The Magazine for Music Listene

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.

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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.)

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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 protects 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

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www.americanradiohistory.com Page 17

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high fideli

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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. Michigan Ave., Suite 314, Chicago 60601 the closest MANUFACTURING Telephone: 332 -7683 approach Jerry Taylor, Ed Larson to the original CO. LTD. Los Angeles sound. 434 So. San Vicente Blvd. Huntingdon, England. Los Angeles 90048 Telephone: Olympia 2 -2100 Robert J. Friedman, Mrs. Pat Kempler

CIRCLE 3 ON READER -SERVICE CARD 4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Go ahead and read the fine print! This is ONE RECORD CLUB WITHOUT RESTRICTIONS:

Choose any LP, any label-no pre-selections!

Buy 1 record or 100 -no yearly quotas! .loin once for a lifetime-no annual fees! Save at least 38% -and much more on special sales!

This is the way you want it ... a record club without restrictions. With the Record Club of FREE America you can order any LP available in the TYPICAL SPECIAL SALE l entire Schwann Catalog (over thirty thousand SCHWANN CATALOG selections) and save on every one! Nobody limits LIST PRICE OUR PRICE you to one label or two. Nobody sends you a card OVER 30,000 selections that means you get an unwanted record if you for- 3.98 Capitol get to return it. Nobody says you have to buy 4, 6, Bestsellers $1.57 from more than 300 manufacturers! or 8 times a year. And nobody asks you to pay an CAPITOL COLUMBIA ANGEL annual membership fee. With Record Club of 5.98 Urania, Vox, RCA VICTOR DECCA MERCURY America you join once -and belong for a lifetime. Kapp,Westminster Classical Albums $1.77 WESTMINSTER DEUTSCHE GRAMMOPHON Here's HOW Record Club of America Works: Fill out your Lifetime Membership application. 4.98 Verve, VOX VERVE LONDON Send it, with your check or money order for $5 to Folkways Albums $2.49 ROULETTE ABC PARAMOUNT Record Club of America. By return mail you'll ELECTROLA AND HUNDREDS MORE receive your membership card guaranteeing you our regular discount of 38jí; off on every record ommome =t==== you buy. That means you buy at dealer costs: all H $3.98 LP's at $2.47, $4.98 LP's at $3.09 and $5.98 Record Club of America LP's at just $3.71 and our publication, Disc., which regularly supplements Schwann's listings 1285 Princess Street York, Pennsylvania 17405 and keeps you informed of the Club's extra - CLASSICAL saving specials like those featured at right. OPERA Disc. will also present timely critical reviews Gentlemen: by many of the nation's leading authorities. For your we always enclose an convenience Enclosed please find my check or money order blank. Your order is processed the day order for 55.00 which Will guarantee me Lifetime we get it. Records come to you factory new. Membership in Record Club of America. 1 If not completely satisfactory they can be re- understand that I am under no obligation to turned, immediate replacement guaranteed. purchase at any time, and that any purchases Over one hundred thousand individual members I do make will be at CLUB SAVINGS. I am and many of the nation's leading schools and free to choose any album as listed in the Schwann libraries are today enjoying tremendous savings FOLK JAZZ Record Catalog or Record Club of America's made possible through Record Club of America. regular publication, Disc. Why not join them ... and join us, today? GIFT MEMBERSHIP SPECIAL! El Add Gift Memberships to my

1 a check for Your membership entitles you to buy or offer request. enclose $2.50 each gift member, and have listed on gift memberships to friends, relatives and neigh- at attached sheet their names and addresses. bors for only $2.50 with full privileges. You can split the total between you -the original membership and one gift membership divided equally COUNTRY & ifiUSICAL brings your cost down to $3.75; one original Signed membership and four gift memberships brings WESTERN your cost down to $3 each. Get a gang together Address -everybody saves! COITÌDY City,

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www.americanradiohistory.com Take semiconductors as used by the world's only high fidelity manufacturer with 10 years of experience in solid state design. Add music. Expect the inevitable.

CIRCLE 18 ON READER -SERVICE CARD

www.americanradiohistory.com Bogen solid state outperforms costlier vacuum tube components ...costs less than comparable solid state components.

Bogen AT600 all -transistor 60 watt stereo amplifier. $224.95

Bogen FT60 all- transistor broadcast monitor FM stereo tuner. $234.95

It started some ten years ago. The AT600 is a 60 watt stereo amplifier designed to drive That's when Bogen began manufacturing solid state public any speaker on the market. It has a frequency response of 25 address amplifiers for professional use. to 50,000 cps. IM and harmonic distortion are negligible. That's why today -Bogen solid state stereo high fidelity Reproduction of sound is totally transparent. There's a con- components represent the most advanced form of the art. venient front panel receptacle for headphone listening. There are no expensive crash programs in Bogen price tags; The FT60 Stereo FM tuner is the perfect mate for the no costly solid state design problems crying for overnight AT600. When stereo is broadcast, the FT60 automatically solution. Bogen has done it all -over the past ten years. turns on the stereo circuit. It features four wide -band IF Consider the new Bogen AT600 stereo amplifier and the stages plus wide -band ratio detector. Distortion is negligible FT60 Fì1 Stereo tuner. in this highly sensitive FM tuner. Both components offer all the full potential of solid state Both instruments are finished in a luxurious brushed gold technology: the virtual absence of heat, hum, distortion and front panel. Optional enclosures come in walnut -$27.95 ; or

the effects of aging. PLUS: tight, cleanly defined bass ; bril- walnut metal -$14.95. liant, silky highs ; and a midrange sound as intimate as the Write for catalog of Bogen High Fidelity Components: sound in your favorite bistro. Bogen Communications Division, Dept.A -I o, Paramus, N.J.

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CIRCLE 18 ON READER -SERVICE CARD

www.americanradiohistory.com AUTHORitatively Speaking

In this issue we welcome back to HIGH FIDELITY British critic Peter Hey worth, whose penetrating (and provocative) studies of music and musicians have il- luminated these pages at intervals - too infrequent, in the opinion of many readers -over the last five years. For this latest demonstration of Mr. Hey - worth's expertise, see "Shostakovich With- out Ideology," p. 96. The present analysis of the Soviet composer is, as it happens, in line with the author's special interest in music of the twentieth century: he is currently spending a year in Berlin, where, on a grant from the Ford Foundation, he is writing a book on musical life in the Weimar Republic. When not on sabbatical leave, Mr. Hey - worth makes his home in London and functions as music critic for the much respected London Observer.

With "New Products- 1964" (p. 101) this magazine's Audio Editor, Norman Eisenberg, takes on the most unaccus- tomed role of reporter, describing the latest equipment designed to entice high fidelity enthusiasts this fall. We accept no onus for encouraging folk to deplete the family exchequer, though: and Mr. E. himself is the soul of moral responsi- bility. More so than ever, in fact -since he's just become a member of the landed gentry (our phrase, not N.E.'s; he says he's simply joined the country's millions of harried householders). The mansion in question. of uncertain vintage, combines Victorian turrets on the top floor with a ground floor exemplifying the concept of space as continuous. Living room and library are wood -paneled, and acoustics for stereo are splendid. And speaking, as we were, of Personal Finance (in college we took a course called that -very useful information if one ever had any finances), no des- Triple perate audiophile need fear for his solvency if he gives due heed to Ed- ward F. McIntyre's straightforward guide to the sensible apportionment of funds your tape recording among the components of a balanced music system (see p. 111). Mr. McIntyre is an engineer engaged in rather awesome projects depending on a knowledge of fun (buy Tarzian Tape three reels at a time!) theoretical physics and such esoterica. He obviously is also what used to be re- ferred to as "an eminently practical man" -see "A Budget for Stereo." We might add that Mr. McIntyre recently There are some sounds that you plan to preserve. You know in advance - bought an abandoned farm as a summer "Here is something I will want to keep, permanently, on tape." You're ready place. decided to cultivate a few acres, for them. and promptly made a profit. There are other sounds, though, that you can't predict or schedule. They just come along, never to come again. Do you have an extra reel of tape on High Fidelity, October 1964. Vol. 14, No. 10. Published monthly by The Billboard hand? Are you ready for the moment that cannot otherwise recur? Publishing Co., publisher of Billboard, Why not take this good advice? When you buy tape, buy at least three reels. Vend, Amusement Business, American Art- ist, Modern Photography, and the Carnegie And buy brand name tape, so you can be confident of its quality and certain Hall Program. Telephone: Great Barrington 1300. Member Audit Bureau of Circulations. it won't harm your recorder. Editorial correspondence should be ad- Of course, we hope you'll choose Tarzian Tape. We thoroughly test other dressed to The Editor, High Fidelity, Great Barrington, Mass. 01230. Editorial contribu- brands along with our own -and the impartial equipment in our labs assures tions will be welcomed. Payment for articles us that you can't do better. accepted will be arranged prior to publication. Unsolicited manuscripts should be FREE: Our 32 -page booklet tells you how to get afore out of your tape recordings. accompanied by return postage. Write for your copy. Subscriptions: Subscriptions should be addressed to High Fidelity, Great Barrington, Mass. 01230. Subscription rates: Anywhere on Earth, 1 year, $7; 2 years, $13; 3 years, SARKES TARZIAN, Inc. $17. Single copies, 60 cents. Change of address notices and undelivered 1MWorld's Leading Manufacturers of TV and FM Tuners Closed Circuit TV Systems Broadcast be addressed to Equipment Air Trimmers FM Radios Magnetic Recording Tape Semiconductor Devices copies (Form 3579) should High Fidelity, Subscription Fulfillment Dept., MAGNETIC TAPE DIVISION BLOOMINGTON, INDIANA 2160 Patterson St., Cincinnati, O. 45214. Export: Ad Auriemo, Inn., N.Y. Conodo: E. 1. Piggott Enlerprirer ltd., Toronto, Ont. CIRCLE 70 ON READER -SERVICE CARD 8 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Me t the new Royal Grenadier ..... world's mos per ect speaker system. Pretty soon every stereo sys m 'round will be featuring this revolutionary di- ver ent lens speaker system. The first loudspeaker eve designed and engineered for stereophonic repro - duc on. Lets you sit anywhere hear everything.

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Model 9000M 1. 15" mass loaded woofer with floating The New Empire Royal Grenadier outstanding features: suspension and 4" voice coil. 2. Sound absorbent rear loading. Divergent Lens Speaker System Model 9000M 3. Die -cast mid frequency -high frequency full dispersion acoustic lens. 4. Hand rubbed satin walnut finish. Years ahead in design and engineering the Grenadier projects a majestic sound 5. Imported Italian Perlata marble. 6. Ultra -sonic domed tweeter. unlike any you've heard before. Its cylindrical shape creates a system relatively 7. Full presence mid range direct radiator. free from room standing waves and approaches acoustically flat frequency response. 8. Exclusive non -resonant rigidized heptagonal sonic column. Sound level and tone remain constant virtually anywhere in the room. fts three 9. World's largest (18 lbs.) speaker divergent acoustic lenses achieve unparalleled stereo separation. With the Empire ceramic magnet structure. 10. Front loaded Horn -360° aperture throat. Grenadier ... speaker placement becomes non -critical. 11. Complete symmetry of design with terminals concealed underneath. 12. Dimensions: height 29" - diameter 22 ".

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Try this simple test.

You will notice no change in sound level of bass, mid range, and highs. Full frequency and separation is assured by Empire's exclusive divergent acoustic lens system.

Try this same test with any other brand Empile Greradier model 8000 of speaker. Some speakers will only have a narrow angle of high frequency Started a new era in speaker systems. sound propagation. Some may have 2 Measures 29" high with a 151/4" diam- or even 3 bands of high frequency Acoustically engineered to let you sit anywhere hear everything. The Empire eter. Its features are virtually the same sound. With these or other speakers, - Grenadier is decorator-designed to fit any decor from warm elegance to stark as the 9000 plus the exclusive Empire slight shifts of position, turning one's ... modern ... fit in corners or against walls. Dynamic Bass Reflex ... high Q reflex head, or even leaning to one side may tuned columns for in -phase low fre- cause sharp changes in the listening Its satin walnut finish is designed to blend with all furnishings. An imported Italian quency reinforcement. The scientific- tone and level. Not so with the Empire Perlata marble top is optional for added elegance on the model 9000. The Empire ally accurate gradients and vented Grenadier. Grenadier is a truly beautiful and functional achievement in sight and sound. ports provide unbelievably enriched base response.

For a sound demonstration of the Empire 880P and 880PE Elliptical Cat-trudge' Empire family of "most perfect" products, go 'round to your dealer or Audio Magazine stated "...truly e>cel- write for complete literature. lent...the finest cartridge tested." The model 498 - tailor -made for console or equipment cabinets ... tae famous Frequency response 8 to 30,000 cps. Wf Empire 398 - outstanding -too handsomely finished to hide behind cabinet doors. Compliance 20X 10 -6cm /dyne. Empire EMPIRE High Fidelity reports on the Troubador: "... precision engineered product of the 880pe comes with a biradial elliplical 'World's Most Perfect High Fidelity Components" highest quality ... one of the finest, handsomest record players available." hand polished .2 X.9 mil diamond.

Empire Scientific Corp. - 845 Stewart Ave., Garden City, L. I., N. Y. Export: EMEC, Plainview, L. I., N. Y. - Canada, Empire Scientific Corp., Ltd., 1476 Eglingtor West, Toronto Circle No. 108 on Reader Service Card. www.americanradiohistory.com The superb new Cipher VI stereo recorder from Japan is priced at $239.5o.

But you can probably buy some other make that's just as good, for about $300 to $400.

Have you looked at Japanese tape recorders lately? playback levels; and the balanced capstan flywheel, com- They have been getting better and better for years; but bined with a pure idler drive (no belts!), assures rock - right now, dollar for dollar, they are simply the finest you steady tape motion. The machine can be operated either can buy. And the most remarkable of them all, in engi- vertically or horizontally. The two tape speeds provided neering as well as in price, is Cipher. are 71/2 and 33/4 ips; in the fast -forward and rewind modes The Cipher VI, newest of the six current Cipher models, an automatic tape lifter protects the heads from unneces- is a perfect case in point. Here is a 4 -track stereo tape sary wear; at the end of the tape an automatic shutoff is recorder that would have to sell $60 to $160 above its list activated. All reel sizes up to 7" can be accommodated, price if made in this country, or in England, Germany, and the case may he closed without removing the reels. Holland, Scandinavia or Switzerland. It is, in effect, a full - For precise cueing and editing, both a digital tape index fledged "semiprofessional" machine at the price of an and a pause control are included. ordinary home recorder. How can Cipher give you all this at a list price of The main difference between the Cipher VI and pro- $239.50? Ah, the mysterious East! fessional -type recorders is that the former incorporates (For further information, write to Inter -Mark Corpora- its own stereo playback system, including two detachable tion, 29 West 36th Street, New York, N.Y. 10018. In Canada: extended -range speaker systems, and comes with its own Inter -Mark Electronics matched pair of high -quality dynamic microphones. Two Ltd., 1550 Avenue Road, CIPHER VU -type meters assure accurate indication of recording and Toronto 12, Ontario.) CIRCLE 47 ON READER -SERVICE CARD OCTOBER 1964 11

www.americanradiohistory.com how Dual stepped five Years ahead

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The definitive record playing instrument that closed the gap between the automatic changer and the manual transcription- quality turntable.

As long as cartridges are used for rec- concluded The American Record Guide. full hour during assembly ... every tenth ord reproduction, the DUAL 1009 Cartridge manufacturers and the most unit rechecked . . . finally, an acoustic will remain well ahead of their tracking die -hard of purists have also given the performance test in a component system. requirements. A year ago, this was a DUAL 1009 unqualified approval for its All this to assure that your DUAL 1009

promise. Today, a fact acknowledged unsurpassed caliber of performance . . . will be the equal in every respect to the throughout the music world. even with the most ultra- sensitive high original laboratory standard . . . now "Will function as well as any good sep- compliance cartridges. the standard of the entire world for rec- arate tonearm," reported HiFi /Stereo Dual's relentless quality control begins ord playing instruments. At $99.50, the Review. "Fully capable of operating at with the manufacture of every compo- DUAL 1009 is certainly your most out- 0.5 gram, as rated," confirmed Elec- nent part: motor and chassis tuned to standing value.

tronics World. "In a class by itself," each other . . . every unit tested for a FEATURES.

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... with the precision engineering and many advanced features of the DUAL 1009, including the renowned and now... Dual quality Continuous -Pole motor. Newly designed tonearm . . . with low mass, rigid tubular construction, 8" effective range length ... tracks at low forces required by high compliance in the medium price cartridges. DUAL 1010 at $69.50, DUAL 1011 with intermix at $72.50. The new UNITED AUDIO d DUAL DUAL 1010 and 1011 12 WEST 18th ST.. NEW YORK. N.Y. 10011 DUAL'S THE FINEST THE RECORD PROVES IT SINCE 1900 Auto / Standard Turntables In Canada: DUAL OF CANADA, 24 Milford Ave., Toronto 15, Ontario

www.americanradiohistory.com 0

EVERYMAN'S 0 GUIDE T00 DISCMANSHIP

ISUPPOSE that every record collector who pos- the collector may persuade himself that he is en- sesses a library of a hundred discs or more is prey raptured with his Special Favorite solely by reason of to that fever akin to love which takes the form of its musical values, outside influences will have in- The Special Favorite Record. The Special Favorite truded (as they always do) to affect his choice. Record is the one that the collector will produce and Thus, the first and largest of these categories of play on an evening when he most wants to impress Special Favorites is comprised of those records that his listener: it is an album handled with a care more are out of print. The sight of the Black Diamond in exquisite than that bestowed on any ordinary record- the Schwann catalogue seems to act as an immediate ing, and which is served with the same ceremony as activator of the collector's love -gland; the disc that its owner would employ were he uncorking a 1947 last month had been but one of a hundred is now claret. To a record collector the mere decision to prized as a unique treasure. This tendency-to- make -a- listen to a Special Favorite can improve the quality Special- Favorite- out- of -an- ordinary- out -of- print -per- of the entire day. formance (the Germans would have a wonderful word Most often The Special Favorite Record is not for it!) is accentuated when the black -diamonded one that a panel of eminent critics would choose item is the only recording of the work available - as a Great Recording of the Century. The very fact or even better, when it is the sole recorded example that so many people have agreed on the merit of a of a given composer's work. A gleam comes into the Great Recording somehow dims its attraction: the collector's eye; if he owns the record, he puts it aside collector wants his Special Favorite to be his alone. to be cherished as a precious object; if he does not A Beethoven sonata played by Schnabel has been have it, he spends time out of all proportion ransack- elevated to a plateau too austere and remote. Yes, ing dusty shops for a stray copy. In the days after it is great, acknowledges the collector; yes, it may be Angel deleted its recording of Gounod's Mireille and definitive (this said with a trace of acidity); but let before it could be imported on the Pathé label, I me play you this recording of the Opus 111. It may nosed all over New York and beyond for a set, locat- not have quite the same insight or even the control, ing, in a shop in Quebec, what I confidently believed but it does have a certain indefinable something. was the last available copy in the Western Hemi- sphere. Please do not disabuse me. The plain fact is that the recording, though a good solid perform- SINCE THAT "certain indefinable something" is so ance of that lovely and neglected opera, is hardly a subject to the whims of each individual collector, it great or a definitive one, yet while I was searching it is as elusive to analyze as love itself. Nonetheless, the out, it could have been a recording of Bach himself Special Favorite does fall into several definable cate- at the organ. gories. This is so, I suspect, because however much A truly crafty addict of the Special Favorite will

OCTOBER 1964 17

www.americanradiohistory.com do his best to obviate the capriciousness of record thoven cycle three or four more times, the ensuing company a & r men by buying a second copy of debates could become cosmic. a Special Favorite so that when the first one wears out he will be partly protected from the depredations of Black Diamond Rot. This approach, however, THE MOST CHERISHED of all the Special Favorite only succeeds when the Special Favorite is nomi- records, however, belong to none of the above cate- nated before the Black Diamond appears. Although gories. They are brought out at the very end of the my recording of Roussel's Third and Fourth Sym- evening, after such others as, in my case, the Bee- phonies (Ansermet /Orchestre de la Suisse Ro- thoven Fourth Piano Concerto (Curzon /Knapperts- mande) might be included in the charmed circle husch Vienna Philharmonic) or the Columbia re- today, I doubt that it would have achieved this dis- cording of Richter's Pictures at an Exhibition have tinction before the Black Diamond appeared. been played and digested. These final additions to A second category of Special Favorites is com- the program are the discs reserved for the most prised of records that inspire their owner to imagine precious moments with the closest of friends. And that he is engaged in a crusade of private discern- they too have extramusical attractions, for their ment against collective opinion. The appeal of a classification as Special Favorites comes from the recording for which a collector merely has a mild fact that they cannot be found in Schwann or any liking may be greatly enhanced -enhanced to the other catalogue. They are the "clandestine" records, point of Special Favoritism -if it has been ill treated special because of their rarity as well as their extra - by the critics or by his musical friends. Its appeal legality: one -shot pressings of live performances, or may be even greater if it has been entirely dis- pressings of tapes or masters or music rolls pirated missed by them as totally eccentric. Performances from some archive somewhere. To a person un- by Wilhelm Furtwängler often fall into this cate- initiated in the cult of The Special Favorite Record gory. I have a friend who thinks that the highly these items may seem amateurish, or full of the dust individualistic account of the Eroica by Hermann and noise of age and wear, or just plain boring. But Scherchen (Scherchen /Vienna State Opera Orches- heaven help him if he tells the collector so. When tra) is the finest imaginable reading of that Bee- listening to these Special Favorites there can be no thoven symphony -and every snicker at its acceler- debate or criticism: one misjudged word and the ated tempos only makes him cherish it the more. I collector is an enemy for life. myself feel that Toscanini was at his most consist- These recordings are of the type, say, of a per- ently inspired not in German or even Italian music, formance of Götterdämmerung by the Lapland Sym- but in French music. His recording of the Saint - phony Orchestra conducted by Wilfred Lapp, an Saëns Third Symphony appeals to me far more than undiscovered genius at Wagner who gave up con- any other I've ever heard, including those by French ducting at age twenty -five to milk reindeer, and conductors. Whether my liking of that recording starring two unknowns who also gave up music for alone led me to the general conclusion, I don't know more profitable careers but who infused Siegfried (I would of course say that it didn't); but among and Briinnhilde, on that night, with a freshness of my Special Favorites are Toscanini's performances voice and essence of characterization that Wagner of the Mignon Overture and the Suite No. 1 from himself only dreamed of. Of course, the collector Carmen. And I regard as a special Special Favorite will tell you, the performance was live, in the Lapp his recording of Act II of that "French" opera Town Hall in the middle of a midwinter gale and a Orpheus and Eurydice by that "Frenchman" Gluck. flu epidemic (hence the periodic rattling of the roof Another class of the Special Favorite is that of and hacking coughs), and was engineered by Wil- works considered "owned" by certain performers. fred's brother, a fisherman (hence the fading out Of course, what works are "owned" by whom can for stretches and the prominence of the tuba, which be the subject of endless and vituperative debate, was next to the microphone), but the performance but-aside from Beecham's "Lollipops," for which that emerges! This type of recording is helped if he clearly holds the patent-two examples would be Birgit Nilsson is heard in her first recorded appear- Sir Thomas and the Beethoven Second Symphony ance as one of the Noms, or even as one of the and Walter Gieseking and the Debussy Preludes. female chorus in the Second Act. "Can't you hear What is even more interesting than a debate on the her, can't you hear her ?" the collector will ask, works "owned," however, is the dispute that occurs excitedly, turning up the volume to full crackle -and- when a musician re- records an "owned" work at a pop. "The silver voice floating above them all: that's later date. Which version is more "owned "? Which Birgit Nilsson!" is the Special Favorite? More often than not it will There is no cure for the devotee of the Special be the first recording, since that has a prior claim Favorite, just as there is no cure for falling in love. on the collector's heart. Collectors of Bruno Walter And while he may add to his collection, the collector records can have magnificent fur -flying contests over will remain faithful to his old Special Favorites too. this problem- contests which end in an elaborate His friends should only smile, and listen politely, and usually misinformed quarrel about the quality and prepare their own Special Favorites to play for of the recording itself or the playing of the orchestra. him when he comes over. It may be revenge, but If Herbert von Karajan lives to re- record the Bee- such revenge is indeed sweet.

