we go to press is negotiated last summer expires in the summer of 1976, T"flux." Flux as to finances, flux as to union con- and it is thought that the other unions will not sign con- tracts, and flux as to artistic policies. The new "-umvi- tracts for a term longer than the AGMA one. Thus, the rate"—whether " mon-" of Anthony Bliss, " du-" of Bliss whole bargaining process will begin again next summer. and conductor , or " tri-" of Bliss, Levine, This situation puts pressure on management in two and productions- head — has simply not had ways: it must divert time from long-range plans ( both ar- time enough yet to establish apattern. How long this pat- tistic and funding plans); and it prevents management tern will take to emerge is unsure, for much of it depends from knowing the parameters of its financial burden, upon the over-all financial situation, which in turn de- since it does not know the specifics of what it must spend pends on the specifics of the contracts with the various in the coming years. unions involved in the Met. The addition of Richard Rodzinski on the artistic side The fact is that the contract situation, which was on a and Edward Corn for special projects will doubtless aid tightrope all summer, is still unresolved. Two of the major both short-range and long-range planning, not only of ar- unions ( the stagehands and the orchestra) extended their tistic main-stage matters but in the area of what has come bargaining periods until December 31, 1975, but even to be called " community out- reach,"— the mini- Met ( now

MA- 14 HIGH FIDELITY / musical america James Levine Anthony Bliss

dormant), the Met Studio concept ( now defunct), as well This thinking has extended to artistic main-stage activ- as the hunting up of new sources of funding from private, ities as well. The current management has lost the Bing- business, and governmental sectors. The fact is that, un- years enchantment with lavish productions at lavish cost, less ways are found to bridge the ever-widening gap be- and moreover is actively studying ways in which nonre- tween costs and the amount of contributions raised, the pertory , which should be seen at the Met, could be last monies the Met has ( from the sale of the old opera staged for a limited number of performances at very low house land) will be spent in two to three years' time ( by cost, either through cannibalization of existing sets or current projections), and the Met will be as bankrupt as through ingenious use of lighting and other techniques. the City of New York. Smaller companies have set occasional examples in this It is known that a variety of plans are being actively area that the Met might do well to emulate. studied— the moving- in of a ballet company, extended But the whole picture is extremely cloudy. The thought touring, etc. Just how radically the Met will change will is that by next summer, when the present management depend upon financial figures, but there seems no doubt will have had ayear to settle in and to plan, the outlines that the management has at last realized that the situ- will be clearer, and given asettlement on aminimum two- ation cannot be patched over indefinitely. It must be re- year contract with the unions, the shape of the Met in the thought from the ground up. later Seventies will be evident.

January 1976 MA- 15 ROBERT SOUR

THE COPYRIGHT REVISION BILL:

For about twentyyears now, various revision bills to the U.S. Copy- right Act have been tossing around in Congress. The lengthy deliber- ation is not unusual, perhaps. What is unusual is that the present SOMEBODY'S Copyright Act— that sacred epistle which allegedly "protects" in- tellectual property—was enacted in 1909. Xerox machines, cable TV, and multi-million- dollar recording companies did not exist at that time. Herewith, abrief description of the resultant pandemo- LOSING nium, and its effect on that sometimes-heralded but rarely- rewarded soul, the creator.

0 MANY CHANGES in the economy and in technology practice of Xeroxing sheet music and scores, convenient have occured since the U.S. Copyright Law was and inexpensive, is illegal and eats into the composer's roy- Senacted that a revision is being sought by the crea- alty substantially. Only the owner of the copyright (usu- tor/writers—composers and authors—and their publish- ally the author or composer and his publisher) has the ers. As we go to press, action is being taken by the Senate right to copy or give permission to copy awork. Take, for Judiciary Committee, and it is hoped that aRevision Bill example, the case of the Pulitzer Prize-winning composer (Senate Bill No. 22—the McClellan Bill, and House Bill whose work for orchestra and chorus of one hundred was No. 2223— the Kastenmeier Bill) will be enacted before programed by a highly regarded eastern university. He the spring of 1976. was invited to dinner before the concert by the dean. Be- The Bill has taken an inordinately long time to come to fore dinner he asked the dean over for cocktails. He dis- fruition. On several occasions when it seemed on the verge covered that the chorus had purchased one copy of the of getting through both houses, other legislation, more S.A.T.B. choral arrangement and had Xeroxed one hun- pressing and immediate (and perhaps more in the " public dred copies. The school's budget was spared, but the com- interest") side-tracked the bill. More importantly, there poser's royalties from that performance didn't even pay has been fierce lobbying, particularly by the recording for the drinks. If this practice is allowed to continue, and jukebox industries and ( hard to believe) by the Na- writers whose sole source of income is residuals ( royalties) tional Education Association. All of these lobbies are from educational works will continue to lose the small but working against the best interests of the creator. justly-due payment for their efforts. But the strong National Education Association lobby Reprography has won this one: the Senate Judiciary Committee has de- cided— in the Association's favor—that for classroom us- Reprography ( the Washington term for Xerography and age, complete musical works and portions of books may be the like) did not exist in 1909. The present widespread copied. Libraries may copy items in their collection, but Mr. Soul, former president of BM! (Broadcast Music Inc.), cur- not "systematically." But no practical means of policing rent?), serves as a consultant to that organization, as well as to schools, colleges, libraries, or individuals has been decided AGAC (the American Guild of Authors and Composers). upon to prevent full-scale duplication, and the writer or

MA- 16 HIGH FIDELITY / musical america composer is sure to suffer a considerable loss of income The jukebox therefrom. In every country is the Western world but ours, jukebox Mechanical royalties operators have always paid a fee for the use of music. When the Act was written in 1909 the jukebox ( in those By the Act of 1909, when acommercial recording is made, days a phonograph with headphones in a penny arcade) the author/composer/publisher gets a statutory fee ( me- was not considered apublic performance for profit. So the chanical royalty) of 2C per side, maximum. Normally this jukebox owners have had a free ride for over sixty years. fee is divided equally between the publisher and the The revision stipulates apayment of $ 8.00 per box per an- writer. The publisher gets le and the composer gets the num to be administered by a tribunal, which at ten-year other penny. The Revision Bill, as first approved by the intervals will determine whether the fee should be Senate Judiciary Committee, raised the rate to 3C. (The changed. The payment of any fee at all has been fought creators had pressed for 4C, but were forced to back down, all along by the powerful jukebox lobby. defenseless against the powerful lobbies of the record com- panies.) In October, " liberal" Senator John Tunney ( D.— Cable TV California) proposed an amendment reducing the 3C to 2/12 ¢. Marvin Hamlisch—composer of the Broadway mu- Cable television, certainly anew form of broadcasting, as sical A Chorus Line and an Academy and Grammy Award yet has made no payments for performance although the winner— testified at the time that the million-copy sales of cable companies have been operating for years. The Revi- 's recording The Way We Were produced sion Bill calls for the establishment of a government-ap- but five thousand dollars for himself. The record com- pointed tribunal which, three years after the passage of the pany grossed more than one million. In spite of this and new Act, will set rates for payment. Thereafter the rate other testimony, the Tunney amendment was adopted. will be reviewed at ten year intervals. The record companies won; the creators lost. The American Guild of Authors and Composers, long a defender of the rights of all authors and composers, has Term of copyright been fighting for adecent Revision Bill for twenty years. Now that a bill is almost sure to emerge, the Guild, to- Aside from being out of date, there are factors of the 1909 gether with the other music industry writer-organizations Act which compare unfavorably with all other countries (National Music Publishers' Association, the Music Pub- in the Western world. Every Western nation, save the lishers' Association, BMI, ASCAP, and SESAC), contin- United States, belongs to the Berne Copyright Conven- ues to fight to improve it and to remove some of the re- tion, established in 1886. The term of copyright, as drawn strictions mentioned above. How good it will be remains by the Convention, runs for fifty years after the death of to be seen. the longest- lived collaborator. The U.S. Act established a period of twenty-eight years with a right to renew the copyright for another twenty-eight years—agrand total of The lot of the composer has never been easy. We urge you to fifty-six. After that, the work falls into the Public Domain; help by writing to your Congressman or Senators to make cer- it is, in essence, up for grabs. By avote of one, at this time tain that the Copyright Revision Bill will not only be enacted, the term of copyright in the Revision Bill was made to but will equally and justly serve the needs of both the creator conform to that in the Berne Convention. But if the inter- and the music industry. As the Revision Bill stands now, the est groups prevail, this could change. creators stand to be grossly short-shrifted for the following reasons: 1. The practice of reprography of creative works is not only The performing right sanctioned by Congress, but any limitations placed on it via the Bill have no effective means of enforcement. The 1909 Act called for the payment of fees for " public 2. The Tunney amendment gives atremendous advantage to performance for profit." In other words, when a musical the recording companies. The creator/copyright owner is, in work is performed on a broadcasting station, at a hotel, essence, still required by law to accept but token payment for the privilege of having his work recorded. The recording indus- night club, etc. the user must pay afee to the owner of the try is one of the most financially powerful interest groups in copyright. Almost every user is licensed to perform the this country. And this, of course, means that they are more works by ASCAP, BMI or SESAC. Most users have li- influential, politically. censes with both ASCAP and BMI. 3. The performing right allows the composer's work to be The Berne Copyright Convention omits the words " for publicly performed for no fee when there is no claimed profit profit." Thus a performance at a college or a non-profit motive by the broadcastee. Although this stands to be revised in the present bill, we fear that the National Education Associ- radio station must be paid for as well. And why not? The ation will be successful in reversing such adecision. musicians, electricians, stagehands—everyone but the 4. No royalties whatsoever are paid to the composer when his composer— is paid. The Revision Bill conforms to the works are played on ajukebox. Jukebox owners are almost as Berne principle and omits " for profit" at this moment but powerful agroup as the recording industry. There are more of that, unfortunately, doesn't mean that all is well. The Na- them, and they are more widespread. They have organized, tional Education Association and educational television and exerted pressure on their local Congressmen. It has worked. networks fought this section of the bill all the way and 5. No royalties whatsoever are paid to the composer when his haven't finished yet. Their latest argument is that nego- works are performed over cable TV. The Bill's plan for atribu- tiating a fair fee would be impossible. Additionally, city- nal to administer fee payments, low that they are, will not go owned stations have already been exempted from paying into effect until three years after the Bill goes through. by this Bill.

January 1976 MA- 17 Javore, Gayle, LaManna, De Paur, Greene, Bouck, Williams uer smooJe

the musical whirl Hon. Barbara Jordan, Foster

Members of the After Dinner Opera Company surround Leonard De Paur, an official of Lincoln Center, after aperformance there. . . . Con- gresswoman Barbara Jordan chats with Houston Symphony conductor Lawrence Foster after narrating Copland's Lincoln Portrait with the orchestra.... Eugene Ormandy dis- cusses Philadelphia Orchestra Diamond Jubilee performance last

November with piano soloist Tedd Ormandy, Joselson. Joselson

MA- 18 HIGH FIDELITY / musical america Reviewing in this issue: ROBERT W. BAISLEY

MARK BLECHNER

FAUBION BOWERS

CARL CUNNINGHAM

ANDREW DeRHEN

HARRIS GOLDSMITH

JOHN H. HARVEY

JOHN C. HASKINS

JACK HIEMENZ

BORIS NELSON

FRANK PETERS

ARTHUR SATZ

BRUCE SAYLOR

PATRICK J. SMITH

SUSAN T. SOMMER

JAMES WIERZBICKI CINCINNATI

Cincinnati Sym.: Clementi premiere

The name of Muzio Clementi (1752-1832) is unshakably connected with the piano. As acomposer he pro- duced volumes of sonatas and sona- tinas for the instrument, as avirtuoso pianist he toured Europe and en- debuts & gaged in a notorious " play-off" com- petition with Mozart, and as a busi- nessman he was involved with piano manufacturing in England. Al- though he is known to have written reappearances some twenty symphonies, his orches- tral music, for most people, falls into the heard- of- but- never- actually- heard category. That situation is full of surprises. The most interesting COLUMBUS likely to change, due primarily to the movement is the third, adark colored musicological efforts of the young Scherzo that ironically sets skittish Italian pianist Piedro Spada. Cle- dance rhythms against a grim back- Columbus Sym.: Laderman prem. menti's Symphony No. 4 in D, as drop of minor chords. edited by Spada, was featured on the The manuscripts of Symphony No. opening concerts of the Cincinnati 4and three other symphonies can be The Columbus Symphony Orches- Symphony Orchestra's 1975-76 sea- found in the Library of Congress tra, under music director Evan Whal- son on September 19 and 20. (portions also are in the British Mu- Ion, opened its twenty-fifth anniver- The performances, led by CSO seum collection). The scattered pages sary season October 10-11 at the music director Thomas Schippers, were long thought to be disconnected Ohio Theatre with the world pre- marked the first time the piece had fragments: the two Clementi sym- miere of Ezra Laderman's commis- been heard since Clementi himself phonies which Alfredo Casella re- sioned work, Columbus. Though an conducted it in Leipzig in 1822. Not constructed in the 1930s ( one of appropriate means by which to only did the U.S. premiere shed light which was recorded by the Haifa launch the orchestra's Bicentennial on an all but unknown facet of this Symphony in 1965), were actually season (and on the eve of Columbus important classical composer, but it patchwork composites of movements day) the twenty- two- minute mono- revealed asymphonic work of consid- from all four works. But Spada's re- logue for solo bass and full orchestra erable stature. The forty- minute sym- search proved the fragments to be failed to do justice to its imaginative phony is amature piece of writing. It more unified than anyone had previ- text. The scene, adapted from the contains no padding, no repetitive ously realized. Spada's edition of the play by the late Nicos Kazantzakis, accompanimental figures, no ex- complete extant works of Clementi, deals with Columbus' vision of anew tended sequence patterns. Its melodic the keyboard pieces as well as the voyage as confessed to an abbot, and substance is rich and varied, its har- symphonies, will be available from with his subsequent request for help. monic content—similar to that found Edizioni Suvini-Zerboni of by History is stretched by poetic li- in the later Beethoven symphonies— is spring of 1976. J.W. cense, and some of the lines—" Ido

January 1976 MA- 19 son, the Quartet offered rather brilliant performances of some very familiar music and some that was brand new. At this youthful point in its existence, the Quartet does not maintain the tonal unanimity one might expect to hear from it a year from now. Basically, the contrast lies between the pure, silvery tone of Patterson and the richer band of mu- sical sound produced by a wider vi- brato from the other three players. The Shepherd Quartet achieved some of its warmest, boldest playing at the outset of the concert with an appealing performance of Haydn's Sunrise Quartet that was tinted with gorgeous suggestions of romantic feeling. Interest centered principally around the premiere of the Fifth String Quartet, subtitled Umbrae, by faculty composer Paul Cooper, a work that shared some thematic ma- terial with his new Fourth Symphony Ezra Laderman: a Columbus commission for Columbus (premiered by the Houston Sym- phony at another inaugural concert two nights earlier). As its title implies, not shut my eyes to see God, Iopen chestra sounded weak and mushy, Umbrae is awork of shadowy musical them" or " Let me reach the islands and there were some strange tempos— expression, sometimes conveyed in that drift in my mind"—beg to be set the Adagio much too slow—but on muted string colors. Fleeting accom- to imaginatively soaring music. La- the whole adecent rendition. The au- panimental patterns weave into a derman ( 1963 Prix de Rome, Gug- dience was completely taken by it.B.N. complex texture that suggests aleato- genheim fellowship, multiple com- ric rhythms, and melodic fragments missions, now composer- in- residence unfold from initially tight chromatic at the State University of New York HOUSTON formations into themes of more in Binghamton) chose a rambling diatonic implication. Although emo- recitative style that was both angular tional restraint was the keystone of for the soloist and too slavish in the Shepherd St. Qtet.: Haydn, Cooper Cooper's musical thought, the quar- orchestration for the programatic tet that emerged is a lovely and nature of the text. The resultant Four Houston Symphony princi- deeply felt work. patchwork abounded in repititious pal string players made their debut as Though Ravel's F major Quartet vocal gyrations of over two and ahalf the Shepherd String Quartet on Sep- was to be the capstone of the concert, octaves, and a steady orchestral tember 21 at Rice University's Ham- the Shepherd Quartet produced a thrust which, though at times win- man Hall. The quartet's premiere rather lean tone with occasional ning, could not sustain itself. There is performance also marked the inaugu- abrasive attacks during the first two no real climax, for there are many ration of its residency at the Univer- movements. However, this gave way constant ones; the piece lacks asense sity's fledgling Shepherd School of to a warm tone in the Adagio and a of dramatic curve and arch. Music. Finale of surging exuberance. c.c. Under the strong baton of Whal- Three of its members are already Ion, the orchestra played for the most familiar to Houston audiences, hav- IOWA CITY part with tight control. Bass Ara Ber- ing played with other professional berian was outstanding in projecting string quartets for twenty years or the illusion of the somewhat bewil- more. Violist Wayne Crouse and cel- Univ. of Iowa Sym.: Scriabin in color dered and bewitched sailor pleading list Shirley Trepel are performers hiscase. He did superbly in giving life with long experience as members of A new experience has been added to the at- times semi-cantorial tessi- the Lyric Art Quartet, which has to the University of Iowa's collection tura, and his enunciation was perfect. since re-formed with new personnel at of distinctions. On September 24 at The reception by the full house was Rice's sister institution, the Univer- the bright new Hancher Auditorium polite. Beethoven's Ninth, also on the sity of Houston. Violinist Raphael in Iowa City, the music department program, received a fair if somewhat Fliegel is apioneer chamber musician gave Alexander Scriabin's theosophi- chopped up reading, with the Colum- in Houston as former leader of the cal fifth symphony, Prometheus, The bus Symphony Chorus (James Gal- now- inactive Music Guild Quartet. Poem of Fire, a splendid performance lagheer its conductor) emerging as Under their new director, sym- replete with multi-color light projec- the best part. The strings of the or- phony concertmaster Ronald Patter- tions from a laser deflection system.

MA- 20 HIGH FIDELITY / musical america "The Sony TC-756 set new records for performance of home tape decks7 (Stereo Review, February, 1975)

Hirsch- Houck Laboratories further each of the two reels; a record equal- three- head configuration; and symphase noted, " The dynamic range, distortion, ization selector switch for maximum recording that allows you to record FM flutter and frequency- response per- record and playback characteristics with matrix or SQ* 4- channel sources for formance are so far beyond the limita- either normal or special tapes; mic playback through a decoder- equipped tions of conventional program material attenuators that eliminate distor- 4- channel amplifier with virtually non- that its virtues can hardly be tion caused by overdriving the micro- existent phase differences between appreciated:' phone pre-amplifier stage when using channels. The Sony TC-756-2 features a sensitive condenser mics; tape/source The Sony TC-756-2 is represent- closed loop dual capstan tape drive monitoring switches that allow instan- ative of the prestigious Sony 700 Series system that reduces wow and flutter taneous comparison of program source —the five best three- motor 10 /12 -inch to aminimum of 0.03%, logic controlled to the actual recording; a mechanical reel home tape decks that Sony has transport functions that permit the memory capability that allows the ever engineered. See the entire feather- touch control buttons to be machine to turn itself on and off auto- Sony 700 Series now at your near- operated in any sequence, at any time matically for unattended recording. est Superscope dealer starting at without spilling or damaging tape; an In addition, the TC-756-2 offers 15 $699.99. AC servo control capstan motor and 7Y2 ips tape speeds; Ferrite & and an eight- pole induction motor for Ferrite 2-track/2-channel stereo SONY® Brought to you by SUPERSCOM

•SQ is a trademark of CBS, Inc. © 1975 Superscope, Inc., 8150 Vineland Ave., Sun Valley, CA 91352. Prices and models subject to change without notice. Consult the Yellow Pages for your nearest Superscope dealer. Ten years after the revolution.

In 1966, Sony brought you the world's first commercially available turntable with aDC servo motor. This effectively 1975 slowed motor speeds from 1800 to 300 RPM, producing the lowest rumble figures measured till then. consists of asensitive magnetic about the resonance caused by The servo system also drastically head ( with eight gaps instead of wit pin the record itself. Those reduced wow and flutter, thus the norma one) which monitors round doohickies on the platter giving you achance to hear what platter speed by nicking up a are rubber suction cups that 33-1/3 records sound like at magnetic coating on the outerside actually provide greater contact 33-1/3. Quite arevolution. of the platter. This speed data goes surface, reducing the longitudinal But we haven't been sitting through asmall computer con- vibration caused by warp. The end on our laurels since then. nected to tie motor, instantly result is acleaner sound. Introducing the PS-4750. compensating fo- variations. So, all in all, our engineers Overlooking the fact that the The PS-4750 is also ultra think the PS-4750 is pretty nifty. PS-4750 is so pretty we could sell insensitive to outside vibrations But don't take our word for it. Just it through interior decorators, (which causes intermodulation stop into your Sony dealer and here are its technical innovations. distortion and acoustic feedback). show your independence by It has adirect drive servo Sensitivity to outside vibration listening for yourself. motor that gives you incredibly shows as " Q:' And the PS- 4750 has low rumble, wow and flutter levels. aplatter and case made of SBMC, Plus total immunity from line aSony developet compound SONY voltage and frequency variations. which has one third the " Q" of That's because the PS-4750 has a aluminum or zinc. 01975 Sony Corp of Amer wa Sony, 9W. 57 St.. N.Y., N.Y. 10019. unique systèm that, in essence, We've even done something SONY is atrademark of Sony Carp. What Is a " Vertical FET"? studded with control- voltage elements, spaced so that their electrostatic fields will cover the whole cross-section area. The current passing through the field now is moving With the announcement of the Yamaha power amplifier vertically through the thickness of the film, rather than (see " Equipment in the News," June '75) and previous "horizontally" along the film; hence the name and its im- Sony products using " vertical FETs," yet another new plied importance where current and power requirements phrase has entered the high fidelity lexicon. Readers pre- are high. sumably know at least that FET stands for field-effect transistor and that these devices have certain technical advantages over the more common bipolar transistors; but what does that word " vertical" imply? Thereby hangs the story of the FET amplifier as a practical reality. Field-effect transistors, like vacuum tubes, are the elec- trostatic field of an applied, fluctuating voltage as avalve to control the quantity of current flowing, on an instant- by- instant basis, through the device— from power supply to output. In conventional FETs the current path in the con- ductive film of the transistor passes between elements that hold the static " control" voltage, which alternately blocks off the current's passage or opens it up by means of the voltage's field effect within the conductive path. 1 There are limits to the physical size of the conductive 41111•• path if it is to be kept within the control voltage's field, however; and this severely limits the current— and hence power— conventional FETs can handle. That's why, until This model suggests construction of Yamaha vertical FET. recently, there have been no amplifiers that made use of Dark "screening," visible in center area and (in cross section) the FET's performance superiority in power stages. at the edges, is the control element. Current must thread its In the vertical FET the current passes through the thick- way through this grid in passing from one surface to the other ness of the conductive film—which therefore can be made of the main conductive element, the medium-gray upper layer. as large in current- carrying cross section as it need be for Lighter gray portion below represents nonconductive substrate the intended power capacity. The conductive film is to support working elements.

B.E.S. shuns cones, pistons, and enclosures

A line of loudspeakers operating on anovel principle and avoiding tradi- tional types of cones, pistons, and enclosures is available from Bertagni Electroacoustic Systems, Inc., of California. Multiple drivers ( two to four, depending on the system) activate separate regions of a " pulsat- ing plane," a pre- tensioned diaphragm made of aproprietary material called Soniflex. The units, which are relatively compact, are claimed to produce awide spectrum, flat frequency response, low distortion, and a virtually spherical radiation pattern. Known as Geostatic speaker sys- tems, they range in price from $129 to $499. CIRCLE 152 ON READER-SERVICE CARD

Spectro Acoustic introduces graphic equalizer

The Model 210 equalizer divides each channel into 10 frequency bands and allows 15 dB of boost or cut in each of the audible octaves. The unit uses active filters that avoid passive inductors with their sensitivity to magnetic fields and current saturation. The equalization settings, ac- cording to Spectro Acoustics, do not affect signal to noise ratio or in- crease distortion, and each channel is provided with over-all gain con- trols. The S/N ratio of the Model 210 is claimed to be greater than 90 dB below 2 volts rms, and the dynamic range extends over 100 dB be- low full output. A high voltage output stage is said to eliminate the need for meters or LEDs for input-output adjustments. The suggested list price is $275. CIRCLE 151 ON READER- SERVICE CARD

4— CIRCLE 42 ON READER- SERVICE CARD Dynamic range expander from Pioneer

Pioneer High Fidelity has announced that its RG-1 dynamic range ex- pander is ready for marketing. The unit, which restores transients and dynamic range to approximately those of the original program material, reduces the audibility of low-level noise at the same time. A switch al- lows the user to adjust the degree of expansion between 6and 14 dB in 2- dB steps to tailor the expander for any program material. If uncom- pressed material is to be played, expansion can be shut off. The RG-1 can be connected to any high fidelity component system via the tape. out and tape- monitor jacks. An input control matches it to the com- ponents with which it is used. The cost is approximately $ 175. CIRCLE 153 ON READER- SERVICE CARD

Class D output is Infinity's new switch

Infinity Systems, Inc., has announced that its DSP ( digital signal proc- essing) switching amplifier is finally available for the consumer market. This unit employs class D amplification, in which the output transistors operate as high-speed switches, spending most of the time fully on or off. In class D the output transistors develop virtually no heat except during the off- to- on and on- to- off transition times—and these are ex- tremely short. Thus the DSP amplifier is very efficient and can operate with asmaller than usual power supply and less heat sinking. And non- linear behavior of the output transistors cannot cause distortion. The new model, compact and weighing a mere 35 pounds, is rated at 250 watts continuous power per channel and is credited with improved relia- bility. Its retail price is $ 1,850.

CIRCLE 154 ON READER- SERVICE CARD

Community Electronics' new tower speaker

This four-way floor- standing speaker system features aducted- port en- closure design. Its drivers, according to Community Electronics, reduce failure and distortion due to excessive power at the frequency extremes. The CEI 124's piezoelectric supertweeter is claimed to improve tran- sient response as well. Also including a 12- inch woofer, 3/12 -inch mid- range, and 1- inch dome tweeter, the model can be used with amplifiers rated up to 400 watts continuous power per channel. It has an imped- ance rating of 4ohms. The speaker, which comes in an oiled walnut ve- neer cabinet, carries a per- unit price of $ 295. CIRCLE 155 ON READER- SERVICE CARD

Audio- processing components from Robins

The Integra 3 system from Robins- Fairchild consists of audio- process- ing components constructed on printed- circuit modules that can be in- terconnected so as to serve awide variety of uses. The line includes fil- ters, mixers, preamps with compressors or limiters, oscilloscopes, and remote gain controls. The Integra 3 modules can be purchased sepa- rately or as part of afactory- engineered console. Price differs according to the type of console, which may also be custom- designed. Separate modules can be used with standard mounting hardware. CIRCLE 158 ON READER-SERVICE CARD

3M markets cassette storage system

The C- Box cassette storage system featuring stackable and interlocking boxes and pushbutton drawers for quick cassette access is available from the 3M Company. An index label is provided on the front of each box, and there is a drawer insert card for detailed recording identi- fication. Also available are awall bracket for permanent mounting and a handle for easy toting. Scotch Classic C-60 and C-90 cassettes can be bought prepackaged in the C- Box components ( or, for 30 cents less apiece, in the traditional Philips box). Bought as accessories, the C• Boxes cost $ 1.99 for a sleeve- pack of three empty units, and the wall bracket and carrying handle are 99 cents each.

CIRCLE 157 ON READER- SERVICE CARD

CIRCLE 40 ON READER- SERVICE CARD BSR Silent Performers

State-of-the-art belt-drive turntables at today's state-of-the-wallet prices.

For years most expensive manual record- arm in gimbal mount, viscous cueing, quiet playing devices have used belt- drive as a Delrin cam gear, automatic arm lock, dual- smooth, trouble- free—and most important— range anti- skate, stylus wear indicator and silent method for transmission of power. much more. Included are base, hinged tint- Now, our engineers have succeeded in inte- ed dustcover, and ADC VLM MKII cartridge. grating a highly- refined belt- drive system The 20 BPX is an automated single- play belt- into more affordably- priced turntables. drive turntable. It has the " S" shaped tone They offer a combination of features and arm and features of the deluxe automatic performance not yet available in even more model with a precision machined platter expensive competitive models. We call and ADC K6E cartridge. It comes complete them the Silent Performers. with base and dustcover. Model 20 BP is Four models are available. The 200 BAX is identical but without cartridge. the deluxe automatic belt- drive turntable. Model 100 BAX ( not shown) automatic belt- Full automatic capability is achieved with drive turntable has a low mass aluminum a gentle yet sophisticated 3- point um- tone arm with square cross section brella spindle. It has aheavy die cast and a precision machined platter. platter, high- torque multi- pole syn- It is packaged with base, hinged chronous motor, tubular " S" shaped tinted dustcover, and ADC K6E adjustable counterweighted tone cartridge. Consumer Products Group BSR ( USA) Ltd.• Blauvelt, N.Y. 10913

BSR 200 BAX—Deluxe automatic belt- drive turntable BSR 20 BPX—Automated single- play belt- drive turntable HiFi-Crostic No. 8 by William Petersen

1 F 2 L 3 D 4 Z 5 B 6 H 7 A 8 ei 9 0 10 X 11 N 12 I 13 DIRECTIONS To solve these puzzles- and they Y 14 U 15 S 16 F 17 E 18 ZZ 19 C 20 N 21 XX 22 K 23 R 24 A 25 H 26 aren't as tough as they first seem - supply as many of the Output words V 27 0 28 G 29 U 30 ZZ 31 A 32 K 33 as you can in the nuntered dashes P 34 V 35 S 36 X 37 N 38 I 39 following the Input. Unless otherwse B 00 F 41 V 42 a 43 0 specified in the Input. the Output con- 44 E 45 I 48 Z 47 XX 48 T 49 V 50 B 51 XX 52 sists of one English word " Comp." means compound, or hyphenated. X 53 S 54 M 55 Y 56 A 57 D 58 C 59 N 60 F 61 X 62 G 63 S 64 R 65 word. Transfer each letter to the square E 66 K 67 V 68 L 69 P 70 J 71 0 72 U 73 R 74 XX 75 T 78 A 77 in the diagram that tears the corre- sponding number. After only a few M 78 C 79 I 80 S 81 L 82 H 83 ZZ 84 correct guesses you should begin to R 85 G 86 T 87 0 88 A 89 F 90 see words and phrases emerging in the diagram, which when filled in will Y 91 ZZ 92 T 93 D 94 Z 95 B 96 H 97 N 98 A 99 V 100 J 101 D 102 R 103 contain a quotation related to music, recordings, or audio P 104 W 105 XX 106 X 107 L 108 G 109 F 110 I 111 B 112 XX 113 G 114 A 115 H 116 X 117 The words in the qUotation are separated by darkened squares and IV 118 V 119 U 120 A 121 I 122 J 123 0 do not necessarily end at the end of 124 A 125 V 126 N 127 S 128 F 129 V 130 E 131 a row.

H 132 W 133 D 134 Y Try to guess at these words and 135 C 136 G 137 0 138 V 139 A 140 R 141 X 142 L 143 transfer each newly decoded letter back to its appropriate dash in the Z 144 M 145 B 146 A 147 R 148 Z 149 V 150 E 151 B 152 Output. This will supply you with K 153 0 154 N 155 YY 156 further clues 0 157 X 158 S 159 M 160 D 161 C 162 ZZ 163 A final clue: The source of the B 164 V 165 XX 166 A 167 X 168 E 169 quotation - the author and his work -will be spelled out by the first letters 0 170 I 171 U 172 G 173 T 174 X 175 XX 176 R 177 N 178 YY ini E 180 F 181 V 182 U 183 in the Output, reading down The answer to Hin-Crostic Nb 8 G 184 K 185 0 186 R 187 J 188 P 189 M 190 YY 191 W 192 A 193 H 194 C 195 B 196 will appear in next month's issue of high Fidelity.

INPUT OUTPUT INPUT OUTPUT A Fantastic opera by Rmsky- Korsakov (3 wds ) I-67- 125 147 8 57 140 193 N. Percussion instrument used for stoeaal effects in 38 ir 178 12 Tà-7 T55 fl Falla's The Three- Cornered 77 32 89 25 115 B. American songwriter Hat and Stravinsky's 98 (1879-1951) whose " Sweet Fetrushka Adeline" was suggested by 51 164 146 40 196 6 112 96 0 Sae Word YY. an advertisement for so- i75 157 4 28 72 prano Adeline Patti 152 P Irish music critic and dra- matist ( 1856-1950) 189 70 34 104 C A Beetle 79 59 T6-- 20 136 195

D. Fbdgers and Hart wrote O Made to conform. as MuSIC to a text 44 88 124 Te 138 10 this song for the movie 94 134 58 161 102 Love IVe Tonight ( 1932) R Largest member of the key- bugle family 103 74 24 148 121 177 187 E Vanety of speaker baffle 131 18 180 45 T6F- 151 1 -eiF 65 141 E Popular muscat of the S Noisy fight, as on a 1920s, with music by Jer- base- 16 128 36 54 81 159 110 2 181 41 129 90 Tr 61 bail field ( slang) ome Kern ( 2wds.) T Of an organ. a small sup- G Early blues singer. when elementary one with a she reconded " Crazy Bues" 137 63 29 109 173 43 86 114 spnghtly tone 174 49 87 93 76 in the 1920s. bootleg copes sold for three times the U Signal that emerges from an amp, preamp. etc 73 30 -75-- 172 120 183 list price ( full narre) 154 184 ✓ Donizetti opera ( 4 ft. wds ) Dutch province and city 35 50 130 68 139 T65- - 100 119 ate of famous unversty 7 83 26 TP- 132 -97- TTg

42 150 27 182 126 I. Scottish dancer, starred in W Stringed Instrument of the movie The Red Shoes Criental origin, popular 171 Ill 39 80 f3 122 46 dunng the Renassance 105 192 133 9

French composer ( 1851 X. Popular vocal' st. sang regu- 1931) . The Enchante, larly on Steve Alen's To- 71 188 123 101 158- 107 53 T7F 142 62 37 T17 Forest rugh/ show in the 1950s (full name) 11 Te K To sing in accordance wth Y Followed by d'attaque. both musical and axles 33 153 185 67 23 French for concertmaster 56 135 -r4- 91 astical rules fvbssenet opera 149 'T4- - 95 5 747- L Stoss composer (b 1893 XX Light, often farcical, musi- radio and film music, the cal drama 22 113 75 52 106 48 166 176 108 1-32-- 69 3 143 ballet Lile enchantée YY %Nth Word O. a popular lynast, wrote songs for M. Milhaud's 14th and 1511 Bob 1-bpe, Bng Crosby, 191 156 179 stnng quartets played to 145 78 55 160 190 Nat King - Cob gether Solution to last month's Hi F An obsolete woodwind 31 84 19 163 92 Crostic appears on page 4.

38 CIRCLE 11 ON READER- SERVICE CARD —* In the development of our $4000 very expensive ones. In any one Each of the six drivers of the state-of-the-art Servo Statik lA we microsonic moment, generally the Monitor Jr. system— our two sets of came across new principles which we tweeter will speak first; then the 12" transmission line woofers, our determined to incorporate into less midrange; then the woofer. 1/12 "dome midranges and 1" dome expensive speakers— principles Listen to the Monitor Jr. It delivers tweeters — speaks with atemporal concerning crossovers, and particularly the temporal information precisely in integrity and an individual accuracy of the phase relationships of component phase: first the transient attack, then depth- information in away that can drivers in asystem. By properly the first echo, the second echo and the only be called startling. balancing the phase leads and lags of subsequent reverberation. You hear And note the optional $25 set each driver, and by scrupulous design the natural, undistorted depth and of pedestals. They position the of the drivers themselves, we are able ambience of the concert hall! Monitor Jr. off of the floor for optimum to reproduce recorded temporal And note the spatial relationships reproduction; yet it functions beauti- information absolutely accurately in a of the instruments. If the tymps were fully on the bookshelf. speaker of modest size and price. on ariser to the left rear, they sound Our Monitor Jr. brings you the Stated simply— there's adepth that way. If the clarinet soloist was in life- like warmth and accuracy of our perception about the Monitor Jr. that the second row just to the right of the Monitor H. And its price is roughly is much like being in an acoustically podium, she sounds that way. half— about $225. perfect concert hall. Our crossovers are greatly Not abad investment— to own Listen to other speakers— even responsible for this dimensionality. your own concert hall.

Step into Infinity's little concert hall: The Monitor Jr.

/7

We get you back to what it's all about. Music.

01975 by Infinity Systems. Inc.. 7930 Deering, Canoga Park, Ca. 91304 • TWX 910-9494919 Every Dual, from the 1225 to the CS701, is designed to fulfill one basic concept: to provide more precision than you are ever likely to need. Perhaps this is why more component owners — audio experts, hifi editors, record reviewers and readers of the music/equipment magazines— own Duals than any other turntable. These serious music lovers, whose investment in records typically exceeds their investment in equipment, prefer Dual for only one reason. Quality. Until recently, Dual quality has been available Dnly with fully automatic turntables with both single- play and multi- play facility. Now the choice is much broader. Of the seven Dual models, three are single- play only. Two of these are fully automatic: one is semi- automatic. Dual turntables also use all three types of drive systems: belt, rim and direct. The way atonearm is moved to and from the record is not critical. Nor is the type of drive system. What is crit•cal is how faithfully the tonearm permits the stylus to follow the contours of the groove and how accuraely and quietly the platter rotates. If precision performance and reliability are of primary importance to you— as they should be— you'll find them in every Dual.

Dual 1225. Fully automatic, single-play/multi-play. Viscous damped cue- control, pi+ch-control. 10%' platter. Less than $ 140, less base. Cual 1226, wit-)cast platter, rotating single- play spindle, less than $170. Dual 1228, with gimballed tonearm, synchronous motor, illuminated strobe, variable tracking angle. Less than $ 200. Dual 1249. Fully automatic, single-play/multi-play. Belt drive. 12" dynamically- balanced platter. Less than $ 280, less base. Full size belt- drive models include: Dual 510, semi-automatic, less than $ 200 Dual 601, fully automatic, less than $ 250. (Dual CS601, with base and cover, less than $ 270.) Dual CS701. Fully automatic, single- play. D.C. brushless, electronic direct drive motor; tuned anti- resonance filters. Less than $ 400, including base and cover.

United Audio Products, 120 So. Columbus Ave., Mt. Vernon, N.Y. 10553 Dual Excluswe U.S. DIstobutIon Agency for Dual A CONSUMER'S GUIDE

Ampzilla as we built and tested it. As currently supplied it has apushbutton on/off switch and a more restrained logo.

Ampzilla A Monster with a Silken Touch

The Equipment: Ampzilla stereo power amplifier with out- retiring stereo component, ready to fit smoothly into every put- level meters for both channels, in metal case. Dimen- decor. Frankly, it is not even discreet. The front panel vir- sions: 17 1/2 by 7 by 9 inches, plus clearance for connec- tually leaps forward, dominated by a pair of meters ( cali- tions. Price: $ 799. Warranty: five years parts and labor. brated for 0 dB at 200 watts and including both scales) Manufacturer: The Great American Sound Co., Inc., 8780 with the aggressively stylized name inscription between Shoreham Dr., West Hollywood, Calif. 90069. them. Below these and at the left is a pushbutton ( push on, push off) that controls the AC power to the amplifier Comment: Some of us may have become just abit jaded in and switches the cooling fan. Toward the center of the dealing with the subject of superamps and their capabili- panel is aswitch that increases the sensitivity of the me- ties, so we will begin this report, perhaps naively, by noting ters for full-scale deflection at 0, - 10, - 20, or - 30 dB ( 200, that the rated power output of Ampzilla (400 watts total 20, 2, or 0.2 watts). The holders for the loudspeaker fuses with both channels operating) is in excess of one-half (a necessity with an amplifier such as this) are stacked ver- horsepower, enough to run most washing machines. Of tically just below the aforementioned switch and are course, this is not an unusual power capability for asuper- flanked on the right by the manufacturer's logo. amp, but it is an awful lot of power, just the same. The allusion to driving an electric motor with an ampli- fier is not really facetious, for loudspeakers are just that— REPORT POLICY Equipment reports are based on laboratory measurements and controlled listening tests Unless otherwise noted, test data and measurements are motors. And they are not particularly efficient either. Add obtained by CBS Technology Center. Stamlord. Connecticut. adivision or Columbia Broad- to this the fact that each doubling of the subjective level of casting System, Inc . one of the nation's leading research organizations The choice or equipment to be tested rests veal the editors of HiGH Fiona., Manufacturers are not areproduced sound requires atenfold ( 10- dB) increase in permitted to read reports in advance of publication. and no report, or portion thereot. may be reproduced for any purpose or in any form wahout written permissen of the power, and it becomes clear that 200 watts per channel— Publisher All reports should be construed as applying to the specific samples tested, far from being wasteful and ridiculous excess— at times nether He. FIDELITY nor CBS Technology Center assumes responsibility for product performance or Ovally may be indispensable. Ampzilla surely cannot be described as your basic shy,

41— CIRCLE 17 ON READER- SERVICE CARD 41 The back panel, by contrast, is simplicity itself, bearing only pin- jack input connections, binding posts ( accepting bare wires or spade lugs) for loudspeaker connections, a power- line fuse, and a hefty AC- power cord of the three- prong grounding variety. This is a massive unit ( it weighs about 45 pounds), and it gives an impression of great rug- 50 HZ gedness. The ventilation chimney for the output- stage heat sinks is large and provided with a cooling fan de- Square- wave response signed to protect the unit when subject to severe use or high ambient temperatures. Ampzilla Additional Data The sample of Ampzilla that we had tested by the CBS Technology Center was built from a kit, aform in which- unfortunately for do-it-yourself enthusiasts- it is no longer Damping factor 100 made. ( You may still find kits at some dealers if you hurry.) Input characteristics ( for 200 watts output) Though the kit was somewhat difficult to assemble, its per- Sensitivity S. N ratio formance sets a high standard for factory- assembled 1.65 mV 110 dB units. Trying to drive this amplifier into audible distortion is simply a waste of time. Something always intervenes 0.2 first- the protection circuitry, if the amp is driven grossly INTERMODULATION CURVES beyond its ratings or, more likely, distress signals from 0.1 -4' one's ears or the loudspeakers. Distortion specifications 0.07 (which are unusually rigorous at 0.05% THD or IM for full e, 0.05 power or below into 8 ohms, 20 Hz to 20 kHz) were met handily with two almost insignificant exceptions: THD for 2 ó 0.03 watts ( 1°/0 of full power) at 10 kHz and above ( where 0.1% gc 0.02 was the highest distortion recorded) and full- power IM at 8

ohms ( where the excess is a minuscule 0.013%). Power ZI 0.01 "" bandwidth for 0.5% THD was checked only at 1kHz as this E0.007 is strictly an " abuse" condition that drives Ampzilla con- 8-ohm load: < 0.072% to 227 watts c' 0.005 ' 4-ohm load: < 0.18% to 226 watts siderably beyond its clipping point. (overload protection trips before 246 watts) As far as our own listening tests are concerned. Ampzilla 0.003 16-ohm load: < 0.047% to 127 watts just isn't there- it seems to have no effect whatever on 0.002 program material passing through it. While this cannot be Ampzilla ( 3) literally true, the lab data insists that it very nearly is. Rather than waste time in trying to describe the indescrib- 1 2 5 10 20 50 100 200 500 1K able, in trying to delineate near absence of coloration, we OUTPUT IN WATTS will let the lab data speak for itself. The unit is, of course, not cheap. But, considering its outstanding performance, 1.0 its price seems very reasonable. If you are in the market for HARMONIC DISTORTION CURVES 0.7 amonster power amplifier, you would do well to consider 0.5 Ampzilla. It is, in aword, superb. 200 WATTS OUTPUT CIRCLE 149 ON READER- SERVICE CARD 0.3 Left channel: < 0.043%, 20 Hz to 20 kHz 0.2 Right channel: < 0.043%, 20 Hz to 20 kHz POWER OUTPUT DATA 0.1 100 WATTS OUTPUT CHANNELS INDIVIDUALLY Left channel: < 0.028%, 20 Hz to 20 kHz left at clipping: 250 watts for 0.22% THO 0.07 Right channel: < 0.032%, 20 Hz to 20 kHz Left at 0.05% THD: 240 watts 0.05 Right at clipping: 250 watts for 0.29% THO Right at 0.05% THD: 240 watts 0.03

CHANNELS SIMULTANEOUSLY 0.02 - Left at clipping: 220 watts for 0.29% THD Right at clipping: 220 watts for 0.26% THD

POWER BANDWIDTH 320 250 0.2 200 160 2WATTS OUTPUT For 0.05% THD: below 10 Hz to 43 kHz 0.1 Left channel: < 0.092%, 20 Hz to 20 kHz For 0.5% THD: (measured at 1kHz, see text) 126 0.07 Right channel: < 0.10%, 20 Hz to 20 kHz 1100 0.05 FREQUENCY RESPONSE (1 wen output) +5 0.03 o 0.02 -5 +0, -/14 da below 10 Hz to 100 kHz Ampzilla (1)

10 20 100 1K 10K 20K WOK 0.0120 50 100 203 500 1K 2K 5K 10K 20K FREQUENCY IN HZ FREQUENCY IN HZ

42 HIGII FIDELITY M AGAZINE Uher's Most Luxurious Cassette Deck

The Equipment: Uher Model CG- 360, a front- loading phones, one aRE-RECORDING jack for dubbing between the stereo cassette deck with Dolby B noise reduction and bidi- Uher and another deck, one the stereo microphone input. rectional playback, in molded high- impact plastic case. Di- The microphone and RE-RECORDING inputs both override mensions: 15 /34 by 4 inches ( front); 11 /12 inches deep plus the RADIO input; either can be mixed with the PHONO input. clearance for controls and connections. Price: $ 1,066.95; The first two sliders beyond the tandem peak- reading me- optional W-319 amplifier module, $ 75.50; optional F-113 ters are accordingly marked RADIO/MICRO and LINE (which remote control, $ 110. Warranty: 90 days parts and labor. corresponds to the PHONO input). Each of these sliders Manufacturer: Uher Werke München, W. Germany; U.S. controls both channels of the stereo signal; a RECORDING distributor: Uher of America, Inc., 621 S. Hindry Ave., In- BALANCE slider below the meters adjusts the channels with glewood, Calif. 90301. respect to each other. Another group of sliders toward the middle control BASS, Comment: Uher has done it again— come up with amodel TREBLE, VOLUME, and BALANCE in the headphone and acces- that is signally unlike any other on the market. The CG- sory amp circuits only— that is, they do not affect line 360's personality is luxurious, convenience- conscious, and feeds. Near these sliders is athree- position switch control- extremely Continental. Hence it is not apersonality that all ling the playback/auto-reversing feature. One position American recordists will take to immediately, but any cas- stops play at the end of the cassette side, one stops it only sette- lover owes it to himself to explore it. after thé second side, one offers continuous repeat play- The Continental element makes itself known immedi- back. At the right is the cassette slot. The cassette is fed in ately, in the trilingual owner's manual and in the DIN- only end- first with Side Aup and the head opening facing to the connection jacks. The manual makes it quite clear that left. A lever just below the slot lowers the cassette to play- Uher has little patience with the pin jacks that U.S. audio- ing position and releases it when you're finished. The me- philes consider standard. ( The unidiomatic English. unfor- chanical design is quite complex and proved balky in one tunately, doesn't make everything else equally clear.) But sample we tried, though in working with two samples of Uher supplies two DIN- to- pin stereo interconnect cables. the CR -134 ( HF test reports, January 1975), which has a One is used ( for recording) from the output pin jacks on similar design, we had no such problem. your receiver or preamp to the so-called PHONO input at the The counter is next to the cassette LOWER/EJECT lever. back of the deck. ( This is a 5- pin jack that bears no rela- When acassette is inside, alight shines up through its win- tionship whatever to the low-level RIAA phono inputs on re- dow, which can be seen through asmall window in the top ceivers and preamps.) The other is used ( for playback) be- of the deck above the tape slot. This allows you to check tween the RADIO output ( another 5- pin DIN jack, next to the remaining tape, which some slot- load designs don't. It the PHONO jack) and the tape- monitor connections of your is the only operating feature on the top panel. receiver or whatever. The RADIO connection actually is an Recessed along the bottom edge of the front panel are input/output jack; the input section goes unused with the transport controls: a series of concave square push- American systems, because it is too sensitive for the volt- buttons, each with a small pilot lamp— red for recording ages to be expected from them. and green for the remainder. Since this is a bidirectional In addition, the back panel has a6- pin DIN jack marked unit, there are two PLAY buttons, only one of which can be ACCESS that is intended for sync- pulse use with accessory used in recording, of course. The main ON/OFF button is to equipment for slide- film work. ( It puts the sync track on the right of these controls. Farther to the left, between the what otherwise would be Side B of the tape, leaving both two balance sliders, are similar buttons for DOLBY and SEN- stereo tracks of Side Afree for audio.) And there is amulti- SITIVITY, the latter adding gain in the RADIO input circuit conductor contact strip for use with the optional F-113 re- when it is engaged. These switches, too, have pilot lamps. mote control. Next to this strip is a removable panel cov- That for the Dolby circuit is above the DOLBY button; that ering the opening into which the owner can mount . the for the SENSITIVITY option is near the bottom of the meter optional W-319 power amp module, rated at 10 watts per window. Above it, along the right side of the meters, are channel into 4 ohms. We did not test either of these op- similar pilots for FEO, ( ferric oxide) and CRO, ( chromium tions. The power- line socket, fuse, and line- voltage switch dioxide)— referring to the bias and equalization needed for complete the back- panel features. these tape types. The setting is made automatically by a There are three more DIN sockets, with varying pin con- sensor in the cassette slot ( encountering, or not encoun- figurations, at the left end of the front panel. One is for ear- tering, the extra " well" at the back of recent chrome cas -

JANUARY 1976 43 settes); there is no manual override, so older chrome cas- Uher CG- 360 Additional Data settes ( without the well) can't be used successfully on the CG- 360. The unit was tested with MazeII UD as the ferric tape (Uher supplied some with the test sample, though the Speed accuracy 0 13% slow at manual remains mum on the question of recommended 105, 120, & 127 VAC tapes) and BASF Chromdioxid as the chrome. Response is quite flat with these tapes ( as is the DIN playback re- Wow and flutter playback: 0.06% sponse) and is notably free of " fringing" effects in the record/play: 0.08% bass, but the range is not particularly extended at the top Rewind time ( C-60 cassette) 38 sec. end. While some cassette decks we have tested will cap- ture as much as an extra half- octave in the overtone range Fast-forward time ( same cassette) 38 sec. at the top of the spectrum, few are as smooth and linear between the frequency extremes— where, of course, most S/N ratio ( re 0VU, Dolby off) of the musical information lies. playback L ch: 53 dB R ch 53 /12 dB record/play L ch: 49 /12 dB R ch: 49 /12 dB Note that the Uher stays very close to the DIN O- VU standard in its metering, but since it uses peak- reading Erasure ( 333 Hz at normal level) 71 dB meters this does not presuppose the severely overloaded peaks that normally would result from a combination of Crosstalk ( at 333 Hz) averaging (" true VU") meters and so high a 0- dB point. record left, play right 20 dB record right, play left 19 dB Noise and distortion figures are within the ranges repre-

sented by today's better cassette decks, with the harmonic Sensitivity ( re DIN 0 VU) distortion curves approaching the measurement limits im- PHONO input L ch: 350 mV R ch: 350 mV posed by noise. Channel separation figures ( at about 20 mike input L ch: 0.28 HIV R ch: 0.28 mV dB) are much lower than those we've measured on any RADIO input L ch: 1.8 ITN R ch: 1.9 mV R ch: 110 mV cassette unit in recent months except Uher's own CR -134; RE -RECORD L ch: 90 mV

they are not poor enough, however, to threaten audible Meter action ( re DIN 0 VU) degradation of the stereo image. This is to say that most L ch: 0 dB R ch: /14 dB low cassette decks these days have far more separation than they really need. Speed stability measurements all are very IM distortion ( record/play, - 10 VU) good; wow and flutter are only ahair short of the very best. L ch: 6.0% R ch: 7.5% All the printed specs, where they allow for direct compari- Maximum output ( re DIN 0 VU) son with the lab data, are met by the unit. L ch: 0.85 V R ch: 0.80 V And the deck sounds very good. But in view of several of the CBS measurements on our sample of the CG- 360 we wonder about Uher's claim that this is a " cassette tape recorder with the performance characteristics of high qual- ity open- reel tape equipment." In our view it is, rather, a convenience- oriented deck that will ease the path to good- sounding recordings and automatic continuous playback CIC for the user who doesn't want to fuss with equalization DIN PLAYBACK RESPONSE switches or cassette flippings. It is easiest to integrate into (0 dB = — 20 VU) DIN- oriented systems, and American recordists may find +5 themselves fussing with cable adapters— for the micro- O phone and headphone circuits particularly— unless they —5 spring for Uher accessories as well. But, within its unique Left channel: + 1/34 . — 1/14 dB, 31.5 Hz to 10 kHz Right channel: +1/4. —1/12 dB. 31.5 Hz to 10 kHz concept of what a cassette deck should be, Uher has shown itself truly inventive. This model fairly bristles with RECORD/PLAYBACK RESPONSE distinctive touches, from the many interlock micro- (0 dB = — 20 VU) switches of its ingenious transport to well- engineered feel --- and utility of its solenoid controls. CHROME TAPE CIRCLE 144 ON READER- SERVICE CARD Left channel: + /12 , — 3dB. 25 Hz to 10.5 kHz Right channel: + /12 , — 3dB, 30 I-1z to 10.5 kHz

HARMONIC DISTORTION CURVES 5.0 at —10 VU) FERRIC TAPE, DOLBY OFF Left channel: + 1/14 . — 3dB. 25 Hz to 10.5 kHz c,3.0 Right channel: + 1/14 , — 3dB, 28 Hz to 11.3 kHz 2.0 +5 C-,LU O ------

1.0 ------—5 FERRIC TAPE. DOLBY ON 0.7 Left channel: - 2.2%. 50 Hz to 5kHz Left channel: + /12 , — 3dB. 24.5 Hz to 9.5 kHz Right channel: -. 3.2%. 50 Hz to 5kHz Right channel: + 2, — 3dB. 28 Hz to 10.5 kHz CG 360 (2) CG 360 ( I) 20 50 100 200 509 1K 2K 5K 10K 20K 20 50 100 200 500 IK 2K 5K 10K 20K FREQUENCY IN HZ FREQUENCY IN HZ

44 HIGH FIDELITY M AG AZIN L Yamaha CR-400: A Spartan Receiver with Class

The Equipment: Yamaha CR -400, astereo FM/AM receiver fuse at the far right and acentrally mounted rod antenna in wood case. Dimensions: 17 /12 by 6 5/16 inches ( front for AM. panel); 11 /34 inches deep plus allowance for controls and In our listening tests we tried everything short of down- connections. Price: $ 330. Warranty: five years parts, three right abuse to embarrass the rather modestly rated ( 16 years labor; shipping paid one way. Manufacturer: Nippon watts per channel at 8 ohms) amplifier section— to no Gakki Co., Ltd., Japan; U.S. distributor: Yamaha Audio Di- avail. The power bandwidth curve suggests that, had Yam- vision, P.O. Box 6600, Buena Park, Calif. 90620. aha gone the route of many manufacturers, it might have claimed 20 watts per channel at 0.5% harmonic distortion Comment: At first glance the front panel of this receiver (some of its ratings are for only 0.1%), from 40 Hz up, if seems almost bare, partly because of the very clean styling not from 20 Hz. As it is, the amp section in our sample falls and partly because of the contrast between its highly re- slightly short of Yamaha's more- rigorous 0.1% rating point flective brushed aluminum surface and the warm finish of at 20 Hz. This can hardly be accounted afailing since the the attractive wood case that houses the unit. But this ap- rating point is so low, since the unit meets the 0.5% rating pearance is deceptive, for acloser look shows that the CR. with room to spare, and since even at 40 Hz— at or below 400 has awell-chosen ( though not luxurious) array of con- the approximate limit of response for many speakers ap- trols and indicators, all of which do their jobs quite well. propriate for use with the CR -400— the unit is well within Extending across the top half of the panel is aslide- rule the spec. Intermodulation also narrowly fails to meet Yam- tuning dial, flanked at the left by signal- strength and tun- aha's rigorous 0.1% spec ( at 8 ohms), though it ( like the ing meters and at the right by ahefty tuning knob. Slightly THD figures) is well below the 0.5% or so more commonly to the left of the knob are indicator lights for FM STEREO specified for receivers in this price class. The upper end of and POWER. The lower part of the panel holds ( from left to the power bandwidth is adifferent story: The - 3dB point right) a POWER on/off switch, a stereo headphone output is simply beyond our test range; 0 dB is at 100 kHz! jack, a SPEAKER selector switch ( for either or both of two The preamp section shows itself aworthy partner, with sets of 8- ohm speakers, or off), aphone- type microphone good sensitivity and excellent signal-to-noise ratios at all input jack ( mono— feeding both channels), BASS and inputs. There is some droop in the RIAA equalization for TREBLE controls, and aVOLUME control with separate, con- the extreme bass (- 4 dB at 20 Hz), but few records have centric friction- clutched elements for the two channels. program material at this frequency, and the error helps to Continuing to the right, one finds switches for LOUDNESS counteract turntable rumble. compensation, MODE (stereo/mono), and TAPE MONITOR, The FM section is, of course, no match for supertuners followed by aFUNCTION selector ( for AUX, PHONO, FM [ with] (like Yamaha's own CT- 7000), but it is a creditable per- MUTING, FM, or AM. A HI filter might be awelcome addition; former and an apt counterpart to the amplifier section. the TREBLE control can do stand-in duty here, of course, Mono quieting exceeds 50 dB for all signal levels above 10 but its action is broader than one might like. microvolts; stereo quieting reaches 47 dB by 25 microvolts At the left side of the back panel are the antenna inputs and falls off somewhat after that, reaching 53 dB only at for FM ( both 300- and 75- ohm impedances are provided very high levels. Capture ratio is respectable at 2dB, while for) and AM. These connections are made via knurled plas- alternate- channel selectivity is an astonishing 82 dB. tic- capped screws that are easy to turn with the fingers. There is no stereo filter or blend control— which might have The eight loudspeaker outputs ( for two 8- ohm stereo been nice, though weak stereo stations can be partially de- pairs) are spring- loaded and accept bared- wire leads. Be- noised by flipping the MODE switch to MONO of course. The low the antenna connectors are two neat rows of pin jacks 19- kHz pilot tone is not quite as well suppressed here as it for PHONO, AUX, and TAPE inputs and REC and PREAMP Out- is in some tuners and presumably contributes to the puts. Two AC convenience outlets are provided ( one of slightly high distortion readings at 10 kHz. This is atrouble which is controlled by the front- panel POWER switch), each spot for many tuners, and the CR -400 actually beats many rated to handle 200 watts. In addition, there is aprotective costlier units in this respect. Frequency response is good in

JANUARY 1976 45 Yamaha CR -400 Additional Data

Tuner Section

Capture ratio 2 dB 50 HZ Alternate- channel selectivity 82 dB Square- wave response

S/N ratio 67 /12 dB

THD Mono L ch R ch 80 Hz 0.32% 0.88% 0.87% 1 kHz 0.19% 0.44% 0.48% 10 kHz 0.40% 2.2% 2.1%

IM distortion 0.14% 10KHZ

19- kHz pilot -46 dB 0 38- kHz subcarner -55 dB ,x, c, FM SENSITIVITY & QUIETING CHARACTERISTCS Frequency response e - 10 , = , MONO SENSITIVITY STEREO SENSITIVITY mono + -3dB, 21 Hz to 15 kHz o % i= t (for 30 dB quieting) (for 30 dB quieting) L ch + %. -2 dB, 20 Hz to 15 kHz cc - 20 `, 1.9 pv at 90 MHz 6.0 ilv at 90 MHz Q , 1.9Of ( mono) R ch + 'A, - 2/12 dB, 20Hz to 15 kHz 1- 1.9 pv at 98 MHz 6.5 12 ,1at 98 MHz cn 6.5 no (stereo) 2.2 pv at 106 MHz 8.0 pv at 106 MHz Channel separation >40 dB. 300 Hz to 3.4 kHz --30 dB. 35 Hz to 7.7 kHz L...i , g-40 Amplifier Section

-50 , Damping factor 74 Q Input characteristics ( for 16 watts output) _60 Sensitivity S.'N ratio CR -400 ( I) phono 2 6 mV 72 dB mike 65 mV 65 dB 1 10 100 1K 10K 100K aux 125 mV 85 dB RF INPUT IN MICROVOLTS tape 125 mV 86 dB

RIAA equalization accuracy /12 dB, 40 Hz to 20 kHz

+ /12 , - 4dB. 20 Hz to 20 kHz 1.0 HARMONIC DISTORTION CURVES 0.7 0.5 16 WATTS OUTPUT Left channel: < 0.14%, 20 Hz to 20 kHz Right channel: < 0.15%, 20 Hz to 20 kHz 0.3 0.2 8WATTS OUTPUT ----- Left channel: < 0.087%, 20 Hz to 20 kHz \ ---- Right channel: < 0.90%, 20 Hz to 20 kHz 0.1 ‘• POWER OUTPUT DATA 0.07 \\ CHANNELS INDIVIDUALLY 0.05 Left at clipping: 23.5 watts for 0.29% THD Left at 0.5% THD: 24.0 watts 0.03 sN.,„ Right at clipping: 24.0 watts for 033% THD Right at 0.5% THD: 24.2 watts 0.02

CHANNELS SIMULTANEOUSLY Left at clipping: 21.0 watts for 0.33% THD eon Right at clipping: 21.0 watts for 0.40% Tie Odin° NI cc

0.5

POWER BANDWIDTH SIIVM 25.6 0.3

20 0.2 For 0.5% THD below 20 Hz to above 100 kHz 16

12.8 0.1 0.16 WATT OUTPUT 10.6 0.07 Left channel: < 0.05%, 20 Hz to 20 kHz 8 0.05 Right channel: < 0.044%. 20 Hz to 20 kHz FREQUENCY RESPONSE (1 watt output) +5 0.03 0 0.02 +0, - 3dB, 20 Hz to 80 kHz -5 CR 400 (3) CR 400 (4) 0.01 10 20 100 1K 10K 20K 100K 20 50 100 200 500 1K 2K 5K 10K 20K FREQUENCY IN HZ FREQUENCY IN HZ

46 Huai I'mul 11 Y M AG AZINE INTERMODULATION CURVES both stereo and mono, and stereo separation is extraor- 1.0 ; dinary for a relatively inexpensive receiver. 0.7 The CR -400 has tape outputs for disc dubbing and 0.5 f recording off the air, but, if you wish to add announce- ments via the microphone input, the audio must be taken 0.3 from the output of the preamp. This is at apoint after the 0.2 tone controls, so these can be used to improve poorly bal- anced program material. The AM section, an afterthought ae)01 in many receivers, is agood deal better than one might ex- g. 0.07 pect. It proves quite listenable—although it welcomes help e, 0.05 - from an outdoor antenna. 8ohm load,< 0.2% to 19 watts 4ohm load: ,.0.7% to 14 watts But areceiver, like any composite, is more than the sum e_c.) 0.03 ----- 16 ohm load, 0.9% to 14 watts of its parts, and the CR -400 is no exception. While it is bare 0.02 of frills ( except, perhaps, the mike input) and cosmetic features, the features that it does have complement each 0.01 other and work very well. An attractive and fine sounding unit such as this is a challenge— and a fairly formidable CR-400 (5) one— to receivers in its price class. I 2 5 10 20 50 100 200 500 IK CIRCLE 101 ON READER- SERVICE CARD OUTPUT IN WATTS

Shure's New Second- Place Contender, the M-95ED

The Equipment: Shure M-95ED, amagnetic stereo phono only 0.6 gram was needed to pass the " torture test." This cartridge with elliptical ( 0.5 by 0.7 mil) diamond stylus. compares with 0.8 gram for the M-91ED. With aVTF of 143 Price: $ 59.95. Warranty: one year parts and labor, stylus grams, which was used for the balance of the tests, the M- wear excluded. Manufacturer: Shure Brothers, Inc., 222 95ED exhibited no mistracking, even at the highest groove Hartrey Ave., Evanston, III. 60204. modulation levels used. Channel separation is very good, remaining in excess of Comment: Shure calls the M-95ED its new No. 2cartridge, 20 dB from 20 Hz to well past 10 kHz. Frequency response indicating thereby that it has been dropped into the line is without dips and contains just amodest peak in the re- between the V-15 Type Ill and the old No. 2 M-91ED ( HF gion of 16 to 17 kHz ( confirmed by aslight overshoot and test reports, July 1973 and October 1972, respectively), ringing seen atop the 1- kHz square wave), with the right both of which still are available. Central to the design of the channel alittle flatter than the left. The output level of 5.3 new cartridge is an improved pole piece that offers re- millivolts from the left channel and 4.8 from the right duced magnetic losses and improved frequency response should pose no problems for any phono preamp, and har- by comparison with the M-91ED. In addition, the stylus tip monic distortion is acceptably low. Lateral inter- is anude ( that is, mounted directly on the cantilever with- modulation distortion is somewhat lower than that of the out intervening " setting") diamond, which allows a sig- M-91ED at 0.6%. while vertical IM is the same at 3.3%. In- nificant reduction of effective tip mass and, consequently. spection of the stylus shows its tip to be well aligned, with better tracking. good polish and geometry, and reveals a vertical tracking The tracking improvement was readily in evidence dur- angle of 22 degrees— reasonably close to the nominal 15- ing tests at the CBS labs, for a vertical tracking force of degree standard.

