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THE MAGAZINE FOR MUSIC LISTENE h,tO www.americanradiohistory.com11111 If you want a superlative stereo receiver by Fisher, check the four models at right. If you want something free by Fisher, look under this fold. () www.americanradiohistory.com 11 M1 The Fisher 400 65-Watt FM- Multiplex Stereo Receiver with STEREO BEAM* Size: 171/2" wide, 53/4" high, 13" deep. Weight: 303/4 lbs. Price: $299.50. The Fisher 500 -C 75 -Watt FM- Multiplex Stereo Receiver with STEREO BEACON* Size: 1711" wide, 53/4" high, 1311" deep. Weight: 3611 lbs. Price: $389.50. The Fisher 800 -C 75 -Watt ANI -FM- Multiplex Stereo Receiver with STEREO BEACON* Size: 1711" wide, 53/4" high, 1311" deep. Weight: 37 lbs. Price: $449.50. The Fisher 600 -T 110 -Watt Transistorized FM- Multiplex Stereo Receiver with STEREO BEACON* Size: 163" wide, 51/2" high, 117/4" deep. Weight: 31 lbs. Price: $499.50. (Walnut cabinet for all models, $24.95.) PATENT PENDING CIRCLE 48 CN READER -SER\ ICE CARD OCTOFER 1964 1 www.americanradiohistory.com FOUR MICRO-MAGNETIC 15° PICKUPS! Whether you own a record changer, automatic turntable, or a professional type manual turntable Pickering has engineered the RIGHT "V -15 pickup for you. If it's RECORD CHANGER application, where high output and heavier tracking forces are required try the V -15 AC -1 Most of you, no doubt are tracking lighter on the late model AUTO- MATIC TURNTABLES and will use the V -15 AT -1 Or if a professional type MANUAL TURNTABLE is your choice you'll need the even more compliant V-15 AM -11 And if it's unexcelled tracking ability you're seeking, you will demand the ELLIPTICAL STYLUS PICKUP V -15 AME -1 All four of these pickups are radically different from any other cartridge. You can see the difference. You can hear the difference. Pick up a V -15. Note its light weight-only 5 grams. Perfect for low mass tone arm systems. Now, see how Pickering's exclusive "Floating Stylus" and patented replaceable V -Guard assembly pro- tects your record and diamond as it plays .Trade Mark of Pickering and Co., Inc. HEAR PICKERING CO., FOR THOSE WHO CAN THE DIFFERENCE & , NC. PLAINVIEW,, N.Y. Pickering THE WORLD'S LARGEST AND MOST EXPERIENCED MANUFACTURER OF MAGNETI1C PICKUPS CIRCLE 60 ON READER-SERVICE CARD 2 HIGH FIDELITY MAGAZINE www.americanradiohistory.com Page 17 Page 96 high fideli page 1II Music and Musicians 17 Everyman's Guide to Discmanship Patrick J. Smith 80 The Struggle for Perfection: conductors' rehearsals on record Denis Stevens 96 Shostakovich Without Ideology Peter Heyworth 106 The Sound of Saudade: Portugal's fado O. B. Brummell 95 0 Lieber Schwann: an editorial 51 Notes from Our Correspondents: Rome, New York, Vienna Sound Reproduction 63 High Fidelity Newsfronts: thirty tubes per channel 101 New Products Norman Eisenberg 111 A Budget for Stereo Edward F. McIntyre 117 Equipment Reports Altec Three Sixty Integrated Amplifier ADC Point Four and Point Four/E Cartridges Stanton 800B Stereotable System Fisher XP -10 and XP -5 Speaker Systems Reviews of Recordings 123 Feature Record Reviews Beethoven: Fidelio (Birgit Nilsson, James McCracken, et al.; Lorin Maazel, cond.) Beethoven: Sonatas for Piano (complete); Sonatas for Piano, Nos. 29 -32; Brahms: Piano Works (Wilhelm Kempff) 126 Other Classical Reviews 160 Reissues 165 The Lighter Side 173 Jazz 179 The Tape Deck OCTOBER 1 9 6 4 VOLUME 14 NUMBER 10 Published monthly at Great Barrington, Mass., by The Billboard Publishing Co. Copyright a 1964 by The Billboard Publishing Co. The design and content. of High Fidelity Magazine ore fully protected by copyright and must not be reproduced in any manner. Second -class postage paid at Great Barrington and at additional mailing offices. One-year subscription- Anywhere on Earth $7.00. Indexed in the "Reader's Guide to Periodical Literature." Change of address notices and undelivered copies (Form 3579) should be odd d to High Fidelity, Subscription Dept., 2160 Patterson St., Cincinnati, O., 45214. www.americanradiohistory.com 11111011 III MOM 0180E1 A studio control room where the programmes are passed through a QUAD control unit for special bal - arcing. Cover Photo: by Roy Lindstrom Roland Gelatt BRITISH Editor in Chief Joan Griffiths Executive Editor BROADCASTING Norman Eisenberg Quality Check Room. Programmes Audio Editor originating from abroad are here In Britain and many leading passed through a QUAD control unit Sue Severn and power amplifier where they are European countries several thou- Managing Editor filtered and balanced for optimum sands of QUAD products help to quality prier to transmission. provide the best in broadcasting Shirley Fleming and recording. This same equip- Assistant Editor ment is used in many more H. C. Robbins Landon thousands of homes where people European Editor listen to music. Roy Lindstrom Art Director Ask for full details of the QUAD range. Nathan Broder John M. Conly R. D. Darrell Alfred Frankenstein Robert C. Marsh Contributing Editors Off the air monitoring. QUAD tuners provide a cDntinuous check on trans- Claire N. Eddings mission. Director of Advertising Sales Walter F. Grueninger Circulation Director Warren B. Syer Publisher ,f or the closest a pproach to the oriLtiraal sound A D V E R T I S I N G Main Office The Quality Monitor room. A final Claire N. Eddings, The Publishing House Great Barrington, Mass. 01230 check on th= overall quality of British Telephone: 1300 Broadcasting. Photographs by kind co- operation of the British Broadcasting Corporation New York 165 West 46th St.. New York 10036 Telephone: Plaza 7 -2800 S. Resnick, A. Sobel, A. Spanberger . and in Chicago own THE ACOUSTICAL your Taylor /Friedman home, too, 333 N. 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  • 60 CENTS the Boston Symphony Orchestra