18 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com No1LS FROM oux CORRTSPON I'FÑ1s

The hottest summer a very hard season and would have the misprints in the Verdi and Puccini that Romans can re- to be released from her commitment. scores as published -also turned his at- ROME call in years was also EMI's Victor Olof was summoned tention to recording this summer. In a hard- working one from his vacation on Elba to meet Naples, with the Scarlatti Orchestra for three visiting rec- the crisis. Fortunately, Gabriella Tucci (which for contractual reasons will prob- ord companies, who -who had sung the part under ably appear under another name on the put a total of four Schippers at the Met -was available. Her record labels), conductor Vaughan taped operas in the can. First to arrive in the vacation too was interrupted; she rushed a complete edition of the Schubert sym- city were Richard Mohr and the RCA to Rome from Apulia, taped the scenes phonies, again basing his work on the team, who early in June made a com- in which Leonora appears, and immedi- original manuscripts rather than on the plete recording of Verdi's Luisa Miller, ately went on to Verona, where she printed scores, which, according to a work which hasn't been staged for opened the summer season at the Arena. Vaughan, are even more riddled with dis- many years in America (its last perform- But EMI's troubles were not over. Giu- crepancies than the Verdi ones. The ance at the Metropolitan was in 1930) lietta Simionato, the Azucena, came down recordings -made on six -track tape, but which is fairly popular in Italy. The with a throat infection, and the calendar mono and stereo-were financed by an only previous recording (Cetra) is hard of sessions had to finish without her. organization known as the Dialina Music to find now and is heavily cut. In the However, since both she and Franco Company. It hopes to release the prod- new RCA version, Fausto Cleva conducts Corelli (the Manrico) were staying on uct in America through one of the major a cast headed by Anna Moffo in the title in Rome-as was Schippers -it was pos- companies. role, with Carlo Bergonzi, Cornell Mac- sible to arrange conveniently to com- The most curious feature of these Neil, Giorgio Tozzi, and Ezio Flagello. plete the recording at a later session. complete Schubert symphonies is that, at the suggestion of H. C. Robbins Roman Holidays. While the Luisa ses- Roman Holidays, Continued. The Conte Landon (Haydn scholar and HIGH sions were in progress out at the RCA di Luna in this Trovatore was Robert FIDELITY'S European Editor), Maestro Italiana studios on the via Tiburtina Merrill, who accompanied the still per- Vaughan has completed the Unfinished, (deliciously air-conditioned, to compen- durable Schippers to the next opera: La orchestrating Schubert's piano sketch of sate for the out -of- the -way location), the Forza del destino, for RCA, with a the Scherzo and completing and or- Decca -London team set up shop in the specially selected orchestra based on the chestrating the Trio (for which Schubert recently renovated Sala Accademica of Rome Radio Orchestra with some first - left a sketch of the first half). This the Santa Cecilia Conservatory. After desk men from Santa Cecilia. This op- audacity has come in for a drubbing in experimenting with recording in Florence era's Leonora was Leontyne Price (now some sectors of the Italian press -who last year (with the orchestra of the virtually an adopted Roman, with her find in Vaughan a convenient whipping- Maggio Musicale), Decca -London re- hideaway apartment on the Corso Vit- boy -but, as the intrepid conductor turned to Rome and the Santa Cecilia torio Emanuele) and the Don Alvaro points out, there is less Vaughan in this Orchestra and Chorus for a recording of was Richard Tucker, with Tozzi as Padre Unfinished than there is Süssmayer in Verdi's Macbeth. Thomas Schippers Guardiano and Flagello as Fra Melitone. the Mozart Requiem or Alfano in the conducted, with Giuseppe Taddei in the Breaking with precedent, Forza was re- Puccini Turandot. title role, Birgit Nilsson as Lady Mac- corded completely uncut -as it has never Robbins Landon meanwhile has sug- beth, and Bruno Prevedi (a young tenor been on discs before and as it is never gested that Vaughan take over the late who has had considerable success in the heard in the opera house. Thus the part Max Goberman's project of recording last year, especially at Covent Garden, of Preziosilla is restored to the impor- the complete Haydn symphonies, which and who has signed an exclusive con- tance that Verdi intended it to have, may be carried out by the Dialina com- tract with Decca- London) as Macduff. a juicy role for Shirley Verrett (who pany, finances permitting. Contrary to this company's usual policy was also the Federica in Luisa Miller). WILLIAM WEAVER in recording opera, Macbeth was slightly But not all the recording that went on cut, omitting the ballet music and bits of in Rome this summer was dedicated to Marian Anderson's some of the choruses. In this respect the complete operas. EMI taped a collection farewell tour, which new edition corresponds to the Macbeth of arias with Mirella Freni, the young NEW YORK begins this month in that Schippers conducted at the first soprano of Angel's stereo Bohème [re- Washington, is going Spoleto Festival seven years ago. viewed elsewhere in this issue]; and to afford a sentimental Schippers was pretty much the protag- Decca- London made a similar record journey for millions of onist of the Roman recording season. featuring Mario del Monaco (one side listeners. Surely no The day after the Macbeth sessions devoted entirely to Wagnerian excerpts, one who has ever heard her sing, for ended, he moved from the Santa Cecilia sung in German); RCA recorded the example a spiritual such as Sometimes I Conservatory to Rome's Teatro dell' Op- Rome Radio Chorus, under Maestro Nino Feel Like a Motherless Child, has been era and to Il Trovatore for EMI -Angel. Antonellini, in a group of Monteverdi able to forget how she penetrated any He also moved into a situation involving madrigals. exterior armor one might possess. And a certain amount of drama. A few days always, of course, there was the sense before her scheduled arrival, Régine The "Unfinished" Finished. The gadfly of being in the presence of a woman of Crespin, the Leonora, sent notice that of the Italian musical world, Denis she was suffering from exhaustion after Vaughan -the man who discovered all Continued on page 54

OCTOBER 1964 51

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CIRCLE 40 ON READER -SERVICE CARD OCTOBER I964 53

www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS

Continued from page 51

great wisdom, warmth, and personal done by Hall Johnson. He has lived in dignity. the South and knows it well, and he has In a gala commemoration of this final had much experience collecting and ar- year of concertizing, RCA Victor, with ranging spirituals. Of the eight or nine which Miss Anderson has been associated he suggested, we knew only two. All the throughout her recording career, will is- rest were completely new to us. We plan sue no fewer than five albums featuring to do them in a way which we have the contralto with her accompanist Franz never done before -with a kind of con- Rupp. (Of the latter she says, "We have tinuity," she went on. "The program may worked together for many years -we begin, for instance, with the song of a used to admit to ten, now we admit to slave just over from Africa, sick and be- sixteen or eighteen. ") Encompassed in wildered, a song that goes, 'Oh Lord, the series will be everything from Brahms how come me here -wish I'd never been and Schubert to spirituals and a program born.' Then it will go on to a time when, of general favorites called "Songs at though he is not happy with his lot and Eventide." "We chose the songs that we knows that he can do nothing, he has had found most requested at concerts," some hope. And then at last he finds Miss Anderson explained recently, re- something to believe in, something within ferring to the entire list and using, as she himself and above himself, expressed in customarily does, the editorial plural. Ride On, King Jesus. The "Eventide" disc, released this "Even nations which have no associa- month, had a genesis which seems to tion with Africa seem to have something Our new collection is now speak volumes about this singer's art. in their own early music -a simplicity Robert Russell Bennett, the composer - perhaps -that makes them respond to available ... arranger, was sitting down to his work- spirituals. In India and even in Burma, table one day with the radio still playing which is a difficult place (by this I on the other side he speaker of the room. As mean that the State Department calls it equipment cabinets started to cross the room to turn it off, a 'hard time' country), we found that the station put on a record of Marian audiences seemed to like spirituals, espe- enclosures consoles cabinets Anderson singing Conlin' through the cially He's Got the Whole World in His Rye -and before Mr. Bennett could Hands, which we often had to sing twice." galore. Danish and Provincial reach the switch, he confessed later, his Some of the seldom heard spirituals on eyes were filled with tears. He was struck the new Victor disc Miss Anderson hopes styles in new decorator finishes. on the spot with the conviction that a also to sing on the second half of her new recording should be made of the Washington and New York recitals. What see your dealer or write for free brochure simple traditional songs with which Miss about the old familiar favorites? "We Anderson manages to touch the heart so will go out on a limb and hope for an directly. And for this recital he has con- encore," she said. S.F. ceived some remarkable arrangements for a chamber ensemble including recorders, These days "authentic- a viola d'amore -and Franz Rupp at the ity" isn't an aim con- harpsichord. VIENNA fined solely to recordings of old music. it The Anderson Spirituals. Even as she seems. Or at least that asca listened to the finished tapes of this pro- premise was demon- audio originals gram, which occupied her the day we strated when Richard met at RCA's studio, Miss Anderson's Tucker here 546 S. Meridian Indianapolis, Ind. arrived recently to record mind was moving ahead to the album of a collection of Neapolitan folk songs, spirituals. She spoke of it with special elation. "The arrangements have been Continued on page 58

Marian Anderson, arranger Robert Russell Bennett, and RCA's Joseph Habig. CIRCLE 14 ON READER -SERVICE CARD 54 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 1J.F ...... _... ..4

MARANTE MODEL 9 MONAURAL MAPANTE MOD STEREO TUNER PCWER AMPLIFIER

TIRRAITI7 MODEL 7 STEREO PREAMPLIFIER The unequalled quality of Marantz products will never be compromised. Only when the development of solid state electronics has reached the stage wherein its application to FM tuners, amplifiers and preamplifiers can match the dependability and performance of Marantz- designed vacuum tube circuitry will our equipment be transistorized.

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CIRCLE 76 ON READER -SERVICE CARD OCTOBER 1964 55

www.americanradiohistory.com two questions:

1. I want the finest possible music system, and 2. I want fine sound, but I have a limited

price is no object. What brand should I buy? budget. What brand should I buy? one answer DYNA

WHO SAYS SO? Editors and reviewers, test laboratories and High Fidelity Magazine, in individual test reports on Dyna- independent consumer testing organizations. kits, has reported:

Popular Science Editors, in choosing the PAS -2 and Stereo We feel that the Dynakit PAS -2 is the equal of any manu- 70 for theirfinest music system, after two months of the most factured preamplifier we have used, including some sell- extensive listening tests ever made by a magazine, reported: ing for several times its price." was the unanimous opinion of the panel that you could "It "(The Stereo 70's) components are operated more con spend well over $1,000 and not get any better sound ..." servatively than those in any other commercial amplifier Hi Fi Tape Systems Annual, in their Editor's Choice of Hi Fi we have tested. Its power and distortion ratings are com- Systems, unanimously recommends Dyna amplifiers and pletely conservative. Its listening quality is unsurpassed." tuners for the top three categories (excluding only 'Poor - boy,' 'Compact,' and 'Rock Bottom') "which in their judg- "On our instrument tests, the completed Mark III exceed- ment will meet 90 percent of needs and budgets with a ed all its specifications by a healthy margin ... this amp- pretty high guarantee of performance," with the following: lifier is an excellent choice for the kit -building music listener who considers the best present -day sound repro- "Maximum Fi: The Dyna outfit (PAS -3, Mark IIls, FM -3) duction to be not quite good enough." with stacked AR -3s is the least expensive way to obtain state -of- the -art performance. The Dynatuner proved to be an outstanding performer, with measurements confirmed or surpassed Music Lovers: The Dyna (PAS -3, Stereo 70, FM -3) plus that generally own specifications, and a of recep- AR -3s has been recommended by more experts, and their Dynaco's quality clear and clean which bore out measurements. nephews, than any other hi fi system. We don't hesitate tion sound these the requirements of the most to join the parade knowing that we run no risk whatever This tuner ... should satisfy FM that anyone will be unhappy with the expenditure. critical listener." Most Fi per Dollar: This makes it three in a row for Dyna "A kit -built version of the SCA -35 proved to be an out- but we won't apologize. The SCA -35 is the finest low standing performer among low power amplifiers. (It) powered amplifier on the market, delivers 16 watts from offers performance that belies its cost, meets or exceeds 20 to 20,000 cycles at less than 1% distortion, and be- its specifications, and is in general an excellent high fi- low 3 or 4 watts the distortion is unmeasureable." delity component."

SCA -35- Combined stereo preamp- amplifier FM- 3- STEREOMATIC FM tuner featuring PAS -3 -The famous "no distortion" PAS -2 with low noise, lower distortion, and 35 automatic stereo. mono switching with the stereo preamplifier with Dyna's new look. watts continuous power output from 20 to visual Stereocator. Supersensitive. drift-free Wide band, lowest distortion. lowest noise, 20,000 cycles below 1 ",(, distortion. Exclusive design with less than 0.5°;, distortion. Four with every necessary feature for superb re- Dyna feedback circuitry and output trans- IF-limiters, wide -band balanced bridge dis- production. Less than 0.1';,, harmonic or IM formers for distinctly superior sound. criminator, and time switching multiplex. distortion at any frequency. SCA -35 kit $99.95; assembled $139.95 FM -3 kit $109.95; assembled $169.95 PAS -3 kit $69.95; assembled $109.95

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www.americanradiohistory.com HiFi/Stereo Review has published test reports on 9 turntables.' The A R had the lowest rumble, wow, and Rutter.

t as of July, 1964

TURNTABLE RUMBLE' WOW FLUTTER AR (Mar. '63) -38 db .05% .02% 2 (Nov. '62) -36 db .05% .11%

3 (May '64) -32 db .07% (33'/3) .03% (33%3) 4 (Dec. '62) -30 db .15% .1% Changers

5 (Dec. '61) -35 db .2% .1% 6 (Sep. '62) -34 db .1% .1% 7 (Jan. '64) -32.5 db .1% .035% 8 (Oct. '62) -23 db .13% .13%

9 (July '63) -16.8 db .08% .049/o

'`Combined vertical and lateral rumble below the NAB reference of 1.4 cm /sec at 100 cps. When the measurements were given in different form they were converted so that they could be compared directly. The NAB standard for broadcast turntables is -35db.

The HF /SR report on the AR turntable included this comment: ... records played on the AR turntable had an unusually clean, clear quality. The complete freedom from acoustic feedback (which can muddy the sound long before audible oscillations occur) was responsible for this."

Literature on AR speakers and the AR turntable, including a reprint of the complete HF /SR AR turntable report, will be sent on request.

00 complete with arm, oiled walnut base, and dust s 7 8 cover, but less cartridge, 331/3 and 45 rpm 5% higher in the West and Deep South

ACOUSTIC RESEARCH, INC., 24 Thortttlike Street, Cambridge, Massachusetts 02141 CIRCLE 2 ON READER -SERVICE CARD OCTOBER 1964 57

www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS Very Clever, Continued from page 54 Verdi arias, and arias from French operas. No fewer than three conductors this Japanese had been engaged for the sessions in the Vienna Konzerthaus: Nicholas Flagello. because of his "Neapolitan background." led the orchestra (that of the State Tape Recorder. Opera) during the taping of the songs: Nello Santi was entrusted with the Verdi arias: and Pierre Dervaux conducted the French works. For this emphasis on a genuine national provenance Columbia's recording director Thomas Z. Shepard was in part responsible. as, according to Mr. Tucker, he also was for the idea of combining well -known pieces with others hardly ever sung. Before the final selection was made the tenor himself had studied more than four hundred items. With regard to the French program M. Dervaux remarked to me that some of this music was seldom heard even in France -for example, the Prayer from Massenet's Le Cid and "O Paradis" from Meyerbeer's L'Africaine. Though the latter aria has been recorded many times in Italian -by Richard Tucker, as well as by Caruso, Gigli, Del Monaco. Bergonzi, and others -recordings in the original language are less ubiquitous.

The Twenties Revisited. The sessions for Amadeo's recording of Ernst Kfenek's once famous opera Jonny spielt auf had Model 555. Stereo Record and Playback. something of the character of a Juilliard Less Than $370.00 alumni reunion as the American singers Evelyn Lear, her husband Thomas Stew- art (baritone), and tenor William Blank- A genius, really, Tape Recorder, in this OKI creating sound enship gathered here to take principal of magnificent dimensions, from the whisper of a flute to a roles. Heinrich Hollreiser, using a salvo from massed drums. score revised and abridged by the corn- The OKI is solid state, with 27 transistors. But absolutely no poser especially for the purpose of this tubes. It operates either vertically or horizontally with the recording. was in charge, and the per- simplest individual push button controls. It weighs less than formance will be released this fall. any other instrument of its kind. And yet the OKI costs less At its premiere in Leipzig in 1927 than any comparable stereo tape recorder in the world. Much, Jonny spielt auf was a huge succès de scandale, and went on to be translated much less! into eighteen languages and staged in OKI Tape Recorders, one of the world's most complete lines more than a hundred cities during the of distinctive recording equipment, start at less than $130.00. late Twenties and early Thirties. The appearance on the stage of Jonny, the Negro musician who "strikes up the band" (played in the new version by Gerd Feldhoff, of the Berlin Opera), created quite a stir, and the introduction of jazz strains into the opera houses of It's an Central Europe even led on occasion to demonstrations. In retrospect KT-enek's score, which in addition to the usual instruments calls for the use of speakers Visit us in Room 431 at the NY Hi Fi Show GUARANTEED FOR ONE FULL YEAR and amplifiers for the sound of the band that appears on the stage, bears a unique Ir imprint of the Twenties. When I talked Now! You can listen to the OKI at your dealer! Know what a with Thomas Stewart about its possible thrill it is! Send for more information about OKI Tape Recorders. reception by present -day audiences, he refused to commit himself. "After the Name evolution that's taken place in jazz music since those days, it simply remains Address to be seen whether listeners used to the sound of Dave Brubeck and George 1_ City State Zip Shearing will accept Jonny as an authentic work in the jazz idiom or ELECTRONICS INC., Ave., Newark, N. J. CHANCELLOR 457 Chancellor will regard it merely as a H F -1064 whether they r r parody." KURT BLAUKOPF CIRCLE 25 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE

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CITADEL RECORD CLUB MEMBERSHIP - the complete record service for you and your family. Whether your music interests are classical, popular, jazz, show hits. folk - whether you prefer one label or a variety of labels and artists ... all are available through Citadel. CITADEL MEMBERSHIP - THE PROVEN METHOD OF RECORD AND TAPE BUYING USED BY THOUSANDS OF SATISFIED CLUB MEMBERS BECAUSE ...

You are not obligated YOU DECIDE ON YOUR PURCHASES - Bonus benefits make your Citadel Membership the to purchase any particular quantity of records or tapes. Buy as ecial!V most valuable club you ever joined few or as many as you want, when you want them ... the choice is always yours. Citadel has no "agree to purchase" require- DIAMOND NEEDLES ment of any kind. A complete selection of 100% guaranteed, precision ter. engineered diamond needles is available for virtually all YOU HAVE COMPLETE FREEDOM OF SELECTION - Virtually ,- cartridges. A clearly pictured, easy -to- follow order form any tape, record or album by any artist on any label is available is sent to you along with your catalog. including ABC, Angel, Atlantic, Audio Fidelity, Bach Guild, Blue GIFT CERTIFICATE SERVICE Note, Caedmon, Capitol, Columbia, Command, Decca, DGG, Dot, A great help in solving your gift- giving problems to Epic, Folkways, Impulse, Kapp, Liberty, London, Mercury, MGM, n 1. friends and relatives for birthdays, anniversaries, holi Pacific Jazz, Period, Philips, Prestige, RCA, Riverside, Roulette, days or any special occasions. Spoken Arts, United Artists, Vanguard, Verve, Warner Brothers, Westminster, and hundreds of others as well as most imports. OPTIONAL PRE-RECORDED TAPE DIVISION MEMBERSHIP Again, the choice is completely up to you. Citadel has no "pre- Many Citadel members collect both LP's and prerecorded selected" list of recordings for you to choose from. We do not stereo tapes. As an added service we have made all limit your choice in any way. stereo tapes available. Details on attached card.

dues is $3.00 a more for tape division PROMPT SERVICE Many orders are shipped the same day Membership year ($1.00 - membership) ... a nominal amount if you reflect fora moment received, rarely later than the next several days. In the event on the record and tape purchases you have made within the past of a delay, partial shipments are made and your order completed year and the prices you have paid. AS A CITADEL MEMBER BUYING RECORDS AND TAPES AT DISCOUNT, YOUR DUES WILL as soon as the record or tape is available and, of course, without BE PAID FOR WITH VIRTUALLY THE FIRST PURCHASE YOU any additional cost to you. MAKE THROUGH THE CLUB. Additional savings quickly mount up, permitting you to buy many more albums on your budget. Special bonus benefits make your membership an ever increas- Periodically you receive a list of hit PERIODIC SPECIALS - ing asset as you now have a complete music source to serve albums and tapes from all categories of music at prices up to your needs. 55% off list. The selections depend on those special purchases May we suggest that you give Citadel Record Club an opportunity of we have been able to make. Again, you are under no obligation proving its value to you. You enter no obligations, take no risks . simply complete the attached card, mail, and upon to purchase any of these selections. receipt we shall immediately forward all club membership material to you. We cordially invite you to join thousands of other FREE! SCHWANN RECORD CATALOG With your member- satisfied Citadel members who are purchasing their records and - tapes at discount price through their Citadel Club membership. ship you receive this quick reference to over 25,000 albums. w 4+41- 44 4-44* 0444 4444* This easy -to -use catalog contains separate sections for classical, +4444444 Try membership in Citadel Record Z, popular, SATISFACTION GUARANTEED ballet, opera, musical shows, folk music, jazz, etc., and Ctub for 30 days. If at the end of that time you are not satis- lists a separate section for all new releases. You are not re- fied in every respect, simply request your membership dues back and it will be immediately refunded, no questions asked. stricted to this catalog; it is simply a handy guide. 4'ìi 100% GUARANTEE - All records and tapes Citadel supplies to members are guaranteed factory fresh and free of defects or damages of any sort. If a damaged or defective record or tape CITADEL RECORD CLUB does get through our inspection, we shall immediately replace it with a perfect copy. 545 Fifth Avenue New York, N. Y. 10017

CIRCLE 26 ON READER -SERVICE CARD OCTOBER 1964 f,I

www.americanradiohistory.com NEWSFRONTS

Continued from page 66

too will be replaced at no charge. Those who own no part of this gauge -old or otherwise -may order the new one for $ 1.00 direct from the company.