JANUARY 1976 47 The M-95ED is simply a delight to hear: its sound is Shure M-95ED Additional Data smooth, clean, and natural and has a solidly anchored stereo image. At high modulation levels there is just atrace Maximum tracking levels ( 1/14 grams VTF; re RIAA 0VU) of veiled quality that begins to obscure details, but this is 300 Hz > + 12 dB noticed ( and just barely) in contrast to the extraordinary 1 kHz + 15 dB clarity at lower levels. The retractable stylus guard is awel- 10-20 kHz >-5 dB come feature, as is the new body shape, which allows warped records to be played without making contact with the cartridge. Audiophiles, especially those who don't want to spend the extra $ 15 for numero uno, will find Shure's new No. 2, a happy addition to the line. CIRCLE 143 ON READER- SERVICE CARD +5 FREQUENCY RESPONSE 0 - —5 Left channel. + 4. — 11/2 dB. 20 Hz to 19 kHz Right channel- + 1, — 2dB, 20 Hz to 20 kHz cm — 10 —15 cn CHANNEL SEPARATION —20 2. — 25 Square- wave response —30 Left channel: > 20 dB, 20 Hz to 13 kHz Right channel: > 20 dB, 20 112 to 15 kHz M 95ED (1) 20 50 100 200 500 1K 2K 5K 10K 20K FREQUENCY IN HZ

Audio-Technica's Excellent Electret Headset

The Equipment: Audio-Technica AT- 706, an electret con- or from AC- line voltage ( less frequently). Since the electret denser stereo headset with impedance-matching/switch- elements in the Audio-Technicas are permanently self- po- ing adapter unit in metal case. Dimensions: ( adapter unit) larizing, the adapter box is required only for impedance- 31/8 by 31/8 inches ( front). 7114inches deep plus clearance matching and switching. The leads connected to the for controls and connections. with 5- foot amplifier cable; adapter are attached to astereo set of speaker terminals headphones have 6- foot cable that plugs into adapter. on your amplifier or receiver. We used the REMOTE termi- Price: $ 129.95. Warranty: one year parts and labor, ship- nals on most equipment, saving the MAIN terminals for our ping paid one way. Manufacturer: Audio-Technica, Japan: speakers; if you must pre-empt normally used speaker ter- U.S. distributor: Audio-Technica U.S., Inc., 33 Shiawassee minals. you can reconnect the speakers to spring- clip con- Ave., Fairlawn, Ohio 44313. nections ( appropriate for bared leads) at the back of the adapter. Comment: This design obviously is intended to rival elec- The front of the adapter has two European- style sock- trostatic headsets, and as such it is asuccess. Its adapter ets, so it will accommodate one or two AT- 706 headsets, box resembles those of typical electrostatics, as does its whose cords are terminated with the mating plug. Next to price; its performance in at least one respect outshines the sockets is athree- position lever: LOUDSPEAKERS, STER- that of typical electrostatics. EOPHONES LOW, and STEREOPHONES HIGH. The first position The adapter box doesn't have quite the function of obviously is used for the speakers connected to the back of those used for electrostatics, which derive the necessary polarizing voltage from the audio signal itself ( frequently) Continued on page 67

dR H16 II FIDELITY M AGAZINE New Times. The mouse that roars.

be torn down for lack of city plumbing. Our bright, brash, talented writers and columnists— like Robert Sam Anson, Jesse Kornbluth, Marcia Seligson, Larry King, Amanda Spake, Jim Kunen, Mark Good- man, Frank Rich, Janet Maslin and Nina Totenberg—have one thing in common. They're unafraid. They'll plunge into any- to look inside other people's bodies? In thing, take chances and stands, crawl way "The Divine Recline of Miss M" we sought out on limbs. Sure, NEW TIMES may fall on an answer to that heavy question—Has its face sometimes. But never on its knees! shot her bolt? In " The Prisons of Our Freedom," we visited a nightmare We're plugged into now. called Camp Pendleton where a lot of Whether you like it or not, you're living in South Vietnamese were starting to ask, a time of shattering transitions. Nobody "When can we go home?" knows where the world is heading and if Superman we are not. "Women Who Murder" showed how male they claim to, they lie! But that doesn't mean NEW TIMES isn't sexist attitudes can work to the benefit of NEW TIMES— more than any other maga- busting evil in the chops, fighting for the women— especially if they shoot or stab zine on the American scene, we think— is little guy, stripping the pants off phonies somebody. " Not with a Bang but with a plugged into this difficult, exhilarating age. and generally shaking hell out of the Pssst" asked what's being done about Do we understand what's going on? Do we establishment. those killer aerosol cans. Answer? Abso- know The Answers? Hell, we consider our- Like a mighty mouse, we are small but lutely nothing. " Selling the Black Vote" selves lucky when we know The Questions. powerful feisty. Out of all proportion to size, made a lot of blacks and whites mad with But we don't lie. We don't pretend impos- we make waves. Strike fear in evil hearts. its unblinking look at some new ethnic sible knowledge. Our minds and eyes are Give the tremble to fat cats. Shake the hustlers. " Victims of a Desperate Age" open and our promise to you is firm: we'll rafters. The Mouse that Roars, that's us examined evidence that the Rosenbergs pin as much of the truth to the page as we know how. could have been framed. -Prisoners of Psy- chotherapy" was the last word on escaping Does NEW TIMES sound like your kind of from your analyst. magazine? If you've read this far, you're probably NEW TIMES' kind of person. You can have 17 issues of the magazine Is NEW TIMES mad all the time? Golly, no. Dont get the idea we do noth- ing but dredge up embarrassing facts and tweak important noses. NEW TIMES is the magazine of what's happening and that's a spectrum that includes love and masic and lifestyles and movies and all manner ot rare

Some recent roars. Every two weeks, NEW TIMES comes along with a stick or twO of dynamite In Its fist. There was our story on " The Ten Dumb- of what's happening for only $ 4.97. That's est Congressmen," with NEW TIMES' $4.84 less than the regular subscription nomination for King of Dumb. You should price—$ 7.78 less than the newsstand price. have heard the screams on that one, Or save even more! Take 26 issues—one including a well- attended press conference year— of NEW TIMES for only $ 7.50, half the called by the King himself. There was " The regular subscription price—$ 12.00 less than new ideas. For instance, we reported on CIA and the Mafia" concerning the inevita- the newsstand price. The attached order Erhard Seminars Training ( est), one of the bility with which gentlemen who wished to card will do the trick. Or write to NEW be killers gravitated to killers who wished to most fascinating of the new life experi- TIMES, P.O. Box 2948, Boulder, Colorado ences. We got inside the world of bisex- be gentlemen. There was our " Rendezvous 80302. uality. We published our own medical with Abbie Hoffman"—a trip on the under- Join us. Start to roar a little. ground railroad that really caused an research on pot—" Attention: Smoking uproar. Grass May Be Good for Your Health." For immediate service 24 hours a day And of course we continue to report on In " The Greatest Cover- Up of All" we CALL TOLL FREE 800-327-8912 looked at the new evidence in the JFK the eternal battle of The Little Guys vs. The assassination and concluded it was a con- Big Guys. Like the story on Sam Lovejoy, spiracy. In " Under Control," we got inside who toppled the big bad nuclear tower. And Silva Mind Control. Is it just the latest psy- the young hillbillies of Mendocino County cho- chic or can it really give you the power who were damned if they'd let their houses Tin. Moose that Roars 51 JANUARY 1976 After twenty years of rumors concerning a mystery Soviet pianist of enormous power. Americans are finally about to hear him. Here is an exclusive HF interview with the Russian musician.

by Barry James and Vadim Yurchenkov

IN 1955, WHEN SOVIET PIANIST Emil Gilels first ap- discography and partly because of the limited peared in the U.S., he brought word of ayoung col- scope of his rare visits outside the . league who was capable of the most marvelous pi- He has been to Italy several times, and enthusias- anistic feats. Thus, sprouting from this august tic reports of his appearances there filtering slowly source and nurtured by asparse handful of diffi- to the U.S. have contributed to the sense of awe cult- to- obtain recordings, the legend of Lazar Ber- and expectancy that seems to surround him. man, pianist of the grand romantic style, took root Beginning this month, American audiences will in the West. But through the years Berman has re- have the opportunity of hearing— and seeing— the mained an enigma, partly because of his meager legend unfold into reality: Lazar Berman, at age

52 HIGH FIDELITY M AGAZINE of Lazar Berman

forty-five, will tour this country for the first time. Budapest, and fifth at the Queen Elisabeth compe- The shy and introspective pianist seems acutely tition in — an experience that prompted aware of the importance of the occasion, calling it him to become afounder of the U.S.S.R.-Belgium "a big unknown and perhaps abig changing point Friendship Society. He joined the Moscow Phil- for my career." harmonic [ not the orchestra, but an agency that Coincident with Berman's tour, several of his operates orchestras and other ensembles and rep- new recordings will become available here. CBS, resents artists] in 1958 and began making concert through an arrangement with Melodiya, will re- tours throughout the Soviet Union as well as occa- lease a two-disc reissue of the Liszt Transcen- sional appearances in the countries of Eastern Eu- dental Etudes (re-recorded in 163 to replace a rope. 1958 version) and arecently made recording of the Today, Lialik (some of his friends still call him Sonata in B minor, the Mephisto Waltz, and Ve- that) is alarge, portly man with ashock of sandy nezia e Napoli, all by Liszt. Deutsche Grarlimo- hair, penetrating gray eyes, and a Mephisto-type phon will release new recordings of the Liszt Con- beard that makes him resemble a Russian Ortho- certo No. 1and of the Tchaikovsky Concerto No. 1 dox priest. He is quick to smile, with a flash of made with Herbert von Karaj an and the Berlin gold- capped teeth, and speaks easily with a mel- Philharmonic. lifluous voice in Russian, French, and alittle Ital- Born in 1930 of aJewish family with an artistiC, ian, which he is now trying to learn. Despite the intellectual mother and a working-class father, impression of passivity— or even laziness— that Berman was barely two years old when he began Berman makes on acasual observer, he ià.at times to study the piano. His teacher (who was his avirtual wellspring of energy ( during his last tour mother) entered him in his first talent competition of Italy he gave twenty-three concerts in thirty- in 1933. Leningrad cultural authorities, recog- two days). But as with many artists, these peaks of nizing an unusual talent, assigned Prof. Samari fiery temperament and passionate tension are tem- Sayshinsky as the boy's teacher. Shortly afterward porary, set off and sustained by inspiration. With- Berman was placed in aspecial group of children out this, his creativity and enthusiasm seem to who were to be trained in music under the aegis of flag. the Leningrad Conservatory. Berman's private life ( which he prefers to keep In 1937 he appeared in afestival of young talent private) centers around Valentina, his second at the Bolshoi Theater in Moscow and at just about wife, his five- and-a-half-year-old son, Pavel, and that time made his first recording. ( He still owns a their home. His hobbies include stamp- and coin- copy of this rare 78-rpm disc: Fantasy by Mozart collecting. The small circle of friends that he and performed by "Lialik" [ adiminutive] Berman and Valentina share consists mainly of conservatory Mazurka by L. Berman— one of his few attempts at teachers and people he has met through the composition.) After the Bolshoi appearance, au- U.S.S.R.-Belgium Friendship Society. thorities insisted that the youngster and his family On tour, Berman likes to walk the streets and move to Moscow, where, at age nine, he was ac- visit the museums of new towns. " Itry to see as cepted into the Central Music School as apupil of much as Ican When traveling," he says, " new and Alexander Goldenweiser. Goldenweiser, an arch- exotic things, different people, different customs. romantic who has been the largest single influence Life is not music alone, and one should not be sub- on Berman's playing, remained his mentor for the merged completely in one's profession. Only by next two decades. In 1948, Berman entered the being an all-around person can one be agood mu- Moscow Conservatory, spending eight years in sician." graduate and postgraduate studies, still under These are the basic facts about Lazar Berman, Goldenweiser. He then entered international com- but they do not tell enough. What kind of man is petitions and won first prize in Berlin, third at he—really? How does he approach music? What

JANUARY 1976 53 music does he best like to play? B.: Ireturned to Moscow in 1943, after the siege— To dig deeper and explore questions such as again with Goldenweiser's class. From 1948 until these, we visited and interviewed Berman several 1953 Istudied at the Moscow Conservatory as an times. This is acomposite of those interviews: undergraduate, then in postgraduate status until 1957. Since then Ihave been a soloist with the HIGH FIDELITY: How did you get started playing the Moscow Philharmonic [the concert agency], tour- piano? ing the Soviet Union and sometimes Eastern Eu- Berman: My mother began to teach me when Iwas rope. alittle past age two. HF: When did you first play abroad? HF: Then your family was musical. B.: That was in 1951 at the International Youth Fes- B.: My mother was. She hpd studied piano at the tival in , and Iwas fortunate enough St. Petersburg Conservatory under Isabella Venge- to win first prize in the pianists' contest. Then I rova—at the same time Prokofiev did, by the way. had aconcert tour of Czechoslovakia and partici- HF: When did you first play in public? pated in competitions in Budapest and Brussels. I B.: It was in 1933, as Irecall. Iwas about three and really enjoyed Brussels. a half—still too young to read and write— and HF: What did you do during the 1960s? It seems Mother entered me in atalent competition. that you were agood deal less active than before. HF: How well did you play at that time? B.: Yes, that is true. The ' 60s were slack years for B.: Oh, well enough that the authorities in Lenin- my artistic activities. Idid not sign with Melodiya, grad wanted me to have training. There was aspe- Ihad no concert tours abroad, Ididn't perform cial group for children at the Leningrad Conserva- much at all in public. Iwas very much involved in tory, led by Prof. Samari Sayshinsky, and they put contemplation and thought, and my artistic out- me in that. Iremember Iplayed by ear; Icouldn't look changed. read written music until Iwas eight. Incidentally, HF: Your mention of Melodiya brings up another my son Pavel is just five, and he plays the violin point: How is it that apianist of your stature has and can already read music. Our group was much recorded so little? like achildren's music school today, though it was B: Ihave mixed feelings about recording. A record quite acollection of prodigies. Daniel Shafran, the is like apiece of paper—easy to fill, but difficult to cellist, Yuri Levitin, the composer, and Mark fill well. Ionly want to record what Ido best. Then Taimanov, who is a chess grand master besides again it's hard for me to retain concentration and being a pianist, were in the group too. Unfortu- interest when I'm recording. For example, in 1967 nately we were all dispersed during the war. It was it was suggested to me that Irecord all the Rach- ahard time, and many of us gave up music. maninoff preludes. Iwent to Melodiya with the HF: What happened then? idea, and they approved. But somehow I just B.: In 1937 Iplayed in atalent festival at the Bol- couldn't keep it going— Ilost inspiration, Iguess. shoi. After that my family moved to Moscow, and I The playback is another hard thing. Icannot lis- went to the Central Music School. That's when I ten to myself playing. It's too strenuous—like hear- started studying with Prof. Goldenweiser. ing myself as astranger. There is too much of my HF: What happened to you during the war? soul in it. It's easier just to play the music. B.: Well, Moscow was very close to the front, so HF: Can you think of any music that you partic- they moved us to Penza. I studied with Prof. ularly want to record in the future? [Theodore] Gutman there. Things were not so bad B.: Well--yes, the Liszt concertos, Prokofiev's for us considering the circumstances—we were First, Rachmaninoff's Third, Beethoven's Fourth, safe, and we ate decently, although Isometimes and the Scriabin. Ihave never recorded with an or- had to practice with no heat. But what else was chestra, and if Icould do all this Iwould be happy. there to do? [As of now Berman has recorded Liszt's Concerto Anyway, they had moved some government of- No. 1and Tchaikovsky's Concerto No. 1with Kara- fices, some embassies, some theaters temporarily jan and the Berlin Philharmonic.] to Kuibyshev, which isn't very far from Penza, so I HF: What about travel? Why haven't you per- got to play a performance there. Iremember I formed more outside the Soviet Union? played the Grieg concerto with the Bolshoi The- B.: Iwasn't invited. It is not usual for Soviet artists ater Orchestra. to travel abroad without aspecific invitation. HF: Was that the first time you played with asym- HF: Is that how your trips to Italy came about? phony orchestra? B.: Yes, as far as Iknow. There was agroup of mu- B.: No, that was alittle earlier— in 1940. It was the sic lovers in Milan who had heard some of my rec- Moscow Philharmonic under Grigori Stolyarov; ords and liked them, so they arranged for me to be we played Mozart's Concerto No. 25. invited. HF: And after Kuibyshev? HF: Were your performances in Italy successful?

54 HIGH FIDELITY M AGAZINE ....11M.....M.041MIHMM>01•M.MMI•141M1r0e».041M.011Mned.»...0«.04M01«..M., 111...... «.0•11M.041MNNIM.041MII.M.04•••0.Me.M.11e1.041.1111.11•1»01”1101M.i.O.M1,4M/1 te.•

of panels. When questioned about this, Skoblo replied that high and low frequencies do not record very well in this studio and that, while this is. acceptable for pop music, different cir- cumstances are needed for classical. " Over the past fifteen years we've learned to compensate for it pretty well," he added. With the pianist properly surrounded ( it looked awful, but audio quality is the main thing, after all), Skoblo stopped for alast quick word with him: "Shall we record in segments?" No. Berman wanted to record the whole sonata in asingle take. Ileft Berman alone with the piano and made my way to the control room, which was equipped with atwenty- four- input Neve con- sole and Swiss- made Studer C-37 recorders. He took the first three notes— and stopped. He seemed disturbed, as if he had heard some noise. Now we too could hear the noise, which seemed to come from a duplicating room un- derneath the studio, and the assistant went down to stop it. The time was 7:40. Once again Berman put his hands to the Berman records the Liszt B minor Sonata before the keys: single initial notes— the B minor Sonata. organ pipes of the former Anglican church that is Berman truly loves the music of Liszt, and he now Melodiya's main recording studio in Moscow. was playing it as only he can: quietly, yet seri- ously, with just the right tone, his grand piano Berman Before the Mikes singing. Passage followed passage. Then there were afew minor slips, an arpeggio missed in i When, on the hot evening of May 26, 1975, Ien- one place. But on the whole—good. It was 8:10. tered the Melodiya recording studio on Stan- He had played the sonata in exactly thirty min- kevich Street in Moscow, Lazar Berman was utes. already there, ready to record the Liszt B minor Skoblo invited the pianist in to listen to the Sonata. Since the workday at Melodiya ends at take, and Berman entered, his forehead shining 6 p.m. and the session was scheduled for 7, with sweat. He joined Skoblo at the console, most of the staff had gone, leaving just record- and the playback began with the two poring ing engineer Valentin Skoblo and his assistant. over the sheets of music before them. Skoblo The building that houses Melodiya's main pointed out each fault as it occurred, whether recording facility is an Anglican church that in playing or recording. Berman nodded his was built seventy years ago and converted for head and said, "You know, the second take is recording in 1960. In its 500- square- foot hall all always the best; it is somewhat of a rule with sorts of recordings have been made—sym- me. Let's try the whole thing again." Then he phonic, chamber music, choral, and pop. Ray added, " I'm glad there is no vocal of mine on Conniff, incidentally, recorded here late in the tape. Sometimes Iget carried away and be- 1974 with aRussian chorus and band. gin to croon." Skoblo, who is forty-three, has been in the Recording resumed, and surprisingly enough business for over twenty years and is an old it went a trifle differently. But that trifle was friend of Berman's, the two having worked to- worth alot: touch became freer and more natu- gether many times. The engineers attached to ral; inaccuracies disappeared; things became this studio are generalists, able to record prac- easier and more human. tically all genres of music. Each, however, has Another playback session. Skoblo, more en- his own predilections, and Skoblo is predomi- thusiastic now, asked him to play the middle of nantly for classical music. He has handled the sonata again, just to be sure. Berman re- most of the piano recording in Moscow in re- turned to the keyboard and started to play, but cent years. he could not stop and so played right to the As Berman was warming up, Skoblo and his end. He looked tired and sweaty. But, satisfied assistant were arranging microphones around with his playing, he was laughing and joking. the Steinway grand— two Neumann mono M- The time was 10:30; in just one three-hour ses- 269s and two stereo SM-69s. Then they began sion, Berman had recorded the entire thirty- to surround the pianist with a " Chinese wall" minute sonata. V.D.Y.

Ire 1.11.....M011.1 1•1,04M.011MOIM.0,«•/>,,”...M.J41M.Y.o.11M.).«.1.,,IMMN/M•ol•rISOM.0.1.1MleeM1.4M1.011».11.•MIMel HIMI•04•1,0•11MN F,,IleM. ,41..041M.HM111.04M/004M 1.0.1MI.C.MDI 0.4

55 JANUARY 1976 B.: Very. They liked me, and the invitations kept one stresses Beethoven's classicism. Itry to show coming. In 1971 my usual concert audiences in him as aman of passions. After all, Beethoven and Italy numbered 300, perhaps 400 people. Three Mozart loved, suffered, enjoyed, became de- years later, Iwas getting about 2,500 at every con- pressed, joked. Why is their music to be inter- cert. Italy has become almost like asecond home. preted in aframework? And why go crazy when HF: And what of your tour to the United States— playing Liszt or Chopin? All in all, Itry to interpret was it arranged the same way? the Romantics more sternly and the Vienna clas- B.: Just about. Jacques Leiser [the New York con- sics less so. And what is classical, anyway? When I cert manager who is handling Berman's U.S. tour] read the old authors, I see that fashions have somehow got hold of arecord of mine [ arecital al- changed—hairdos, dresses. But people are the bum of works by Chopin, Debussy, Ravel, Rach- same. maninoff, and Scriabin, reviewed by HIGH FI- HF: And what about modern music? DELITY, August 1962]. Then he came here to Mos- B.: Well, for me modern music ended with Proko- cow and arranged for the tour. I am delighted fiev. Idon't say that other new music is bad, but about the whole thing, of course— and alittle ap- frankly it is not my métier. Perhaps it all depends prehensive too. It's abig undertaking and abig un- on the music one was brought up on. My back- known, perhaps also abig changing point for me. ground was Bach, Mozart, Chopin, and One thing that worries me is that Steinway pianos Tchaikovsky, Rachmaninoff, and other Russians. [of European manufacture, slightly different from Today seven-year- olds play music that seems aw- those made in the U.S.] may not be available ev- fully complex to my ears —Prokofiev, Kabalevsky, erywhere in the U.S., and Iam not familiar with Bàrtok. Personally, Iprefer finding new things in U.S. and Japanese pianos. Iworry alot about pi- old music to playing new music. anos. HF: All right. What did you discover in Liszt, for HF: Let's talk more directly about you and your example? music. What about your career— are you happy B.: Once, thirty years ago, Iwas a slave of my with it? hands. They could do anything, so Iplayed Liszt B.: Well, my artistic way is quite uneven. Iam a much too fast. Audiences got caught up in the ava- nineteenth-century man, a virtuoso, so to speak. lanche of sound and would forgive other short- For many years Iwas carried away with virtuosity, comings. Liszt wrote real virtuoso music. Now I with naked technique, particularly while at the try to spiritualize this element; Iam the master of conservatory. My speed became a legend, and I my hands. There is even some reserve in my tem- really could play the coda of Chopin's B minor So- pos. Itry to leave time for the work to be heard, for nata in fifty seconds. My friends checked it with a its contents be digested. stopwatch. It was unfortunate, but we really set up Likewise I've changed my views about Tchai- contests, made bets, etc. The only excuse for this kovsky. I've dropped the bravura interpretation of was our youth—we thought music was like soccer the First Concerto. I've read alot of his writings, or something. Ithought little about sound, only fin- and Ithink Iunderstand his soul. Tchaikovsky was gers, speed, perfect notes. The harder a passage not apompous composer, but a lyricist. So that's was, the more it appealed to me. Of course, after a how Iperform his First Concerto. He didn't put all while, the machinery began to vanish. Then Ibe- that grandeur there— it was Bülow. Tchaikovsky gan to learn and practice sound. Istudied record- devised amodest beginning, with the sound grow- ings of pianists and even singers. Iwanted to ap- ing from there. In the original autograph score the proach the cantilena as closely as possible; I opening is to be played lyrically and heartily, and wanted melodiousness of phrase. By now Ican do that is the way Itry to play it. The usual inter- agreat deal of this. When an Italian critic said my pretation of the middle of the second movement piano was better than my forte, Iwas happy. Iwas also, to my mind, goes against the composer's overjoyed when my playing was compared to bel wishes. It becomes aphantasmagoria, with àlot of canto. Ihad been working for that for ten years., [E.T.A.] Hoffmann in it. But it is first of all awaltz— HF: Would you say that you have one favorite pretty and cozy, easy, sincere and hearty. Liszt composer? might have perceived that piece in afantastic way, B.: No— no single favorite. But Ido have afavorite but not Tchaikovsky. style of interpretation. For me, the best style is the HF: Do you have any idols in the world of the pi- one with the most heart and the least possible aca- ano? demism. As arule Ilove contrasting music— the in- B.: Of course. Every musician has. Icould name terplay of soft and loud. For these reasons Iam many, but keeping it short—Sofronitsky, Michel- more than anything alover of the Romantics, par- angeli. And by her devotion to art ( so unattainable ticularly Liszt, Schumann, Rachmaninoff, early for me), Maria Yudina. Ido not seek to become like Scriabin, Prokofiev. And of course there is Beetho- them. Isimply know that there have been such ven. To my way of thinking he is usually inter- phenomena—that it is possible for human beings preted far too academically, too smoothly. Every- to play that well.

56 CIRCLE 15 ON READER- SERVICE CARD O Koss Corporation

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•The value shown is for informational purposes only. The actual resale price will be set by the individual Sansui dealer at his option

A-230050 Music minus hiss.

Signal vs. noise. The one aspect of sound reproduction that makes all the difference between aclean tape and ahissy one. Even at 71/2 ips. That's why we decided to mate our 20 years of 3- motor, 3- head TEAC open reel experience with the 7year record of the B-type Dolby* noise reduction system. The result is our new A-2300SD, atruly audible improvement. The 74 dB signal-to-noise ratio** is indeed ameaningful specification, because the difference it makes is demonstrable. And it doesn't take golden ears to hear it...just an appreciation of music minus hiss. Ask your TEAC retailei OUTPUT to demonstrate the new /// Q DOLBY A-2300SD. If you don't R L CALTONE FM/COPY know where he is, just call REC - • 1 Ille 0 e LEVEL ON , IN toll- free ( 800) 447-4700 or Q CAL _ e 2 e

(800) 322-4400 in Illinois. 'OFF 1 OUT You'll find complete FM/COPY LEVEL w w integral Dolby flexibility, DOLBY FM DOLBY NIN including FM copy, pre- cisely matched to the kind of quality and relia- bility that's come to be known as TE AC. A perfect example of totally clean performance.

**Actual measurements will vary with record levels and brands of tape. Our published specification of 74 dB or greater is referenced to 3% T.H.D. at 7/12 ips with the NAB A-Weighting Curve and B- Dolby circuits, using Maxell UD-35 tape. In maximizing signal-to-noise performance at 71/2 ips, we have recorded measurements of up to 80 dB with Ampex 456 tape. signal-to-noise ratio TEAC The leader. Always has been.

TEA(' Corporation of America/7733 Telegraph Road, Montebello, Ca. 90640/©TEAC 1975

•Dolby is atrademark of Dolby Laboratories, Inc. the quill pen) did not deter the Ludwigomaniacs except aGerman. Since he was the main financial from overdramatizing the event. supporter of the Boston Symphony, the orchestra But there are other indications that Beethoven had a succession of German conductors from its kept sound respect for his great contemporary. founding in 1881 to the time of the American entry (Napoleon was born ayear before he was.) In alet- into World War I, when, as aresult of an agitation ter to his publishers several months after the among superpatriotic New England women, the proclamation of the Empire, Beethoven referred to dignified and socially impeccable Karl Muck, con- the Eroica as "eigentlich Buonaparte genannt" ductor of the Boston Symphony for several years, (really called Buonaparte). Some fifteen years was placed in a detention camp as an unregen- later, when Napoleon was in exile on the island of erate Hun and aself-confessed friend of the kaiser. St. Helena, the publisher Peters paid a visit to The first conductor of the Boston Symphony, Beethoven and mentioned the fact that the Vienna Georg Henschel, was actually of Polish-Jewish ex- composer Eybler was commissioned to write a traction, but Major Higginson was not concerned Mass for Napoleon to be performed at his chapel about racial origin as long as the incumbent was in St. Helena and added that the work should have born and educated in Germany. The concerts of been commissioned to Beethoven. Thanks to the the embryonic Boston Symphony were gemütlich composer's providential deafness, all communi- affairs. At one concert, on November 9, 1882, Hen- cations with him had to be in writing, so this con- schel, who began his musical career as a singer, versation has been preserved in the Konversations- performed with his wife, aduet, " Oh that we two hefte. That such a proposition could have been were Maying," of his own composition, " for the made at all, and that Beethoven countenanced it, benefit of the widow and four children of a Ger- shows that in his heart he never ceased to admire man musician and composer of merit who suc- the fallen emperor. cumbed to fever in Texas in the thirty-fifth year of his age." The identity of the beneficiary remained Triskaidecaphobia is amorbid fear of the number nameless. 13. Rossini had it, and like so many Italians he also regarded Friday as a bad-luck day. Indeed, the Turgenev, who spent long years in Paris, was peri- chronology of his life would provide a numer- odically in love with young actresses, while living ologist with alot of intriguing speculation. Rossini on afairly permanent basis with the French singer was born on leap-year day, February 29, 1792. In Pauline Viardot. He wrote to one of his loves: " My the year of his death, 1868, he joked that he was passion for you is like achromatic scale mounting only nineteen, for he had celebrated only that in crescendo." many birthdays in his life. He approached every 13th of the month that fell on Friday with super- In asimilar vein, so the story goes, Haydn became stitious apprehension. He died on November 13, friendly in his youth with acharming lady of the 1868, which was aFriday! Viennese aristocracy. Years passed, and he met her again. " Do you remember me?" she asked him. Casals was proud of having in his possession the "You wrote this for me," and she sang: original manuscript of Brahms's String Quartet in B flat, op. 67, a gift from a Vienna admirer. He

called it " my personal quartet," for, he said, •••• Brahms began its composition on the exact day "Oh, yes. Unfortunately, now the tune is," Haydn

Casals was conceived and finished it nine months croake& p z ik. later, on the day Casals was born, Alas, the chro- 11- s_f_rtrtrJ' . nology does not support this affinity. Brahms com- pleted the quartet in 1875, and Casals was not born In Haydn's orat—orio , there is a pas- until more than a year after its public perform- sage in pizzicato that precedes the sentence, "And ances. And besides, the date of conception has there was light!" According to aplausible report, never been scientifically verified. attributed to Haydn himself, this pizzicato repre- sents God striking a piece of sharp flint against In 1899 W .J. Henderson listened to aperformance whetstone, producing aspark that illuminated the of Till Eulenspiegel and wrote in disgust: " No gen- primeval darkness. tleman would have written that thing. There are places for such music, but surely not before musi- The key of C major has for centuries represented cal assemblages of ladies and gentlemen." the exaltation of the soul and triumph of man. Beethoven expressed this quality in the finale of Major Higginson, the founder of the Boston Sym- the Fifth Symphony, and Scriabin in the orgiastic phony Orchestra, an amateur musician, and asuc- joy of the concluding pages of his Poem of Ecstasy, cessful banker, held it as an article of faith that in which he holds on to the deep pedal point on C only Germany produced good musicians and that for fifty-three bars. But the modernists of the Vien- no conductor could lead an orchestra competently nese school of composition renounced C major as

64 HIGH FIDELITY M AGAZINE the petit-bourgeois product of Biedermeier cul- Isaac Stern was asked his opinion about his own ture. used the C major triad in his op- position among the world's violin virtuosos. " Iam era Wozzeck to illustrate the lines, "Da ist wieder the second best violinist in the world," he said. Geld, Marie" (Here is money again, Marie), with "And who is the first?" he was asked. the obvious intent to emphasize the vulgarity of "I can't tell," Stern replied. "They are all friends money. of mine."

Dissonance is the mustard of music. " Discords An orchestral librarian asked the conductor for mingled with concords not onlie are tollerable, but the exact duration of awork he had on his pro- make the descant more pleasing if they be well gram. " With feeling," the conductor replied, taken," Thomas Morley declares sententiously in "twenty minutes. Without feeling, fifteen min- his famous treatise, A Plaine and Easie Introduc- utes." tion to Practicall Musicke. Alexander Pope said, "All discord, harmony not understood." And Jean Max Reger used to take his students to the nearest Cocteau extolled the aesthetical value of ugliness: Bierstube for pork sausages and beer after his "La laideur est toujours la forme le plus récente de classes at the Leipzig Conservatory. " Pigs and la beaute" (Ugliness is always the most recent composers have one thing in common," he re- form of beauty). It is probably possible to train a marked. "They are appreciated only after they are child to react favorably to aseries of unmitigated dead." discords, and to be repelled by triadic harmonies. The experiment is worth trying in kindergarten. A lady admirer of Reger complained that she could not see his face when he conducted an or- An apparently nonapocryphal story concerns chestra. Reger reassured her that he looked Paderewski's last years of life. After the destruc- exactly the same from the front and back, just like tion of Poland during the Nazi invasion of 1939 his name, which is apalindrome. and the fall of France, he came to the U.S. and lived in Westchester County. Still vigorous in his A sampler from college examination papers: eighties, he used to take daily walks. Once he Lieder are leading German composers. passed by amodest cottage from which there ema- Arpeggio is faster than allegro. nated a familiar tune, his classical Minuet in G. Classical music is sonatas, cantatas, and tra- But, oh horror, the player neglected the essential F viatas. sharp. Paderewski approached the cottage and Boris Godunov was a modern composer who saw ashingle: " Helen Springle, Teacher of Piano." wrote the opera Faust. He knocked at the door, and Miss Springle—it must Rimsky-Korsky wrote The Golden Cockle. have been she, for the music stopped— appeared at The real name of the Moonlight Sonata is the door. Beethoven's Ninth. "My name is Paderewski," the great man de- Basso ostinato is amechanical device used by clared. "May Iask afavor of you?" the Italian castrati. Overwhelmed by this unexpected honor, Miss Springle muttered, " Why, Maestro Paderewski, Rossini used to address his letters to his mother as anything, anything at all!" follows: "To Signora Rossini, mother of the cele- "Will you please play F sharp in my minuet?" brated Maestro." Paderewski requested. A few days later he happened to pass by the Moritz Rosenthal boasted that he could identify same cottage, and once more the familiar strains of any Chopin piece from only two bars. Another his minuet resounded from the music room. But Chopin specialist stumped him by sitting down at this time F sharp was firmly in place. There was the piano and playing nothing for three seconds. also anew shingle on the door, which read: " Helen The quotation was two bars of rests in Chopin's Springle, Teacher of Piano, Only American Pupil Scherzo in B flat minor. of Paderewski." From an old advertising column: Reading the same words in the wrong language Piano for sale, the property of alady leaving the may convert asincere sentiment into agross in- country in aremarkably elegant walnut case. sult. During his professorship at Columbia Univer- Piano wanted for ayoung lady, abeginner with sity, MacDowell received a testimonial from his carved legs. students with the inscription in large letters: "0 singe fort" ( 0 sing forth), quoting from the line of Piatigorsky helped Stravinsky to fix the details of Flosshilde, one of the nymphs of the Rhine, in the the cello part in his Suite italienne. He advised first act of . MacDowell was mo- that in one spot apizzicato should be followed by mentarily shocked, for in French the words mean astaccato. Stravinsky made the corresponding no- "0 powerful ape"! tation, murmuring, " One belch, one fart." •

JANUARY 1976 65 From e.enieifiLs*_*

KENWOOD tuners and amplifiers are recognized the world over for their outstanding performance and exceptional dependability. Little wonder. KENWOOD separates perform better because they're engineered better: The most advanced audio con- cepts establish their performance parameters. The finest workmanship and material go into their construction. The most stringent quality controls assure that each unit is operating at its optimum peak. So when you listen to KENWOOD's luxurious KT- 8007 Stereo Tuner and KA-8006 Stereo Amplifier— or to the deluxe KT- 6007/ KA-6006 Series— you can be sure you are hearing the finest stereo reproduction that advanced engineering and superb craftsmanship can produce.

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KT- 6007 AM FM- Stereo Tuner KA -6006 ... Stereo Amplifier with 48 watts per channel, Minimum RMS at 8 ohms, 20-20k Hz. with no more than 0.3% KT-8007... AM ' FM- Stereo Tuner Total Harmonic Distortion. KA -8006 ... Stereo Amplifier with 70 watts per channel, Minimum RMS at 8 ohms, 20-20k Hz. with no more than 0.2% Total Harmonic Distortion.

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15777 S. Broadway, Gardena, CA 90248 • 72-02 Fifty-first Ave., Woodside, N.Y. 11377 • In Canada: Magnasonic Canada, Ltd. Continued from page 48 has none of the " sizzle" or other symptoms of strain that can creep into electrostatics at high levels. When the AT- the adapter: the other two positions drive the headset at 706 is overdriven ( which happens only at very high sound different levels, with finer level adjustments made at the levels— higher than for typical electrostatics, particularly in main system's volume control. the bass) the sound acquires what might be described as a The headset itself is light ( 9oz.) and has more possible mellow buzz that is distinctly less objectionable than the adjustments than most— even the spacing of the two head- raspy quality we've encountered ( again, at lower output bands can be varied. It may take you a little longer than levels) with some electrostatics. usual to adjust the headset to your head, but you should If all this interests you but, for practical reasons, you get abetter fit when you're done. Even so, we judged the don't want to bother with the adapter- box setup of the AT- comfort of the unit only average to good ( opinions vary). 706. Audio-Technica offers basically the same transducers The vinyl ear cushions are quite soft, but they are not as and physical design in the less expensive ($ 79.95) AT- 707. efficient at distributing their pressure as the larger. fluid- which has the matching transformer right in the headset filled ear cushions on some models, and some users com- and is driven— via a coiled cord and conventional stereo plain of perspiring ears— acommon complaint with head- phone plug— from anormal headphone jack. The straight phones. 6- foot cord between the AT- 706 and the adapter does re- The seal they offer may be called moderate. Room strict the wearer's movement somewhat, but the practical sounds are attenuated but not severely muffled. The advantages of the AT- 707 ( which we did not test) appear wearer doesn't experience the sense of isolation that some to exact a price. Since the matching transformer system complain of with high- seal sets, but by the same token he built into it must be tinier than that in the AT- 706's can't " shut out" a really noisy environment. He should adapter, dynamic range and bass response are somewhat have alot to distract him from that environment, however, restricted by comparison, according to the manufacturer. since the sound quality the AT- 706 presents him with is ex- In asense, then, the electret condenser design offers a ceptional: very wide- range and smooth. Fundamental good deal of the best of two worlds: the extreme frequency tones stand up very well indeed, with minimum doubling range and flatness of electrostatics combined with the dy- and no audible rolloff. to the neighborhood of 30 Hz. From namic range of good dynamic headsets. Add to this the AT- there up the response is extremely flat to about 8 kHz. 706's freedom from distortion, and you have an extremely where some minor roughness occurs. Response seems to fine stereo headset—one that ( like other extremely fine re- slope off a bit above 10 kHz but holds up well to beyond producers) may at times afford disconcertingly clear per- audibility. ception of the shortcomings of your system and your Within this excellent operating range the sound is ex- recordings, as well as their virtues. ceedingly clean and open, with an unforced quality that CIRCLE 146 ON READER- SERVICE CARD

CL- 4—Top of KLH's

Research Ten Group

Comment: The KLH CL-4 is the top member of anew line of loudspeakers built with newly designed drivers, cross- overs, and enclosure— in short, freshly engineered from the ground up. And, as a ducted- port system, it runs counter to the acoustic- suspension designs that many readers may think of as traditional with KLH. The 10- inch bass driver ( given the proprietary name Megaflux Woofer) has aconfiguration meant to minimize stray fields, to the benefit of both efficiency and linearity. This crosses over in the region of 500 Hz to a midrange driver housed in aseparate aluminum enclosure and de- signed to bring forward musical material in its portion of the spectrum. At about 5 kHz the 1- inch dome tweeter takes over, handling the balance of the audio range out to aclaimed 22 kHz. The CL- 4 is housed in an enclosure of dense /34 -inch par- ticleboard faced with an attractive walnut veneer. The brown jersey grille cloth is stretched over a removable The Equipment: KLH Research Ten CL- 4, athree-way com- frame that is secured to the driver panel with Velcro fas- pact loudspeaker system in enclosure. Dimensions: teners. A recess at the back of the enclosure holds apair of 26 13/16 by 14 /14 inches ( front; can be used vertically or binding posts ( accepting bared wires or spade lugs) for the horizontally), 12 13/16 inches deep. Price: $ 189. War- attachment of leads plus apair of three- position switches ranty: five years parts and labor. Manufacturer: KLH Re- that adjust the levels of the midrange and tweeter, respec- search & Development Corp., 30 Cross St., Cambridge, tively up or down by about 1dB from their FLAT positions. Mass. 02139. Measurements made at the CBS Technology Center in-

CIRCLE 13 ON READER-SERVICE CARD 67 à

dicate that this is a loudspeaker of creditably wide band- accepted at KLH no less than elsewhere- was that nobody width. High- end on- axis output is quite flat to about 15 can stand a flat loudspeaker. The contention was that a kHz. The woofer response ( measured in an anechoic flat high end puts the listener as " unnaturally" close to chamber) holds up well; between the extremes the com- the musicians as the microphones are during the record- puter- generated curve is flatter than average. The CL-4 ing session. This is an oversimplification of the argument, handles power impressively as well. A sound pressure level of course; the point is that the CL-4 turns its back on that of 100 dB is reached at 80 Hz with only moderate distor argument as do many other recent speakers that are de- tion for this output at so low afrequency. At 300 Hz the signed for arelatively flat high end. This is a more signifi- unit accepts 100 watts, for almost 108 dB of output, be- cant break with KLH tradition than the use of a ported fore distortion becomes excessive. Pulses to 168 watts av- bass enclosure ( which the company has used in past mod- erage ( 336 watts peak), the limit of the test amplifier with els) and documents KLH's awareness that, as it says in a this speaker, produce an output level of almost 113 dB Research Ten brochure, " times and technology do without excessive distortion. change." This bespeaks excellent dynamic range. KLH recom- CIRCLE 147 ON READER- SERVICE CARD mends amplifiers of 25 watts or more, which the tests show will drive the system to upward of 100 dB. The lab found 3.2 watts necessary to drive it to our standard test RESPONSE CHARACTERISTICS level of 94 dB ( at 1meter on axis), which represents mod- (1 watt input) erate efficiency. KLH rates power handling at 200 watts continuous, and impedance at 8 ohms. Actually the im- pedance, as measured at the lab, never drops below about 9 ohms. Its rating point ( the minimum just above bass resonance- at about 55 Hz) is 10.7 ohms in the neighbor- hood of 100 Hz. It rises to a little beyond 16 ohms in the midrange, then gently falls again. Obviously this is not a speaker with which one need worry about parallel hookups

across typical transistor amplifiers. AVERAGE OMNIDIRECTIONAL RESPONSE In listening tests we found the bass to hold up very well, ' 312dB -15 Hz to 13 kHz re 82 1'2 cl(3) with little doubling, to about 35 Hz. Highs are excellently AVERAGE FRONT HEMISPHERIC RESPONSE ON-AXIS RESPONSE CL 4 (I) dispersed; the first hint of beaming can be detected at 50 about 13 kHz, but test tones are readily audible off axis to 20 50 100 200 500 1K 2K 5K 10K 20K about 15 kHz. White- noise reproduction has a little less FREQUENCY IN HZ body than that of some speakers, perhaps, and is brighter than average. But we found that the speaker is somewhat more sensitive than average to the type of room in which it KLH CL- 4 Harmonic Distortion' is used. It produces a rather forward sound- presumably what Output Frequency KLH is referring to when it says in the advertising folder: Level 80 Hz 300 Hz "Much of the music that is lost, ' laid back,' or muffled in (dB) % 2nd % 3rd % 2nd % 3rd other speakers is brought forward and into proper musical focus by the CL- 4's cone midrange." The sound seems to 70 0.27 0.27 0.38 0.35 75 0.27 0.27 0.35 0.24 come from just in front of the speaker when only one is 80 0.27 0.22 0.33 0.24 used ( in mono) for A/ B comparison with other models. 85 0.34 0.27 0.38 0.22 This makes for a tight stereo image with, perhaps, less 90 0.43 1.8 0.48 0.32 depth than might be injected into it. It is more of aclose-up 95 0.65 2.3 0.90 1.6 perspective than one usually encounters. In smaller listen- 100 1.8 5.0 1.8 1.2 105 1.4 2.9 ing rooms, in fact, some listeners may prefer amore " laid 107.8 3.5 1.9 back" sound. Certainly the balance and over-all sound strike us as more attractive when the system has a rea- °Distortion data are taken on all tested speakers until distortion exceeds the sonably large space to work into. 10% level or the speaker produces the spurious output known as buzzing. There was atime when atruism of loudspeaker design- whichever occurs first.

TEST REPORTS IN PROGRESS

• Sansui SC- 3000 Dolby cassette deck •Pioneer TX- 9500 stereo FM/AM tuner •Dual 1249 automatic record changer •Luxman C-1000 stereo preamplifier •B&O M-70 minimum- phase- distortion loudspeaker

HIGH FIDELITY M AGAZINE Thorens Goes

(Semi)Automatic

The Equipment: Thorens Model TD- 145C, an automated The motor is a 16- pole synchronous design coupled to single- play two- speed ( 33 and 45) turntable with inte- the pulley beneath the platter by abelt. The system comes grated tone arm, wood base, and dust cover. Dimensions: up to speed very rapidly ( 11/2 seconds is Thorens' spec) and 17 by 13 /12 inches ( base); 73/4 inches high with dust cover is very rumble- free: - 59 dB was measured by the lab using closed, 15 /12 inches fully open. Price: $ 299.95. Warranty: the ARLL method. There is no speed " tuning" control. At one year parts and labor. Manufacturer: Thorens, Switzer- 33 rpm the unit checks out 0.2% fast at all test line volt- land; U.S. distributor: Elpa Marketing Industries, Inc., ages; at 45 it is 0.14% fast and again does not vary with Thorens & Atlantic Aves., New Hyde Park, N.Y. 11040. line voltage. Weighted average peak flutter measures 0.07% with maximum instantaneous values of 0.14%. Comment: Thorens has, perhaps, the longest history of These figures all are squarely within the ballpark for to- any company in the home music- reproduction field, day's top turntables and represent essentially undetect- stretching back to music- box days and including some of able departures from " perfect" performance. the finest early spring- wind disc turntables. Over the past The integrated TP-16 tone arm has an interchangeable twenty years or so, it has produced what must be reckoned low- mass head shell at the end of astraight tubular arm. the world's most consistently prestigious line of manual Balance and VTF are adjusted at the counterweight system single- play turntables. And now it has gone automatic with at the back of the arm. ( The accuracy of the VTF settings is asingle- play unit that is distinctly individual yet distinctly shown in the Additional Data table.) To the right of the Thorens. pivot is the adjustment for antiskating: A knob with two The obvious automatic feature of the TD- 145C is in its scales ( for spherical and elliptical styli, respectively) con- arm liftoff. It is activated electronically by any relatively trols amagnetic biasing system. Both scales produce an- rapid motion of the tone arm— whether because it has tiskating forces slightly below those typically encountered reached the leadout groove or because afumble- fingered but well within the range that theory predicts as desirable. owner has let the fingerhold slip from his grasp. It will not Arm friction is negligible both horizontally and vertically. be tripped by the spiral between cuts on an LP, but it will Thorens claims less than 20 milligrams, and the lab found be tripped by the attempt to skip manually to a cut near it too low for useful measurement. With the Shure V-15 the end of an LP. And herein lies our only complaint about Type Ill cartridge, arm resonance measures amoderate 4 the turntable. Having to restart it repeatedly can get to you dB at 8.5 Hz. The arm lift system introduces no drag, of when you're hunting about for a specific passage in the course, because it involves no physical coupling to the music. An automation- defeat option for this purpose arm. would have been nice. The arm mount and platter bearing are isolated from This consideration aside, the operation is silky smooth. both external vibration sources ( shock and feedback) and A positive press of the left-hand " knob" toward either 33 motor vibration by the mounting system. The controls are or 45 starts the platter; moving the right-hand knob to the mounted on the same assembly as the motor so that their right lowers the arm gently and begins play. This latter operation does not transmit motion to the arm and plat- knob can be used for cueing at any point. If arm travel ter. This system, we find, works very well indeed and con- speeds up or, for any reason, the power is cut off, the plat- tributes to the surefooted precision with which the TD- ter stops ( though the left-hand knob does not flip back to 145C fulfills its appointed functions. This is what the unit its center STO P position), the arm raises, and the right- is about; automation or no, it is every inch aThorens. hand knob moves to the left ( arm up) position. To recom- CIRCLE 150 ON READER- SERVICE CARD mence play, you just nudge the left knob toward its ex- treme position once again and switch the cueing knob. The Thorens TD- 145C Additional Data cue feature operates with no side drift. The dynamically balanced nonmagnetic die-cast platter Tracking- force gauge accuracy ( grams) weighs in at 41/2 pounds. ( Actually the entire " flywheel" in-

cludes the large metal pulley on which the platter rests; Set Measured Elpa rates the assembly at 7 pounds.) Its rubber surface 0.5 0.4 mat has aspecial " indented" treatment intended to pre- 1.0 0.8 vent trapped air pockets beneath the disc from creating 1.5 1.4 1.8 resonance effects during play. In the center is areversible 2.0 3.0 2.8 spindle; when you switch from LPs to large- hole 45s you simply flip over this insert.

69 JANUARY 1976 44 NI le le N 1 II II 1,1 • • ." II &I • sigmuM111111 - r

Radio Shack's Top 4/2-Channel Receiver

The Equipment: Realistic Model QTA-770, an AM/FM re- right is an array of pin jacks: one quadriphonic set for tape ceiver with four- channel amplifier and optional higher output, one for detector output ( allowing for a future power two- channel mode, CD- 4 demodulator, and SQ ma- adapter for discrete four- channel broadcasts), quadri- trix decoder; in wood case. Dimensions: 19% by 6 inches phonic sets for tape input and for aux input, and a two- (front panel); 13% inches deep plus clearance for controls channel set for magnetic phono input. The sensitivity of and connections. Price: $ 599.95. Warranty: one year parts the phono input ( 0.8 or 1.6 millivolts) can be raised or low- and labor. Manufacturer: Radio Shack, 2617 Seventh St., ered via aswitch below the jacks, and nearby are the sepa- Fort Worth, Tex. 76107. ration controls for the CD- 4 demodulator. At the lower right corner are a binding post for phono ground and Comment: The Realistic QTA-770 is equipped with an al- screw terminals for an AM antenna and a300- or 75- ohm most dazzling array of controls and conveniences, at least FM antenna. A rod antenna for AM is also provided. one of which (the AUDIOROTOR, which shifts the four- chan- CBS Technology Center tested the amplifier section in nel sound field so that center front is midway between any the strapped mode (STEREOMAX) at the 66- watt- per- chan- adjacent pair of speakers) is rarely seen. The neatly styled nel rating given in the instruction manual. This specifica- front panel features aslide- rule FM dial with apointer that tion is met at midband ( 1to 4kHz), but there is aconsider- glows red when the receiver is tuned to a station trans- able rise in harmonic distortion toward the frequency mitting in stereo. To the right of the dial are a signal- extremes— particularly in the right channel. In a more re- strength meter and alarge tuning knob. Slider controls— cent catalogue Radio Shack has chosen amore conserva- arranged so that both can be operated with one finger— tive rating ( perhaps to comply with FTC rating rules) of 60 that adjust the volume of the front and back channels, re- watts per channel, and the lab data suggest that the unit spectively, lie at the extreme right of the panel. in fact meets this at less than 1% THD across the audio Below the dial is arow of pushbuttons. First come POWER spectrum. No untoward amplifier behavior was detected in and MAIN and REMOTE speakers, allowing selection of ei- listening. In the four- channel mode ( rated at 25 watts per ther, both, or neither of two sets. ( The manufacturer cau- channel for less than 1% THD, 20 Hz to 20 kHz), which we tions that, while the receiver can drive 4- ohm speakers, used for most listening tests, the audio from the loud- two sets of these should not be connected at once, nor speakers seemed crisp and clean. should STEREOMAX or QUATRAVOX be engaged with 4- ohm The preamp is, by and large, a fitting complement for speakers connected.) The six remaining buttons control the amplifier section. The SQ decoder— of the simple ma- high- and low-cut filters, loudness compensation, FM mut- trix type without logic— provides surprisingly good local- ing, AUTOMAGIC (AFC), and tape monitor. ization. There is a perceptible rolloff toward the bass re- The bottom of the front panel has stereo headphone gion, attributable in part to the droop visible in the RIAA jacks for both front and back channels; tone controls for response curve ( we were listening to discs), but here the bass, midrange, and treble; the AUDIOROTOR control: a flexibility provided by the three-way tone controls came mode switch that chooses among DISCRETE 4, MATRIX SQ, nicely to the rescue. The midrange control in particular QUATRAVOX (asynthesizer that derives four channels from keeps soloists, especially in pops, out of the general vicin- ordinary two- channel material), STEREO, STEREOMAX (a ity of one's lap. The CD- 4 demodulator has the same fre- strapped mode with power fed to the front channels only), quency- response imbalance ( and the same remedy ap- and MONO; and aselector for AM, FM, PHONO/CD-4, or AUX. plies) and is somewhat sensitive to disturbances caused by Knobs at the extreme right adjust the left- right balance of less than perfect record surfaces. Contrary to the implica- the front and back channels. tions of the manual setup instructions, it is possible for a A pair of convenience outlets ( 200 watts unswitched, CD-4 pickup to overload the phono input; we suggest set- 100 watts switched), a fuse, and the AC power- line cord ting the phono sensitivity switch for best sound. The are in the far left section of the back panel. The center por- QUATRAVOX works well in synthesizing quadriphonic sound tion holds binding posts for two sets of loudspeakers, with from two- channel sources, but, as the instructions sug- pin- jack outputs provided for the main set as well. To the gest, the SQ decoder may produce a better quadriphonic

70 HIGH FIDELITY M AGAZINE 0 HARMONIC DISTORTION CURVES co 2.0 s's, .c. FM SENSITIVITY & QUIETING CHARACTERISTICS - 10 MONO SENSITIVITY STEREO SENSITIVITY ez o . (for 30 dB quieting) (for 30 dB quieting) ' 1.0 i= 20 2.0 tiv at 90 MHz 5.0 pV at 90 MHz ce - \ 0.7 Q % 2.0 iiv ( mono) 2.0 pV at 98 MHz 4.2 pv at 98 MHz I- ce, % 2.5 laV at 106 MHz 4.2 pv at 106 MHz 0.5 3 ,„ 4.2 Fe/ (stereo) .6 - au 0.3 ,.i V) CI - An 0.2 66 WATTS OUTPUT ( STEREOMAX) Z nv left channel: < 0.6%, 40 Hz to 10kHz

= Right channel: < 1.5%, 40 Hz to 10 kHz = _ r.n 0.1 _. - ...c 0.07 I-

I- .._ 60 0.05 ---"------>"

(I) : 0.0.023____ ,...... r._.__..., "---''"-- 33 WATTS OUTPUT (STEREOMAX) 1 10 100 1K 10K 100K --- Left channel: < 0.35%. 20 Hz to 20 kHz o cc Right channel: <, 0.26%, 20 Hz to 20 kHz RF INPUT IN MICROVOLTS t.0 Q- 0.5 0.66 WATTS OUTPUT ( STEREOMAIO 0.3 +5 Left channel: < 0.30%, 20 Hz to 20 kHz MONO FM RESPONSE 0.2 Right channel: < 0.21%, 20 Hz to 20 kHz o -5 + I, - 10 dB, 28 Hz to 15 kHz 0.1 ------0.07 +5 STEREO FM RESPONSE 0.05 0 ...., co - 5 ..,------Either channel: + 1, - 5dB, 22 Hz to 15 kHz 0.03 o 0.02 e -10 QTA 770 (4) 2 -15 0.01 ?,c - 20 20 50 100 200 500 1K 2K 5K 10K 20K ce - 25 FREQUENCY IN HZ

-35 -40 -45 STEREO SEPARATION Left channel: > 30 dB, 28 Hz to 15 kHz Right channel: > 30 dB, 22 Hz to 15 kHz Realistic QTA-770 Additional Data QTA.770 (2) 20 50 100 200 500 1K 2K 5K 10K 20K FREQUENCY IN HZ Tuner Section

POWER OUTPUT DATA Capture ratio 1.2 dB

CHANNELS INDIVIDUALLY (STEREOMAX) Alternate-channel selectivity 62 dB Left at clipping: 70.0 watts for 0.43% THD Left at 1.0% THD: 73.0 watts S/N ratio 72 dB Right at clipping: 66.0 watts for 0.35% THD Right at 1.0% THD: 70.0 watts THD Mono L ch R ch CHANNELS SIMULTANEOUSLY o 80 Hz 0.29% 0.79% 1.0% Left front at clipping: 30.0 watts for 020% THD --I 1 kHz 0.26% 0.51% 0.52% Left back at clipping: 31.0 watts for 0.21% THD 10 kHz 0.28% 0.90% 0.90% Right front at clipping: 29.0 watts for 0.20% THD *2 Right back at clipping: 31.0 watts for 0.15% THD M IM distortion 0.22% *

POWER BANDWIDTH 19- kHz pilot -47 /12 dB 105.6 38- kHz subcarrier -63 dB 82.5 66 For 0.5% THD: 10 Hz to 55 kHz 52.8 Amplifier Section For 1.0% THD: below 10 Hz to 60 kHz 41.6 Damping factor 25 33 FREQUENCY RESPONSE Input characteristics (for 66 watts output) (1 watt output) +5 Sensitivity S/N ratio phono ( low) 0.8 mV 60 dB 0 phono ( high) 1.6 mV 65 dB +0. - 1dB, 12 Hz to 20 kHz; aux 200 mV 87 dB -5 +0, - 3dB, below 10 Hz to 35 kHz QTA.no (3) tape 200 mV 87 dB 10 20 100 1K 10K 20K 100K FREQUENCY IN HZ

JANUARY 1976 71 1.0 INTERMODULATION CURVES effect with some stereo program material. 0.7 The FM section of the QTA-770 performs quite ade- 0.5 quately except under the most difficult reception condi- tions. The ultimate mono quieting figure of 52 /12 dB is 0.3 reached at only 15 microvolts' input. Ultimate stereo qui- 0.2 eting, 43 dB, is reached at 250 microvolts, which is still a fÉ3 rather modest signal level. Tuning is assisted only by asig- gc nal- strength meter. To prevent drift ( which is more diffi- 0.07 cult to compensate for without achannel- center meter, of ÉI 0.05 8-ohm load,< 0.58% to 78.8 watts course) you can switch in the AUTOMAGIC, which disengages - 4-ohm load: < 0.80% to 47.7 watts automatically when the tuning knob is touched and re-en- 0.03 16-ohm load: < 0.14% to 88.6 watts gages upon its release. The signal meter lights up green 0.02 whenever this AFC switch is on; otherwise it is white. Once again, the tone controls are of benefit in improving fre- 0.01 quency response of both stereo and mono FM. QTA 770 (5) Considering the QTA-770 as awhole, one finds that the sections are well matched, with no one part materially out- 1 2 5 10 20 50 100 200 500 1K performing or underperforming the others. When its corn- OUTPUT IN WATTS ucopia of controls and devices is taken into account, its price seems quite modest. It is not asuper- spec job by any standards, and some readers surely would prefer to trade some of the front- panel features for alittle more in the way PREAMP & CONTROL CHARACTERISTICS +5 of pure performance. But without the QTA-770's " extras" the unit would be much less fun to work with. O RIM EQUALIZATION: + 1/12 ,— 3dB. 24 Hz to 16 kHz CIRCLE 145 ON READER- SERVICE CARD —5

+20

+15 Treble boost Midrange boost zc ' + 10 \i ..‘.1 + 5 Bass boost C/3 O ;2, _ 5 Low cut filter - 50 HZ cc —10 Treble cul Bass cut Midrange cut High cut filter -*** Square- wave response —15 — 20 TONE CONTROLS — 25 FILTERS LOUDNESS COMPENSATION (volume control at 3o'clock) era.no (6) 20 50 100 200 500 1K 2K 5K 10K 20K FREQUENCY IN HZ

Hitachi Offers a Monitor- Head Cassette Deck

The Equipment: Hitachi Model D-3500, a stereo cassette deck with monitoring capability, in wood case. Dimen- sions: 16 /34 by 10 /34 ( plus clearance for cables) by 5/12 inches. Price: $ 399.95. Warranty: three years parts and la- bor except on motor, heads, and rubber belts; five years on transistors. Manufacturer: Hitachi, Japan; U.S. distribu- tor: Hitachi Sales Corp. of America, 48-50 34th St., Long Island City, N.Y. 11101.

Comment: Hitachi uses the phrase " three- head system" in much the way that Wollensak has— to indicate the func- tional head complement rather than the number of head housings. There are, in fact, only two in the cassette well of the D-3500: the erase head ( which fits into the tiny open- ing between the left " window" where most erase heads are placed and the center one where the record / play head goes) and arecord and play head that actually is two heads (and sets of headgaps) within a single housing.

72 HIGH FIDELITY M AGAZINE This is an important point in the design, we believe. two small knobs for the same purpose. For the careful Most companies offering monitoring- head units ( Hitachi recordist this, too, is awelcome feature. And note that the included) point to the greater high- frequency response monitor head obviates the cumbersome cut- and- try ad- available with this sort of design as opposed to combina- justment necessary with acombination record/play head. tion record/play heads. Technics, on the other hand, has recommended that its separate cassette play- only head (as offered in the RS-279US, HF test reports, February 1974) be used just for monitoring purposes; its recording Hitachi D-3500 Additional Data head is used for normal playback. Why give up the extra response? For one thing, because of tape skew. Cassette tapes are both thin and narrow. They can easily Speed accuracy 0.5% fast at twist as they wend their way from one head to another, 105, 120, & 127 VAC putting apremium on the way they are supported between Wow and flutter playback: 0.07% heads if the gap- to- tape alignment recorded at one is to be record/play: 0.09% reproduced correctly at the other and hence the full fre- quency range is to be realized with correct phase relation- Rewind time ( C-60 cassette) 83 sec. ships between channels. With a single record/play head the tape may skew, but it tends to skew the same way each Fast- forward time ( same cassette) 75 sec. time it passes the head, reproducing what it records within S/N ratio ( re 0 VU, Dolby off) close tolerances. The Hitachi dual-purpose head, by get- playback L ch: 50 /12 dB R ch: 52 /12 dB ting recording and playback gaps very close together, of- record/play L ch: 50 dB R ch: 51 /12 dB fers something of the best of both designs. The cassette well has one particularly nice touch: A Erasure ( 333 Hz at normal level) 71 dB spring- loaded panel in the near edge swings up for easy ac- cess in cleaning and head- demagnetization. In front of the Crosstalk ( at 333 Hz) record left, play right 35 dB well are the usual control levers, which allow you to go record right, play left 34 dB directly from play (or recording) into afast- wind mode or back and forth between fast- wind modes, but not back to Sensitivity (re DIN 0 VU) play, without first pressing STOP. The latter button also is linè input L ch: 78 mV R ch: 79 mV mike input L ch: 0.58 mV R ch: 0.60 mV the uEc-r. When the transport is in operation, this button will only stop it; when it is stopped, asecond press will eject Meter action ( re DIN 0 VU) the cassette. PLAY and RECORD buttons are side by side. L ch: 3 dB high Rch:3 dB high The transport can be put into the recording mode— acci-

dentally if you're very careless— with asingle finger. There Total harmonic distortion ( at - 10 VU) is automatic shutoff of the transport at the end of the L ch < 1.8%, 50 Hz to 5 kHz tape. R ch < 1.8%, 50 Hz to 5 kHz To the left, in front of the meters, is a series of large pushbuttons. Their settings are hard to " read" at a IM distortion ( record/play - 10 VU) L ch: 3.8% R ch: 3.5% glance, so Hitachi has provided each with a pilot light.