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    H ENSCHBL 1881 -1884 60 CENTS GERICKE 1884-1889 1898 -1906 NIKISCH 1889-1893 Seventy -five Years of The Boston Symphony Orchestra by JOHN M. CONLY 1919 FEBRUARY PA UR 1893 -1898 ax a CC' c C - u á www.americanradiohistory.com how to select the best suited to your needs Standard Plastic -Base Audiotape meets strength and immunity to temperature all the requirements of the professional and humidity. Like all "Mylar" Audio - RELATIVE STRENGTH OF TAPE or home recordist to excellent advantage, tape, it will not dry out or embrittle BASE MATERIALS (at 75'F) providing unsurpassed recording quality with age. at minimum cost. It has consistently set In 50% Humidity the highest performance standards in Super -Thin Audiotape, on 1/2 -mil radio stations, sound studios and record "Mylar." doubles the footage obtainable 90% Humidity manufacturing companies throughout the on a standard reel. Its use, however, is world. The standard 11/2-mil cellulose limited to special applications where Yield Strength Breaking Strength acetate base has ample strength for greatly increased playing time justifies trouble -free operation under all normal a sacrifice of mechanical strength and some increase in print-through. operating conditions. AUDIOTAPE, STANDARD PLASTIC BASE LR Audiotape offers ad- Regardless of the base material, there two important 4.2 Ib. vantages which, for many is only one Audiotape quality -the fin- applications. 4.1 lb. more than outweigh the slight addi- est obtainable. All tapes are precision LR AUDIOTAPE, 1-MIL "MYLAR" tional cost per foot. First, it gives 50<,-;, coated with the same carefully formu- more uninterrupted playing time on a lated oxide and meet the same exacting professional standards of performance.
  • Myscena.Org Sm26-3 EN P02 ADS Classica Sm23-5 BI Pxx 2020-11-03 8:23 AM Page 1

    Myscena.Org Sm26-3 EN P02 ADS Classica Sm23-5 BI Pxx 2020-11-03 8:23 AM Page 1

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  • Decca Discography

    Decca Discography

    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.