New York High Fidelity Show. Most of the equipment mentioned in our annual IT'S NO USE! roundup of "New Products" elsewhere in this issue (page 101) will be on display at I JUST CAN'T WRITE the New York High Fidelity Music Show, at the Trades Show Building on Eighth A 1200 FOOT SYMPHONY Avenue. The public is invited as follows: October 1, 3.30 to 10:30 p.m.; October 2, same hours; October 3, 12 noon through 10:30 p.m.; October 4, 1 p.m. through 7:30 p.m. An unusual feature of this year's show will be a series of panel discussions on various aspects of stereo, each to be chaired by an editor in the audio field. Our topic is on "Listening to Stereo in the Home " -something we'd rather do than talk about. However, with Columbia Records' producer Tom Frost on hand, this should be a lively and interesting session -some time on Saturday, October 3.

Literature, Mostly Free. Those who savor audio material for autumn reading (or dreaming) might dip into the following items which, according to announcements, are available free on request to the addresses indicated: "A Practical Guide to Solid State Technology" (four pages of questions and answers on transistors in high fidelity), Harman -Kardon, Inc., Plainview, L.I., N.Y A new Eico catalogue (32 pages of kits and wired units), Eico Electronic Instrument Co., Inc., 33 -00 Northern Blvd., Long Island City 1, N. Y.... An 8 -page brochure (describing equipment, offering hints on record care, and listing a recommended "basic stereo record library "), Empire Scientific Corp., 845 Stewart Ave., Garden City, L.I., N Y Catalog CL -643, available from Dage- Bell, 6325 Huntley Rd., Columbus, Ohio 43224 is an attractive 16 -page booklet describing Bell stereo components. ... Catalogue SAH -76, sixteen pages of product information, Electronic Appli- cations Division, Sonotone Corp., Elms- ford, N Y Lafayette's 1965 Cata- logue, 516 pages -the largest yet issued by this organization -from Lafayette That's all right, Ludvig, neither could Tchaikousky, or Radio Electronics Corp., P.O. Box 10, Brahms, or Mozart or Lerner and Loewe or any other com- Dept. PR, Syosset, L.I., N.Y. 11791. poser for that matter. You simply can't write music to fit a . "Electronics for Everyone" is the reel of recording tape. It's up to the recorder owner to buy a title of Allied's 1965 catalogue; send tape that will fit the music. Only American offers a selection to Allied Radio, 100 N. Western Ave., of 45 different recording tapes available in lengths of 150, Chicago, Ill. 60680. . . . "An Intro- duction to Hi -Fi & Stereo," pub- 250, .300, 350, 450, 500, 600, 900, 1200, 1500, 1800, 2000, lished by the Institute of High Fidelity, 2400, 3000, 3600, and 7200 feet. Be up to date. Insist on seems to be attaining the popularity American, the tape designed to fulfill your every recording status of a best seller. The Institute re- need. ports that it already has distributed 100,000 copies, and plans to bring out an additional 200,000. The 64 -page booklet is available at audio dealers', from some manufacturers, and will be distributed at the high fidelity show in RECORDING TAPE New York this month. Nominal price is GREENTREE ELECTRONICS twenty -five cents, although most of these 2C20 Placentia, Costa Mesa, California sources have been giving the book gratis. CIRCLE 39 ON READER- SERVICE CARD 68 HIGH FIDELITY MAGAZINE

MI =II MEOW MIEMMIIIE., www.americanradiohistory.comII 1111M 1111E1 111111E1E111 II Fat's all you will -Jar for this new top perforrance turntable bi Wea-hr s, a ee mpany whose turntables have won design awards and have been erhiited at the Louvre and Banos Ares museums.

1= you're graduating -tom a :hanger or looking forward to more discr r-iinat- i- g music reproduction w th a quality turntable, th?. Townsend wil give 1.au the incompa-able This %mind that only W+ea-hers can produce ... vet the is Frce is under sixty do tars! This turntable could not have been built 11 years aç , despite lower labor and materia costs a that time. It took Weathers' experience in the creaticm of pr ze winning tut-trilbies and a constant sea-ch for new and bet:er techri ues anld materia s to p-c.d.Jce the Townserd - inciting said walnu-, oil f ni ;red Ease and tone arrr* - at ti s unequaled low p-ice cf $59.95.

Specs? Here are a kw: speed - 331:3 rpm, =m- b red wow & flu:t- - CE5o/o; rumble - miras 50 dp The universal tone arm wi I. accept any standard ,artridge. With Weathers top rated _Wt Stereo Cartrid3p - ;53.95.

WEATHERS DIVISI01 OF TELEPRO I19USTRIES, IC., Write to Weathers for free literature CHERRY HIL MISTRIAL CENTER, CìIERRY HILL. 1_ J R3 34 about this lew stereo turntable or bettsr yet, go to your newest hi -fi dealer for a demonstration ?lease send me your free literature on the TownsEni - -he World's Greatest Turntable Va Je at $59.95. WEATHERS J,W1 f 11REET Civision of TelePro Industries, Inc. cRY STATE_ _ZIP CIDF Cherry Hill Industrial Center, Cierry Hill New ..eraey 08034. www.americanradiohistory.com It's almost a shame ...

to conceal the beautiful solid state circuitry of the Miranda Sorrento 4 -Track Stereo Tape Recorder

...even inside this handsome teak cabinet

But it's a great way to bring you the SORRENTO REMOTE CONTROL: switching system. The one -second } All tape transport controls, outstanding range, clarity and respon- ' plus individual channel vol - electronic delay, for example, lets siveness distinguish the "tran- ¡une controls. With 16 foot you switch freely from mode to mode that cable, $35.00. sistor sound." Because it brings it to - even from fast forward or rewind you so compactly, so visually right to play- without the slightest possi- for the home. Instead of concealing bility of tape spill or breakage. Three it in a closet or cabinet, you can now separate motors, plus servo micro - actually plan a tape recorder as part motor, tension bars and automatic of your decor! In all, the Miranda tape lifters provide this superb home 21 and 19 machine with studio -caliber care of Sorrento has transistors MIRANDA NOCTURNE: completely self - diodes, all of the most advanced type, contained 4 -track stereo tape recorder, tape and heads. And the built -in 4" boasting high quality performance and x 6" wide range speakers complete especially developed to meet the ex- an array of features that belies its sur- acting standards of full range high prisingly modest cast. Hysteresis mo- the perfectly matched acoustical sys- fidelity performance. The Sorrento tor assure constant tape speed. Three tem that makes the Sorrento such a .speeds give up to 8 hours of uninter- takes advantage of transistor speed rupted play. Each charnel ha.s volume unique 4 -track stereo tape instrument and VU two and efficiency even in its matrix -type tone controls, meter, input for the home. $400.00. jacks, .speaker output, built-in wide - range 4" x 6" speaker. Ten watt output. Handcrafted oiled teak cabinet. With dynamic microphone and stand, $250.00. MIRANDA OREDis.ERED By ALLIED IMRE CORR., EXCLUSIVE U. s. iM POP Eli r 1 another quality product from 1737-1,- - Allied Impex Corporation, 300 Park Avenue South, New York 10010, Dallas 7, Chicago 45, Los Angeles 16 CIRCLE 5 ON READER -SERVICE CARD 71)

www.americanradiohistory.com «_- Do you know the difference sM,; between genuine Altec

Altec 838A "Carmel" In.v,Is S. Speaker Sys- tern is suspended from ceiling at Century Recording Co. Rack at left shows Altec power -YVAN MCI() and compressor amplifiers used for recording. equipment and ordinary "Hi Fi" Components (besides quality) ? 1 ALTEC PLAYBACK EQUIPMENT IS USED UNIVERSALLY Perfect partners! Rack -mounted solid-state Altec 360A PLAYBACK Amplifier works with Altec 314A FM Multiplex Tuner at Sim -O -Rama BY THE FINEST RECORDING AND Sourd Recording Studio. BROADCAST STUDIOS IN PRODUCING THE BEST IN SOUND q You can't help but notice that many manu- our PLAYBACK components for home use: facturers who design hi fi components spe- so many sound professionals were carting cifically for the home try desperately to tie the equipment home with them, we knew the term "professional" to their products. we had a good thing. That was nearly 20 Why they do this is obvious: The word years ago.) "professional" implies wide acceptance and IS IT WISE TO PAY LESS use by professionals in the sound The film production service at Virginia State industry -AND GET LESS? Department of Education relies ci the all - (such as recording and broadcast studios). You've no doubt considered the fact that transistor 360A for power in conjunction with by other Altec?t,ANBACK amplifiers and controls Such acceptance people who are most your home PLAYBACK, center will be one of in producing educational sound filme. qualified to know good sound from had, the largest single equipment investments reflects favorably on their products. (After you will ever make. As a wise investment all, if you're in doubt, the safest way is to policy, we urge you to visit your Altec follow the example set by experts.) How- Distributor and listen to the same Altec ever, there's a wide difference between PLAYBACY. equipment most probably used implied professional acceptance and tan - by the artist, director, and recording engi- gible proof of its universal existence. neer to compare and judge the final record- That's why we've filled this page with ing with original performance. We suspect various sample photos showing Altec you'll find Altec PLAYBACK solid -state PLAYBACK, equipment in actual use by stereo amplifiers and full -size speaker sys- United Recording Studios (Hollywood) uses Altec A -7 "Voice of the Theatre "® Speaker famed recording and broadcast studios. tems are the best "value" on the market in Systems for 3- Channel ?tKYBAC'.. moritoring. The photos speak for themselves, and make terms of continued listening pleasure. it unnecessary for us to use the word "pro- Be sure to ask for your courtesy copy of fessional" loosely. Not with so many Altec Altec catalog, PLAYBACK and Speech Input PLAYBACK tuners, amplifiers, speakers, and Equipment for Recording and Broadcast speaker systems being used by the profes- .Studios. Or, write Dept. H F10. sionals in sound -the record- ALTEC LANSING ing stars, musical conductors, and recording or broadcast CORPORATION r7 engineers. (In fact, how A [TE ,,n/7A Subsidiary of that's LANSING CORPORATION L Ling - Temco -Vought, Inc. we originally started selling ANAHEIM, CALIFORNIA Interior of Columbia Records St dio (Holly- wood) and Altec 605A "Duplex "w Loudspeak-

ers used for ?t.AVBACK .

?t.AYBACK at Capitol Records - Altec 605A 'Duplex "e) Pair of Altec 836A "Lido" Speaker Systems are shelf - Full -size Altec speaker system, the 838A Loudspeakers verify the fine performance that has just mounted for stereo ?IAYBACK monitoring at Walton "Carmel ", is used for monitoring the famous been recorded. Recording Studio in Chicago. Steve Allen Show by originating station, KTLA, Channel 5, in Los Angeles.

CIRCLE 8 ON READER -SERVICE CARD OCTOBER 1964 71

www.americanradiohistory.com AND THE THREE SPEAKER SYSTEMS

Once upon a time, Jason Golden - for the bedroom! Certainly, it was ears was wandering through the superior to larger and costlier sys- city in search of a miracle. To be tems he had heard. But could he precise, he was looking for a mod- afford it? erately priced speaker system free of As if he had read his mind, the distortion, coloration, peaking and dealer said: "It's only $49.50. And boom. it carries University's exclusive five- He was not having an easy time year warranty, just like the Classic of it. If his supersensitive append- and the Medallion Monitor." The dealer, apprised of his prob- ages could not hear the bowing of And so Mr. Goldenears bought lem, said, "I have exactly what you're two Medallions, one Mini -Flex, and looking for. Listen!" And he began lived with them happily ever after. to demonstrate the new University Medallion Monitor. "Yes," mumbled Mr. Goldenears as he listened to it. "No distortion, no coloration or peaking. Instru- ments clearly defined. And feel that bass." "25 to 40,000 cps," said the dealer with a smug little smile. "It can fit the bull -fiddles, if brass did not bite, on a shelf and," he paused dramat- if drum -beats were heard as a blurred ically, "it's only $129!" This one was roll instead of well- separated beats, just right! For the complete story on all the he sneered. He was an acoustic "I'll take two, if you please," said "Goldenears- qualified" speaker sys- malcontent. Mr. Goldenears, and it was done. tems, send for the new University Because of his limited budget, he Almost, that is. On the way out, he catalog and the 1964 Component had been listening to dozens of "bar- heard the new University Mini -Flex Stereo Guide. Write: Desk P-10, gain- priced" off -brand systems. Now, I I. Only 15" x 9" x 6", but it sounded LTV University, 9500 West Reno, sadder but wiser he vowed: "I will so big! And no distortion. Perfect Oklahoma City, Okla. no longer shop for price. If necessary, I will sell the children into white slavery." New Medallion Monitor, 12" three -way professional In the very last store he entered monitor bookshelf speaker he was met with a sound to delight system. Oiled walnut, $129.00. the ears. "You're listening to the University Classic Mark II," said the dealer. It was magnificent, thought New Mini -Flex Il, ultra - Mr. Goldenears, and looked it, too, compact three -way speaker in its new Provincial cabinet. Though system. Oiled walnut, $49.50. only $325, it exceeded his modest budget. Nevertheless, had he felt Renowned Classic Mark Il, that his small living -room could ac- 15" three -way speaker system in its new Provincial commodate two Classics, our story cabinet. Fruitwood, $325. Modern (oiled walnut), LTV would be over. "The devil take mid- $295.00. dle- income housing!" thought Mr. UNIVERSITY A DIVISION OF LING - TEMCO - VOUGHT. INC. Goldenears. 9500 West Reno, Oklahoma City,Okla. CIRCLE 84 ON READER -SERVICE CARD 78 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com COMPARATOR

In thes 32 page we offer you technical an non-techni explanations of today's most advance record-playing equipment. This includes LAB 80 the first Automatic Transcription Turntable

www.americanradiohistory.com What requirements should a record player meet .,. to justify its inclusion in your high fidelity system ?

The tone arm should be able to take your cnoice of any of the excellent lcw mass cartridges now on the market. These cartridges are sensitive, and the stylus assemblies are highly compliant. The arm must track them perfectly, and trip reliably, with very light styles pressure. The turntable, motor, and drive mechanism must be so silent ... so meticulously engineered ... that they will not add the slightest noise or distortion at any frequency or volume level. To be compatible with wide range speaker systems and highly refined amplifiers (including solid state transistorized equipment), the entire record playing unit must be built to an exceptionaly high order of precision.

Performance is the key factor, but auto - rzatic convenience and sensible price are also essential for maximum enjoyment. Four years ago, these stringent requirements motivated Garrard to produce the original Automatic Turntable ... Type A ... a new concept which combined the advantages of single play turntables with ti-e convenience of automatic record dangers. The instantaneous, cramatic acceptance of the Type A established a significant trend, and today more people chose a Garrard than all other high fi- celity record playing units combined.

Now . . . Garrard presents three /tghly advanced automatic turn - tables, plus an entirely new class, the first Automatic Transcription Turntable! This exceptional development by the Garrard laboratories i for the ultimate in music systems -_

www.americanradiohistory.com This new kind of Garrard is called the LAB 80

www.americanradiohistory.com This is the LAB 80 More than an automatic turntable, it is an Automatic Transcription Turntable The Lab 80 is designed for professional reproduction of LP /stereo records (33'/3 and 45 rpm) . .. literally without compromise. It was created expressly for those who have not been willing to accept any automatic unit heretofore. Now, feature -by- feature comparisons will verify that the concept of the single play turntable combination has been obsoleted by a superior new class of mechanism. With the Lab 80, Garrard establishes a spectacular new precedent in record playing equipment ... combining precision, performance, and convenience of a standard not previously available, in single play or automatic units. The price of the Lab 80 is $99.50

www.americanradiohistory.com _n-

www.americanradiohistory.com To visualize what the Garrard Laboratories have achieved in the Lab 80, we urge you to take the time to read the galaxy of advancements built into it.

(Here are some highlights ... described in greater detail on the following pages)

www.americanradiohistory.com LAB 80

NEW BIAS COMPENSATOR negates "skating" NEW . keeps stylus DYNAMICALLY NEW MASSIVE evenly in groove NON-MAGNETIC no matter how BALANCED light the tracking TONE ARM made 12" TURNTABLE force. of lightweight, is balanced in non -resonant wood, motion for perfect insures optimum speed. performance from every cartridge.

NEW INTEGRAL CUEING DEVICE allows you complete control of tone arm, for manual play without damage to records or stylus.

NEW LOW -MASS SHELL is compatible with the latest pickup designs.

NEW MAGNETIC TRIP permits virtually NEW ANTI- NEW ISOLATION frictionless STATIC MAT MOTOR SUSPEN- automatic discharges static operation and SION prevents shutoff. electricity, even slightest prevents dust vibrations from accumulating reaching turntable. on records.

www.americanradiohistory.com o

Lab 80's tone arm is unique. It is built aNt To adjust the tone arm, first turn the Á knurled knob under the calibrated scale of A f rormosia, (on the side of the arm) until the the least resonant pointer reads zero. of all woods, held in precision alignment by an aluminum stabilizer along its entire length.

This is a true dynamically balanced tone arm, and when adjusted as shown on these pages, it is the ideal transport for cartridges of professional calibre.

Because of today's featherweight trackir_g, An important note regarding stylus pressare the slightest interference with free and protection your records: of movement of the tcne arm may affect the As a service, we wish to point out that under so circumstances should any cartridge be ope -a-ed performance of the cartridge. Tc avoid at a lower stylus pressure than that prescribed by this, the Lab 80 arm moves on special its manufacturer. Specifications for stylus orb- needle pivots, set into ball bearings. The sure are determined by the basic design o the cartridge. To track at a pressure lower than speci- fiat geometry of the arm cancels out fied may cause many undesirable effects, in Iris warp -wow distortion; and the low center of of damage to record grooves; intermodulatior and other distortions. gravity eliminates sensitivity to external jarring.

www.americanradiohistory.com LAB 80

WSW. no Then set the cc rrect tracking foiiie. as spe_ified by the caatr_dge manufacturer. Tu-n he knurLd knob -irder the scale, listening for ,he olicls, which can also be fe1 . Each dirk r2preseats 1/4 gram, prcv c_ng an a. curath audible sett_ng Next, balance th ?, arm unt 1 it floats level confirrzec visuaLy by the indicator on the at zero tracking tore. ^_his is done by side D' the arm ,Sincece so_-r_e professional rotating the fine adjustnent on the cartridges today may be tracked as lightly movable counterwe_ ht at the rear of the as a fracton of a gram, this uniquely arm. (Note that th3 counterweight accurate method of setting is necessary is isolated in rukber. ) to irssire the best performa-nce.)

One major problem in all record playing eruii_uet is :be teadenc7 of the arm to side insure 3c-oss the re:ord. This is ov- rcarne in :he Jab 8C through an errchaivc, patented Dias ccnpensator wDih aecurat.ly cancels out any tone arm slating or. rrak_rg it possible to use OThe lightweigh= design of the shell a cartricge wit3 tL: highest compliance makes it compatible with all cartridges and most delirate stylus assembly. including the new law mass professional SDt :ing ,he bias compensator is simplicity types. The shell sides into the tonearm ita dt. A weigal on the compensator on charnels and is fi_od rigidly with a is m .vei to a uositior_ abng its scale knurled screw, so that it cannot resonate conespcndin to the stylus pressure or rotate from sids to side. A new long ßlidi has been set, estab ishing d d_rect finger lift insures sai?ty in handling relatonship with the stylus pressure the shell. reading on tie tonearm.

www.americanradiohistory.com Garrard has never been interested in gadgetry. The Garrard policy is to incorporate Integral cueing. As cartridges every convenience have become lighter and stylus assemblies more delicate, so or refinement - has the danger of damage from but only when it manual handling increased. serves a practical Now, in the Lab 80, Garrard has function. Three incorporated an integral cueing such refinements device, whicic is activated when- are shown on ever the manual lever is thrown. The tone arm is suspended safely these pages: and accurately 1 inch over airy record groove selected. Then press the tab contra on the front of the tone arm resi ... and the arm gently lowers under f eGtherweight control. The first demonstration will show you dramatically the convenience xnd safety which this feature imparts. (If it is desired to lift the anm off the record during play, simply ouch the manual switch, and the ann rises gently. leak':, AlIto directly over the -ecord groove. You can then safely reposition tie arm or reactivate the cueing device_ and lower O the stylus intc the very sane groove!)

www.americanradiohistory.com LAB 80

©Tab controls. Lab 80 features finer tip tab controls, handsomely designed and set into an engraved escutcheon. Switches for "manual ' and "automatic" are separate, yet all functions are coordinated on this single panel. The tabs are easily accessible .... require only featherweight touch to start, reject, or stop, and insure safety from damaging pickup jump due to accidental jarring of the record player. An illLmina:,ed indica:or tells the record size selected and acts as a pilot light.

shutoff. At the end cf a ©Automaticsingle record (or the last record in "automatic" position) the tone arm returns to its rest and the Lab 80 shuts off. This simple convenience can add more to the pleasure of listening to records than most other features. A spring- _oaded lock can then be turned into position to protect the tone arm from accidents. www.americanradiohistory.com Concerning manual vs. automatic play: With the present state of the art in the design and manufacturing of tone arms - as exemplified most particularly by the low geometry of the Lab 80 and other dynamically-balanced Garrard arms - the maximum variation in stylus pressure between one record and a stack is in the order of 0.2 gram (two -tenths of a gram). Thus, it will be seen that the significance of the question of whether or not it is important to play only single records at a time on any turntable, has been eliminated. The contention that stacking several records creates flutter and wow, is flatly untrue.