There are buttons for MONITOR ( SOURCE/TAPE), INPUT Maximum output ( re DIN 0 VU) (LINE/MIX, the latter combining line feed with mike inputs L ch: 1.5 V R ch: 1.5 V via their respective sliders), DOLBY, TAPE ( DRO.,/NORMAL), MEMORY (for automatic stop at the counter's 000 setting in rewind), and METER action ( PEAK /averaging VU). The latter option is welcome. Frankly, we prefer peak- reading me- DIN PLAYBACK RESPONSE ters, but the switch will satisfy users on both sides of this (Ode = - 20 1A1) ideological fence. The tape switching can be overridden by +5 an automatic chrome sensor in the tape well; if it finds the o chrome keyway ( a little well next to the recording tab), it —5 will switch the deck to CHROME even if you have it manually Left channel: + 2, - 2/12 dB, 31.5 Hz to 10 kHz Right channel: + 3. - 1/12 dB, 31.5 Hz to 10 kHz switched to NORMAL—which, of course, is the ferric bias/ equalization position. RECORD/PLAYBACK RESPONSE In front of these switches are three pairs ( one per chan- (0 dB = — 20 WO nel) of sliders for controlling level in the mic / DIN input, the

LINE input, and the output. LINE IN and LINE OUT connec- BASF CHROMIUM DIOXIDE TAPE, DOLBY OFF tions are pin- jack pairs on the back panel; on the same Lett channel: + 2/12 , — 3dI3, 22 Hz to 13 kHz panel are the DIN input/output socket and an on/off Right channel: + 2, — 3dB, 30 Hz to 16.5 kHz pushbutton for the output ( killing it to prevent feedback when you are recording with mikes). The mike inputs are phone jacks in arecessed panel at the front of the deck. If HITACHI UD TAPE. DOLBY OFF Lett channel: + 1/12 , — 3dB. 37 Hz to 13.5 kHz you insert a mike plug into the left- channel jack only, it Right channel: + 234, — 3dB, 37 Hz to 15 kHz feeds both channels; adding one in the right- channel jack +5 automatically converts to stereo. This is a useful wiring o scheme that, while not unique, is less common than we —5 HITACHI UD TAPE. DOLBY ON would either like or expect. left channel: + 2/12 , — 3dB, 41 Hz to 12 kHz To the left of these jacks are an MPX (filter) on/off but- Right channel: + 4, — 3dB, 40 Hz to 13 kHz ton ( to prevent the FM pilot from upsetting Dolby behav- D-3500 ( 1) ior), a spring- loaded TEST button ( an oscillator for use in 20 50 100 200 500 1K 2K 5K 10K 20K adjusting Dolby levels to the sensitivity of your tape), and FREQUENCY IN HZ

JANUARY 1976 73 In measuring the unit, CBS used UD tape supplied by Hi- this. And a minor inconvenience: a latch on the cassette- tachi as the ferric, BASF Chromdioxid as the chrome. The well lid that seats poorly on our sample, causing wear and response curves do not extend as high as those of some an increasing tendency to pop open or not to latch at all. (very expensive) monitor- head cassette decks; they re- Both malfunctions could easily be prevented by minor re- semble, rather, those we might expect in a $ 400 deck with design, and Hitachi— to whose attention we brought acombination head. The curves made with UD have arise them— says it plans to do so for the first full-scale produc- toward the high end, suggesting underbiasing. And when tion run, which had not begun when our tests were con- we tried the deck with atape requiring slightly lower bias ducted. The deck basically is far too good to be compro- (Memorex MRX,) we found an excellent match between mised by such details.) source and recorded sound. That is, we could hear no loss Overall, the deck offers aheck of alot for $400. We par- of highs attributable to the high- end rolloff ( nor would we ticularly like its ability to monitor the quality of recordings really expect to), and we could hear an improvement by right off the tapes while you're making them. The accessi- comparison with the slight treble emphasis with UD. The bility of the Dolby adjustments and the availability of peak sound is, in fact, excellent. metering also are important points for serious recordists, So is motional stability: As the lab data show, there is no as are the mixing feature and the simplicity of using a change in speed with varied line voltage and very low wow single mono mike ( particularly when mixing its output with and flutter. This speaks of good mechanical design in the stereo on the line feed). Dual ferric tape switching, to pro- drive system. ( Our only real complaint was occasioned by vide acloser match to the " hotter" tapes like UD as well as the automatic bias/equalization microswitch. On our a good match to the Memorex and similar formulations, sample, it has excessive clearance and consequently might have been nice. But even without it the D-3500 is an switches to CHROME when it should stay in NORMAL. We unusually versatile and useful deck. would rather see the automatic feature omitted than risk CIRCLE 148 ON READER-SERVICE CARD

SAE's Glamorous Mk. VI- B Tuner

The Equipment: SAE Mk. VI- B, astereo FM tuner with digi- flank and acluster of four small plastic knobs ( to control tal readout. Dimensions: 17 by 53/4 inches ( front panel); position, brightness, and focus of the oscilloscope display) 10 /12 inches deep plus allowance for controls and connec- to the left. When the power is first turned on the digital tions. Price: $ 1,250; optional Model WC- 1wood case, $ 44. readout lights up almost magically ( because it is virtually Warranty: 90 days parts and labor; free five-year service invisible with the power off) in the center of the window. contract. Manufacturer: Scientific Audio Electronics, Inc., This is followed in afew seconds by ascope display at the P.O. Box 60271, Terminal Annex, Los Angeles, Calif. extreme left of the window. 90060. Just to the right of the digit display ( which, reflecting FCC channel assignments, shows only odd numbers after Comment: This is SAE's supertuner, and we originally had the decimal point) there are red and yellow lights stacked planned to include it in last month's multimodel roundup. vertically— red for stereo reception, yellow for mono. The vagaries of transcontinental carriers prevented that, Across the lower part of the panel are more knobs and but the unit should be understood in that context. As we pushbutton switches, plus astereo phone jack for output said of other models at that time, it is so good that compar- to a tape recorder. The first knob on the left (SELECTOR) ative criticisms are, to aconsiderable extent, aquestion of chooses among mono, AUTO, and STEREO; the second (DIS- nit-picking. PLAY) switches the oscilloscope among FM, AUDIO, and EX- The front panel of the SAE Mk. VI- B, with its gold ano- TERNAL. The first pushbutton, marked EXTERNAL, controls dized surface and knobs, is impressive indeed. The upper the sensitivity (HIGH or Low) of those inputs to the scope. section is dominated by along, rectangular smoked plastic The next, the POWER switch, turns the unit on or off, and window that embraces alarge tuning knob toward its right the last is MUTING ( ON/OFF). The next knob is a contin-

74 HIGH FIDELITY M AGAZINE uously variable muting- threshold control; the last is afive- leaves the knob, the scope automatically reverts to audio position stepped audio- output level control designed for display. Other nice touches include the heavier spring load 6- dB differences between adjoining steps. on the POWER button ( which helps you avoid turning the In contrast to the front panel, the back panel is stark in unit off by mistake) and the fact that the scope trace dims its simplicity, containing screw- knob inputs for bared or when it is stationary for more than an instant ( to avoid spade- lug 300- ohm and 75- ohm antennas, two stereo burning the phosphor screen). output pin- jack pairs ( one of which bypasses the front- The astounding alternate- channel selectivity figure ( bet- panel output level control), input pin jacks ( the external os- ter than 120 dB) measured by the CBS lab is the best we cilloscope input), and adetector output jack ( to allow use have seen. It suggests that tuning might also be exception- of an adapter if and when afour- channel broadcast stand- ally easy with stations on adjacent channels, but in prac- ard is approved). Further to the right are afuse and the AC tice this is not the case. Other tuners we have tested do as line cord. well or better in this respect- though adjacent- channel Tuning is continuous and by means of a knob; only the spacings are encountered less often than alternate- chan- channel readout is digital. In this respect, the Mk. VI- B nel in today's typical ( i.e., urban or suburban) life style. compares with such tuners as the Sequerra Model 1, Mono quieting reaches a very good 54 /12 dB at only 15 rather than models that ( like the Heath AF- 151 0A) use es- microvolts' input, but the best attained by our sample at sentially digital frequency- synthesis techniques for the any signal level is 56 dB. Stereo quieting reaches a highly tuning itself. The readout does not indicate accuracy of respectable 55 dB, but that performance level requires tuning; the scope display is meant to do this- as well as to 1,000 microvolts or more at the antenna terminals. Fre- identify multipath and to indicate signal strength and quency response is superb in mono but falls off slightly at modulation level. the top end in stereo, reaching - 3dB at 15 kHz. The unit We didn't find this tuning scope as easy to use as some measures- and listens- well in terms of both channel sep- we've worked with. however. In our sample the tuning dis- aration and distortion. play is offset somewhat to the right in relation to the audio We must repeat that our reservations about the Mk. VI- B displays ( the Lissajous or X-Y display of left and right chan- must be understood in the light of exacting comparisons nel program content- which is aparticularly useful feature among supertuners. It is a fine unit and an exceptionally of any scope- equipped unit). Consequently, when the dis- handsome one. play is centered according to the manual's instructions CIRCLE 142 ON READER-SERVICE CARD (using the external- audio mode with no input to get asta- tionary trace) the tuning display does not line up with the calibration marks. This makes tuning of a station whose modulation level is low at the moment of tuning rather SAE Mk. VI -B Additional Data problematical. Though our tuning expertise in this situ- ation improved with familiarity, it did not equal that pos- sible with achannel- center meter. But the scope does yield much more information ( peculiarities of r'nultipath, station Capture ratio 2.0 dB modulation levels, and so on- to say nothing of the audio display) than meters, so the comparison is not entirely apt. Alternate- channel selectivity > 120 dB There is one particularly intriguing operating feature: a S/N ratio 70 dB capacitance switch that flips the scope display from AUDIO (if the DISPLAY selector is set there) to FM ( that is, the tun- THD Mono L ch R ch ing-multipath display) when the tuning knob is touched, 80 Hz 0.11% 0.21% 0.18% thus saving a step in tuning. A moment after your hand 1 kHz 0.11% 0.11% 0.11% 10 kHz 0.29% 1.0% 1.2%

IM distortion 0.27%

19- kHz pilot -65 /12 dB +5 MONO FM RESPONSE o 38- kHz subcarrier - 69 dB +0, — /34 dB, 20 Hz to 15 kHz -5

+5 STEREO FM RESPONSE

—10O FM SENSITIVITY & QUIETING CHARACTERISTCS 03 - 5 Lett channel: + 0, — 3dB, 20 Hz to 15 kHz MONO SENSITIVITY STEREO THRESHOLD •=. Right channel: + /14 , — 3dB, 20 Hz to 15 kHz r_ - 10 (tor 30 dB quieting) (for 30 dB quieting) 1.6 ov at 90 MHz 3.0 ov at 90 MHz ix u) - 15 -20 1.6 ov at 98 MHz 3.0 11V at 98 MHz cr, • \ 1.6 p (mono) 1.8 pv at 106 MHz 3.0 p.v at 106 MHz a- -20 .8 - 30 ce - 25 3.0 pv (stereo) -30 I / a• - 40 -35 -- = --4o STEREO SEPARATION . _ 50 , ...0 , ------... _ ------45 ------I- Left channel: > 40 dB, 70 Hz to 5.1 kHz; > 35 dB, 20 Hz to 8.4 kHz 0 1- - 60 Right channel, > 40 dB, 84 Hz to 8.8 kHz; > 35 dB, 20 Hz to 9kHz VI- B (2) Vi .B (I) 20 50 100 200 500 1K 2K 5K 10K 20K 1 10 100 1K 10 K 100 K FREQUENCY IN HZ RF INPUT IN MICROVOLTS

75 JANUARY 1976 Is an Orchestrated Art of Fugue Legitimate?

Neville Marriner

Neville Marriner's new Philips recording is delightful to listen to, but how much does it have to do with Bach's musical intentions?

by Paul Henry Lang

PHILIPS' NEW Art of Fugue is an excellent recording: for what instrument or instruments it was intended. The instrumentalists are able and responsible, the However, this work calls for very special considera- ensemble is tidy, and the sound is very good. Yet one tions. wonders whether what they play so well is artisti- In the baroque era, afew distinguished composers, cally legitimate. arrived at the height of their profession, were moti- It is well known that throughout the baroque era vated to summarize their knowledge and experience the practice of making transcriptions and arrange- in awork they called aKunstbuch. The Art of Fugue ments was part of everyday musical life; Bach him- is such a summa of all instrumental contrapuntal self employed it frequently, and at times in surpris- techniques known to Bach. A Kunstbuch (literally ingly disparate media. Thus Neville Marriner and "art book," but the term cannot be properly trans- Andrew Davis can claim innumerable precedents for lated) not only was apersonal monument, but also their arrangement of The Art of Fugue. They can served didactic purposes; accordingly, while The Art also invoke the fact that nowhere did Bach indicate of Fugue explores the limits of tonal polyphony, it is

76 HIGH FIDELITY MAGAZINE also a deliberate demonstration of contrapuntal tation" expressed in this anthology, but surely we techniques, afugue tutor. are dealing here with avery special kind of expres- First of all, we must dismiss the still prevalent idea siveness, quite different from the warm outpouring thattügue is a " form" and that it is " strict," following we so often find in Bach's other works. Expression, rigid principles of construction, for these notions the conveying of emotional exaltation, is directed at were born in the minds of nineteenth-century theo- something; it is, to quote Rousseau, " the language of reticians like Ebenezer Prout who actually warned the heart"—i.e., egopsychic projection. But this music their students to stay away from Bach's fugues be- is largely self- motivated. It is nonreferential, without cause they are not correctly written and allow too any programmatic or poetic impulse— nothing comes many exceptions. Actually, the fugue fulfills itself in from without. In away, it is severe self-discipline, al- afreely developing texture; the strictness is neither most asacrifice, because to aconsiderable degree the in the heeding of some imaginary rules nor in the ob- composer shuts out his personal feelings. To be sure, servance of aspecific external form, but in the logical modulation, chromaticism, the minor mode itself do and imaginative deployment of its musical sub- have affective connotations in the sense we are ac- stance. Fugal writing was the essential mode of customed to them, but what gives these fugues and Bach's and of other baroque composers' musical canons their unique " expressiveness" is their pro- thinking. It informed most of their music— even their genitive contrapuntal intensity, the ever new combi- arias and ritornels could be " fugues." Thus the fugue nations, the magnificent linear design. was neither aform nor atype. As a matter of fact, The arrangers of this version, using an ensemble Bach calls the fugues in this work simply " counter- consisting of strings, two oboes, English horn, and points" (" Contrapunctus" 1, 2, and so forth). bassoon, added a dimension and a gratuitous opu- The Art of Fugue ( 1749) reverts to an age already lence not at all envisaged by Bach. The claim that vanishing, when the mastery of canon and fugue was "texture and structure are revealed in [ their] score the emblem of professional rank and standing among with particular clarity" and that the orchestrators musicians. It is the supreme study of contrapuntal "produced enough variety to avoid any semblance of procedure based on tonal harmony, the unsurpassed monotony" by alternating various sonorities must be peak of the musica combinatoria. The devices Bach disputed. On the contrary, by calling on color, and uses are mind- boggling. There are fugues with one, injecting the inevitable dynamic and expressive with two, with three subjects and afinal unfinished shadings without which neither strings nor wood- and possibly projected quadruple fugue; a counter- winds can play, they dulcify and dramatize and fugue in which the answering voice- part is the inver- therefore siphon away attention from the magical sion of the first voice; all manner of canons— straight, linear unfolding of the counterpoint. The baroque inverted, cancrizans (backward motion), and mirror composer did not orchestrate in the manner Messrs. canons; and so forth. And when several of these de- Marriner and Davis do with their little orchestra. vices are combined and are, in addition, augmented Furthermore, it was amistake to sandwich organ or diminished in rhythmic values, the resultant pol- and harpsichord, with their unencumbered render- yphonic web defies the imagination. Indeed, agood ing of the part-writing, between the orchestrated deal of this music is addressed to the eye as well as to numbers, which create a totally different aural at- the ear, because certain forms of imitation, like the mosphere. Concerning the avoidance of " monotony" cancrizans, are difficult if not impossible to hear as (which must be the reason why there are so many or- such without the visual aid of the score. Incidentally, chestrated versions of The Art of Fugue), this should the chorale prelude usually tacked to the end of The not be an issue at all. No attentive listener could take in an integral performance of The Art of Fugue even Art of Fugue does not belong there and is not re- corded here. with the fanciest orchestration without soon relax- This Kunstbuch was not intended to be listened to ing his alertness. One simply cannot concentrate be- in one sitting; these fugues and canons must be stud- yond four or five of the fugues, and surely this work ied, one by one, and only long familiarity with them is not suitable for mere hedonistic listening. This is will enable us to comprehend their unparalleled pol- not one work, but acompendium, acollection of con- yphonic architecture. Finally, we must realize that trapuntal essays to be studied and savored, an this music also embodies asymbolism that 'goes be- anthology to be sampled in small doses. Listen to two yond the musical substance. or three fugues, score in hand, and repeat each sev- As mentioned above, Bach did not stipulate any eral times; then next day proceed to another batch. particular instrument for this score, but there can be Though everyone plays well in this performance, I no question that it was composed for the keyboard. must single out Andrew Davis and Christopher Hog- Good part-writing always takes into consideration wood at the harpsichord(s) and/or organ. They are idiomatic requirements, as Glenn Gould's recording impeccably stylish and sure- fingered, and take the of the first half of this work on the organ (Columbia fast movements with impressive clarity. Also their MS 6338) confirms. Also, by far the most satisfactory embellishments are judicious and discreet, em- performances in the new Philips recording are those ployed only where they are really needed, and the or- using the harpsichord and the organ by themselves; gan registration is tasteful. almost half of the work is played on claviers— then why not all of it? BACH: The Art of Fugue, S. 1080 ( ed. Marriner and Davis). There are weighty reasons why either the harpsi- Andrew Davis and Christopher Hogwood, harpsichord and or- chord or the organ is preferable to any orchestration. gan; Academy of St. Martin- in-the- Fields, Neville Marriner, The notes speak of a " great degree of emotional exal- cond. PHILIPS 6747172; $ 13.96 (two discs, manual sequence).

77 JANUARY 1976 by Patrick J. Smith

Il Prigioniero: Opera as Mind Projection Despite imperfections, London's premiere recording offers a powerful example of Luigi Dallapiccola's personal brand of pessimistic humanism. Luigi Dallapiccola ( 1904-1975)

LUIGI DALLAPICCOLA'S two one- act operas, Volo di themselves to the use of the music), so that aquestion flotte (1940) and Il Prigioniero (written 1944-48; pre- mark is ever present, even after the end- in- death. miere, 1950), remain grievously underperformed The story itself is briefly told: The prisoner's works. To me, they are two of the strongest operas of mother acts as prologue, leading us through her an- the past several decades, not least because they are guish and anxiety to the dungeon in which her son works very much of this time. Volo di flotte is taken has been imprisoned and tortured by the Inquisition. from Saint Exupéry's Vol de nuit, about flying the Dallapiccola employs an off-stage chorus, chanting mail in South America in the Twenties; Il Prigioniero church litanies, as the immanent reminder of the is about apolitical prisoner. Although the latter's set- Church's power. He likewise uses the Jailer much as ting is the Spain of the Inquisition and King Philip, T. S. Eliot used the tempters in his play Murder in the and although it talks of the revolt in Flanders, the op- Cathedral. This man, who calls the prisoner his era is worlds apart from the grand- opera treatment "brother" (" fratello"—a key word in the score), gives of Verdi's Don Carlos and is wholly contemporary in the poor man hope by telling him of the Flemish re- spirit. volt against Philip, which will bring him freedom. The strength of both scores, moreover, lies in good The prisoner, desperate, responds, rising out of his measure in the fact that Dallapiccola himself fash- lethargy, and begins to grope his way out of the end- ioned the librettos and that the music and the libretto less dungeon. Eventually he finds himself in the go beyond the mere re-creation of astory to reflect spring air, under astarry sky. In amoment of ecstatic his own mind, his attitudes, and, most important, his transport he thinks he has escaped— but precisely humanistic philosophy. then the chorus intervenes, signaling his doom. The The operas have suffered because of this identity Grand Inquisitor appears (sung by the same person of composer and work— that is, both are perhaps who has been the Jailer), calling the prisoner short on stage- conscious " drama" and can be consid- "brother." The prisoner realizes that he has been ered static. I, however, find ample " drama" in both tricked into hope and allows himself to be led unpro- works and feel that this philosophic projection is the testing to the auto-da-fè, mumbling " la libertà." source of their lasting value. The kind of mono- On the face of it, bleak. Yet not so, as Dallapiccola drama, or externalization of interior processes, that himself is at pains to make clear in his notes (con- Il Prigioniero (and, to alesser extent, Volo di flotte) tained in the recording), for even though hope, the represents grew out of Tristan und Isolde and can be "ultimate deception," has been used to accentuate evidenced most clearly in the stage works of Arnold the prisoner's agony, it has led to his temporary res- Schoenberg, especially Erwartung. Though it is true toration to energy and life, to hearing of an attempt that Il Prigioniero employs more than one character to gain freedom (he never knows that the revolt on-stage, its entire focus is on the prisoner, and his failed), and to his own attempt. And thus the impor- almost total lack of stage interaction with the others tance of the final " la liberte —so different from that leads one inevitably to view the whole of the work as sung by Don Giovanni! Not for the prisoner (except afantasy taking place in the prisoner's mind—amind in the large sense of release from pain), yet there are driven to the brink through deprivation and torture. in his actions apromise to others and an evidence of It is as if Florestan's scena at the beginning of Act H man's continuing will to break free ( and thus, so like of Fidelio were to become the opera itself. Don Giovanni after all). We have here a conscious Il Prigioniero is— understandably, given the time of avoidance of the nihilism of so many contemporary its composition (and its gestation goes back to 1939)— writers and playwrights. the most pessimistic of Dallapiccola's stage works, It must be added that this reading is influenced yet it is not unredeemably bleak. The composer in- through knowledge of Dallapiccola's works, in tends alarge measure of ambiguity in his telling of which this very theme— that of man continuing, de- the story ( an ambiguity that extends from the words spite, in spite— is central. In Volo di none it is evi-

78 HIGH FIDELITY MAGAZINE denced both in the scene (one of the most powerful in One must congratulate London Records and Antal contemporary opera) where we hear the report of the Dorati for putting this very important work onto rec- doomed pilot, lost in astorm, his gas tank empty, us- ords ( at last). By and large it is an effective perform- ing the last drops to rise above the buffeting clouds ance and makes agood case for the merits of the op- and wind to see the stars a final time, and, most era. Maurizio Mazzieri conveys the emotions of the directly, in the final scene in which the anguished title character with force and clarity. Yet Ifeel that plane- dispatcher Rivière (himself an ex- pilot) orders Dorati and his singers have overemphasized the the flights to go on, without interruption, because harshness of the score at the direct loss of the lyric. they must. Similarly, the final scene of his last opera, There is all too much disjunct, mezzo forte ham- Ulisse, is not the reunion with Penelope, but the Eter- mering at the notes, particularly from Giulia Barrera nal Wanderer back on the sea, under a starry sky, as the Mother, as if " this is how one sings this type of questing still. music." But if you sacrifice phrasing and shading and Dallapiccola's music is cohesively intertwined the countless examples of soft singing required by with his story. Much was once made of the fact that Il the score, the performance tends to monotony. I Prigioniero employs " rows" in the Schoenberg man- would also prefer aless overtly " oratorio" approach, ner. Dallapiccola was an admirer of Schoenberg's with the singers a little farther from the micro- music and studied with Berg. He uses organizational phones, to give agreater sense of the stage ( and of the techniques of the latter, derived from Wozzeck, in interrelation of voice and instrument). the opera. But the influences remain only technical, The gravest miscalculation, though, is made with for Dallapiccola's music is wholly personal. Al- the final choral entry (which " awakens" the prisoner though there is of course a good measure of harsh from his rosy dream). Dallapiccola specifies that this and brutal music, as befits the subject, there is acon- entry must be " formidable: Every spectator must be stant emphasis on cantilena throughout. Texture is literally bowled over and submerged in the immen- to the fore— aspare and subtle use of his large orches- sity of the sound." In order to achieve this, he di- tra allied with asure sense of vocal writing. Dallapic- rected that loudspeakers be used— quite unusual for cola everywhere wishes to bring out the flexible ex- its time. One can imagine what a John Culshaw pressiveness of the music, not only through constant would have devised—entirely consistent with the attention to phrasing, but through dynamic changes, composer's intentions— for the phonograph at this shadings between song and speech, and orchestral culminating point, but Dorati and the record pro- coloristic effects. It is abit simplistic to call this " Ital- ducer here have settled for just another if entry, and ian" or to set it up as the Mediterranean answer to thus most of the punch is lost. Schoenberg (much as Nietzsche set up Bizet against Nonetheless, this is a recording worth having in Wagner), but there is no doubt that this strong lyric your library. Let us hope that soon Volo di flotte will influence serves to soften the contours of the opera join it there. and that this in turn deepens and enriches the work. The rows themselves, when broken down, are seen to DALLAPICCOLA: II Prigioniero. be very close to diatonic chord patterns and progres- The PrIsoner Maurizio Mazzieri ( bs) sions, and although there is no " key center" Dallapic- The Mother Giulia Barrera ( s) The Jailer; The Grand Inquisitor Romano Emili ( t) cola's reliance on intervals that imply a yearning Two Priests Gabor CareIli ( t), Ray Harrell (11) toward acentral note of repose provides the musical- University of Maryland Chorus; National Symphony Orchestra, emotional equivalent to the yearnings contained in Antal Dorati, cond. [ James Mallinson, prod.] LONDON OSA the story. 1166, $6.98.

A Remarkable New New-Music Group

Boston Musica Viva debuts with two Delos discs that rank " among the finest expositions of modern (mostly) American music on records."

by Alfred Frankenstein

BOST ON MUSICA VIVA, a remarkable ensemble de- The Two Movements for Chamber Orchestra by voted to the performance of contemporary music, the late Ruth Crawford Seeger were composed in very ably led by Richard Pittman of the New Eng- 1926, when the music of Ives, by which they were land Conservatory, makes its discographic bow with strongly influenced, was the property only of asecret a pair of records— one given over to four works by cult. Miss Crawford (she did not marry Charles See- three women, the other containing six pieces by five ger until 1931) was close to Henry Cowell, who had men. published afew pieces by Ives in his New Music Edi-

JANUARY 1976 79 Mario Davidovsky

Ruth Crawford Seeger

tion and had access to much more in manuscript; it was through her that Ifirst came in contact with Ives and his world. The two pieces, one slow and one fast, are Ivesian in their thoroughgoing polytonality. They are un- Ivesian in that the tonality in each line of the disso- nant web is completely perceptible. The slightly folksy thematic material is also in the Ives tradition. The whole work stands up; it is beautifully made and admirably expressive, and it has been given asuperb performance. On the same side of the record is adully academic Luciano Berio chamber concerto by Thea Musgrave, a modernist kind of academia that seems to me lifeless and records ( Schwann lists four other current versions of uninteresting. The second side is given over to two this short trio for violin, clarinet, and piano), serves a works by areal find, the Boston composer Joyce Me- rather surprising purpose here. In this context, it keel. Planh (Provencal for plaint), alament for solo sounds as traditional as Beethoven ( and as mighty in violin, is played with somewhat acid tone by Nancy musical creativity), and it provides aspot of contrast Cirillo and is easily skippable. But Corridors of to the modernisms with which it is surrounded. Dream, which follows, is a masterpiece. Luciano Berio is represented by 0 King, alament Corridors of Dream is akind of cantata for mezzo for Martin Luther King using only the vowels of his (Jan Curtis) and small orchestra based on texts by name in asoprano voice (Elsa Charlston) supported four different German poets, some of them sung in in unison by instruments varying the monotony with German, some in English. Miss Mekeel uses an in- their different timbres and special effects— mutes, credible variety of vocal effects in the course of this ponticello, flutter tongue, and so on. A marvelous work, including Schoenbergian Sprechstimme and piece, one of Berio's finest. declamation in the manner of the Japanese Noh Mario Davidovsky's Synchronisms No. 3 for solo drama. Furthermore the soloist is not the only one cello (Jay Humeston) and tape is an utterly absorbing who utters vocal sounds; she is assisted at times by study in color, rhythm, and musical space. Unfortu- the conductor and the flutist— the latter singing nately it is only four and ahalf minutes long. Donald through his flute, and that you have to hear. The or- Harris' Ludus II ends the set rather lamely, to my chestra is handled as a blazing tissue of color. The taste, in another example of academic modernism. whole thing is one of the most dramatic American But the vividness of all the rest makes this disc ex- concert pieces of recent years. tremely important. Both of these discs are, in fact, The find on the second record is Joseph Schwant- among the finest expositions of modern American ner, who is new and very good. [Schwantner's (and other) music on records. Modus Cae testis, on Composers Recordings SD 340, made a strong impression last month on Royal S. BOSTON MUSICA VIVA: Twentieth-Century Chamber Works. Brown.] His two pieces here, Consortium and In Boston Musica Viva, Richard Pittman, dir. [ Amelia Haygood, Aeternam, are brilliant, vigorous, and commanding. prod.] DELOS DEL 25405 and 25406, $6.98 each. They are gut-breakingly difficult virtuoso pieces or- DEL 25405: CRAWFORD SelOAR: Two Movements for Chamber Orchestra. M- IMI.: Planh; Corridors of Dream Must:man: Concerto. dered by arobust and inventive mind. DEL 25406: Beam 0 King DAVIDOVSKY: Synchronisms No. 3. D.144imia: Ludus Ives's good old Largo, which everybody plays and II. liras: Largo. Sorwarrnien: Consortium; in Aeternam.

80 HIGH FIDELITY MAGAZINE reviewed by ROYAL S. BROWN ABRAM CHIPM AN R. D. DARRELL PETER G. DAVI S SHIRLEY FLEMING ALFRED FRANKENSTEIN KENNETH FURIE CLIFFORD F. GILMORE HARRIS GOLDSMITH DAVID HAMILTON DALE S.HARRIS PHILIP HART PAUL HENRY LAN G

ROBERT LONG ROBERT C.MAR SH ROBERT P. MORGAN CONRAD L. OSBORNE ANDREW PORTER H. C. ROBBIN S LANDON JOHN ROCKWELL PATRICK J.SMITH Nathan Milstein —the Bach sonatas and partitas colossally done. SUSA N THIEMANN SOMMER

AuBER: Marco Spada. London Symphony for Victor Gsovsky's Grand Pas Classique, phistication characteristic of Milstein and Orchestra, Richard Bonynge, cond. [ Michael currently in the repertoire of the American paralleled, in my opinion, only by Henryk Woolcock, prod.] LONDON CS 6923, $ 6.98. Ballet Theater, is derived from Marco Szeryng. The new performances are even Spada.) better than the old, having shed, like un- Marco Spada is another in the long line of Bonynge, at his best in nineteenth-cen- wanted fat, the occasional juicy porta - mid- nineteenth-century ballets that, impor- tury ballet music, obtains a spirited per- mento and having grown just perceptibly tant in their time, have long since vanished formance from the excellent London Sym- more cohesive and tighter in line. The cohe- from the scene, leaving behind merely a phony. Good, spacious recorded sound, siveness has nothing to do with tempo—the name and a shadowy reputation. By res- though each side contains more than thirty Preludio of Partita No. 3, for example, is a cuing the scores of works like this from minutes of music. bit slower in the new version than the old, oblivion, Richard Bonynge has enriched One puzzling detail about this issue: The but it breathes more, and the faultlessly ter- our knowledge of ballet history, while at jacket shows, without any identification, raced dynamics keep every phrase pre- the same time restoring to currency alot of Lucille Grahn and Jules Perrot in a scene cisely in place. In his handling of dynamics unpretentious, delightful music. from the latter's ballet Catarina, produced alone, Milstein reaches what must be anew Marco Spada, athree- act work produced in London in 1846, with music by Cesare plateau in this literature. (The Allemande in 1857 at the Paris Opéra, is remembered Pugni. To my knowledge, the only thing it of Partita No. 2is another case in point, but today chiefly because with it Joseph Mazi- has in common with Marco Spada is that there are many.) lier, the choreographer, provided a show- both ballets feature abandit. D.S.H. In considering any version of the sonatas case for two distinguished ballerinas, Caro- and partitas one is always reminded that lina Rosati and Amalia Ferraris— the former the faster movements present one set of an expressive actress, the latter a brilliant BACH: Art of Fugue. For a feature review, performance problems and the slow move- technician. The complicated story deals see page 76. ments quite another. In the doubles, al- with the difficulties in the path of true love legros, preludes, and even the Gigue of Par- and the part played by Marco Spada, aban- tita No. 2— all those movements that run along in unceasing eighth- and sixteenth- dit chief, in smoothing them out. BACH: Sonatas and Partitas for Solo Violin note patterns—any artist of stature is able Though Auber had composed an opéra- (6), S. 1001 -6. Nathan Milstein, violin. [Wer- to lean with the right amount of stress on comique on the same subject five years be- ner Mayer, prod.] DEUTSC HE GRAMMOPHON fore, his score for the ballet is apastiche de- 2709 047, $23.94 (three discs, manual se- the pivotal note of the phrase without breaking the pulse or distorting the written rived from several of his own works. It is quence). time value too severely. ( Szeryng achieves unfortunate that no act- by- act synopsis has Sonatas: No. 1, in G minor, S. 1001; No. 2, in A minor, S. been provided with the recording. Listeners 1003; No. 3, in C, S. 1005. Partitas: No. 1, in Bminor, S. this emphasis more by accent than by 1002; No. 2, in D minor, S. 1004; No. 3, in E. S. 1006. who don't own Cyril Beaumont's Complete rhythmic stress; Milstein achieves it by Comparisons: Book of Ballets will have ahard time relat- Szeryng Odys. 32 36 0013; DG 2709 028 ing the music to the scanty story given in Novotny Supr. 111 1101/3 Ivor Guest's liner notes, though there are Explanation of symbols some self-evident pointers— like the allu- In aJuly 1974 M USICAL AMERICA interview sion to Marco Spada's profession by means Nathan Milstein talked about recording the Classical of an arrangement for trumpet of "Voyez Bach solo sonatas and partitas for the sec- Bi Budget sur cette roche" from Fra Diavolo. ond time, in his seventies: " Ilast recorded Historical Auber's music is lively and varied in them twenty years ago. This time Imust [HI make them as good as Ican. Iwill never do Reissue mood. Both the tunes, which are plentiful [RI and often irresistible, and the orches- them again." He has done them colossally. Recorded tape: tration, which is wonderfully deft, betray They were wonderful the first time: • • Open Reel the unmistakable influence of Rossini. At brilliantly lucid, warm, and musically pen- the same time, one can see what Offenbach etrating. They always stood, among the .•• 8-Track Cartridge took by way of vivacity, wit, and clarity gathering throng of fresh versions by various «5 Cassette from French opéra-comique. (Balletomanes artists, as pillars of sanity and good taste, might be interested to learn that the music and they were marked by that sheen of so-

81 JANU ARY 1976 ADVERTISING INDEX Key No. Page No. ADS.Analog & Digital Systems, Inc. 98 Akai America Ltd 23 1 Angel Records 90 Audio Technica U.S. Inc 14 41 Avid Corp 96 œ Bose Corp. 27 Bozak, Inc 21 2 British Industries 15 The best classical records reviewed in recent months 40 BSR ( USA) Ltd 37 ADAM: Cello Concerto. BARBER: Die Natali. Lou. LS 745, Dec. Classified Ads 108, 109 ASHFORTH: Byzantia. Bossert. ORI. ORS 74164, Oct. 3 Component Discounters 105 4 Crown International 16 BEETHOVEN: Symphony No. 5. C. Kleiber. DG 2530 516, Nov. Biwrwisue: Verses for Ensemble et al. HEAD 7, Nov.

Discwasher, Inc 107 CHERUBINI: Requiem in D minor. Muti. ANG. S37096, Dec. 5 District Sound 99 CHOPIN: Preludes. Arrau. PHI. 6500 622, Oct. Dixie Hi- Fidelity 110 CRUMB: Music for aSummer Evening. NONE. H 71311, Oct. 17 Dual 40 ENESCO, RoussEL: Songs. Marcoulescou. ORI. ORS 75184, Oct. ORFF: Der Mond. Kegel. PHI. 6700 083 ( 2), Nov. 6 Electro-Voice, Inc. 11 Elpa Marketing Industries 93 RACHMANINOFF: Symphony No. 1. Previn. ANO. S 37120, Dec. 7 Empire Scientific Corp 6 RAVEL: Piano Works. Argerich. DG 2530 540, Dec. 8 Empire Scientific Corp 10 ESS, Inc. 8, 9 RAVEL: Trio: Violin- Cello Sonata. J. Laredo et al. CO L. M 33529, Oct. SCHUBERT, SCHUMANN: Songs. Ameling. PHI. 6500 706, Dec.

High Fidelity's Test Reports 26 SCHUMANN: Songs. Fischer-Dieskau. DG 2530 543, Dec. Sienius: Symphonies Nos. 5, 7. Davis. PHI. 6500 959, Dec.

10 Illinois Audio 106 W EILL: Symphonies ( 2). De Waart. PHI. 6500 642, Sept. 11 Infinity Systems, Inc 39 CLASSICAL BOHEMIAN PIANO MUSIC. FirkuSrly. CAN. CE 31086, Oct. 12 International Hi -Fi Distributors 105 19TH- CENTURY AMERICAN BALLROOM MUSIC. NONE. H 71313, Nov. 20TH- CENTURY FLUTE MUSIC. Sollberger. NONE. HB 73028 ( 2), Sept. 25 Jennings Research. Inc Cover IV

13 Kenwood 66 14 King Karol Records 109 15 Koss Corp 57 holding onto the note a hairsbreadth past and sensuousness, he manages to get the its allotted time.) The slow movements and best of both worlds. S.F. the fugues, so incredibly complex in their 16 Lafayette Radio Electronics 89 18 London Records 94 subdivisions of the beat, are something else again. If one wanted to pick aquarrel with BEETHOVEN: King Stephen (incidental mu- Milstein, one might point to the Largo of sic), Op. 117; Choral Works. Ambrosian Op- Marantz Co.. Inc 112, Cover III era Chorus; London Symphony Orchestra, 19 McIntosh Laboratory 22 Sonata No. 3, in which he departs with utter 20 Memorex Corp 7 aplomb quite radically from the time values Michael Tilson Thomas, cond. [ Paul Myers, Midwest Hi- Fi 99 as written, giving to sets of even sixteenths prod.] COLUMBIA M 33509, $ 6.98. Ouadri- Music Listener's Book Service 101 a lilt that makes them sound almost like phonic: MO 33509 ( SO- encoded disc), sets of triplets. Or, in the Adagio of the $7.98. New Times 49-51 same sonata, where the texture suddenly Choral Works: Meeresstille und glückliche Fahrt, Op. 21 Nuclear Product Co. 22 112; Elegiac Song, Op. 118; Opferlied, Op. 121b ( with thins out at measure 34, he allots breathing Lorna Haywood, soprano); Bundeslied, Op. 122. space between phrases that some violinists 22 Onkyo 100 might link more closely. But it is hard to ob- Like most great composers, Beethoven ject strenuously to such small liberties, for wanted to write operas, and the period 24 Phase Linear Corp 97 they are fruits of wisdom and of an 1810-14 is when the Beethoven operas that 26 Pioneer High Fidelity Cover II, 1 enormous and justified self-confidence. The we might have had— Macbeth, Brada- music pulses with life, and only once— in mante, The Ruins of Babylon, Attila, The 27 Radio Shack 26 the Fugue of Sonata No. 3—does Milstein Return of Ulysses, Romulus and Remus— 28 Radio Shack 91 Record Mart 109 seem to me to lose the underlying beat. were considered. This is also the time of the Revox Corp 99 The Chaconne is monumental— less revised Fidelio and of the theater music for 29 RTR Industries 14 silken than Szeryng's and absolutely fire- Egmont, King Stephen, and The Ruins of breathing in such passages as the first sec- . 30 SAE, Inc 24 tion in thirty-second notes. The piece as a Beethoven's flair for theater music is 31 Sansui Electronics Corp 58,59 whole will leave you limp. Ifound myself apparent in the Egmont score, even when 32 Senn heiser Electronics Corp 28 surprised, though I probably shouldn't 33 Sherwood Electronic Laboratories, Inc. 29 the music is detached ( or semidetached) 34 Shure Brothers. Inc. 20 have been, at the amount of passion Mil- from Goethe's play. It is apparent, too, in 42 Sony Corp. of America 34 stein can summon, for all his social graces; King Stephen. We still lack a complete 35 Stanton Magnetics, Inc 2 the old Chaconne showed this aplenty, and recording, but Michael Tilson Thomas 36 Stereo Corp. of America 110 37 Stereotech 5 the new edition hasn't lost asingle volt. gives us more of the music than figured in Superscope. Inc. 33 When Ilast had occasion here to review the Schdrizeler/Turnabout and Oberfrank/ new releases of these sonatas Iwas much Hungaroton discs. His omissions are of No. TDK Electronics 95 impressed with the Supraphon set by Bre- 5, abrief melodrama during which Stephen Teac Corp. of America 60,61 tislav Novotny (March 1975). It is poles seats his bride Gisela on the throne beside Thorens 93 Time- Life Records 17-19 apart from Milstein's: craggy, deliberate, him, and twelve pages of melodrama in No. 38 Toshiba, America 25 granitic. Novotny's severe viewpoint leads 8, before the final chorus. The text of Kot- him to chisel every note out of stone. Some- zebue's King Stephen is so short— it is ace- 17 United Audio Products 40 times, in his austere intellectualism, he lets lebratory tableau with music rather than a along lyric line break up abit in order to do play— that it might perhaps have been pos- Wyeth Press 91 justice to an individual note group within it. sible to include it without running over the Milstein views the whole fabric at longer side ( which, as it is, lasts 23 /12 minutes). 39 Yamaha International Corp. 13 perspective. In his balance of cerebration Even if the speeches between numbers

82 HIGH FIDELITY M AGAZINE At both performances the audience yelled, cheered, whistled, and stamped their feet in appreciation of the experience of listening to music with their eyes. Certainly, in Cross's

expert hands, Prometheus manifested CIEFE Scriabin's now sixty- five- year-old vi- sion, and proved that lights and col- ors accompanying music need not be a distraction but rather what Scria- bin always said, "a complementary and mutual enhancement." Professor James Dixon, a Mitro- poulos disciple, conducted oblig- ingly, and Professor James Avery obediently performed the solo piano part of this concerto-symphony. F.B.

KANSAS CITY

Scriabin in color by the University of Iowa Lyric Theater: Beeson premiere To the authorities' surprise, the steel, B flat = the shine of moonlight, hall which seats 2,300 was jam- etc. Prometheus, written in 1909, was The Kansas City Lyric Theater packed long before curtain time, and the world's first multi- media compo- opened its eighteenth season on Sep- the scant supply of program notes ex- sition. It demands not only colors tember 20 with the world premiere of hausted. Bus loads of students and (which Scriabin specified) but kinetic Jack Beeson's opera, Captain finks of visitors, some coming from as far images and designs, about which the Horse Marines, set to a libretto by away as one hundred miles, contin- Scriabin was vague. Cross, studiously Sheldon Harnick, based on aturn of ued to arrive until the police began to obeying the composer's programmat- the century play of the same name by block off all further traffic. A hopeful ic annotations, made the " gift of fire" Clyde Fitch. Aided by grants from crowd of 1,500 people milled about aball of saturated red which blazed, the National Opera Institute and the outside, until finally the announce- twisted, turned, gnarled, and unrav- Missouri State Council on the Arts, ment came that an unprecedented eled like a skein of astral ectoplasm. the Lyric spared no pains in mount- second performance would be given The long organ point of "yellow" be- ing a good production. Patton later in the night. Word spread came awhirling sun which spun and Campbell designed sets and cos- quickly, the lines grew, and programs ricocheted over the screen. tumes, Jack Eddleman staged and to the first performance were black- marketed at a quarter apiece. Lowell Cross, professor of music and resident genius of electronics at the University, conceived, realized, and operated the " light shows." Set- ting up his elaborate equipment in the balcony—an electronic keyboard to control the colors and a circuitry panel of knobs, mirrors, prisms, scan- ners, and "choppers"— Cross flashed his spectrum of krypton-argon laser beams in giddying patterns on ahuge scrim screen which translucently hid the one hundred- member orchestra on stage. At either side of the screen sat a thirty- two- member chorus robed in white, onto which the play of lights spilled and even, at times, enveloped the walls of the audito- rium, expanding and diminishing with the music's intensity. For the first time outside the U.S.S.R. Scriabin's color scheme was loyally followed: C = red; Fsharp — intense blue; E flat = the glint of Shepherd String Quartet—an auspicious debut

January 1976 MA- 21 each season, but finks is its first pre- miere. There is now a five-week sea- son in its own twelve- thousand-seat former movie house in downtown Kansas City. This season the reper- toire, besidesfinks, consists of The Fly- ing Dutchman, , La Perichole, and La Bohème. Dutchman, and Perichole are revivals from recent seasons; the other two are entirely new productions. J.C.H.

NEW YORK

A.P.A.: " The 200th Year"

Many a stone on the landscape of American musical history will be turned during the Bicentennial cele- Mmes. Wilcox and James in Captain inks: an eclectic score with witty touches bration, and it's reasonable to assume that there will be at least as many worms under some as hidden treas- choreographed the work, and Russell nard pier, with a backdrop view of ures under others. Patterson, the Lyric's general director Welfare Island. Act II opens on a There were both worms and treas- and principal conductor, was in the dark stage, set for rehearsal of Tra- ures at Alice Tully Hall on the eve- pit. The opera was ahit, with the first viata, and alittle opera-within-an-op- ning of September 18. Four members and second of a scheduled five per- era is worked out as the mother of of a group called the American Per- formances sold out. Jinks implores Aurelia to give up her forming Artists, Inc., curiously de- Captain finks deals with the arrival son for the sake of his political career. scribed in the program as " anew or- of opera singer Aurelia Trentoni in Act III is set in a sumptuous recon- ganization ... come together as a New York during the 1870s to make struction of asuite in the old Brevoort result of mutual respect for each her American debut singing the role Hotel, with a little balcony over- other's talent," offered a program of of Violetta in . Jonathan looking the August Belmont man- eighteenth-, nineteenth-, and Jinks, rising young lawyer and man sion. twentieth-century American music about town, makes a bet with his Carol Wilcox was cast in the so- which swung haphazardly from ama- cronies that he can make a successful prano role of Aurelia Trentoni ( born teurism, to charm, to excellence, to pass at the European diva, but falls in Aurelia Johnson in Trenton, N.J.), mediocrity. Most of the mediocrity love with her when he meets her. His and her husband, Robert Owen involved the twentieth-century con- friends will not permit him to cancel Jones, in the tenor role of Jonathan tributions— Ned Rorem's skillful but the bet, so he signs an I.O.U. for the Jinks. Colonel Mapleson was sung by totally unmemorable Alleluia; an ex- amount. The romance between Jinks Eugene Green, bass- baritone, and cerpt from Dominick Argento's opera and Aurelia is going well when Colo- baritone Walter Hook sang Papa ColonelJonathan the Saint, which bowed nel Mapleson, the impresario, and Belliarti. Aurelia's companion, Mrs. low in the direction of Benjamin Brit- Papa Belliarti, her singing coach and Greenborough, was sung by Carolyn ten; and adreadfully routine setting mentor find out about the bet, and James, contralto, and mezzo Karen of seven poems of Edna St. Vincent inform her. She drives her lover Yarmat sang the role of Mrs. Jinks. Millay titled The Amorous Line by Jo- away, scores a triumph in Traviata, All sang and acted creditably. A New seph Frank Pouhe. and in the end is reunited with Jinks York press corps, prominent in Acts I It was a post- intermission relief to when all is explained to her satisfac- and III, was cast in descending order listen to David Amram's Violin So- tion. of voice types, from the Times (an Ir- nata, less for the work itself—which is There are many nice, witty touches ish tenor) to the Clipper (bass). It was in a style if not precisely discredited in Captain finks. The eclectic score an amusing whim. At one point in then certainly dead- ended many abounds in operatic allusions to such Act I, the Sun man asks the Times years ago— than for the elegant per- an extent that designer Patton man: " Harold, how do you spell Khe- formance provided by violinist Guy Campbell called it " A valentine to dive?" ( the notes in German spelling Lumia and pianist Herbert Rogers. opera." With that in mind he devised out S-C-H). No amateurism here; they are both a portal for the proscenium, repro- The Kansas City Lyric Theater first-rate musicians. The same, unfor- ducing lacy paper doily designs, was established in 1957 to present op- tunately, cannot be said for Ira Ni- with names of famous opera compos- era in English as " theater with the colai, asoprano of striking good looks ers running along the borders, and a added dimension of music," played and decent enough voice whose dex- fanciful portrait of Orpheus domi- in repertory. For the last ten years it terity with a fan far outstripped her nating the arch. Act Iis set on a Cu- has presented a contemporary opera ability to project the words she was

MA-22 HIGH FIDELITY / musical america singing. For an evening of American stereotypical programming of Bach to close his concert. These were in a song it was appalling how little of the transcriptions and Spanish tidbits, nationalistic romantic style, some- language was comprehensible. In and kept largely to music of this cen- what more complex technically than four Colonial Love Songs by Francis tury. the Etudes by Mirnone's contempo- Hopkinson ( a signer of the Declara- Easily the evening's revelation was rary, Villa Lobos. They were played tion of Independence) the the first piece—Guido Santorsola's with the polished musicianship charmingly derivative musical style— Suite in Ancient Style—composed in brought to the evening's previous of- alberti basses and the like— came 1945 but published only recently, ferings. In all, afine concert, though through, but not the words. So too for and not heard in this country until not without some dull patches, which Mrs. H. H. A. Beach's Mirage, abrief this evening. Santorsola utilizes the may be due to the limitations of the work for soprano, piano, and violin standard Baroque terminology for instrument itself. That notwithstand- which in its simple, delicate, im- each movement ( Prelude, Menuet, ing, Ishall always remain grateful to pressionistic way emerged as the best Musette, Sarabande, Gigue) and Carlos Barbosa-Lima for his intima- piece on the program. composes some of them—with only a tion— if not proof positive—that Bach A group of popular songs from the faint gloss of later harmonic think- is alive and well and living in South turn of the century (After the Ball is ing—in the manner of Bach. That he America. J.H. Over, 0 Genevieve, etc.) was arelief af- succeeds so gloriously made the piece Ensemble for Early Music: " Roman ter much of the earlier part of the eve- somewhat a hard act for Barbosa- ning. Miss Nicolai, on sure footing, Lima to follow: The performer's own de Fauvel" splendidly supported by pianist Mar- transcription of aHandel Suite in D The Ensemble for Early Music garet Singer, Mr. Lumia, and that came as adistinct anticlimax. fan, managed to suggest at program's In the second half of the program, gave a sparkling theatrical rendition of selections from the Roman de Fauvel, end that it may not be necessary to a Partita by English composer John leave the country after all during the W. Duarte, written in 1974, received a fourteenth-century allegory star- ring a donkey. The musical drama Bicentennial. A.S. its U.S. premiere and offered a more intellectual appeal. All four move- was presented at Hunter Playhouse Carlos Barbosa-Lima, guitar ments employ the same theme, yet on Friday evening October 17. An en- Duarte is adroit enough to avoid mo- thusiastic audience braved bad Given the perennial flood of folk/ notony: the Con bravura first move- weather to fill the house and applaud pop/rock music presently being ment is a virtuoso display piece, the the four-scene social and political sat- churned out for the guitar, it is easy to slow second movement goes off in an ire whose wit and jaunty style have overlook the contributions that classi- impressionistic direction, the Scherzo not lost their effectiveness over six cal composers are making to that in- employs an intriguing staccato dia- and a half centuries. Fauvel, the ge- strument's repertory. Carlos Barbosa- logue between bass and treble strings, nial ass ( played by Doug Day), is in Lima, a young Brazilian currently and some unconventional uses of po- reality the sum of all vices; his name serving as artist- in- residence at Pitts- lyphony turn up in the Finale. spells out falsehood and sham. burgh's Carnegie-Mellon Institute, Barbosa-Lima chose four out of a Crowned emperor by Dame Fortune gave aTully Hall concert on October series of twelve Etudes by the Bra- (Nancy Lee Torchia), he celebrates 18 which significantly broke with the zilian composer Francisco Mignone the triumph of corruption in the church and secular life in a series of tableaus illuminated by mime, masks, and contemporary music. The production, conceived by the

UellS!,43 Ensemble's director Frederick Renz, utilized a simple set, suggesting a laU9;S popular festival, on ashallow, ad hoc medieval stage. A vigorous trans- lation by Frank Diedisheim of the original French provided the text which Joe Marzano declaimed with flair from the side, while Fauvel and Fortune, the chief characters, mimed and moved among the musicians who alternately played or sang and par- ticipated in the action. The splendid masks designed and executed by Ralph Lee were particularly arrest- ing; the double face of Fortune, one side blankly beautiful, the other seamed with the experience of evil, Carlos was unforgettable. Barbosa-lima: U.S. Premieres The music, drawn from an original played Fauvel manuscript, was as diverse as with polish the world it depicted. Chant, simple

MA-23 January 1976 polyphony, and cheerful conductus pealing to the large and friendly au- melodies alternated with elaborately dience, and the performances were stylized motets in the isorhythmic absolutely first rate. Fennimore's mu- style of the Ars Nova and monopho- sic is an amalgam of conservative nic medieval lais. The performers idioms recalling Prokofiev's spunky played with their hearts as well as wit and Poulenc's suavity. Clearly, their heads and hands. Singers Dan French styles of the early twentieth Collins and Nancy Long were out- century are the dominant influences. standing, tossing off the complicated Music like this written today is not rhythmic melismas of the motets as heard in new-music circles. But Fen- though they were casual improvisa- nimore has gone his own way, avoid- tions. Instrumentalists Wendy Gil- ing associations with colleges, univer- lespie, David Hart, and Jean Lamon, sities, or avant-garde cliques. Instead along with Renz, gave spirited sup- he has functioned as asuperb pianist port. S.T.S. and as an organizer of his own con- cert series—" Hear America First"— Joseph Fennimore: new works devoted to American music. The composer seemed always to Joseph Fennimore presented acon- have his audience acutely in mind. cert of his recent music at Carnegie Most entertaining were his Sonata for Recital Hall on October 1. It was an Clarinet and Piano, and Party Songs— impressive evening from several akind of sophisticated salon-cocktail points of view. The pieces were at- music set to Fennimore's own texts. tractive and skillfully wrought, ap- Two short chamber operas each Joseph Fennimore lasting about twenty minutes were the focus of the evening. The com- ing musical mind. Most artists of his poser fashioned his own librettos generation pay homage to Baroque from stories by James Purdy. Eventide or Classical heritage by way of a few was lush and lyrical, and had a cer- standard, mulled works. Not Hors- tain dramatic sweep. Though its sen- zowski. He offered delight to his au- timents seemed Mennotti-ish ( family dience in Giustini di Pistoia's 1732 situation with a dead child some- Suonata VII in G major. (Giustini is where in the background), the work said to have been the first composer was moving without ever being cheap to write for the fortepiano rather than or maudlin. In Don't Call Me By My for the harpsichord.) Horszowski Right Name, a parody of bar styles presented the music with firm, caress- formed the musical background. This ing lines, clean architecture, and technique the composer perhaps owes splendid shading. It is always a.pleas- to The Stronger by Hugo Weisgall, ure ( and agrowingly infrequent one) with whom Fennimore studied at to hear "old" music brought to life Juilliard. But the music here is too with such a mixture of straight- flimsy to last very long. Parody, in forwardness and subtle personal in- fact, seemed to my taste an all- too- volvement. important ingredient throughout the Beethoven's Eroica Variations, Op. evening. 35, are a monumental undertaking If Joseph Fennimore has little technically and probably beyond the "new" to say in terms of style and to- complete grasp of almost any octoge- nal material, he certainly is as skillfull narian executant. There were a few and imaginative as anybody around passages which required more rhyth- today who writes in this well- tried, mic attack and textural clarity than and for its time courageous, musical Horszowski supplied, but his wonder- idiom. B.S. fully alive interpretation nevertheless provided instances of grand clari- Mieczyslaw Horszowski, piano fication. Haunting pianissimos, com- bined with an ability to spin amemo- Mieczyslaw Horszowski made one rable poetic mood, displayed a of his all- too- infrequent solo appear- delicacy and sheer feeling for beauty ances on September 27 at Hunter that exceeded even his own perform- College. The event marked the sev- ances of a decade or more ago. enty-fifth anniversary of the Polish- After intermission, Horszowski in- born musician's concert career, which troduced to his New York audience began at the age of nine in Vienna. Five Bagatelles written in 1968-69 by Horszowski lost no time in making it the Finnish composer Joonas Kokko- Mieczyslaw Horszowski plain that he still has an alive, quest- nen. The pieces are particularly

MA- 24 HIGH FIDELITY / musical america evocative of nature, and two of them—Ayes ( Birds) and Arbores

(Trees)— make the kinship explicit. Landman

Horszowski made the music quiver K. with all sorts of subtle stresses and col- ors. The crescendo in Arbores may have been even more spectacular when I last heard Horszowski per- form the Bagatelles in the more inti- mate auditorium of Curtis Institute in Philadelphia, but all told, my ini- tially favorable impression of Kokko- nen's music (and Horszowski's in- spired playing of it) was heightened by this rehearing. Schubert's poetic G major Sonata, D. 894, and his popular Impromptu in E flat, D. 899 No. 2, got well-nigh ideal expositions. Horszowski's min- ute gradations and elongations of shape (without ever veering to eccent- ricity) produced indescribable muta- tions of mood and color. This was magical, heroic Schubert inter- A setting for The Masque of Clouds—a simpleminded plot? pretation on a par with that heard from Artur Schnabel in past gener- aspirations. Perhaps the gaudy D. 408, the two artists displayed apa- ations. It is unthinkable that such in- adornments of the baroque- era trician sense of line, clean-cut and terpretive art should be allowed to masque would have helped to con- stylistically sagaceous phrasing, and perish: Mr. Horszowski's absence ceal similar musical short-comings. agratifying ensemble spirit. The vio- from the recording studio should be The best work came from the non- linist accompanied as much as the pi- terminated at once. H.G. vocal performers. These included the anist—which is, as goes without say- composer at the piano in ensemble ing, just as things should be. Tom Johnson: " Masque" premiere with flute and cello, and aquartet of Attacking the first of the program's dancing clouds who had to prance modern essays, the Shostakovich Vio- Tom Johnson'sThe Masque of about hunchbacked the entire eve- lin/Piano Sonta, Op. 134 (composed Clouds, premiered at the Kitchen in ning. There was a certain leisurely for David Oistrakh and Sviatoslav mid- October, bears little resem- charm to the melismatic vocal writ- Richter), both artists appropriately blance to the luxuriant operatic en- ing, although none of the singers had expanded their tonal and expressive tertainment popular during the sev- much idea of how to exploit it. The range. The control and exemplary enteenth century known as the sopranos and tenor warrant dispensa- care for detail continued, but the at- masque. Whereas the original tion, however, handicapped as they tacks—clean in the Schubert—became masque required elaborate stage de- were by tessituras which stranded more vehement and impassioned. vices and costumes and a sizable them at the top of their respective Kogan is one of those distinguished corps of musicians and dancers, ranges. A.DeR. violinists who vibrates on every note Johnson's version (with libretto and yet avoids obscuring the phrase out- designs by Robert Kushner) makes Pavel Kogan, violin lines. The sonata itself, awork rather do with a dozen stage performers, commensurate with Prokofiev's Fmi- three accompanying musicians, and On October 19th at Hunter Col- nor, Op. 80, was moving both in con- minimal props. This kind of road-show lege, New York audiences had the tent and spirit. Stravinsky's Suite Ital- technique might have worked out chance to assess not only a second- ienne got atartly humorous statement neatly had Mews. Johnson and Kush- generation Kogan ( twenty- two-year- and Paganini's Cantabile was truly ner not made the mistake of allowing old Pavel is the son of the renowned "sung" with an artistry and tempera- simplicity to lapse into sheer simple- Leonid) but asecond generation duo ment akin to Callas at her best. It was mindedness. The plot, in itself sim- as well: assisting young Kogan at the top quality Italianate musicmaking pleminded, concerns six clouds and piano was the attractive, intense- which proved, once more, that stylis- their one-day's adventures with the looking Elisavita Ginsburg—daugh- tic assimilation is a product of sensi- sun, a lake, and a forest. The score ter of Soviet pianist Grigory tivity and taste rather than of mere consists of atheme and 132 variations Ginsburg, long a distinguished so- geography. A similar contention written in seventeenth-century coun- nata partner of Leonid. Pedigrees must be made for the incisive, folksy terpoint. Admirable as Johnson's aside, both Pavel Kogan and Miss rendition of Bartók's First Rhapsody. technical discipline may be, his style Ginsburg gave adecidedly thorough- Encores included a Rachmaninoff is too severe and the results too pre- bred account of themselves. From the song transcription, Kreisler's La Gi- dictable to support a three- act, start of the program, Schubert's tana and aBazzini La Ronde des Lutins, ninety- minute drama of such modest rather Mozartean G minor Sonatina, in which the left-handed pizzicatos

January 1976 MA- 25 writing tends to use only the lower, somber register, and it takes a sover- eign virtuoso to employ sufficient color, contrast, and mobility to keep the otherwise memorable music afloat. McCall opened his evening with this problematical score, show- ing a sound instinct for tempo rela- tionship and phrasing, but leaving quite abit to be desired from apurely cellistic standpoint. His vibrato ten- ded to be wide and uneven, his fin- gers often failed to make ideal con- tact with the fingerboard, and bowing was often jagged and inele- gant. This gave McCall's tone araw, edgy sonority and his phrasing adis- tinct shortness of breath. Moreover, a recurrent tendency to rush created momentary ensemble problems be- tween the cellist and his superb pian- Thea Musgrave— to be reckoned with ist Walter Ponce ( whose feats on be- half of Brahms verged on heroism). The next work, and the evening's and central repeated notes ( all on dif- direction to look. The intended novelty, was the adaptation for cello ferent strings!) were uncannily well drama and comedy, however, fall flat of the G major Regan Sonata, Op. 78. handled. Ialmost thought Iwas re- as weak jokes or disturbing and su- Janos Starker " rediscovered" this ar- hearing the 1937 Heifetz recording of perfluous gestures. rangement which is said to have been the Bazzini. An exciting virtuoso de- The composer could hardly have undertaken by Brahms himself in but. H.G. asked for amore competent, sensitive 1897 at the behest of his friend Haus- group of interpreters. Although each mann. Even if the claim is true L. C. Ch. Mus. Soc.: " Space Play" member of the Chamber Music (which Iseriously doubt: it is more Society is a luminary of his own in- probably the handiwork of Paul The Lincoln Center Chamber Mu- strument, the players are extraor- Klengle), the music stubbornly resists sic Society began its new season on dinary for their totally selfless cooper- the transplant. The transposition October 17 at Alice Tully Hall, ation. True, Paula Robison played downward to D major and the result- presenting the American premiere of like a goddess of the flute, while ant bass- heaviness brought to mind Space Play by British composer Thea Charles Wadsworth's organ tech- Musgrave. This imaginative concerto nique in two Mozart Church Sonatas for nine instruments left no question left something to be desired. But that Musgrave is a composer to be over-all, one left this concert remem- reckoned with. It is interesting that bering the Dvorak A major Piano she and other contemporary female Quintet, Bach's C major Trio Sonata, composers ( such as Barbara Kolb) and Space Play. In other words, one re- have succeeded eminently where calls the music rather than individual many men have failed, in producing displays of virtuosity or the grandeur compositions that are beautiful with- of Tully Hall's new organ. This was out resorting to areactionary musical ideal chamber music. M.B. language. The title, Space Play, refers to the ar- Donald McCall, cello rangement of the instruments. The four strings are located in the center, Donald McCall's September 21st with the French horn directly behind recital of Brahms Sonatas at Tully them, and the woodwinds distributed Hall generated more than a modi- in the four corners of the stage. Al- cum of curiosity. Although McCall though by no means revolutionary, has very adequately proved his worth this spatial arrangement greatly en- during his stint with the Lenox Quar- hances the interplay of melodies and tet, the Brahms program demon- the music's enchanting sonorities. strated anew the differences that sep- The theatrical element in Space Play is arate an outstanding soloist from an less successful. The score instructs the even-above-average chamber musi- players when to stand and sit, how to cian. Brahms' E minor Sonata, Op. signal one another with hand mo- 38, is not very imaginatively com- tions, and sometimes even in which posed for the cello. The instrumental Donald McCall

MA- 26 HIGH FIDELITY / musical america the analogy of aship listing badly to limited penetration. The orchestra the left. McCall tried to steer clear of played execrably; the strings' intona- the uncellistic demands of the ar- tion was unworthy of even an ama- rangement which, combined with his teur organization. Initially, there was own technical problems, produced a little excitement generated by con- constricted, often wobbly sound. ductor Luigi Martelli. Sluggish tem- The F major Sonata, op. 99, by pos and an inflexible beat threatened, contrast, is emphatically and in the first act, to undermine Miss brilliantly written for the cello. Here, Lee's performance. But by the third Brahms uses the entire spectrum act, Mr. Martelli, perhaps himself available to the instrument, creating impressed with the soprano's efforts, a superb dramatic edifice that was giving more than one anticipated changes textures and registers in an earlier on. A.S. almost orchestral manner. This most demanding of Brahms's cello sonatas N.Y. Phil: Druckman premiere received by far the most confident and successful performance of the The New York Philharmonic evening. A few rough spots notwith- seems to like the compositions of Ja- standing, the cellist's playing here cob Druckman: in the last two years was mostly fluent and tonally agree- they have presented two of his recent able while Ponce's accompaniment, works. On October 17, Pierre Boulez gorgeously colored and rhythmically introduced Druckman's cycle Lamia, elastic and structural from the start, for soprano and orchestra, premiered took on added drama. H.G. in Albany in 1974, but with a new section added for these performances. Lamia was aGreek mythological sor- ceress, and the work is aglossolalia of N.Y.C. Opera: Madam Butterfly conjurations ( in Latin, French, Ital- ian, German, and Maylasian), set Povera Butterfly! It takes aheart of against the playing of two orchestral stone not to be moved by the plight of groups, one large and one small ( the this delicate, trusting young girl, se- smaller one conducted by David Gil- duced at 15; abandoned at 18, so con- bert). Druckman's sure sense of shape stant in her love, so tragic in her and his easy grasp of shifting color- death. A mediocre performance of istic patterns (depending on the text) Madam Butterfly can diminish but not drew together what could have been destroy one's sympathy for this pa- Sung Sook Lee, a superior Butterfly a heterogeneous farrago (which in- thetic mistreated creature; a superb cludes musical quotes from Cavalli's performance can move an audience was atrue measure of Miss Lee's dra- Giasone and textual quotations of beyond all reasonable measure. matic ability. Isolde's raging outburst in Act I) into The audience at the October 19 The voice . is also of high quality. a cohesive and lambent whole. The evening performance of the New What the soprano lacks— that extra music remained subservient, in the York City Opera was so moved. reserve of power for those special mo- best sense, to the texts and to the sing- There was, first of all, Sung Sook Lee, ments and an absolute security in her ing. And rightly so, for the cycle was making her debut with the company. top notes—will surely come as the written especially for the talents of Miss Lee is a young soprano of Ko- voice matures. What is there now—a Jan DeGaetani, and her command of rean ancestry who recently sang But- developed middle register with an at- languages and of vocal art is worth terfly at Covent Garden to great criti- tractive darker coloration, a sense of any dozen sorceresses (some of whom cal acclaim, and who, during the last phrasing and legato which produces practice their craft on the opera few years has been heard in several a melodic line free of scoops and stage). DeGaetani's voice seems to be important roles with the American slides, and an appealing sweetness of growing continually richer and Opera Center at Juilliard. Her City voice which is her greatest natural stronger, and her vocal projection is Opera debut was asuccess both musi- gift— these together with her theatri- unequaled: her final ppp came cally and dramatically, an inter- cal self-assurance make Sung Sook through clear as abell in the spaces of pretation of Cio-Cio-San in which Lee asinger to whom attention must Avery Fisher Hall. Why hasn't some musical inflection reinforced theatri- be turned. impresario grabbed her for opera? cal gesture to create a character- 's production still Boulez framed the Druckman ization vastly superior to the works. Most of the stage business piece with two Diaghilev- inspired mincing, witless Butterfly one too of- reinforces the action, providing either works, the Pulcinella Suite of ten encounters. It is no small achieve- pathos or humor without being un- Stravinsky and the Three- Cornered Hat ment to elevate Butterfly's sacrifice to necessarily distracting. Gaetano of de Falla. The latter was played in this degree, and the deep attention of Scano's Pinkerton added little be- the full ballet version, apractice Bou- the audience, which rose to its feet in yond an attractive stage presence and lez seems to prefer to the playing of acclaim at the opera's conclusion, a voice of modest proportions and "orchestra excerpts." Here the

January 1976 MA- 27 strength and variety of the music requisite effervescence and rhythmic mostly written in 1815 ( when he was made the case for completeness better panache, if with something less than eighteen). The Third Symphony ( not than his traversal the week before of the suavity it should have. P.j.s. exactly unfamiliar), the Concertstück the full ballet for Bartók's early work, for violin and orchestra ( 1816), writ- The Wooden Prince. Any complete bal- Jens Nygaard: Schubert ten for Schubert's brother, and the let score contains a lot of bits and one-act Singspiel Fernando, plus two pieces, written for specific visual Ishould have been warned when I pieces Schubert wrote in 1821 for a events, that sound particularly saw the program headed " Music with Vienna Production of a Hérold oper- empty when lifted to the symphony Jens Nygaard," rather than a listing etta. Of the vocal works, the Singspiel stage. Ivery much doubt that Boulez' of orchestra (the Westchester Cham- was pleasant, if inconsequential, mu- discerning mind would put up with ber), soloists, and works to be sic set to an addlepated libretto, and such noodlings contained in sym- presented. In sum, a good chamber was made more palatable by the ur- phonic works. Nonetheless, The Three- group, some very capable soloists to bane interspersed commentary of Cornered Hat is acapital example of de sing and play (with Arturo Delmoni's George Jellinek, in the Goldovsky Falla's art ( would that Boulez would violin playing and Judith Raskin's manner. The only real " discovery" program some of his lesser- known singing ranking even higher), and was the difficult tenor scena for the works!), and was played with the some out-of-the-way Schubert, Hérold: definitely an attempt out of all proportion to the rest of the music heard. Its modulatory daring and At the movies: Schoenberg's " Moses und Aron" quasi- fantasia layout point to those "fair hopes" that were buried long iii) French film director Jean-Marie Straub has made a film of before Schubert ever achieved oper- Schoenberg's Moses und Aron for the purpose, he claims, of pro- atic fruition of any sort. Unfortu- viding an introduction to Schoenberg. That Straub has failed nately, it was far too heavy apiece for so abysmally has a particular irony, considering that the pre- the light tenor of Grayson Hirst. siding theme of this philosophical opera is the impossibility of But the evening was dominated reconciling idea and image. " My idea is impotent when ex- less by Schubert than by the bizarre pressed in Aron's word," laments Moses. By the same token, Schoenberg's op- figure of Jens Nygaard, an Arkansas- era, in Straub's visualization, becomes every bit as ineffectual. The film, shown born impresario - conductor - pianist last October at the New York Film Festival, is getting some distribution in this who created the Westchester Cham- country. When Academy Awards night comes around, Ihope Straub wins the ber Orchestra, who ( according to the golden calf. program notes) has presented various Musically, the production is hamstrung from the start. The performance is a concerts of arcane music (e.g., music good one: it is, in fact, the same one heard on the Phillips recording, conducted writted by Tovey, Szell, and Mitro- by Michael Gielen. But the music's very dimension and oceanic sonorities— all poulos), who is in the midst of several those huge choruses in particular—don't have achance when piped through the grand cycles ( Mozart piano con- muddy monophonic setups of an ordinary movie theater. certos, Schubert operas), and who is Cinematically, the film is adisaster. Though plausible stagings of Moses have president of the international Hugo been effected in the , Straub opted for mundane naturalism. His Wolf Society. His podium technique film is shot in areal desert under midday sun. Within this natural context, we is frankly hilarious— a dead-on par- get stylized formations, with the chorus looking like pieces on achessboard de- ody of those conductors who elab- void of any characterization. This is not a chorus of downtrodden slaves, but orately signal the obvious. The fatal simply agroup of actors waiting for somebody to come along and make amovie writer's temptation is to describe ( I out of them. Elementary distinctions are eschewed: there's little difference be- succumb): the tiger-pacings back and tween the chorus of elders who remain faithful to Moses and the chorus that forth on the podium, the swan-dive embarks on the orgy, and the conflict between the two groups goes by almost flutterings on adescending scale, the unnoticed. Straub's ironing out of drama extends even to the soloists—so little darting in and plucking a note from difference is there between the actors playing Moses and Aron that at times it's the flute, the delicate sculpting with difficult to tell them apart. Consistently, Straub either plays down or disregards wayward hand of an upward run on the possibilities for action. An instance is the killing of the young man who pro- the clarinets, the startled backward tests against the orgy. According to the libretto, the high priest throws him to leap for fortepianos, the hands suppli- the ground and the crowd then tears him apart. But only the first part of the cating to God for final fermatas—and action is rendered in the film, so that we're not aware that a killing has hap- now and then an abstracted turning pened. around to count the house and seek A movie that doesn't move is asking for trouble. Straub keeps his actors im- out friends in the audience (comfort- mobile, he has declared, because he's striving for adialectical contradiction be- ably filled with supporters down from tween the film and the real action ( which is in the music). Asked why his film Westchester). remains so emotionally detached and without attitude, Straub replies that he All of these shenanigans might be wants to leave a "space" around the action so that the audience can make its excusable if some sort of musical own decision, can react as it will. But this is acop-out. Without some kind of point of view were being expressed, attitude, even an ambiguous or tentative one, the film is just too bare and dull. but apart from abuck- sergeant drill- Straub isn't striving for agenuine ambiguity— he's simply giving us afilm with- ing of his orchestra ( almost enough in out content. Idoubt if any home movie has ever been so studiously unexpressive Fernando) in which the woodwinds as Moses und Aron. J.H. rightly predominate, and some weird

MA- 28 HIGH FIDELITY / musical america notions as to /uftpauses in Schubert— lem, as in the Binkerd work, was with tempos, and changes of tempo, have nothing. No sense of Schubert color rhythm. Certainly any work entitled a spontaneous, organic feeling. He and phrasing, no sense of variety in "Fantasy" does not call for a rigid took the first movement of the Mah- repeats, no sense of juxtaposition of beat, but Shapiro's vague tempo tee- ler work at a deliberate pace, and key and modulation, no grasp of the tered into simple inaccuracy too of- played the repeat. The Scherzo was iMIMMOOlinCIIIID shape of movements (such as the ten. Had he paid as much attention buoyant, with clean lower-string at- striking perpetual motion presto Fi- to note values as to tonal shading, the tacks and an airy rubato in the nale of the Third). Above all, no sense performance would have been far springing rhythm of the Trio section. of Schubert's unique musical person- more respectable. M.B. Omission of the Scherzo repeat ality. Music with Jens Nygaard it tended to accelerate the progress of the music toward the slow movement was, all the way. P.J.s. ST. LOUIS that became, in Semkow's inter- pretation, the heart of the Mahler Joel Shapiro, piano St. Louis Sym. ( Semkow) First. Here the transparent texture It takes agreat deal of courage and was perfectly regulated. The slowness as much musicianship to present a Georg Semkow's music director- of tempo magnified details and inten- recital of all-American piano music. ship of the St. Louis Symphony has sified Mahler's spell; the movement Joel Shapiro showed he had both at begun auspiciously. The opening spun itself out in a hush. The public, it seemed, was hearing Mahler as a Carnegie Recital Hall on October 16. program of September 18 was of so- The concert featured the New York ber, substantial character— the Mah- personal communication rather than premiere of a Piano Sonata written ler First, Beethoven's Piano Concerto as a display of orchestral sonorities twenty years ago by Gordon Binkerd, in C, the overture to Mozart's Se- and color. Etsuko Tazaki was the pianist for who is Shapiro's colleague at the Uni- raglio—but seven thousand people the Beethoven concerto. In several St. versity of Illinois. heard it in three concerts, arecord for Louis concerts ( she is based at Wash- Binkerd's Sonata sets no new the Powell Hall subscription series, ington University) Tazaki has trends, but it is asubstantial piece of and their response was fervent. Sem- backed up her brilliant technical ac- music. For all the discordance, the kow makes unusual demands on the composer's thinking is unquestion- orchestra for precision, dynamic re- complishment with areliable sense of ably tonal, and the form of the work straint, and alertness to each other's what the music is about, and how it is is similarly rooted in tradition. The sound. The means is musical disci- meant to fall on the ear. Her perform- opening Allegro carries the most pline, yet the end is a sensitivity by ance fulfilled all high expectations. It weight, while each of the following which the musicians participate in was solid but propulsive and spirited, movements is successively less con- their ensemble as string quartet play- the fast passages brightly articulated, the cadenzas shaped to cohere with centrated and less carefully crafted. ers participate in chamber music. the rest of the concerto. At twenty- The plaintive theme of the first move- Partly for this reason Semkow's ment is subtly recalled and trans- formed throughout the work, skill- fully uniting the music. THE Binkerd is a romantic, and Sha- piro's pianistic style is clearly in sym- pathy. His performance was filled MANNES with passion and tunefulness, down- COLLEGE OF MUSIC playing the motoric repetitiveness of the Stravinsky- inspired Finale. Sha- 157 East 74th Street, New York, N.Y. 10021 ( 212) 737-0700 piro's lyrical bent, however, occasion- RISE STEVENS, President ally became excessive. His free rubato style, for example, pushed the plush Bachelor of Science Degree • Bachelor of Music Degree sentimentality of the slow movement Diploma • Post Graduate Diploma into a world of melodrama that might have offended even Rach- Extension Division • Opera Workshop maninoff fans. The Mannes Preparatory School ( ages 4-18) The first half of the concert was de- Summer School voted to works by Aaron Copland, his jazzy Four Piano Blues and the for- Full and partial scholarships available. midable Piano Fantasy. The latter is Catalog upon request. a single movement that lasts almost as long as Beethoven's entire Ham merklavier Sonata and requires about Teacher of ROBERT MERRILL, as much concentration and tech- SAMUEL leading baritone Metropolitan Opera (his only voice teacher), JEROME nique. Shapiro had no trouble nego- HINES, leading bass Metropolitan tiating the notes, and his careful at- Opera, as well as many other leading tention to the stark dynamic singers of the Metropolitan Opera. MARGOLIS 205 West 57th Street, N.Y.C. contrasts and the craggy texture of COlumbus 5-9155 the music was admirable. The prob-

MA- 29 January 1976 nine, Tazaki is getting known in wider circles. She has been chosen to open the Chicago Symphony's 1976-77 season, playing Bartók's Second Concerto under Georg Solti. The rather cavernous acoustical behavior of Powell Hall ( rever- beration period 2.2 seconds) is of con- cern to Semkow. In response to his and the musicians' complaints, the Symphony has bought a rehearsal curtain, carpeted the back half of the shell, and applied sound-absorbing material to part of the back wall. The treatment has helped temper the old brass- heavy sound of the orchestra, but more work is needed. F.P.