The convenience of automatic play, when desired, can hardly be overstated. It can add an entire area of pleasure to your record enjoyment. The problem, however, has been to provide this convenience without impairing the high standards of performance which are essential in a modern music system; and the search for perfection among methods of automatic record handling has been going on for years. Now, the Garrard Laboratories have developed a remarkable new precision spindle for automatic play. It differs from all other automatic spindles by incorporating the reliable, time tested Garrard pusher platform principle. www.americanradiohistory.com The trip mechanism is the device which activates the automatic record changing and the automatic shutoff at the end of the last record. Since the tone arm mechanism must engage the trip mechanism, the problem with automatic units has been to accomplish this with the least possible amount of friction or drag. Indeed, one of the points claimed in favor of single play turntables has been the lack of a trip mechanism, even though no one wilL dispute the tremendous advantage of the automatic feature. In the Lab 80, the trip mechanism is revolutionary and obviates this argument. The trip assembly is molded completely of Delrin® the remarkable new Dupont "slippery" material which has an exceptionally low co- efficient of friction. Resistance of the trip mechanism to the tone arm engaging it becomes virtually unmeasurable.

The tripping cycle is activated by ultra - sensitive magnetic repulsion (through the use of magnets with polarities which In use, the auto repel each other), eliminating the need pusher spindle is for mechanical contact. The combination of relatively simple. The these two principles, ingeniously applied stack of records is for the first time to an automatic record securely held on three playing device, is the answer of the widely extended arms. Garrard engineers to the stringent require- Then, utilizing the basic ments of ultra -sensitive cartridges, Garrard technique, th arms retract and the allowing the unit to trip reliably, at individual records ar virtually zero force. pushed off gently. This is the technique which established Garrard as the pre -em nent name in automatic record playing equipment, because. it proved, over the years, completely reliable and gentle b records. Now, the pusher platform principle has been designed into the spindle, creating the safest, most positive-ac ping device of its kind.

()f course, this spindle is used only for automatic play. A short spindle is provided for your use in playing single records.)

www.americanradiohistory.com The cast turntable is 12 inches in diameter, and extremely heavy. In itself, it is an impressive example of precision craftsmanship. Each turntable is statically and dynamically balanced to eliminate any possibility of wow (uneven musical pitch) or rumble, and to insure precise, constant speed, through flywheel action, regardless of variations in voltage.

The special turntable mat is formulated from a remarkable new anti -static material. It dissipates the electrical charge on records, so that they will not attract dust. Dust is one of the key causes of record wear, as well as unwanted noise. The fine grooves of the mat have been scientifically designed to provide full support to the record.

www.americanradiohistory.com Constant, reliable speed, LAB 8 of course, is essential. Recent tests confirm the traditional Garrard viewpoint that the motor type (induction or hysteresis) is not the key factor in fine reproduction. It is basic compatibility of the motor to the particular turntable /drive mechanism, and meticulous manufacturing, which determine outstanding results. The Lab 80 is powered by the unsurpassed laboratories Series® motor (with dynamically balanced armature), designed and built entirely by Garrard, which will maintain speed within NAB standards even through the, unlikely line voltage variation_ of 95 to 135 volts. The loose assumption or contention that only a hysteresis motor can maintain speed with such reliability is simply untrue. It is isolated from the unit plate by a revolutionary suspension system of rubber anti -vibration devices and damping pads. This ingenious mounting system frees the Lab 80 from any vestige of spurious vibrations which might reflect in record reproduction.

The entire Lab 80 unit floats on a new 5 -point loam- damped spring suspension system, which isolates it from external jarring and the mechanical interference known as "feedback ". Installation is simple and practical. The Lab 80 is stereo wired, with a 4 -pin, 5 -wire system; separate ground connections ... the ideal wiring because it eliminates danger of hum-causing factors. Leads plug into the player with Amplok plug (for AC) and twin female phono sockets on the Lnit plate, for the audio connection. This simplifies connecting or disconnecting the player. Dimensions are compact enough to fit most high fidelity cabinets.

Specifications: 2 speeds: 331/3 and 45 rpm. 100 -130 volts, 60 cycles AC (50 cycle pulley availa3le). Minimum cabinet dimensions: 17" left to rigit; 143/4'ß front to rear; 51/2" above and 31/2ß below motor board.

www.americanradiohistory.com This, then is Garrard's Lab 80 Automatic Transcription Turntable ... a record -playing unit unequalled by any now on the market ... destined to establish a new milestone by Garrard in the continual striv- ing toward perfection which characterizes our industry.

This superlative mechanism has been magnificently styled to grace the finest music system, the smartest decor. On its decorator base, the Lab 80 is a symphony of shimmering satin metal, grained wood, and a special iridescent color that picks up and reflects the warmth of the cabinet finish. Into this excellent unit have been lavished every skill, every technique known to the Garrard Laboratories. To judge for yourself how well they have succeeded, use the convenient chart below to compare the Lab 80's main features with any other record playing unit you may be contemplating.

COMPARATOR CHART LAB 80 El Other MIE Dynamically balanced, counterweight- adjusted tone arm of Afrormosia wood

LAB 80 Other MI Calibrated stylus pressure scale, with click settings

LAB 80El Other Low mass shell

LAB 80 rz Other 111. Bias compensator (Anti- skating device)

LAB 80 El Other Integral cueing device

LAB 80 MI Other NM Finger tip tab controls

LAB 80 El Other MO Automatic play, when desired, with revolutionary pusher spindle 'yqq LAB 80 Other Delrin® trip mechanism with magnetic repulsion

LAB 80 12 Other 12 inch, balanced, weighted, anti -magnetic turntable with anti -static turntable mat

LAB 80 12 Other MI Laboratory Series® 4 -pole shaded motor

LAB 80 12 Other III Motor isolation system

LAB 80 Other

4 -pin, 5 -wire stereo wiring with Amplok plug connections

www.americanradiohistory.com =,

www.americanradiohistory.com This is the new Type A70 ultimate expression of the Automatic Turntable concept, which Garrard launched with the original Type A, the most successful record playing instrument the high fidelity field has ever known This new automatic turntable is a perfect expression of the Garrard philosophy. Those who are familiar with the great models which established the Garrard reputation for unassailable integrity, will recognize in the Type A70 certain familiar proven features which have become indivis- ible from the Garrard name. The most notable of these is the pusher platform automatic record changing principle ... a classic mechanism which has never been equalled, much less surpassed, for gentle- ness or reliability. However, traditional features are only half the story of the Type A70 ... for this is also the newest and most advanced of all automatic turntables! For example, the exciting tone arm

described on the following pages . is but one of a number of innovations which confirm how successfully Garrard has re- engineered the classic unit, advanced it beyond all other automatic turntables, and recon- firmed it as the definitive record player for the finest music systems. The price of the Type A70 is $84.50

www.americanradiohistory.com ,-

www.americanradiohistory.com The adjustable counterbalance weight at the rear of the tone arm ... low and in line with the cartridge ... establishes an optimum center of gravity. This assures accurate tracking and makes it possible for the arm to resist external jarring and vibrations.

Special needle pivots set into miniaturized ball bearings, make vertical motion of the tone arm virtually frictionless.

www.americanradiohistory.com TYPE A70

The Type A70 features a completely new dynamically balanced tone arm, designed to an exceptionally high standard. Because of its low mass and flat geometry, this arm offers impressive advantages in tracking capability. Since total side pressures acting on the arm at the stylus haue been kept infinitesimal, the Type A70 achieves outstandingly clean reproduction with modern cartridges.

The slide -in shell locks positively into position and takes any cartridge, including the very light, high - compliance professional types. The cutaway form provides low mass, and simplifies installing and servicing the cartridge. An extended finger lift enables the user to handle the arm safely and conveniently.

www.americanradiohistory.com r

Stylus pressure or the Type A70 is adjusted in two simple st-s, similarly to the Lab 80. First the sliding Then, the correct tracking force prescribed counterbalance weight is mavcd to the for the cartridge is -set by turning position which ba'-anoes the cartridge the adjusting screw under the tone arm. (so that the aim floats level zbove the The reading is taken on the calibrated turntable), and kck2.d in position by scale at the side of the arm. As the knurled tightening an access.ble adjus:ing screw. screw turns, a click is heard (and felt) The arm is now =n balance, at zero for each 1/4 gram. The stylus pressure stylus pressure_ setting, therefore, is extremely accurate.

The full -sized, balanced turntable of As in the Lab 8l, tie Type A7C' tone the Type A70 is unique, having certain arm incorporates En a3justabh Dias advantages not found in other units. compensator anti- skating dev:cc. Sim y Actually it consists of two turntables slide the weight ao the notch cnresponding balanced together ... a drive table on the scale to the steles pressure. With the inside and a heavy cast turntable outside. bias compensator set, the arm will track These are separated by a resilient foam accurately and without distort oa - even barrier, which damps out noise and if the player is infimt.onally lilted, vibration. Being non -ferrous, the cast table the record warped,. cr not concentric. It offers no attraction to magnetic pickups, will bring out the hest in any cartridge which might affect tracking pressure. used, applying ecual pressure en both sides The heavy turntable weight is the of the stereo retort roove,to minimize optimum' for perfect torque and flywheel stylus and record wmr. action in the Type A70.

www.americanradiohistory.com TYPE A70

TYPE A70 COMPARATOR CHART

0 TYPE A70112 OTHER MN 0 Dynamically balanced, counterweight- adjusted tone arm

a TYPE A70Irj OTHER - Flat silhouette and low center of gravity (tone arm)

TYPE A70 Ma OTHER - Audible visible 1/4 gram check settings on stylus pressure gauge built into tone arm

D TYPE A70 Ea OTHER - New lightweight shell

TYPE A70.2 OTHER MN Adjustable bias compensator (anti -skating device)

13 TYPE A70 12 OTHER MI Needle pivots for tone arm bearings

0 TYPE A70 OTHER MI Exclusive full-sized, heavy, balanced cast "sandwich" turntable

TYPE A70 OTHER - Double shielded Laboratory Series® 4 -pole shaded motor

0 TYPE A70 El OTHER - Ultra- sensitive trip with Delrin® The Type A70 is built around the Garrard Series® 13 TYPE A701112 OTHER ME Laboratories. shaded 4 -pole motor, Garrard's exclusive pusher platform, offering the designed specifically for great advantage of automatic play when desired, without compromise (Safest automatic record handling use with this turntable principle ever developed ) and drive assembly. It is shielded completely. top and bottom, with TYPE A7012 OTHER / accurately oriented Garrard iridescent color, compatible with all cabinet finishes plates which prevent any interference or hum, even when ultra - 0 TYPE A70 12 OTHER - sensitive magnetic New decorator base - optional cartridges are used.

TYPE A7012 OTHER - Spring cushioned suspension, damped by foam rubber to prevent feedback and sympathetic vibrations The new trip mechanism Ll TYPE A70 i7 OTHER of the Type A70 is a I As marvel of sensitivity. Simple installation and service: Type A70 is stereo -wired with 4 -pin, 5 -wire system. Separate ground in the Lab 80, it is connection eliminates hum. Leads simply plug molded of Dupont into player with built in Amplok plug (for AC) and female is twin phono socket on unit plate (for audio) Delrin®. Friction eliminated to such a degree by this "slippery" material. that the side pressure on the tone arm Specifications: becomes virtually 4 speeds: 162/3, 331/3, 45 and 78 rpm. unmeasurable, and the 100 -130 volts, 60 cycles AC (50 cycle pulley available) unit will trip perfectly Minimum cabinet dimensions: 163/4" left to right, 141/e" front to rear, every time, with no affect 6" above and 22/a" below motor board upon tracking ability.

www.americanradiohistory.com This is the new AT6O an automatic turntable with intermix capability Handsomely dramatic in the new Garrard iridescent color and brushed aluminum, this precision model meets all the critical performance standards required of a Garrard automatic turntable, offering the additional advantage of compact versatility. The tubular tone arm is particularly efficient... dynamically -balanced and counterweight - adjusted, with built -in stylus pressure gauge. Under its distinctive turntable mat, the AT60 incorporates a heavy, die - cast, oversized turntable - dynamically- balanced and non -magnetic. This feature - so vital to professional performance - has been found previously only in the highest bracket automatic turntables. The price of the AT60 is $59.50

This massive turntable makes for more constant speed. and correct torque through flywheel action. It also facilitates using the AT60 with refined cartridges and amplifiers of greater sensitivity than in earlier music systems.

www.americanradiohistory.com AT60

The turntable of the AT60 is an example of the Garrard policy of consistentlt upgrading equipmen= by incorporating the advantages of higher priced units as soon as they can 1-e made available ... when the changes can be expec ted to impart genuine improvement in performance_

www.americanradiohistory.com The tone arm is tubular... dynamically- balanced and counterweight- adjusted. The tubular design will be recognized as one of the most popular formats for arms sold separately and used with single play turntables; and those featured in certain "high priced" automatic turntables.

The AT60 incorporates a self- adjusting bias compensator ... anti -skating device. With side pressures on the stylus made negligible, the AT60 will track the most compliant cartridges. In the advanced AT60 version, the tone arm has a built -in stylus pressure gauge, legible from the top for precision setting.

In the AT60 a bayonet fitting keeps the shell instantly removable, yet rigidly held while playing to avoid resonance.

With the new low mass cutaway shell, and the revolutionary Dupont Delrin® trip mechanism, the AT60 will track and trip the most up to date cartridges at minimum pressures. One additional advantage of the new shell design is the safety and convenience of being able to locate the stylus accurately on the record.

www.americanradiohistory.com AT60 AT60 COMPARATOR CHART a 0 A AT60 NMI OTHER - Tubular dynamically -balanced counterweight -adjusted D tone arm

1:1 AT60 112 OTHER IM Built -in stylus pressure gauge, legible from top

0 AT60 OTHER = Tubular overarm

D AT60 r2 OTHER MI Needle pivots for arm bearings

0 AT60 ICA OTHER MI Lightweight cut -away shell and finger lift u 0 AT60 OTHER MI Positive -acting tone arm safety catch to prevent accidents, simplify portability

AT60 ICA OTHER - Heavy, cast, oversized turntable

0 AT60 r2 OTHER IN Double- shielded Laboratory Series® 4 -pole shaded motor, in a special version designed exclusively for the AT60

0 AT60 OTHER NM Automatic intermix operation, when desired

AT60 E2 OTHER - Two spindles are The short spindle is Supersensitive trip. As in all the new Garrard models, provided. A convenient interchangeable with a the AT60 utilizes Dupont Delrin® to offset friction and make it possible to track and trip high short spindle is used center -drop spindle compliance pickups at correct minimal tracking force for playing single records for automatic play, manually. when desired.

AT60 OTHER IIIII Decorator styled base - optional

D AT60 CA OTHER = Simple installation: AT60 is fully wired for stereo, with a 4 -pin, 5 -wire system utilizing separate connection for ground, to eliminate hum. Leads connect to the changer with a built -in Amplok plug (for AC) and a female twin phono socket mounted on the unit plate (for audio). Simply plug-in at the player!

With the automatic spindle and tubular overarm Specifications: in position, the AT60 becomes the safest and 4 speeds: 162/3, 331/3, 45 and 78 rpm. most reliable 100 -130 volts, 60 cycles AC (50 cycle center -drop intermix automatic available pulley available). today. The spindle removes for safety and convenience Minimum cabinet dimensions: 153/8" left to right, 131/e" front to rear, in taking records off the turntable. AT60 is compact, 47/e" above and 22/e" below motor board. fits easily into any record changer cabinet or space. www.americanradiohistory.com This is the new Model 50 Garrard has now designed an exceptionally compact automatic turntable at the price of an ordinary record changer! It is a handsomely styled 4 -speed unit designed to introduce new standards of performance and versatility to systems where space must be considered. This brilliant little manual/intermix automatic is suitable for installation in any type of component music system; or in consoles, where it is perfect as a replacement unit. Built to Garrard's highest standards, Model 50 incorporates a number of advanced features never before available in a record player of such modest price. Model 50 is an excellent example of how much can be accomplished by the Garrard organization, with its half- century of experience, setting out to create a new precedent for quality and precision in an economical unit. Compare the Model 50 with the most expensive automatic turntables, and you will find that the counterweighted tone arm and full sized turntable impressively illustrate this point. The price of the Model 50 is $44.50

The shell is the lightweight cut away type with an extended finger lift for safety in handling. Stylus pressure is adjusted It plugs in ... accommodates with a simple, accessible finger your widest personal choice of touch device, for correct cartridges ... can he removed tracking force, according to the from the arm instantly to change cartridge manufacturers' the cartridge or service the stylus. specifications.

www.americanradiohistory.com MODEL 50

The graceful cast aluminum tone arm is counterbalanced - the first time this type of arm has been available in a popular priced unit. This feature alone gives the Model 50 particular significance - an automatic in the economy field which can track high quality cartridges , for finer sound reproduction

www.americanradiohistory.com MODEL 50

MODEL 50 COMPARATOR CHART

A MODEL 50 Ea OTHER - Counterweighted cast aluminum tone arm

n MODEL 50 El OTHER - Lightweight cut away shell, with extended finger lift

MODEL 50 OTHER MI

Tone arm safety catch, for easy portability

MODEL 50 OTHER MI D 0 Automatic intermix operation when desired

MODEL 50 Ea OTHER - Handsomely styled unitized control panel with separate positions for manual and automatic play

n MODEL 50 MI OTHER NM Simple, convenient stylus pressure adjustment

n MODEL 50 El OTHER MN Oversized turntable with decorative mat

MODEL 50 Ea OTHER - Super sensitive trip with Dupont Delrin®

n MODEL 50 r2 OTHER IM Garrard 4 -pole shaded "Induction Surge" motor, with dynamically balanced rotor, shielded from hum. Constant speed assured, free from vibration

n MODEL 50 0 OTHER Decorator styled base - optional

n MODEL 5012 OTHER ON Garrard's most compact unit, fits any cabinet The turntable is oversized; and the handsome mat is reminiscent of previous Garrard models in a considerably higher price echelon. n MODEL 50 12 OTHER N Installation is simple. Model 50 is fully wired for stereo, with a 4 -pin, 5 -wire system utilizing separate connection for ground, to eliminate hum. Leads connect to the changer with a built in Amplok plug (for AC) and a female twin phono socket mounted on the unit plate (for audio). Simply plug in at the player!

Model 50 is the most compact multi -speed In automatic position, automatic turntable. Only Model 50 intermixes Specifications: speeds: 162/3, 331/3, 45 and 78 rpm. 6162" height overall, records of any size or 4 in volts, 60 cycles AC (50 cycle pulley available). it will fit where other sequence. Two spindles 100-130 A con- Minimum cabinet dimensions: automatics may not. are provided. 147/8" left to right, 121/2" front to rear, Sparkling in the new venient short single play 45/8" above and 21/e" below motor board. Garrard iridescent color spindle is interchange- and brushed aluminum, able with the center Model 50 will enhance drop automatic spindle, the appearance of any removable for safety music system. in handling records. www.americanradiohistory.com WORLD'S FINEST There is a specific Garrard model for your high fidelity system.

LAB BO Automatic Transcription Turntable $99.50 TYPE A70 Automatic Turntable $84.50

MODEL 50 Automatic Turntable $44.50 In selecting the Garrard model which best meets your requirements, you may depend upon the experience of your dealer. (We publish a list of Garrard dealers and will be pleased to send it on request.) Bear in mind that the purpose of the record playing unit is not only to perform excellently, in conjunction with the other components in your music system ... but also to protect your growing, valuable library of records. A Garrard is a long range investment ... built by a manufacturer with 50 years of experience, respected throughout the world for its tradition of integrity. Your Garrard is built for the years, and its performance to your complete satisfaction is assured by a meticulously trained and supervised national authorized service organization, supported by the most complete stock of spare parts in the industry, available throughout the country.

MOUNTING BASES. Decorator styled in Oiled Walnut, or sanded, unfinished ... with precut mounting boards for all Garrard units. $4.45 to $6.50 DUST COVERS. Molded from clear vinyl (Mounting boards for cabinet.installations- $2.25) to protect your Garrard from accidents. $4.95

MODEL SPG3 STYLUS PRESSURE GAUGE. A sensitive, precision gauge which helps to maintain correct tracking force at all AUTOMATIC SPINDLES. For 45 rpm records. $3.80 times. $2.95

A wide range of accessories is available, to simplify installation of your Garrard automatic turntable, protect your record library, and add to your listening pleasure.

Prices and specifications subject to change without notice.

www.americanradiohistory.com arv,.And g WORLD'S FINEST RECORD PLAYING EQUIPMENT

Garrard, Div. British Industries Corporation, Port Washington, N. Y. www.americanradiohistory.com The Scaott 340 ... the tunerlamplifier Electronics World said \\ must certainly be classed as one of the finest integrated tuner/amplifiers we have tested. "`

In review after review the critics are unanimous about 36 watts per channel with both channels in their praise of the Scott 340B Tuner /Amplifier. operating. It offers technical performance unmatched by "The FM tuner is in the first rank in all respects. even the finest separate components. IHF usable sensitivity (rated at 2.2 µv) measured The highly respected editors of ELECTRONICS 1.7 pv... WORLD, in their June, 1964 issue had this to say: "... Suffice it to say that the unit met, and in "... from the first, it was evident that this was many cases substantially exceeded, every one of a superior product. It has the utterly smooth, the ratings for which we were able to test. It is clean sound which we normally associate with not often that we can confirm EVERY published the finest component systems. specification of a high fidelity component, par- "The husky Audio section of the 340B, which is ticularly one as complex as (this), and it was a rated at 30 watts (r.lm.s.) per channel delivers gratifying and pleasant experience ..." $399.95 TREE 1965 STEREO GUIDE IH.H. Scott, Inc., 111 Powdermill Rd., Maynard, Mass.

Please send me your new 20 -page full -color 1965 Stereo Guide and completa catalog. Scott 380 AM /FM Tuner /Ampli- Scott 345 FM Stereo Tuner /Ampli- Silverplated front end. Only Send me complete information on fier fier. new con- has all of the features and The moderately -priced 64- Scott, of all manufacturers, soles by Scott component quality in fine performance characteristics watt 345 features Time -Switching heavily silver -plates cascode beautiful, hand -finished cabinets. of the 340B. It includes in ad- multiplex circuitry, famous silver front ends to attain maximum dition, superb Scott Wide -Range plated RF front end with sensitivity and most 2.2 µv reliable Name AM the AM circuit Hirsch - IHF usable sensitivity, and most performance. In addition the Houck Labs called the finest of the other high quality features 340B and 380 utilize Scott - AM tuner we know of on the of the 340B. Automatic indicator perfected 'Time- Switching" Address current market." $469.95 light telFs you when to switch to multiplex circuitry to provide stereo. Like all Scott components, maximum separation and perfect City Zone. State the 345 carries a full two -year off- the -air recording. guarantee. $364.95 Export Scott International, ill PowdermiS Road, Maynard, Mass. Canada: Atlas Radio Corp., 50 Wingold Ave., Toronto. Cable HIFI Ill SCOTT® Price slightly higher West of Rockies- Subject to change without notice. CIRCLE 100 ON READER -SERVICE CARD OCTOBER 1964 79

www.americanradiohistory.com The Struggle for Perfection

being a short survey of conductors' rehearsals on record.

BY DENIS STEVENS

EIGHT YEARS AGO, with the release of an album find that Mahler- between rehearsals -had penciled called "Birth of a Performance," Bruno Walter gave the word "solo" at the appropriate point in the play- music listeners a wholly new perspective on the art er's music. From then on, there was no danger of a of recording. Comprised of Mozart's Linz Symphony half- hearted entry. Walter uses this trick with ad- preceded by three sides of rehearsals with the Colum- mirable effect in talking to his double- bassoonist: bia Symphony Orchestra, the Walter set inaugurated "This is your solo -I must hear this very well." an era in under -the -hood revelations which has now If his rehearsal of the Linz Symphony sounds spread over several labels and represents such well - now and again overfussy, even precious, it must be known conductors as Beecham, Serafin, Solti, Tosca- borne in mind that when this recording was made nini, Karajan, and Monteux. Walter was at the outset of a virtually new career as Most recently, Columbia has issued a Walter conductor of a specially assembled orchestra whose coupling of Schubert's Unfinished and Beethoven's members -however individually talented -had not Fifth Symphony, with rehearsals of the latter on an previously played together as an ensemble. Display- extra bonus disc (M2L 5906 or M2S 6506). Collec- ing a meticulous care over the tiniest details of tors who missed the Mozart album (DSL 224) - accent, rhythm, and dynamics, Walter is never afraid and the later record featuring rehearsals of Mahler's to stop the men and talk to them, or even let them Ninth and talks with the conductor, included in talk to him, about ways of achieving greater M2L 276 or M2S 276 when this set was first re- finesse. His long experience as an accompanist of leased- should seize upon the Beethoven. Here they Lieder serves him well in his unquenchable desire to will discover how a great interpreter of the Viennese bring out the lyrical lines of Mozartean melody. He classics brings freshness and vitality to one of the is also particular about rhythmic control, especially most battered scores in the basic orchestral repertoire. in the slow movement, explaining beforehand exactly From the simple, direct approach to the famous what he wants from the players. Walter's voice was opening attack (Walter insists on a truly Beethoven - hardly that of a trained singer, but his musical ian urgency) to the complex finesse of phrasing in meaning is never in doubt. Like Toscanini, he fre- the slow movement, the listener is carried along quently exhorts his musicians to use a singing tone, almost as if he were sitting in the orchestra. This even in accompaniments. In 1935, when Toscanini careful attention to detail, especially as it affects first conducted a British orchestra (the newly formed

problems of balance, characterizes Walter's rehearsal BBC Symphony, trained by Sir Adrian Boult) , he of the Mahler symphony too. Cross -dynamics from took great trouble to perfect the balance of the lower muted and unmuted horns, the phrasing of a cello strings at the beginning of Elgar's Enigma Varia- theme, correct balance within the trombone sections: "Is only 'armony, yes, but is lovely music. It tion -all these contribute tiny, deft touches of must be alive." An object lesson to those who neg- color to a resplendent whole. He sums up his atti- lect inner parts in order to devote more time to mal- tude in his words to the orchestra before they begin treatment and distortion of the melody. the second movement: "The difficulty is, it's very Highly sensitive to pulse and accent, Walter never different if one part plays piano and the other part confuses the two, and takes good care that his mu- plays forte, so don't just join the others; everyone sicians understand what he wants from them. Some- should look what his marking is." times he discusses a purely technical matter, such as Walter seems to have been completely devoid of choice of the best kind of bowing, and here the the autocratic manner assumed by many maestros. concertmaster's advice is welcomed. He plays a His methods sometimes recall what we have been phrase, and the other first violins repeat it. Then told of Mahler himself, whose fanatical pursuit of this passage is tried over again with the rest of the perfection at the Vienna Opera raised the artistic orchestra, but Walter stops them, and explains that standards of that institution to unparalleled heights. he can still hear an accent where none is called for. A reticent second oboe or second clarinet, unwilling Once more he begins probing for cause and effect. even momentarily to steal a little limelight, would It is as if he wants us Continued on page 84

80 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Scott's top rated LT -110 FM Stereo Tuner Kit now at a new low price...$139.95! ...1.88 uy sensitivity by a home alignment procedure without instruments ... an exceptional feat ..." Electronics Illustrated

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Here's terrific news for kit builders! Now, the advanced multiplex equipment available. Among famous Scott LT -110 tuner kit ... the same kit the LT- 110 -B's many pluses: Stereo Separation top rated by every audio expert . . . the same in excess of 30 db, Sonic Monitor Stereo indicator, superbly engineered FM Stereo tuner built by 60 db signal -to -noise ratio, sensitive tuning meter. thousands of hi fi enthusiasts ... is now available Here's what the technical editor of Electronics in handsome new styling at a truly modest price. Illustrated said about the LT -110: "If you have Look at the outstanding features of this superb hesitated to go into stereo FM because of im- tuner. It includes a heavily silver -plated front end agined complexities and highly technical skills that is pre -wired and tested in Scott's engineering and knowledge that might be required, fear no laboratories. The critical multiplex section is also more. The LT -110 shows you how to enjoy stereo completely pre -wired and tested with the most FM the easy way." TREE 1965 STEREO GUIDE H.H. Satt, Inc., 111 Powdermill Rd., Maynard, Mass.

Please send me your new 20 page full -color New LK -72B 80 -Watt Stereo Am- LK -488 48 -Watt Complete Stereo Exclusive FULL -COLOR instruction 1965 Stereo Guide and comp ete catalog. plifier Kit. Here's a popular inte- Amplifier Kit. More than enough Book "eliminates just about the grated stereo amplifier kit at an power for the majority of music last possible chance of wiring Send me complete information on new con- outstanding price. Rugged stereo has errors . Every systems. The all -new LK -48B part and soles by Scott . . . component quality in output stages deliver 80- watts, two new convenience features, a every wire are shown in natural beaatifJl, hand -finised cabinets. can be used with any speaker switched front panel headphone color and proper position. In ad- systems. Every conceivable con- output for private listening, and dition, each full -color illustration trol feature is found on this ver- a powered center channel output in the instruction book is ac- satile amplifier Including a to drive extension speakers. 13 companied by its own PART - Name switched front panel headphone front panel controls. Complete CHART, another Scott exclusive. output, complete recording facili- tape recording facilities. Typical The actual parts described in the Address ties, and provision for driving Scott luxury features include all - illustration are placed in the a third or center channel loud- and DC- operated exact sequence in which they are aluminum chassis City Zone.... State speaker system without additional heaters for lowest hum. Only used. amplification. Only $149.95 $129.95 Export: Scott International, III Powdermill Road, Maynard, Mass. Canada: Atlas Radin corp. 50 Wingold Ave., Toronto. Cable HIFI SCOTT® Priceslightly higher West of Rockies. Subject to change without notice. CIRCLE 100 ON READER -SERVICE CARD OCTOBER 1964 81

www.americanradiohistory.com Good -bye thread -up problems!

FREE long -roll bonus! A self -threading reel with purchase of 7" roll of double or triple length tape! No more tape fumbles, even with boxing gloves on! Just lay tape inside this reel, start recorder -and watch the reel thread -up automatically. Takes any tape thickness or leader tape. Releases freely on rewind. Get one free in the special pack shown. Just purchase a regular 7" reel of either double or triple length "SCOTCH" Brand Recording Tape (up to 6 hours recording time at 3% ips). See your dealer.

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www.americanradiohistory.com The Struggle for Perfection Continued from page 80

to hear Mozart as we see a beautiful view through A different kind of conductorial approach is glass-expansive, colorful, and clear. represented in the rehearsal excerpts for Georg Solti's With "Beecham in Rehearsal" (originally spon- Tristan and Isolde with the Vienna Philharmonic sored by this journal, now on Odeon ALP 1874, Orchestra and Chorus, and a cast headed by Birgit available as a Capitol import), we find an attitude Nilsson and Fritz Uhl (London A 4506 or OSA towards the Haydn symphonies comparable to Wal- 1502). Solti, of course, found himself involved in ter's in its attention to detail; and if Sir Thomas the vast sonic complexities of recording a Wagnerian is Walter's equal in the matter of internal balance, he opera in multichannel sound. Attention is rightfully surpasses him occasionally in rhythmic zest and a paid to the vital matter of acoustics -the difference true feeling for the dance. A Stravinsky -Craft conver- in reverberation between an indoor and an outdoor sation refers to Walter's constant appeals for a sing- scene, for example, or the hunting calls echoing and ing tone, and goes on to state that it is dance, not reechoing as they recede into the distance, which song, that the conductor should have evoked. Bee - for many listeners is the living -room wall. As every- cham's evocation of Terpsichore depends for its suc- one knows, a complicated setup can be a powerful cess not upon speed but (as he always insisted) on consumer of time, and so of money. Solti, realizing having the right accent in the right place. One minute this, rehearses lengthy sections with the minimum he jokes with his musicians, the next he coaxes them: of stopping and starting: he prefers to rap out an the result is an eighteenth -century minuet in which order over the general tumult, outline a phrase before noblesse provides an aristocratic obbligato to a it arrives, and call loudly upon his cohorts in the dance whose primitive pulse reigns supreme. hope that at least the principal of each section will Beecham always pretended to loathe rehearsals, hear, and relay the desired reaction by telepathy to and in the early part of his career would either ar- the players behind. Bad ensemble, however. will rive late or not at all. During a break in the re- make him call a halt. " Bisschen zu spät," he corded rehearsal, he tells his men how, after a very admonishes the tardy chorus, and goes over the entry long experience, he has come to realize that they are once more to make certain of accuracy. much wider awake on the night of the concert if Undaunted by the sheer bulk of the score, Solti they have little or no idea of what he intends to do. willingly takes time out to discuss a single note In fact, his stick was often wildly unpredictable - that vanished, or a single sound from a timpani that but its expressive qualities never failed him. He fails to satisfy critical ears. Equally alert in a piano could bring off an attack of almost superhuman rehearsal, he cheerfully sings the part of Isolde, with urgency by deliberately beating it a fraction too soon, Fritz Uhl obviously happier in that of Tristan; later, and he could bring forth sounds and colors from a but still with piano, he rehearses the eighteen French Sibelius or Delius score that no other conductor horns in their three groups of six so that all will be could hope to match. ready for the orchestral session when each group In his rehearsal of 11 Seraglio, Beecham shows will be in a different location in the recording build- himself partial to the kind of earthy humor that ing. The Alphorn used in Act II poses its own Mozart himself delighted in. Rarely has the March problems: once again trial and error lead to success. sounded so boisterous, or Constanze's "Welcher The effect of these rehearsal recordings is such that Wechsel" so wistfully sentimental. Beecham's singing even the most casual listener must realize that sheer voice, limited to a mere handful of notes, could physical endurance and almost unlimited patience hardly reflect his musical ideals: but these reached are an essential part of the conductor's armory. the soloists and orchestra via his unorthodox stick, By comparison with the Tristan document, the his powerful, stocky frame, and his compelling gaze. rehearsal record Continued on page 90

Beecham Walter Toscanini

84 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The Fisher XP -10, $249.50 "The XP -10 is truly a step forward in smoothness, transient response and musical quality. It handled percussion, piano, strings, brass, and what have you, as cleanly and precisely as any speaker

system we know." -AUDIO magazine, March, 1964

The following is AUDIO magazine's "Equip- speaker is overlooked, especially since it is it to the more efficient cone speakers, a 5t/- ment Profile" on the Fisher XP -IO Consolate usually the least expensive speaker in a decent - lb. magnet structure with an air -gap flux speaker system, reprinted in its entirety: quality three -way system. In fact the mid- density of 16,000 gauss was used. It is inter- The Fisher XP -I0 was introduced in the lat- range does the lion's share of the work since esting to note that the magnetic circuit on this ter part of 1963 and represents the crowning it must carry the majority of the orchestral tweeter is more powerful than the circuit on achievement of the Fisher line of loudspeakers. fundamentals. Just glance at one of those many woofers -but of course this speaker is It is a three -way system encompassing a I5 -in. charts which show the frequency range of much, much less efficient. woofer, an 8 -in. midrange speaker, and a orchestral instruments if you want to be Performance "soft dome" hemispherical tweeter. convinced. In order to gauge the performance of the Before going with an In addition to doing all that work, it must forward explanation XP -l0, we decided to go through extensive also be a smooth bridge between the woofer and description of this speaker system, it listening tests in addition to the usual micro- might be worthwhile and tweeter. We can't overstress the to look back briefly. If impor- phone pickup tests. our memory serves us tance of properly bridging the high and low correctly, Fisher has First let us look at what the microphone been making speaker systems a frequencies in a three -way system; a poor for only few revealed as far as frequency response and bridge can make even the best woofer and years. and yet some trade sources indicate dispersion. The frequency -response curve was that they are amongst the top few in tweeter sound somewhat poor. current essentially flat (within 2 db) from 50 cps popularity. rather The preceding makes us well believe the A striking performance (our starting point) out to 16,000 cps. At 30 which has been largely unheralded. statement by the manufacturer that he tried Undoubt- cps the curve was down 5 db and at 20,000 edly part of this success was literally hundreds of different combinations due to the fact cps it was down 7 db. The dispersion was that the Fisher name was on these speakers. of parameters before the right combination constant, within 3 db, over an angle of about was found. The final result is a midrange Equally important, however, was the fact that 90 deg., which was as far as we measured. We which is flat within 11/2. db. It required the progression of systems have been excel- an noted that the high -frequency response was 8-in. speaker with a 51/2-lb. magnet structure, lent performers for their day and age, and unusually smooth, thus corroborating the de- have 11/2-in. voice coil, and its own separate -from- been consistently upgraded over the signer's contention concerning the soft dome. years. Thus the- woofer loading. The upper crossover fre- we arrive at their best and most Indeed, our measurement of the midrange elaborate system to date. quency of 2500 cps was chosen as a good also agreed with his statements: it was well The XP-10 is compromise between the major orchestra also the finest piece of within the 11/2-db variation he claimed. Be- speaker fundamentals and the increasing importance furniture produced by Fisher, which yond that, the unit we tested had a remark- of dispersion with increasing frequency. is only partially indicated in the illustration. ably smooth response curve overall. Measuring 243/4-in. wide, 301/2-in. high, and The Tweeter The listening tests were the best of all how- 14'/8 -in. deep, it makes an unusually hand- The major innovation introduced in the ever. (They don't always agree with measure- some piece of furniture with its Scandinavian XP -l0 is the "soft dome" hemispherical ments, as you may well know.) We must Walnut exterior. Now let us take a look at tweeter. Usually, hemispherical tweeters have report that the XP -10 is truly a step forward what lies beneath that exterior. domes made of molded phenolic or spun alu- in smoothness, transient response, and musi- The Woofer minum, both very stiff substances. The as- cal quality. It handled percussion, piano, strings, brass, and what have you, as cleanly The 15 -in. woofer features the eddy- current sumption behind these stiff domes is the same and precisely as any speaker system we know. damped electrolytic- copper voice coil which as one would have in making a cone tweeter; We won't use that hackneyed term "best," was introduced in the Fisher XP -4A. This they require a stiff, light material because of because it is a meaningless term when applied technique provides excellent damping, and the frequencies involved. Unfortunately, these to speakers, but we will say it pleased us thus excellent transient response. The open stiff domes have certain resonances which immensely. You try it. air resonance of this speaker is 18 cps, and tend to show up above 10 kc. nSHER SPEAKER SYSTEMS in the enclosure provides good output in the The designer of this system reasoned that FREE! Mail this coupon for TECHNICAL FACT BOOM, the hemispherical tweeter is different than the your free copy of the Fisher 30 -cps region. The crossover frequency of technical fact booklet on 200 cps permits the woofer to operate in its cone tweeter in that it is driven at its periph- speakers plus the XP -10 technical fact sheet. most effective range and avoids some of the ery so that there is a certain amount of Fisher Radio Corporation phasing problems resulting from a higher structural strength (like an arch) making it 2t -40 44th Drive unnecessary to use materials such as alumi- crossover point. The low- frequency driver Long Island City, N.Y. 11101 num utilizes a 6 -lb. magnet structure. or phenolics. Instead he used a rubber - impregnated Altogether, the 15 -in. cone, the powerful cotton diaphragm and achieved Name driver, the excellent damping, and the low the same excellent dispersion and transient crossover frequency combine to produce clean properties of the stiffer materials, without the and tight bass. characteristic resonances of these materials. Address (A patent is pending on the idea.) The Midrange Speaker Of course, to take advantage of the excel- I City State_ - Often, the importance of the midrange lent properties of this tweeter, and to match L J OVERSEAS HE..InEHTS PLEASE wRITE TO FISHER anDiu INTERNATIONAL, ... .., 1,LAND ci r. N. V. 101. CAlADIAN RESIDENTS WHITE TO TFI.LEL ASSOCIATES, LTD., LOWDALE. ONT. The Fisher CIRCLE 48 ON READER -SERVICE CARD OCTOBER 1964 85

www.americanradiohistory.com Can you recognize these three great stars?

The first two are obvious to movie goers: Rock Hudson Concertone 800 is the only stereo tape recorder with and Doris Day starring in Universal's new comedy, double Reverse -o- matit® and six heads- allowing you "Send Me No Flowers." The third is ours and it's on to record and play continuously without reel turnover. the table. It's the Incomparable Concertone 800. This The 800 (portable or tape deck) is priced realistically unique stereo tape recorder plays a vital role in this and provides an exclusive combination of features. It hilarious new movie. When the script called for a tape starts as low as $379.95. Send for a free Concertone recorder, Universal Pictures wanted the finest, most 800 brochure and the name of your nearest dealer. modern machine available. That's why they selected Write to Concertone, Box 3246, South El Monte, Calif. the Concertone 800 to appear. It's as modern and CONCERTONED sophisticated as the live stars of the movie. The e

ROCK HUDSON and DORIS DAY star in "SEND ME NO FLOWERS" CIRCLE 29 ON READER -SERVICE CARD 86 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com et 1111

30 watts of stereo

in a suitcase!

There has never been a portable stereo phonograph like free -piston woofer and a 21/2-inch tweeter, connected the Fisher 50. Here, in a single piece of custom luggage through a genuine inductive -capacitive crossover network. about the size of a man's one -suiter, is the kind of stereo The drivers are designed and matched in accordance with previously heard only in the homes of the most advanced the latest ideas of Fisher loudspeaker engineers, and the high- fidelity enthusiasts. results make you wonder about established ideas on the One reason why the Fisher 50 performs like a much subject of size versus fidelity. Two 10 -foot cables are pro- larger and costlier stereo system is its 30 -watt (IHF) tran- vided to connect the speakers to the amplifier. sistor amplifier. A power output of 15 watts per channel The four -speed automatic changer is the world- famous is completely without precedent in stereo portables: and the Garrard. It plays both mono and stereo records either auto- transformerless solid-state circuitry of the Fisher 50 makes matically or manually,and shuts itself off after the last record. this abundance of power available at extremely low distor- The superior Pickering magnetic pickup cartridge has a tion, and with superior transient response at both high and diamond stylus for microgroove. There is even a zippered low frequencies. The transistorized preamplifier section pouch for accessories that fits into the streamlined Royalite® features a full complement of audio controls, input facilities carrying case. Nothing has been omitted that makes life for an external tuner and tape recorder, plus a front -panel easier for the traveling music lover. headphone jack with speaker -silencing switch for private Now you can listen to Bach in the mountains or Mozart listening. on the beach without wishing you had a real high -fidelity The loudspeaker design of the Fisher 50 is the other stereo system. The Fisher 50 is one. secret of its performance. The quantity and quality of sound Size: 233/4" x 141/4" x 8 ". Price: $229.50.* from the two compact enclosures will astound the most (To receive valuable Fisher literature without charge, use experienced stereophile. Each channel incorporates a 6 -inch postcard on front cover flap.) .,,

FISHER RADIO CORPORATION, 21 -40 44TH DRIVE, LONG ISLAND CITY, N. Y. 11101 The Fisher 50 CIRCLE 4S ON READER -SERVICE CARD OCTOBER 1964 87

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ri1__-__--_..J/I/._ _`""_ 3~\-``VJ__.'---+.'// `.+.C/'"J//' r -w... ---'/-

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AND ANOTHER... ever felt confused about adding tape to play, or to play forward and reverse - your music system? automatically. It's really quite simple. Jaunt over to Then you pick the Viking model you like your Viking dealer. He'll cheerfully best with complete confidence because explain the virtues of tape recording. you know that each is MADE BY SKILLED And he'll show you a Viking model de- AMERICAN CRAFTSMEN. signed to play tape, or to record and

RP83 Amplifier PA94 Amplifier 88 Stereo Compact 87 Tape Transport Studio 96 880 Portable Stereo Compact Retro -Matic 220 78 Tape Transport king OF MINNEAPOLIS, ]NC. 77 Stereo Compact 770 Portable Stereo Compact Auto -Tape 500 9600 Aldrich Avenue So. Minneapolis, Minn.55420 CIRCLE 87 ON READER -SERVICE CARD 88 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Don't just talk about the ideal amplifier.

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A i n , .._.. . K-1000 =.1 STR/lTi1K,T ,...... ' >f

THE FISHER S r1- ATAK/T Build it!