ST. PAUL

St. Paul Ch. Orch.: Bolcom prem.

The October 18 performance of , — 's new work by the The Alard String Quartet: Shostakovich's No. 14 premiered St. Paul Chamber Orchestra under Dennis Russell Davies was both a premiere and a christening. Only tensity from the initial drowsy, sleep- ularly in those works written during during final rehearsal did the com- walking atmosphere evoked at the and immediately after the war years. poser decide on atitle, Open House, af- beginning. There is no extreme harshness or ter the first of the seven Theodore The vocal part is by turns disjunct, inconsolable sorrow reflected here, Roethke poems which are the work's undulant, rhythmic, and gracefully however. The quartet is moderate in texts. The cycle was commissioned by flowing, and it also uses Sprechstimme length with a strong tonal orienta- the American Choral Society. A near- and straight speech on occasion. The tion. The first movement, marked Al- capacity audience in O'Shaughnessy orchestral setting, multifarious in legretto, opens with a pedal point in Auditorium gave the work, the com- textures and colors, effectively evokes the viola and the cello states the poser, tenor Paul Sperry, and the or- the moods and vivid imagery of the cheerful, lyrical theme. There is noth- chestra a prolonged, cheering ova- poetry. Sperry gave a masterly ac- ing lugubrious here; it is rather Hay- tion. count of the musical and stylistic dnesque with asolid rhythmic drive. A one-time student of Roethke, complexities of his part and had well- The middle movement, Adagio, is ro- Bolcom chose his texts, in chronologi- matched support from Davies and mantic and very straightforward cal order, from various points in the the orchestra. The tenor was no less with long singing passages. It is lucid American poet's life and stylistic de- admirable in his singing of four well- and tender, and proceeds without velopment from 1941 to his death in contrasted arias from Handel opera pause into the last movement—a 1963. In response to the wide range of and oratorio. J.H.H. sparkling Allegretto, with arhythmic the texts, the music is eclectic, draw- bite. The melodies, mixed with scinti- ing on numerous styles— including UNIVERSITY PARK lating pizzicato passages, are light the popular—according to expressive and airy, leaving the listener in an at- needs. Extreme dissonance and jag- mosphere of contentment. ged vocal line rising to a falsetto for- Alard Quartet: Shostakovich The Alard Quartet, in residence at tissimo mark the agonized title song the University, is known for introduc- which opens the cycle. The Right Dmitri Shostakovitch's Fourteenth ing new works— they have premiered Thing, a serene villanelle which con- String Quartet, Opus 142, was given quartets by Overton, Persichetti, cludes the work, is set to achorale- like its first American performance by Penderecki, Washburn, and others. melody with richly-simple harmoni- The Alard String Quartet (Joan On this occasion they played superb- zation. Zagst and Donald Hopkins, violins, ly and Ilook forward to their first Roethke's wit and humor find apt Raymond Page, viola, and Leonard American performance of Shosta- response from the composer in the Feldman, cello) on October 1in the kovitch's Fifteenth Quartet in the waltz- time tale of The Serpent, who Recital Hall on the University Park near future. This program opened tries to express his soul in song with Campus of The Pennsylvania State with the Haydn Quartet in C, Opus disastrous results, and in the University. Composed in 1973, the 33, and concluded with a deeply easygoing ragtime bounce of IKnew work is awelcome addition to quartet moving rendition of Schubert's A Woman. The Waking has a distinct literature. Shostakovitch has always Quartet in D minor, Death and the Mahlerian feel to it as it builds in in- portrayed intense feeling, partic- Maiden. R.W.B

MA- 30 HIGH FIDELITY / musical america KENNETH FURIE Washington lEIMMIO

HAYDNFEST AT KENNEDY CENTER

Wide-ranging programs explore the master's genius

all the Masses in the Grand Foyer, schedule, there were several days of AYDNFEST" may not be the most elegant moniker ever done by various local and university two-a-day sessions of a " critics' insti- II slapped on an arts festival choruses and orchestras. tute," part of the Music Critics' Asso- (artsfest?), but consider the alterna- The conference part of Haydnfest ciation's energetic education pro- tive: the Kennedy Center programs may be of limited interest to general gram, which is based on the perhaps gave the full name of the three-week music lovers, but in fact the emer- overly optimistic notion that critics (September 22-October 11) shindig gence of the new breed of Haydn are educable. However, two evenings as "The Haydn Festival of aLifetime scholar in the last quarter-century were suddenly cleared when an or- and Musicological Conference." (We has alot to do with our belated recog- chestra strike wiped out the October can presumably look forward to bet- nition of the full measure of his gen- 1 and 2 concerts by the Pittsburgh ter Haydn musicological conferences ius. Under the directorship of " musi- Symphony Chamber Orchestra un- in our lifetime.) cologist in residence" Jens Peter der Donald Johanos. And in truth the The idea of Haydnfest is asensible, Larsen, an imposing array of the other concerts proved less interesting important, even noble one: a large- world's foremost Haydn scholars as- than they looked on paper— largely, I scale mobilization of musical re- sembled from October 4to 11, mostly suspect, because the planners worried sources to attack a single subject in to read papers to ( or at) each other. more about quantity than about breadth, if not depth. The three quality. weeks of the festival included not Haydnfeasting The National Symphony itself, for only ten concerts by the National example, seems to me to have been se- Symphony (whose music director, With so much to do, I faced my riously overcommitted. Three large- Antal Dorati, served as Haydnfest week- plus of Haydnfesting ( Hay- scale oratorios and seven concert pro- music director), but several dozen dnfeasting?) with some trepidation; grams in three weeks, with virtually programs by other major orchestras, in addition to the heavy concert Continued on page MA- 39 university groups, smaller ensembles, and soloists. Each week culminated in aDorati/National Symphony per- formance of one of the oratorios: The "II Ritorno di Tobia" tonishingly. The da capo arias, which Return of Tobias (September 27) [ see comprise most of the piece, are all very Robert Parris' review here], The Sea- On the evening of September 27, long— little sonatas really— and sons (October 4), and The Creation (Oc- the National Symphony Orchestra largely unmemorable. This is second- tober 11). under Antal Dorati, the Oratorio hand, foreign music by a composer There was an event of some sort Society of Washington beautifully who was perhaps more thoroughly nearly every night in the Concert prepared by its conductor, Robert Germanic than he himself realized. Hall of the Kennedy Center, and Shafer, and five solo singers tried for The NSO sounded ragged, fagged most nights—not to mention some af- over three hours to breathe some life out and lusterless; the singing was un- ternoons—there was something hap- into a music for which Haydn had even. Elizabeth Hynes and Linda pening elsewhere as well, from re- little affinity: Italian music-drama. Zoghby, both sopranos, sang beau- citals in the Smithsonian Institution's True, there is little that is dramatic in tifully, but Ara Berberian was in bad auditoriums to a fully staged opera the oratorio Il Ritorno di Tobia. Rather voice; Rockwell Blake, atenor with a (the Indiana University Opera reminiscent of aVictorian Sunday in good top including a high D, sang Theatre's production of 11 Mondo della moral tone, its style derives never- with neither style nor enthusiasm; luna), in the Kennedy Center's Opera theless from the same by- then thread- and Evelyn Petros, amezzo, has abit House. There was also a pre-concert bare Italian tradition that Mozart of aproblem with a thin and unpro- series of free performances of nearly appropriated and revivified so as- jectable bottom octave.ROBERT PARRIS

MA-31 January 1976 CARL CUNNINGHAM Houston

HOUGH George Frideric Handel made asomewhat be- Tlated Houston debut as an op- era composer, the October 16 Ameri- can stage premiere of seemed to delight audiences in Jones Hall as thoroughly as Haymarket theater- goers must have been charmed at its London premiere in 1711. In reviving the opera that introduced Handel to English audiences, Houston Opera drew upon the agile vocal talent of Marilyn Horne to sing the title role and asked her long-time accom- panist, Martin Katz, to provide a new performing edition for the occa- sion. The score Katz produced is largely taken from the original 1711 version of Rinaldo, with a few arias chosen from the composer's 1731 re- vision, and one aria borrowed from a later opera, Partenope. Katz also dropped one character ( Eustazio) and excised enough recitative to shorten the opera's length from four to about three hours. Evelyn . tfandac kneels to . 1farilyn Horne in aproduction of "visual magic"

Rinaldo to the rescue

Rinaldo is based on an episode from Tasso's Cerusalemme liberata, tell- HANDEL HITS HOUSTON ing how the crusading Christian gen- eral, Rinaldo, rescued his beloved Al- mirena from the clutches of the wily Horne in " Rinaldo" conquers all and beautiful sorceress, Armida. If the Frank Corsaro-Franco Cola- vecchia production lacked the me- chanical complexity of a Baroque cens in rich red and gold. longed to Home. She carried off the staging, it respected the static atti- But Handel opera is primarily a title role with agreat deal of bravura, tudes of Baroque opera with dignity vocal spectacle and Rinaldo provided once past some first- act difficulties in and had considerable visual magic of ample opportunity for singing that meshing Katz's heavily ( perhaps too its own, thanks to asizable challenge was alternately beautiful and formi- heavily) ornamented melodies with grant from the Corbett Foundation dable. First credit should go to so- Lawrence Foster's brisk and alert of Cincinnati. prano Evelyn Mandac, who sang the conducting of the orchestral score. A Colavecchia designed several huge largely unornamented vocal part of nobly sung "Cara sposa" and some in- war machines: a chariot drawn by Almirena with consistently beautiful tensely beautiful arioso passages pro- two supernumerary " horses," aladle- tone, admirable phrasing, and won- vided Home welcome relief from her shaped catapult, and an eighteen- derfully expressive poignance. She vocal acrobatics elsewhere in the op- foot battering-ram which served as was seconded by bass Samuel Ra- era. Home's battle platform during her mey, who made the role of the Sara- Noelle Rogers displayed a big, brilliant singing of the final, "Or la cen general Argante into a powerful dark- hued soprano, able to reach the tromba." Colavecchia also filled the and vibrant musico-dramatic experi- high notes of Armida's role, but her stage with delightful little winged ence, needing only alittle more atten- pitch sometimes went astray and her dragons, sea creatures, and great tion to subtle tone color and shading. tone sometimes splayed out of focus. birdmen. He costumed his Christians Tenor John Walker sang attractively in tones of silver and blue, his Sara- For Home, the lion's share as the Christian king, Goffredo, al- though his voice was relatively small Mr. Cunningham is music editor of the The lion's share of the singing and in volume and tended to tighten on Houston Post. most of the vocal feats naturally be- high tones. A

MA- 32 HIGH FIDELITY / musical america A YRIC OPERA of Chicago began KAREN MONSON its twenty-first season by culti- Chicago Ivating music and drama, but never the two together. A pair of Verdi productions, and La Traviata, set off the autumn's proceed- M=131E1011ID11:2 ings with healthy doses of worthy singing and slipshod staging. Then, for its first stab at Richard Strauss's Elektra, the company turned 180 de- grees, concentrating on the theatrical issues and slighting the music.

"Otello"

The opening- night Otello (Septem- ber 19) was better heard than seen. Designer Pier- Luigi Pizzi and direc- tor Giorgio de Lullo, Lyric's favorite production team, gave their new scheme atone of functional noncom- mitment, with heavy-columned inte- riors which proved imposing but did nothing to further the cause of Verdi's high-tension masterpiece. De Lullo put the chorus into tight, sta- tionary blocks, and left the principals to fend for themselves. None of the three leads bothered particularly with the drama. But the men, espe- cially, poured forth some glorious sounds. Looking hulky and appropriately ominous in the Moor's sweeping robes, Carlo Cossutta sang the title role with aburly tenor which became Carlo Cosutta: fraught with emotion as his charac- an Otello ter's rage replaced love and reason. fraught with emotion As the devilish prime- mover lago, Piero Cappuccilli sang with both ele- gance and command. And the two men got together to bring the second act to athunderous conclusion. Mak- LYRIC LIMPS ing her first appearance in Chicago, soprano Gilda Cruz -Romo came through in Desdemona's Willow INTO 21ST SEASON Song, but elsewhere her singing lacked sweetness, and sounded un- even and stretched out of shape. Un- fortunately, conductor and orchestra First three productions fall short of expectations assumed antagonistic roles in both Otello and Traviata. Bruno Bartoletti, Lyric's artistic director, wielded his of lago and the elder Germont for heartrending portrayal of the dying baton with little sense of the music's five weeks, apparently decided that it courtesan. She coated the melodies force or line, and the instrumentalists was more important to sound vil- with silk and satin, and used superb tossed out more than their share of lainous than paternal, and thereby musicianship in the rough technical wrong notes. slighted Germont though his Act II spots. Much less sensitive was Alfredo With the two Verdi operas simul- duet with Violetta—Ileana Cot- Kraus as Alfredo, who took asledge- taneously in the repertory, Bartoletti rubas—proved the high point of the hammer approach to his assignment, and Cappuccilli were overtaxed. The night. Miss Cotrubas slighted noth- banging out lines with virtually no baritone alternated the assignments ing. She dominated the stage as a dynamic shading but with plenty of Karen Monson is music critic of the Chi- prima donna in the first act, and went tasteless, mannered sobs. Typically, Continued on page MA -38 cago Daily News. on from there to develop an utterly

MA- 33 January 1976 DALE HARRIS Salzburg

HE ECONOMIC uncertainties of the past few years have had Tno discernible effect on Salz- burg, and the 1975 festival was marked by as much opulence and self-assurance as ever. The fact that for opera the best seats in the orches- STILL AN All- STAR FESTIVAL tra at both the large and small houses cost 1,500 Austrian Schillings (roughly $ 90) simply ensured that the "Frau" and " Don Carlos" set the tone invariably packed house was full of glamorous people. So, indeed, was the stage. Salzburg must be the last bastion of all-star "Frau" tues of these familiar assumptions the casting, the only place left where as a greatest thrills of the evening were matter of course one can expect to The contribution made by this provided by the orchestra, whose to- find the sort of line-up that Rudolf great orchestra was particularly no- nal beauty was no less astonishing Bing offered regularly in his heyday ticeable in the revival of the 1974 Frau than its virtuosity. Robert Schei- at the Met. In addition, Salzburg can ohne Schatten, since so many other ele- wein's playing of the cello solo with afford to let us see agreat deal of con- ments of the Salzburg performance which the Emperor's visit to the Fal- ductors as eminent as Karl Böhm and were the same as at the Met a few kenhaus begins, and Gerhard Het- Herbert von Karajan. But, above all, years back: Leonie Rysanek as the zel's violin solo before the Empress's because it commands the services of Empress, James King as the Em- climactic scene at the fountain should the it can sup- peror, Walter Berry as Barak, even have been rewarded with solo curtain ply audiences with orchestral playing Loretta di Franco as the Temple calls. of a quality the Met has never been Guardian and Lorenzo Alvary as the All in all, the singers were an ac- able to comand. One-Armed Brother. Despite the vir- complished team. Rysanek's Empress

Karajan's Don Carlos: human relations were only of minor importance

MA- 34 HIGH FIDELITY / musical america This report on an American presence in ediEgMIUDI Salzburg was also received by MA.

Bernstein thrice over

The normally restrained audience here clasped Leonard Bernstein to its musical breast as he brought his three selves to Salzburg. Conductor Bern- stein led the London Symphony Or- chestra in atouching personal tribute to Dmitri Shostakovich, the Largo from his Fifth Symphony which Bernstein had performed in its en- tirety during his only other appear- ance here sixteen years ago. Composer Bernstein whirled, twirled, and danced through his own Chichester Psalms, beautifully sung by the Vienna Jeunesse-Chor and an anonymous Vienna Choir boy. And pianist Bernstein proved that there is more than one way to play Mozart, as he also directed the G major Piano Concerto, K. 453, from the stool by peering at the rearranged orchestra from under the uplifted piano wing. But even he could not help the au- Ghiaurov and Freni—both contributing distinguished singing dience span the bleak planes of Si- belius's Fifth Symphony, which had a spare, sweeping reading from the orchestra. is now more notable for its emotional sounded like good music. During one of his rare press confer- fervor than its vocalism and her notes Salzburg is lucky to have Biihm's ences, Bernstein was asked about ru- above the staff—the glory of her voice services. Officially Karajan is the mors that he wanted his old job at the for some twenty-five years—begin to greater star. Certainly, his celebrity is New York Philharmonic back. Deny- show decided signs of wear. Walter more widely diffused. Yet though his ing the gossip and saying that he Berry, though sounding vocally tired, talent is prodigious, his actual con- hoped to do more touring, recording, was otherwise his usual disarmingly ducting during the past fifteen years and filming with them, Bernstein in- bluff self, and James King was still, at has hardly ever done that talent real sisted, " Ionly said that Iwanted to the very least, adequate in arole that justice. More Karajan interpretations come back more, but not as music di- most bungle completely. Nei- today are like dream-visions: remote rector." He concluded, " Inever want ther Ruth Hesse's Amme nor Ursula and emotionally uncommitted. They to be music director of anything ever Schriider-Feinen's Fârberin has been are marked by orchestral textures of again. .. even the Philharmonic." seen at the Met. The first was effec- unparalleled smoothness and though Bernstein is a hard act to follow, tive, the second left one regretting the the performances gleam they do not but that did not faze James Levine, absence from the cast of Christa Lud- warm. the Metropolitan Opera's new music wig, who had sung the arberin at director. Seemingly uncomfortable Salzburg last year. Schreder-Feinen Karajan's " Don Carlos" with Alexis Weissenberg's too- rapid has a middle register as rich and se- reading of Beethoven's G major Pi- cure as any to be heard today and she In Don Carlos, a new production ano Concerto, Op. 58, Levine re- flings herself with awill into the part this year, Karajan did, it's true, allow gained his usual ebulliance to give a of the discontented wife. But she lacks the brass surprising prominence, yet gutsy performance of Berlioz's Sym- an easy top, and in the heartfelt can- as awhole he sought to achieve astate phonie fantastique. tilena of the Act 3 duet she failed to of luminous calm that nullified all Later, he revealed that the Met will soar, as Ludwig used so memorably of Verdi's drama. Such qualities as enter into a long-term relationship to do, with the proper Straussian ec- drama, conflict, passion, heartbreak with director Jean-Pierre Ponnelle, stasy. or patriotism were clearly of little in- hoping he will develop "a certain Böhm, on the other hand, was in- terest to him. Serving as director as level of style" for Met productions. If spired. He has always shown a great well as conductor Karajan devised a the deal goes through, Ponnelle will affinity for this score and the older he lavish pageant— the court in Act Iin- design and direct one new production grows the more splendor he finds in it. cluded a pack of enormous Dalma- per year, beginning in 1977-78, prob- Even the final tawdry quartet for the tions and a dwarf— in which human ably with Don Carlo. very first time in my experience Continued on page MA- 39 SUSAN H. ANDERSON

MA- 35 January 1976 music of that period), whose earlier biography of Andrew Law was awor- thy precursor of the present work. David McKay is a choral director, book reviews composer, and scholar in American music, residing in Massachusetts, Patrick J. Smith, Editor where in the early 1960s he began the archival research on Billings that pro- vided the extraordinarily compre- WILLIAM BILLINGS OF BOS- through all his trials and struggles. hensive documentation—including TON: EIGHTEENTH-CENTURY "Great art thou 0 Music!"— he ex- much new material—that makes the COMPOSER. By David P. McKay and claimed with typical enthusiasm, present work definitive. Richard Crawford. 303 pages, Illus. "and with thee there is no competi- The character of this biography is Prineeton University Press, 116. tor." indicated in a sentence from the Not merely as a compiler of tune- Prefatory Note: " The book seeks at Reviewed by Gilbert Chase books, but as composer of their con- every point to describe Billings' life tents, Billings was " fustest with the and musical career from the perspec- BILL BILLINGS of Boston— the allitera- mostest." His first collection, The tive of the musical tradition in which tion is irresistible— is on the way to be- New-England Psalm- Singer: or, American he worked." It thus falls within the coming an American legend, like Chorister ". ... Composed by William scope of cultural history, which ap- Billy the Kid or Buffalo Bill. But at Billings, a native of Boston, in New pears to be the wave of the future for this incipient stage his " legend" is not England ( 1770)," was not only " the the study and interpretation of Amer- yet in need of " debunking." On the first published compilation of en- ican music. Not strictly confined to contrary, it is probably being fed— tirely American music," but also " the the chronology of its subject, the book not deliberately, but inevitably— by first tunebook produced by a single begins with a Prologue describing the work of historical scholars such as American composer." It is significant "Eighteenth-Century Sacred Music McKay and Crawford, as they bring too, that by the wording of the title- in New England," and concludes to light more facts about this as- page Billings "advertised his music as with an Epilogue on "The Reputa- tonishing personality. We see him not made in America by an American." tion of Billings and his Music, 1800- only as the famous, enthusiastically Thus, he was not only our first com- 1970." The Appendix on " Perform- dedicated pioneer singing- school poser of importance but likewise our ance of William Billings' Music" will master and tune- book publisher, as first forthright musical Americanist. be of particular interest and value to composer and choir leader, but also Billings did eventually have his choral directors. as patriot, poet, author, editor; friend competitors, and his bright particular Without being in the least pedan- and abettor of the fiery seditionist star was at least partially eclipsed as tic, this work deploys the full re- Samuel Adams; also ( to keep the leg- his life ended with the end of the sources and skills of academic schol- end down to earth), as holder of sun- eighteenth century. In the words of arship as regards thorough docu- dry, less than exalted, municipal jobs, his most perceptive contemporary, mentation of sources, command and such as coal inspector, scavenger, and William Bentley of Salem, written af- clarification of technical details, com- "hogreave"—"charged with keeping ter the death of Billings: " Many who prehensive bibliographical data, and stray swine off the streets." have imitated him have excelled him, an admirably complete and well-or- These were, after all, the largesse of but none of them had better original ganized general index. There are few political patronage, culminating in powers." It is because of these original musical examples—which Ibelieve is his appointment as offical tanner to powers that Billings was not only the just as well in a biography: why dis- the city of Boston. He needed what- first of our native pioneer composers courage potential readers who are not ever he could get to keep above the to be " rediscovered" in the twentieth musicians? The illustrations consist of poverty line—and barely above it at century, but also the one whose fame facsimile reproductions of contempo- that. A tanner by trade, such he re- has most rapidly increased and whose rary documents, including a map of mained in the official records to the music has achieved the widest publi- Billings' area of Boston from 1769. day of his death—though he held, in- cation and performance (his Com- His tanning shop was said to be on deed, the imposing title of " Sealer of plete Works are in process of republi- Frog Lane; his home was on New- Leather." cation under the sponsorship of the bury Street. Boston may well be But no one was deceived by these American Musicological Society). proud of its musical tanner; but the petty vicissitudes of his mundane ex- It is therefore altogether fitting— rest of us can also say, in the words of istence as a pater familias of humble particularly at this time of our Bicen- one his anthems, " Be glad then origins and of many responsibilities. tennial celebration— that William America"— that we had such a musi- He himself— and most of those Billings should be the subject of an cian amongst us, and that his music around him—always knew that his excellent biography and critical and his spirit are still very much alive first and greatest responsibility was to study by two highly qualified au- two hundred years after the birth of the Muse that had smiled on him thors. Richard Crawford is a musi- our nation. from birth and never deserted him cologist now generally recognized as the leading authority on early Ameri- WAGNER: A DOCUMENTARY Mr. Chase, scholar and critic, is the author can psalmody ( the name embraces all STUDY. Compiled and edited by Herbert of America's Music. kinds of Protestant religious vocal Barth, Dietrich Mack, and Egon Voss.

MA- 36 HIGH FIDELITY / musical america Preface by; Pierre Boulez. 256 pages. Ox- ner's own autobiographical sketch, spondingly intensified. For if Mind ford University Press, $ 29.95 to December written in 1842. A tasty Vorspeise to Models has the right intentions, it fails 31, 1975; $37.50 thereafter. what promises to be arefulgent feast. to meet its objectives on even the P.J.S. most basic levels of factual informa-

1976 IS GOING TO BE a cardinal year tion. for the Wagnerophile, not because it MIND MODELS. NEW FORMS The opening three chapters, en- is related to his years of birth or OF MUSICAL EXPERIENCE. By titled " Rates of Change," "The States death, but because it is the centenary Roger Reynolds. 230 pages. Praeger of Art," and "The Public and Private of the Ring cycle's first performance $13.50. Realms," propose to " illuminate the (at Bayreuth), and will see at least background out of which the present two major restagings of the works Reviewed by Robert P. Morgan expansions of materials and means (one at Bayreuth, conducted by Bou- has evolved." What unfolds is a lez, and one at the Paris Opéra, con- ALTHOUGH RECENT "experimental" rambling, extremely repetitive Sun- ducted by Solti and staged by Ingmar music continues to perplex most lis- day- Supplement exposition of condi- Bergman). Added to this, 1976 will teners, there can be little doubt that it tions affecting present-day art: de- see the beginning of publication of is intimately related to more general creasing permanence in human ac- Cosima Wagner's extensive diaries, manifestations of contemporary life. tivities, proliferation of distinct cul- which are bound to shed agood deal Indeed, the degree to which such mu- tural subgroups, fragmentation, the of light on the last years of Wagner's sic is framed by new modes of absence of a shared cultural frame- life. It is also hoped that this publica- thought, themselves conditioned by work, the impact of commercializa- tion will represent the unlocking of the complex social and technological tion, expanded technical possibilities, the treasures contained in Bayreuth factors that shape present-day exist- abnormal states of consciousness and Wahnfried, which have here- ence, is sufficient to suggest that fruit- (drug-induced and otherwise), altera- tofore been largely unavailable. (One ful discussion of the current music tions in perception, etc. Reynolds is of such project should be the publica- scene can occur only if encompassed course no expert in these climes and tion of Wagner's detailed " prose by these larger issues—by considera- has borrowed liberally, in his own sketches" of his operas, as well as of tion of how contemporary musical words, from " the provocative mate- operas Wagner considered but never developments reflect the broader rials Ihad come across." (One thinks set—such as Die Sieger, the Buddha- "sets- of- mind" fashioned by our rap- of a bright undergraduate's account opera Wagner wanted to begin after idly changing physical and psycho- to his adviser of the fruits of asemes- , and Jesus of Nazareth, the first logical environments. ter consumed by social science elec- page of which [ 1849] is reproduced in This is the position taken by Roger tives.) Surely one is justified, given this book.) Reynolds in Mind Models, the intent of the book's subtitle and purported As apicture book and as an intro- which is " to provide aprovocative in- focus ( i.e., " the text is primarily fo- duction, Wagner is worth the price troduction to the new dimensions of cused upon music"), to expect some asked. It is said that Wagner's music musical experience." Reynolds is inter- discussion of the musical significance and theories have generated more ested in the " human capacity to view of it all. Yet inexplicably, virtually books than that of any other com- experience from avariety of perspec- nothing along these lines is offered poser, and any acquaintance with tives and hence to achieve the unex- anywhere. second-hand bookstores here or pected association." Thus he regards With the fourth chapter (" Sound") abroad will bear out that contention. new mental models as agents of liber- hopes again rise, as the opening sec- Of the ( about one hundred and thirty ation: they enlarge "our categories of tion is headed " Sounds and Their pages of illustrations in this book art and our range of receptivity" and Use in Music." But this too turns out (many in color), Ihave seen most of enable composers " to imagine un- to be misleading: after some basic in- them elsewhere, but cannot remem- precedented sounds." Underlying troductory materials on psychoacous- ber them ever gathered together in this is the assumption that " any in- tics, we are given only abrief, super- such a striking way: set designs, wa- crease in materials and awareness, ficial survey of the "emancipation of tercolors, prose sketches, playbills, any accumulation of values and al- sound" in earlier twentieth-century photographs— all with clear explana- teration of attitudes" is the concern of music ( Debussy and Cage alone are tion. The rest of the book is taken up art, that " there is no substance too mentioned!). Succeeding sections with excerpts from correspondence, rare or too common to be trans- deal with such extended resources as writings, critical reviews, and the like, formed by art, no idea or set of cir- multiphonic instrumental sounds, and include many known to Wag- cumstances too ordinary to be set in a electronic and computer synthesis, nerieans ( Schumann and Berlioz on newly revealing light." and space as a musical parameter— Wagner, Hanslick's opinions, the let- Given these provocative and am- only the last, finally ( on p. 121 of a ters from Ludwig II, and the loopy, bitious aims, and the fact that the au- 230-page book), with consideration idolatrous letter from Bruckner, re- thor is himself a talented composer, of a concrete example: J6ji Yuasa's counting how Wagner accepted the one approaches Mind Models with un- Icon. dedication of his Third Symphony). usual expectations. The degree of dis- The next two chapters, "Time" and "Notation," prove to be equally Also included are several tantalizing appointment at its failure is corre- foretastes from the Cosima Wagner devoid of musical comment. The diaries, and the whole is prefaced by a treatment of time is directed toward long study, written in mock-Wagner- Mr. Morgan is amember of the music fac- problems of experimental psychology prose, by Pierre Boulez,and by Wag- ulty of Temple University. in testing and measuring human tern-

January 1976 MA- 37 poral experience. (There is one short several ' lines' by means of tim- CHICAGO LYRIC paragraph on Steve Reich, with one- bric and pitch range separa- Continued from page MA- 33 and three-sentence descriptions of, re- tions that characterize several spectively, his Piano Phase and Come discriminable classes. Arche- designer Pizzi took inconsistent aim Out.) And notation is considered typal examples here might be at splendiferousness, when merely mainly within the broad context of the solo violin and cello sonatas splendid sets would have sufficed. Di- general communication systems— of J. S. Bach. Physically, our rector de Lullo managed very little how information is processed, stored, perceptual capacities tend to beyond getting the singers on and off transmitted, etc. support the effectiveness of such the stage. Only in the last chapter, " Morpho- multidimensional illusions. We logy in Music," does Reynolds finally are disposed, for example, to "Elektra" address himself to particular in- separate pitch sequences that stances. Several compositions are dis- cover a sufficiently wide pitch After asurfeit of this kind of direc- cussed, and a last- gasp effort is range into several separate con- tion, Chicago was ready to have di- made—unfortunately too late, too tinuities, and our ability to dis- rector Nikolaus Lenhoff and designer haphazard, and too selective— to il- criminate order and timings in Rudolf Heinrich go to town on the luminate some of the musical impli- one or the other tends toward Lyric's first Elektra. The team came cations of the ocean of scattered ma- exclusiveness. If a listener at- through with a plan that sucked ev- terial previously encountered. But tempts to track the upper com- ery last iota of decadence and despair even here score descriptions are too ponents of a fairly rapid se- from Hofmannsthal and Sophocles, brief and general to provide insight quence, for example, he will and even added a few extra sexy bits into specifically musical questions. lose the ability to report timing to the old tale. The set which Hein- Symptomatically, the most detailed— and even sequence properties of rich designed for has aseries and interesting—discussion concerns the lower pitches. In its simplest of steps and platforms leading into a the treatment of a text: Salvatore form, an alternation of two huge stone palace façade. Lenhoff Martirano's manipulation of Lin- pitches, the point at which tried with no small amount of success coln's Gettysburg Address in L'S GA. what has been heard as an al- to get the singers to slide about in a Moreover, when Reynolds does oc- ternation separates into two in- highly stylized, all- arms manner. Un- casionally touch upon musical mat- dependent streams of repeated fortunately, he then cluttered the ters, as happens in a section on Pen- notes is called the thrill [ sic] stage with squiggly, body-stockinged derecki's Threnody for the Victims of threshold. folks who crawled around on their Hiroshima, the results are vague and What concerns Reynolds, then, is not bellies and got under the singers' occasionally misleading. His view of the polyphonic character of Bach's feet—and the viewer's skin. the Threnody as " representative of an one-voiced music ( pointed out in any Lyric came up with an interesting essentially monophonic, texturally case by Ernst Kurth a half century production of Elektra, but what good dense yet noncontrapuntal approach ago) but the physiological and psy- is that when you have no Elektra? to music," for example, is simply mis- chological mechanisms that make its Brenda Roberts, an Indiana- born informed: a perusal of the score re- perception possible. That the author graduate of Northwestern University, veals that virtually every page is is apparently unaware that there are barely made it through the role; characterized by imitative and/or no Bach sonatas for solo cello, but throughout the 110 minute perform- canonic processes. ( Indeed, these con- only suites, gives one pause. But more ance it was impossible to experience stitute the principal means for estab- importantly, what purpose is served anything but sympathy for her pre- lishing musical continuity in the by this passage ( and countless similar dicament. No amount of distin- work.) And although one does not ones) in a book of this sort? guished conducting by debutante deny Reynolds' right to dislike the Mind Models is yet another sad re- Berislav Klobucar, no number of im- piece, what is the point of such gratu- minder of how difficult it is to write pressive contributions from the sec- itous comparisons as: " The impor- about music and the musical experi- ondary characters could chase away tance of this work is limited com- ence in specifically musical terms. that awful feeling of disaster. Ursula pared, for example, with the more From one point of view it simply rep- Boese as Clytemnestra and Thomas dimensional ' noise' world of Michael resents a stylish, up-dated version of Stewart as Orestes contributed von Bid's ( b. 1937) String Quartet No. that long and hallowed practice of re- memorable, albeit fleeting, moments 2"? (Neither Biel nor his quartet is treating from musical substance to, of professionalism. , mentioned outside of this one sen- on the one hand, programatic de- making her first appearance with the tence.) scriptions of its effects and, on the company, sang the role of Chryso- Later, when Pénderecki's " mono- other, technical descriptions of the themis vigorously, topping the music phonic" approach is contrasted with compositional systems from which it with a characterization which was Bach's, the results become embarras- is derived. Only here the level of ab- uncomfortably oversexed. sing all around. The relevant passage straction is carried considerably fur- The hope for Lyric's Elektra lies in warrants quoting at length, for it ther. As for the reader, Isuspect he Ursula Schroeder-Feinen's scheduled typifies Reynolds' talent for reducing will be left with a feeling rather like take-over of the title role for four De- all commentary to the level of that of someone who, after eating an cember performances, with Mignon jargon: uncommonly large and oppressively Dunn as the new- team Clytemnestra, What is essentially asingle suc- rich meal, finds himself hungrier than and, somewhat less fortuitously, Bar- cession of events can suggest before he began. A toletti moving onto the podium. A

MA- 38 HIGH FIDELITY / musical america HAYDNFEST "The Seasons" Continued from page MA 35 Continued from page MA-31 relations were of only minor impor- none of the music in the orchestra's Again the performance of The Sea- tance. How much of the emotional repertory, is too much to prepare ade- sons, while decent enough ( much bet- emptiness one saw on stage was due quately. Dorati played all six Paris ter than that of Tobias), wasn't really to Karajan's conscious intentions and symphonies on September 30 and satisfying. For one thing, the capable how much to his unmistakable lack of October 1 ( with other works as well), soloists were badly matched: Heather directional skill must remain unan- by dividing the orchestra in half, Harper's gratifyingly large soprano swered, but certainly it was a frigid though he acknowledged that these (in radiant form, far plusher in tone evening. works were written for quite a large than her September 30 account of The singing, however, was distin- orchestra. Those Iheard were compe- two cantatas) alongside atiny- voiced guished. Placido Domingo in the title tent but bland: generalized run- and narrow-ranged, though tonally role was warm and unstinting. Piero throughs, with none of the attention ingratiating, tenor (Claes-Haakan Cappuccilli as Posa was properly fer- to detail and precise balancing that Ahnsjó, a young Swede); the always vent and though he was rather rough would reveal the music's stature. Age- pleasurable Donald Gramm fell and ready in matters of detail his tone old question: are six mediocre per- somewhere in between. The Choral was beautiful. Nicolai Ghiaurov as formances better than three, two, or Arts Society of Washington sang well, Phillip was as silken as ever. Mirella even one really good one(s)? whether loud or soft, and articulated Freni in a part that is too grand in surprisingly well considering its size, scale both for her vocal equipment The private and public composer but again it was awfully generalized. and her stage personality was a The best program Iheard was the model of taste. By never once trying Haydn's genius is concentrated in Theater Chamber Players' October 3 to step beyond her limits she achieved the fanatical subtlety of his detail. miscellany, highlighted by Phyllis moments of exquisite pathos. Eva Precisely that intimacy of conception Bryn-Julson's sensitive delivery of Randova, deputizing at short notice led to his ludicrous undervaluation in three groups of songs and by pianist for the indisposed , the nineteenth century and the first Dina Koston's quiet but admirably looked handsome, acted well and half of the twentieth. Alongside the taut performance of the fascinating sounded, if promising, immature, es- unmistakably dramatic utterances of late F minor Variations. pecially in so far as her Italian diction Mozart and Beethoven, Haydn was The associated trappings of Hay- was concerned. Though Martti Tal- relegated posthumously to the role of dnfest were decently managed. The vela had been announced as the primitive forerunner: amodestly tal- Kennedy Center prepared asplendid Grand Inquisitor the role was even- ented man who laid the groundwork souvenir booklet, with top-notch, se- tually sung by the Roumanian bass for, and was quickly surpassed by, his rious essays on each of the Haydn Gheorghe Crasnáru, unmemorably, pupil-successors. That's nonsense, of genres— agreat buy at $ 2. It seems to I'm afraid. But Salzburg's luxu- course. Gradually we have come to me that more attention might have riousness in casting allowed for Rob- recognize the profound range and been paid to practical matters for ert Kerns as the Herald and the re- depth of the whole of Haydn's stag- nonspecialists: music editions, books, markable José van Dam as the Friar. gering mature output. But he re- recordings. There was also some com- mained to the end a " private" com- munity involvement: Haydn pro- The Manzoni Requiem poser, whose works require every graming on the radio and special sales effort of concentration and study a on Dorati symphony recordings. Whatever the flaws in execution, The same kind of casting—Freni, performer and listener can bring ( I Cossotto, Domingo, and Ghiaurov— suspect that that's why the LP has Haydnfest represents an idea whose marked Karajan's solitary perform- benefited him so enormously); all too time is long overdue. The idea is ance of the Manzoni Requiem. So did often a merely "adequate" perform- hardly original, but it remains to be the dispassion. This Requiem was no ance will make a great piece sound applied on abroader scale—from the drama of salvation and retribution, ordinary. For example, the New smallest community upward. A Hungarian Quartet's smoothly pol- in which the participants alternate RISE STEVENS ished, stylistically undifferentiated between fear, supplication, and un- Continued from page MA- 5 quenchable faith, but a soothingly September 28 program of early quar- peaceful meditation on events long tets rendered Op. 17, No. 4, as light- Maurice Peress, Thomas Scherman, since resolved. Karajan's Dies Irae weight as Op. 1, No. 3. and Eve Queler. " Iwant to provide did not attempt to shake the heavens, Even as Haydn became an osten- more operatic training. I want to nor his Sanctus to set them resound- sibly more " public" composer, writ- make Mannes a more performing in- stitution. It is by performing that an ing. The final Libera Me contained ing increasingly for public perform- none of Verdi's holy terror, nothing ance and in more extroverted forms artist acquires confidence and gains recognition. Iwant to find atheater— to jolt the elegant audience out of its (the larger-scaled later symphonies, festival mood. That at the end they the last half- dozen Masses, The Crea- and the money to pay for it. I am looking for a place in the neighbor- departed without applauding seemed tion and The Seasons), the heart of the less an indication of their spiritual music— the intricacy of formal tech- hood, achurch or agarage or astore exaltation than of the tranquility in- nique, harmony, and rhythm— re- which could be converted. We need a Mannes theater, a workshop and duced in them by Karajan's reas- mained as involved, even involuted, showcase for Mannes students." suring interpretation. A as ever.

MA- 39 January 1976 Talk became personal when we re- idea. He was going soon to Paris to Bruno Walter will be here. We will marked that Richard Strauss had the conduct Rosenkavalier. He suggested have lunch and we'll swim. You'll be place of honor in the room. Sitting at we meet there and discuss it. But he thrilled!' Of course Iwent and Iwas. her desk, she faced his signed picture died soon after." Bruno Walter and his wife were there on the opposite wall. " We were born The picture of Gutheil-Schoder, and Thomas Mann and his wife. Af- on the same day, June 11," she said. and the talk of Strauss, brought the ter lunch Lotte said: ' Shall we go in- "When Itold Strauss this he said he conversation around to one of Ste- side?' On the piano was a score. never knew anyone who had been vens' famous roles, her Octavian. " I Bruno Walter sat down and opened born on his birthday and who could almost didn't do it," she recalled. it. It was Fidelio. Lotte, with Walter, also sing the Rosenkavalier! After the "While Iwas still at Juilliard Isang in had decided that Ishould be the next war Iwrote to him. Itold him Iwould Honegger's Roi David under Fritz Rei- Leonora! Of course, it was impos- like so much to sing and ner—a marvelous man, a great con- sible. The tessitura was too high. wanted to punktier it." Punktier? Risë ductor. But even he could make a "Also, if I had listened to Bruno explained: "Punktieren means to write mistake in judgment. He had offered Walter Iwould never have sung Car- another line above or below the line me asecond engagement and Ihad to men," said Risë who seemed made for as it is written; in other words, to raise refuse. Itold him that, on the advice the role in which she became famous. or lower the part, to substitute alter- of Mme. Schoen -René, my teacher, I "Before Iever did Carmen at the Met nate notes to make it more singable. was going to Salzburg to learn Octa- Edward Johnson— Ithink it was he— Strauss wrote back that he liked the vian from its greatest interpreter, said to me: ` Risé, speak to Bruno Gutheil-Schoder. Reiner said: 'You Walter. He will see you any time. He mean you're going just to study Octa- would like to hear you sing Carmen.' vian!' He told me not to waste my Iwent. Bruno Walter was at the pi- musical america time. ' Iadmire and love the opera. ano. Ijumped from one thing to an- But it has no chance of being a real other, recitative, the Habafiera, the Monthly success in this country!' He lived to Séguedille. Then, in his gentle way, eat his words. How many Rosen- Bruno Walter stopped me. He closed lirectory kavaliers Isang with him later!" the score and said: ` Rise, I do not Had she ever wanted to sing the think you will ever be a Carmen.'" Marschallin? Many mezzos had The telephone rang. It was about 4 01;) DALCROZE graduated from Octavian to the Prin- another of Risë's many activities, this SCHOOL OF MUSIC cess. " No. The only time Iever sang time about the December Auction "Combining the best features of European and American Education." the music was at aparty in Paris after and Bazaar for the benefit of the Met- Complete Music Curriculum—Artist Faculty the war. Germaine Lubin was there. ropolitan, of which she was chair- DALCROZE TEACHER'S CERTIFICATE COURSE 101 East 73rd St., N.Y.. N.Y. 10021 TR 9-0316 She had suffered greatly. She had man. Contributions were pouring in. Dr. Hilda M. Schuster, Dir. — The only authorized Dalcroze Teachers Training School in the Americas. been accused of having been a colla- She herself was giving the worn MYRTLE GORDON ROBERTS borator during the war. Later she was leather riding crop she had always Teacher cleared, but she was touchy and carried as the Rosenkavalier. "The Piano, Organ aloof. She had created the title role of last thing Iwould check before aper- Harmony, Composition Rosenkavalier in Paris and we per- formance at the Met were my sword Chamber Music Instruction suaded her to sing. We sang together. and gloves and especially my riding Carnegie Hall, Studio 112 154 West 57th Street, N.Y., N.Y. 10019 First she sang the Marschallin and I crop. Iwas very superstitious about it. (212) Ci 5-7278 did Octavian. Then she said ' let's If Ididn't find it at once Iwould have switch parts' and we did. But it isn't a fit. Jenny—she was the wardrobe SIGMA ALPHA IOTA for me. The Trio would have been mistress—would go crraazzy!" International Music Fraternity much too difficult. There are some A long working day over, President roles which are dramatically tempt- Stevens goes home and becomes Mrs. Ruth Gould ( Mrs. Paul J.), President 841 Oleander Drive, S.E. ing but which are vocally beyond Surovy. If there are no social engage- Winter Haven, 33880 your reach, like Salome— as it is writ- ments (she tries to keep them to a ten. And Ialways wanted to do Ev- minimum) she likes nothing better JUNE BURGESS VOICE chen in Meistersinger, and ! than a quiet evening with her hus- All phases of Vocal Instruction Fae. American Academy of Dramatic Arta "It is hard to learn to know what band. " Imake dinner. Ilove to cook Ansonia Hotel NYSTA-NATS SU 7-3300 you can do and what you can't do, and Ilove to dream things up." She 73rd & Brotel..ty ( Apt. 10.112) and to accept it. It is even unusual to gave us arecipe for chicken breasts. " I MARIENKA MICHNA PIANO find a conductor who knows what a love chicken," she said. It sounded Concert Pianist— Teacher Opera Coach — Accompanist singer should sing and shouldn't sing. mouth-watering and simple to do. Hotel An•onia, Bw•y. &- 73 St., N.Y.C. Toscanini was perhaps the exception. But Rise Stevens makes everything "Take Bruno Walter ... One day she talks about sound interesting. HOWARD SHAW Member NYSTA TEACHER OF SINGING at the beginning of my career— Iwas In this election year, when inar- Technique and Interpretation Extensive teaching and performance experience twenty-six or twenty-seven— Iwas liv- ticulate, faceless candidates are Manhattan Studio Call ( 212) 295-5255 ing in California and Lotte Lehmann floundering about trying to establish LAMBERT ORKIS ACCOMPANIST called me from her home at Hope positive and persuasive images, we Vast repertoire tor voice and instruments; coaching Ranch in Santa Barbara. She asked suggest they all go to school at for voice; masterclasses. World wide availability. 119 N. 18th St., Philadelphia, Pa. 19103 me to lunch. ' Risë,' she said. ' Such a Mannes and study the very model of or call 215-569-4500 surprise for you. Please come over. a modern president, Risë Stevens. A

MA- 40 HIGH FIDELITY / musical america backdrop with more effectiveness than is were abbreviated, it would be good to have sometimes the case with the two Konzert- the speeches with music— and, at the least, stücke for piano and orchestra. Ruggiero afull libretto, which would tell us, for ex- Ricci's clear, rather acerbic, knife- edged ample, that the andante maestoso cre- style helps in that respect, and his unsenti- scendo of No. 7accompanies atableau of a mental phrasing is just what the piece fine mist dispersing to reveal the town of needs. Kurt Masur and his distinguished Pesth. Leipzig Gewandhaus Orchestra provide The performance is first-rate: bold, ar- memorable, granitelike solidity in the best resting, and theatrical, from the first clarion "traditional" manner. (The fantasy is most calls to attention from the trumpets and the often heard in an edition by Fritz Kreisler; horns. Thomas seems to have got exactly in the absence of any indication from Turn- the right timbres from the LSO, which plays about to the contrary, Iassume that Ricci in a very direct, candid, and " classical" uses the original version.) way—plenty of punch, but no forcing of the There is nothing actively wrong with the tone and no Romantic fatness. The pretty Brahms double concerto, though the "bridesmaids' chorus" all'ongarese goes soloists are a bit wiry and, in the slow with great charm; the graphic and pictu- movement, ashade sentimentally hairpin- resque qualities of the music are vividly prone. The tempos, slow to begin with, are presented. My only quibble is at the man- not ideally sustained; phrasing tends to nered détaché of some of the choral singing, Michael Tilson Thomas choppiness. The New Philharmonia plays when, in an effort to ensure clean articu- A Beethoven score to value. well but doesn't match the solidity that Ma- lation, the Ambrosians seem to be imitating sur gets from his own orchestra in the Schu- the pizzicato of their accompaniment. mann. The more sonorous Seraphim ver- King Stephen is a score to value. So is fluential composer of modest and very un- sion by Ferras, Tortelier, and Kletzki, taken The Ruins of Athens, which fills the other even talent. Among his many routine and at similarly deliberate tempos, is more of a side on the Turnabout and Hungaroton lifeless works there are some fine songs and piece interpretively, and indeed it holds its discs. The choral works on the other side of motets, anice masque, and the first English own against the full- priced versions. the new Columbia are less remarkable, but opera, Venus and Adonis.The anthems re- Get this well- recorded disc for the Schu- at any rate three of them fill agap in the cat- corded here are not outstanding works; mann, though; you will find the fantasy alogue. The Elegiac Song—which should Blow being basically a lyricist, the large well worth knowing. H.G. surely be done by four voices, not a form and the ostentatious splendor of the chorus— needs more sostenuto, more legato coronation anthem, so congenial to Handel, did not suit him. Though there are inter- singing than it receives here. The Opferlied esting moments, on the whole one's atten- Bums: Sonata for Piano, No. 3, in F mi- is somewhat in the vein of Elisabeth's nor, Op. 5; Rhapsody in G minor, Op. 79, prayer in Tannhduser. The Bundeslied is tion is soon exhausted. The performances, however, must share No. 2. Bruno Leonardo Gelber, piano. CON- rather abore— four square identical verses, NOISSEUR SOCIETY CSQ 2084, $ 6.98 ( SQ-en- with wind accompaniment, and then afifth the blame. The ensemble of boys. coun- coded disc). with protracted cadences that the first clar- tertenors, and tenors, with lesser roles for inet festoons with arpeggios. the basses, is not aravishing one, but Ihas- ten to say that the boys of the King's Col- There is little evidence here of the affinity Becalmed Sea and Prosperous Voyage is for Brahms that the Argentine- born Gelber also available in aBoulez performance (Co- lege Choir turn in by far the best perform- showed in his Odeon recording of the First lumbia M 30085), as afiller to the Fifth Sym- ances. Boy trebles and altos are often glassy Concerto. The structure of the sonata is phony; another, by Leitner, was until and innocently expressionless, but how constantly weakened by spasmodic little recently available in one of DC's Beethoven glorious the youngsters sound here com- pared to the voices, lacking both color and agitations and holdbacks. The line usually Edition boxes. ( Iamend the customary Eng- goes limp at lyrical second- theme groups, lish translation of the title because, as To- resonance, of the countertenors and the cautious tenors. Caution ( or is it atradition and the commanding material of the open- vey put it: " Calm Sea misses the point and ing sounds thin and percussive. There are suggests the poor landlubber's sine qua non unknown to us?) characterizes the whole occasional hints of imaginative voicing, but for aprosperous voyage.") The " becalmed" production. The lovers of " historical accu- for the most part this is apetulant, fidgety section comes off none too well, because racy" à outrance will have afield day. but reading of music that must be big and the Ambrosian sopranos' high A's are we commoners are left longing for a little freewheeling. rather scrawny and the choral chording is substance, color, and bite. P.H.L. Isee no point in recommending this disc not always precisely tuned. But Thomas is with superlative accounts of the sonata very good at raising the wind— first fresh- readily available from Arrau ( Philips 6500 ening little zephyrs and then agood, stiff BRAtims: Concerto for Violin, Cello, 377), Rubinstein ( RCA LSC 2459), and blow that brings the vessel and its crew and Orchestra, in A minor, Op. 102.* n Curzon (Stereo Treasury STS 15272). At SCHUMANN: Fantasy for Violin and Orches- bounding exultantly into port. budget price, the latter is an outstanding Texts and translations are provided, but tra, in C, Op. 131.* Ruggiero Ricci, violin; bargain. H.G. not in parallel columns. Three Kalmus George Ricci, cellot; New Philharmonia Or- pocket scores, Nos. 433, 439, and 1019, con- chestra* and Leipzig Gewandhaus Orches- tain all the music. A.P. tra', Kurt Masur, cond. [ Robert Auger, prod.] CHOPIN: Waltzes ( 18). Aldo Ciccolini, TURNABOUT TV-S 34593, $ 3.98. piano. SERAPHIM S 60252, $3.98. In quad: The sound is reasonably spacious Comparison —Brahms: Ferras,Tortelier,Kletzki Sera S60048 without being obtrusively ( or memorably) This edition of the waltzes would be out- quadriphonic. R.L. standing even at full price. Ciccolini, asu- The major attraction here is the filler work, Schumann's rarely heard fantasy for violin perbly aristocratic artist, strikes an almost perfect balance between metric regularity and orchestra, a late- period composition BLOW: Coronation Anthems; Symphony and caressing leeway. He commands afas- Anthems. Soloists; King's College Choir, full of brooding intensity but offset by enough airy brightness and humor to keep tidious, silken legato and is capable of ara- Cambridge; Academy of St. Martin- in-the- it memorably afloat. Those with an aver- vishing pianissimo, which he uses here ap- Fields, David Willcocks, cond. ARGO ZRG propriately and often. His fingerwork sion to late Schumann are advised that the 767, $6.98. writing is at times quirky, that develop- glistens, and the difficult passagework has a mental passages are typically cryptic (some brilliant, slightly dry. sparkling quality. If Handel's magnificent but peculiarly Eng- will say " disjunct"), and that Schumann's Most of the tempos tend toward briskness. lish anthems are somewhat removed from As aresult, the music sounds airborne but scoring frequently favors somber mass over us, even when performed by agood mixed never rushed. Along with the elegance and choir, how much more so the Restoration detail. Still, the fantasy is astronger work than the D minor Violin Concerto, and the facility go many sparks of drama and anthem, with its boys, countertenors, and memorable individual turns of phrase; falsettists. John Blow (1649-1708) was an in- solo line cuts through the thick symphonic 85 JANUARY 1976 note, for instance, the wide dynamic range Martinon matches. Also, the Columbia ver- and incisive little spurts in the E minor sion is played with the most sensitive en- Waltz, No. 14 of the standard set. semble discipline and balance of the three; Ciccolini plays four of the five post- note, for example, the doubled flute and pi- humously discovered pieces included in the ano of the opening. On Angel, some of the excellent Henle edition (omitting only No. more climactic textures are abit blurred in 17) and follows the Henle sequence, which the live ambience of the Salle Wagram. You places two of the added pieces before No. may not, in short, find any of the three the 14. Like Abbey Simon (who recorded all perfect realization of the music, but neither nineteen waltzes on Turnabout TV- S34580, can you go far wrong. A.C. November 1975), Ciccolini sticks basically to the Fontana text in those waltzes for which Henle gives both Fontana and the Deuus: North Country Sketches; Life's substantially different manuscript version. Dance; A Song of Summer. Royal Philhar- The sound is bright and glistening. Alto- monic Orchestra, Charles Groves, cond. gether, awonderful record, and one to set [John Willan, prod.] ANGEL S 37140, $6.98 alongside those of Lipatti (Odyssey 32 16 (SO-encoded disc). 0058), Haas (Epic and Mercury Wing, de- leted), and Rubinstein (RCA LSC 2726). Si- North Country Sketches is ade facto Four mon, while not quite in this class, is awor- Seasons, conveying to this hearer the indi- thy contender if you desire all nineteen vidual ambience of the times of year even waltzes. H.G. more vividly than the corresponding works of Vivaldi, Haydn, Milhaud, Glazunov, et al. The first section, " Autumn— the wind DALLAPICCOLA: Il Prigioniero. For a feature soughs in the trees," is set for the darker Charles Groves review, see page 78. colors of the orchestra and keeps modu- A major addition to Delius discography lating downward, with outbursts of sob- with more reflective interludes) that will re- bing and wispy melodic disembodiments. mind some of the Liszt Mephisto Waltz, ex- The second section, " Winter Landscape," is DEINISSY: Orchestral Works, Album 6: La cept that Delius' music always has an inner a series of bleak pronouncements in icy, Bete à joujoux; Printemps. Orchestre Na- intensity Irarely find in Liszt. The orches- tional de l'ORTF, Jean Martinon, cond. [ René blocklike harmonies against a mockingly tration is bold and incisive, and Sir Charles simple four- in- a- bar accompaniment. Challan, prod.] ANGEL S 37124, $ 6.98 ( SO- and the RPO have afine time with it. encoded disc). "Dance" may not explicitly mention sum- This major addition to the Delius dis- Comparisons: mer, but its bright and delicate pastel cography is well recorded and pressed. The Ansermet ( same coupling) St. Tr. STS 15042 shades and the lazy mazurkalike rhythm Boulez (Printemps only) Col. M30483 jacket features excellent notes by Eric leave little doubt of the warm indolence in Fenby (who else?) and a beguiling color the air. The finale, " The March of Spring," This final disc in Angel's successful trav- photo of the Yorkshire countryside. If I travels incognito as a typically Delian, ersal of " The Orchestral Music of Debussy" can't go there in fact, at least Delius' music rhapsodic stream of consciousness but is is not strictly " orchestral Debussy," but takes me there in spirit. A.C. actually a skillfully tailored set of vari- then nobody has come up with a satisfac- ations, the theme of which— amajestically tory definition of just what does constitute In quad: This is the kind of sound one has swaggering outburst of British chauvin- Debussy's " orchestral works." The sym- grown used to in basic quadriphonics. In- ism— unfurls itself only at the end. phonic suite Printemps was originally a struments are well defined at the front, and Charles Groves, conducting the same or- choral piece by the then twenty- five- year- there's lots and lots of hall ambience at the chestra that made the previous recording of old composer, which won a Prix de Rome back. If any music thrives on such lush, the North Country Sketches, under Bee- but was subsequently destroyed by fire; it sensuous sound, it is that of Delius. De- cham ( now on Odyssey Y 33283, with Ap- lightful. R.L. came into its present form in 1913 through palachia), provides a meaningful alterna- the ministrations of Henri Busser. In that tive to that two-dozen- year- old classic. The same year, Debussy finished the two-piano differences in approach are threefold: sketches of his children's ballet La Bone à DVOitific Symphonies: No. 7, in D mi- Groves maintains great metrical constancy joujoux but somehow left the orchestration re nor, Op. 70*; No. 9, in E minor, Op. rather than Sir Thomas' more flamboyant to be completed by André Caplet. 95 (From the New World)t, Czech Philhar- rubato; Sir Charles builds climaxes spar- No matter such quibbling. All's well that monic Orchestra, Václav Neumann, cond. ingly while Beecham allowed aheadier dy- ends well, and Martinon's series certainly VANGUARD/ SUPRAPHON SU 7* and SU 81', namic range; and the engineers or perform- $3.98 each. does, with a worthy rival for Ansermet's ers on the new recording have balanced disc of these charming and effectively choirs more evenhandedly, in contrast to scored works. The latter now costs only Supraphon's new cycle of the Dvoirik sym- the prevalent upper- voice leading of their about half as much as the new record, but phonies under the admirable direction of predecessors, thus laying bare more of the the 1958 sonics, though perfectly clear, are Vsiclav Neumann has appeared in its en- harmonic values. Ifind both ways effective in truth abit dry and boxy. Angel's sound is tirety abroad; now Nos. 7and 9join No. 8 and suited to the piece. brilliant and spacious, with quite impactive (SU 2, February 1974 and May 1975) in the bass transients. The second side of this Angel issue offers domestic catalogue. two scores for which there is no competi- Martinon presents La Boite à joujoux No. 7gets aparticularly impressive read- tion from Beecham. Though Sir Thomas with avividness of characterization want- ing, which combines the brooding light and never recorded A Song of Summer, Barbi- shade of the " traditional" approach (e.g., ing in Ansermet's more reserved and stead- rolli did— twice ( most recently in aDelius- ily controlled interpretation. Yet the latter Talich's 78s and Sejna's early LP) with the Bax-Ireland collection on Angel S 36415). has a jeweled subtlety, a lilting reticence taut discipline and precision of inter- Groves's gentle, carefully sustained mold- pretations like Szell's (in Columbia D3S that is enduringly magical, and the Suisse ing of the idyllic still-life scene is, however, Romande oboes are more plaintive than 814) and Rowicki's (Philips 6500 287). Neu- as perfect a rendition as Icould care to mann secures clear, precise execution and a their Parisian counterparts. imagine. In Printemps, however, Martinon is deci- great deal of balanced clarity— no small feat For some reason, nobody has ever before sively most successful in capturing the fre- in this thickly scored work. But for all the recorded the 1912 Life's Dance— even punctiliousness (especially welcome is the quent shifts of motion and thus expression. though most books and articles on Delius straightforward phrasing of the last move- Boulez (coupled with the Nocturnes and the mention it as an important composition clarinet rhapsody) is even more rigidly met- ment's second theme, which so many con- and one that he twice revised before being ductors heave and haul with lavish rubato) ronomic than Ansermet, though he does finally content. The original title was The the over-all impression is one of rustic geni- bring adegree of point and swagger to the Dance Goes On, and the work has awhirl- final dance tune that neither Ansermet nor ality. The wind playing is particularly po- ing and obsessive propulsiveness ( mixed etic and memorable.