A virtually distortionless basic amplifier pletely original in concept and features Weight: 70 lbs. Price: $279.50. (Also of virtually unlimited power is no longer a host of engineering subtleties that will available factory -assembled and tested; just a conversational gambit among audio- delight the technically sophisticated. Yet Model SA -1000; $329.50.) philes. Now they can build one -with the the unique Fisher StrataKit method of kit FREE! 51.00 VALUE! The so Kit Fisher K -1000 StrataKit. construction makes it easy to build that Builder's Manual, an illustrated Here is the most advanced and most your young son can complete it just as guide to high fidelity kit con- powerful stereo power amplifier ever pro- successfully as a skilled electronic tech- struction. complete with de- IMrrrl duced by Fisher. Its IHF music power nician. tailed specifications of all Fisher rating is 150 watts with both channels With the laboratory -type calibration St rat a Kits. driven. The RMS power rating, again with meter on the front panel. the K -1000 Fisher Radio Corporation both channels driven, is 130 watts (65 can be precisely adjusted by the builder 21 -40 44th Drive, Long Island City, N. Y. 11101 watts per channel ). However, each channel to operate under optimum specifications Please send me will deliver 80 watts at 0.5% IM distortion and to maintain these at all times. The The Kit Builder's Manual without charge. and even lower I -kc harmonic distortion, exclusive Fisher StrataBalance -a simple, Name thus indicating the extreme conservative- foolproof invention -makes it possible to ness of the official rating. A home installa- balance the push -pull circuitry for mini- Address tion requiring even greater amplifier power mum distortion by means of an ordinary is virtually unimaginable. light bulb! City State

The circuitry of the K -1000 is corn- Size: 1 5 1 S" wide x 73/4" high x 12" deep. 011C11

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The Fisher K -1000 StrataKit I 50-Watt Laboratory Standard Stereo Power Amplifier CIRCLE 48 ON READER- SERVICE CARD OCTOBER 1964 89

www.americanradiohistory.com The Struggle for Perfection Continued from page 84

of La Traviata under the baton of Tullio Serafin flits by the microphone. Everything is solemn and (at one time given as a bonus with Capitol GCR everyone seems very much in earnest. Dealing with 7221 or SGCR 7221) seems tame. Apart from a those recitatives, whose contour Toscanini shaped so rather pointless argument at (rather than with) a skillfully, Karajan asks for contrast above all, es- luckless clarinetist, the disc is largely made up of pecially between the staccato notes and the plain uneventful Verdi accompaniments, over which Sera - ones: "Es muss ein grösserer Unterschied zwischen fin's falsetto solfège rapidly palls. The same opera, dem Staccato and dem anderen sein, die einen sind

however, can be heard as prepared by another, and zu verwaschen and die anderen viel zu kurz. . . . a master's, hand-that of Arturo Toscanini (avail- ( "There should be more of a distinction between the able through a contribution of $25 or more to Mu- staccato notes and the others; the former are too sicians Foundation, Inc., c/o Clyde Burrows, 131 colorless and the latter much too short...." ) Riverside Dr., New York, N.Y. 10024). Toscanini He asks too for a singing timbre, of dreamlike goes carefully through the familiar passages - quality. This kind of Teutonic abstraction usually "Seanpre libera" must be in tempo with lots of life, infuriates English and American players, who prefer and this it possesses in abundance, especially when to be told whether to play loud, soft, or mezzo - the Maestro himself sings. Soloists are present, but piano, but there is no doubt whatever about the the orchestra is not yet perfect, and he continues to splendid results of Karajan's frantically detailed sing when they reach "De miei bollenti spiriti," analysis of every note in a phrase. Of the great D adding afterwards that the orchestra must be "like major theme, every shade of meaning in its stepwise the best pianist." In the process of rehearsing the progression is discussed and tried out, first this way, duet for Germont and Violetta, Toscanini sings or then that: "aus dem D herauswachsen lassen, and hums both parts, and still finds fault with the or- dann wieder zurück die Verbindung von D nach E chestra. He probably knew the term Notenfresser, muss weicher sein; aber den Schwerpunkt schon auf for he tells the musicians (in Italian) that they das E legen." ( "Let the [tone] grow out of the D, gobble notes with the appetite of street musicians. and then back again: the connection between D and Invective was a necessary ingredient in Toscanini's E must be softer, but place the center of gravity rehearsal technique, just as quips and anecdotes were already on the E. ") When the return of the Adagio in Beecham's; and in their different ways the two is reached, great pains are taken with the balance conductors usually achieved the same polished result. of the divided violas and cellos, and the orchestra is constantly under fire for failing to observe the exact point at which a crescendo or decrescendo IN HIS WHITE -HOT preparation of Beethoven's begins. The entire rehearsal is an object lesson in Choral Symphony, Toscanini spends what seems to extreme and conscientious thoroughness, and the re- be an inordinate amount of time on the recitative ward is evident in a complete performance of the last

passages for cellos and double basses. Everything part of the finale ( from the Presto, meas. 208) . must sound magnificent, monumental, spontaneous; A Gallic view of the Choral Symphony comes and by dint of drilling his men, he eventually molds with the Monteux recording on the Westminster label that entire section of the finale into an unforgettable (XWN 2234 or WST 234), and though rumor has musical experience. In the main, Toscanini's attitude it that the conductor didn't know the rehearsal was is passionate rather than analytical. Quite the reverse being taped and felt somewhat unhappy about its is that of Herbert von Karajan, who can be heard release, the fact remains that his remarks are clearly rehearsing the same symphony in "Herbert von audible and make for enjoyable as well as instructive Kajaran bei der Probe belauscht" (a special disc at listening. He is particularly concerned with crisp- one time available as Deutsche Grammophon ness of rhythm in the Scherzo, taking the strings 004300). Unlike the Toscanini record, which in- over their individual entries time and time again cludes a running commentary by Marcia Davenport until perfection is achieved. The workout he gives in English, DGG's offering is in German from start to the first and third movements proves how sensi- to finish (and in a rapid, guttural, sotto -voce kind of tive the late maestro was to subtleties of balance and German which might tax the powers of compre- to the preservation of rhythmic strength. hension of even a native German), but admirers of Franz Liszt, talking of the art of conducting, Karajan's Beethoven cycle will probably find it once said, "We are pilots, not drillmasters." Yet well worth searching out. Certainly, much of the even Liszt would have admitted that the French nervous intensity of the conductor's personality word for rehearsal -répéter-expresses the basic emerges from his rehearsal procedure. need in the struggle for perfection which these con- Karajan talks a great deal, and the musicians ductors so well recognize. Sometimes, at least, the listen attentively, only rarely interrupting when some result is a great performance, whose myriad features necessary question has to be asked. There are no fuse into an indestructible musical alloy, unique jokes. Once, and once only, a spectral laugh or two and splendid.

90 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "By all means listen to this $95 speaker... This is not 'just another box. " HiFi/Stereo Review,

THE ADC 3o3A BRENTWOOD

"After the lab measurements had been lower distortion than I have measured "... this speaker brings the music right

made, and I had a chance to analyze on many larger and more costly speaker into your listening room . . . as con- the data, I began to appreciate how systems, under similar conditions." trasted to some in which the sound unusual this speaker system really is." "The system's resonance is 48 cps, and never seems to get out of the speaker So writes Julian D. Hirsch of Hirsch - ADC states that it delivers true bass enclosure." Houck Laboratories, in his "Technical response to at least 38 cps. This it cer- The ADC 303A was planned to pro- Talk" column in Hi Fi / Stereo Review. tainly does, with ease. The Model duce optimum performance in your The measurements that evoked his 303A is a very successful application of home, as well as Mr. Hirsch's listening enthusiastic comments revealed sur- the acoustic- suspension principle, room. prising qualities in a speaker so corn - achieved without excessive loss of effi- Prices slightly higher West of Mississippi. pact as the new ADC 303A. Here is ciency." Audio Dynamics Corp. how Julian Hirsch describes it: What Mr. Hirsch found in his labora- Pickett District Rd., New Milford, Conn. "For one thing, my tests confirmed the tory was impressive; what he heard in Z FREE! Mail this coupon and get a free copy manufacturer's claimed frequency re- his listening room was equally so. This of the full report on the new ADC 303A sponse of 35 to 20,000 cps ±3 db is the way he sums it up: Brentwood as written by Julian Hirsch. measured in an average listening "As for sound, the ADC 303A is very Name room." live and open. It has presence, but with- Address the Brentwood has a true, out the peaked unnatural response "... effective usu- City State response down to at least 33 cps, with ally associated with that term." 11F -1001

See the new Brentwood at the N. Y. High Fidelity Show, Room 333, Oct. 1 -4. CIRCLE 13 ON READER -SERVICE CARD OCTOBER 1964 91

www.americanradiohistory.com The show you'll never switch off early

Why spend your evenings watching Westerns on You and your Orga -sonic can put on TV when the Baldwin Orga -sonic lets you serenade a great variety show, from funny the prairie moon for yourself? A flick of the controls songs with sound effects for the short - and you can sound like a cowboy with a banjo. pants set to a longhair concert. At your Be a doer instead of a watcher. command the Orga -sonic gives you the Like travelogs? As the sun sets slowly over the big sound of a theatre organ or the sooth- crabgrass, ask your Orga -sonic to imitate the ing strains of a church organ. Hawaiian guitar, or try its many other special For only the Orga -sonic gives you all effects, including calliope, marimba, glockenspiel. four families of true organ tone: flutes, reeds, strings, diapasons. Exclusive features make it among the easiest organs to play well, certainly the most rewarding.

WHAT IS l I 1I A HOME ORGAN? I11l, For a further word on what makes Baldwin's model 54A the most complete organ in its class, write for your copy of the free booklet, "What Is a Home Organ ?" Baldwin Piano & Organ Company, Dept. HF 10 -64, Cincinnati, Ohio 45202. Or better still, see your Baldwin dealer. Baldwin Orga -sonic Official Piano and Organ, New York World's Fair, 1961 -65 CIRCLE 16 ON READER- SERVICE CARD 92 HIGH FIDELITY MAGAZINE

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the incomparable KG -854 All- Transistor 54 -Watt Stereo Amplifier Kit a tremendous value from the world's most experienced producer of solid -state hi -fi

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W90 shown on optional mounting base

W90 6- speaker system (two i21/2' bass, W60 Full -range 2- speaker system (121/? " bass; two 51/2" mid -range, two Super 3 treble), superbly matched 5" mid -range tweeter) in exclusive sand -filled enclosure. and integrated with a magnificent sand- filled enclosure. The original Achromatic system, W60 continues to he the most popu- The impact of the great Wharfedale s} scents used in tom. A. Briggs' lar Wharfedale model. Its high standing was established by compara- notable live vs. recorded demonstrations. now in a new faunal -- neither tive tests against speaker systems of every calibre. New magnetic compact nor large, to sound well and look well in any living room. materials. a more compliant cone surround, and other developments Maximum performance through advanced acoustical techniques- - have now added luster to its recognized acoustical qualities. Fine speakers with polystyrene facin -enclosures with tuned and 1k- furniture detailing. including new decorator-selected champagne bouclé Unlined ports. Now restyled with decrnator houclr fa.hric erille and grille fabric. Oiled or Polished Walnut, $122.50; Utility model, $106.50. handsomely finished table top. Oiled or Polished Walnut. $272-50; Utility model. $256.50.

Full -range 3- speaker system (121/2" bass; W40 Full -range 2- speaker system (101/2" low fregLency; 101/4" mid -range; Super 3 treble) in exclusive sand -filled enclosure. 5" mid -range tweeter) in exclusive sand -filled enclosure. An unusually versatile system providing excellent ba:s. transparent Now, W40 incorporates a highly advanced 101/2" bass speaker with highs and the fullness of a superb mid -range. Recent technical ad- extremely high flux density magnet, providing excellent low end. vances make it compatible with the latest electronic egn:pment, includ- Highs are reproduced without stridency through the same cone -type ing solid state. Now restyled with champagne bouclé grille and 5" tweeter as in the W60. Restyled with distinctive champagne bouclé decorative table top and base ... an attractive addition to any listening grille and decorative molding. it is admirably suited ro any music room. Oiled or Polished Walnut, $172.50; Utility model, $153.50. system where space must be carefully utilized, but quality is required. Oiled or Polished Walnut, $83.50; Utility model, $72.50. WHARFEDALE COMPONENT LOUDSPEAKERS Newest Achromatics 110 13

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www.americanradiohistory.com AS high fideli

O Lieber Schwann

FIFTEEN years ago this month. Mr. William ture is worth a thousand words, we shall content Schwann of Cambridge, Mass., brought out the first ourselves with reproducing, side by side, the Haydn issue of a new publication entitled Long Playing entry of fifteen years ago with a small snippet of the Record Catalog -a compilation of all the 331/2-rpm Haydn pages today. Could anything better illustrate microgroove records then in print. The editor well the fantastic growth of the LP repertoire in the remembers receiving it and thinking how relatively decade and a half since Mr. Schwann began pub- puny the consolidated LP repertoire was. For the lishing his invaluable catalogue? From nine Haydn War of the Speeds still raged furiously in October discs in 1949 we have progressed to 335 today. All 1949, and the microgroove bandwagon had only just told, 674 listings appeared in that first issue of begun to start rolling. Columbia Records, the origi- Schwann. This month's Fifteenth Anniversary Issue nator of LP discs, was by then no longer alone in lists over thirty thousand records. the fray, but its allies had not as yet taken up the It is easy for us to take this largesse for granted, new medium with much confidence or vigor. easy to assume that the profusion of music on records Our original intention this month was to hold today has always been ours to command. It hasn't forth learnedly on the contrast between Schwann . . . and a glance at the Schwann of 1949 is a of 1949 and Schwann of 1964. But since one pic- salutary reminder of how far we have traveled.

OrI y, Philadelphia Oren.._ . Messiah Huddersfield Choral Society Col. Si,- Fireworks Music HAYDN- Continued HAY r.. Royal Symphony No. 80 in d Symp Sargent, Liverpool Philharmonic Col. ML -4197 Scberchen, Vienna Sym. t Sym. 55 West. 18614 da Camera & 6 Symphonien Nos. 82, 83, 84, 85, 86, 87. `Paris" T Sonatas 5 Suisse Romande CHC Ansermet, Or. Scripka (violin), Rich (piano) Con. -15 3 -Lon. 7306 ;2306(9333/5);6333 /5) HAYDN Symphony No. 82 in C, "L'Ours" D, Sternberg, Vienna Sym. t Sym. 85 Haydn 9113 Quartet in Op. 64, no. 5, "Lark" Wand, Cologne Phil. t Sym. 103 Count. 615;5615 Budapest String Quartet Col. ML -4216 Symphony No. 83 in g, "Poule" Va.. Van i No. 30 G Op. no. 3, "Horseman" Healer, Vienna Coll. Musicum t Sym. 84 Quartet in minor, 74, Haydn 9116 Walter. Budapest String Quartet Col. ML -4029 Phil. 100 Münchinger, Vienna t Sym. WSidik, Quartet in B -flat, Op. 76, no. 4, "Sunrise" Lon. 9297;6230 Symphony No. 84 in Eb Budapest String Quartet Col. ML -4216 Mozart:Concertone Oiseau 50199;60020 Wolf t Davis t Symphony Seasons (oratorio) Hehler, Vienna Coll. Musicum t Sym. 83 Doratt,L Albanese, Verona, EIAR chorus & orch Cet. 1.P -1202 Haydn 9116 Gatti, Symphony No. 85 in Bb, "La Reine" Horenste Sonatas for Piano, numbers 12 and B Keilbe Baltzer, Vienna St. Op. Orch. t Sym. 82 Kler Lily Dumont, piano Con. CHC -18 ydn Keilberth.BambergSrm.tSym.101 HTeel. 18014 Ki Symphony No. 88 in G (number 13) Symphony No. 87 in A Ormandy, Philadelphia Orchestra Col. ML -4109 Swarowsky, Vienna St. Op. Orch. t Srm. 89 Haydn 9118 R Symphony No. 94 in G, "Surprise" Symphony No. 88 in G Schmidt- lseerstedt, Berlin Philharmonic Cap. P -6038 Berlin Phil. Mozart:Symm.. 39 Ri. Furtwängier, t Sc Symphony No. 101 in D, "Clock" 18725 Jochum,BerlinPhil.fSym.98 DOG 18823;138823 Tos.. Ansermet, Orch. de la Suisse Romande Lon. LPS -54 iochum,BerlinPhil.tSrm.98 DGG 18823;138823 WöK Trio in G Reiner, Chicago Sym. t Mahler :Das Lied 2 -Vic. Alma Trio Allegro LA -4 LM-6087:LSC.6087 Symph Scherchen,ViennaSt.Opp.Or. tSym.92 West.18616 Sch" HERBERT Szell,ClevelandOrch.tSym.104 Epic LC -3196 W. Music Walter, Columbia Sym. t Sym. 100 of Victor Herbert Col. ML- S886 ;MS -6486 W Kostelanetz and orchestra Col. ML -4094 Symphony No. 89 In F of Somogyl, Vienna Sym. t Sym. 90 Symph ggs Victor Herbert West, 19043;17043 Beec 'se Stevens Col. ML -2013 Swarowsky, Vienna St. Op. Orch. t Sym. 87 Haydn 9118 Kor e . Sm. t Sm. 89

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www.americanradiohistory.com SHOSTAKOVICH

E L

Z WITHOUT IDEOLOGY

www.americanradiohistory.com by Peter Peytt,ortb

The Soviet's most celebrated composer has had his artistic ups and downs, but is the Party really to blame?

DMITRI Shostakovich is the victim of two myths. the world. Because of this early start and his resi- In the Soviet Union, he has been held up as the dence in what was still in some degree the country's prime example of how collective criticism and the cultural capital, he participated directly, as con- guiding hand of the all -knowing Party can rescue temporaries like Khachaturian did not, in the ex- a composer from the barren trammels of modernism traordinary artistic ferment taking place in those and help him to speak in a language intelligible to first years of the Union of Soviet Socialist Repub- the people as a whole. In the West, he has generally lics. This was a period when the young revolutionary been regarded as a composer of immense promise state took it for granted that one of its functions whose genius has been stunted and deformed by the was to support revolution in the arts; and as a result, obscurantist Communist doctrine of the arts as serv- musicians of radical aesthetic bent -politically naïve, ants of social ends. disingenuous, converted, or merely curious -flocked Shostakovich's career offers enough evidence to to the new Mecca. make either of these views superficially plausible. In Leningrad the young Shostakovich was able It is true, in a way, that he was -at a crucial moment to see Berg's Wozzeck on the stage of his local in his development -in some degree "rescued" from opera house shortly after its first performance in modernism. It is most certainly true that he suffered Berlin in 1925, and almost a generation before he a great deal in the worst days of Stalinism. Yet both would have seen it had he lived in Paris, London, theories leave a good deal unexplained. For instance, or New York. There is every reason to suppose if Shostakovich's weaknesses as a composer are to that its effect on him was profound. No less crucial be attributed to the stultifying dogmas enforced by to his development were the symphonies of Mahler, Zhadanov, why is his Symphony No. 12, written in which conductors like Bruno Walter and Fritz the full flood of Khrushchev's thaw, by so far his Stiedry were then making known in the Soviet worst? Conversely, if the Party "rescued" him from Union. Although Stravinsky had cut all links with modernism, how is it that his Fourth Symphony, his fatherland, his early neoclassical works were which was banned in 1934 during rehearsals for the performed there. Bartók came as an interpreter of first performance, didn't turn out to be particularly his own music, and so did Hindemith, Milhaud, and "modern" when it was finally heard a couple of Honegger. Above all, at this time scores were still years ago? The fact of the matter is that Shostako- arriving from the West. vich's evolution as a composer has been too unpre- Surrounded by all this revolutionary ferment in dictable to provide useful ammunition for political the arts, what could have been more natural than controversy. It will be many years before we know that a prodigiously gifted rising composer should the full truth, but it certainly won't be as simple as have plunged into it with all the abandon of youth? ideological warriors would have us suppose. And in doing so was he not helping to overturn the stuffy old idols of the bourgeois world with its plushy, flyblown romanticism? Like young Hinde- IN 1917, when the revolution broke out in his mith and Weill in Berlin, like young Walton in native city of Leningrad, Shostakovich was a mere London, like Stravinsky and Les Six in Paris, so child of eleven. He is thus the only composer of Shostakovich threw himself into this new world of world repute who has spent his entire working life antiromantic modernism. As a result, his music in under Communism, and in the dramatic ups and the late Twenties is for the most part irreverent, downs of that life are mirrored much of the stormy grotesque, leg- pulling, and full of his own special history of the arts in the first Marxist state. brand of sardonic, parodistic humor. Music of all Shostakovich was only nineteen when his First sorts poured from his pen: a satirical opera called Symphony, written in 1925 while he was a student The Nose, incidental music to Mayakovsky's The at Leningrad Conservatory, carried his name around Bedbug, the score for a ballet on the adventures of

OCTOBER 1964 97

www.americanradiohistory.com At left, the composer in his study, at about the time when he was writing the Fifth Symphony: at right, a feu. years later, in his wartime role as a volunteer member of Leningrad Conservatory's fire -fighting squad.

Sovfoto

a Soviet football team. These must have been intoxi- Russia itself. Naturally, the arts had a role to play. cating years, and like many young avant -garde artists From underminers of bourgeois life in countries Shostakovich devoted a lot of his energy to cocking supposedly ripe for revolution they had to be turned snooks at everything the past had stood for. For the into supporters of the status quo in the Soviet Union; time being all this went down quite well. As long as and clearly an opera written in a style that the Party the Soviet Union still regarded itself as the bridge- functionaries couldn't understand, and which in head of a world revolution, it had nothing against some degree could be said to glorify a murderess, art that held bourgeois society and its morals up to did not serve this purpose. Accordingly, Lady Mac- ridicule. beth was attacked in Pravda and disappeared from all In 1931 Shostakovich completed the opera that Soviet stages until the winter of 1962, when a re- was to mark the turning point in his career: Lacy vised version entitled Katarina lsmai /ova was Macbeth of Mtsensk. Based on Leskov's short novel. mounted in Moscow. At the same time as Lady it tells the story of a woman who murders first her Macbeth ran into trouble, the Fourth Symphony, rich father -in -law and then her feeble husband in which Stiedry was already rehearsing in Leningrad, order to run off with a brutal farm laborer. He of was withdrawn. At Edinburgh in 1962 Shostako- course deserts her, so she murders his new mistress vich claimed that he had himself withdrawn the and then drowns herself. The general style of this Symphony as he was "dissatisfied" with it -and lurid work is expressionist and there can he little promptly went on to emphasize that not a single doubt that Wozzeck was a considerable influence on change had been made in the score during the in- its general aesthetic aim. for Shostakovich's intention tervening years. was to depict the heroine as a pathetic victim of Prarda's attack on Lady Macbeth was the first circumstances. rather as Berg seeks our pity for his of a series of official assaults on artistic independ- feeble- minded batman. ence which did immense damage to the cultural life At first Lady Macbeth was an immense success. of the Soviet Union. But it does not follow that Certainly there was no question of banning it. Quite everything the Party organ wrote on this occasion to the contrary, it was staged all over the Soviet was foolish. I was fortunate enough to see the origi- Union. But in 1934 something went wrong. It is nal version of the opera on the last occasion it was said that Stalin attended a performance and, sitting given, in Düsseldorf in 1960. Pravda was, of course, directly over the ample and hard -worked brass sec- wrong to assert that an opera on this theme should tion, was baffled and enraged by what he heard. not have been written, but it is by no means certain Certainly neither in musical style nor in moral out- that it was wrong to mock the idea of turning such look was the opera well calculated to appeal to his a woman into a heroine. The circumstances in rather restricted sensibility. True or not, this story which Shostakovich's Lady Macbeth coldly commits is indicative of the fundamental changes that had two murders are by no means comparable to those in overcome the Soviet Union since the blithe days of which poor tormented Wozzeck knifes his mistress. Shostakovich's youth. Stalin had abandoned, for Furthermore -and this is crucial -Shostakovich's the time being, all hope of world revolution, in order music cannot rival the power of Berg's score in to concentrate on strengthening the Party's grip on compelling acceptance of the composer's point of

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www.americanradiohistory.com view. It is a youthful, brilliant score, but in its Russian opinion has good grounds for regarding it as dramatic effect it does not often rise above the level an immature score compared to the Fifth Symphony. of grand guignol. It totally lacks the tragic dimen- But it does not follow from this that the banning sion of Wozzeck. of the opera was justified, and still less that the at- For over eighteen months after Pravda's rebuke tack on it somehow helped Shostakovich to write his this usually fertile composer wrote nothing. And No. 5, Op. 47. In fact, the official Soviet thesis that then in 1937, still only thirty years of age, he pro- the crisis brought Shostakovich to his senses and duced his Fifth Symphony, obligingly headed "Crea- helped him to reach maturity is blown sky -high by tive reply of a Soviet artist to just criticism." Con- the Fourth Symphony. For almost thirty years this trary to everything that a Western liberal might remarkable score was unknown and unplayed. But expect, it proved to be Shostakovich's first fully ma- its first performances outside Russia revealed it as ture work. Naturally enough, the Party's cultural the missing link between Shostakovich's youthful officials were jubilant. Had not their criticism been works and the mature Fifth Symphony. Thus the admitted by its object as deserved? Better still, had very score in which Shostakovich was finding his it not yielded fruit in the shape of the finest score way to a deeper level of expression than he had that Shostakovich had yet written? The precedent so far attained was precisely the work that official- was an ugly one. The bureaucrats had demonstrated dom, with a characteristic blend of ignorance and to their own satisfaction that they could "improve" ham- handedness, chose to ban on the grounds that an artist, and in the coming years they were not to it was modern and immature. prove shy in attempting to repeat their success. Of course it is neither -at any rate not in comparison with Shostakovich's earlier writing. Like many works in which a composer is trying to find IHAVE GONE INTO the affair of Lady Macbeth of his way into a different style, it is not wholly suc- Mtsensk in some detail because it shows better than cessful; certainly as a work of art the Fifth Sym- any other incident in Shostakovich's turbulent career phony ranks higher. The Fourth consists of two huge what silly conclusions are apt to be drawn when discursive movements, between which is sandwiched politics and the arts get mixed up, and when people a brief scherzo. Neither of these two outer move- propound artistic judgments not on the evidence of ments is formally satisfactory. But in them, Shos- the works themselves but on the role they have ful- takovich, here strongly influenced by Mahler, ex- filled in a cause célèbre. Western opinion is not, plores a new world of emotional conflict. By any to my mind, justified in treating Lady Macbeth of standards, this is a fantastically inventive work - Mtsensk as a good work, let alone a great one. Not ideas are scattered around like so much confetti. all forbidden fruit tastes good. Conversely, official Though it is an unequal piece and the conflicts it

Sovfoto Soviet artists take holidays too: here Shostakovich strolls at a dacha near Leningrad.

OCTOBER 1964 99

www.americanradiohistory.com poses are never satisfactorily resolved, its faults are period he wrote the Fifth String Quartet, which is the faults of life and not of death; and if the func- almost certainly the best of an uneven but under- tionaries who so confidently undertook the task of rated series. Thus it turns out that what were appar- guiding Soviet music had had the least understand- ently the most black and barren years of Shostako- ing, they would have heralded it as a work of vich's life were in fact quite exceptionally fruitful. startling promise for the future. But then, if Stalin Once again the outward political scene offers little had not sat over the brass at a Bolshoi performance explanation for the music. For public consumption of Lady Macbeth, these functionaries would probably he served up a few trite cantatas on the approved never have taken exception to the new symphony pattern ( "The Sun shines over our Land," and so in the first place. on), as well as a certain amount of film music. So much for the crisis of Lady Macbeth. With the Fifth Symphony, Shostakovich redeemed himself; and shortly after came the War, in which he was HEN THE WORKS that Shostakovich had written used as a trump card for Soviet propaganda. After in the winter of Stalinism were revealed to the world the much publicized Leningrad Symphony (1942) after the dictator's death and discovered to be among there followed the far greater Eighth Symphony his best scores, it seemed that Khrushchev's thaw (1943), which contains some of the most profoundly might well usher in the most splendid and fruitful disturbing and violent music he has ever written. period of the composer's checkered career. And He followed up this massive score with the light- indeed the old sources of strife between them were hearted Symphony No. 9 (1945), in which he rapidly disappearing, for as the regime was becoming seemed to return to the jaunty manner of his mis- comparatively more liberal, so Shostakovich was spent youth. For a moment it appeared as though himself growing more conservative in his musical Shostakovich had again won the right to a certain sympathies. In 1958 he turned up at the Warsaw degree of creative independence. In fact, of course, Festival of Contemporary Music and listened atten- the Party had other things to attend to. But once tively to all the advanced products of the West, from the War and the initial aftermath were over, it set Nono to Cage, from Boulez to Stockhausen. On his about reasserting its grip on all aspects of Soviet life. return to Moscow he wrote an article in which he On this occasion the assault on the arts was led praised Bartók and Britten, preserved an eloquent by the formidable, catlike figure of Zhadanov, and silence over Stravinsky (who was and is still a highly what happened made the event of 1934 seem like controversial figure in the Soviet Union), and dis- the merest storm in a teacup. In 1948 Zhadanov missed all dodecaphonic music as valueless. himself presided as grand inquisitor over a confer- But once again Shostakovich failed to oblige those ence of musicians. Alexander Werth's fascinating who would interpret his career in terms of political book Musical Uproar in Moscow describes the pressures. The last decade has produced only one shameful humiliations inflicted on any composer really fine score -the terse yet intensely lyrical Cello who tried to stand up for himself. Backed by nause- Concerto. The symphonies of these years have been ating waves of sycophantic laughter and applause, a particular disappointment. No. 11 (1957), which Zhadanov poured cheap mockery on contemporary is based on events of the abortive revolution of 1905, music. Prokofiev had the courage not to attend - contains some evocative descriptive writing but on the grounds of ill health. But the more timid finally lapses into bathos and monumentality. The Shostakovich, whose nervousness still makes it an Symphony No. 12 (1961) rarely rises above this agony for him even to acknowledge applause on a sorry level. It is a stiff, mechanical affair that at platform, was obliged to admit the error of his ways moments sounds like a cruel parody of the com- in two pathetically subservient speeches. poser's symphonic mannerisms. Thus at the crest If Shostakovich's disgrace in 1934 did not produce of his career, at a time when there can have been the Fifth Symphony, as Soviet critics would have it, little grounds for conflict with authority, Shostako- it at least did not deter the writing of that master- vich produced a score that would have given pleasure piece. The infinitely more drastic events of 1948 to Zhadanov himself. Some people argue that its were totally destructive in effect. A blight com- deadly lack of imaginative power stems from the pounded of bigotry, philistinism, professional envy, fact that it was written for the twenty- second Party chauvinism, and sheer brutish stupidity overnight congress of 1961 and deals with the events of the reduced the whole of Eastern Europe to a musical 1917 revolution. But Shostakovich is not the first desert. The astounding thing is that some of the composer who has written a score to order (Haydn musical officials who served as instruments of these and Bach, not to mention Verdi, were used to doing outrages still sit in office in Moscow and greeted so), and there is no more reason to suppose that the Stravinsky on his recent return to Russia. For a whole subject of the Revolution is antipathetic to him time it was thought that the effects on Shostakovich than to suppose that the sins of a Renaissance pope had been disastrous. For years nothing of importance render the Resurrection antipathetic to a Christian. was published, and it was not until the death of Others will point to the fate of the composer's Stalin in 1953 that he released first his Tenth Sym- most recent Symphony, No. 13 (1962), abruptly phony (armed with a curiously self- deprecatory pref- withdrawn soon after its first performance and as ace) and then the Violin Concerto. In this same a result yet to be heard in Continued on page 185

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www.americanradiohistory.com thby Norman Eisenberg

Products:

A survey of the latest equipment on view this fall.

T :\ EW EQUIPMENT, like plant life, appears each year in a variety of shapes and sizes. Unlike plants, however, man -made products in the audio field attain their major flowering in the fall, starting at the San Francisco and New York high fidelity shows and then continuing in greater numbers through the corn- ing months and into next year. Unlike plants, audio gear also changes each season. The major change is most evident in amplifiers and tuners, or "electronics" in general. Transistors no longer are a trend in high fidelity but a dominant fact. Yet the venerable tube shows no sign of an early demise. Most manufacturers are employing both in liberal quantities -often to produce two distinct lines of equipment, sometimes in the very same model to develop what may aptly be called a hybrid. We thus have reached not merely the "coexistence" foreseen some time ago, but a state of technological eclecticism for which there is no parallel or precedent in audio history. No definite pattern is yet discernible, although it appears that the use of transistors alone predominates among the new "all -out"

OCTOBER 1964 101

www.americanradiohistory.com Among the new products from Fisher is its "Pro- fessional Series" of transistor units: a stereo receiver, a separate tuner identical to the tuner section of that receiver, and an integrated amplifier that is similar to, and slightly lower -powered than, the amplifier dew Proaucts portion of the receiver. The receiver itself, the Model 600-T, stands as Fisher's most ambitious single unit to date. At the same time, Fisher will and perfectionist units, such as the Citation B power offer updated versions of its tube models, including amplifier, the McIntosh C-24 preamp, the J. B. its StrataKits. A new solid -state line is the Sansui, Lansing control center, and the latest Acoustech which enters the field with a 110 -watt (IHF power) models. Tiansistors also are prominent in the inte- tuner /amplifier. grated amplifiers and tuner -amplifier chassis offered Altec continues in solid -state with new versions of by most of the industry, although here they still its integrated amplifier, tuner, and receiver. Eric share honors with tubes. And transistors have yet will introduce new transistor components, compact to turn up in equipment by Marantz and Dynaco, and sleekly styled. A low -cost line of transistor each of which has brought its tube models up to new tuner -amplifier combinations has been announced levels of refinement. The Quadramatic preamp and by Martel. From Spectron, Inc., a Miami manufac- power amplifier of Pure -Sonics, Inc., also use tubes. turer of government and industrial electronic gear, The bulk of new equipment falls noticeably in comes word of a new solid -state amplifier. KLH, in the combination -chassis class: preamps combined addition to its transistor amplifier, the Model 16, with power amplifiers, or both combined with FM/ will release a solid -state tuner. Acoustech offers new stereo tuners. A typical reason for using transistors transistor components in kit and wired form, among in this type of equipment is offered by Sherwood; in them its first integrated amplifier. Bell has an- announcing its new solid -state integrated amplifier, nounced a new receiver that may be bought first as this manufacturer points out that transistors have an amplifier-the tuner is added later. enabled it to produce a unit that can provide audio Hybrid units are in evidence from many sources. power output (50 watts rms per channel) "never Thus, Scott's 4312 tuner uses nuvistors (miniature before available in one compact" chassis. For lower tubes) in the RF section, transistors in the rest of power needs, Sherwood also is bringing out a new the circuit. Kenwood's expanding line of amplifiers, tube amplifier, while its updated receiver, the S -8000 tuners, and combination chassis includes some hybrid IV, remains an all -tube model. designs. The current Pilot receivers use tubes in the The pattern is similar in many lines; somewhat tuner sections, although the amplifier portions are different in others. Thus Bogen will release a new all transistorized. In the new McIntosh integrated transistor tuner and an integrated amplifier that amplifier, the front end or preamp is solid -state; the may be bought as separate units or combined on one power output section employs tubes. chassis as a "receiver." At the same time, Bogen continues to manufacture tube models. A forthcoming Knight line from Allied Radio includes both THE BIG NEWS in cartridges is the 15- degree verti- types of equipment, although new Knight -Kits are cal tracking angle, with virtually all new models so exclusively solid -state. Eico is releasing a new line specified. Somewhat -lesser news is the elliptical (or, of transistor kits (including a tuner /amplifier chassis) as Percy Wilson, our British confrere, would have it, to vie for attention alongside the company's tube ellipsoidal) stylus, offered in somewhat fewer new products. Harman -Kardon will offer, in addition to models. These developments notwithstanding, many its Citation kits, a new line of factory-built all - experts point out that other design features -such as transistor receivers known as the Stratophonic series. low mass and response resonances outside the audible Leak, via its U.S. distributor, Ercona, will offer its range -are equally important, and in fact many of first venture into transistors, the Stereo 30, which the new models will feature such characteristics. A also is this company's first integrated amplifier. At good portion of what is au courant in cartridges has the same time, Leak tube preamps and power ampli- been covered in recent test reports in this journal: fiers continue to be made. viz., the London Summation units; the Shure M44 -5 Heath will offer both types of equipment, in kit and V -15; the ADC Point Four and Point Four /E; and wired form; the new solid -state units may be the Stanton 481AA (now available with elliptical housed in walnut wrap- arounds. About equal atten- stylus as the 481 EL) ; the Empire 880p. A report tion to tubes and transistors is apparent in new on the new Ortofon SPE /T (with elliptical stylus) Scott equipment, which includes tuners, amplifiers, is scheduled for next month. A cartridge with ellipti- and combination chassis of both types. Scott also is cal stylus has been announced by Grado; Sonotone is readying a fairly high -priced console line that incor- bringing out a high- compliance version of its Veloci- porates many of the advanced circuit techniques tone series of ceramic cartridges; Pickering now has used in its components and employs a new compact four different versions of its V -15, to suit any type speaker system. Scott -Kits continue as part of the of playback equipment; Shure's newest cartridge is company's offering. the M55E, a lower -priced version of its V -15.

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www.americanradiohistory.com In tone arms for use with separate turntables, the vated, self- charging battery- operated portable; a new most recent item is Scope's Castagna, a precision - "economy" stereo model-the 200A, priced at less crafted instrument with many fine adjustments, jok- than $170 with built -in speakers; a stereo playback ingly described by one wag as "Brooklyn's answer deck, the 263 -E, that can be converted later to to the SME." The SME itself (marketed in the record; the 250, a record /playback deck, for instal- U.S.A. by Shure) may now be fitted with a new lation with external amplifiers. lightweight head, designed to accommodate more Roberts will offer new decks and recorders, rang- precisely the new lightweight cartridges. ing from its Model 1600, priced at about $170, to New arms, and other improved features, are evi- its Model 400 "Reversitile," at $699.95. A very dent in an entirely new line of Garrard automatic broad and full line is expected from Concord, with players to be introduced this month by British In- models priced from $60 up to $1,000. The costlier dustries. Included in the roster are four models, units include Concord's new "R" series, described as priced from $44.50 to $99.50. The top price is for professional automatic recorders. the Lab 80, which features among other things a Five new models are offered by the Revere - wooden tone arm -the first, so far as we know, to Wollensak division of the 3M company. Battery- appear on an automatic turntable. The AT-60, suc- operated portables, stereo decks, and complete re- cessor to the AT -6, will have a heavier platter, corders are represented. The Freeman line now similar to that formerly used on the Type A. Bogen's includes the Model 800, a stereo recorder with revised B62 manual turntable -arm assembly will built -in speakers, as well as the more elaborate 600, have continuously variable speed adjustment from and the "robot " -operated 200DPA. Freeman also below 331/2 to above 78 rpm. A completely rede- has announced new accessories, including a tape care signed arm and a new suspension system are featured kit, and has released updated versions of its battery - on the Miracord PW -40, which also boasts a general operated portables. restyling. The Empire turntable is joined by a small Norelco will offer new accessories for its Model model, the 488. For the Thorens models -TD -124, 101 portable, and will introduce a cordless portable, TD -121, TD- 135 -Elpa will offer a new walnut the Model 150, that operates with a "drop -in" tape base with a transparent dust cover hinged at the cartridge. The company's line of standard recorders rear. A new four -speed changer has been announced continues. Matthew Stuart will introduce an Italian - by Knight. United Audio will introduce the Dual made recorder, the Bryan TK -7, and continue to 1010 and 1011 automatics, priced below the 1009. offer the Korting models and the Phono -Trix port- Weathers has announced the Townsend, a turntable ables. From Knight comes news of a new transport, and arm with walnut base for less than $60. For to which record /playback electronics may be added 45 -rpm doughnuts, Aldshir Manufacturing offers its optionally. The newest addition to Lafayette's tape Omnidapter, said to fit over the spindles of 95 per recorder line is its Criterion 1000, self- contained in cent of all automatic players. a teakwood cabinet with built -in speakers, and costing just under $200. Four new models -two stereo and two monophonic -will be introduced by To SAY that the field of home tape recorders is OKI, a Japanese firm hitherto engaged in manu- burgeoning is probably to make the understatement facturing only professional and industrial electronics. of the year. There has been a decided increase in the Crown will introduce a 700 series of solid -state number of under -$500 machines, aimed at what re- recorders, as well as new stereo and mono amplifiers. corder manufacturers feel is a growing market for Several new Magnecord machines will be released, tape record /playback equipment that combines of which the Model 1024 -a transport with separate sonic quality with a host of new features, including solid -state electronic chassis -is, according to the automatic reverse, self- threading reels, sound -on- company, specifically aimed at the high fidelity sound, facilities for synchronizing sound with show- buyer who wants near -professional equipment at a ings of slides, and others. Thus, Ampex will high- price within the home user's budget. In addition to light its new 1000 and 2000 series, transistorized and its recent Caravelle, Concertone has announced a costing less than previous Ampex machines. At the new series 800, which features six heads for con- same time, Ampex will bring out a four -track version tinuous recording and playback in both directions. of its professional model the PR -10, formerly only a The latest addition to Intermark's Cipher line is the two -track machine. The F -44 series has a new hys- Model VI, a complete recorder costing less than $240. teresis- synchronous motor; the UST -4 continues as The expanded Viking line now includes models the lowest -priced tape recorder that Ampex has yet with built -in speakers, as well as several transports made available. to which separate electronic chassis may be added. Dynaco will release a tape recorder costing about Ercona has announced an updated version of the $500 (not a kit), imported from B &O of Denmark. Ferrograph, the Series Five. Tandberg has added A three -speed machine, it has "plug -in" electronics new features and versatility to its Model 74, now for different functions, a front -mounted mixing known as the 74B. For monophonic use, there is panel, and built -in RIAA equalization for playing the new Tandberg 92 series. Webcor has brought and recording direct from a turntable. Among the out six new tape machines priced up to about $500, new models from Sony /Superscope is a voice -acti- the most expensive being the Model 2550, which has

OCTOBER 1964 103

www.americanradiohistory.com a tilt -out control panel and a keyboard- operated units costing $495 and $525. A new approach to transport. The Model 738, self -contained, is a new the "shape of sound" is suggested by two lines of entry from V -M. Several new models will be intro- circular, or cylindrical, speakers: one is the Leon - duced by Emerson. Westinghouse will offer a hardt, available in two models -the LH -500 and miniature battery- operated portable for handling a the similar but smaller LH -190; the other is Empire's tape cartridge, while a new player for the RCA Grenadier, the first model now joined by a larger cartridge- designed for mobile or home use -has version known as the Royal Grenadier. been announced by Automatic Radio. Selectron Bozak is expanding its speaker kit line to include International plans to import a line of Aiwa re- models from below $100 up to its B -4000 system at corders, mostly portables. Newcomb will offer its about $400. Jensen is bringing out a very full line, TX -10, a full -size deck with a shift -lever control in all sizes and price ranges. Altec Lansing will fea- and room for 101/z -inch reels. ture its A -7 system and others. Electro -Voice is The most expensive and elaborate new recorder readying a new kit version of the Patrician, as well that has come to our attention is the Scully 280, a as other models in varying price ranges. Three full -size professional deck with separate electronics, Tannoy systems have been announced. Acoustic Re- capable of recording four -track on 1/2 -inch tape and search will release the lowest -priced system it has costing just under $4,000. yet offered: the AR -4, costing less than $60. From Superscope has set up a new Sony Tape Division H. H. Scott comes word of a similarly priced com- to introduce to the U.S. a new recording tape. De- pact, the S -5. The latest speaker from KLH is its tails of type and footage were not available at press Model 17, under $100. RCA reenters the component time. Reeves continues to place special emphasis on speaker field with a new line of compacts. Three its "premium line" Golden Tone tape, a 1 -mil ten - new systems have been announced by Goodmans silized Mylar. Audio Devices has introduced a new of England. Also from Britain, via Ercona, are new version of a continuous loop tape cartridge, and is R &A speakers, and the higher -priced Vitavox line. about to announce a new formula Audiotape. From Frazier is offering an expanding line of systems, Kodak comes word of its Triple -Play tape, a seven - including compacts and floor- standing models. Two inch reel containing 3,600 feet of 1/2 -mil polyester - new compacts have been announced by Sonotone. based tape. In prerecorded tapes, Ampex has started Argos Products will offer a new low -cost compact to release 33/4 -ips programs, while the 3M Company and higher -priced systems, including a floor- standing has signed Vanguard for repertoire for its auto- model. Small and medium -size systems may be ex- matic Revere cartridges. pected from Utah. The latest Knight speaker system is a shelf model employing horns for midrange and highs. The corn - IN SPEAKERS, there is no "first- time" new design, pany once known as Stephens is readying a new line although there is evidence of refinement and im- of systems under the name of Trusonic; the first is provement using familiar techniques, conspicuously to be the Lyra, a slim -line using what the manu- in compact systems costing less than $100 and to a facturer calls "revolutionary miniaturized speakers." lesser degree among costlier compacts and "middle - Two large distributors-E. J. Korvette and Audio sized" floor- standing systems in the price range up Exchange -have proprietary lines of compact speak- to $300. Several updated versions of large systems ers. Grado Laboratories offers its Laboratory Stand- also have been announced. The most novel speaker ard, a compact, and the "Mini- Lab," even more com- design yet to appear-a flat diaphragm backed by pact and lower in cost. conductive ribbons-is the Gé -Go, now imported Of interest to headphone fanciers is a new line from France by Orthophase, Inc. The basic Gé -Go from Sharpe, with one model priced below $15. unit is a small cell; some Orthophase systems consist Freeman headphones, which may be fitted under of a number of cells for midrange and highs and a the chin, will be offered. The Turner PML set, from cone woofer for the bass. A full -range system using Sweden, has been announced, while RCA will intro- only cells is also available. duce its new Model XKF -11. Telex /Acoustic pre- New magnetic materials and higher compliance sents a set featuring individual level controls for characterize an improved line of Wharfedale sys- each phone, the ST 20. Superex has come up with tems; there now are four models using the sand - its model SX -800, a lightweight stereo headset filled enclosures developed by the British designer with earpieces of an almost rectangular shape. New G. A. Briggs. Sherwood's Tanglewood, a floor - "woofer- tweeter" headsets also will be shown by standing four -way reproducer, will be released in Superex. The well -known models of Koss and David both kit and factory -built form. From University Clark will continue to be featured by these com- comes word of a comprehensive line, with models panies with no announced changes. priced from below $50 up to $325 for the Classic, which employs a 15 -inch woofer. Klipsch is offering a new corner horn system, To HOUSE all this new equipment, several manu- called La Scalia (sic), and available in "theatre- black" facturers are offering attractive storage systems. finish at a cost of $310. Two new models will be Audio Originals now has a full line of cabinets, shown by Hartley, its Mark III and IV, floor- standing ranging in style from its open -shelf units to more

104 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com elaborate enclosures for equipment and speakers. the Gemini. as well as a new line of antennas for Ruxton has added a wall- hanging case for record outdoor and indoor installation. Finney has brought player and amplifier (or receiver). Cabinets in kit out a second version of its FM -5 antenna. and a new form will be offered by Furn -a -Kit: these units can item, its Model 3007 FM hand -pass filter, designed be used for general storage as well as audio gear. to eliminate interference in broadcast reception. New cabinets from Barzilay include high -styled New antennas and accessories are being prepared designs with matching speaker enclosures, and a by JFD, while Alliance is offering a new transistor new kit. Rockford has announced storage units that booster. Winegard will show a new line of antennas may be used free -standing or hung on the wall. and boosters. Comprehensive lines of cabinets are offered by Dav- Among other assorted goodies for the equipment - rick and by Prelude, including from the latter a desk minded are inverters from Terado, designed to per- that may be fitted with components. Adjustable mit operation of audio equipment from car or boat poles for suspending shelves and cabinets are offered batteries. Fedtro offers a variety of gadgets, includ- by Stores Research Corporation, while a swing -out ing remote control devices and extension outlets. rack for storing records has been announced by And finally, AR has brought out an improved ver- Record Tree. sion of its modest, but very handy, stylus pressure New antennas and related accessories will cater gauge. With this kind of abundance and variety of to the rising interest in FM, and in FM /stereo par- products, more records may well be spun, more ticularly. Channel Master will introduce what is tapes reeled, and more broadcasts tuned to in the termed the world's first booster -rotator combination, coming year than ever before.