86 HIGH FIDELITY MAGAZINE liciae basiliensls). Czech Philharmonic Or- The New World follows a similar path Handel was no mean Biblical student and chestra, Serge Baudo, cond. [Eduard Her- but doesn't generate sufficient vitality on usually selected his passages from the Bible zog, prod.] SUPRAPHON 110 1536, $ 6.98. the one hand or burnished lyricism on the or the Book of Common Prayer himself. But the selections were made on adramatic, not Comparison— Symphony No. 1: other. Again the lines are smooth and long, Tabachnik/Orch. National Inédits ORTF 995 042 the orchestral playing both precise and to- a theological, basis; Handel wanted con- Comparisons— Symphony No. 4: trast and a variety susceptible to musical Munch / Oral. National Mus. Her. MHS 981 nally attractive, yet somehow Imiss the ex- Ansermeti Suisse Romande Lon. CS 8816 citing crack of the whip almost from the exploitation. Both works have borrowed music. outset— for instance, in the introduction's Although the Swiss- born Honegger had mainly from Handel's earlier— or later— mu- low- strings- and- percussion answering mo- much stronger ties to the Germanic tradi- sic; at times it is difficult to ascertain which tif. Nor is the famous Largo as eloquently tion than did his cronies of Les Six, he did version comes first. But it does not matter; rendered as in the wayward but very spe- not begin his First Symphony until 1929 (his Handel's transplanting technique is phe- cial Kubelik / Berlin performance (DG 2530 first catalogued work dates from 1910). nomenal. When he borrows anything, from 415). For the record, Neumann does not take Commissioned by Koussevitzky and the the first- movement repeat, which does not acadence to awhole piece, from his own or from another composer's music, the trans- Boston Symphony and completed in 1930. bother me. Honep,ger's first effort at " absolute music" plant as arule appears natural and partic- As usual with Supraphon's best orches- for full orchestra has been overshadowed ularly suitable to its new surroundings. tral work, the engineering is long on am- by his four later symphonies; its premiere Nineteenth-century historians and critics bience without sacrificing detail; all the in- recordings appeared only recently. were terribly embarrassed by what they struments sing out with just enough air True, the First Symphony lacks the ex- considered plagiarism on the part of Eng- around the choirs. Vanguard's pressings are pressive depth of its successors. And its land's national musical hero, some angrily altogether smoother than the Czech origi- musical language hardly makes for " easy" declaring that atheft is atheft whatever the nal of No. 8 (the only one of these Ihave listening. Particularly in the first move- name applied to it. They did not yet know heard), and Lois Gertsman's balanced, suc- ment, Honegger applied to a wholly ab- that the sainted Bach borrowed just as cinct notes unearth some interesting detiails stract context the " futuristic" writing fa- much as Handel— or any other baroque concerning Dvoták's appointment at New miliar from Pacific 231 ( 1923): the marcato composer. After all, both Handel and Bach York's National Conservatory of Music. I rhythms, harsh dissonances, marked in- (who, by the way, purloined abit from the hadn't known, for example, that it charged strumental contrasts, and thick- textured sixth Chandos Anthem for his St. Matthew only what students could pay and provided contrapuntal writing ( including, in the Passion) could compose "new" music at the many scholarships to blacks. H.G. middle of the first movement, afugue hid- drop of ahat; but, in accordance with ba- den amidst other goings-on). But any defi- roque musical aesthetics, if some existing ciencies are largely offset by the pure en- Hamm: Chandos Anthems: No. 2, In the music was just right for the occasion, they ergy of the first and third movements, the Lord put Imy trust: No. 5, Iwill magnify made use of it no matter where it came rhythmic and instrumental inventiveness Thee. Caroline Friend, soprano: Philip Lang- from. and the wistful lyricism of the second, and ridge, tenor; King's College Choir, Cam- This recording is disappointing. A pall of the occasionally jazzy exuberance of the bridge; Academy of St. Martin- in-the- Fields, emotional restraint, almost neutrality, fourth. David Willcocks, cond. [ Chris HazeII, prod.] hangs over what should be healthy, warm, The Fourth Symphony, one of Honeg- ARGO ZRG 766, $ 6.98. and extroverted music. Everything is done ger's most warmly lyrical creations, con- diligently and conscientiously; why, the trasts strikingly not only with the First, but Though some writers, especially the Ger- performers even sing Handel's misspellings with the bleakly pessimistic Second ( 1941) mans, consider Handel's Cljandos An- rather than make the obvious changes (but and Third (1945-46) as well. Inspired by the thems an Anglicized version of the German the text is printed correctly!). Willcocks "delights of " and dedicated to Paul cantata style that Zachow taught to his also retains the aria " Happy are the young pupil in Halle, they are anything but people," which scarcely belongs in the fifth Sacher and the Basel Chamber Orchestra, the Fourth moves between a feeling of the Lutheran cantor's art. In fact, these anthem; it is markedly inferior to the rest, calm, pastoral nostalgia and afolk- inspired works, undoubtedly influenced by some of and there are no reliable sources for it. The jocularity that can be heard especially in Blow's and Purcell's anthems, represent a boy trebles, though good, are by nature col- the third movement. The orchestral am- unique, thoroughly English species of orless, and they cannot muster enough vol- bience is also much more placid and cham- church music, dynastic and ceremonial, ume when singing in low positions; when- berlike than that of the First, though indi- here pastoral, there dramatic, but without ever this happens there is imbalance in the vidual instruments like the piano are used the profound Christian commitment we as- choral sound. The pace and the dynamics to good effect. sociate with Bach's cantatas. The Estab- are monotonous. There is no excitement This Supraphon disc belatedly completes lished Church was at this period aworldly, and little drama, only aperformance that is Baudo's traversal of the Honegger sym- political organization, and the eighteenth- correct and competent (words whose im- phonies. (Nos. 2,3, and 5, along with Pasto- century Englishman was partial to the Old port in critical vocabulary differs from their rale d'été, Chant de joie, and Pacific 231, Testament, because he regarded the English meaning in ordinary parlance). were released domestically some years as another chosen people, with the Lord in- Of the soloists, tenor Philip Larigridge is a back on two Crossroads discs. All three variably and victoriously on their side. valiant singer, but his voice has a limited discs have been boxed in aGerman set, Eu- The Chandos Anthems express this spirit sensuous appeal; these arias are Italianate rodisc/Supraphon 87 601 XK.) In both to perfection and are firmly part of the Eng- and require bel canto warmth. The so- works, Baudo gives very good perform- lish tradition, for which reason they are prano, Caroline Friend, is timid and wob- ances that do not quite measure up to the little understood and appreciated else- bles a little; even a gentle aria calls for a competition. Tabachnik's First Symphony where, even in the other English-speaking round and colorful voice, and she shows for Inédits ORTF features fuller, deeper re- countries. It follows that the comparisons little individuality. The orchestra is good, corded sound and abetter orchestra with a with Bach must be severely limited, for and the sound better than average. larger string section, avital element in all of both the spirit and the techniques em- All concerned, beginning with the con- Honegger's orchestral works. Furthermore, ployed are worlds apart. These anthems are ductor, misread the tone and quality of this the Tabachnik disc offers the only record- somewhat uneven, a number of the arias marvelous music, which is quite surprising ings of the marvelously dynamic " mimed not quite reaching the high level of the cho- coming from an all- English ensemble. They symphony" Horace victorieux ( 1920-21) ruses, and at times there is adutiful but not usually know from long- embedded tradi- and the rarely heard Mouvement sym- very exciting choral fugue, but all of them tion that, unlike the German Lutheran, who phonique No. 3. In fact, though, neither contain great music, and some, like the beseeches the Lord, the Anglican informs recording of the First does the work full jus- eighth anthem, belong to the glories of the Him of the situation, asking for ratification. tice; especially in the final two movements, literature. And, of course, it was in these And no one embodied this confident and my standard remains a concert perform- compositions that Handel laid the founda- proud spirit more convincingly than the ance by Munch and the Boston Symphony. tion for the grandeur of the choral style bet- naturalized Briton from Halle. P.H.L. Munch did record the Fourth, and his ac- ter known from the oratorios. count, with the indispensable Dutilleux Cinq The texts of the anthems recorded here, Métaboles, is one of the gems of the Musi- Nos. 2and 5, are culled from several psalms. HopiessER: Symphonies: No. 1; No 4 (De-

87 JANUARY 1976 cal Heritage Society catalogue. Ansermet's ists. With respect to orchestral idiom, Fourth has the best sound, and its coupling though in no other respect, Ican agree with is asearing performance of the Third Sym- Gerhardt that Korngold's thoroughly origi- phony. The Supraphon disc, however, per- nal style has nothing to do with Strauss's forms an invaluable service by providing (or, for that matter, with Puccini's, another relatively convenient access to the First often suggested influence). Symphony, in a quite satisfying inter- As producer of this recording, Gerhardt pretation. Unfortunately the Czech- pressed is the nearest thing it has to ahero ( despite disc serves the efforts of Baudo and the the overmiking of Kollo). The orchestral Czech Philharmonic markedly less well than the German-pressed set noted above. playing is reproduced with that special lus- ter familiar from the recordings he and his R.S.B. frequent collaborator George Korngold KORNGOLD: Die tote Stadt, Op. 12. have made for RCA. At least the most at- Marietta. Marie Carol Neblett ( s) tractive aspects of Die tote Stadt have been Juliette Gabriele Fuchs ( s) done full justice. R. S. B. Lucienne Patricia Clark ( s) Brigita Rose Wagemann ( ms) Paul Rene Kollo ( I) Lim: Hungarian Rhapsodies ( 5). Claudio Gaston; Victorin Anton de Redder ( t) Count Albert Willi Brokmeier ( 1) Arrau, piano. DESMAR DSM 1003, $6.98 Frank Benjamin Luxon ( b) (mono) [ from COLUMBIA originals recorded Fritz ( b) 1951-52, previously unreleased]. Talz Boys' Choir; Bavarian Radio Chorus and No. 8, in Fsharp minor; No. 9, in Eflat; No. 10, In NO. 11. Orchestra, Erich Leinsdorf, cond. [ Charles Carol Neblett In A minor; No. 13, in A minor. Gerhardt, prod.] RCA RED SEAL ARL 3-1199, A skillful, dynamic Marietta/Marie. $20.98 ( three discs, automatic sequence). One of the most inspired repertory adven- Ouadriphonic: ARD 3-1199, $23.98 ( three But Iwas constantly dumbfounded by how tures of the brand-new Desmar company Clued radiscs). badly Korngold's swirling flourishes and was obtaining from the International Piano fortissimo emphases capture the mood in- Archives the rights to issue for the first time dicated by the stage directions or even by these recordings, made in 1951-52 for Co- As a great fan of Erich Wolfgang the words that are being sung. Indeed, lumbia but inexplicably never released by Korngold's film music, as well as what con- Korngold time and again has his singers that company. cert music Ihave heard ( including the violin pompously declaiming lines that seem to If you're already an Arrau fan, you'll re- concerto and the powerfully dramatic sym- call for startled understatement, his orches- member that he studied with one of Liszt's phony), Imust confess to great disappoint- tra thumping away with histrionic punc- own last pupils, Martin Krause, that he first ment in his first large-scale opera Die tote tuation where one would want a misterioso won the prestigious Liszt prize at the age of Stadt ( The Dead City), completed in 1920 feeling. only sixteen, and that at least three of his when he was twenty-three. Not that the It is all rather like Richard Strauss man- current Philips releases are devoted to Liszt music is all that bad, although little of it has qué ( notwithstanding producer Charles originals (802 906 and 6500 043) and tran- the appeal of many of the composer's other Gerhardt's protestations to the contrary in scriptions (6500 368). A hasty check of his works, but it is by and large bad music the booklet), with all the Straussian gran- earlier discography doesn't turn up any drama. diloquence but none of the mood ( and Iam other Hungarian Rhapsodies, which en- Based on Bruges la Morte by the nine- not one of Strauss's greatest fans). Perhaps hances thé value of the five present exam- teenth-century Belgian symbolist Georges the greatest problem is the writing for the ples. They become well-nigh invaluable, Rodenbach, the libretto concerns itself, in main character, Paul, who carries at least however, for both the gusto and the magis- classic symbolist fashion, with death and 60% of the burden. Korngold's strategy for terial bravura with which the Arrau of absence, here in the form of an obsession communicating the torment of an obsessed, nearly twenty-five years ago endows these with adead woman and her reincarnation death- oriented soul is aseries of exclama- pianistic showpieces. And, what is far more in an earthly double. Typically— and essen- tions at roughly the volume level of aNew unexpected, the recording itself not only tially, for the metaphysics involved— the York subway. Perhaps Iam overreacting to does full justice to Arrau's robustly ringing tale ends in the triumph of the nonflesh, of René Kollo's grating performance— color- tonal qualities, but also achieves ( despite nonpresence, of death. less, strained, wobbly, and, to make mat- its rather dry acoustical ambience) atruly Yet this " reworking" of Bruges la Morte ters worse, too closely miked. But surely remarkable presence. represents aclassic case of pre- Hollywood some of Kollo's difficulties relate to the If there are more such gems as this in the Pollyanna- ism. By using the gimmick of writing itself, both verbal and musical. International Piano Archives, Desmar ( or putting the " negative" part of the story into The other singers and the orchestra make IPA itself) can do keyboard connoisseurs adream, the libretto is able to justify the fi- an excellent impression. Soprano Carol an incalculable service by prying them from nal conversion of to the forces of Neblett's diction may not be perfect, but I the vault. R.D.D. life. Christopher Palmer, in his long apo- would rather hear her rich, fluid voice sing- logia in RCA's extensive booklet, states ing nonsense syllables than hear Kollo that the librettists were trying to avoid the bleating perfect German. Beyond the ingra- MAHLER: Symphony No. 5, in C sharp mi- "exclusivity," whatever that means, of the tiating ease of Neblett's vocalism, there is a nor; Kindertotenlieder*. Christa Ludwig, symbolist aesthetic ( which is hardly " ex- skillful and dramatic use of dynamic and mezzo-soprano*; Berlin Philharmonic Or- clusive" to France). But either you work timbral contrast, the voice subtly changing chestra, Herbert von Karajan, cond. [ Hans within the limits of acertain domain envis- hue as it moves from range to range. Fortu- Hirsch and Hans Weber, prod.] DEUTSCHE aged by an author or you turn to adifferent nately Marietta/Marie has much of the op- GRAMMOPHON 2707 081, $ 15.96 ( two discs, writer; by tacking ahappy ending onto Ro- era's best vocal writing, including the Act I manual sequence). denbach's lugubrious vision, and by apply- "Lute Song." Comparisons— symphony: ing a nicely Germanic, logical distinction It is, however, the orchestra that proves Solti/Chicago Sym. Lon. CSA 2228 between " real" life and dream to a work Walter/N.Y. Phil. Odys. 32 26 0016 the opera's most interesting character—not Bernstein/N.Y. Phil. Col. M2S 698 that assumes an ambiguity between the in adramatic way, but in the manner of a Haitink/Concertgebouw Phi. 6700 048 Cornparisons—Kindertotenlieder: two, the libretto very simply emasculates talented acrobat performing skillful, even the work's narrative as well as its thematic Ludwig, Vandernoot/Philharmonia Sera, S60026 graceful, feats above the stage to distract Baker, Bernstein/Israel Phil. Col. M33532 impact. the audience from aboring melodrama. Al- Ferrier, Walter/Vienna Phil. Unfortunately, the operatic style seconds Odys. 32 26 0016 or Sera. 60203 though here and there I note a certain Prey, Haitink/Coneertgebouw Phi. 6500 100 almost every step of the way the librettists' stodginess characteristic of Leinsdorf per- nonconception of the story. Perhaps the formances, in general he elicits crisp and The belated Karajan-Mahler matchup ( this tale does not need a Debussy (who knew sonorous playing from the orchestra, and is likely the beginning of an eventual cycle; and admired Rodenbach), although the pos- most of the opera's best moments ( concen- due shortly is Das Lied with Ludwig and sibility, suggested by Palmer, is intriguing. trated in Act H) belong to the instrumental- Kollo, with the Rückert- Lieder on Side 4) is

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JANUARY 1976 an incongruous one. Could any conductor 1975) is agrand, flowing, darkly passionate be more removed— stylistically and tem- performance, but both Ludwig and Baker peramentally— from the world of the Bohe- must still be judged by the standard of inCIFIESTR/glii mian Jew and his barbed ironies? Kathleen Ferrier, whose eloquent presenta- This Fifth does" sound like an external tion of this music with Walter and the en conception, rather than one evolved Vienna Philharmonic is available on Odys- through long and intimate involvement sey as the filler for Walter's Fifth Sym- /Angell Records._ with the music and its ambience. The read- phony and on Seraphim in aFerrier miscel- ing is often fanatically literal- minded, yet lany ( to mention only current domestic without apparent comprehension of the issues). One copy may be enough, but don't composer's intent. The ending of the first settle for less than that! movement is marked with aprogressive di- Still, I would suggest that one's first IKAIR/IVAIM minuendo; the final ppp stroke of the bass Kindertotenlieder should be aman's record- drum is virtually inaudible. Conversely, ing; the cycle is about afather's grief, and Condlun when the Adagietto reaches fff, the Berlin both poet and composer were fathers. As I strings scream wildly. The marking " some- find both of Fischer-Dieskau's recordings the Berlin what more restfully" for the triolike section too calculated and self- admiring, my choice Philharmonic of the Scherzo brings violin playing that is would be Prey/Haitink, for the simple and oily and effete. Tempo relationships are ex- Orchestra unpretentious clarity and ease of the sing- aggerated, notably in the Scherchen-like ing, the ideal pacing, the plangently expres- SCHUBERT: UNFINISHED SYMPHONY (with contrast of the three basic pulses of the sive first- desk work of the Concertgebouw, Haydn: Symphony No. 104). S-37058 opening funeral march. Mahler's piano roll and the technical splendor of the recording. of this movement (and Solti's set, among STRAUSS: EIN HELDENLEBEN. S-37060 A.C. modern recordings) attests that the point WAGNER: ORCHESTRAL MUSIC. can be made more discreetly. Album I. Tannhäuser —Overture and Baccha- nale, —Prelude to Act 1, Tristan There is much, too, that Karajan misses MEYERIssis: Songs. Dietrich Fischer- und lsolde—Prelude and Liebestod. altogether in this performance. In the sec- Dieskau, baritone; Karl Engel, piano. [An- S-37097* , ond movement, tempo indications from No. dreas Holschneider and Cord Garben, prod.] Album II. Die Meistersinger— Prelude to 13 through the end are ignored or distorted, ARCHIV 2533 295, $ 7.98. Act 1, The Flying Dutchman— Overture, so that the basic structure is pulled out of Menschenfeindlich; ich das Liedchen klIngen; Die Lohengrin —Prelude to Act 3, Parsital—Pre- recognizable shape. ( It is, though, aseries of Rose. die Lilie, die Taube, die Sonne; Komm; Der Garten ludes to Acts 1 & 3. S-37098*t grand and hyperbolic dramatic gestures.) des Herzens; Sie und ich; Sicilienne, Standchen. Due Rosenblatter; Le Chant du dimanche; Le Poète mourant, Karajan fails to join the Adagietto and finale, Cantique du Trappiste; Scirocco; Mina as indicated by the score's attacca, and in the finale he falls into the frequent trap of Our long-standing gratitude to Dietrich anticipating by several pages the pesante Fischer-Dieskau for his unceasing efforts to slowdown actually called for six bars after enlarge the boundaries of song literature No. 33: The instrument used in the Scherzo falters in the face of the present record. Conduct% sounds like no woodblock I've ever heard, Meyerbeer's songs prove banal in the ex- but something more metallic. There are also the Orchestre treme, and Fischer-Dieskau's performances minor blemishes in playing and balance. seem calculated to underline their weak- de Paris In fairness, there are exciting and intense nesses. RAVEL: ORCHESTRAL MUSIC. things in Karajan's Fifth including much All fourteen titles come from the collec- brilliant playing, and no recording is per- tion of Forty Songs (French and German), Album I. Boléro, La Valse, Rapsodie espag- fect. ( There is indeed such interpretive lati- published in Paris in 1849, and fall into two nole, Shéhérazade. S-37147* , tude in the piece that over-all timings categories: lyric pieces (a sicilienne, asere- Album II. Daphnis 8( Chloe (complete ballet). range from Karajan's 74 minutes to Abra- nade, a gondolier's ditty, and various na- S-37148* , vanel's 61.) Yet Solti's has for me the most ture pieces, including settings of Heine's Album Ill. Ma Mère l'Oye—complete, Valses legitimate and vivid drama and virtuosity, nobles et sentimentales, Tzigane ( with I. Perl- "Mr' ich das Liedchen klingen" and "Die man). S-37149 along with spectacular engineering. Both Rose, die Lije") and more dramatic effu- New York performances, Walter's and sions, like the long "Cantique du Trap- Bernstein's, contain more humanity and piste" and the even longer— indeed, endless- warmth, with agenuinely Viennese lilt in seeming—" Le Poète mourant," which is the Scherzo. Haitink best explicates the really apictorial scena. All are essentially contrapuntal rigors and orchestral shading strophic in form, even "Le Poète mourant," of this most " absolute" of Mahler's scores. which makes use of acontrastingly freer in -. Conduct% Christa Ludwig's earlier Kind- troduction and conclusion. To the danger of the London ertotenlieder is still available and at the boredom inherent in melodic repetition Symphony Seraphim price easily constitutes the best Meyerbeer was by no means deaf. To ac- Orchestra coupling by afemale singer of this and the commodate changes in mood and verbal Wayfarer Songs. Still admirable are the sense he is quick to vary both the vocal line ALBINONI:ADAGIO(with romantic orchestral warmth and urgency, the superb projection and the piano accompaniment, and in music by Hoist. Prokofiev. Rachmaninoff, of the text, and the driving and haunted in- search of dramatic expressivity he is not Ravel and Debussy). S-37157 tensity of the rapidly moving final song (" In afraid to employ some surprisingly bold diesem Wetter"). But time has taken some BEETHOVEN: SYMPHONY NO. 7. S-37116* , modulations. BRITTEN: FOUR SEA INTERLUDES (with Pas- of the bloom from her vocal equipment: These songs, in other words, are by no sacaglia and Sinfonia da Requiem). S-37142 some hardening of the tone, abiting off of means the products of an insensitive hack. RACHMANINOFF: SYMPHONIES. consonants at phrase ends, a shade less Meyerbeer was indeed a hack, but an finely spun legato. For many, DC's more NO. 1S-37120 NO. 2S-36954* , acutely sensitive one. He meant well transparent and open sonics will compen- SHOSTAKOVICH: SYMPHONY NO. 8. S-36980 enough, but he simply lacked the requisite sate, and Karajan steers the ship more con- inspiration. One hardly needs to invoke the fidently than Ludwig's earlier conductor, genius of Schumann in the case of the two Brochure to Angel's Complete Cata- Vandernoot. On the other hand, some of the Heine poems referred to above to realize log of Orchestral Music— Available from dealers, or write Angel Rec- Berliners' playing strikes me as less idio- how vapid and contrived Meyerbeer's lyric ords, 1750 N. Vine Street, Los matic than the Philharmonia's—the oboes, talents were. His lack of melodic inspira- Angeles, CA 90028. Angel for example. tion is immediately and equally apparent *Yindicates tape availability There is arich choice of first-rate record- from such pieces as the quick and playful ings of this intimate and heartbreaking "Scirocco" and the lugubriously sancti- cycle. The recent Baker/Bernstein (October monious " Le Chant du dimanche." CIRCLE 1 ON READER- SERVICE CARD • 9() HIGH FIDELITY M AGAZINE Fischer-Dieskau takes up the composer's cause as if performing a painful duty. All the recent mannerisms that have proved so Get your new Radio Shack catalog disconcerting to his old admirers are present here: violent dynamic shifts, sud- den bursts of vehemence, the arbitrary em- at one of our 4000 stores today! phasis of a single word, long stretches of singing under the note. New to my ears and Save! Our Prices equally unbearable is Fischer-Dieskau's , 1976 Are Within 1% of tendency in legato singing to omit trouble- FREE • EDITION some consonants and to swallow unac- Our July, 1974 Prices! cented syllables. OVER 2000 PRODUCTS EXCLUSIVES ON EVERY PAGE Hi -Fi • CB • Kits • Parts Karl Engel plays well, though the record- BEAUTIFUL FULL COLOR ing unduly minimizes his share in these Phonos • Recorders • Tape 164 pages of the finest proceedings. 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MozART: Piano Works. Michael Cave, piano- I To Rat*. lhaek forte. ORION ORS 75185, $6.98. P.O. Box 1052, Ft. Worth, TX 76101 Adagio in Bminor, K. 540. Sonatas: in D. K 311; in Bflat, $499 I Rush me your 1976 catalog. K. 333. Variations on Paisiello's " Salve tu, Domine," K. 398. I ( Please Print)

IName Apt. # The period pianoforte in these perform- ances has amellow, resonant sound below e .street and the characteristic harpsichordlike 41 City twang in the higher reaches. Michael Cave's performances are facile and musicianly, IState vet I 1 I achieving most admirable results in the im- passioned B minor Adagio. Sometimes, es- CIRCLE 28 ON READER- SERVICE CARD pecially in the development section of K. 333's slow movement, he bears down rather heavily and squarely on the writing, possi- bly to suit the instrument. Available Now in a New Edition For both playing and listening to this mu- sic, Imuch prefer a conventional concert grand. For starters, try Gieseking (Sera- phim) or Kraus (Odyssey). .1-1.G. RECORDS

Mutter Thamos, Kiinig in Aegypten ( inci- dental music), K. 345 (with Symphony No. IN REVIEW 26, in E flat, K. 184). Karin Eickstaedt, so- prano; Gisela Pohl, alto; Eberhard Büchner, tenor; Theo Adam and Hermann Christian 1975 EDITION Polster, basses; Berlin Radio Chorus; Staatskapelle Berlin, Bernhard Klee, cond. PHILIPS 6500 840, $ 7.98.

Thamos, King of Egypt was Mozart's first The Twentieth annual collection of record reviews from High Fidelity excursion into the field of incidental music. In such awork, popular in Germany in the • COMPREHENSIVE— Includes all record re- returning the coupon below. latter part of the eighteenth century and the views of classical and semiclassical mu. (Also available in book stores.) first of the nineteenth, the overture pre- sic that appeared in High Fidelity in 1974. pares the audience for the drama to follow, Wyeth Press, State Road, Great Barrington. MA 01230 the other instrumental pieces are descrip- • AUTHORITATIVE— High Fidelity's reviewing Please send the following copies of Records in Re. tive of mood and action, and the choruses staff includes today's most knowledge- view: add their comments and summarize the able and noted critics. D 20th Annual ( 1975) @ $ 14.95 postpaid moral lessons; there is very little solo sing- D Please enter my standing order for all future edi. o CONVENIENT— Reviews are arranged al- lions of Records in Review ing. Thamos does not have an overture, but D Ienclose payment ( Check or Money Order only). Mozart sanctioned the use of his K. 184 phabetically by composer. Add sales tax where applicable. ( Sorry— we cannot symphony for this purpose. The first ver- invoice!) With so many records being issued each sion of the incidental music dates from year, you need a reliable source of in- Name 1773, but what is recorded here is the sec- formation. What better source than re- ond, of 1779, an immense improvement, in Address views from this book, which has been which Mozart added what turned out to be called " a bible for record collectors!" City the finest piece, the concluding chorus. Order your copy now by filling in and Baron Gebler, the author of the play, was State Zip e 91 JANUARY 1976 ahigh-ranking civil servant who dabbled in letters. His play is atrocious, but one aspect of it commands our attention: It has Ma- sonic ramifications that appealed to Mo- zart, and there is an unmistakable kinship to in this music. Since it is most unlikely— indeed impossible— that this miserable play will ever be revived, how can we rescue the great music Mozart asso- ciated with it? This recording, acoproduction of Philips and East Germany's Deutsche Schallplat- ten, does the right thing in giving us the complete score, but Iam thinking of concert performances enabling the public to enjoy music that Mozart himself regarded highly. Of the five orchestral interludes, the third, in G minor, and especially the fifth, in an agitated D minor, are good pieces that pre- figure the music of the Queen of the Night. The others, taken out of context, are of modest interest and probably expendable. It is quite another matter when we come Krzysztof Penderecki leads his forces in recording his Magnificat. to the choruses. The first of these, ahymn to the rising sun, is an attractive composition in sonata rondo form, in which little duets comparatively simple and regular, yet the So much for reservations. On the credit serve as episodes. The latter somewhat di- writing for choruses, soloist, and orchestra side, the over-all phrasing of the work has a minish the value of the piece, but it remains is clearly in the Penderecki style, a style flow and dignity that emphasize its serenity thoroughly viable. The second chorus ( No. that is ( obviously) fully grasped by Pen- rather than its frenetic motor energy. ( Pro- 8 in the score) is one of the best choral derecki the composer but ( less obviously) kofiev regarded this as a " symphony about pieces in Mozart's canon, and the final also fully realized by the composer as con- the spirit of man.") Thus, attacks may not chorus ( No. 7b) is simply tremendous. It ductor. have the bite and fierceness found in other opens with abass solo that immediately re- The atmosphere of the recording is one of performances, but there is no want of pol- calls the Commendatore in the final scene great spaciousness, and Ifound that SQ de- ished nuance, of careful attention to ex- of Don Giovanni; it is stunningly dramatic coding and four speakers enhanced this ef- pressive meaning and to the blends of tim- and very well sung by Theo Adam. This is fect. A recording as fine as this should stim- bre among winds, low strings, and the really a large-scale operatic finale that ulate concert performances of the obbligato piano. could grace any of Mozart's great operas. Magnificat. This is important religious mu- The humaneness and restraint of Prey- The jubilant end once more points to the sic, rising from the matrix of our own times, in's approach and the fine sound will un- joyous close of The Magic Flute. It seems to and it is something we must hear to under- doubtedly win many adherents for this edi- me that the two good entr'acte symphonies stand our world and ourselves. R.C.M. tion. Those seeking something more and the three choruses would be eminently heatedly emotional are directed to Bern- suitable for concert performance. stein's sweeping treatment: enormous in Mozart uses a rich orchestra including Pitokortzv: Symphony No. 5 in B flat, Op. scale, seething with drama, and also quite three trombones, which do not play colla 100. London Symphony Orchestra, André rich in texture. Ilean especially to Anser- parte but have apowerfully dramatic role. Previn, cond. [ Christopher Bishop, prod.] met's wryly pointillistic and swaggering The elaborate orchestral accompaniment is ANGEL S37100, $ 6.98 ( SO- encoded disc). interpretation, which is very vividly beautifully coordinated with the choral set- Comparisons: recorded. For the budget-conscious, Marti- ting; the faithful musical declamation of the Bernstein/ N.Y. Phil Col. MS 7005 Ansermet/ Suisse Romande Lon. C56406 non's taut and febrile first recording ( now text is nowhere disturbed. The Philips Martinon/ Paris Conservatory St. Tr. STS 15195 on Stereo Treasury) is recommend- soloists are good, the orchestra mobile and able, at least until Odyssey reissues the accurate, and the chorus first-class. The The Fifth is the most popular of Prokofiev's Szell. Of the others, Sargent ( Everest) and conductor, Bernhard Klee, must be agood "contemporary"- style symphonies ( in Ormandy ( Odyssey) are passable; Oistrakh operatic hand: He does not miss the dra- other words, excluding the Classical) and (Melodiya/Angel), Horenstein (Vox), and matic implications and has agood sense for arguably the greatest. In presenting his Karajan (DG) forgettable. The Fifths of aflexible tempo. The sound is excellent. view of it against the heavy recorded com- both Prokofiev symphony cyclists, Marti- P.H.L. petition, André Previn scores a qualified non (Vox) and Rozhdestvensky (Melo- but respectable success. diya/Angel), are compromised by raucous My reservations are primarily structural. playing and recording. A.C. PENDERECKI: Magnificat. Peter Lagger, Though the opening Andante can by itself bass; soloists and boys' choir of the Cracow thrive on Previn's spacious handling, and Philharmonic Chorus; Polish Radio Chorus, the Adagio third movement on the kind of -31 Ptiacati: The Fairy Queen. Honor Cracow; Polish Radio Symphony Orchestra, swift pacing heard here, the combination in Sheppard, Jean Knibbs, and Christina Krzysztof Penderecki, cond. ANGEL S37141, one performance tends to shift the center of rÉ Clarke, sopranos; Alfred Deller and Mark Del- $6.98 (SO-encoded disc). gravity. Within the first movement, more- ler, countertenors; John Buttrey and Neil over, each return to tempo primo should Jenkins, tenors; Maurice Bevan and Norman Few composers today are writing religious restate a basic pulse, but this reading Platt, ; Stour Music Festival Chorus music as deeply moving and radiant in doesn't quite gauge that precisely enough— and Orchestra, Alfred Deller, cond. VAN- spirit as Penderecki. what is heard at No. 8 of the MCA score GUARD EVERYMAN SRV 311 / 2SD, $ 7.96 ( two In his Magnificat ( 1973-74), he praises seems faster than what comes at No. 23. discs, automatic sequence). God in the manner of one who lives in dark- The sinister brass ostinato starting at No. 48 Comparison: ness; it is aglorification that rises de pro- in the scherzo, though marked l'istesso Britten/English Chamber Orch. Lon. OSA 1290 fundis, from the depths, as the chorus, ten- tempo, is taken with the rather popular gro- tatively, with more hope than joy, sends its tesque deliberation of so many conductors. Unlike 's recent recording words heavenward. The technique is dis- In the slow movement, the string tone at of Purcell's Fairy Queen (July 1973), for tinctively that of this composer, but in this No. 59 is tentative rather than lushly pas- which the score was edited with great skill music he has become more conservative sionate, which may result from faulty and taste, this version by Alfred Deller and and traditional. Older forms such as passe- rhythmic control (two- against- three be- his Stour Music Festival forces (recorded caglia and fugue are employed; meters are tween first and second violins). by Harmonia Mundi) follows the original

92 HIGH FIDELITY M AGAZINE ance of any means for regulating the re- manuscript of 1692, thus providing an inev- carry the expressive burden— the payoff bellious sexuality of their women. Each itable and instructive comparison. numbers— find the composer responding The original manuscript is incomplete, with amodest but real inspiration. generation, the work seems to say, sees the same pattern of faithlessness repeated, and most of it not in Purcell's hand and patently The weakness lies in the tougher compo- each responds by saying, " Well, there you ahastily put- together affair. As Ilistened to sitorial challenge of actually " making" the Deller's recording, it became clear why score—providing solutions of reasonable are, what can you do ...?" Aleko himself, Britten felt it necessary to edit the score. interest for all the moments that are not lyr- presumably because he was raised among the uptight settled folk, does not share quite While the " original" version still offers ically or dramatically obvious, creating de- magnificent music, there are thin spots, in- velopments and transitions that have some so resigned an attitude with respect to his complete measures, and obviously sketchy leading force. And in these respects the young wife Zemfira and, in fact, finishes off both her and her lover. It is a sort of Ta- orchestration. Notably, the continuo had to work is altogether too predictable. It be supplied; its absence in Deller's version sounds as if Rachmaninoff had his heart in barro of the steppes, if we allow for the melancholy irony of Aleko's final condi- is particularly noticeable. the bigger moments but didn't get his head This recording has many admirable qual- sufficiently into the rest. tion: Having fled the constraints of lawful society, he finds himself acting out the role ities. The chorus is superb and marvelously The opera is drawn from aPushkin poem in tune, as is the orchestra (the recorders called The Gypsies. These Bohemians are, of vengeful enforcer and now is truly alone and trumpets especially are brilliant), and as we might expect, romanticized figments on the lone prai-ree. Though the libretto is by none other than Nemirovich-Dan- the sound is first-class. The singers are whose overriding concern in life is avoid- good, and their airs are attractively sung. Unfortunately there are flaws, chief among them asomewhat enforced daintiness that hurts the music. And while the solo en- sembles are remarkably well done when the tempo is slow or moderate, they become Some things hold up abit chaotic when fast coloraturas or par- landos are sung with that come-come- trip- it- trip- it buoyancy. The tempo in such en- sembles should always be governed by the better than others. ability of the singers to maintain clarity of enunciation and part-writing, something The accepted concept of durability is The materials are the finest available. that Britten always does. Ialso have some based on several very important factors. The design and engineering reservations concerning such naturalistic Material. Design. Engineering. incorporate the ultimate in turntable effects as the tongue-tied singing of the ine- Function. And inherent value. Coinci- technology. Functioning flawlessly, briated Poet; without visual support, the dentally, these are also the hallmarks of it originates state-of-the-art that others device of off-key singing can be merely irri- the Thorens TD- 125 AB Mark II. have yet to achieve. To match the tating. impeccable performance, this Thorens In sum, this is acommendable and gener- is constructed to hold up ... not wear ally very attractive presentation, but Brit- ten's version seems to me preferable be- down. It has inbred longevity instead cause of its uniformly controlled of built-in obsolescence. observance of the musical values and the The precision performance absence of any period mannerisms. P.H.L. of the TD- 125 AB Mark II serves as continuing proof of the Thorens determination to remain RACHMANINOFF: Aleko. Aleko Nicola Ghiuselev ( bs) the classic name in turntables. The Old Gypsy Canal& Pellfov ( bs) There are other models, too, Zernfira Blagovesta Karnobatlova (s) The Young Gypsy Pavel Kourshoumov ( 1) starting at $ 169.95. The Old Gypsy Woman Tony Christova (a) Elpa Marketing Industries, Inc. Chorus of the TVIR Ensemble; Plovdiv East: New Hyde Park, N.Y. Symphony Orchestra, Rouslan Raychev, 1040; West: 7301 E. cond. MONITOR HS 90102/3, $ 7.96 (two Evans Rd., Scottsdale, discs, automatic sequence). Aria. 85260. Aside from an aborted setting of Mae- terlinck's Monna Vanna (don't confuse it with Février's completed, and once voguish, piece on the same subject), Rach- maninoff's operatic output is restricted to three one- act works. Of these, Aleko is the best-known by name, for the simple reason that its baritone cavatina once received an eloquent recording by Chaliapin, and has been turned to ever since by low-voiced Slays in search of some unhackneyed lyric heartbreak. It is also tho first of the com- poser's operas to receive more than asingle complete recording. ( The Covetous Knight is currently available on Melodiya / Angel SRBL 4121; Francesca da Rimini has yet to he recorded.) Aleko is a student work, dating from Rachmaninoff's twentieth year. It sounds it, too, though in saying this Idon't mean to dismiss it. The score contains anumber of nice melodic ideas and a firm, if conven- tional, grasp of vocal and instrumental ef- fect. It is laid out in atraditional series of closed- form numbers, and the ones that

93 JANUARY 1976 chenko, very highly regarded as adirector WorIcs for Violin and Orchestra': Concertos: No. 1. in A and teacher, it is rather like the score— con- minor, Op. 20; No. 2, in C, Op. 58: No. 3, in B minor. Op. 61; Introduction and Rondo capriccios°, Op. 28; Hava- ventionally effective and unambitious, con- naise, Op. 83 (with Luxemburg Radio Orchestra, Pierre NEW tent with setting forth situation and inci- Cao, cond.). Romance, Op. 48; Morceau de concert, Op. dent without much care or sense to the 62; Caprice andalou, Op. 122 (with Philharmonia, Rein- hard Peters. cond.). Works for Cello and Orchestra': psychology behind them. Concerto No. 1, in A minor, Op. 33; Allegro appassionato, The new recording does not make the Op. 43 ( with Luxemburg Radio Orchestra, Louis de Fro- for ment, cond.). Concerto No. 2, in D minor. Op. 119 (with most powerful imaginable case for Aleko. Westphalian Symphony Orchestra, Siegfried Landau, The orchestra makes adecent enough basic cond.). sound, but there is no real delicacy or Comparison—cello works: the sharpness in the playing, and, whenever Walevska, Inbal/Monte Carlo Phi. 6500 459 rhythmic precision and unanimity are im- portant, ensemble and conductor are in Since the Saint-Saëns cello works here New Year. trouble. This music, with its secondhand (plus an inconsequential suite) have been Tchaikovsky and Rimsky-ized Borodin anticipated by Walevska and Inbal for THEW LONDON DOM I (particularly the Polovtsian Dances, heard Philips (September 1975), it's in the violin- distinctly in the opening chorus), and with and- orchestra domain that Vox's enterprise .indoe+ proves most valuable. . irdeoeme, much reliance on harps glissing through :Lb strings tremolando, needs all the nuance Ricci, long notable in this repertory, is an apt choice for soloist, and he naturally be- and care it can get, and this is only ade- quate. gins by replacing his older versions of the Nicola Ghiuselev's voice sounds as familiar Third Concerto ( for Vox in 1948), darkly beautiful here as it does on the Bul- and Havanaise and Introduction and garian recording. The tes- Rondo capriccioso (for London in 1960). He situra hangs a trace high for him (the role goes on not only to replace his pioneering does call for dramatic baritone, and First Concerto (for Decca in 1965), but also to provide the first recording ever of the THE GREAT VERDI BALLETS Ghiuselev is a bass), but he manages with MAAZEL only one or two clumsy moments, and he long- obscure Second Concerto, plus what NE CLEVELAND ORCtiESTRA well may be firsts ( in this country at least) 0.10 D. Carlos IVeapn Seim brings ageneral kind of emotional vitality to the part without ever kindling much of of three rarely heard shorter concerted pieces. an imaginative flame. The second bass part contains the most persuasive sustained All the novelties prove to be markedly passage apart from Aleko's cavatina—an- more effective than one would assume from other male complaint, involving Zemfira's the fact that they long have been almost mother. Dimiter Petkov sings its more sub- completely unknown to nonspecialist lis- dued moments quite beautifully, the fuller teners. The so-called Second Concerto, Op. ones with akind of encirclement technique. 58, was actually the first, composed in 1858, %at some nine years before Op. 20, but inex- Urcerto for 1,to Pince.K MS mummy: The Zemfira, Karnobatlova, does asolid, Cox., k.'nvee Pm:al( De 1HERITEŒSMUMG basic, sing- the- notes job with a ditto me- plicably not performed in public until 1880. Ashkenazy Sex-nbour•Fou'Reng Isay " inexplicably," because it proves to be &qv, Orawn DOret dium- weight soprano; the tenor Kourshou- mov, who has alistenable lyric tenor with a decidedly characteristic product of the some of that Slavic alloy up top, spends too composer's elegant craftsmanship. While it much of his time six or eight hertz below not unreasonably sounds a bit old-fash- pitch. ioned at times, it has genuine dramatic mo- The recording is reminiscent of some of ments and, in particular, an excitingly joy- the good early stereo work: full-bodied, ous windup guaranteed to bring the house full- ranged sound, with overly distinct down in concert performances. All three shorter pieces also are distinctive display channel separation. The packaging pro- vides aquick synopsis, glosses of the more cases for a bravura soloist like Ricci: a important passages, and a complete Rus- prodigally episodic Morceau de concert, a sian libretto without translation or trans- romantically rhapsodic Caprice andalou, literation. Ithink it is legitimate to note that and a lighter- weight but gracefully engag- there is just an hour of music spread over ing Romance. the four sides; surely one side could have Unexpectedly though, the popular Third been devoted to another piece, or possibly Concerto comes off less satisfactorily than some Ghiuselev bass arias. This is short any of the other violin works. Ricci himself measure, " budget" price or no. permits his occasional moments of over- The previous recording. now about intensity elsewhere to get out of hand here, while the orchestral playing, routine at best twenty years old, should also have at least a Pascal Ragé discographic note. It was Concert Hall CHS throughout the entire set ( regardless of 7he Piano Music of Ravel née bnirSIUSIOIlà which organizations are involved), is at its keel' Ihee 1309. Bolshoi under Golovanov, with Nina Shateart ( lumber hrhestru roughest and most heavy-handed. But per- »Des:Jew< D'Eau kart hinchineer Pokrovskaya, Ivan Petrov, Alexander Og- %Mee L nivtsev, and Anatole Orfenov. Complete on haps a considerable part of the blame asingle disc, it was also a better perform- should be assigned to the engineers for this ance from the conductor and all the male particular 1973 session. Most of the other recordings, made on various dates in 1974, soloists. ( It is especially good to hear Og- sound better, although even they— at least nivtsev as the Old Gypsy, sounding notice- when reproduced in stereo only— are rather ably better than he has on more recent re- lightweight sonically and overdry in leases.) Its sound, however, was far worse than Monitor's, and in any event it is acoustical ambience. Quite possibly they may achieve fuller tonal body in quadri- unobtainable except perhaps in rarity phonic playback. shops. C.L.O. The cello works are generally somewhat more successfully recorded, yet even in this respect they are surpassed by the greater SAINT-SAËNS: Orchestral Works, Vol. IMPECCABLE PRESSINGS warmth and richness of the competing Phil- 1. Ruggiero Ricci, violin' ; Laszlo ips versions. And while it's good to hear IMPORTED FROM ENGLAND. Varga, cello'; various orchestras. VOX Laszlo Varga ( for some years principal cel- OSVBX 5134, $ 10.98 ( three QS-encoded list with the New York Philharmonic) given discs, manual sequence). CIRCLE 18 ON READER- SERVICE CARD such ample stardom, his admirably skillful

94 HIGH FIDELITY MAGAZINE

LI playing here seems relatively small- toned ing this record. That said, Imust add that I left front) and tho cellos and basses ( at the and lacking in personality projection in can't second his July 1972 recommendation right back) makes plain what sort of record- comparison with the more flamboyant but of the Maxim Shostakovich account, for I ing this is to be: very quadriphonic. During far more exciting Walevska performances. am more bothered by its occasional loose- much of the two movements on Side 1, I What is perhaps most valuable is the added ness of discipline and the shrill and coarse have the feeling that the orchestra is being weight of Varga's testimony, so different sonics. Previn's RCA recording is sweeping picked apart before my very ears and iso- from Walevska's yet carrying no less con- and reckless but finer-grained and more ef- lated in well-defined compartments all viction, to the musical as well as display- fective over-all. He will doubtless surpass about me. The remaining two movements vehicle significance of the long- neglected that decade-old effort when he gets around fare much better, particularly in the pas- Second Cello Concerto. With each rehear- to an EMI remake, but even then the new sages for massed strings, and are in fact ing I'm more impressed by it, finding it ever Ormandy will offer severe competition. My very exciting. But the over-all impression harder to understand why so effective a personal favorite, though, is the Skrowa- for most listeners will, Ifear, be one of dis- work hasn't yet achieved the concert hall czewski/Minneapolis, whose lithe energy, creteness rather than discretion. R.L. triumphs it is so masterfully designed to structural insights, vital tension, and crisp win. R.D.D. and biting sonics are quite special indeed; I hope it returns soon as aMercury Golden SIBELIUS: Symphony No. 1, in E mi- Import. A.C. nor, Op. 39*; Belshazzar's Feast, SHOSTAKOVICH: Symphony No. 5, Op. 47. In quad: At the opening of the first move- Op. 51'. Orchestra* and London Philadelphia Orchestra, Eugene Ormandy, ment the canon between the violins ( at the H Symphony Orchestra*, Robert Ka- cond. [ Jay David Saks, prod.] RCA RED SEAL ARL 1-1149, $ 6.98. Tape: » ARK 1-1149, $7.95; .0J- ARS 1-1149, $ 7.95. Quadriphonie: ARD 1-1149 ( Quadradisc), $ 7.98; ART 1- 1149 ( 0-8 cartridge). $7.95.

Comparisons: Ormandy/Philadelphia Col. MS 7279 Previn/London Sym RCA LSC 2886 M. ShostakovichiU.S.S.R. Sym. MeL/Ang.SR 40163

There is something about the Shostakovich Fifth, surely the most played and recorded symphony of the past half- century, that renders it performer- proof; it never fails to have astirring effect. Not that all perform- ances are equal. For example, most conduc- tors ( including the composer's son Maxim). in responding to the " natural" contours of the music, gloss over the fact that the tempo speedups in the first movement actually are marked later than one would assume from the character of the passages. And there is no textual sanction for opening the finale at the breakneck ( if irresistible) speeds em- ployed by Bernstein, Previn, Rodzinski, Sil- vestri, and others. Ormandy's Columbia recording found him at his unhysterical, dignified, and musi- cianly best, and the new version is if any- thing even better. In many of his recent recordings— such as the Tchaikovsky Fourth (ARL 1-0665, July 1975) and the Rachmaninoff Second (ARL 1-1150, Decem- ber 1975)—I have been alarmed by the phlegmatic and mannered qualities creep- TDK OPEN REEL ing into his typical straightforwardness, but here he achieves an almost Klemperer- like massiveness and intensity. Ormandy/ PROUDLY ANNOUNCES RCA times out some three minutes longer than Ormandy/Columbia, and the extra THE BIRTH OF ACASSETTE. breadth reflects ataut, craggy sense of con- centration, a sustained inwardness and grandeur— all immensely affecting. Note, The TDK Audua Cassette. It has alot of the big open- for example, in the first movement the reel sound of its illustrious parent. finely graded adjustments at the poco strin- gendo (No. 31), the largamente climax, and And why not? The same technology which makes Audua the return to the basic moderato pulse of Open Reel " The Master Recording Tape" now delivers that the movement. The hairpins in the string- bass introduction to the scherzo are neatly big beautiful sound on cassette. pointed, and the percussion details in the The Audua Cassette replaces the famous TDK ED Cas- coda of the finale have never been so me- sette—with added high- end brilliance. It delivers outstanding ticulously clear. The playing of the Philadelphians is sound at normal or high bias settings. From TDK, of course. among the best they've clorie lately for The Audua Cassette is available in C60 and C90. discs. The recorded sound, in contrast to the dry, steely, gimmicked Rachmaninoff TDK Electronics Corp., Second, has all the depth, smoothness, and 755 Eastgate Boulevard, TDK. bloom one could ask for. The fine liner notes are by HF's regular Garden City, N.Y. 11530. Wait till you hear Shostakovich reviewer, Royal S. Brown, Also available in Canada. what you've been missing. which incidentally is why he isn't review-

95 JANUARY 1976 janus, cond. TURNABOUT THS 65045, $3.98 (mono) [ from English COLUMBIA and HMV The undistorted truth originals, recorded 1930* and 19321. The Finnish conductor Robert Kajanus was reportedly his great compatriot's favorite behind the Avid interpreter of his music, and he recorded much Sibelius for English Columbia and HMV in the early electrical era. All of those dividing network. recordings have been reissued in England in World Records' pair of " Great Sibelius In- terpreters" sets ( SH 173/4 and SH 191/2), from which this Turnabout Historical Series disc is drawn. In the 1970s. the anonymous English or- chestra heard in Kajanus' First Symphony At Avid, we know there's ers you'll find dividing sounds ragged and underrehearsed. Motifs alot more to building a networks using non- passed from one instrumental line to an- really accurate linear components like other cannot be followed clearly in the fog speaker than just iron core coils. Great of casual articulation and balance. The asuper flat fre- for the manufacturer tubby and constricted recording is no help quency response. because they're cheaper. Not either. Tho performance itself is character- So, after we've so great for you because of ized by aconstantly undulating, " old-fash- done all we can to the distortion they can create. ioned" rubato, which doesn't help convey a build the flattest, Especially at higher power levels. clear idea of the symphony's structure. most linear response Avid uses only ideal, linear However, the reading does generate asense into our speakers, components such as air core coils of grand passion and spontaneous excite- we spend alot of time in its dividing networks. More ment and conviction. Often the instrumen- fussing over awhole bunch expensive, of course, but they're tal sounds are impressive, with full and of equally important things. distortion free. singing cellos and bold and snarling Like dividing networks, for The point is, brasses. Worth hearing certainly, but as an example. we're acompany over-all statement of the score no challenge The role of the dividing net- that is totally to such modern accounts as those of Barbi- work is to send input frequencies and unequivo- rolli ( Angel S36489) and Bernstein ( Colum- to the right driver without intro- cally committed bia M 30232). ducing any distortion or degrading to just one Kajanus' reputation is better served in the transient characteristics of the thing. The design the lightweight but atmospheric Belshaz- speaker. and construction zar's Feast incidental music, which ben- It sounds simple. of the clearest, best efits greatly from two years of recording Unless you happen to be the sounding speaker sys- progress and the presence of areal orches- engineer designing it. In which tems in their price range. tra, the London Symphony. The con amore case it can become the most critical And that's not just so much string playing in the second section and the can of worms in the whole speaker advertisingese. It's for real. But, plangent oboe finale are old and dear design. it's for you to decide. So here's friends to anyone who has grown up with Pick the right crossover fre- what we'd like you to do. the shellac originals. quencies, interface the drivers just Go to your Avid dealer. A-B an Ido hope that Turnabout will give us right, and you've got the frequency Avid with any other similarly more of Kajanus' best Sibelius, notably the response priced speaker. Then pass judge- Third and Fifth Symphonies and the most problem ment. We think we know what the powerful of all recorded Tapiolas. A.C. just about verdict is going to be. knocked. But you SrockHAusEN: Kurzwellen; Setz die Segel can't stop zur Sonne. The Negative Band. [ Carl Stone, there. prod.] FINNADAR SR 9009, $ 6.98. Tape: You 910I CS 9009, $ 7.97; TP 9009, $ 7.97. see, if the CORPORATION drivers 10 Trim:is Lane. East Providence, RI. 02914 Short Wave is a longish work ( 36:40), here aren't played on percussion, piano, saxophone. damped and various electronic instruments by a just right, group of six young men recently st udents at the dividing Walt Disney's California Institute of the network can Arts. As ig the case with many works of degrade the Stockhausen, the score consists of signs transient telling the performers what to do rather response of than notation of any kind, but among these the speaker, even if you've signs there are so many bypasses and ex- achieved asuper flat frequency ceptions that they almost cease to exist. response. The result is aringing The work sounds like across between the response. Transient distortion. rasp- and- squeal routine characteristic of Poor imagery. electronic music fifteen years ago and the There's still more. dense, free clotted improvisation practiced BCCe uSe even the best designed by Omette Coleman and some other jazz- dividing network in the world can men five years before that. be areal washout when it comes to Set Sail for the Sun is a much shorter intermodulation and harmonic dis- (13:26) and, for me, much finer piece, thanks tortion, if the components you use largely to its continuous, hypnotic use of aren't up to snuff. the tam-tam. One of the best pieces of mu- For instance, in alot of speak- sic Iever heard was acomposition by La- Monte Young consisting of nothing but

4— CIRCLE 41 ON READER- SERVICE CARD forty-five evenly spaced and evenly shaded manuscript. 1hear no textual differences strokes on the tam-tam. Until we get a between this version and those recordings record of that, Set Sail for the Sun will have that use Tchaikovsky's own text in its pre- to do. A.F. sumably -revised" form, and the liner notes' credibility is not enhanced by their numerous surprising revelations concern- &muss, R.: A German Motet, Op. 62; Two ing the relationship between Tchaikovsky Songs, Op. 34. Soloists; Heinrich Schütz and the Rubinstein brothers— for example, Choir of London, Roger Norrington, cond. the assertion that the 1889 revision of the [Michael Bremner, prod.] ARG O ZRG 803, First Piano Concerto was " played every- $6.98. where" by Nicholas Rubinstein, who died in 1881. However, if the edition we know is in- A paradox: Here are no less than three deed itself arevision, it is obvious that the rarely heard works by a major composer face-lifting fell far short of what was brought to disc for what must be the very needed to turn this sporadically inspired first time in well-nigh ideal recordings of score into an unequivocal masterpiece. performances that cope nobly with the If you want the work untouched by Si - scores' impossible demands—yet the record loti, Sylvia Kersenbaum's account is more can be safely recommended only to institu- sensitively played than Zhukov's (Melo- tional libraries and perhaps fanatical diya/Angel SR 40097), unbearably percus- Straussians and ambitious choir- trainers. sive, or Ponti's ( in Vox SVBX 5460), rushed The plain fact is that the choral writing and, particularly in the finale, wooden and here, in as many as sixteen parts (and in the inelegant in its phrasing. Kersenbaum is an German Motet calling for soloists in addi- admirable soloist. She doesn't command tion) is just too thickly complex for aural- the blockbuster sonorities, the relentless only comprehension, let alone immediate rhythm, the every- note- in- place organiza- enjoyment. There are genuinely beautiful, tion of Gilels, in his superb recording of the deeply moving passages in these intricate Siloti edition ( in Angel SB 3798), but her settings of poems by Rückert and Schiller, pianism is both accomplished and tonally and Norrington's fine British choir gives expressive. She seems to have anatural in- . . . • 1 stinct for the singing line and an intuitive feeling for Romantic nuance. Jean Martinon gets forthright execution from the Orchestre National, but the SQ- encoded engineering tends to over- reverberance, even murkiness, in the tuttis, at least in two- channel playback. The piano In a and concertante violin and cello are clear enough, yet Ifound abasic lack of biting ar- ticulation in the (very good) orchestral string playing. The rotten surfaces of two production copies ( not test pressings) were no help. class An interesting textual compromise, by the way, is that of Graffman and Ormandy (Columbia MS 6755 or MG 30838): Tchai- kovsky's text in the outer movements, Si- loti's where it really matters, in the second. by The performance is sober, even virtuosic, but lacking the astonishing flair of the Gi- lels/Maazel. H.G. In quad: By opening up the sound some- itselti what, decoded playback casts some light into the murk complained of above. But the The Phase Linear 400 Power recording remains unspecific about spatial Amplifier has only one serious values— whether of instrumental place- competitor when it comes to ments or of the " hall" in which they are advanced design, superior perfor- heard. The quadriphonics are, at best, a mance, made-one- at- a-time subtle, graceful setting for the music; at craftsmanship, proven reliability, worst, they're simply vague. R.L. elegant appearance . . . and incomparable value. And that's the Phase Linear 700B. Hear them both at your dealer soon. Less nerensioie is tile ut..•...••••••• expunge all of the meandering central de- velopment—acut designed to make the mu- sic more concise but instead rendering it formless. Though Siloti was an excellent musician and afine editor, the material pat- eyheme ently needs the kind of creative overhauling that only acomposer has the moral right to BAROQUE CHAMBER WORKS. Gerard perform on his own handiwork. Schwarz, trumpet; Ronald Roseman, Susan As a matter of fact, Connoisseur So- Weiner, and Virginia Brewer, oboes; Ronald ciety's liner notes claim that Tchai- MacCourt and William Scribner, bassoons, oo THE POWERFUL DIFFERENCE kovsky did revise the concerto and that this Edward Brewer, harpsichord. DESTO DC is possibly the first time that the work has 6438, $ 6.98. 201 watts per channel, min. RMS at 8 ohms from 20 Hz- 20 kHz with no more than . 25% been recorded in his " original" version, HUM., J.C.: Concerto àcinque for trumpet, two oboes, and two bassoons, nD. Ammon Concerto for trumpet, total harmonic distortion. from a 1955 Moscow reconstruction of the CIRCLE 24 ON READER- SERVICE CARD 9- JANUARY 1976 three oboes, bassoon, and continuo, in C.T RUMANN: is afine oboist, but doubling as an annota- Concerto for trumpet, two oboes, and continuo, in D. Wojciechowski and Gottfried Müller for a tor he has failed to do even his basic home- 1966 publication—recorded here probably work of properly identifying the music for the first time. Telemann's more easy- The significance of this seemingly highly played. Icomplain with some personal bit- going and engagingly jaunty four move- specialized release is that it usefully illus- terness since I was driven to do what ments are Largo -Vivace-Siciliano -Vivace trates wind-ensemble examples of the " Ba- should have been his chores of filling out (as distinct from the better-known trumpet/ roque Chamber Music" of its over-all title the almost meaningless label titles: " con- oboes work's Allegro- Grave-Aria -Vivace), rather than concertos for solo(s) with or- certo àcinque," " concerto in C," and "con- published in a 1957 modern edition by chestra or even small string bands. The mu- certo in D" only. Grebe based on manuscript parts in the sic itself is not only fine stuff, but refresh- More specificity is particularly needed Saxon State Library. It was first recorded ingly novel. The deft performances and here, since it turns out that the Albinoni back in 1960 by Voisin for Kapp but has gleamingly clean recording warrant high and Telemann concertos are not those been long out of print. praise for everything save their incomplete listed in Schwann as " in C for Trumpet" The major work is not by the Johann Wil- restraint of Gerard Schwarz's tendency to and " in D for Trumpet, 2Oboes, and Con- helm Hertel represented earlier by trumpet dominate both tonally and in personality tinuo," respectively. The proud- spirited Al- concertos, but by his father Johann Chris- projection. binoni work, not even listed in Giazotto's tian ( 1699-1754), represented here for the The labeling and jacket notes are dis- thematic catalogue, is edited from amanu- first time on records, to the best of my gracefully unsatisfactory. Ronald Roseman script orchr ,,tr,t1 concerto a 0 by Johann knowledge. His Concerto àcinque for wind instruments points toward the classical era in its abandonment of acontinuo part and its more expansive structure. But the exu- berant third- movement Plaisanterie surely is rococo, while there is agenuinely time- less poetic eloquence to the Cantabile slow movement and timabas humor to the third movement's trio, acontrapuntal duetto for unaccompanied bassoons. This alone is worth the price of the whole disc. Its gruff- toned sportiveness irresistibly suggests a pair of venerable friars in springtime who, thinking themselves unobserved on their return from field work, have hiked up their heavy robes to engage in aclumsy last- one- in- pays- a- penance footrace back to the \V SBLH SO, N D monastery. R.D.D.

BOSTON MUSICA VIVA: Twentieth-Century SV ALL AND AT Chamber Works. For a feature review, see page 79. You probably know ADS for its complete tweeters, coupled with eectronic cross- line of high performance home loud- over networks ( active filters), equal- speaker systems. Our studio monitors, izers, and opto-electronic limiters. for instance, have rapidly become MONTSERRAT CABALLÉ: Operatic Arias. favorites among dedicated audio- - The power- supply is a high fre- Montserrat Caballé, soprano; Barcelona philes and professionals. Now the quency DC- DC switching con- Symphony Orchestra, Gianfranco Masini, unmatched open clarity and ex- verter operating at 25,000 Hz cond. LONDON OS 26424, $ 6.98. act response to the most subtle it provides over 350 watts of BaLLeic La Sonnambula: Ah! Se una volta sole . .. Ah! non credea mirarti ... Ah! non giunge. CILIA: Adriana Le- musical detail, the famous ' In- electrical power to the amplifiers from an ordinary 12 V battery. couvreu r: lo sono l'urnile ancella. Puccini: : visible Sound'. has been extended Senza mamma. Vance: : Caro nome. II Trovatore: into a miniature package! D'amor sull'ali rosee. IVespri siciliani: Arrigo! Ah, pare a All three components of the un core: Mercó, dilette amiche. Un Bailo in maschera: The new ADS 2001 speaker ADS 2001 system are enclosed Morn), ma prima Ingrazia. system brings ' Invisible Sound' in precision metal cabinets, into your car, boat, plane, finished in black. The 12" x9" x4" This recital, recorded in 1974 in Barcelona, camper, mobile recording van - power supply/amplifier box can finds Ca ballé in full, shining voice and is or wherever music reproduction be installed virtually wherever a perhaps notable above all for the rounded, of the highest quality is needed, sufficiently large space is avail- brilliant coloratura—powerful and precise, space is limited, and only 12 Volt able ( trunk under hood, boat- never shrill or edgy— that sounds both in the DC is available. peak, etc.). The 7" x 4" x 4" Vêpres siciliennes bolero and in Gilda's speaker cabinets have multiple No existing mobile music sys "Caro nome." There is also much tender, provisions for optimum mounting. tem can be remotely compared gentle singing to bo heard; Leonora's to the high power, bi-amplified You can experienCe the 'Invisible "D'amor sull'ali rosee" and Sister Angel. ADS 2001! Sound' of the ADS 2001 system ice's "Senza mamma" are movingly Engineering breakthroughs be- at over two hundred authorized breathed, and at the end of each there is an gin with the drivers: ADS engi- ADS dealers across the United exquisite high note beautifully sustained. neers succeeded in developing States. Find out why the ADS "Mon.& ma prima ingrazia" is poignantly a 4" precision woofer, which 2001 is so powerful yet ' invis- and passionately sung— asoft, touching ap- compares in overall power han- ible', just like all ADS speakers peal that rises at last to afull-throated cli- dling and its ability to move air for home and studio high fidel- max in which there is no strain or harsh- to a good 6" woofer. This tiny ity systems. ness of sound. Adriana's modest disclaimer superdriver is matched with a is uttered in rapt, softly glowing tones. 1 " soft- dome tweeter derived For additional information, data sheet DSC 2001, and test re- There is much use of fine-drawn porta- rOrn the uniformly excellent ports, see your local ADS dealer ment o. model installed in the entire ADS line. or write to: Analog a Digital As arecord of Caballé's Voice, this recital Systems, Inc., 64 Industrial Way, can be highly commended. Nevertheless, it Sophisticated electronics were necessary to Wilmington, Massachusetts 01887. 2001C - 76 ISL does not represent the soprano at her very give these speakers their stunning performance. best, for the performances lack energy— not A minimum of 160 W of sinewave power, pro- vided by four independent Darlington power of tone, but of rhythm. Gentleness and ten- amplifiers, is available for the woofers and nDs 7001 derness are indulged to a point at which 98 HIGH FIDELITY M AGAZINE Save by mail they can be deemed sluggishness. True, the timbre itself never becomes droopy ( as Joan on Music Systems. Sutherland's can, when she is in her slug- DISCO gish vein), but the rhythmic pulse flags and Our Big Catalog Slums Hov0 the impetus of the arias is lost. WASH. D.C. Gianfranco Masini proves too permissive Send today for your FREE copy of our an accompanist. The best Caballé perform- HAS NO FAIR 68-page catalog. It's value-packed with ances ( such as her Amelia in IMasnadieri, complete music systems, top-brand com- Philips 6703 064, December 1975) result TRADE ponents, accessories, plus hundreds of from teaming her splendid instincts for ca- unique items-and more. There's ahandy ressing and molding a phrase with a con- LAWS! ON "Hifi Primer," feature articles, all to help ductor whose basic pulse remains percep- you have better sound. tible through the necessary expressive STEREO We have two big ware- freedoms. In this recital, "Ah! non credea," houses to serve you fast despite all the beautiful detail in the indi- and keep freight low; vidual lines, falls apart. (The scena is done COMPONENTS and, your US and Cana- in along, fourteen- minute version, with all dian BankCharges are the introductory recitative.) "Ah! non PLEASE REQUEST welcome. giunge" is oddly disappointing, for Caballé Prices for your choice of does not bounce through it; she scampers. Changers, Receivers, Tape In the traditional Barcelona manner, fa- Recorders, Speakers, etc. Midwest Hifi miliar from Conchita Supervia onward, the PROMPT DELIVERY recorded sound is strong, forward, bright, IN FACTORY Wholesale and so close that it catches not only the de- SEALED and Mail Order Division tails of the voice, but also noisy intakes of CARTONS. 1626 OGDEN AVENUE ( US 34) breath that. in the opening lines of " Caro DOWNERS GROVE, ILLINOIS 60515 ( 3121 852.5885

nome," divide " mio" from " cor" and 3309 EAST J. W. CARPENTER FREEWAY (Texas 1831 "palpi-" from "- tar." (The trill at the end of IRVING, TEXAS 75062 ( 2141 438-5272 this aria is not atrue one, but avague oscil- DISTRICT Call for aquote. Lines open 1-4 p.m. C.T. lation.) The level, however, is rather low, Mail this coupon for your FREE catalog. and so the disc needs to be played at aset-

SOUND INC. DOWIler5 ting that turns any surface imperfections Marl IR M.rltreem HI,, P 0.Elow 56). Grove. Merton 60515 2316 Rhode Island Ave. N.E. into minor explosions. Washington, D.C. 200 18 INAME Texts and translations are provided. The

cover is a deplorable " pastel" of the so- 202-832-1900 I ADDRESS

prano in the style of asidewalk artist's " in- ZIP HP6.011 stant portrait." A.P. CIRCLE 5 ON READER- SERVICE CARD

LUCIANO PAVAROTTI: World's Favorite The best by far .. Tenor Arias. , tenor; vari- ous orchestras, Richard Bonynge, Herbert because Revox delivers what von Karajan, Leone Magiera, Zubin Mehta, and Nicola Rescigno, cond. LONDON OS all the rest only promise. 26384, $ 6.98. BIZET: Carmen: La fleur que tu m'avais jetée. FLOTOW: Martha: Ach, so fromm ( in Italian). LEONC AAAAAAA IPag- liacci: Recitar! .. .Vesti la guibba. GOUNOD: Faust: Quel trouble inconnu ... Salut, demeure. PUCCINI: La Bohème: Che gelida menina [ from OSA 1299,19731. Tosca: E luce- van le stelle. : Nessun dorms (from OSA 13108, 1973). VINDI: Rigoletto: La donna è mobile ( from OSA 13105,1973).11 Trovatore: Di quella pira ( from OS 26192, 1971). Aida: Se quel guerrier .... Celeste Aida.

Not all of this material is new. The Rigo- letto and Bohème arias come from Lon- don's current full-length recordings ( the lat- ter complete with Mimi's sudden exhal- ation of breath as Rodolfo takes her hand). So, according to the jacket, does the Turan- dot aria, though Ipresume that this has been re-edited to include aconcert ending. The Trovatore is already available on the "Primo Tenore" recital. All of these are es- timable performances, even if to my ears "La donna è mobile" wants lightness of touch and " Di quella pira" -for all the full- • ,\'‘ ,. A. throated splendor of its concluding high C- 11''. ‘)5•-•. 4e 6 e the proper declamatory ease. 000ce The other arias are without exception ,),•el° (e•\ 0•3 " very good. The sensuousness and warmth of Pavarotti's timbre are hard to resist, and 4-e this recital, unlike some recent ones, finds him in confident voice. But there is more than vocal prowess to be heard here: Pava- ,se rotti has taken pains to characterize these <‘ 3 ee arias, to give expression to mood and situ- Ss 64(e\> e ation, to make the text lively. Both the Revox Corp. Flower Song from Carmen and " Salut, de- 155 Michael Drive I e'a• Syosset. 11791 ee • 1,.• e - -1 meure" from Faust are marked by real ver- 99 JANUARY 1976 e Is When you hear the incredible sound...

111

Jeffrey Solow • A fine first impression confirmed. when you touch the

bal sensitivity— no mean achievement for exists in a clarinet version)— is fresh and so Italianate atenor. Pavarotti's French is, mirthful, and this performance gives off responsive in fact, highly commendable. Like all his sparks. operatic compatriots he seems unable to Tchaikovsky's Pezzo capriccioso is un- controls deal with the mute " e" or to distinguish pretentious fluff. Its fast concluding section among nasalized vowels, but he never- contains some high- flying passagework, theless does very well. The recitative that and Solow's rendition is in the caviar- and- opens the Gounod excerpt is both tender vodka class. ( Compare Maurice Gendron's and ardent. For once aFaust actually con- staid performance, formerly available on vinces one that his whole being is possessed World Series.) The Fauré Elégie is one of by love. the great members of the cello- encore fam- But even more impressive is Pavarotti's ily. Solow doesn't do much more than Lil- ability to combine textual subtlety with a lian Rehberg Goodman (Orion ORS 75181, nearly impeccable musical line. Apart from October 1975) with tonal variation in the an odd moment or two when he uses fal- low- register sustained passages, but his pi- and when setto instead of attacking ahigh note softly, anist. Doris Stevenson, accompanies with he sings with impressive musicality; the more imagination than Goodman's Harold you see Martha aria, for example, is as fine adem- Bogin. ( For the orchestral version, Iwould onstration of legato singing as any present- recommend Munroe and Ormandy, in acol- day tenor is capable of. lection of Philadelphia " First Chair En- the beautiful The conducting is variable. One may or cores," Columbia MS 6791.) Fauré's Sici- may not like what Karajan or Mehta do re- lienne (later recast as the third movement craftsman- spectively with Bohème or Turandot, but of the Pelléas et Mélisande Suite) is played there is no ignoring the fact that alone of the with caressing warmth and the kind of ship... conductors represented here they have dis - meltingly effective rubato that Munch used tinctive personalities. As one might imagine in the symphonic version ( though Ishould from the disparate origins of these selec- add that his currently listed Philadelphia tions, there is alot of variation in recorded recording on Odyssey is possibly the least quality. Texts and translations. D.S.H. effective performance of it Ihave heard from him). Among the various other tidbits, the inevitable favorite must be Rachmani- JEFFREY SOLOW: The Romantic noff's Vocalise, which Solow delivers with Cello. Jeffrey Solow, cello; Doris Ste- sustained dignity and beauty. venson, piano. [ Kathryn King, prod.] COM- The recorded balance is everything it MAND COMS 9006, $ 3.49. should be. The cello has warmth and pres- Oteussv: II pleure dans mon coeur ( arr. Hartmann). Fang: Elégie, Op. 24; Papillon, Op. 77; Sicilienne, Op. 78. ence without enveloping the listener in an RACHIAANINOM Vocalise, Op. 34, No. 14. TCHAIKOVSKY: unnatural way. A.C. Nocturne, Op. 19, No. 4; Pezzo capriccios°, Op. 62. Toca: Impromptu, Op. 90c ( arr. Solow). W EIPER: Sonata In quad: The effect is quite pretty, though it ill for Violin, No.5, in A( arr. Piatigorsky). you'll want doesn't add much that needs adding. Piano is left front, cello is right front—except in An impressive recital. Jeffrey Solow has al- the unaccompanied Toch and, curiously, to own one. ready made a stunning impression in the the Weber, where the cello is in front cen- Marlboro performance of the Ravel piano Onkyo offers afull line of highly rated ter. Neither musician is isolated in the stereo receivers, amplifiers and trio with the Laredos (Columbia M 33529. "multichannel mono" effect that destroys tuners; the world's 1st fully automatic October 1975), and the present miscellany the sense of real space in so many four- 4-ch receiver; 2/way & 3/way speaker confirms the impression of adynamic and channel recordings. The cello does have systems ... all in abroad price range. surging temperament, adark and intensely some tendency to weave either toward the See your dealer. luminescent sound, and a technique that left or toward the back at times ( a failing brooks no compromises. somewhat less noticeable with an inexpen- The meatiest fare here is the Weber vio- o 1%1 ICIe0 sive RM decoder than with a more elabo- lin sonata ( arranged by one of Solow's rate QS model that delivers, subjectively, Onkyo U.S.A. Corporation teachers, Gregor Piatigorsky) that ends the greater separation), but otherwise there is 25-19 43rd Ave Long Island City. N.Y 11101 record. The two- movement piece— a Sici- little to undermine the impression that the 935 Slyert Drive Wood Dale. III 60191 lienne and a set of variations on a theme - - - two musicians are close by in afairly rever- from Weber's opera Silvana ( the latter also berant room. R.L. CIRCLE 22 ON READER- SERVICE CARD

100 HIGH FIDELITY M AGAZINE Just Mahalia, Baby

Journalist Laurraine Goreau pledged to her friend Mahalia Jackson that she would write " the real book" about the great gospel singer's life. She's done it, and it's available now through HIGH FIDELITY. Simply circle No. 571 on the coupon below. "Just Mahalia, Baby" is only one of the wide se- lection of carefully chosen books made available to HIGH FIDELITY readers through Music Lis- tener's Book Service. ( Many of the selections are not readily available in bookstores). Choose your books today from the list below, circle the num- bers on the coupon, and enclose your check or money order. That's all there is to it.

An enormously handy little booklet No. 571. Jim MAHALIA, BABY. No. 593. To SING IN ENGLISH. A Guide A lavishly illustrated and beautifully that sets the reader on his way toward to Improved Diction. Dorothy Uris. produced book honoring the 75th an- Laurraine Goreau. Illustrated with playing orchestral scores at the key- Guidance in pronunciation for sing- niversary of George Gershwin's birth, photographs. board. Paperbound. $2.50 ers and teachers, with practice exam- with an introduction by Richard The story of Mahalia's rise ples selected from contemporary song Rodgers. $25.00 from aNew Orleans ghetto in the literature. Paperbound. $6.95 early 20th century to aposition of No. 511. THE NEW MET IN PROFILE. unique stature and popularity. Si- Stephen E. Rubin. Photos. No. 592. THE GREAT MASTERS multaneously, the author looks at A stimulating critique of the Metro- No. 287. THIS BUSINESS OF MUSIC. politan Opera since Bing's departure, SERIES. Various authors. jazz when it was still lass" and Revised & Enlarged Edition- Dec. based on interviews with stars and The first six volumes in this examines the surprising sociolog- 71. Sidney Shemel & M.William management. $9.95 series, each of about 50 pages, ical significances of the whole Krasilovsky. Edited by Paul Acker- cover in clear and concise prose gospel movement. $12.95 No. 512. SEASON WITH SOLTI. William man. the lives and works of Bach, Barry Furlong. Anyone involved in the music- Beethoven, Handel, Haydn, Mo- A sustained close-up view of Georg No. 341. THE GLORY OF THE VIOLIN. Jo- recording- tape industry (or even zart and Purcell, respectively. The seph Wechsberg. Illustrated. Solti and his Chicago Symphony. Hu- seventh volume deals with Euro- A fiddle fancier's delight from the just interested in it) needs this man and readable. $12.50 pen of a famed New Yorker author unique and indispensable refer- pean music. These studies, in- who delves into all aspects of the vio- ence work. No Other single vol- No. 595. BENJAMIN BRITTEN. His Life tended for school use, encom- lin, including the fascinating business ume contains comparable infor- and Operas. Eric Walter White. pass much information in limited of buying, selling . . . and cheating. mation, arranged for easy An updated edition of acomprehen- space, without condescension. sive and illuminating biography. 016 $8.95 reference and readability, on the Soft cloth covers. Specify vol- $16.00 complex legal, practical and pro- umes. Each $2.00 No. 562. GLENN MILLER AND HIS OR- cedural problems of the world of CHESTRA. George T. Simon. No. 596. How TO READ A SCORE. Gor- music. The 544 pages of this lat- A portrait of a complex musician, don Jacob. based on interviews with friends and est edition include 180 pages of colleagues who discuss Miller's faults appendices containing applicable Check or money order must accompany your order. as well as his strengths. $10.00 federal and international laws, as No cash or C.O.D.'s, please. well as sample contracts, applica- II No. 452. MARTHA GRAHAM: A BIOGRA- tions, agreements, etc. $15.00 PHY. Don McDonagh. The first full-length biography of a HIGH FIDELITY Music Listener's Book Service dominant figure in American dance whose influence in her own field has No. 594. CATHERINE & IGOR STRA- Dept. HW been equated with that of Picasso and VINSKY. A Family Album. Theodore 2160 Patterson Street. Cincinnati. Ohio 45214 Stravinsky in theirs. $ 10.95 Stravinsky. A beautifully designed. moving pho Here's my check for $ _ _ . Please send me, postpaid, the No. 581. THE TENORS. Edited by Her- tographic memoir by Stravinsky's books I've circled below. bert H. Breslin. eldest son, with introductory recollec 571 287 592 Volume(s) A collection of essays by five tions in English, French, and German. $30.00 writers, dealing with Pavarotti, Vick- 341 562 452 581 582 413 511 ers, Tucker, Corelli, and Domingo. $8.95 No. 582. REVERBERATIONS: INTERVIEWS 512 591 593 594 595 596 WITH THE WORLD'S LEADING MUSICIANS. No. 591. THE SELECTED WRITINGS OF Robert Jacobson. ZOLTAN KODALY. A collection of interviews by the edi- Name The first English translation of the tor of , most of which ap- Hungarian composer and educator's peared in the Lincoln Center program Address essays on four subjects: folk music; booklet at the time the artists ap peared there. $ 8.95 his predecessors and contemporaries City, State &Zip (Bartok, Debussy, et al.); music edu. cation; and himself and his works. No. 413. THE GERSHWINS. Robert Kim- $9.50 ball and Alfred E. Simon.

101 JANUARY 1976 reviewed by

MORGAN AMES

ROYAL S. BROWN

HENRY EDWARDS

JIM COSA

MIKE JAHN

JOHN S. WILSON

tune in the same voin as their smash single "Lady Marmalade." There's something on " Phoenix" for ev- erybody, which is aprerequisite for any al- bum that this group produces, since its au- dience is one of the most multifaceted in pop. As favorites of the disco crowd, La- belle builds many of its numbers (" Slow Burn" and " Messin' with My Mind") on a frantic foot- shuffling beat, while its more r&b-oriented fans would have no problem getting behind asong like the soul- flavored BILL BLACK'S COMBO FEATURING BOB ords assigned to write liner notes, this LP is "Good Intentions." TUCKER: The World's Greatest asolid winner. M.J. As he did on " Nightbirds," Allen Honky-Tonk Band. Orange Blossom Spe- Toussaint arranges and produces Labelle's cial; Can Help; Jump Back Joe; Back Up and unique sound with restraint and taste. [I.E. Push; Carroll County Blues; five more. [Larry LAB ELLE : Phoenix, Patti LaBelle, Sa- Rogers and Bob Tucker, prod.] Hl /LONDON rah Dash, and Nona Hendryx, vocals; SHL 32093, $ 6.98. Tape: CO 0 532093, keyboards, rhythm, strings, and horns ac- MAMA'S PRIDE .Pat Liston, vocals, guitars, $7.97; I0 832093, $ 7.97. companiment. Phoenix; The Amazing Flight slide, and organ; Danny Liston and Max of aLone Star; Slow Burn; eight more. [ Allen Baker, vocals and guitars; Kevin Saunders, From reading the notations on the record Toussaint, arr. and prod.] EPI C PE 33579, drums, percussion, and vocals; Joe Turek, sleeve and staring at the picture of aquin- $6.98. Tape: Ire PET 33579, $ 7.98; • PEA bass and vocals; Frank Gagliano, keyboards tet, Idon't know who Bill Black is. what he 33579, $ 7.98. and synthesizer. In the Morning; Who Do You plays, or even if there is a Bill Black. The Think You're Fooling; Blue Mist; six more. title reads "... featuring Bob Tucker," but The brash and bountiful Labelle threesome nowhere does it say who he is, either, or here expands on the themes that brought it what he does. The notes do mention that mass acceptance with " Nightbirds" ( Epic Explanation of symbole the fiddle solos are by Gil Michael, so one KE 33075, reviewed in HIGH FIDELITY just a must assume that the gentleman playing year ago). fiddle in the picture is he. The hell these thrushes raise with their exceptional recording Well, enough of this. The music is excel- voices could spark adisco full of dancers lent— jumping old-time instrumental coun- even if they were backed by astring quartet Recorded tape: try music with bluegrass and soul over- rather than the sassy backup troupe that •• Open Reel tones. Fiddler Michael and the saxophonist, appears on this album. They remain one of whoever he is, play very well indeed, and the few acts that can translate their lu- 8-Track Cartridge the guitar picker gets in some fine old licks. minous stage show onto vinyl, especially •• Cassette Despite the ineptness of the man at Hi Rec- on asong like " For as We Felt Like Goin'," a

102 HIGH FIDELITY M AGAZINE he left, or what yellow brick road brought ATCO SD 36-122, $ 6.98. Tape: 1111 CS 36- him back. (That last tricky phrase has to do 122, $ 7.97; *J. TP 36-122, $ 7.97. with the fact that Sedaka's comeback oc- curred on Rocket Records, Elton John's la- With every band from Waikiki to Wyoming bel for MCA.) to Washington, D.C., buying denim work He has the presence of a man who has shirts and gargling with nitric acid in at- done everything wrong, faced it, and then tempts to cash in on the voguish Southern turned it around. He is somebody and sound, Mama's Pride took its best elements knows it. His talent has kept step. He was and went on from there. always a vital player with a clear, warm, Although Pat Liston shares the all too fa- high voice. He is so tuned in to hit songs at miliar Allman- Tucker- Daniels bluesy this printing that he rarely writes anything drawl, the other members could hail from else. His newest hit, included in this album, parts much farther north. Probably the big- is " Bad Blood," with prominent " back- gest standout from the Southern mold is bassist Joe Turek, whose forceful and in- ground" vocals by Elton John. My favorite track is an old Sedaka-Greenfield tune ventive bass lines could easily drive far called " Breaking Up Is Hard to Do," done heavier British bands like Deep Purple and smoother than silk, with strings arranged U.F.O. The band's three guitarists aren't by Richard Carpenter. " When You Were content just to play the blues either, and Lovin' Me" doesn't work for me; it sounds their funky riffs attest to amultitude of in- forced, particularly the background voices. fluences beyond Southern blues. "The Hungry Years" is the story of how Unfortunately Mama's Pride chose to un- much cuter life was before we became mil- derstate its musicianship in favor of pro- lionaires. Shut my mouth. On the brighter viding asolid base for the vocals, which are side, all of us can relate to the heartfelt the most ordinary part of the band's sound. Blossom Deane "New York City Blues" ( imagine the nerve The solos (especially Liston's enthralling Like her voice, small and perfect. actually to write asong with that title), the slide work) are few and far between, and spunky " Tit for Tat," and the ironic " Your they leave me yearning for more. Given Favorite Entertainer." more room to breathe on their next disc, by Artie Butler; vocal and instrumental ac- Neil Sedaka may not be the deepest Mama's Pride could easily give the more es- companiment. [ Neil Sedaka and Robert Ap- singer/songwriter on the scene today, but tablished Southern rockers a run for their pere, prod.] ROCKET PIG 2157, $6.98. Tape: when you're this real it doesn't matter. He grits. H.E. PIGC 2157, $ 7.98; 0!.. PIGT 2157, $ 7.98. covers himself well: Nigel Olsson on drums, Leland Sklar on bass, Dean Parks and Steve Currently Neil Sedaka is having the record Cropper on guitars, David Foster on addi- BLOSSOM DEARIE 1975. Blossom business for breakfast every morning. Isaw him on television wearing achecked sports tional keyboards, and strings written by Ar- Deane, vocals and keyboards; Jim tie Butler. The album is smoothly co- Hughart, bass; John Morrell, guitar; Colin coat such as hasn't been seen since 1956 in produced by Sedaka and his engineer, Rob- Bailey, drums. I'm Shadowing You; Isn't That the restaurant after the prom, and he was fabulous. He presents himself whole: ert Appere. M.A. the Thing to Do; Sweet Georgie Fame; eight strong, self- accepting, highly musical, and more. DAFFODIL BMD 102, $6.98 ( distributed dead on the money. by Columbia Special Products; also available JERRY JEFF WALKER: Ridin' High. from Daffodil Records, Box 312, Winchester, This is Sedaka's second time around in America. In between he has been in Europe Jerry Jeff Walker, vocals and guitar; Va. 22601). alot. The truth is I've had trouble getting a vocal and instrumental accompaniment. real line on this man's career. He had hits as Public Domain; Pick Up the Tempo; Like a Blossom Deane puts me in a spell. " From both writer and singer in the Fatuous Fif- Coat from the Cold; 1Love You; Night Rider's the meticulous to the sublime," Rogers ties. Idon't know where he came from, why Lament; Goodbye Easy Street; Jaded Lover; Whitaker said of her in The New Yorker. Blossom's voice, like the lady herself, is rather small and perfect. They love her in London and sometimes in New York. It is necessary to pay attention or you miss her— you don't see what she's doing. To the ex- tent that sophisticated people can listen in the land of future shock, Blossom can charm. 1must point to anew song titled " A Face Like Yours," music by Victor Feldman and lyric by Tommy Wolf (yes, the Tommy The best pop records reviewed in recent months Wolf who wrote " Ballad of the Sad Young Men" with Fran Landesburg). The song is impeccably structured, both words and CLAUDE BOLLING: Suite for Flute and Jazz Piano.CoLumBIA M 33233. Dec. music. Feldman wrote the piano arrange- CHICK COREA: Inner Space. ATLANTIC SD 2-305. Oct. ment for Blossom. Several songs were written by Miss A CHORUS LINE. COLUMBIA PS 33681. Nov Deane with various lyricists, including ROGER DALTREY: Ride a Rock Horse. MCA 2147. Nov Johnny Mercer and Len Saltzberg. There is EAGLES: One of These Nights. ASYLUM 7E 1039. Oct. a pure version of Stephen Sondheim's "Send in the Clowns," piano and voice EARL HINES AND HIS ORCHESTRA: The Father Jumps. RCA BLUEBIRD AXM only. Ihave been waiting for years for this 2-5508. Oct. lady to hit awrong note. I'll get back to you. JACKIE MCLEAN: Jackknife. BLUE NOTE LA 457H2. Nov. Blossom Deane puts out albums on her CECIL TAYLOR: In Transition. BLUE NoTE LA 458H2. Nov. own label, on her own terms, and Irecom mend her as astudy in taste and guts. M.A. TINA TURNER: Acid Queen. UNITED ARTISTS LA 495C. Dec. TIM WEISBERG: Listen to the City. A&M SP 4545. Dec. LESTER YOUNG: The Aladdin Sessions. BLUE NOTE LA 456H2. Nov. NEIL SEDAKA: The Hungry Years. Neil Sedaka, vocals, piano, songs, and rhythm arrangements; strings arranged

103 JANUARY 1976 Mississippi, You're on My Mind; Pot Can't Call the Kettle Black; Pissin' in the Wind. [ Mi- chael Brovsky, prod.] MCA 2156, $ 6.98. Tape: fi C 2156, $ 7.98; ET 2156, $ 7.98.

Jerry Jeff Walker seems to improve markedly with each release. This latest of- fering is chock-full of finely wrought coun- try music, written both by Walker and by others. The material is so good, and is played and sung so well by Walker and an assort- ment of adept Nashville backup musicians, that it's very hard to pick out highlights. So let's mention the one disappointment, Walker's " Pissin' in the Wind." As the title suggests, the lyric smacks of frat-house hu- mor. As for the difficult- to- pinpoint high- lights, there are Jesse Winchester's " Missis- sippi, You're on My Mind," Chuck Pyle's "Jaded Lover," and Guy Clark's " Like a Coat from the Cold." M.J.

MIKE Post: Railhead Overture. Mike Post, keyboards; instrumental accom- Lucy Simon—a well-deserved shot at making a mark on the charts. paniment. Railhead Overture; Georgia on My Mind; The Rockford Files; Will the Circle Be panies herself on the piano for a stunning bery. Nothing new here, but brilliantly Unbroken; Wouldn't It Be Nice; five more. effect. [Mike Post, prod.] MGM M3G 5005, $ 6.98. drawn. " Someone Keeps Calling My An uncluttered backing sound courtesy Tape: e M8H 5005, $ 7.98. Name" says: " My name is Jenny, and Iam of producer Joel Dom gives Simon's first al- four fingers old." bum a well- deserved shot at making a Paul Leka's sweetening support is spare Rock is in essence acreature that thrives on prominent mark in the country- music sparsity and tension, both of which are at- and appropriate. The credits say, " Album charts as well. H.E. mixed by Paul Leka." Hard to say whether tributes antithetical to big- band rock. Yet Mike Post, who does alot of work arrang- Leka is an engineer or he just supervised the ing rock songs for big band, has come up mix, which is the task of the producer. Any- HARRY CHAPIN: Portrait Gallery. way, it's fine. with awinner that is both sparse and tense. Harry Chapin, vocals, guitar, and And he has done it with arock combo aug- This album, like Chapin's other current songs. Dreams Go By; Bummer; Dirt Gets work, is already hot in the charts. Record mented by an enlarged brass ensemble, Under the Fingernails; seven more. [ Paul quite afeat in all. buyers have a mysterious way of pinning Leka, arr. and prod.] ELEKTRA 7E 1041, the real goods among the bull. M.A. Best on this MGM disc is Post's original $6.98. Tape: lib TC5 1041, $ 7.97; ET8 composition, the theme from TV's The 1041, $ 7.97. Rockford Files, ahit in the 45- rpm version LINDA RONSTADT: Prisoner in Dis- last summer. Post's lead on Moog synthe- The thing to be admired about Harry sizer is followed nicely by Tommy Mor- (*I guise. Linda Ronstadt, vocals; vocal Chapin is the fact that he keeps on doing and instrumental accompaniment, David gan's harmonica. Among the other out- what he does best. First he writes his little standing tracks are the folksong " Will the Campbell, arr. and cond. Love Is aRose; Roll jewel-like songs, and then he records them. Um Easy; Many Rivers to Cross; eight more. Circle Be Unbroken," and the mournful This he does, not in the fancy big-time stu- "Georgia on My Mind." M.J. [Peter Asher, prod.] ASYLUM 7E 1045, $ 6.98. dios, but rather in a studio in Bridgeport, Tape: alb TC5 1045, $ 7.97; •'. ET8 1045, Connecticut. Iwould not be surprised to $7.97. learn that this is the area where he lives Lucy SIMON. Lucy Simon, vocals; with his wife and five kids. Ifirst heard this record at aparty at sublis- reeds, strings, rhythm, keyboards, Sometimes when Ilook around it seems tening level and mood. Even on half ahear- and vocal accompaniment. Pavane; My Fa- nearly impossible for people who are very ing, the talk cleared. ( What's that? Turn it ther Died; From Time to Time ( Version 1); successful to maintain the perspective that up.) Iswear, sometimes you can tell a hit seven more. [ Joel Dom, prod.] RCA APL 1- got them there. They get crazy, they get to without even listening to it. People just feel 1074, $ 6.98. Tape: gr, APK 1-1074, $ 7.95; feeling thin doing what they do well, they 'L APS 1-1074, $ 7.95. a hot one. Ronstadt's new album hit the want to experiment with what someone Top Ten in two weeks, long before word of else does or what no one else does. This mouth can do much. The singles (" Heat While little sister Carly is filling up volumes curious phenomenon seems to occur like a of saccharine sludge with her espoused Wave" and " Love Is aRose") shot up in the virus, with or without warning, with or same fashion. partner James Taylor, Lucy Simon has put without flu shots. Also like avirus, it can It has taken Linda Ronstadt some time to together a refreshing album of Top Forty- pass. The craziness clears. Sometimes it's come to this. Ifirst saw her front- lining the oriented tunes that looks like the beginning too late, and sometimes not. At any rate, Stone Ponies in their debut in New York of acareer as fruitful as Carly's. Harry Chapin does not suffer notably from eight years ago. ( She looks exactly the same Lucy Simon possesses avocal quality so this virus, nor does his career. Maybe those now, incidentally, with that frank, wide- appealing that one could get a rush just five kids are aballast. eyed gaze.) It is apleasure to see an artist from hearing her sing aphone book. As a He is more a storyteller than anything come into her own best definition. One bonus, she is capable of writing songs that else. How he gets his extraordinary tales wonders how many influences came along show off her engaging vocal abilities to into small- song form, I'll never quite know. to confuse the years of development, how good advantage. When given aclassic like "Bummer" begins: " His mama was a mid- many were thrown over, which were inte- "Dream," that great Everly Brothers song of night woman; his Daddy was a drifter grated into self. over adecade ago, Simon transforms it into drummer. One night they put it together; Isuspect that by the time Ronstadt and atouching ballad, devoid of any of the sap- nine months later came the little black producer Peter Asher got together for this piness that many other pop singers would bummer." Chapin goes from jail to Vietnam project, much of the homework had already feel compelled to include. Likewise with and aMedal of Honor for killing, ending in been done, so that directions revealed Peter Allen's " Harbour," where she accom- a pool of blood after a grocery- store rob- themselves with fair calm. They have an

104 HIGH FIDELITY M AGAZINE unerring eye for suitable material. One way can play in such a right-handed fashion or another, nearly all the tracks get in the with a rhythm section and in such a left- pocket. handed fashion on his own. Indeed, Idon't Ronstadt surrounds herself with perfect- know another pianist, with the possible ex- for- her players. The dazzling backup vocals ception of Roger Kellaway, who hears the SAVE are performed by band members: Kenny left hand anything like the way Evans does. Edwards ( bass), Andrew Gold ( keyboards), He plays implied time, often leaving holes TOP QUALITY GEAR and Herb Pedersen ( banjo). They get apure, where main pulses should be. This is afur- LOWEST PRICES almost bluegrass- pure, sound with a con- ther pressure on any singer and surely ajoy PROMPT DELIVERY temporary feel, first-rate all the way. Addi- to conquer. Bill does as much soloing as he tional guest players and singers include does accompanying here. Idon't know or SAVE ON FREIGHT Maria Muldaur, James Taylor, and Emmy care which Ilike better. SELECTION Lou Harris. John David Souther joins Ron- As for Bennett, he meets us and himself stadt on the plaintive title tune (which he straight on. His voice sounds alittle funny GARRARD BSR also wrote). at times, abit rough. But never more vulner- KEN WOOD DYNACO In the ten or so years that Ronstadt has able. Who can resist him? He shows every- been aprofessional singer, hundreds of oth- thing. If aphrase comes up that looks scary, B.I.C. SANSUI ers have blazed into our hearts only to fade Tony may take too big a breath; the note DUAL PIONEER without a trace. The sprinters can learn a will come out alittle blustery but shape it- and more than 50 others lesson from this steady lady. M.A. self out as it goes. It is not perfect. It is won- derful. Nobody else could do this project; nobody else would be fool enough to try. PLEASE REQUEST PRICE QUO- JACK JONES: What IDid for Love. This is apersonal, intimate, timeless al- TATIONS ON YOUR CHOICE Jack Jones, vocals; vocal and instru- bum. Such work is not supposed to happen Ili OF QUALITY STEREO GEAR mental accompaniment. After the Lovin'; too often. If your grandmother crocheted What Did for Love; If That's the Way You brilliant heirloom afghans, chances are she Want It; Over to You Now; eight more. [ Mike didn't do more than five or six in her life- Berniker and Jack Jones, prod.] RCA APL 1- time. Component 1111, $6.98. Tape: “ ARK 1-1111, $ 7.95; Deep thanks to Bill Evans, Tony Bennett, EARS 1-1111, $ 7.95. and Helen Keane. Already your new album is an old friend. M.A. Discounters Jack Jones has an endearingly boyish voice and a knack for developing tasteful ar- 1HF rangements of pop ballads. This new album 24020 ONEIDA is blessed with gentle, understated arrange- OAK PARK, MICH. 48237 ments that accent the dignity of the songs. 313-559-1270 Jones's version of " What IDid for Love," the first of what certainly will be many ver- CIRCLE 3 ON READER- SERVICE CARD sions of that fine piece of material from A Chorus Line, is especially adept. So too is his reading of " After the Lovin'," which initiates and ends the recording. " If That's the Way You Want It" is a fine up-tempo song with slight traces of soul music BI e blended in. M.J. MOSES, THE LAWGIVER. Original film soundtrack recording. Composed by Ennio Morricone. Bruno Nicolai, cond. [ Vin- cenzo Labella, prod.] RCA TBL 1-1106, DISCOUNTS THE TONY BENNETT- BILL EVANS AL- n BUM. Tony Bennett, vocals; Bill Evans, $6.98. Tape: V% TBK 1-1106, $7.95; . TBS piano. Young and Foolish; We'll Be Together 1-1106, $ 7.95. STEREO COMPONENTS Again; My Foolish Heart; six more. [ Helen Largest selection of top name Keane, prod.] FANTASY F9489, $6.98. Tape: Iusually hate music for Biblical films. The brands. try us and see H 8160-9489, $ 7.95. genre seems to bring out the saccharine worst in most composers. But Ennio Morn- I'm not much for trips down memory lane, cone's score for the film Moses, the Law- no matter how much Ienjoyed the original. giver (shown here as a serialized TV pro- Here is the exception we all wait for. gram) has agenuine feeling for the breadth, The first thing to get over is the new look dignity, tragedy, and pageant of the subject. of Bill Evans: hale, hearty, huge. No more Not that this is altogether surprising. One the ailing poet. Tony Bennett looks his of the composer's chief stylistic signatures regular warm self, just a couple of years is created through long, choralelike pro- later. gressions of sustained chords, and it is a r • 7`7191911\11 For those chronic complainers who ask sound that easily and effectively lends itself why nobody makes this kind of album any to heavier subject matters. In this score, ill more, let this music be an answer: Nothing Morricone uses the device both in the is harder to do. There is no crutch, no sup- strings and in the wordless " Moses" theme iin e h port, no comfort. There are no grooves in- for chorus, which he treats very much like re ee volved, no group atmosphere to fall in with an instrument of the orchestra. 'i)/A//////kkgmbi and ride, no strings to soften moods, no He also creates adecidedly different mu- horns to punch up energy. There are only sical vista for the eternal " Battle and Red 6330 Frankford Ave these two personalities, their skills, and Sea" part by using some deliberately grat- Baltimore, Md 21206 their personal needs. The recording was ing, ultramodern effects in the strings— clus- well planned and sensitively piloted by ters, glissandos, microtonal sostenuto pro- All mail answered within 24 hours producer Helen Keane, who is Evans' long- gressions— that, combined with some time associate. The songs are impeccable, obsessive rhythmic ostinatos, give amuch Phone Daily 9 AM to 9 PM the best of the American song- writing tradi- more grotesque and brutal color to the pro- Saturday 9 AM to 4 PM tion. ceedings than can be found in any other Phone 13011 488-9600 It has always interested me how Evans treatments of the saga. Startling, too, are CIRCLE 12 ON READER- SERVICE CARD

JANUARY 1976 105 the sustained, nonsung cluster effects in the anything like Von, you can expect another "In God's Voice" choral sequence, which rave in these columns. Perhaps, too, the evokes an uncanny feeling of omni- composer will give us new recordings of SAll E presence. comparable quality of his important, non- MONEY • TIME • FREIGHT There is, in fact, an immense variety to film symphonic scores. (A complete Double the cuts on this disc. Each could merit Concerto should be atop priority.) 1,Ç QUALITY STEREO EQUIPMENT AT LOWEST PRICES. lengthy discussion for originality and emo- N.B.: Unbelievably this recording has not 1 tional impact, whether the hypnotically been picked up by any American company, k YOUR REQUEST FOR QUOTA- captivating chant of " Israel" ( although I and its availability on these shores is due TION RETURNED SAME DAY. must say that the style seems more African mainly to the foresight of HNH Distribu- th, FACTORY SEALED CARTONS- than Israeli!) or the hair-raising, ultra-divisi tors, a small but invaluable outfit. R.S.B. 1 GUARANTEED AND INSURED. pizzicato string writing in " Insects." The latter musical segment, unlike anything I SAVE ON NAME BRANDS LIKE: have ever heard, presents atruly unique so- A.D.C. KLH lution to the musical depiction of a " natu- A.R. SHURE ral" phenomenon that has given rise to al- DYNACO KOSS most as. many artistic clichés as those FISHER SONY myriad wide-eyed street urchins that haunt PIONEER the emporiums of shlock art. But this well- recorded (with rotten sur- AND MORE THAN 50 OTHERS faces), well- performed (rumor has it that BUY THE MODERN WAY "Bruno Nicolai" is the composer himself) STÉPHANE GRAPPELLI. Stéphane BY MAIL— FROM recording is definitely better heard than de- Grappelli, violin and piano; piano, scribed. It is agripping and novel film- mu- bass and drums accompaniment. Just aGi- sic experience, aperfect example of Morn- golo; Three Little Words; The Birth of the cone's seemingly inexhaustible inven- Blues; nine more. PYE 12115, $6.98. tiveness. R.S.B. There are times when Stéphane Grappelli, now in his mid- sixties, seems to be single- audio MIKLOS R6ZSA CONDUCTS HIS GREAT handedly carrying on the memory of FILM MUSIC. Royal Philharmonic Or- Django Reinhardt and the Quintet of the Department 217H chestra, Miklós Rózsa, cond. [ Brian Culver- Hot Club of France and, at the same time, 12 E. Delaware Place house, prod.] POLYDOR SUPER 2383 327, belatedly revealing the talents of his own $7.98 ( distributed by HNH Distributors, Box that were overshadowed in the Quintet by Chicago, Illinois 60611 222, Evanston, III. 60204). the genius of Reinhardt. 312-664-0020 The Thief of Baghdad; ADouble Life; Lost Weekend; A This collection, recorded in 1973 when Time to Love and aTime to Die; The Naked City; Knights II Grappelli was appearing at Ronnie Scott's of the Round Table; Diane; The Story of Three Loves; CIRCLE 10 ON READER- SERVICE CARD Young Bess. in London, is an excellent mixture of both aspects of his latter-day career. There are Of the recent albums devoted to the efforts some pieces that are played in such apre- of the first- and second-generation film eminently Hot Club Quintet fashion (" It composers, this is certainly one of the fin- Don't Mean a Thing," " Crazy Rhythm," Be sure and send us your new est. The selections give an excellent com- "Avalon") that they all but imply the pres- address 8 weeks before you posite impression of the breadth and diver- ence of Reinhardt, even though there is no move so you won't miss any sity of which this most symphonic of screen guitar in Grappelli's anonymous accom- copies of HIGH FIDELITY. composers was capable. And even the panying trio. Along with this are warm, And please include an old shorter cuts—such as the one devoted to richly harmonized explorations of ballads mailing label from our magazine Billy Wilder's Lost Weekend, with its out- ("What Are You Doing the Rest of Your when writing us about your of- sync, synthesizer- accompanied " alco- Life," " Didn't We") that bring out aside of subscription. holic" theme followed by atypically warm, the violinist that was rarely heard with the achingly emotive love theme— re-create the Quintet. And beyond this, we get Grappelli Write to: HIGH FIDELITY, affective substance of their films in far as composer and pianist— composer alone 1Sound Avenue, Marion, Ohio 43302 greater depth than most of the extracts on on " Opportunity," which has alively, 1920s '2, Change of address. the RCA Classic Film Scores recording of show- tune charm; composer/pianist on I ] Enter new subscription. Rózsa's music (ARL 1-0911). "Emotion," which blends shades of Bix Bei- 1year $ 7.95 Furthermore, the dynamism of Rózsa's derbecke's piano pieces with an elegantly il payment enclosed El bill me vision as acomposer is apparent in his con- Continental melodic feeling. ceptions of the music as aconductor. These Whether he is being jaunty or romantic, ,—AFFIX LABEL —3 , are thrillingly taut, present performances swinging or soulful, Grappelli is always in that bring out all the scores' emotional vi- command, the polished, perceptive, com- tality— reaching a high point in the " pur- plete performer. One can't say as much for suit" music from Jules Dassin's Naked City. the packaging of this disc, which omits any L' His idiom, with its decidedly modern dis- mention of his pianist, bassist, and drum- Ià sonances and its diverse, nervous asym- mer, even though the pianist takes a num- metries and syncopations, was especially ber of solos ( of no great distinction, it is Ie , effective in communicating ableaker, more true) and the bassist makes an interesting Ia contemporary view of existence, and Rózsa solo appearance on " I've Got the World on was therefore very much the man for afilm aString." J.S.W. noir such as Naked City. And although he has recorded the sequence on amuch ear- lier Decca release, the outstandingly sharp BARRY HARRIS: Plays Tadd Dam- sound reproduction, which features excel- eron. Barry Harris, piano; Gene Tay- I lent stereo separation and delineation, lor, bass; Leroy Williams, drums. Hot House; helps bring the music and its performances Soultrane; Casbah; five more. XANADU 113, to apoint of incredible excitement and ten- $6.98. sion. There is nothing on this disc that disap- Neither Tadd Dameron nor Barry Harris Adel postage: $ 2per year outside U.S., its poss.& Can. points, and if the soon- to- appear Vol. 2 is has ever received the recognition he de-

ot, HIGH FIDELITY-MAGAZINE serves—Dameron as composer. Harris as pi- his customary alto. On both of his new in- 10 GET anist. struments, Steward has a very distinctive, FROM Dameron has been dead for more than personal style: alean, slightly rough tone on ten years, so his reputation now depends on soprano and asimilarly rough but surpris- HERE the work he left behind him, which includes ingly dark tone on flute. Victor Feldman, some of the more notable jazz compositions who has been buried in studio work for a of aperiod when " composition" often iden- long time, adds some light and airy vibes to tified nothing more than soloists' improvi- the group, while Jimmy Rowles, that sly sations. Da meron was a highly creative prober of the keyboard, completely justifies writer—" bebop's finest composer," as Mark the use of the normally dire electric piano Gardner identifies him in his notes for this by finding brilliant bits of color and shading album—who not only wrote to fit the bebop in that instrument's odd sounds to blend ethos on " Our Delight" or " Hot House," but with ensembles, to accent asolo, or to flut- also composed agorgeous ballad, " If You ter along on some ideas of his own. Could See Me Now," which stretches out The all-important rhythmic support TO beyond the usual confines of pop song with comes from Chuck Domanico, who uses lines that seem to carry their own inner both electric and acoustic bass with aper- THERE singing voice. ception that parallels that of Rowles; from Harris, for his part, has maintained a Milt Holland's atmospheric Latin percus- strangely low profile over the years for api- sion; and particularly from Jake Hanna's anist of his subtle skills and high polish. jaunty, joyful drumming. It is an imagina- Even his triumphs seem to occur quietly tive, beautifully played collection from and unobtrusively— as when he provided start to finish. J.S.W. one of the few moments of quality in an evening of solo piano at last summer's Newport Jazz Festival, a fact that was DAVID MArrmEws: Big Band Recorded Live largely overlooked in the general disap- at the Five Spot. Joe Shepley and Burt Col- YOU NEED THIS... pointment of the over-all program. lins, trumpets and flügelhorns; Michael Gib- This record serves to give Dameron's son, trombone; Fred Griffen, French horn; work the kind of showcase it deserves and Tony Price, tuba; Dave Tofani, Frank Vicari, to allow Harris to apply his finely honed and Kenny Berger, saxophones; Dave musical sensitivity and technical mastery Matthews, piano; Sam Brown, guitar; Harvie to material that provides the challenge and Swartz, bass; Jimmy Madison, drums. Three incentive that bring out his best work. The on the Stairs; Prayer; Nardis; four more. accompaniment he gets from Leroy Wil- MUSE 5073, $ 6.98. liams and Gene Taylor is right in the same groove— supportive and strong. J.S.W. Dave Matthews' twelve- piece band made its debut on aMonday night last February at the Five Spot in New York, hoping to fol- BARNEY KESSEL AND FRIENDS: Kessel low in the footsteps of the Thad Jones- Mel Plays Kessel. Barney Kessel, guitar; Lewis band that began playing on Monday

Herbie Steward, reeds and flute; Vic Feld- nights at the Village Vanguard in 1966 and « a-. r do—.4 • (=ION, • ••-- man, vibes; Jimmy Rowles, piano; Chuck has used these gigs as the base for its suc- {MOP RfnORD CLIeee Domanico, bass; Mdt Holland, percussion; cessful career since then. And Matthews Jake Hanna, drums. Sea Miner; For My Love; may do just that; as this first record shows, Brazilian Beat; six more. CONCORD JAZZ 9, he has managed to get away from the $6.98 ( Concord Jazz, Box 845, Concord, stereotyped big- band sound of the past Calif. 94522). twenty years (which even the Jones- Lewis group has perpetuated) and at the same This disc is a cornucopia of pleasant sur- time has brought an electrified rock feeling prises. For starters, it removes Barney Kes- into a big- band context much more suc- sel from the guitar- oriented settings in cessfully than such groups as Blood, Sweat, which he has been heard almost exclu- & Tears and Chicago. sively in recent years. There is plenty of His writing is strongly influenced by the guitar here— after all, Kessel is the leader— Gil Evans- Miles Davis approach for Davis' but it is heard in some fascinating ensemble 1948 octet: tight saxophone ensembles, with contexts as well as the usual solos. adeep background from tuba. French horn, But even more Interesting, insofar as Kes- trombone, and baritone saxophone, astyle sel is concerned, is the fact that all nine of that provides asuperb setting for Dave To- the pieces in the set are his own composi- fani's strong, colorful alto- saxophone solo tions. When an instrumentalist undertakes on " Round Midnight." Matthews uses to fill arecord with that many original com- much the same technique with his electrical positions, the prospect— unless the com- instruments— bass, guitar, keyboard— to poser/performer is Duke Ellington— is usu- create an exciting, tough, tight, jumping en- ally ominous. But in this case the results are semble attack on " Penny Arcade," which delightful. Kessel has eschewed the easy could be the contemporary equivalent of way—" composing" ablues or building ariff the pieces played by the Harlem jump on pop song changes. Instead, he has bands in the ' 30s and ' 40s. There is more Discwashei created a set of unusually melodic and writing in these arrangements, less loose The Superior highly rhythmic pieces, which are solo space, than in most big- band charts. Record Cleaner presented in ensembles with intriguing And with only two trumpets and one trom- vo icings. bone, there is none of the screaming brass In these voicings lie more of the pleasant that afflicts other big bands. The emphasis, surprises, for this record marks the return, instead, is on the three-man saxophone sec- after a long absence, of Herbie Steward. tion, for which Matthews writes with imag- One of the Four Brothers in Woody Her- ination and insight. And the two key man's band in 1947, he now is playing so- soloists also come from that section: To- DISCWASHER INC. 909 UNIVERSITY prano saxophone and flute in addition to fani, a brilliantly full-bodied alto player, COLUMBIA, MO.

JANUARY 1976 11)7 HIGH AUDIOPHILES WANTED!! Put your knowledge to use, SAN DIEGO-AUDIO RESEARCH, FULTON ( FMI) earn an excellent spare time income. We need campus Speakers and Records, Paoli, Decca, Win Labs, Shure V representatives to sell name brand stereo equipment at 15-G. Dr. Johnson, by appointment. ( 714) 274-6613. FIDELITY substantial discounts in your area. No investment neces- sary. For information and application please write: ABCO, AT LAST! NEW, EXCITING 100% DUST-PROOF Dept. CR. 915 Grand Avenue. New Haven. Conn. 06511. RECORD COVERS. FIRST BREAK-THRU in 50 years. CLASSIFIED Strong plastic. Patented fastener seals end every time. HIGH FIDELITY, CB, RADIOS, GADGETS, GUNS. 64 Fits back into album cover. Satisfaction guaranteed. 3for page catalog now available from large mail order firm. 130 East 59th St., New York, N.Y. 10022 $1.35 postpaid. 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Count 10 extra words for box THIEVES WAREHOUSE IS COMING TO YOUR AREA. number and address. ADVICE-FOUR ISSUES-$9,00 ($ 11.00 FIRST CLASS, $12.50 FOREIGN). 225 KEARNY STREET, = 200J, SAN FRANCHISES AVAILABLE. THIEVES WAREHOUSE, DISPLAY CLASSIFIED AND DISCOUNTS: FRANCISCO, CALIFORNIA 94108. P.O. BOX 8057, PENSACOLA, FLORIDA 32505. 1 inch by 1column-$ 230. 2 inch by 1 col- SOCIETY, NEWSLETTER sub- AUDIO COMPONENTS at guaranteed lowest prices. umn-$460. 3 inch by 1 column-$ 690. scription $5 / yr. Box 7176, Chicago, IL 60680. Specializing in PIONEER, MARANTZ, SANSUI, DUAL, Also 6 and 12 consecutive issue discount and SONY. Write for catalog on over 60 brands, including rates. Deadline is two months prior to publi- miscellaneous color televisions. DISCOUNT SOUND, 1616 Rockville cation date. Full payment must accompany Pike, Rockville, MD 20852. All copy for classified ads. DIAMOND NEEDLES and Stereo Cartridges at Dis- DON'T PAY THE HIGH MAIL ORDER PRICES. count prices for Shure, Pickering, Stanton, Empire, THIEVES WAREHOUSE OF SARASOTA, 6564 GATE- Grado and ADC. Send for free catalog. All merchandise WAY AVENUE, SARASOTA, FLORIDA 33581. for sale brand new and factory sealed. LYLE CARTRIDGES, Dept. H, Box 69, Kensington Station, Brooklyn, New York DON'T PAY THE HIGH MAIL ORDER PRICES. RARE ROMANTIC PIANO SCORES-Moscheles. Hen- 11218. THIEVES WAREHOUSE OF FT. WALTON BEACH, 652-D selt, Herz, LitoIff. Scharwenka, Scriabin, etc. Free cata- BEAL PARKWAY, N. W., FT. WALTON BEACH, FLORIDA log. MUSIC TREASURE PUBLICATIONS, 620 Ft. Wash- SLEEP- LEARNING-HYPNOTISM! Strange catalog 32548. ington Ave., 1-F, New York, N.Y. 10040. free. Autosuggestion, Box 24-F, Olympia. Washington 95801. DON'T PAY THE HIGH MAIL ORDER PRICES. BUILD YOUR OWN SPEAKERS AND SAVE UP TO THIEVES WAREHOUSE OF MOBILE, 1770 BELTLINE 50%. You can assemble your own high quality, multi-ele- CONGRATULATIONS! YOU ARE NOW READING ONE HIGHWAY, MOBILE, ALABAMA 36609. ment stereo speakers in a few hours and save up to half OF HIGH FIDELITY'S best read pages! Use it yourself the cost of comparable speakers. Send for our free 32- when you want to sell equipment, or aservice, or want to "BUY DIRECT FROM ENGLAND. Save Money! B & 0, page catalog of speaker kits, raw speakers and acces- let the avid music listener know about anything. High Fi- Cambridge, Decca, Goldring, Gold Speakers, Jordan- sories. SPEAKERLAB, Dept. HF2. 5500- 35th N.E., delity Classified, 130 East 59th St., N.Y. 10022. Watts, KEF. Leak, Lowther. Ortofon, Revox, Rogerts, Seattle, WA 98105. SME. Tandberg, Transcriptors, Wharfedale. Price and PROTECT YOUR RECORDS POLY SLEEVES for jack- shipping list free or send $3 bills to include literature air- ULTIMATE-" LIVE"- Operatic, Symphonic- Reel & ets 86 Roundbottom record sleeves 66 Poly lined paper post. Goodwins, 7The Broadway, Wood Green, London, Cassette Bargains! BOX 1101, WOODHAVEN, N.Y. sleeves 156 White jackets 356 Postage $ 1.25. Record N.22. 6DU. Phone 888 0077. Visitors Welcome." 11421. Supply House, Hillburn, New York 10931. 35% to 55% DISCOUNT ON PROFESSIONAL GUI- SEARCHING? WRITE DiSContinued RECORDS, 216 CANADIAN DISCOUNT CATALOG. NAME BRAND TARS, Amplifiers, P.A. Systems. Free Catalog. Carvin, Es- STEREO EQUIPMENT. CALCULATORS, CB Gear. Parts, NORTH ROSE, BURBANK, California 91505. condido, Calif. 92029. Surplus, Factory close-outs, and dumps. Rush $ 1.00. MONEY MAKING OPPORTUNITIES AT HOME. RUSH ETCO-HF, 521 5th Ave., NYC 10017. DON'T PAY THE HIGH MAIL ORDER PRICES. STAMPED ADDRESSED ENVELOPE. LOUIS SALES, THIEVES WAREHOUSE OF PENSACOLA, 3731 NAVY BOX 2444 -HF, ABILENE TEXAS 79600. THOUSANDS OF LIKE NEW LP's and pre-recorded BOULEVARD, PENSACOLA, FLORIDA 32507. tapes. Catalog $ 1.50. House of Records, Hillburn, New York 10931. UNIQUE collection technique for business with DON'T PAY THE HIGH MAIL ORDER PRICES. THIEVES pastdue accounts. $ 1 for mailing free guide. Raymond WAREHOUSE OF MONTGOMERY, 3386 NORMAN Fry, 1702 S. Palm, Ontario, Ca. 91761, STEREO CARTRIDGES AND STYLUS REPLACE- BRIDGE ROAD, MONTGOMERY, ALABAMA 36105. MENTS FOR: ADC, Audio Technica, B&O, Grado, Em- pire, Micro/Acoustics, Pickering, Ortofon, Shure, Stan- ton, Supex. Write for free catalog: NEEDLE IN A HIGH FIDELITY HAYSTACK. Dept. MH, P.O. Box 17435, Washington. D.C. 20041. Classified Advertising Department

"DEMAGNETIZING NOTES" Single Copy Free. Pre- 130 East 59th St., New York, N.Y. 10022 Phone: 212-581-7777 serve your valuable tapes. Actually measure magnetic re- Michael Littleford, Classified Advertising Manager siduals and REALLY demagnetize. See page 290 " HIGH FIDELITY'S TEST REPORTS" write-ANNISCO, 1109 N. Delaware. Indianapolis, Indiana 46202. Phone 317 637- Please run the following classified advertisement in the next available 9282. issue FRESH SCOTCH Li N 10Y," 3600' METAL REEL 5 for $35.00. Sound& POB 88338, Atlanta, Ga, 30338.

SAVE 50%. CONSTRUCT SPEAKERS AND SAVE MONEY. SEND FOR FREE CATALOG AND INSTRUC- TIONS. SPEAKERKIT, Box 12H, Menomonie, WI 54751.

THE ABSOLUTE SOUND. IN ITS SEVENTH ISSUE, WILL ASSESS the state-of-the-art in audio components. It will review a new generation of components ( in depth) that purports to advance the audio art: The infinity Servo- Statik 1-A; Mark Levinson's new pre- amp. The J(ohn) C(url)-2; Yamaha's low- feedback pre- amp and its V-FET amplifier; Audio Research's Dual 76A and SP3A-2; The Dayton- Wright MK III Electrostatic: Luxman's new ampli- Name fiers ( at 300 and 180 watts per channel respectively); The Denon spherical and Shibata moving coil cartridges; Rabco's ST- 7 straight line- tracking turntable. Nor is this Address the end of it. We shall also be taking a look at the Quad Electrostatic; The Yamaha super speaker: The Fidelity City State Zip Research cartridge; The Ohm- F; KEF 104; the Hegeman speakers; Epicure's electronics ( amp & pre- amp) and Telephone more, we'll also be updating our recommended record- ings, with additional emphasis on record reviews. Sub- scriptions ( four issues); $ 10.00 US, $ 11.00 Canada add RATE: For Regular and Display, see schedule above. * CASH MUST $2.00 for first class mailing if desires. $ 13.00 foreign ( air- mail). Back issues 1-6, $ 3.00 each. The Absolute Sound, ACCOMPANY ORDER. Closing two months prior to issue. P.O. Box 5H, Northport, N.Y. 11768.

108 HIGH FIDELITY MAGAZINE and Frank Vicari, who has ahard- toned at- RECORD MART Advertisement DON'T PAY THE HIGH MAIL ORDER PRICES. tack on tenor. THIEVES WAREHOUSE OF ATLANTA, 3164 PEACHTREE ROAD, N.E., ATLANTA, GEORGIA 30303. The record is not consistent- in fact, the KING KAROL first side is half gone before the band's indi- DON'T PAY THE HIGH MAIL ORDER PRICES. viduality begins to emerge. But on " Joyce THIEVES WAREHOUSE OF ATLANTA, 4166 BUFORD HIGHWAY, N.E., ATLANTA, GEORGIA 30345. from the Bronx," " Round Midnight," RECORDS "Dance of the Wind Chimes," and " Penny DON'T PAY THE HIGH MAIL ORDER PRICES. THIEVES WAREHOUSE OF ATLANTA, 1030-3 Arcade," Matthews shows the fresh quali- CHEROKEE ROAD, SMYRNA, GEORGIA 30080. ties that he has brought to big- band jazz. itg. TAPES I.S.W. DON'T PAY THE HIGH MAIL ORDER PRICES. THIEVES WAREHOUSE OF NORTH TAMPA, 1441 EAST WORLD'S FLETCHER AVENUE, TAMPA, FLORIDA 33612. LARGEST DON'T PAY THE HIGH MAIL ORDER PRICES. NEW BLACK EAGLE JAZZ BAND: In THIEVES WAREHOUSE OF ATLANTA, 2769 LAKE- SELECTION! Concert. Tony Pringle, cornet; Stan WOOD AVENUE, S.W., ATLANTA, GEORGIA 30315. oti> Vincent, trombone; Stan McDonald, clarinet DON'T PAY THE HIGH MAIL ORDER PRICES. SUPER- FAST and soprano saxophone; Bob Pilsbury, Pi- THIEVES WAREHOUSE OF ATLANTA, 4162 JONES- MAIL ORDER ano; Peter Bullis, banjo; Eli Newberger, tuba; BORO ROAD, ZAYRE CENTER, FOREST PARK, Cee Hans Pameijer, drums. Wild Man Blues; GEORGIA 30050. i{ SERVICE! R& Skid-Dat-De-Dat; Snag It; five more. BLACK DON'T PAY THE HIGH MAIL ORDER PRICES. WE HAVE EAGLE 2, $ 6.50 ( New Black Eagle Jazz Band, THIEVES WAREHOUSE OF ST. PETERSBURG, 9151 128 Front St., Marblehead, Mass. 01945). PARK BOULEVARD, NORTH LARGO, FLORIDA. _ EVERYTHING! FORMULA 4 professional laboratory viscous silicone DEDUCT 20% FROM THE MFRS. The Black Eagles keep getting better with damped jewelled uni -pivot Tone Arm. VTF 0-3 /12 gm, fric- SUGG. LIST PRICE every release. They are so far ahead of most tion below 0.005 gm. Effective Mass 4.50 gm. stylus/pivot Add 50c Per Item for Postage & Handling of the other traditional bands around the 224 mm. $89 including Airmail. Formula 4, 15 Heather Send $ 1for complete catalog to: Dept. HF, Walk, Edgware, Middlesex, HA8 9TS England. country that there is scarcely any basis for Box 629, Times Sq. Sta., NYC 10036 DYNAKITS, IAD, LOWEST PRICES, Underground HiFi, comparison. It is not simply that the band 324 Broadwater Road, Arnold, Mu. 21012 301-647-0919. CIRCLE 14 ON READER- SERVICE CARD as awhole is excellent or that it can balance standard, familiar material with pieces that tapes s& records can be identified only with it. (" I'm Tray- elin'," agospel- type tune, and awild rewrit- TDK, BASF, Memorex. Maxell, cassettes, reels, 8- OPERA TAPES- DISCS OPEN REEL AND CAS- tracks. Lowest prices, guaranteed. new. S&S Audio, P.O. ing of " I'm Dancing with Tears in My Eyes" SETTES- historical performances of last 40 years- Un- Box 56039, Harwood Heights, II. 60656. called " Black Eagle Skuffle" are both in this believable treasure and rarities- ALSO LP RECORDS. Ed Rosen. 66-33 Saunders St., Rego Park, N.Y. 11374. SHOW ALBUMS- Rare, out-of- print LPs. 52- page list set.) Three very strong musical person- 50e, Broadway/Hollywood Recordings, Georgetown, CT alities bring their own style and sound to EVERYTHING ON OPEN REEL! Prerecorded classi- 06829, ( 203) 544-8288. everything the group plays and, in doing cal/popular tapes. Latest releases. Dolby. Quad. 96- page catalogue $ 1. Barclay-Crocker, Room 857H, 11 Broad- SOUNDTRACKS. Lowest Prices. Catalog: 50 cents. this, set the New Black Eagle apart from all way, NYC 10004. Write: Hi Fi, Box 715, Florrisant MO 63033. the others. Few trombonists since J. C. Higgin- FILM- STAGE SOUNDTRACKS. Large free list. A. Lut- QUADRAPHONIC RECORDS AND TAPES-WORLD'S sky, P.O. Box 557342, Miami, Fla. 33155. LARGEST SELECTION-ALL LABELS, OVER 1000 botham have played with the raw, lusty, TITLES- at discount prices! For your free illustrated quad full-bodied bray that Stan Vincent OLDER JAZZ SWING SOUNDTRACKS Lowest Prices, catalog, write: SOUND CONCEPTS, 8510 N. Mt. Hawley, achieves. Stan McDonald is amarvelously Lists. Box, 1138H, Whittier, Calif. 90609. Dept. B-1, Peoria, Illinois 61614. exuberant clarinetist and soprano saxo- "SOUNDTRACKS, SHOWS & NOSTALGIA- free cata- GOLDEN AGE RADIO-YOUR BEST SOURCE for radio log & auction list-A-1 Record Finders, P.O. Box 75071-H, phonist who can be as solidly broad- toned tapes. Box 25215-J, Portland, Oregon 97225. L.A., Calif. 90075." as Sidney Bechet at times, plaintive or IMPORT + DOMESTIC HARD-TO- FIND RECORDS bubbling at other times, but is always the "HARD TO GET" RECORDS- all speeds, RECORD EX- Classical, Jazz, Film Scores. Original Casts. Catalog CHANGE, 842 Seventh Avenue, New York, N.Y. 10019. strong core around which the ensembles re- 51.00 ( Refunded on first order). LIST COMMUNI- CATIONS, P.O. Box 916. N volve. And Bob Pilsbury is apianist with a CUT-OUT RECORDS. HUGE STOCK. ALL NEW. No Y, N Y. 10023. unique slapdash attack who may go stomp- catalog. Cohn. 2205 Marylane, Broomall. Pa. 19008. YESTERYEAR'S RADIO PROGRAMS. GIANT CATA- LOG listing thousands $ 1.00 ( refundable). Box 96X. New- ing through great swoops and sweeps or TAPES. CLASSICAL SINGERS, CONDUCTORS, in- strumentalists in live performance. Emphasis on Superior ton Junction, New Hampshire 03859. pick his way curiously through single- note breaks. When it is in full cry, the band de- Sound. Catalogues. Good Sound Associates, PO Box RARE OP CLASSICAL. SOUNDTRACKS, SHOWS, per- 489, Planetarium Station. New York, N.Y. 10024. sonalities, imports. Buy and sell. Huge catalog 50e. Rob- velops a tremendously powerful drive- inson. P.O. Box 181, Bluffton, SC 29910. RARE OPERA, SYMPHONIC MUSIC ON TAPE. Historic note " IFound aNew Baby" and " Wildcat Blues"-with arhythm section that rises to performances. EUROPEAN, DOMESTIC. Free Cata- RARE SHOWS & SOUNDTRACKS. FEBRUARY AUC- logue. Underhill, Bellport, NY 11713. TION: 250. ALBEES. P.O. Box 36515A, Los Angeles, CA. great heights of garrumphing joy when Eli OPEN REELS. Entire Ampex library and more. Major 90036. Newberger cuts loose on tuba. credit cards accepted. 1975 Catalog, $ 1 refundable first CLASSICAL CASSETTES! FREE CATALOG. Better This collection is taken from sessions in order. Ampex, Dept. C100, P.O. Box 178, Elk Grove, II. quality. 50% less cost than records! CCC. Box 506HF, Boston and New Orleans, beautifully re- 60007. Saddle River, N.J. 07458. corded except for the one piece from New CLASSICAL LPs Send SAE. Haller, 400 Bagley ( Room MYSTERY BROADCAST-Date Reference Log: $ 4.00. Orleans (" Black Eagle Skuffle"), on which 831). Detroit, Mich. 48226 Unsatisfied, money back. Airwaves. 900 Elmwood, Wil- both piano and cornet are lost in the bal- mette, IL 60091. ance. J.S.W. CASSETTES HUNDREDS OF MOVIE, STAGE SOUND-TRACK. Plain white cassette labels. Nirelco cassette clean- Longplays: only rarest ones. 50e for list. 1st Auction. Alices Records, RR 1. LS. 300, Davis, Illinois 61019. ers, famous brand cassettes. Send for open reel and VICTORY PARADE OF SPOTLIGHT BANDS: cassette discount catalog. 1-9 10-99 100 1000 10M Jimmy Joy and His Orchestra; Charlie Spi- Cassette Labels .02 . 015 . 01 . 006 Norelco Cassette Cleaner .65 . 60 . 55 . 50 . 45 authors vak and His Orchestra. Everytime We Say 'Scotch Cassette SC9OHE 2.72 2.55 2.44 Goodbye; Right as Rain; Shine On, Harvest 'Buy 2, SC9OHE, get Itree. Plus Postage by Weight and Zone Minimum Order $ 5.00 Moon; Green Eyes; eleven more. AincHeck 6, OPEN REEL STEREO TAPE BUYERS ! AUTHORS WANTED BY $6.00 (Kiner Distributing Co., Box 724, Red- At last! An open reel catalog, including titles, songs, etc. of 95 long mond, Wash. 98052). play, 2-3 hour albums by American Airlines or Ampex 4track stereo tapes. Send $1.00- and we will also mail you a140- page Harrison stereo tape guide - so you'll get both for 51.00- and this $ 1.00 is NEW YORK PUBLISHER This is one of four discs that the Aircheck refundable on your first $ 10.00 purchase of open reel stereo tapes at our 30% discount. Leading book publisher seeks manuscripts of all label has drawn from the Victory Parade of types: fiction, non-fiction, poetry, scholarly and We've Cet the " Spirit - The Prices Md the hildress to Prove It Spotlight Bands, the big- band radio series juvenile works, etc. New authors welcomed. For heard during World War 11. Although the Saxitone's Bicentennial Tape Shoppe complete information, send for free booklet S-89. 1776 Columbia Rd., NW., Wash. D.C. 20009 Vantage Press, 616 W. 34 St., New York 10061 music tends to be more pop than jazz this

109 JANUARY 1976 particular disc is of special interest for its happen to Olsson would be to bomb out as evidence of the jazz- directed aspects of two asinging, drumming solo, so he can concen- PRICE WAR hands rarely considered part of the Swing trate on studio work. M.A. AMERICA'S # 1VALUE LEADER Era. In fact, to the extent that jimmy joy is STEREO CORPORATION OF MICA known at all beyond the Southwest, where AZTEC Two-STEP: Second Step. RCA APL he led bands from the 1920s through '40s, 1-1161, $ 6.98. Tape: 0.!..',APS 1-1161, $ 7.95. e his were usually categorized as sweet Wit abounds and sensibilities are sharp on CC +i hands. But here he is in 1945 with a band Aztec's first RCA disc. Its cutting stage Mastercharge/Bankamencard that not only swings, but has some tan- show and anew label might just lead it be- Phone For Immed ate Shipments AR SHURE talizingly unidentified soloists who can yond New York cultdom. H.E. make you think you are listening to well-

"-'4:::3te, known jazzmen. There is atenor saxophon- 't-r------" SAM AND DAVE: Back at ' Cha! UNITED ART- ri:1."711M"M-Ij -•-•••••• . ist, for example, who gets into a driving ISTS UA-LA 524G, $ 6.98. Vido Musso attack on " The Savoy Is MARANTZ PIONEER DUAL "Hold On, I'm Coming, I'm Coming" has Jumping"; abig, open, swaggering trombon- kept me hanging since the mid- Sixties, and AUDIO DISCOUNTING STARTED IN ist; atrumpeter who has the crisp, cutting edge of early Harry James; and a bassist, this disc will keep me hanging a little NEW YORK & NOW WITH THE END OF longer. Sam and Dave may be back, but Jimmy Boone ( the only musician identified FAIR-TRADE WE ARE SURE THAT NO some better material would have made on the broadcast), who plays a solo on ONE CAN BEAT OUR PRICES: their return that much better. H.E. •We Discount Over 70 Major Brands "Dark Eyes" that is pure Milt Hinton, backed by perceptive cymbal work. •Over 10 Years Of Reliable Service In The Mail Order Field The Spivak side, also a 1945 broadcast, CARAVAN: Cunning Stunts. BTM 5000, •Largest Inventory/Lowest Prices! puts more emphasis on sweet sounds ( and $6.98 Spivak's open trumpet is brilliant). But Caravan's mellifluous progressive rock, We Get The Best Deals From The Manufac- there are two samples of the way this band while pleasant enough, lacks the spark that turers. You Get The Best Deal From Us! could swing, something rarely apparent on guarantees-' nstant success. The group has its commercial records: a ballad with a been trying for along time to create excite- WRITE OR CALL! SHOP BY PHONE! $1.00 Will Be Deducted beat, " Into Each Life Some Rain Must Fall"; ment; it is becoming more proficient, but For A Lowest Of The From Any and aswinging riff number that shows off professionalism in the place of flash has Low Quote Orders Over $ 100. the tight ensemble playing, good tenor never been asure route to rock triumph. saxophone and trombone soloists ( Herbie H.E. STEREO CORPORATION OF AMERICA Harper on trombone?), and a flag-waver drum solo for Alvin Stoller. OHIO PLAYERS: Honey. MERCURY SRM 1- Dept. H- F 2122 Utica Avenue Simply as nostalgia, these two sides are 1038, 56.98. Tape. 41, MCR4 1-1038, $ 7.95; • MCR8 1-1038, $ 7.95. Brooklyn, N.Y. 11234 tremendously evocative: The broadcasts This superstar septet plays abrand of pro- Tel. ( 212) 338-8555 are complete with the extolling of the de- fense plants where the bands were playing, gessive rock that is heavily laced with both jazz and rhythm and blues. All of these in- CIRCLE 36 ON READER- SERVICE CARD Coca Cola commercials, and the melodic theme that Coca Cola used then, atune that fluences come together to create amusical could stand reviving on its own merits. In product that is attractive enough to offset addition, the sound is exceptionally good, the repetitions that keep popping up on this Si-WE ON with none of the constricted feeling usually disc. H.E. associated with air checks. J.S.W.

FRANKIE VALLI: CIOSBUO. PRIVATE STOCK PS Brand Name Audio 2000, $6.98. Tape: ME H 5300-2000, $ 7.95; eH 8300-2000, $ 7.95. Components "Closeup" contains the monstrously suc- cessful hot singles " My Eyes Adored You" Write Today for Our FREE nÉret and the disco- oriented " Swearin' to God." Middle-of-the-road artists by the score are Direct to Consumer Audio Catalog making comebacks; Valli's is one of the big- DIXIE is one of the oldest and largest audio compo- MORRIS ALBERT: nent mail order houses in the country. Our prices on Feelings. RCA APL 1-1018, gest. Obviously, many people out there brand name components are actually LOWER than $6.98. Tape: ft• APK 1-1018, $ 7.95; APS want to be coaxed rather than challenged. "Discounter ". See our new catalog or call us for a 1-1018, $ 7.95. price quote. Everything shipped factory-sealed with H.E. full manufac urer's warranty. Morris Albert is currently riding ahit single called " Feelings," preceded by the success- :as MARCIA WALDORF: Memoranda. CAPRICORN 4111 ful " Gonna Love You More" ( also on this GP 0159, $ 6.98. CO 1111 Me,,, Cneye ElankArnerrca. 1111 disc). He is new to America but already es- The first album by this singer/songwriter honored on mad order, *eft' tablished in his native Brazil, where this al- shows much promise: aclear, rich, expres- It liM SHURE Miliger1::: 11.11 bum was recorded. Albert is atroubadour I ,123 sive voice of wide emotional range, and uzir in the classic sense. He can sit down and PIONEER CORONO some well- made songs as good as anything ... a . write aballad that everyone can relate to— you're likely to hear in contemporary mu- is•'-- soy • simple, real, without trend, like " Where Is /Lomita : • .. 1 .. P sic. Highlights: " Why Can't We Both Try at OM MOO the Love of the World." Albert is not fancy, the Same Time?", " Born Again," and " Love but he's real and he could be astayer. M.A. Is In," which features exceptional guitar DIXIE HI- FIDELITY playing by Davis Cousey. An outstanding NIGEL OLSSON. ROCKET PIG 2158, $ 6.98. classically trained musician herself, Wal- 5600 Second St., N. E.. Washington, O. C. 20011 Phone: 1.202-6354900 Tape: «1 PIGC 2158, $ 7.98; PIGT 2158, dorf plays cello, piano, and celeste on vari-

Please rush rne your FREE Audio Catalog and $7.98. ous tracks. J.G. complete information. Iunderstand there is no obligation. Nigel Olsson is out on his own, and while his new album is nice, even more impres- QUINCY JONES: Mellow Madness, A&M SP Name sive is the fact that in Hollywood some pro- 4526, $ 6.98. Tape Ire CS 4526, $ 7.98; Address _ ducers are paying him $800 asession to play !81 4526, $ 7.98. City drums on their dates— four times double Not exactly mad, but mellow nonetheless. State Zip HF -1 I • scale. He plays well, that's for sure; Mick Sweet-talking soul that has some of Isaac Jagger always thought so. But at that price, Hayes's inventiveness, but none of his pre- it seems to me that the best thing that could tentiousness. H.E.

HIGH FIDELITY M AGAZINE Rolls-Royce reels ... As every audio- poems Tintagel and The Garden of phile now sadly knows, the great early Fand. Dated and eclectic as they may expectations of recorded tape's be- be, they remain fascinating examples coming the ne plus ultra medium for of romantic impressionism with a home listening were never realized. British accent. These two works, plus From the first, manufacturers have amore Delian/Sibelian Northern Bal- been unimaginatively content to ac- by R. D. Darrell lad No. 1and the catchy proms/pops cept disc quantity and quality limita- encore piece Mediterranean, are most tions. A pioneering attempt to exploit welcome to the tape repertory, espe- at least the full technical potentials of cially in the fine 1972 Lyrita recording open- reel taping wasn't made until of Sir Adrian Boult's loving perform- last year in asuperb quadriphonic test ances with the London Philharmonic: tape and several brief piano recitals Musical Heritage MHC 2120, Dolby- B from Ambiphon Records, 1Riverdale cassette, $6.95 ( from the Musical Heri- Avenue, Bronx, New York 10463. Levine's recent Mahler First Sym- tage Society, 1991 Broadway, New Now Ambiphon is back with the phony. But the interpretative ap- York, New York 10023). first of a series of more musically re- proach is self-consciously neo -Ro- warding releases, this one starring the mantic in its exaggerated tempo and Zarathustra in St. Louis. What Walter astonishingly magisterial seventeen- dynamic contrasts and often heart- Susskind has made of the St. Louis year- old guitarist Michael Newman. on- sleeve expressiveness. Symphony, evident in the Dvoták On the Q- reel I've heard ( QR 7502A) The rather disconcerting nature of cello concerto with Nelsova, is over- the youngster has the guts— and the this reading by such young virtuosos whelmingly demonstrated in their skill— to challenge even the great Ju- is heightened by comparison with the powerfully, expansively played and lian Bream in Britten's Op. 70 Noctur- simultaneously released reading by recorded Strauss Also sprach Zara- nal Variations, the Villa-Lobos Prel- the Canadian- born Zara Nelsova, fa- thustra: SMG-Vox CT/8T 145, Dolby- ude No. 2, and a Dowland fantasia. mous back in the early Fifties as Er- B cassette/eight-track cartridge, $ 5.98 This 23- minute recital is preceded by nest Bloch's choice as soloist in his each. This is amore conservative Ger- those invaluable 4/12 -minute test and own London recording of Schelomo manic, darkly portentous, weightily alignment materials, as is the compan- and for an earlier version of the Dvo- dramatic treatment than Haitink's ion recording of works by Narvaez, ták concerto with Krips. Here, some more poetically eloquent 1974 Philips Mudarra, Frescobaldi, Sor, and Villa- twenty-five years later, she is playing version ( my personal favorite), but for Lobos (QR 7502). The programs are (with the St. Louis Symphony under many listeners Susskind's well may combined on the 10 /12 -inch metal Q- Susskind) with more verve and irre- seem more satisfactorily " Strauss- reel QR 10-7502 and on the normal- sistible relish than ever, projecting a ian." Sonically it is first-rate even in size stereo- only reel SR 7502. All are personal warmth that makes Harrell stereo only. (The disc edition is QS- deluxe processings, duplicated at one- seem lacking in conviction. In this in- encoded.) to-one rather than high speed (which comparable music the Casals/Szell does make a tremendous technical (Seraphim mono) and Fournier/Szell Beethoven piano- concerto cornu- difference). The prices are corre- (DG) disc- only versions remain su- copias. As knowledgeable collectors spondingly impressive: $ 19.95 for each preme, but for both glowing enthusi- might expect, there's no real challenge of the shorter Q- reels and the stereo asm and exultant songfulness Nel- to the pre-eminence of the Ashke- reel; $34.95 for the big professional- soya wins a place all her own ( SMG- nazy/Solti Beethoven Five on Lon- size Q- reel. But apparently there are Vox 8T/CT 152, eight- track cartridge/ don— or even to the no- longer- on- tape both pro demonstrators and audio- Dolby- B cassette, $5.98 each). Fleisher/Szell Columbia ( formerly phile perfectionists who are confident Epic) series— by either the Prestige of getting their money's worth here! Sunny childhood/Celtic twilight evo- Box set from Wilhelm Kempff with cations. Good as the whole Boulez/ the Berlin Philharmonic under Leitner ... And economy cassette packaging. Columbia Ravel series has been and (DG 3371 010, three Dolby- B cassettes, Manufacturers seem more economy- will be, Vol. 3 has outstanding, $23.94) or from Alfred Brendel with conscious— for themselves, of course, markedly contrasting appeals. Its various nondescript orchestras con- rather than their customers. Although complete Ma Mère l'Oye ballet is a ducted by Biittcher, Wallberg, and it wasn't so long ago that RCA raised paradigm of Gallic elegance and Mehta ( Classical Cassette Club CCC the price of its cassettes, it now begins while its dramatically different 17 and 4, two Dolby- B double- play to abandon the standard plastic La Valse is one of the most exciting cassettes, $5.95 each). But these sets "jewel box" packaging in favor of a I've ever heard. This may not be the should magnetically attract their thinner, paper- hinged, cardboard most tenderly magical Mother Goose, soloists' aficionados, and each repre- box. Well, at least it looks attractive, and last month's Skrowaczewski sents distinctively individual appeals: saves space, and has none of the dis- Valse for SMG-Vox is more sen- Kempff's in older, Romantic, North advantages of Ampex's unsatisfac- suously impressionistic, but these German traditions; Brendel's in more tory plastic slipcases. Boulez versions are both extraor- genially engaging Viennese vein. The The first newly boxed RCA Red dinarily revelatory performances robustly weighty 1962 DG recordings Seal cassette I've played is ARK 1- and— in gleaming, airborne, unexag- are admirably processed; yet the CCC 1155, $ 7.95, the anticipated debut geratedly panoramic quadriphony— processings are even more recording of Avery Fisher award- win- truly representative of today's state of noteworthy both in doing better jus- ning cellist Lynn Harrell, backed by the audio art: Columbia MAQ 32838, tice to the 1962-67 Vox/Turnabout the London Symphony under James Dolby- B Q-8 cartridge, $ 7.98. master tapes than the original disc Levine in the Dvoták cello concerto. Sir Arnold Bax may not be even a editions and in getting onto only two Both solo and orchestral playing are recognizable name to young Ameri- cassettes— running over 103 and 95 authoritatively adept, and the richly can listeners, but veteran discophiles minutes, respectively— all five con- substantial recording matches that of fondly remember his evocative tone certos plus three Beethovenian fillers.

JANUARY 1976 Marantz Stereo Cassette Decks..

3- 1/2- inch professional VU meters with peak LED overload and lighted function indicators. Exceptionally large, readable VU .111IF4 , panel features special Light Emitting Diodes that illuminate when recorder is overdriven by a high level signal. Illuminated function indicators tell you at a glance which function is in operation.

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rnernory counter r-doliev ne evstern

IN« MOM ON MIMI I

loamy SYSTEM

Marantz 5420 Top Loading Deck with Dolby (The enclosures for these units are constructed of plywood, finished in real walnut veneer). the decks that live up to their naine.

Built-in Dolby' System that works with built-in mixing console; Marantz cassette decks have also permits external Dolby processing on other tape recorders. arrived. Performance and Instantly switches for external Dolby encoding on reel-to-reel decks. sophistication that surpasses Has 25 microsecond de- emphasis switch for FM Dolby. Works in conjunc- every other deck on the market. tion with built-in mixer for Dolbyizing multiple input sources. Quality and technical excellence equalled only by Marantz eefeem Wedde4& a3red One button each for receivers, components and Normal, Cr02 and speaker systems. FeCr tapes auto- Top loading. Front loading. With matically selects both bias and EA. Eliminates Dolby. Without Dolby. — The confusing combination adjust- Marantz cassette deck line lets ments of separate bias and EQ you select a model that exactly switches. Single control calibrates suits your needs. Five decks in all, both bias and EQ automatically with design features as exciting for best frequency response on any cassette tape. as their performance. The Marantz 5420 top loading deck with Dolby for example, rbiabsiefte sœlociori Limiter keeps wow and flutter down to Full 4- input ON 0.07%. Plus, it offers a wide NORMA.. C.O. mixing console with pan pot frequency response ( 30 Hz to and master 17 kHz) and an exceptionally high gain control. signal-to-noise ratio ( up to 60 dB). Four inputs— any combination of Other outstanding features mic and line— are operated by include long- life ferrite heads, four individual slide potenti- ometers plus one master gain sophisticated DC servo drive control for fade-in/fade-out. systems with total shut-off and Two pan pot controls permit memory tape counters inputs 3and 4to be assigned See the complete Marantz line to either left, center or right stage. Can operate as a at your local Marantz dealer. separate mixing panel for Send for a free catalog. master- quality recordings with external tape recorders. mruntfflterpffli We sound better.

Marantz 5120 Top Loading Deck with Dolby

Built-in adjust- able stand that changes the angle of the control panel from flat to 20 degrees. Angles top loading decks for most suitable viewing and operation.

SlySteer...

•Not shown: Marantz 5403 Top Loading Deck without Dolby and Marantz 5200 Front Loading Deck without Dolby.

Marantz 5220 Front Loading Deck with Dolby (Cabinet optional)

*Dolby System under license from Dolby Laboratones. Inc 1976 Marantz Co . Inc a subsiaary of Superscope. Inc. 26525 Nordhoff St. Chatsworth. CA 91311 In Europe SuperScope Europe. SA. Brussels. Belgium in Canada Superscope Canada. Ltd. Ontano In the For East Marantz For East. Tokyo Japan Pnces and models subject to change without notice Consult the Yellow Pages for vats nearest Marantz dealer Atribute to appreciation. Music appreciation. Art appreciation. Appreciation for excellence in performance. A fulfillment that comes from the experience, not from the parameters by which it was created. The Contrara Group of loudspeakers is a tribute to that appreciation. We should not deliberate how Amilio Contrara has sculpted the walnut, blended it with cloth and merged it with technology to bring visual satisfaction. Nor, how he has balanced the electronics with physics to provide audible gratification. Ours is only to enjoy. To appreciate. To savor. Something only our ears and eyes can savor for themselves. If you enjoy your music and quality craftsmanship, you'll appreciat the Contrara Group; it's a tribute to your sensitivity. Write us for additional information. We'll send you a booklet on appreciation and a list of locations where you can enjoy Contrara. NTRARA GR 64 N. Fair Oaks Ave., Pasadena, Calif. 91103 • JENNINGS RESEARCH INC •Canadian Distributors— THE AUDIO GROUP INC . Ontario For the name of the nearest dealer, call toll-free ( 800) 447-4700. In Illinois call ( 800) 322-4400. Westinghouse ENGINEER January 1975 Axial Fans Have Adjustable Blades for The rotor is supported by two sleeve bearings the same casing. The required pressure rise is Efficiency at Various Air Flows and athrust bearing. Sleeve bearings have longer divided between the two wheels, so tip speeds operating life than antifriction bearings in this are lower than with asingle- stage fan. Two- stage A new line of axial fans has been brought out application because there is no metal- to-metal fans will be applied when high pressures are by the Westinghouse Sturtevant Division for contact, since the fan shaft rides on oil films. needed and when low tip speeds will reduce the boilers in electric generating plants and for indus- Lever arms connect each blade to ahydrau- rate of blade erosion caused by particulates in trial processes. They are ajoint development of lically actuated piston in the fan hub. ( See photo- the gas stream. that Division and the Westinghouse Product graph at lower left.) When hydraulic pressure is Besides the advantage of higher efficiency at Transition Laboratory, with assistance from the varied, the pitch of the blades changes. The changing air flows, axial fans are lighter than Fluid Dynamics Laboratory of the Westinghouse hydraulic blade adjustment is practically free of centrifugal fans. They generally require simpler Research Laboratories. A prototype fan has hysteresis, an important feature for stable boiler ductwork, so erection costs are usually lower. been under test at the Sturtevant Division for regulation. Blade position remains unchanged if Axial fans run at higher speed than centrifugal the past year. the hydraulic system fails, permitting the gener- fans, so they use higher- speed motors that usually The axial fans have blades whose pitch can ating unit to continue operating until it is con- cost less than low-speed motors of comparable be changed, while the fans are rotating at con- venient to service the fan. horsepower rating. Moreover, an axial fan's stant speed, to enable them to operate efficiently The axial fans are being made initially as lower rotor inertia shortens the duration of inrush at various air flows. Centrifugal fans, which the single- stage forced-draft units with air- moving current during starting. Sturtevant Division also produces, are highly capacities ranging from 200,000 to 2,000,000 The axial fan also should be easier to repair developed, but peak efficiency can be obtained cubic feet per minute at gauge pressure of 30 and maintain. Main bearings and blades can be economically with them only at one or two inches of water. Rotors measure 45 to 200 inches serviced through access openings, and all blades specified air flows; present methods of varying in diameter, and the drive motors needed range can be replaced within afew hours. If major their air flow, such as use of dampers, variable- from 250 to 15,000 horsepower. The Sturtevant overhaul of wheel parts is required, the housing speed fluid drives, magnetic couplings, and turbine Division expects to complete development of can be separated to make the wheel completely drives, cause energy losses that impair efficiency. the product line later this year by introducing a accessible as shown in the photographs. The axial fans are expected to be used pri- single- stage induced-draft fan and two- stage The hydraulic blade- pitch mechanism with marily for boilers that furnish steam in swing- forced- and induced-draft fans. The complete its rotating seal has been subjected to severe life- loaded electric generating plants, in which elec- line will handle mechanical draft requirements cycle tests. Wheel stresses are being calculated trical output can fluctuate substantially to meet for fossil- fuel generating units with electrical by acomputer program utilizing the latest ana- changing demands. Uses also are foreseen in outputs up to 1200 MW and more. lytical methods, and the program will be verified some industrial applications where the flow of air The two- stage fans will have two wheels by strain-gauge tests. Critical and resonant speeds or other process gas needs to be varied. mounted in series on the same shaft and within are also calculated by computer. Westinghouse ENGINEER January 1975 Volume 35, Number 1

2 An Automated Transmitting Facility for a National Warning Network Nelson B. Tharp

8 Motors for High- Speed Aerators and Cooling Modules L. J. Taylor

12 Developing aCommunication System for Automated Distribution R. F. Cook, R. V. Adams, I. A. Whyte

15 Reliable Oxygen Measurement Reduces Process Costs Edmond D. Neuberger

20 Light Sources—The Types Available and the Factors in Choosing C. F. Jensen, W. A. Murray, W. S. Till

27 Technology in Progress Half- Hour Weather Updating Provided by Satellite and Recorder System Production- Design AWACS Antenna Tested Power Circuit Breakers Tested in New Laboratory Independent Pole Operation Provided in Power Circuit Breaker Massive Generator Shipped to Duke Power Company Flat Display Panels Employ Matrix of Thin-Film Transistors Production Integrated in New Distribution Equipment Plant Data System Facilitates Medical Examinations Reactor Guard Vessel Installed at Fast Flux Test Facility

32 Products and Services

Editor Subscriptions: United States and possessions, Front Cover: Recent developments in technology M. M. Matthews $2.50 per year; all other countries, $ 3.00 per year. have made possible an automated radio trans- mitting facility for the Decision Information Associate Editor Mailing address: Westinghouse ENGINEER Distribution System ( DIDS). The developments Oliver A. Nelson Westinghouse Building, Gateway Center include areliable minicomputer to provide con- Pittsburgh, Pennsylvania 15222. trol, monitoring, and alarm functions and a Design and Production solid-state low-frequency transmitter. A portion N. Robert Scott Copyright 0 1975 by Westinghouse Electric of the DI DS network that includes the prototype Corporation. installation discussed in this issue and asymbolic Editorial Advisors• representation of the solid-state transmitter were W. O. Carlsen Published quarterly (January, April, July, October) used by artist Tom Ruddy for this month's cover S. W. Herwald by the Westinghouse Electric Corporation, Pitts- design. G. H. Mechlin burgh, Pennsylvania. Printed in the United States. S. F. Miketic Reproductions of the magazine by years are E. W. Seay available on positive microfilm from University Microfilms, Inc., 300 North Zeeb Road, Ann Arbor, Michigan 48106.

The following terms, which appear in this issue, are trademarks of the Westinghouse Electric Corpo- ration and its subsidiaries: Ampgard; Beauty Lite; Cerama Iux ; DataQuest; Econ-o-watt ; Hagan; Lifeguard; Phonovid; Style-Tone; Trim-Tank. An Automated Transmitting Nelson B. Tharp Facility for a National Warning Network

An automated high-power low-frequency Additional coverage to Hawaii and Alaska both of which degrade radio broadcast radio transmitting facility for the Decision is planned for the future. signals of higher frequency. Information Distribution System has been Warning information will be inserted Construction on the first element of the developed under sponsorship of the Defense into the DIDS transmitting network from DIDS network began in the spring of 1972. Civil Preparedness Agency. All-solid-state one of three alternate National Warning This prototype installation, now completed, modular design of the transmitter provides Centers located in Colorado, Texas, and consists of a control equipment at the the required reliability for unattended com- near Washington, D.C. The warning signal National Warning Center at Olney, Mary- puter- controlled operation in this crucial from aNational Warning Center is carried land (near Washington, D.C.), and a warning system. The facility is probably the by Autovon and private dedicated lines to regional transmit facility near Edgewood, first such high-power communication instal- the regional transmitters, where it is re- Maryland ( Fig. 2). lation to be implemented for unattended broadcast on low-frequency radio. Low Acceptance tests for both the control operation, and its economic advantages frequency ( 163 to 197 kHz) was chosen for and transmit facilities have recently been promise to make such installations an ac- the DIDS network because the ground- completed successfully. The entire system cepted practice in the near future. wave type of propagation in that frequency could be completed by 1978. range provides very consistent signals over The prototype system was designed and The purpose of the Decision Information a large area and is relatively unaffected by built by the Command and Control Divi- Distribution System ( DIDS) is to warn time of day or ionospheric disturbances, sion, Westinghouse Electric Corporation. federal, military, and civilian authorities, state officials, and the civilian population of natural disasters or other extreme emergencies. The system was designed by the Defense Civil Preparedness Agency of the U.S. Department of Defense to aug- ment and improve the present system on which the nation now depends for warning of enemy attack. It will provide a much more versatile communications network for disseminating all forms of emergency information. When completed, DIDS will have ten regional transmit facilities to provide coverage to the 48 contiguous states ( Fig. 1).

Nelson B. Tharp is Manager, Program Development Engineer- ing, Command and Control Division, Westinghouse Defense and Electronic Systems Center, Baltimore, Maryland.

/—(Above) The DIDS network will cover the con- tiguous United States with ten regional transmit facilities, identified here by black dots. The regional transmit facilities will use ten frequencies ranging from 163 to 197 kHz. They will be controlled from three National Warning Centers, identified by black squares.

2—( Left) This prototype regional transmit facility is located near Edgewood, Maryland. Its equipment building is semiburied to protect it from overpressure and other environmental disturbances.

3—( Right) Major components and functions of the prototype regional transmit facility are illustrated by this functional diagram. 3

Regional Transmit Facility two weeks. The only outside inputs re- mission is made. This procedure is fol- The regional transmit facilities will be con- quired are the command and message lowed to assure transmitter power in the structed to survive very severe environ- signals from one of the National Warning event of commercial power failure, which mental conditions, as demonstrated by the Centers. could occur during catastrophic environ- prototype regional transmit facility at Remote monitoring allows maintenance mental situations. The control equipment Edgewood ( Fig. 3). The equipment build- and engineering service to the facility to and transmitter installed at the Edgewood ing is partially below ground and con- be done by a central maintenance group prototype site are shown in Fig. 4. The structed of heavily reinforced concrete to that can also service other government shock- mounted emergency engine-genera- withstand overpressure, tornado- level communications systems in the area. This tor sets are shown in Fig. 5. winds, and severe air and ground shocks. provides for maximum use of the regional The heavily guyed antenna tower, the maintenance resources. Design Approach to Automation strongest of its type in the northern hemi- The amplitude-modulated transmitter The benefits to be gained from automating sphere, is designed to survive 150-knot provides 55 kW to avertical 700-foot top- a radio transmitting facility have been winds even when covered with a heavy loaded antenna. Dual transmission lines apparent for some time. However, several layer of ice. run between the transmitter and the difficulties have impeded its feasibility The wire lines for carrying command antenna tuner at the base of the antenna until recent developments in technology and message signals from the National tower. The low-frequency transmitter pro- provided practical solutions to the prob- Warning Centers will eventually be paral- vides highly reliable transmission to voice, lems. First, unattended operation of a leled with VLF radio links to increase teletype, and siren-activation receivers over major transmitting facility essentially re- reliability. Wire lines also connect the a 400-mile radius from the regional trans- quires a computer to provide all the transmit facility to monitoring equipment mit facility. memory, evaluation, decision, and ena- at a remote maintenance center and to The facility normally operates on com- bling functions necessary to direct the alarm indicators at area police and fire mercial power but is switched to an internal complex control, monitoring, test, and ad- stations. emergency engine-generator, which is auto- ministrative operations required. The recent The facility is capable of operating with- matically started if commercial power is availability of areliable minicomputer at a out personnel or any outside resources for lost or whenever a general alert trans- reasonable cost has made the use of a 4

computer practical in this application. computer was originally developed for percent built-in redundancy of transistors. The DIDS facility design combines such use with the U. S. Navy's Harpoon missile Each power-amplifier tray contains 64 a computer with appropriate hard-wired and would also be used with the Navy's power transistors and is capable of generat- logic to provide rapid and accurate, yet Condor missile system. Since the Milli- ing a kilowatt of radio-frequency power. flexible, automatic station control. The computer was originally designed to meet Use of multiple transistors in parallel, computer used is a Westinghouse Type the rigorous requirements of amilitary air- arranged to be fail-safe, essentially elimi- CP-1138 Millicomputer with an 8192-word borne application, it is well suited to the nates the transistor as acause of transmitter magnetic core memory ( Fig. 6). This DIDS application where the requirement failure. A malfunctioning transistor is re- for reliable operation is paramount. moved from the output bus by aseries fuse. Another basic requirement for success- Transistor redundancy combined with the ful unattended operation, particularly for a switchable spare power-amplifier module high- power installation, is equipment relia- has provided a transmitter mean time bility. This requirement is met in the DI DS between failures of more than 2500 hours. transmitter design by employing solid- The power transistors (2N 3902) are state active devices, which are inherently operated in aswitching (saturated) mode to reliable components, and by utilizing provide very high efficiency. The power modular redundancy with automatic stand- amplifier runs at more than 90 percent by switching. The control computer is pro- efficiency rf/dc (ratio of radio-frequency grammed to continually evaluate equip- power into the antenna to dc power input ment status and implement switching to to the final amplifier). The overall trans- select the optimum modular configuration mitter has an rf/ac efficiency of approxi- for the existing set of operating (or failure) mately 80 percent. The high efficiency of conditions. Computer control provides the solid-state transmitter is a vital factor almost instantaneous selection and is not in minimizing the amount of power re- subject to the panic errors that sometimes quired, which in turn minimizes the amount occur with manual operation. Rapid and of engine-generator fuel that must be stored accurate reconfiguration of redundant modules is amajor contributor to realizing the extremely high reliability required.

Solid-State High-Power Transmitter The use of all- solid-state design in the 55- kW DIDS transmitter is particularly effective in producing high reliability be- cause power transistors do not have the fragility and wear- out problems associated 4—(Top) Transmitter and control equipment at the with vacuum tubes. Reliable operation is regional transmit facility are spring mounted to pro- enhanced by modularizing the power tect them from ground shock. The 55-kW trans- amplifier into four 14- kW amplifier modules mitter and dummy ( tune-up) load are housed in the plus a switchable spare. The switching cabinets on the right; the station computer, control arrangement is shown in Fig. 7. Substitu- equipment, and tape-storage equipment are in the cabinets on the left. tion takes place automatically upon failure of a power-amplifier module and is com- 5—( Bottom) Two 150-kW engine-generator sets at pleted within 2 seconds. This approach of the regional transmit facility provide abackup power switched redundancy was developed by source. Westinghouse in the design of the Air 6—A Westinghouse CP-1138 Millicomputer super- Force 487-L Transmitter.' vises station operation so that the regional transmit The modular configuration of one of the facility can operate unattended. five 14- kW power-amplifier units is shown in Fig. 8. Each amplifier unit includes a driver, seven modulator trays, and 14 amplifier trays containing a total of 1120 power transistors, which provides a 20- 5

7—( Left) The 55-kW solid-state transmitter is of modular design, with four I4-kW power-amplifier Power Amplifiers 14 Plug- 1n Power- Amplifier Submodules 'nodules operating (color) and afifth held in reserve as aspare.

Modulator 8—( Below) Each 14-kW power-amplifier module consists of a driver, seven modulator trays, and 14 amplifier trays.

Frequency- Shift Modula tot Keying Data

Carrier Frequency Modulator Generator ro Antenna Tuner

Modulator

1111111 Spare Power- Amplifier Switching Modulator

Message Input

'n the underground building. abnormal conditions are sensed at the un- Another major benefit of high con- attended transmit site, an alarm is sounded version efficiency in the transmitter is the and displayed on the console at the remote reduced requirement for heat loss dissipa- maintenance center ( Fig. 9). tion. Transmitter losses raise the tempera- ture of the cooling air, and an air- to-water Automatic Control heat exchanger is used to transfer this heat The control equipment in the regional to cooling water drawn from wells. After transmit facility includes teletype and passing through the heat exchanger, the digital signaling terminals for receiving water is cooled and discharged into the computer commands from the National record them on cassette tapes, which are nearby river. Warning Center, a minicomputer used as stored in the control unit at the transmit To illustrate the savings in fuel and cool- the station processor, storage and control site. However, in the event that no pre- ing water, the difference in heat dissipation for tape-recorded teletype and voice mes- recorded message is appropriate, live voice required for the solid-state 55- kW trans- sages, and atransmitter control and moni- and teletype messages can also be trans- mitter and aconventional tube transmitter tor. A simplified diagram of the computer mitted to the regional transmit facility for of the same output is approximately 60 kW, control of major transmit station elements broadcasting. which would require an additional 5.2 is shown in Fig. 10. Confirmation of the messages received gallons of fuel and 2450 gallons of cooling Primary operating commands originate from the National Warning Center and the water per hour. at the National Warning Center and are response and status of the equipment at the Sensors at the transmitter site constantly implemented by transmitting teletype sig- regional transmit facility are returned to measure critical operating parameters of naling codes over lines to the computer at the National Warning Centers over the wire the equipment and transmit them by a the regional transmit facility. To eliminate lines by digital signals. Operational data 100-word-per-minute teletype circuit to the the possibility of broadcasting alert mes- and alarms monitored at the regional trans- remote maintenance center where they are sages containing ambiguities or inaccu- mit facility are transmitted to the remote printed out for record. When the measured racies, standard procedure is to carefully maintenance center by teletype signals over quantities are out of tolerance, or other word the warning messages and pre- wire lines. 6

Commands from the National Warning ancillaries and grounds the antenna. Center contain an address-selection code Message control performed by the com- to operate transmitters at all or selected puter includes the selection of alert or transmit sites. Also, the command message general user coverage or specific addressees contains instructions for selecting the from computer storage as instructed by the address format of the broadcasts. The National Warning Center. Then a pre- digital address format is transmitted by recorded voice or teletype message (or both) digitized audio tones. The address format is selected from the tape storage for trans- of the broadcast operates all or only mission, or the transmitter is set up to selected groups of receivers within the area retransmit live or taped voice and/or tele- covered by the activated transmitters. type messages from the Center. User groups can be structured into When the computer has recognized a organizational, political, or geographical command received from the National categories, giving a wide flexibility of uses Warning Center, it causes a confirmation for the DIDS network. For example, an to be returned to the Center by digital address format might activate receivers at signals. Upon completion of the broadcast, state police facilities, or at civil defense a confirmation and status report is re- agencies along a coast in the path of a turned to the National Warning Center, hurricane, or at local authorities located again by digital signals. along a river valley subject to flooding. The transmitter facilities are periodi- More than 2000 discrete addresses are cally exercised by the National Warning available for programming desired user Center to assure maximum system avail- groupings. ability. Upon receipt of an exercise com- mand, the computer sets up the transmitter Computer Functions to operate into the dummy load (or an- The operating functions performed by the tenna), selects the test message, runs the computer at the regional transmit facility message through the transmitter, monitors can be grouped into three major categories: the test, and reports pertinent test results to 9—(Above) The monitor and alarm console at the control, monitoring, and alarms. the Center and the maintenance center. remote maintenance center receives and displays Control— Upon command from a Na- Monitoring—The computer monitors warnings of any out-of- tolerance quantities at the regional transmit facility. tional Warning Center, the computer sets transmitter frequency and keeps a log of up the transmitter to operate. For an alert operating periods, transmitter configura- /0—( Right) The station processor provides the message, it starts the two engine-generator tion, and dummy load current. It monitors memory evaluation, decision, and enabling functions sets and selects the first to stabilize. For specific operational measurements includ- necessary to operate the regional transmit facility. routine and test operations, the facility is ing transistor collector voltage and satura- operated on commercial power but, if com- tion level for the transmitter power ampli- mercial power fails, the engine-generator fier and modulator. Radiation system rf transmission- line pressure, carrier oscil- set can be quickly started automatically. monitoring includes transmission line for- lator output level and frequency, and The computer selects the antenna or ward current, reflected current, and voltage engine failure. Any out-of-tolerance quan- dummy load as directed by the National standing-wave ratio; the antenna is moni- tities cause an alarm to be displayed at the Warning Center; if the dummy load is tored for current and output power. remote maintenance center. The computer selected, it also starts the flow of cooling The commercial power source is moni- also supervises building overtemperature water. The dummy load is a water-cooled tored by the computer for line voltage and (fire) and illegal- entry detectors and, if device that simulates the antenna and is frequency, and the engine-generator supply activated, relays these alarms to local fire used for tune-up and test of the transmitter is monitored for voltage, frequency, water and police stations as well as to the central without radiating a signal. If signal radia- temperature, oil pressure, battery charge, maintenance center. tion is desired, the computer ungrounds and fuel level. Additional memory modules can be the antenna and selects the better of the two Alarms— As it monitors, the computer added to the computer to extend its con- rf transmission lines (minimum-voltage also determines if any of the key operational trol and processing functions. Examples of standing-wave ratio). If atransmission line indicators are out of allowable tolerance. other functions that could be added in the fails, the computer switches to the alternate Some of the quantities that can operate future include station diagnostics (e.g., line. At the end of a broadcast, the com- alarms are: transmitter output power, cause of abnormal operation other than puter shuts down the transmitter and digital modem and computer malfunction, those related to alarm monitor) and error 7

detection and correction coding for im- In addition to operational benefits, an duction in operating cost makes auto- proving accuracy of transmission from the unmanned transmit facility provides a mation very economic over a 20-year National Warning Centers to the regional significant advantage in operational cost period, which is generally the equipment transmit facilities. savings. A high-power radio transmitter of life objective designed into a major com- this type would normally require three munication facility. There is little doubt Economic Advantages 8-hour shifts of at least two skilled opera- that unattended operation of major elec- While many of the control functions de- tors, seven days aweek. The DIDS regional tronic facilities will become of increasing scribed have been done in the pas hy means transmit facility has been designed to interest to both military and industrial sys- of hard-wire logic, the compute, becomes permit safe and efficient operation of the tem planners. In fact, the economics in- the economic choice when the required facility without any site- based operating volved will probably make that approach functions are sufficiently complex as in the personnel. It is not anticipated that main- almost mandatory in many situations. case of the DIDS facility. Further, the tenance visits will be required more than computer provides amuch more economi- once aweek, and probably much less often REFERENCES: 'N. B. Tharp, M. L. Jones, J. R. Colgan, and G. R. Brainerd, cal way of accommodating changes, as as operating experience is accumulated. "New Concepts in VLF/LF Communications," Westinghouse reprogramming is less costly than making Although the initial cost of procuring an ENGINEER, September 1967, pp. 130-41. 'Robert Martin, " Decision Information Distribution System," major modifications to hard-wire logic and automatic facility is somewhat higher than Proceedings, National Telecommunications Conference, 1973. control equipment. for a conventional design, the overall re- Westinghouse ENGINEER January 1975

Voice Filter

Teletype Circuit 0- 10. Modem

Station Teletype Teletyp, Processor Message Message Address Store Selector

Voice Voice Operational Message Mess4, Address Control Store Selector '0' Message 0, Input Switch

Frequency-ShiftF— Foice Engine- Keying Generator Power Transmitter Control AC Power Exerciser Commercial and Power Dummy Radiation Monitor Load System

Control à

Monitoring

National Modem Warning 4 Confirmation Center Signals

Remote Maintenance Modem 4 Center Monitoring Signals Motors for High- Speed Aerators L. J. Taylor and Cooling Modules

High-speed direct-drive aerators and cooling activated-sludge process, in which waste- translates the theory of oxygen transfer modules are efficient devices for aerating or water and sediment are agitated and aer- into practice. (See Mechanisms of Oxygen cooling bodies of water. Their electric motors ated by mechanical aerators to increase the Transfer and Heat Transfer, facing page.) are carefully designed and built to withstand rate of oxygen uptake. Besides oxygen transfer, spraying and the rigorous environments in which the de- A popular type of aerator is the high- mixing cause a certain amount of heat vices must operate. speed surface-entrainment type, in which transfer from water to air and consequent an electric motor directly drives apropeller- cooling of the water. The spray can be The bacteria that break down organic type impeller at motor shaft speed. Impeller optimized for maximum heat transfer by materials in wastewater frequently require and motor are mounted on a flotation modifying the impeller and nozzle ( Fig. 2). more oxygen for sufficiently rapid action module, which maintains the impeller at The resulting device looks much like an than is available naturally. Consequently, an optimum depth regardless of variations aerator but is called a cooling module. It biological oxidation is often aided by vari- in the water level in the aeration basin provides an economical alternative to cool- ous water treatments. One of the most (Fig. 1). The unit functions as a high- ing towers for reducing the temperature of effective and most frequently used is the volume axial-flow pump producing flow water used for cooling in electric- utility rates of 3000 to 30,000 gal/min with oxygen generating stations. Besides being lower in L. J. Taylor is adesign engineer in Special Products Engineer- input capacities up to 4 lb/hp-hr. It is well cost, the device has the advantage of local- ing, Medium Motor and Gearing Division, Westinghouse Electric Corporation, Buffalo, New York. suited to aeration because it effectively izing fogging and drift because water drop- lets are introduced into the air at low alti- tude in contrast to the high-altitude plume from awet cooling tower.

Motor Design Westinghouse motors for these applications are three-phase squirrel-cage machines of the totally enclosed fan-cooled type, built for vertical P-flange mounting ( Fig. 3).

Mooring Ring Deflectors

• • • ay-7- adricse

I—A high-speed aerator consists of amotor mounted on a float and coupled directly to an impeller as shown in the partial section view. The aerator in the photographs has a 30-hp motor; its approximate spray diameter is 24 feet and its flow rate 11,000 gall min. These photographs and Fig. 2show an aerator and acooling module made by Richards of Rockford, Inc., Rockford, Illinois. 9

They range in size from 5to 100 hp; shaft and, on larger ratings, of afiberglass com- ture finds its way into the bearing cavities. speeds are 1800 r/min through 40 hp and position that is unaffected by chemicals in Potting of the motor leads where they pass 1200 r/min for 50 hp and larger. Design the water. The cooling fan also is of fiber- through the frame excludes moisture at considerations are similar for both appli- glass. All external surfaces are protected that point. The conduit box has a gasket cations because, in both, the motors are by a full- gloss epoxy enamel applied over between its cover and base and between its exposed to windblown spray. In the cool- a chromated red oxide primer that is rich base and the motor frame. In addition, a ing application, the spray frequently has in zinc. stainless- steel one-way pressure condensate considerable salt content. Special features Deep register fits between the motor drain is included at the lowest point. enable the motors to withstand their diffi- frame and the end brackets help minimize In spite of these efforts, some moisture cult environment. the entrance of moisture into the motor gets into the motor in service because the Aerator Motors—All exposed parts on enclosure ( Fig. 4). An external neoprene motor " breathes." Aerators and cooling motors for high-speed aerators are corro- shaft flinger protects the lower bearing units are usually operated only as required sion resistant. Frame, end brackets, fan against water impinging against the base rather than continuously; consequently, the hood, and conduit box are of heavy-walled of the motor, and the upper bearing is motor draws in moist air when it is turned cast iron, and only noncorrosive plated protected by the cooling fan. A premium off and the winding is cooling, and then hardware is used. The drip cover is of sheet moisture-resistant grease is used in the drives the moisture off when it is turned on steel on motors through 30 horsepower bearings to inhibit corrosion even if mois- and the winding gets warm.

Mechanisms of Oxygen Transfer surface, keeps the surface film disrupted. produced is Y8 to /12 inch, and the height of the and Heat Transfer 3) The highest possible oxygen concentration spray is approximately 15 feet. The time constants differential should be maintained. It is achieved for cooling are in the neighborhood of the descent Oxygen Transfer— The process occurs in three by the strong mixing action produced in the time for that spray height. Thermal efficiency is distinct phases. Oxygen molecules are first brought parent body of liquid by mechanical aerators. acceptable, and fogging and drift are minimized. in contact with the liquid surface, saturating the Aerator units are designed to produce aspray System performance is also affected by the interface. During the second phase, the oxygen pattern of low profile ( 1to 2feet), perpendicular degree of mixing provided with the parent body molecules pass through the liquid interface by to the shaft axis and nearly parallel to the water of water. Locating the pump intake several feet molecular diffusion. In the final phase, oxygen is surface. That pattern provides maximum im- below the water surface eliminates the possibility mixed in the body of liquid by diffusion and con- pingement and air- water interface, minimizes of respraying cooled water. A complete cooling vection. The following equation describes the blowoff, and helps prevent ice formation on the installation consists of alarge number of spray process: unit during winter operation. modules appropriately arranged in acooling Heat Transfer—Spray cooling is essentially pond to minimize shadowing and to utilize the dwC =ICLa ( Cs—Ca, avaporization process involving simultaneous prevailing winds. Ideally, the pond is long, narrow, where C is oxygen concentration per unit volume, heat and mass transfer, and it is controlled by and oriented perpendicular to the prevailing tis time, dC and dt are differentials of those the temperature and moisture content of the summer winds. two parameters, and ICLa is the overall oxygen contacting air. The minimum theoretically attain- transfer coefficient for the unit process. The able water temperature is the wet- bulb tempera- process rate is afunction of the difference between ture of the air, the temperature at which water the oxygen saturation concentration, Cs,and the can be evaporated into the air to bring it into initial oxygen concentration, Ci. IQ, is the oxygen saturation at the same temperature. It can be diffusion coefficient at the air/water interface, and thought of as the equilibrium temperature at the a= AIV where A is the exposed air/water inter- air/water interface existing when the convective face and V is the aerated liquid volume. heat transfer rate to the interface equals the mass The equation applies to clean water conditions transfer rate away from it. Performance is opti- at 20 degrees C and 1atmosphere pressure. mized by producing as small adroplet size as Additional parameters can be integrated into the possible at as high arate as possible. equation for evaluation of aerator performance Practical considerations limit the extent to for various wastewater conditions. which droplet size and formation rate can be The nature of the process, then, dictates the optimized. Horsepower requirements for droplet performance features of aproperly designed production increase as the mean droplet size be- aerator: comes smaller; therefore, minimizing droplet size 1) The largest practicable interfacial area for agiven input horsepower would leave little should be generated between the water and the capacity for developing asufficient flow rate. In air. Mechanical aerators produce awater spray addition, the finer the droplet size, the more consisting of discrete droplets, maximizing the severe the fogging and the associated drift and interfacial area. ice accumulation. 2) The air/water interface should be con- A practical solution in terms of temperatures, tinually broken down to keep the transfer co- mass flow, and pumping cost is achieved with a efficient high. Turbulence generated by the pumping vertical axial-flow propeller pump discharging and mixing action of mechanical aerators, as well through aslot nozzle. It is characteristically a as by impingement of the droplets on the water high- volume low- head device. Mean droplet size 10

corrosion protection for the machined sur- face of the bracket. No condensate drains are provided in the conduit box. Instead, the box is filled by the user with a potting compound after the power connections are made, encapsu- lating the connections to make them im- d pervious to moisture. A long stainless- steel shaft is provided for direct mounting of the impeller.

Application Analysis The motors and impellers for a particular application undergo acomplete mechanical analysis by computer simulation to insure their adequacy for that application. In addition to a review of the thrust-bearing capability, a resonance-frequency study is 2—A cooling module is similar to an aerator except Double-shielded regreasable ball bear- performed for both the rotating and the that its spray pattern is optimized for heat transfer ings made of vacuum-degassed steel are stationary parts. instead of oxygen transfer. This one has a 75-hp The resonance frequency for a rotating motor, and its spray cone is about 15 feet high. used in the high-speed aerator motors. The lower bearing is so constructed as to system is that at which anatural frequency permit the motor to handle up or down of the system coincides with the frequency Therefore, the stator bore, end turns, thrust continuously. Bearing load ratings of an exciting force. The latter is determined and die-cast aluminum rotor are coated are based on aone-year minimum B-10 life by rotational speed and the number of with a premium moisture- resistant (PM R) (the life that 90 percent of a group of blades in the impeller, so all rotor and shaft corrosion-inhibiting epoxy insulation sys- identically loaded bearings will achieve tem. Accumulation of water within the before the first evidence of fatigue appears), motor is prevented by a stainless- steel which is five years average life. If expected one-way pressure condensate drain located loads exceed these standard bearing capa- at the low point of the bottom bracket. bilities, or if longer life is desired, adouble- Optional moisture protection includes seal- row angular-contact thrust bearing is used. ing of bracket-to-frame fits and addition Cooling- Module Motors— Utility com- of a flinger above the upper bearing. panies impose special requirements for Carbon- steel shafts with extensions suit- equipment reliability and long life. In addi- able for coupling to impeller shafts are tion, the spray cone of acooling module is standard, but longer shafts can be provided much higher than that of an aerator, re- for direct mounting of the impeller. Stain- sulting in the motor getting much wetter. less- steel shafts are supplied when necessary. Consequently, the motors have additional The motor bearings have to carry the features. impeller thrust, static weight of the rotat- Bracket- to- frame fits are sealed with a ing parts, and shock loads that might be silicone cement, as are bearing cap bolts caused by debris striking the impeller. and mating surfaces of the conduit box. That is one of the major differences between The castings are those normally used in high-speed aerators and low-speed (geared) explosion-proof motors; their wall thick- aerators, in which the gear unit is the nesses exceed those required for fan-cooled 3—(Above) Drive motors are totally enclosed fan- cooled types with special features that enable them design challenge. * motors. The lower thrust bearing is ahigh- to withstand the wet environment in which they capacity single- row angular-contact ball operate. The one shown is a 100-hp aerator motor 'In low-speed aerators, the loads are all restrained within the bearing, and both bearings are protected by with a short shaft extension for coupling to the gear unit; the motor is coupled to the input shaft of the gear unit and sees no significant mechanical load other than torque. , stainless- steel revolving seals of labyrinth impeller shaft. Also, drive motors for low-speed aerators are less susceptible type. Waterproof grease applied between to water spray problems because they are mounted above the 4—( Right) The main elements of an aerator motor gear unit, which is generally on a fixed platform that prevents the lower bracket and seal protects against water from coming directly in contact with the drive. Near- are seen in this section view. standard motors are used. admission of water and provides additional 11

assemblies are checked to make sure that made greater than the operating frequency is strongly recommended. Heating main- their natural frequencies are far enough so that the system does not have to pass tains the motor winding approximately 5to removed from the operating speed of the through any resonance points in accelerat- 10 degrees C higher than ambient tempera- motor to prevent resonance. The stationary ing to operating speed. The natural fre- ture, thus preventing condensation of mois- motor parts (frame, stator, brackets, etc.) quency of acomponent is increased, when ture on the winding. The two most com- are also characterized by a resonance fre- necessary, by stiffening the component; mon methods are use of space heaters and quency; with a vertical flange-mounted increasing the diameter of the motor shaft, low-voltage heating. motor, this vibration response is called for example, can prevent resonance of the A space heater consists of a resistance reed resonance because the motor tends to rotor and shaft assembly. element embedded in silicone rubber. It vibrate much like a reed on its mounting is wrapped around (and laced to) the stator base. Space Heating coil extensions when the motor is manu- Operation of the aerator or cooling If a motor winding becomes moist with factured; the winding is then dipped in unit at aspeed too near (within 25 percent) condensation from moisture-laden air thermosetting varnish and baked, making any of these resonance frequencies would breathed in during shutdown, the insula- the space heater an integral part of the result in undesirable amplification of any tion may break down when the winding is winding. Two leads are provided for apply- inherent imbalance in the system. There- reenergized. To increase motor reliability ing single-phase power. fore, the lowest resonance frequency is and service life, some form of space heating Low- voltage heating requires no aux- iliary devices within the motor. When the motor is not running, single-phase power is connected across two of the three phases of the motor through suitable control. Applied voltage is 7 to 9 percent of the motor's normal operating voltage. The torque produced is insufficient to cause motor rotation, but the electrical losses heat the winding enough to keep it dry.

Conclusion High-speed aerators and cooling modules require a special breed of motor for reli- ability and long life. Careful design and construction are necessary, followed by analysis to make sure that the aerator or cooling module will not operate at a resonance frequency.

REFERENCES: IC. F. Garland, D. L. Moser, and D. L. Seager, " Geared Drives for Aerators Are Effective and Reliable," Westinghouse ENGINEER, Jan. 1973, pp. 12-7. 4R. B. Kelley, Water Cooling via Floating Spray Devices, Richards of Rockford, Inc., Rockford, Ill. 4G. B. Andeen, " Spray Cooling," ASME Paper 72-PID-10 Joint ASME/EPA Reuse and Treatment of Waste Water General Industry and Food Processing Symposium, March 28-30, 1972. 4P. N. Cherernisinoff, " Aerators for Wastewater Treatment," Pollution Engineering, March 1974, pp. 41-50.

Thrust Bearing

Westinghouse ENGINEER January 1975 Developing a Communication System R. F. Cook R. V. Adams for Automated Distribution I. A. Whyte

Automation of feeder and residential func- and worth, the Westinghouse Meter Divi- metering and distribution-transformer load/ tions in electrical distribution systems de- sion, Research Laboratories, and Head- temperature monitoring are also foreseeable. pends on capable and economical communi- quarters Distribution Systems Department cations in both directions. Distribution- line have been working to develop acommuni- Communication Links carrier is the best type of communication cation system for use in automated dis- Several alternative communication links link, and the required equipment and tech- tribution. have been considered for providing the niques are now being developed. The major automated distribution ser- above services. They are commercial tele- vices can be classified in two categories: phone, radio, pilot wire, coaxial cable, and d For several years, electric utilities have ex- residential automation and feeder auto- distribution- line carrier. pressed interest in automated systems that mation. Residential automation includes Field trials conducted by AT&T in would monitor and control the supply of functions performed at the home, such as Chicago and Houston have demonstrated electricity to various points on their dis- automatic meter reading, selective load the technical feasibility of commercial tele- tribution circuits. The cost of providing control for system peak load reduction, phone as a communication link for auto- these automated services has been greater voltage continuity monitoring, and remote matic meter reading. However, it has than their worth so far, but the present service connect/disconnect. Feeder auto- several drawbacks. First, administrative trends of rising labor and fuel costs and mation includes functions performed on the cooperation between the electric utility and the need to maintain acceptable service high-voltage part of a distribution circuit, the telephone company would be necessary. reliability at higher distribution voltages such as remote monitoring and control of Second, AT&T and its subsidiaries have are improving the economic attractiveness circuit breakers, switches, reclosers, fuses, not quoted tariffs for the use of their lines of automated distribution systems. In re- line sectionalizers, and shunt capacitors. for residential automation services. ( How- sponse to this narrowing gap between cost Those functions can be used to reduce ever, tariffs have been established by some outage times in the event of aline fault and subsidiaries of AT&T for feeder automa- R. F. Cook is Manager, Distribution Systems, Westinghouse Electric Corporation, East Pittsburgh, Pennsylvania. R. V. to provide information that can be used to tion, and several utilities are using tele- Adams is Engineering Section Manager, Long Range Develop- ment, Meter Division, Westinghouse Electric Corporation. perform switching operations to balance phone for such services.) Third, the mass- Raleigh, North Carolina. I. A. Whyte is a Senior Engineer, the loading on feeder circuits. In addition, addressing capability necessary for the Control and Instrumentation, Research Laboratories, West- inghouse Electric Corporation, Pittsburgh, Pennsylvania. auxiliary services such as industrial demand highly desirable home service of selective load control is lacking. 50 Radio communication links have also been shown to be technically feasible and could be completely administered by an 40 electric utility. Radio systems are presently being used in limited applications for selec- tive load control, but bidirectional applica-

—Percent 30 tions of radio for automatic meter reading and service restoration appear uneco- nomical. 20 Pilot wire and coaxial cable are also Transmission technically feasible, but they lack the

Signal necessary system coverage to be attractive 10 communication links for large-scale use. The cost of retroactively installing large amounts of pilot wire or coaxial cable o appears prohibitively high for most auto- 25 50 75 100 125 150 175 200 mated distribution functions. Frequency— Kilohertz Due to the limitations of the above 1— The amount of carrier-signal transmission varies communication links, Westinghouse has with the frequency of the carrier signal. These curves undertaken amajor program to develop the are drawn from values measured on one mile of a necessary technology for a distribution- representative active overhead distribution line, with line carrier ( DLC) communication system. the measurements made at the primary and secondary of adistribution transformer. The advantages of using DLC are: it has the potential to provide all the functions of automated distribution, each function can be performed by use of existing elec- 13

trical networks, expansion to provide addi- to choose afrequency for communication, Distribution transformers are aproblem tional automated distribution functions designers have had to consider such basic because of the large numbers and wide should be relatively simple and inexpen- factors as signal attenuation caused by the variety of types installed in a typical dis- sive, and the entire communication system power lines that form the distribution net- tribution network. Although it is difficult would be owned and maintained by the work, signal attenuation caused by dis- to characterize the high-frequency param- electric utility. tribution equipment, and noise and inter- eters of distribution transformers, some Although transmission lines have been ference present on the distribution system. generalizations can be made. Input imped- used for decades as a communication It was assumed initially that some informa- ance measured at the primary at high fre- medium, the use of distribution lines for tion on the communication capability of quencies is usually capacitive, and the mag- communication purposes has not been very distribution lines could be obtained from nitude of the input impedance may be in successful in the past. New equipment and information about transmission- line carrier the range of 50 ohms to several hundred new system concepts are required. ripple-control systems. However, little data ohms. Signal voltage attenuation between is available on either system that is pertinent primary and secondary varies with fre- Suitability of Distribution Network as to distribution- line carrier, so the first part quency and is in the range of 10 to 70 dB Communication Medium of the development program consisted of in the 30- to 100- kHz band. Signal voltage To determine how to use the distribution field measurements to obtain the required attenuation from secondary to primary is network as acommunication medium and basic information. less than in the opposite direction, with a Attenuation by Lines—Signal attenua- reasonable value of approximately 30 dB tion between points on an electrical dis- at frequencies of interest. tribution system depends mainly on fre- At frequencies above 50 kHz, neither quency and load ( Fig. 1). Although the the primary nor the secondary input imped- exact shape of the transmission character- ance is particularly sensitive to load istic varies according to load conditions changes. However, at frequencies below 20 and line configuration, some interesting kHz, load changes can result in significant generalizations can be made. In the fre- changes in impedance. The secondary input quency band from 10 to 30 kHz, attenua- impedance of transformers can be in the tion is often quite low. At frequencies between 50 and 100 kHz, it appears to increase in proportion to frequency. There is often a "dead band" between 100 and 200 kHz in which signal attenuation is very high and in which it would be difficult to communicate. At frequencies above 200 kHz, attenuation is too high for long- distance communication. However, 200 to 300 kHz appears suitable for short- and 2— This prototype home transmitterlreceimr for medium-distance communication. distribution- line carrier communications, shown here Attenuation by Distribution Equipment— installed on the residence of a Carolina Power & The distribution transformers and shunt Light Company customer, is part of the equipment capacitor banks of a distribution network used for field trials. It performs such functions as automatic meter reading, selective load control. are major sources of attenuation. At fre- voltage continuity monitoring, and remote service quencies above 10 kHz, the effect of shunt connect'disconnect. capacitors is to short-circuit the communi- cation signal. To overcome that effect, it is necessary to install a distribution carrier

trap, typically a parallel tuned LC circuit, 3—A prototype transmitter !receiver for use in feeder at the capacitor bank. The required induc- automation is also installed on the Carolina Power tance is in the range of a few hundred & Light Company system. It performs much the microhenries. That inductance, when tuned same functions as the home unit, but it performs them on the high- voltage part of the distribution to the communication frequency, provides S) Stein. asuitably high impedance while otherwise not altering the performance of the capaci- tor bank. 14

range of five ohms to several hundred ohms certain advantages, and each is susceptible traps ranging up to 150 amperes in rating depending on frequency and load. Signal to performance and cost compromises. are being designed. attenuation caused by distribution trans- Practical considerations indicate that both Prototype home transmitter/receiver formers causes no major problem for the systems have a signal-to-noise ratio of units have been demonstrated ( Fig. 2). They primary-to-primary communication re- about 15 dB to provide an error rate of contain the necessary logic circuitry for the quired for feeder automation. On the other slightly better than one part in 105. various residential automation functions. hand, residential automation requires com- FSK has been used in most of the field A remote transmitter/receiver unit for munication from primary to secondary and, tests. Typically, the frequency shift has use in feeder automation is shown in Fig. 3. in some cases, return communication from been 2 kHz and the receiver bandwidth It is connected to the high-voltage part of a secondary to primary. Due to the wide approximately 5 kHz. Thus, several chan- distribution circuit to monitor and control ranges of impedance presented by distribu- nels could be accommodated in the selected devices such as circuit breakers, sectional- tion transformers, it was necessary to de- frequency bands of 20 to 30 kHz, 50 to 100 izers, and capacitors. This unit performs velop a means of coupling the carrier kHz, and 200 to 300 kHz. basically the same function as the home signal around the transformers. transmitter/receiver, although the logic re- Noise and Interference—Noise and inter- Equipment Development quirements are greater. ference from local radio stations, trans- In addition to the field measurement pro- mission- line communications, and low- grams, prototype equipment has been de- Conclusions frequency radio navigation aids present veloped. The equipment has been installed Feeder automation can be implemented problems. The signal levels due to radio and tested at Consumers Power Company, immediately by conventional communica- stations can be of several volts amplitude, Carolina Power & Light Company, and tion methods such as radio and telephone. whereas those from other sources rarely West Penn Power Company. The installa- However, distribution- line carrier will be exceed a few hundred millivolts. Noise tions include substation transmitter/re- needed to make widespread use of complete and 60-Hz harmonic interference vary ceivers, repeaters, distribution carrier traps, automated distribution practical. The neces-

roughly as 1/f and 1/f2 respectively, where home transmitter/receivers, and feeder- sary equipment is being developed. fis frequency. Typical values lie between automation remote transmitter/receivers. Experimental equipment using narrow- 300 and 400 eiV rms noise per kilohertz at The substation transmitter/receiver is band FSK modulation has been built. The 100 kHz, and between 1.0 and 20 mV rms capacitively coupled onto asubstation bus, results of initial test programs show that noise per kilohertz at 20 kHz. and it communicates with the remote equip- DLC communications at satisfactory error Considering the effects of noise, un- ment for either feeder automation or resi- rates can be achieved with low-cost low- wanted signals, and signal attenuation, dential automation. It is linked to acentral power equipment. three bands-20 to 30 kHz, 50 to 100 kHz, control station by conventional communi- and 200 to 300 kHz— appear most suitable cation links such as radio or telephone. for DLC communications. A repeater unit is required at points on the distribution network where line or Modulation and Bandwidth equipment attenuation makes signal ampli- Two modulation methods are particularly fication necessary. For example, a step- suitable for power- line communications: down autotransformer bank on the West frequency- shift keying ( FSK) and two-tone Penn Power System severely attenuated the frequency modulation ( FM). The former DLC signal. To solve the problem, a re- has the advantage of making maximum peater was used to bypass the autotrans- use of available signal power. However, it former bank and provide an amplified DLC requires relatively complicated circuitry, is signal for remote equipment farther down prone to interference from continuous the line. adjacent signals, and frequency drift at Two versions of a distribution carrier either the transmitter or receiver can result trap have been developed. One is an air- in a change of the level of the detected core unit ( presently under test on the Caro- signal. lina Power & Light Company system) and Two-tone FM is less efficient in use one acombination air-core/iron-core unit. of signal power, but the receiver require- Both appear as ashort circuit at 60 Hz and ments for frequency drift are less stringent as a high impedance at DLC frequencies. and the receiver can be made less prone to A 14- ampere distribution carrier trap has interference from continuous adjacent sig- been used at a 150-kVAR 12- kV capacitor nals. Both FSK and two-tone FM have bank on the West Penn Power System, and Westinghouse ENGINEER January 1975 Reliable Oxygen Measurement Edmond D. Neuberger Reduces Process Costs

Combustion and many other industrial pro- For brevity, this article discusses appli- lems with sampling- type oxygen analyzers cesses requiring controlled atmospheres need cation of the Oxygen Analyzer in the com- occur in the sampling systems.' a good means for measuring the content of bustion process. However, the basic prin- The Hagan probe-type Oxygen Analyzer free oxigen in a gas stream. A probe- type ciples of its operation and application is inserted right in the flue ( Fig. 1). It needs Oxygen Analyzer now provides that capa- apply to many processes involving mix- no sampling system, costs only about a bility so rapidly, accurately, and reliably that tures of oxygen with other gases. tenth as much to install as asampling- type the signal is used as aprimary control value, To optimize the combustion process, analyzer, is accurate, indicates virtually with dramatic savings in fuel and reductions fuels must be mixed with the proper amount instantaneously, can be used with any fuel, in air pollution. of air. Too much air wastes fuel in the form and is so reliable that it is used extensively of heat up the stack, and too little wastes for closed-loop control. It measures the Effective automated process control de- fuel in the form of unburned combustibles free oxygen in the total gas stream ( includ- pends on rapid, accurate, and reliable up the stack. The key to determination of ing water vapor) that is available for com- primary measuring instruments that re- the proper fuel/air ratio is the content of bination with combustibles. It can analyze port what is happening in the process. Such available oxygen in the stack gases. even the dirtiest flue gases, such as those in instruments for measuring oxygen content Earlier equipment for oxygen analysis boilers fired with pulverized coal, without of gases have been lacking, preventing full has major drawbacks. It is costly to install frequent maintenance. It is suitable for automation of combustion and other proc- and maintain, it is slow because it requires process temperatures up to 760 degrees C. esses that require controlled atmospheres. removal of a sample of process gas that It has all- solid-state electronics, and con- Now, however, the required instrument is often must be cooled, dried, cleaned, and tinuous operation for two years is common. available in the Hagan probe- type Oxygen analyzed chemically, and it analyzes an In large flues, several probes are often used Analyzer. It effectively closes the control artificial dry sample rather than the actual in parallel and their signals averaged. loop in the combustion process and other gas flow with its variable content of water Typically, the instrument's signal is used gas processes. vapor formed by combustion. Moreover, as afeedback signal to optimize the fuel/air the sampling systems require much main- ratio in the combustion process. It can also Edmond D. Neuberger is Senior Application Engineer, Com- tenance and are not very reliable; an esti- be displayed on an indicator, recorder, puter and Instrumentation Division, Westinghouse Electric Corporation, Orrville, Ohio. mated 90 percent of the maintenance prob- data logger, or computer.

1— The Oxygen Analyzer measures oxygen content of aprocess gas without requiring asampling system. It is inserted right in the gas and stays there, providing its measurement signal continuously. Here it is shown being inserted in the flue of alarge utility boiler. Its output can be lased as afeedback signal in a closed-loop combustion control system and also to show oxygen content on arecorder or indicator. 16

Oxygen Analyzer C is the cell constant ( which is determined This completely new approach to oxygen at the time of manufacture and remains measurement came out of basic research constant throughout the cell's life). Cell with fuel cells at the Westinghouse Re- temperature is held constant at about 843 search Laboratories. It was found that degrees C, which eliminates temperature as when gases bearing different amounts of a variable. Thus, the voltage developed oxygen are separated by a barrier of zir- across the cell is due solely to the ratio of conium oxide, oxygen ions migrate through the partial pressures of oxygen across the the barrier and leave an electron imbalance cell. Ambient air is used as the reference gas across it. Coating the two sides of the zir- because its oxygen content is constant. conium barrier with a lattice of platinum Clean, dry, instrument-quality air is all forms two electrodes, and a voltage is that is required. produced across the electrodes. Such acell The remaining term in the equation, the is used for measuring oxygen content in variable P2(02), is in the denominator of the gases by providing areference gas of known In expression in the Nernst equation, so the oxygen content on one side and the process voltage signal is an inverse logarithmic gas to be measured on the other. function of it. As a result, the sensitivity The cell's output in volts is given by the and voltage output of the cell actually in- Nernst equation: crease as the oxygen concentration de- creases ( Fig. 2). That characteristic is im- V= RTI4FX1n[Pi(02)1P2(02)1+C, portant for combustion control, where the where R is the gas constant, T is absolute amount of oxygen being measured is small temperature of the cell, F is Faraday's —around 2 percent.

constant, P1(02)is partial pressure of oxy- The area of the cell does not appear in

gen in the reference gas, P2(02)is partial the equation because it does not affect the pressure of oxygen in the process gas, and cell's operation. Therefore, the instru- ment's functioning is not impaired even if part of the cell surface becomes covered

20 with foreign material. The first commercial instrument employ- 10 ing the zirconium-oxide cell was the Hagan

6 Model 209 Oxygen Monitor ( Fig. 3). It is an

4 extremely accurate and sensitive laboratory instrument of industrial quality, and it is

2 used to detect oxygen levels in inert gas mixtures from less than a part per million 1 to 100 percent. Typical applications include 3—(Top) A forerunner of the Oxygen Analyzer is this Oxygen Monitor. Although it is an accurate and 0.6 certification analysis of oxygen mixtures in sensitive instrument, it requires a sampling system nitrogen, argon, or helium; control of 0.4 and therefore is not appropriate for measuring inert- gas blankets in food processing and oxygen in flue gases or for other process applications. 0.2 semiconductor production; and control of the inert atmosphere above welding proc- 4—( Bottom) The heart of the Oxygen Analyzer is a zirconium- oxide cell that produces a voltage when 0 I esses. However, the Model 209 Oxygen -20 20 40 60 80 100 120 gases with different oxygen concentrations are Monitor is not appropriate for measuring Output Signal— Millivolts applied to its two sides. Here a cell is being placed in a holder, which is then attached to the end of a 2— The output of the Oxygen Analyzer is avoltage probe that will be inserted into the gas to be analyzed. signal that is an inverse logarithmic function of the oxygen concentration in the gas mixture being analyzed. The instrument thus is most sensitive at low oxygen concentrations, acharacteristic that suits it for flue-gas analysis and many other industrial processes. I7

oxygen in flue gases and similar process applications because it requires asampling system. That problem is solved in the probe-type Oxygen Analyzer by putting the cell in direct contact with the process gas stream, eliminating the need for asampling system. The cell is about the size of a nickel (Fig. 4). It is secured near the end of a probe that is inserted into the gas stream (Fig. 5). The cell's temperature is kept constant by an electrical heater and thermo- couple. A 5- micron filter at the end of the probe keeps the probe's internal com- ponents clean. A V-shaped deflector up- stream from the filter directs flue gases and particulates tangentially past the filter, keeping the sides of the filter clean and yet virtually free from erosion. Standard probe lengths are 18 inches, 3 feet, and 6 feet. Electrical connections are made in the temperature controller, which is located at the end of a20- foot length of factory-wired flexible armored cable. Adapter Plate

The instrument is extremely stable, typi- —Probe with Shield Assembly cally operating for months without recali- bration. It and the associated electronics are calibrated at the factory. However, that is astatic calibration, so an optional provi- sion is made for checking calibration in Stack place— that is, without removing the instru- ment from the process. A tube is provided, running from a fitting on the flange of the probe to the measurement side of the cell; certified gases can be injected through the fitting directly to the cell to verify the Plant Air Supply calibration virtually instantaneously ( Fig. (reference gas)—

6). The procedure is more accurate than Pressure Regulator static calibration because it takes into account such factors as velocity of the Flowineter—/. process gas, process temperatures, and pressure. The tube can also be used for Temperature Controller—/ Recorder I Indicator withdrawing samples of flue gas for labora- tory analysis.

5— The complete Oxygen Analyzer (top) consists of the adapter plate is attached there. The shield is the assembled probe, a cable connecting the probe bolted to the adapter plate, and the probe is inserted to atemperature controller that keeps the cell at the in and bolted to the shield. right temperature, aprobe shield that supports the probe, an adapter plate for connecting the instrument to the flue, and accessories for controlling the flow of reference air to the cell. The cell is just behind the white filter at the end of the probe. In atypical instal- lation (bottom), an opening is made in the flue and 18

Another device supplied for recalibra- percent logarithmic range, while analysis Combustion Optimizing tion is a calibration chamber, which is of an inert-gas blanket needs a parts-per- Combustion efficiency can be significantly simply a cylindrical tank in which the million range. improved by optimizing the fuel/air ratio. probe is placed and supplied with a gas Accuracy of the Oxygen Analyzer is 5 The best known index for optimizing that mixture of known composition. The indica- percent of the actual reading—for example, ratio is the amount of oxygen in the flue tion from the Oxygen Analyzer is compared 0.1 percent at 2- percent oxygen con- gas available for combination with com- with the oxygen content of the calibration centration. The analyzer can operate in bustibles. The amount of this oxygen in the mixture. any gas having a temperature up to 760 flue gas can be determined with the probe- The standard measurement range is 0.1 degrees C. type Oxygen Analyzer far faster than it can to 10.0 percent, but any logarithmic range Because of the direct contact of the cell with analyzers that employ sampling tech- or any two-decade linear range can be with the process gas, the cell responds in niques and far more accurately than by supplied. The choice depends on the proc- less than 200 milliseconds. The time con- inferential techniques such as measuring ess. Most installations for determining stant of the entire system, including the air flow. The Oxygen Analyzer continu- excess oxygen in the combustion process filter, is about 3seconds. Thus, the control ously reports the amount of available oxy- are best served by the standard range. signal is based on what conditions in the gen regardless of what other changes occur. Windboxes with oxygen enrichment need process are, not on what they were some In the higher ranges of excess oxygen, 0.3 to 30 percent linear range or 20 to 25 time ago. say 5 percent, a 1- percent reduction in oxygen concentration yields a 1- percent gain in combustion efficiency. In the lower ranges ( 1to 2 percent), a 2- percent reduc- tion in oxygen concentration yields a (- per- cent gain in combustion efficiency. Improved combustion efficiency reduces fuel costs. For example, if aboiler operates at 80 percent efficiency rather than 79 percent, and if it is used 48 weeks a year, generates an average of 100,000 pounds of steam per hour, and burns fuel costing $1.76 per million Btu, agenuine saving of $17,695 is realized in fuel costs. Such a saving returns the investment in an Oxygen Analyzer in just afew months. With energy costs rising, oxygen trim control for the fuel/air ratio is increasingly important. Oxygen trim control is a closed-loop control method that employs the Oxygen Analyzer to introduce an automatic re- sponse to changed conditions for the pur- pose of keeping the fuel/air ratio at an optimum value. It is especially valuable in applications in which frequent control ad- justments are made necessary by changes in air humidity, load, and type and quality of fuel. Examples of such applications are

6— The Oxygen Analyzer can be supplied with 7—A typical boiler control system is diagrammed in provisions for recalibrating it without removing it. simplified form to illustrate how the Oxygen Ana- A gas mixture with a known percentage of oxygen lyzer provides afeedback signal for closed- loop trim is passed through atube to the cell, and the resulting control of the ratio of fuel to air supplied to the output is compared with the known oxygen per- boiler. Any change in conditions that results in a centage in the mixture. change in the amount of oxygen in the combustion gas is sensed by the Oxygen Analyzer, and the result- ing signal is used to control the fuel/air ratio at an optimum value. 19

multifueled utility boilers and refinery quires much less maintenance than do in the pulp and paper industry, and oxygen boilers fired by waste gas supplemented by instruments that require sampling, typically enrichment systems. natural gas and oil. running maintenance-free for from six A typical oxygen trim control system months to ayear. Conclusion has the Oxygen Analyzer located in the Reduction of NOx emissions is another The Oxygen Analyzer combines high reli- economizer inlet, where process time lags benefit realized by reducing excess oxygen ability, low maintenance requirements, and are at a minimum ( Fig. 7). 2 The system to an optimum value. high accuracy. In combustion processes, maintains the net free oxygen content in it is an effective means of optimizing fuel the flue gas by automatically trimming the Applications use because it provides areliable input for fuel/air ratio as the oxygen concentration Applications to date are extremely diverse. closed-loop control of the fuel/air ratio. deviates from the setpoint. The fast response They include control of combustion in of the Oxygen Analyzer permits automatic conventional power boilers, refinery process REFERENCES: 'Walter E. Scruggs and Donald L. May, " Instrumentation for trimming on the basis of what conditions heaters, boilers fired by blast-furnace gas, Controlling Energy Costs," ISA Paper 73-625, Oct. 1973. B. Ranson, " Real-Time Oxygen Measurement for Com- are, not what they were. chemical recovery boilers, windboxes for bustion Control." Control and Instrumentation. Sept. 1972, The rapid return on investment in an NO control from exhaust stacks, kilns London. Oxygen Analyzer is augmented by savings (lime, phosphate, cement), marine boilers, in maintenance. An Oxygen Analyzer re- incinerators, catalytic crackers, bark boilers Westinghouse ENGINEER January 1975

— — Steam Flow Oxygen Analyzer Iemperature 4-0> Controller

inV/I Amplifier

Flow Transmitter Steam Oxygen Pressure Recorder- Set point Transmitter Controller

Primary High- Low Setpoint Steam Limiter Pressure Control

Damper Air Controller

Flow Flow • Transmitt,.! Transmit Ici Air Ratio Unit

Signal Selectors Light Sources the Types Available C. F. Jensen W. A. Murray and the Factors in Choosing W. S. Till

As new lamps are developed and older ones trical power input). The result is consider- improved, more and more factors must be able difference in the amount of heat out- weighed in choosing a type for a given put for a given light output, which is an application. However, the greater number important consideration in designing a of choices available increases the oppor- building's cooling, heating, and ventilating tunities for effective and economical lighting. systems. Efficacy also is increasingly im- portant on its own merits in this day of Three general types of electrical light rising energy costs. sources are in use today: incandescent, Until fairly recently, HID lamps were fluorescent, and high-intensity-discharge in limited use except for industrial and (HID) lamps. Moreover, HID lamps en- outdoor applications because of their rela- compass several subtypes. Both they and tively poor color. However, such great the fluorescent lamps are available with improvements have been made in their "white" light outputs of different colors, color that they now compete with the other that is, different mixes of wavelengths that types for many indoor applications where are perceived as white light but have dif- color rendition is important. ferent color-rendering ability. Thus, a wide choice of lamps is now The various lamp types also differ con- available, and that makes choosing more siderably in efficiency (more properly called difficult than it was a few years ago. On "efficacy" in lighting parlance: the amount the positive side, however, it increases of light output for agiven amount of elec- the opportunities available for users to improve the color-rendering ability of their C. F. Jensen was Manager, Fluorescent Lamp Sales Engineer- lighting, increase the light level for agiven ing, Fluorescent and Vapor Lamp Division, until his recent retirement; W. A. Murray is Manager, Product Planning, energy expenditure, and/or reduce energy Incandescent Lamp Division; and W. S. Till is Manager, Vapor Lamp Sales Engineering, Fluorescent and Vapor Lamp expenditure (and heat output) for a given Division, Westinghouse Electric Corporation, Bloomfield, light level. New Jersey. Characteristics of the basic lamp types are summarized in the following sections Different light sources are often used in combination to obtain the advantages of each, as when fluorescent and in Table I. fixtures are used for the main area lighting in a building and incandescent or HID lamps for decora- Incandescent Lamps tive effect or to increase the light level in selected For many years, improvements in incan- areas. An example is the Learning Resources Center descent lamps consisted mainly of steady at Benedict College, Columbia, South Carolina. increases in efficacy made by improving the configuration of the filament. Recent by conduction and convection; the result improvements, however, are due primarily is alamp with greater efficacy and/or longer to changes in the atmosphere inside the life. glass bulb that encloses the filament. Light Output vs. Life—The life of a Lamps were first made with evacuated lamp and its efficacy are generally interde- bulbs to keep the filament from burning pendent and are determined mainly by up. Later, it was discovered that pressure filament temperature: the higher the tem- exerted on the filament by an inert gas perature, the greater the efficacy and the til introduced into the bulb retarded evapora- shorter the life. A lamp can be designed for tion of the filament, thus making it possible long life at the expense of efficacy or for to design lamps for higher filament tem- high efficacy at the expense of life. In The inherent linear nature of fluorescent lamps peratures and therefore higher efficacies. practice, the life for which a lamp is de- suits them well for many industrial lighting applica- Consequently, nearly all incandescent signed is an economic balance between the tions. In this TRW Equipment plant in Euclid, Ohio, lamps used for area lighting are gas filled, two factors, determined by the purpose of the lighting provides 100 to 125 footcandles at the with the most common fill being amixture the lamp. working level. of argon and nitrogen. Krypton is used Thus, the quality or value of alamp can- in some lamps. Because it has a higher not be judged by its life alone. Lamp life atomic weight than argon and nitrogen, may be as long as 12,000 hours for street krypton slows heat loss from the filament lighting, where the high cost of replacing 21

lamps justifies lower efficacy. For general- lamps, however, a halogen additive in the different design, which is stronger at aslight service lamps, where efficacy is more im- bulb reacts chemically with tungsten, con- cost in efficacy. They are for use where portant than long life because replacement tinually removing deposited tungsten from replacement costs are relatively high. A is comparatively easy, a life of approxi- the bulb and redepositing it on the filament. complete set of wattages paralleling those mately 1000 hours has become accepted as The result is a lumen maintenance,factor in the general-service line is available. a practical compromise. ( Published data of almost 100 percent. Industrial-service lamps have a filament on lamp life refer to the average life of a Varieties—The most commonly used of still stronger design and a life of 3500 group of lamps under specified test condi- incandescent lamps are general-service hours, again at some sacrifice of efficacy. tions and are not intended as a guarantee lamps, which range from the 15- watt A-15 Rated initial outputs of three sizes of ex- of the performance of any individual lamp.) to the 1500-watt PS- 52 and are designed for tended-service and industrial-service lamps As a general rule, incandescent lamps 120-, 125-, and 130-volt circuits. All watt- are compared in Table 3, although that should be burned at rated voltage. Over- ages are manufactured with either clear or table is primarily for comparison of con- voltage operation results in higher efficacy inside-frosted bulbs; inside-frosted bulbs ventional lamps with the Econ-o-watt lamps but shorter life and higher power con- are the more popular in wattages of 200 discussed later. sumption; undervoltage operation has the and below. White lamps (Eye Saving T- Bulb Vibration-service and rough-service lamps opposite effects. and Soft White) have a coating of silica have added support for the filament to Lumen Maintenance—An ordinary in- powder on the inside of the bulb for maxi- provide lasting service in areas where high candescent lamp's filament gradually sub- mum diffusion of light from the filament vibration frequencies, shock, or rough han- limes in service, causing a slow but con- without glare or harsh shadows. Super dling are encountered. The supports con- tinuous reduction in light output until the Bulbs, another white family, are filled with duct some heat from the filament, lowering filament breaks or burns through at its krypton to provide long life at relatively efficacy somewhat. thinnest spot. Light output is reduced by high efficacy. Reflectorized lamps provide controlled absorption of light by the sublimed tungsten Extended-service lamps provide longer lighting for a wide range of indoor and that collects as ablack deposit on the inner life than do general-service lamps (2500 outdoor applications. They have abuilt-in surface of the bulb. hours compared with 1000 hours). Longer dust- free reflecting surface, so they do not In the relatively new tungsten halogen life is achieved by use of a filament of require a fixture to direct the light. How-

Table I— Characteristics of Basic Westinghouse Lamp Types

High- Intensity Discharge ( HID) Incandescent (including tungsten Lifeguard Ceramalux Characteristics halogen) Fluorescent Mercury- Vapor Metal- Halide High-Pressure Sodium

Wattages (lamp only) 15 to 1500 40 to 219 40 to 1000 400, 1000, 1500 150, 250, 400, 1000

Life ( hours) 750 to 12,000 9000 to 30,000 16,000 to 24,000 1500 to 15,000 10,000 to 20,000

Efficacy ( lumens per 15 to 25 55 to 88 20 to 63 80 to 100 100 to 130 watt, lamp only)

Color Rendition Very good to excellent Good to excellent Poor to very good Good to very good Fair

Light Direction Control Very good to excellent Fair Very good Very good Very good

Source Size Compact Extended Compact Compact Compact

Relight Time Immediate Immediate 3to 5minutes 10 to 20 minutes Less than 1minute

Comparative Fixture Low because of Moderate Higher than incandescent, Generally higher Highest Cost simple fixtures generally higher than than mercury-vapor fluorescent

Comparative Operating High because of Lower than incandescent; Lower than incandescent; Generally lower than Generally lowest; Cost relatively short life replacement costs higher replacement costs rea- mercury-vapor; fewer fewest fixtures and low efficacy than HID because of tively low because of fixtures required, but required greater number of lamps relatively few fixtures and lamp life is shorter needed; energy costs long lamp life and lumen mainte- generally lower than nance not quite as good mercury-vapor 22

ever, a fixture or shield may be desirable use of the many kinds and shapes of lamps lamps should be turned on and off as to reduce brightness at certain viewing available can set the desired mood for an infrequently as possible. However, lamps angles. Reflectorized lamps are available area. operated in rapid- start circuits (where the in both wide and narrow distribution pat- Incandescent lamps have the operating cathodes are constantly preheated) show terns, and their wattages range from 30 to advantage of continuing to provide light little change in life due to being turned on 1000. The primary types are the PAR for if the supply voltage falls below normal; and off if they are operated for three or outdoor service and the R for indoor fluorescent and HID lamps may fail to more hours per start. Thus, they can be service. start or, if operating, may be extinguished. turned off at lunch time, for example, and Tungsten halogen lamps (formerly called Moreover, the light output of incandescent started after lunch with no loss in rated life. quartz-iodine lamps) are used for general lamps is not diminished by high and low That is an important power- saving feature lighting as well as for various specialty ambient temperatures as is the output of of rapid- start circuits. Failed lamps in applications. They are superior to other fluorescent lamps. all systems (and starters if required) should incandescent lamps in thermal shock re- be replaced promptly so that abnormal sistance, combined high efficacy and life, Fluorescent Lamps operating conditions will not damage the lumen maintenance (as previously dis- A fluorescent lamp must have an auxiliary, ballast, starter, or remaining operable cussed), and compact size. They are avail- commonly known as a ballast, to limit lamps. able in awide range of wattages and designs. current and provide the necessary starting Application Considerations— Fluorescent Application Considerations— Incandes- voltage. It cannot be operated directly from lamps have higher efficacy than incandes- cent lamps form a necessary part of the the electric lighting circuit because the arc cent lamps, so their total heat output for a lamp family because of their lower cost, discharge probably would not be estab- given light level is less. In addition, a greater versatility, and operating advan- lished and, if it were, current would rise smaller proportion of their heat output tages, even though the newer lamp types until the lamp was destroyed. Each type of is in the form of radiant (" sensible") heat. have higher efficacy. The lamps themselves lamp requires aballast specifically designed Conducted and convected heat, which are lower in cost, and their fixtures are for its characteristics and cannot be inter- account for the balance, are chiefly dissi- simpler and easier to install. They are changed with another type. The kinds of pated upward and contribute less to the more versatile in meeting specific lighting ballast generally used are preheat, instant sensation of heat derived from the lighting requirements because of the interchange- start, and rapid start. installation. However, where total heat is a ability of many types and ratings in the The electron-emitting material on the consideration, as in computing air-condi- same socket. Also, they can be dimmed electrodes of a fluorescent lamp erodes tioning load, the quantity that is important easily and economically. Versatility and during the normal starting and burning is the total lamp wattage rather than just easy dimming give them the best decorative cycle. To maximize life of lamps operated the radiant heat. It is also necessary to add qualities of the three types; imaginative in instant- start and preheat circuits, the to the lamp wattage the watts consumed by

Table 2— Color Guide for White Fluorescent Lamps

Coordinated Lighted Appearance Efficacy Color- Color (ICI color coordinates) (lumens Rendering Temperature Lamp Description Atmosphere per watt) Index (degrees K) x y _ Cool White Cool 78 66 4100 0.372 0.375

Cool White Deluxe Cool 56 87 4200 0.369 0.363

White Warm 80 58 3500 0.409 0.394

Warm White Warm 80 53 3000 0.435 0.402

Warm White Deluxe Warm 54 71 3000 0.430 0.389

Daylight Cool 65 73 6500 0.313 0.337

Living White Cool 60 93 4300 0.369 0.363

Natural Warm 52 77 3650 0.388 0.361

Supermarket White Cool 58 85 4500 0.362 0.375

Merchandising White Warm 60 80 3450 0.409 0.396 23

lamps contain not only mercury but also compounds of sodium and scandium with iodine. Phosphors are coated on the inside of the outer bulb of some mercury-vapor and metal- halide lamps to improve color, increase light output, and/or reduce surface brightness. High-pressure sodium lamps contain sodium and mercury; their name is perhaps misleading because pressures in the arc tube are always less than atmo- spheric, and the outer bulb encloses a vacuum. All HID lamps require a few minutes starting time to develop full light output and characteristic color. Like fluorescent lamps, all except self- ballasted mercury- vapor lamps require an auxiliary control device generally called a ballast. Ambient Modern HID lamps were first applied outdoors, and efficacies and are normally used in industry, temperature generally has little effect on that is still alarge application area because of their general office areas, and other places mercury-vapor lamps, but it may influence long life and high efficacy. Metal-halide lamps were where economical light production is re- the color and light output of metal- halide chosen to illuminate loading areas at Minneapolis! quired. Where a high degree of color and sodium lamps. St. Paul International Airport. rendering is desired, however, the lamps Light Color—The mercury arc produces with high color- rendering index should be strong line spectra in the ultraviolet and any ballast located within the area in used. visible region of the spectrum, with the question. Color- preference ability is the ability of visible output mainly in the violet, blue, The starting of fluorescent lamps is a lamp to make colors appear not as they green, and yellow areas. Phosphor-coated affected by ambient temperature: low tem- actually are but as people prefer to see mercury-vapor lamps emit, in addition, peratures require higher voltages for re- them. It is an important consideration in some continuous energy provided by the liable starting. Most ballasts provide volt- merchandising and other commercial appli- fluorescent radiation of the particular phos- ages that start lamps down to 50 degrees F, cations, and it prompted development of phor used. Those lamps have gone far and ballasts are available to start certain the Living White lamp. The Living White toward overcoming objections to the colors lamp types down to — 20 degrees F. lamp is particularly flattering to human previously available in mercury-vapor Light output, also, is affected by ambient complexions and also reveals the full beauty lamps. For example, the Beauty Lite lamp temperature. Rated lumen output is ob- of house furnishings, merchandise, and produces light that is cool looking but flat- tained when measured at 77 degrees F, other colored objects. tering, and the Style-Tone lamp produces and output may be less at higher or lower awarm- looking light that resembles incan- temperature. Therefore, it is important to High-Intensity-Discharge Lamps descent light. select the proper lamp and fixture for the These are usually called HID lamps, and In metal- halide lamps, the basic mercury application temperature range. the term applies to any enclosed intense spectrum is modified or supplanted by radi- Total performance depends on the volt- light source of the arc-discharge type. Light ations characteristic of the halides used in age supplied to the ballast. In general, is produced in an arc tube by current pass- the lamp, improving the color. Color varies it is satisfactory when voltage remains ing through avapor at relatively high pres- with the types of materials added and the within 10 percent of rated voltage. sure compared with the low pressure in quantities of each vaporized in the arc Another consideration that enters into fluorescent lamps. Arc- tube pressures for stream; the latter is afunction not only of selection of alamp is its color appearance, popular HID lamps range from about one- lamp design but also of auxiliary equip- or atmosphere (Table 2). A " warm" atmos- third to eight atmospheres. The arc tube is ment and operating conditions, so some phere has a connotation of friendliness, usually enclosed in an outer glass bulb. The color difference among metal- halide lamps relaxation, or coziness, while a "cool" HID family includes mercury-vapor, self- is normal. atmosphere connotes efficiency, alertness, ballasted mercury-vapor, metal- halide, and High-pressure sodium lamps emit light and neatness. high-pressure sodium lamps. mainly in the yellow and orange portions Among the white lamps, cool white, In mercury-vapor lamps, mercury forms of the visible spectrum, with additional out- warm white, and white have the highest the light- producing vapor. Metal- halide put in all other portions. They produce 24

little ultraviolet radiation, so phosphors sible to distinguish the colors of vehicles cover wide areas because their fixtures can are not useful for color improvement. illuminated by them, so they are objection- provide good optical control, especially High-pressure sodium lamps must not able to most police departments. Moreover, with clear lamps. They have peak perform- be confused with low-pressure sodium they are much bulkier than HID lamps of ance at all outdoor temperatures when lamps, which emit amonochromatic yellow comparable light output. operated with asuitable ballast. An appro- light. The latter are used to some extent in Application Considerations— The popu- priate color is available for almost any out- afew European countries, mainly for street larity of HID lamps for outdoor use is the door application. lighting. They have found little use in this result of many advantages, including low High-pressure sodium lamps are the country, and Westinghouse does not make operating cost per footcandle because of most widely used outdoors because they them, mainly because of their extremely high efficacy and long lamp life, which have high efficacy, optical control is excel- poor color rendition. It is virtually impos- minimizes relamping costs. Their light can lent because of their small size, and their warm uniform golden-white color is suit- Table 3—Performance and Economic Comparison of able for such applications as streets, high- Conventional and Econ-o-watt Lamps ways, building floodlighting, parking lots, and parks. Deluxe White or Beauty Lite Rated Rated Power Power Initial Average Cost mercury-vapor lamps are recommended for Consumption Output Life Saving* roadways where superior color rendition Lamp (lamp watts) (lumens) (hours) (dollars) and good color uniformity are desired or Incandescent, Extended Service to make people, buildings, poster-boards, Conventional 60 740 2500 or surroundings look natural. Style-Tone Econ-o-watt 54 645 2500 0.45 mercury-vapor lamps are recommended for Conventional 100 1480 2500 similar applications where a warm tone, Econ-o-watt 90 1230 2500 0.75 similar to that of incandescent lamps, is Conventional 150 2350 2500 desired. Metal- halide lamps are recom- Econ-o-watt 135 1990 2500 1.14 mended particularly for outdoor and in- Incandescent, Industrial Service door sports lighting, parking lots, building Conventional 60 670 3500 floodlighting, and other applications where Econ-o-watt 54 590 3500 0.63 their good color rendition is useful. Conventional 100 1280 3500 A wide selection of ornamental, com- 90 1090 3500 1.05 Econ-o-watt pact, and efficient luminaires is available. Conventional 150 2150 3500 Floodlights are available with various beam Econ-o-watt 135 1790 3500 1.59 spreads for lighting ground areas, sports Fluorescent, 48- Inch Rapid- Start Cool White fields, buildings, and advertising posters. Conventional 40 3150 20,000+ For the interiors of industrial buildings, Econ-o-watt 34 2800 20,000 3.60 high-pressure sodium lamps are increas- Fluorescent, 48- Inch Rapid- Start Warm White ingly specified because their high efficacy Conventional 40 3200 20,000+ makes them more economical than other Econ-o-watt 34 2900 20,000 3.60 light sources for most areas. Metal- halide

Fluorescent, 96- Inch Cool White lamps, although somewhat lower in effi- cacy, are also becoming more popular for Conventional 75 6300 12,000 Econ-o-watt 60 5220 12,000 3.60 industrial use, and Deluxe White mercury- vapor lamps continue to be used widely. Fluorescent, 96- Inch Warm White For the interiors of commercial build- Conventional 75 6400 12,000 ings, both metal- halide and the best phos- Econ-o-watt 60 5340 12,000 3.60 phor-coated mercury lamps (Style-Tone Mercury-Vapor, Clear and Beauty Lite) are increasingly used. Conventional 400 21,000 24,000+ Examples are supermarkets, shopping Econ-o-watt 300 14,000 16,000+ 48.00 malls, banks, department and discount Mercury-Vapor, Deluxe White stores, gymnasiums, libraries, auditoriums, Conventional 400 23,000 24,000+ and transportation terminals. Advantages Econ-o-watt 300 15,700 16,000+ 48.00 are low operating cost because of high 'Approximate saving from use of Econ-o-watt lamps in place of conventional lamps. efficacy, low maintenance cost because of Based on rated average life of Econ-o-watt lamps and on power cost of $0.03 per kilowatthour. ?Phosphor coated. the relatively small number of lamps to be 25

an important contribution to health, safety, productivity, sales, and security. Outdoor lighting is as important as indoor; high lighting levels on roadways, for example, reduce the " surprise factor" by making moving objects more visible. Any changes in lighting levels should be carefully planned with the help of aqualified lighting engineer. However, if the lighting level in an area is higher than the recommended level, several options for reducing it are open to the user. By far the most efficient way is to keep lamps in all fixtures but replace exist- ing lamps with lower-wattage lamps. Three new lines of lamps have been designed specifically for this period of energy short- age. These Econ-o-watt lamps include in- candescent, fluorescent, and mercury-vapor varieties (Table 3). Besides directly reducing the amount of electrical energy consumed by the lighting system, using Econ-o-watt lamps instead of just turning lights off can lower the cost of power by helping maintain adequate power factor. Most lighting equipment is a load with high power factor, which helps offset the low power factor of some

Steady improvement in the color of light from HID more efficient lamp types and control of machinery. If power factor is not main- lamps has made them advantageous in many indoor lighting levels. tained, extra charges may be imposed by applications. For example, Style- Tone mercury- Using More Efficient Lamps—When it is the electric company, and those charges vapor lamps are used at American Federal Savings feasible to change the lighting system itself, may far exceed the dollar savings that had and Loan Association, Des Moines, Iowa, to provide been anticipated by turning lights off. For abright yet comfortable environment for work. electrical energy can be saved and/or light- ing upgraded by substituting more efficient example, a large automobile manufacturer lamp types for less efficient types. If new recently found that turning off aconsider- serviced and the ease of replacing them fixtures with high-pressure sodium lamps able number of lights in one plant lowered (often with a stick changer), more attrac- are substituted for those with conventional the overall plant power factor; the mini- tive ceiling appearance as compared with mercury-vapor lamps, for example, the mum power factor requirement was not some fluorescent fixtures, and, for stores, power saving can be as high as 40 percent met, explaining in part why monthly bills . more vertical footcandles, making objects while at the same time light output is in- jumped 25 percent. easier to see on lower shelves. creased 23 percent. Use of Econ-o-watt lamps for reducing Controlling Lighting Levels—The light- energy expenditure has the further advan- a Adequate Lighting versus Costs ing industry has, for many years, studied tage of preserving the general appearance Lighting is one expense that is amenable lighting requirements by laboratory meas- and light distribution of the lighting system. to control because the various lighting sys- urements and also in real work situations. It helps prevent creation of unsafe dark tems have different first costs and operating On the basis of the studies, the Illuminat- areas that can result from an improvised costs, and because lighting levels can be ing Engineering Society has recommended lamp- removal sweep through afacility. controlled. In addition to the general de- minimum lighting levels for awide variety Another acceptable way to control light sirability of controlling expenses, avoiding of representative industrial operations and levels is to connect individual or small wasteful use of electric power is in the other visual tasks'. Many of the recom- groups of fixtures to convenient switches. national interest in this era of energy short- mendations have been approved as stand- Selected fixtures can then be turned off age. Operating costs depend partly on ards by the American National Standards when not needed, and switched on again when a temporarily higher light level is power requirements, which can be con- Institute (ANSI)2.The recommendations trolled in several ways involving use of the should be followed because lighting makes required. Care must be taken to prevent 26

dangerously dark areas. Switches should The light reduction caused by wattage- maintenance practices and to tailor lighting be prominently identified as to their pur- reduction measures can be minimized by systems. pose; for example, normally off switches some simple steps, which can also improve And technical advances continue. There can be labeled " For Temporary High- Level the output of an existing system. First, will be more shades of white light available Lighting Only." Timers or photoelectric fixtures should be cleaned regularly. Dirt in both HID and fluorescent lamps, more devices can be used to turn lights off when buildup on reflecting surfaces and lenses use of HID lamps in stores and other com- personnel are not available to do it. can reduce light output as much as 50 mercial facilities, more specialized lamps of Removing fluorescent lamps from some percent. all types, and still more efficient light fixtures, or allowing burned-out lamps to Second, the walls and ceilings of the sources. stay in the fixtures, disrupts the lighting facility can be cleaned and/or painted. Incandescent lamps will be improved in pattern. Besides, it does not necessarily Dirty or dark-colored surfaces greatly di- versatility, resistance to breakage, and save the full wattage of the lamps removed minish the amount of light reaching the decorative quality. or burned out. For instance, when both task area. The most significant development in 40- watt fluorescent lamps are removed Third, lamps can be replaced more fluorescent lamps will be acombination of from alternate two-lamp fixtures in amulti- frequently than was done in the past. Light phosphors that will provide light with lamp installation, the series ballast in those output drops as alamp ages. The problem efficiency comparable to that of existing fixtures continues to consume 8to 9watts. is especially severe with long-lived light cool white or warm white lamps but with Removing only one lamp in the modern sources such as fluorescent and HID lamps, the color rendition of deluxe lamps. That starterless system ( series- sequence) is not because the light produced near the end of will drastically reduce the initial cost of a recommended because it can cause im- life may be less than 50 percent of the fluorescent system utilizing lamps of excel- proper operation that could damage the original value, although the lamp continues lent color quality. other lamp and/or the ballast. If lamps to use the same amount of energy. If re- A greater variety of HID whites with must be removed, both lamps served by a lamping in incandescent systems is done high efficacy and improved color-rendering two-lamp starterless ballast should be more frequently than normal, lamps with ability will become available, similar to taken out. The ballast continues to use greater light output but shorter life can be the range of fluorescent whites now in use. power, however, in an amount that de- used. There is no single best time or way HID indoor lighting costs, already favorable pends on the type of ballast. for all users to relamp, so the computer has in high-ceiling locations, will become more When a 400-watt mercury-vapor or been brought in to help solve the problem. comparable to those of fluorescent in stores metal-halide lamp in amultilamp system is An example is the Westinghouse computer- and other relatively low-ceiling locations. removed from afixture containing or con- ized Lighting Cost Reduction Service. After Useful as metal- halide lamps are now, their nected to a regulated autotransformer bal- human study and computer analysis, this most significant feature is their potential. last (common in such systems), the fixture service tells the user the most economical They offer the greatest opportunities for continues to consume approximately 23 time for him to change his lamps. In addi- developing higher efficacy and highly watts. If the lamp is a high-pressure tion, it suggests interchangeable lamps that acceptable color rendition. Improvements sodium lamp, the power consumed by the may be more economical for his particular also will be made in color uniformity, ballast (with the lamp removed) may be as installation. lumen maintenance, and life. much as 88 watts; moreover, the starting All in all, two things seem certain for the circuit may be damaged and the ballast Conclusion future: a user's lighting options will in- life shortened. Lighting systems serve a wide range of crease and, therefore, the task of picking Lamps and ballasts may be important applications that require specific designs the right lighting for his particular situation contributors to the heating of a building for specific tasks. Incandescent, fluorescent, will become even more difficult. It will in winter months, so a substantial reduc- and HID lamps are made because all three require even more careful consideration tion in existing lighting could require use are needed. Before changing the type of and expert help than it does now. of considerably more energy to heat the lamp or removing lamps in an existing building. The savings in lighting cost then system, or designing a new system, the REFERENCES: VES Lighting Handbook, Fifth Edition, Illuminating Engineer- are reduced by increased costs for heating. lighting task should be carefully evaluated. ing Society, New York, N.Y. Moreover, the electric energy used by the A qualified lighting engineer can be of :American National Standards Institute, New York, N.Y. lighting system is generated largely by fuel invaluable assistance. types that are not ordinarily suitable for The computer is instrumental in helping heating buildings, so a reduction in light- designers to determine the most economical ing could increase the rate at which fuels and efficient lighting system and in schedul- in relatively short supply, such as gas and ing group relamping. Its use is being con- heating oil, are used up. tinually expanded to compare lighting Westinghouse ENGINEER January 1975 Technology in Progress 27

Half- Hour Weather Updating Provided the earth. The laser film recorder has a weather sensors are pointed away from by Satellite and Recorder System rotating drum that is automatically loaded the earth— the Wallops Island station Ground stations located anywhere in the with 22- inch by 22- inch dry- process film "stretches" the weather data and sends it western hemisphere can now receive pic- from a supply cassette. A vacuum system back to the satellite at a slower data rate. tures showing the hemisphere's cloud cover holds the film to the drum during record- The satellite acts as a transponder and re- every 30 minutes. The stations record the ing. The beam intensity of the helium- neon transmits the stretched weather data to changing cloud patterns day and night by laser is modulated by the incoming video smaller and simpler satellite stations that monitoring signals being returned by the signal while the film drum rotates, and the can be located anywhere in the western first synchronous meteorological satellite scan lines are advanced by an incrementally hemisphere. Westinghouse integrated the (SMS-1). driven lens carriage. When recording is components of the SMS ground stations Small receiving stations ( 18- to 25-foot complete, the film is unloaded from the and built the ground-synchronizer and antenna dish) suffice to receive the weather drum into a heat processor for quick data-stretcher systems used at Wallops data, which is then recorded on 22- by 22- developing. Island. inch dry film by means of a laser- beam The SMS-1 satellite is positioned over recorder developed by the Westinghouse the equator just off the coast of Brazil. Production- Design AWACS Defense and Electronic Systems Center. It was launched by NASA for the National Antenna Tested The recorder can produce a ready-to- use Oceanic and Atmospheric Administration Range testing and electromagnetic inter- image of the hemisphere every 30 minutes (NOAA). Weather information from it is ference testing have been successfully com- with high resolution ( half- mile square). received at a very high data rate during a pleted on the production-design radar Using a laser beam to expose film has small portion of the satellite spin—when antenna for the Airborne Warning and the advantages of high recording power, the sensor is pointed at the earth. Large Control System ( AWACS). * The AWACS high signal-to-noise ratio, and ability to antennas and complex ground equipment system can detect and track aircraft, even handle large amounts of data quickly. are required to receive this data at NOAA's those flying at low altitude, in a large More than 10 billion bits of data must be Command and Data Acquisition Station, volume of air space. The Boeing Company handled in a 20-minute period to produce Wallops Island, Virginia. During the re- 'R. E. Hendrix, " Overland Downlook Radar Is Key Element the high-resolution visible- light images of mainder of the satellite spin—when the of AWACS," Westinghouse ENGINEER, July I973, pp. 98-105.

Views of the western hemisphere with its weather This equipment provides the means for controlling patterns are transmitted from the SMS-1 satellite SMS satellites and for acquiring, synchronizing, and recorded at ground stations by laser-beam and stretching the data received from them. It is recorders. A picture can be made every half hour located at NOAA's Command and Data Acquisition for close monitoring of weather movements. Station. 28

is prime contractor to the U. S. Air Force Repackaging and relocation reduced an- for the AWACS program, and the West- tenna weight from 2800 to 2150 pounds. inghouse Defense and Electronic Systems Center is building the production-design Power Circuit Breakers Tested surveillance radars for it. The radar is very in New Laboratory difficult to jam with either airborne or A new laboratory facility for mechanical ground- based countermeasures equipment testing of power circuit breakers and com- because the latest counter-countermeasures ponents expands the Westinghouse Power techniques are built into it. Circuit Breaker Division's testing capa- The production-design radar antenna is bility by providing more space and sophisti- highly reproducible and requires no tuning cated equipment. Tests that can be per- after assembly and installation. It is essen- formed include static and dynamic strain- tially identical to the antenna produced gage measurements, acceleration testing, for the brassboard competition phase of the static and dynamic pressure measurements, AWACS program. The differences between timing history and synchronization, life the production-design and brassboard testing, high-speed photography, and seis- antennas are mainly repackaging and re- mic testing. location of the phase shifters and elec- The 4200-square-foot facility has a roll- tronics. The phase shifters, which provide up door 15 feet wide by 18 feet high, which electronic vertical scanning, were located at provides easy movement of circuit breakers one end of the antenna for easy access and other large equipment in and out of the during maintenance and for improved test area. A I5- ton portable hydraulic weight distribution. The electronics pack- crane is used to lift and move heavy equip- ages, which provide phase control and the ment and material. Ceiling height is 33 feet. first stages of signal amplification, were Besides serving the Division, the labora- located at the other end of the antenna. tory's facilities are available on a contract basis to other organizations.

Independent Pole Operation Provided in Power Circuit Breaker

The first 242- kV Trim-Tank power circuit breaker equipped with independent pole operation ( IPO) has been shipped by the Westinghouse Power Circuit Breaker Divi- sion. It went to Louisiana Power and Light Company's Motor Switch Siding substa- tion near Metairie, Louisiana. Top— Mechanical testing laboratory is shown with The new option of independent pole tests in progress on an EH Vpower circuit breaker. operation improves system stability by Bottom— This Trim- Tank power circuit breaker is eliminating the possibility of all three equipped with the optional independent pole operation. breaker poles being stuck in the closed position during athree-phase system fault.* Right— The stator for agenerator rated at 1,305,000 Each breaker phase unit is equipped with kW squeezes its ;VG) , out of the yard at the Westing- house East Pittsburgh plant. It was shipped to Duke aseparate pneumatic operating mechanism. Power Company's McGuire No. I nuclear power If one or more mechanisms fail to operate station on aspecial Schnabel car. The production-design AWACS radar antenna is during a system fault, the remaining shown during preparation for electromagnetic inter- mechanisms continue to operate. ference testing. The Trim-Tank IPO power circuit breaker is available in interrupting ratings from 40,000 to 63,000 amperes, with up to

C. L. Wagner. H. E. Lokay, " Independent- Pole Circuit Breakers Improve System Stability Performance." Westing- house ENGINEER. Sept. 1973. pp. 130-137. 29

3000 amperes continuous current. It can be Thorough engineering tests performed The work is partly supported by the U. S. shipped completely assembled to most before shipment included, in addition to Army Electronics Command, which sees Ilocations. normal engineering verification tests, high- potential application in lightweight porta- speed movies made during sudden short ble field message units. Massive Generator Shipped to circuits. Other special tests analyzed the The integrated circuit for a 12,000- Duke Power Company vibration characteristics of the unit's wind- element screen consists of a matrix of r The largest generator designed and manu- ing and bracing components. 24,000 thin-film field-effect transistors and factured by the Westinghouse Large Rotat- A duplicate generator for Duke Power 12,000 capacitors vacuum-deposited on the ing Apparatus Division has been shipped to Company's McGuire No. 2nuclear station glass substrate. It is composed of one basic Duke Power Company's McGuire No. 1 will be shipped next year. circuit repeated at each element location nuclear station, located about 25 miles (see diagram). That basic circuit consists of north of Charlotte, North Carolina. The Flat Display Panels Employ Matrix an X-Y-addressed logic transistor ( T1), a of Thin- Film Transistors generator is rated at 1,305,000 kW— power transistor ( T2), and astorage capaci- enough to meet the electric needs of more Flat electroluminescent panels for informa- tor ( Cs)interconnected by source, power, than 600,000 people when it goes into oper- tion display have been developed by com- and gate bus bars. The completed inte- ation early in 1977. Assembled, the unit is bining a large thin-film integrated circuit grated circuit is covered with an organic nearly 50 feet long and weighs more than with aphosphor, all deposited on asheet of insulating film, which is opened at each ele- 900 tons. Its stator alone weighs more glass. Prototype units demonstrated re- ment location to expose the drain pad of the than 500 tons. cently are 6 by 6inches square and consist power transistor. The circuit next is coated The stator was designed for shipment of 12,000 light- emitting elements. (See with aphosphor material, and then afront on Westinghouse's largest railroad car, a photographs on back cover.) electrode is formed by depositing a trans- 22-axle Schnabel car. ( See photograph.) A Potential applications include alpha- lucent conducting layer onto the surface suitable route had to be mapped out with numeric displays, vectorgraphic displays of the phosphor; those two steps form an the railroads, and Duke Power Company (such as radar screens), and video displays. electroluminescent cell at each element built a special railroad track into its plant The display panels are being developed at location. Finally, the panel is sealed with a site for the final leg of the trip. the Westinghouse Research Laboratories. glass cover plate.

0 30

For operation, the power bus bars are controlling the voltage on the source bus ing, scanning, and decoding circuits that connected to asource of ac power, and the bar, and brightness information is stored can be deposited on the substrate simul- source and gate bus bars are connected to for aframe period on the storage capacitor. taneously with the matrix. the outputs of aconventional display signal Brightness control can be used to provide The thin-film circuits can be used with generator. A signal on agate bus bar gates shades of gray in the display. display materials other than phosphors. that entire row of logic transistors. Then, The manufacturing process being de- For example, panels have been built with when asignal appears on asource bus bar, veloped employs vacuum deposition equip- nematic liquid crystals that act as light the logic transistor at the intersection ( T1) ment that allows all materials to be de- valves, instead of glowing, when a voltage conducts power and thereby gates the posited in a single pumpdown of the is applied across them. power transistor ( T2). That transistor con- vacuum chamber, with material sources ducts, and the resulting voltage across the and masks changed for each step from out- Production Integrated in New electroluminescent cell causes the phosphor side the chamber. The process is well Distribution Equipment Plant to glow. adapted to automation. Production of electrical distribution equip- The brightness of the electroluminescent Continuing development work includes ment is now in full swing at the new St. cell is determined by the voltage on the improving the resolution ( 20 lines per inch Louis, Missouri, plant of the Westinghouse gate of the power transistor and across the in the prototype), developing full color Distribution Equipment Division. The capacitor. That voltage is controlled by displays, and designing thin-film address - plant enhances the Division's ability to serve customers because of its increased capacity and because of the efficiencies created by consolidating two previous manufacturing facilities into one. The plant manufactures panelboards, switchboards, and power assemblies used Source Power Source to protect the electrical distribution sys- Bus Bar Bus Bar Bus Bar tems of commercial buildings and indus- trial plants. Its developer and general Gate Bus Bar contractor was the Linclay Corporation; the architect was Eugene J. Mackey III. The plant's products are tested by put- 1 ting electrical loads on them before they leave the plant. Then they are readied for Electro- shipment and sent to their destinations. luminescent Cell Data System Facilitates Front Medical Examinations Electrode An audio system for taking medical his- Gate tories has been developed by the Westing- Bus Bar house Health Systems Department. Called the DataQuest Isystem, it allows a patient to give his history with little instruction. It produces a printed copy of the history either immediately or at a later time to guide the physician during the physical examination. The system employs audio tape cassettes The fiat display panel has a matrix of thin-film power transistor (T2) and thereby causes the elec- containing appropriate questions. The transistors and electroluminescent cells that form troluminescent cell to glow. patient responds to each question by push- the information display. One intersection point in ing buttons on aconsole, and his response the matrix is diagrammed to show the basic circuit to each question determines what question that is repeated throughout the matrix. When the logic transistor ( Ti) receives asignal from both the will be asked next. source and the gate bus bars, it in turn gates the Because the system asks the questions verbally, it can be used by nearly any patient including one who has difficulty 31

reading or has a language barrier. Ques- Westinghouse Hanford Company, a tions can be asked in a foreign language subsidiary of Westinghouse Electric Corpo- and the responses printed in English. An ration, is responsible for development, con- option permits the patient to telephone his struction, and operation of the FFTF and history from home, office, or hospital bed. operates test facilities at the Richland site Although the DataQuest Isystem is not for the Atomic Energy Commission. computerized, it can be linked to any computerized information system. Also, it can be applied without hardware modifi- cation to applications other than medical history taking, such as personnel inter- views or counseling.

Reactor Guard Vessel Installed at Fast Flux Test Facility The reactor guard vessel has now been installed in the Fast Flux Test Facility (FFTF) at Richland, Washington. Sched- uled for completion in late 1977, the FFTF will be used to test fuels and components for liquid-metal fast breeder reactors. The guard vessel weighs 122 tons, is 38 feet long, and is 23 feet in diameter— the largest diameter of any stainless- steel vessel ever manufactured in the United States. It was lowered into the reactor cavity, and then workers did the welding and other work necessary for installation of the 350-toe reactor vessel inside the guard vessel. The guard vessel was buin to the stand- ards of the U.S. Atomic Energy C-mmis- sion by Combustion Engineering, Inc., under contract to the Westinghouse Ad- vanced Reactors Division. It is one of many safety features being built into the FFTF, providing a backup to the reactor vessel Workmen lower the Fast Flux Test Facility's guard and assuring that coolant will always be vessel into the reactor cavity. The guard vessel is one available to the reactor core. of many safety features built into the FFTF, which will be used to test fuels and components for the While work on the FFTF progresses, nation's liquid- metal fast breeder reactors. testing is under way in connection with the liquid-metal fast breeder reactor pro- gram at separate facilities of the Richland site. At the High Temperature Sodium Facility, scientists and engineers are testing Switchboards, power assemblies, and pane/boards aprototype of the FFTF's instrument tree, are manufactured in anew plant of the Distribution which will monitor temperature and flow Equipment Division. At top, sheet steel is being bent characteristics of liquid sodium in the to form apane/board box; at bottom, buswork and electrical connections are being installed. reactor vessel. Testing of a prototype of the in-vessel fuel handling machine is scheduled to begin this month. The machine will be used to move fuel assem- blies in the FFTF by remote control. Westinghouse ENGINEER January 1975 Products and Services

Postforming plastic laminate, called super- arresters for surge protection, magnetic control systems, the simulator is useful as a form, can be formed more reliably over a bearing system, and filter- seal system for training device for power-plant operators. broader range of temperatures and to proper air flow and drainage. Other fea- Westinghouse Power Generation Service smaller radii than other such laminates can. tures are a simplified adjuster system on Division, 1974 Sproul Road, Broomall, It forms easily to ahalf- inch outside radius both the kilowatt demand and kilowatt- Pennsylvania 19008. over a temperature range of 300 to 350 hour meter, interlocked dual scales with degrees F; with properly adjusted equip- easily reversible ranges, bayonet-mounted Ampgard high-voltage starter is now avail- ment and skilled personnel, it has been thermal unit for simplified maintenance, able for 7200-volt applications, making it formed successfully over even broader color-coded leads for easy reassembly, particularly well suited for draglines, dredg- temperature ranges and to tighter radii. improved design of the thermal heater ing equipment, and other mining ma- Westinghouse Decorative Micarta Division, assembly with sapphire ring jewels to chinery. The type 72L2 starter is rated at Hampton, South Carolina 29924. reduce friction, and a combination poten- 200 amperes and can be applied to motors tial coil and thermal unit voltage source. up to 2500 horsepower. Line and load Polyphase thermal demand meters, Type Westinghouse Meter Division, 2728 North terminal connections are made from the D4S-H, are available in two-stator socket Boulevard, P.O. Box 9533, Raleigh, North front, and all components are front accessi- types for use with three-phase three-wire, Carolina 27611. ble for fast inspection or parts replacement. three-phase four-wire delta, or three-phase Drawout construction allows simple re- four-wire wye connections, Class 100 or Smoke detector, Model 100, is a self- moval of the complete contactor, current- Class 200 self-contained and Class 20 contained unit that senses smoke in the limiting fuses, and isolating switch. For transformer rated. Dual scale ranges of early stages of a fire and immediately maximum protection and safety, the isolat- 10/20, 50/100, and 100/200 amperes as well sounds an alarm. It is activated when ing switch completely grounds the starter as 120-, 240-, 277-, and 480-volt ratings smoke enters achamber and scatters light and isolates it from the line, leaving no are also available. The new meter series into the view of a photoconductive cell. high voltage exposed. The door of the high- retains important features of the D4 poly- The cell triggers asolid-state circuit, which voltage section is locked closed with the phase family including aflat load curve for energizes a built-in horn that sounds a isolating-switch handle, and the low-volt- extended current load ranges, valve-type steady raucous signal. The system is con- age control section is completely segre- tinuously self- supervised electrically; if a gated from the high-voltage section. We..- lamp fails, the horn generates adistinctive inghouse General Control Division, 4454 pulsating trouble call. Available in two Genesee Street, P.O. Box 225, Buffalo, New styles for plug-in or permanent connection, York 14240. the smoke detector meets the requirements of National Fire Protective Association "Catalog of Courses and Seminars" lists Code 74 and Underwriters' Laboratory a wide range of management and profes- listing 168 for photoelectric smoke detec- sional training and development courses tors. As many as five smoke detectors can available to business, industry, and govern- be interconnected so that an alarm or ment organizations. The courses use the Postforming Plastic Laminate trouble signal in one detector sounds a latest techniques in instructional tech- similar signal in all of them. Westinghouse nology to provide up-to-date managerial Security Systems, Inc., 200 Beta Drive, concepts and methods. More than 90 Pittsburgh, Pennsylvania 15238. courses are included under six categories: conceptual development, management pro- Checkout simulator is programmed to simu- cess, rational process, finance and com- late operation of the Westinghouse elec- puter, individual skill development, and trohydraulic control system for steam tur- local implementation. Training and De- bine-generators. The analog-computer de- velopment Division, Westinghouse Learning vice is interfaced with the control system Corporation, Westinghouse Building, Gate- for complete checkout of the electronic way Center, Pittsburgh, Pennsylvania 15222. and hydraulic portions of the system. It generates outputs for turbine speed, im- pulse-chamber pressure, intermediate pres- sure, and load. In addition, it performs contact closing, duplicating the main circuit Polyphase Thermal Demand Meter breaker. Besides its use for checking out Westinghouse ENGINEER January 1975 29

3000 amperes continuous current. It can be Thorough engineering tests performed The work is partly supported by the U. S. shipped completely assembled to most before shipment included, in addition to Army Electronics Command, which sees locations. normal engineering verification tests, high- potential application in lightweight porta- speed movies made during sudden short ble field message units. Massive Generator Shipped to circuits. Other special tests analyzed the The integrated circuit for a 12,000- Duke Power Company vibration characteristics of the unit's wind- element screen consists of a matrix of The largest generator designed and manu- ing and bracing components. 24,000 thin-film field-effect transistors and factured by the Westinghouse Large Rotat- A duplicate generator for Duke Power 12,000 capacitors vacuum-deposited on the ing Apparatus Division has been shipped to Company's McGuire No. 2nuclear station glass substrate. It is composed of one basic Duke Power Company's McGuire No. 1 will be shipped next year. circuit repeated at each element location nuclear station, located about 25 miles (see diagram). That basic circuit consists of north of Charlotte, North Carolina. The Flat Display Panels Employ Matrix an X-Y-addressed logic transistor ( T1), a of Thin- Film Transistors generator is rated at 1,305,000 kW— power transistor ( T2), and astorage capaci- enough to meet the electric needs of more Flat electroluminescent panels for informa- tor ( Cs)interconnected by source, power, than 600,000 people when it goes into oper- tion display have been developed by com- and gate bus bars. The completed inte- ation early in 1977. Assembled, the unit is bining a large thin-film integrated circuit grated circuit is covered with an organic nearly 50 feet long and weighs more than with aphosphor, all deposited on asheet of insulating film, which is opened at each ele- 900 tons. Its stator alone weighs more glass. Prototype units demonstrated re- ment location to expose the drain pad of the than 500 tons. cently are 6 by 6inches square and consist power transistor. The circuit next is coated The stator was designed for shipment of 12,000 light- emitting elements. ( See with aphosphor material, and then afront on Westinghouse's largest railroad car, a photographs on back cover.) electrode is formed by depositing a trans- 22-axle Schnabel car. ( See photograph.) A Potential applications include alpha- lucent conducting layer onto the surface suitable route had to be mapped out with numeric displays, vectorgraphic displays of the phosphor; those two steps form an the railroads, and Duke Power Company (such as radar screens), and video displays. electroluminescent cell at each element built a special railroad track into its plant The display panels are being developed at location. Finally, the panel is sealed with a site for the final leg of the trip. the Westinghouse Research Laboratories. glass cover plate.

0 30

For operation, the power bus bars are controlling the voltage on the source bus ing, scanning, and decoding circuits that connected to asource of ac power, and the bar, and brightness information is stored can be deposited on the substrate simul- source and gate bus bars are connected to for aframe period on the storage capacitor. taneously with the matrix. the outputs of aconventional display signal Brightness control can be used to provide The thin-film circuits can be used with generator. A signal on agate bus bar gates shades of gray in the display. display materials other than phosphors. that entire row of logic transistors. Then, The manufacturing process being de- For example, panels have been built with when asignal appears on asource bus bar, veloped employs vacuum deposition equip- nematic liquid crystals that act as light the logic transistor at the intersection ( T1) ment that allows all materials to be de- valves, instead of glowing, when a voltage conducts power and thereby gates the posited in a single pumpdown of the is applied across them. power transistor ( T2). That transistor con- vacuum chamber, with material sources ducts, and the resulting voltage across the and masks changed for each step from out- Production Integrated in New electroluminescent cell causes the phosphor side the chamber. The process is well Distribution Equipment Plant to glow. adapted to automation. Production of electrical distribution equip- The brightness of the electroluminescent Continuing development work includes ment is now in full swing at the new St. cell is determined by the voltage on the improving the resolution ( 20 lines per inch Louis, Missouri, plant of the Westinghouse gate of the power transistor and across the in the prototype), developing full color Distribution Equipment Division. The capacitor. That voltage is controlled by displays, and designing thin-film address- plant enhances the Division's ability to serve customers because of its increased capacity and because of the efficiencies created by consolidating two previous manufacturing facilities into one. The plant manufactures panelboards, switchboards, and power assemblies used Source Power Source to protect the electrical distribution sys- Bus Bar Bus Bar Bus Bar tems of commercial buildings and indus- trial plants. Its developer and general Gate Bus Bar contractor was the Linclay Corporation; _t the architect was Eugene J. Mackey III. The plant's products are tested by put- ting electrical loads on them before they leave the plant. Then they are readied for Electro- shipment and sent to their destinations. luminescent Cell Data System Facilitates Front Medical Examinations Electrode An audio system for taking medical his- Gate tories has been developed by the Westing- Bus Bar _t house Health Systems Department. Called ,n the DataQuest Isystem, it allows apatient to give his history with little instruction. It produces a printed copy of the history either immediately or at a later time to guide the physician during the physical examination. The system employs audio tape cassettes The flat display panel has a matrix of thin-film power transistor ( T2) and thereby causes the elec- containing appropriate questions. The transistors and electroluminescent cells that form troluminescent cell to glow. patient responds to each question by push- the information display. One intersection point in ing buttons on aconsole, and his response the matrix is diagrammed to show the basic circuit to each question determines what question that is repeated throughout the matrix. When the logic transistor ( Ti) receives asignal from both the will be asked next. source and the gate bus bars, it in turn gates the Because the system asks the questions verbally, it can be used by nearly any patient including one who has difficulty Bulk Rate U. S. Postage PAID Pittsburgh, Pa. Permit 1460

.s only .rical leads ." • of thin-film

the rows and columns. For more information, see Flat Display Panels Employ Matrix of Thin- Film Transistors, page 29.

TEST#1 - TEST# TEST#1.-TE!7,1;T# 1 N • err : ---N T T # ( TE — I l : I 4, 1 TE EST*1 TE EST*1 T !:-..*; T # 1 -- T E T # TE 1 EST*1 *\ TES 1— EST*1 TE T T # 1 TES 1—TEST*1 TEST#1-TESTI. 1 TEST#3. TEST#1-TEST* 1 TEST*1-TESTS1 E # T 1" T S .

Above— Each electroluminescent cell can be energized without activating other cells in the same row or column. About the Authors

Nelson B. Tharp returns to these pages for the ment was on thermal demand meters. Other engi- 1957, he was fourth time, again to discuss his favorite subject neering assignments have included work on the —communications. He takes up where he left house Midwestt Mark Series of mechanical demand registers, off last time with asolid-state low-frequency sultant to architet "D" line thermal watt demand and ampere transmitter and adds the command and control lighting installations demand meters, and automatic meter reading by function to provide the automated transmitting was made field lamp engineel loi telephone and by distribution line carrier. facility described in this issue. was active in the Chicago Lighting Institute Adams has served as Engineering Section during that time, serving in many capacities Tharp came to Westinghouse on the graduate Manager of demand meter engineering and of student training program after graduation from including chairman of the Technical Committee automatic meter reading. He is now Engineering and instructor in specialized courses in illumination. Northwestern University ( BSEE) in 1941. He has Department Section Manager responsible for since had assignments all over the radio- frequency Jensen became Marketing Manager of Long Range Development. He is an amateur spectrum, from 10 kilocycles to 8000 megacycles. Rayescent lighting for the Lamp Division in radio operator ( WA4AGN) and aprivate pilot. He is presently Manager of Program Develop- 1957. He served in the Central Region ( Pittsburgh) ment in the Command and Control Division at as field sales engineer from 1962 to 1966, and Ian A. Whyte obtained his Diploma in Tech- the Defense and Electronic Systems Center. then he became Manager, Fluorescent Sales nology (Telecommunications) from the Poly- Off the job, Tharp's interest in communica- Engineering. He retained that post in the new technic Regent St. ( London) in 1954. Before tions moves up in frequency to the ham radio Fluorescent and Vapor Lamp Division when the coming to Westinghouse, Whyte's experience in- bands, where he operates W3EUN, sometimes to former Lamp Division divided into three divi- cluded postgraduate training at Mullard Research communicate with his wife who is W3GQR. sions in 1969. He was responsible for dissemi- Laboratories ( Redhill, England), senior engineer nation of technical information on fluorescent at the K. B. Division of IT&T (Footscray, L. J. Taylor is adesign engineer in the special and ultraviolet light sources until his retirement England), and Chief Engineer of Perdie Elec- last November. product engineering section of the Medium Motor tronics, Ltd. ( London). and Gearing Division. He has engineering design Jensen has been active in the affairs of the Whyte joined the Westinghouse Research responsibility for motors for air handling appli- Illuminating Engineering Society, serving on Laboratories in May 1963, where his responsi- cations and nuclear power plants, and he also many local and national committees. He was a bilities have been in the design of various com- is responsible for studies of mechanical systems member of the board of directors of the Chicago munications systems and equipments. His first that contain motors, disc or shoe brakes, pulleys, section and served as president of the ¡ ES Study project was Phonovid, asystem for recording shafting, couplings, bedplates, etc. Club, secretary of the Chicago section, and chair- television pictures and sound on long- play records. Taylor graduated from Cornell University man of the Pittsburgh section. Last year he was Later assignments included development of with aBSME degree in 1968. He joined Sylvania one of four recipients of the IES distinguished several nonstandard and unconventional mono- Electric Products, Inc., where he worked in the service award. chrome and color CCTV systems. research laboratory on automated methods of He is presently Principal Investigator for the irinted-circuit manufacture. He joined Westing- W. A. Murray joined the Westinghouse Lamp Distribution Line Carrier Communications De- louse in 1969, and his initial responsibilities Division in 1957 as ajunior commercial engi- velopment Program at the Research Laboratories. ncluded stress, vibration, and heat- transfer anal- neer. He moved into application and sales engi- yses of various motors and seismic qualification neering for incandescent lamps, and in 1972 he Edmond D. Neuberger graduated from Stevens fmotors. He has developed aprocedure for became Product Planning Manager for the Institute of Technology in 1959 with an ME Incandescent Lamp Division. He advises the eismic qualification of motors for nuclear power degree. He worked first for Foxboro Company, olants, and he earned an MSME degree in 1974 Division in product planning and coordinates becoming asenior project engineer, and then *rom the State University of New York at Buffalo. the flow of information to customers via sales served in project management in Fisher Scientific engineers. He graduated from Columbia Univer- Company and Calgon Corporation. He joined lehard F. Cook came to Westinghouse on the sity in 1957 with an AB degree in liberal arts. the Westinghouse Computer and Instrumentation aduate student training program after graduat- Division in 1972, where his first responsibilities Ig from the University of Cincinnati with a William S. Till is Manager, Vapor Lamp Sales were in development, application, and marketing BSEE in 1956. He obtained his MSEE degree Engineering. Fluorescent and Vapor Lamp Divi- of digital/analog process control systems. He is from the University of Pittsburgh in 1960 and sion. He is responsible for technical literature, now asenior application engineer, responsible &ended Harvard's Program for Management applications, product design guidance, and engi- for application and marketing of the oxygen Development in 1971. neering assistance to customers and to the mar- analyzer described in his article. Cook spent eight years as adistribution keting staff. Till joined Westinghouse in 1942 Engineering developments that Neuberger system engineer, one year as an advanced de- as an engineering assistant, expediting manu- has contributed to or been responsible for include velopment engineer, two years as amarketing facture of radar tubes. He went into sales engi- automatic chromatographic systems, an on- consultant, and five years as manager of the neering for high- intensity- discharge ( HID) lamps stream automatic titrating analyzer, an analyzer listribution systems and application section of in 1948, and that has remained his field of major for determining carbon, hydrogen, and nitrogen lectric Utility Headquarters Department. In interest. He assumed his present position in 1958. content of organic samples, an on-stream differ- anuary 1972, he was named Manager of Distri- Till has contributed to development of phos- ential conductivity analyzer for determining ition Systems for the T&D Group. phor-coated mercury lamps and to standardiza- alkaline concentration in kraft pulp digesters, Cook is a Registered Professional Engineer tion of HID lamps through the American National an on-stream analyzer for determining the con- Ohio, and he has been active in IEEE, EEI, Standards Institute. He has published a number centration of chlorine and chloride in stack gas, NEMA committee work. of technical papers and lectured widely on light- and an on-stream analyzer for determining con- ing. He is a Fellow of the Illuminating Engi- centration of low-level sodium in high-purity water. Rodiney V. Adams graduated from the Newark neering Society and past regional vice-president. Col lege of Engineering with aBSEE in 1939. After receiving aBA degree in geology at Princeton Carl F. Jensen joined Westinghouse in 1926 as a He joined the Westinghouse Meter Division University, he went on to earn an associate technical trainee and has served in practically certificate in electrical engineering at Newark (Newark, N.J.) in 1940, where his first assign- every phase of the lamp business. From 1945 to College of Engineering in 1950.