MUSICAL MODULES A New Breed of Equipment

A SIGNIFICANT OFFSHOOT of transistors -bred by ment, as well as separate components, has been the compact yet high -performing amplifier circuits announced by RCA, Magnavox, Westinghouse, and possible with them, and in union with improved V.M. Modules and consoles have been introduced smaller speakers -is a new type of audio gear known by Crestmark. On the other hand, new consoles have loosely as "modular equipment." In general, the been announced by such component manufacturers term designates a complete sound system offered by as Scott, Pilot, Norelco, and Wurlitzer (the last -named one manufacturer, compactly styled in three matching known for its organs). The most novel -looking con- parts: a record player and amplifier built into one sole yet seen is Clairtone's Project G -a low -slung "module" plus a pair of speakers. cabinet housing turntable, amplifier, and tuner (with Evolving from its Model 11 "luggage type" system space for an optional tape recorder), and flanked is an integrated version in walnut from KLH. The by two large globular, free -swinging speakers that Fisher system originally announced in "suitcase" are designed to disperse the sound over a wide angle. form as the Model 50 is also available, in walnut The bringing out of consoles by component manu- and with somewhat larger speakers, as the Model 75 facturers, the announcements of components by con- Custom Module. Shuré s new M100 system comes sole manufacturers, and the introduction of modules as a portative model in Samsonite, or in three walnut by just about everyone tends to blur and at the same housings as the Library model. It boasts, among other time broaden the equipment picture. It may mean features, the use of this company's top -flight V -15 that everything -regardless of the physical form it stereo cartridge. Another new entry in this class is takes -is getting better. It also may mean that some the Stereo Compact by Scott, in which the turntable - equipment will be styled to look like the real thing, amplifier module has space for an optional "drop -in" but will fall short of delivering top performance. tuner. The Pilot luggage -type system has a similar The prospective buyer may indeed ask: "When is an option. Benjamin Sound has incorporated an up- audio component really high fidelity, and when is dated version of the Miracord turntable with a it an inferior product dressed in component garb ?" transistor amplifier in a walnut and plexiglass Or, "When is a console, or a modular system, simply housing; the resultant Benjamin 200 may be bought a 'better package set' or, more auspiciously, 'a pre - with matching speakers, or separately for use with matched and integrated component system ?' " any speakers. The amplifier in this module is fitted Looking to past performances for the answer may beneath, rather than alongside, the record player, be misleading, inasmuch as improvements in small and there is room for an optional "slide -in" tuner. speakers and design changes made possible by the Similar approaches to physically unified systems widespread use of transistors are demonstrating that may be expected from other companies, including the physical form in which equipment comes is not many not primarily known for audio components necessarily related to its sound. In this new area of but apparently interested in the "modular market." overlap between individual components and pre - General Electric, for one, has announced a series of engineered systems, one's ears must be kept open modules which include a transistorized tuner- ampli- more than ever; there is ample opportunity in the fier, a transistorized tape recorder, record player, new technology for good engineering and high and a choice of speaker arrays. G -E's approach is standards as well as for the opposite. It should described as "bridging the gap between consoles become apparent as more of this equipment is tested and components." Whether this refers to the equip- and auditioned which items are new phonos that ment's packaging, promotion, or performance is hard merit serious consideration and which are old phonies to determine; it may mean all three. Modular equip- wrapped in walnut veneer.

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www.americanradiohistory.com Portugal's melancholy fado is

The Sou

SaUdade

www.americanradiohistory.com ot so much a song as a way of life. by O. B. Brummel¿

DARKNESS FALLS in Lisbon -and in the dim, calypso, fado is one of the world's few surviving smoky, night -club -like casas do fado which dot the song forms still firmly rooted among the impover- old quarters of the city, women draw black shawls ished and unlettered. "The fado is the voice of the tightly about their shoulders and, to the sorrowing poor," says Manuel Fernandes, one of Lisbon's finest twang of guitars, lift their voices in song. With a male fadistas. "Long ago they would sing in the piercing woe that makes American blues sound like streets in protest or joy, in bitterness or gladness. nursery tunes, they sing of fickle fortune and ironic This song comes from their soul." Even today, few fate; they sing of the raptures of love and the agonies of the older fadistas can read or write, and musi- of rejection; above all, they sing of saudade, the cal notation is unknown to most of the guitarists who indefinable -and untranslatable- yearning for what accompany them. can never be that ravages the Portuguese soul. The songs are fados -the word means fate in Portuguese -and audiences listen gravely, in an BY COMMON CONSENT, if not with common ap- ecstasy of empathy, as the singer's heart breaks proval, fado- Lisbon variety -now ranks as Portu- in hauntingly syncopated 2/4 time. The Portuguese gal's national song form. To one critic, the melan- are notorious lovers of anguish, and fado embodies choly melodies are "the liturgy of the nation's soul." suffering in an intensely personalized yet artistically To another, fado is "a song of rogues, a hymn to appealing form. As the night wears on and the crime, an ode to vice, and encouragement to moral candles gutter on the tables, customers toy with depravity ... an unhealthy emanation from the cen- their Scotch-Lisbon's latest vogue -or stare into ters of corruption, from the infamous habitations their vinho verde; the songs grow sadder and sadder, of the scum of society." And still another dismisses finally climaxing in the raw, primitive emotion of fados as "deliquescent and immoral melodies ... to fado de Mouraria, the old, pure prototype of today's be understood and felt only by those who vegetate ballads. "Before midnight," says a Lisbon fanático, in the mire of crapulence." "the fado they sing is fit only for tourists. After One reason for such violent denunciation is midnight, only for Portuguese." doubtless the long association of the fado with Lis- Rigid convention surrounds every aspect of fado. bon's squalid demimonde. Until the present genera- Female fadistas wear black dresses and black shawls; tion, fadistas without exception were part -time pimps men wear black suits and black ties. All sing with or prostitutes. Even today, the best-known casas do their eyes half -closed, heads uptilted. The Portu- fado (A Sévera, Solar da Herminia, Toca de Carlos guese guitarra, a sweet -toned instrument of six dou- Ramos) are in the Bairro Alto, which, until a gov- ble strings reminiscent of the sixteenth -century cit- ernment decree abolished legalized prostitution last tern, carries the melody, while a Spanish guitar- year, was the city's flourishing red -light district. In unaccountably termed a viola da Franca, or French fact, the word fado itself has an alternate meaning- viola-thrums the rhythm. Lights are always dimmed debauchery. for the performance. The story of the most famous of all nineteenth - Any aspect of everyday life can furnish sub- century fadistas, Maria Sévera, illustrates fado's ject matter for a fado: the death of a football player shady and tempestuous past. Born of a gypsy mother . . . the hard life of a woman who hawks fish in called "A Barbuda" (The Bearded One), Sévera be- the streets ... the departure of an emigrant. There came legendary for the passion and violence of her is even a gay, spirited offshoot called the fado life. A fadista -prostitute, she set up shop in Mouraria corrido, and a lighthearted variant of the fado exists on a thoroughfare known popularly as Rua Suja, at the university town of Coimbra. But fado de roughly translatable as Filth Street. Lovers came and Coimbra, in actuality a serenade, bears little relation- went -mostly to jail- until, in 1840 or shortly there- ship to its harsher cousin from the shores of the after, Sévera met the Count of Vimioso, a nobleman, Tagus. It is full of hope and illusion (the interna- a bullfighter, and probably the finest horseman in tional hit April in Portugal, originally a fado from horse -conscious Portugal. Their stormy affair ended, Coimbra, epitomizes the engaging qualities of this according to latter -day myth, when the gorgeous form) whereas most fados are exercises in despair. fadista died of tuberculosis at the age of twenty - "A good voice may be important in other songs," a seven. (A variant tradition -and one more credible fadista told me, "but in fado, emotion is all." in view of the robust figures and appetites of her Along with Spanish flamenco and Jamaican present -day disciples--holds that she expired from

OCTOBER 1964 107

www.americanradiohistory.com overeating. Fados still memorialize the love of struggling kingdom in the fourteenth century, when Sévera and Vimioso, and from their immortal liaison Prince Henry the Navigator, a moody, solitary grew the still potent affinity between the fado and genius, dispatched his caravels to explore the un- the bullring. Many a voice in Bairro Alto and Alfama known oceans. Portuguese mariners became the first weeps nightly for some gallant toureiro killed be- to inch their way around Africa's southern tip; fore his time. Fadistas also insist that their uniform Vasco da Gama reached fabled India in 1498; Cabral of the night, the black shawl, is worn in mourning discovered Brazil in 1500; evidence strongly suggests for Sévera. More likely, it represents a carry -over that Portuguese ships made Central American land- from the early semiprofessional days of fado, for falls long before Columbus; they were the first to Portuguese women of the poorer classes always wore drop anchor in the harbors of China, Japan, and -and continue to wear -just such shawls. Timor in the far South Pacific. And a Portuguese, Still another factor contributing to fado's dis- Fernáo de Magalhdes- unaccountably known to his- repute is the fact that many investigators trace its tory as Magellan -was the first to circumnavigate origin as a musical entity to a brace of rather gamy the globe. For a dizzy moment in the sixteenth cen- forebears. One, the lundum-an indolent and monot- tury, Portugal bestrode the world. The Portuguese onous song out of West Africa -came to Lisbon flag flew from Japan to Brazil; Portuguese shipping by way of Brazil in the eighteenth century. The dominated the spice trade; the treasures of the world Lisbonese adopted the lundum with enthusiasm, and poured into Portuguese ports. couples danced to it and to allied Afro -Brazilian And then, in four hours on a hot June afternoon rhythms in a fashion, according to one properly in 1578, it all ended. Defying counsel, King Dom shocked English observer, "so lascivious that decency Sebastiáo I- young, handsome, and unquestionably blushes at witnessing it." Fado's other basic element mad -proclaimed a crusade against the Moorish apparently stemmed from the modinhas, popular Emperor of Morocco. Five hundred vessels trans- adaptations of sentimental Italian airs that swept ported the Portuguese host of almost 25,000 -the Lisbon theatres at about the same time as the lun- flower of the underpopulated country-to North dum. William Beckford, the author of Vathek, has Africa. A short march inland, at Alcazar- Kébir, the left a contemporary account of the modinhas' intoxi- Moors surrounded Sebastiáo's army and, in a short cating effect: "With a childish carelessness they steal battle, annihilated it. Barely fifty survivors found into the heart, before it has time to arm itself against their way back to the coast and freedom. Stripped of their enervating influence; you fancy you are swal- arms and ships through this folly, Portugal lay de- lowing milk, and are admitting the poison of volup- fenseless. Two years later, the Spanish monarch tuousness into the closest recesses of your existence." claimed the throne, and until 1640 the nation was In attenuated form, this description could also con- ruled from Madrid. Although the tenacious Por- vey the insinuating charm of today's fado. tuguese ultimately regained independence, greatness There is a minority school that ascribes fado had passed them by forever. to Moorish sources, but students of such matters find To the Spanish historian Miguel de Unamuno, little similarity between it and the wailing, iterative the history of Portugal after Alcazar-Kébir is "a songs of North Africa. They clinch their argument long twilit suicide." The centuries -long chronicle by pointing out that in the Algarve -the southern- of domestic decadence and foreign humiliation most province of Portugal, where the Moors stayed reached a whimpering nadir in 1961 with the inva- longest and where their stamp is still apparent on sion of Goa by India. The relatively large, well - architecture and folkways -there is no indigenous armed Portuguese garrison surrendered almost at trace of fado. Thus in this instance majority opinion the sound of the first shot. "A man or a nation seems valid: that some one hundred and fifty years can only die once," a bitter Portuguese told me, "and ago, the melody of the basically alien modinha fused my country finally died in Goa. Of shame." War with the rhythm of the alien lundum to form a drags on in Angola, but most Portuguese have a unique musical projection of the Portuguese spirit. sense of inevitable doom. For no one can remember when Portugal last won anything. Hence the national neurosis of melancholy. To UNDERSTAND the national attachment to these Hence the addiction to the sad strains of fado. songs of sorrow, one must know something of I remember a conversation with a young Portu- Portuguese history. An excellent book on fado by guese lawyer who hopes fervently that disaster Luiz Moito bears the subtitle "The Song of the De- abroad will spark a renascence at home. "For a feated." And this is the key. For Portugal is a nation long time I refused to accept the fado," he said. of losers, a nation that lives in the remembered glow "To my mind, it furthered the national compulsion of old glories. to resignation, to patient acceptance of defeat. In A tiny enclave on the west coast of the Iberian the fado world, when a mistress turns aside from her Peninsula, Portugal fought long and hard for in- lover, the rejection is always fate. He accepts it dependence and is, in fact, the only one of the because it had to happen, and the song merely un- ancient states of the Peninsula -among them Castile, derlines his own unworthiness. This is precisely Navarre, Leon, Catalonia, Aragon -to preserve its our trouble as a nation. In your Anglo -Saxon world, identity to this day. Destiny first smiled on the it is different. A rejected lover ends not by abasing

108 HIGH %l IlE I 1T1" MAGAZINE

www.americanradiohistory.com Fado on Records

ALTHOUGH the world of fado is to reject French influences. In the war in Angola prompted the Por- very special, even recherché, Amer - light of Portuguese history you tuguese- actually the least color - can recording companies have not may find a certain heartbreak in conscious people in the world - ignored it. The Schwann catalogue this strangely sunny melody. I do. to convert the appealing Black lists some ten items from Monitor Amália's principal rival, Maria Mother to an impersonal Black alone, for instance-all worthy of Teresa de Noronha, Countess of Boat carrying a loved one across attention. But any critique of fado Sabrosa, is represented by only a the sea. Sic Semper Public Rela- on vinylite must begin, perforce, single disc -"Songs of Portugal" tions! To return to Fernanda with Amália Rodrigues. She is not (London TW 91284 or SW 99284) María, however, there is little to a fadista who happens to be a -but it is one of surpassing choose among her three sets: all great singer; she is a great singer beauty. London's recorded sound are excellent. Her best efforts on who happens to be a fadista. An is superlative, and each of the the Request label are Esperas de international star who handles a dozen fados gleams like a well - Gado, an echo of the historic French chanson or Spanish zar- cut gem. Indeed, Senhora Noron- fado- bullring collaboration, and zuela as easily as the newest fado ha's program illuminates virtually Ronda da Saudade, an evocation de Lisboa, she reminds one some- every significant facet of the art: of the great Sévera. Both Monitor what of the late Edith Piaf -not her Alexandrino, Mataran: a recordings offer carefully chosen, only by virtue of the stark, un- Mouraria, Sou Feliz- translation, wide -ranging programs, and both relieved black of her performing I'm Happy (!) -and Cancato Duma benefit from superior stereo sound. garb but in her strong, flexible Tricana will linger long in the No fado fancier should be without voice and the profound emotional memory. Her voice, lighter in tex- a Fernanda María disc: which one impact she makes. "The World's ture and somewhat more silvery must remain a matter of individual Greatest: Amália Rodrigues" than Amália's, can still strike a preference. Audition all if possible. (Kapp KL 1310) is probably her harsh depth of sorrow or swell in The most impressive of Lisbon's finest album currently available despair. If I could own but one present -day male fadistas, Carlos in this country. Two of the selec- fado recording, I think I might well Ramos, is not represented on rec- tions in particular, Vagatnundo choose this. ords at all. This leaves a serious and Maria Lisboa, vividly convey Hermínia Silva fares less well. void in the catalogue, because the fado's unique, tragic intensity. She shares two albums -"This Is gravel- voiced Ramos towers over Additionally, Amália offers-in Portugal" (London TW 91196) his contemporaries. Faute de fado's syncopated measures -the and "Portuguese Fados" (Capitol mieux, Manuel Fernandes is pos- Dura Memoria of Camoes. This is T 10013) -with, in each case, a sibly the best available. Monitor tantamount to belting out a Shake- brace of lesser known fadistas. has recorded him twice: he shares spearean sonnet in a blues idiom, Neither disc, however, adequately "Portugal" (MFS 340) with Maria but such is the genius of the displays her unique talents. De- Marques and "Fados of Portugal" Portuguese language -to say noth- spite its somewhat muffled sound, (MFS 406 or S 406) with Maria ing of Camoes' verse -that the ef- the London entry ranks as the do Espirito Santo. Of the two, I fect is as smoky as something better of the two in that it fea- prefer "Portugal," not only for composed in the cellars of Alfama. tures Herminia singing Lisboa An- the superiority of the songs Fer- "La Fabulosa: Amália Rodrigues" tiga. One of the loveliest and most nandes chose for it but also for (Kapp KL 1095), originally is- durable of current fados, this was Senhora Marques' warm, compel- sued in France by Ducretet -Thom- written for Hermínia and no one ling voice. This album also offers son, obviously aims for extra - else sings it quite so lustrously. an example of a desgarrada, or Portuguese audiences. An orches- Of Lisbon's younger fadistas, fado dialogue between singers. tra, far too full -blown to be Fernanda María must be reckoned Finally, Monitor provides two effective, frequently smothers the the most promising. Recording im- attractive grab bags, "April in traditional two guitars, and Amália presarios are obviously alive to her Portugal" (MFS 374 or S 374) and even drops a Brazilian ringer or abilities, since she is represented "Lisbon by Night" (MFS 393 or two into the program. "Fado on three full discs -"The Queen of S 393), featuring the singers of and Flamenco Favorites" (Angel Fado" (Request RLP 8047 or S A Sévera, possibly the most popu- 65039) has two defects: it is ten 8047), "Portugal's Great Fado lar casa do fado of Bairro Alto. years old- though the sound wears Singer" (Monitor MFS 396 or S Of A Sévera's platoon of fadistas, its age well -and half of it is 396), and "Lisboa Antiga" (Moni- far and away the most engaging is devoted to flamenco, which Amália tor MFS 363) -and part of an- Alfredo Duarte, Jr. Small and sings as though it were some in- other, "Fadistas de Lisboa" (Re- close -knit, he is the son of the explicable kind of Andalusian quest RLP 8048 or S 8048). The aged and long- retired "Marceneiro" fado. Nonetheless, the record last- named, incidentally, offers the (The Cabinet Maker), possibly the recommends itself on three counts: original version of Barco Negro greatest male fadista of all time. a profoundly touching interpreta- (Black Boat) mentioned above. Duarte traces little dance steps as tion of Barco Negro (of which When first written, this haunting he sings, his voz de bogaço grates more later); Amália's incompar- lullaby, sung here by Maria José da nicely, and each performance has able version of the fado corrido Guia, was called Mate Preta (Black a tightly coiled intensity. Duarte Urna Casa Portuguesa; her singing Mother). Tender and bittersweet, alone makes either of these al- of Lisboa Nato Sejas Francesa- it concerned an African woman bums eminently worthwhile, and a burning plea to Lisbonese, over- watching over the baby of her either provides a painless entree run by Napoleon's troops in 1801, white master. But ironically, the into the painful world of fado.

OCTOBER 1964 109

www.americanradiohistory.com dressed woman, borrowed a shawl and wrapped it about her shoulders. Then she too began to sing, joining the soldier in a desgarrada, a kind of spontaneous fado dialogue. The crowd listened in awe. "Never again will I hear anything so beautiful," one man said later. "To remember it is to weep." After a long five minutes of distilled pathos, the voices died, the guitar ceased. The woman re- turned the shawl and quietly walked away. By then, everyone knew. It was Amália, roaming the haunts of her childhood. With Amália's semiabdication, Portugal's finest fadista is undoubtedly Maria Teresa de Noronha. And therein lies an anomaly. For Sra. Noronha knows little of Lisbon's slums-supposedly the indis- pensable incubator of a career in fado. She is, in fact, a member of the nobility, wife of the Count of Sabrosa. I will always remember the wonderment on the face of a certain Portuguese grand lady at the thought of this "menina fina de tuna familia fidalga" -this cultured girl of a noble family- actual- ly singing the coarse ballads of the working class. But the preeminence of Sra. Noronha is merely a Sign of the times, for the intelligentsia and well -to- do are moving in on fado. More and more, meninas finas are donning the black Amalia Rodrigues: an art of distilled pathos. shawl, and poets of note frequently contributed lyrics to leading fadistas. The fadistas of the old order are both flattered himself but by saying, To hell, my dear, with you!' and bewildered. Defensively, they insist that, call it He smiled sadly. "But suddenly I find myself at- what you will, the songs of the newcomers are not tracted by certain fados. One in particular, Rua Dos fado. "There's something lacking," one told me. "It's Meus Ciumes- Street of My Jealousies -moves me a question of distance. These people sing only with deeply. It's because of an unfortunate love affair, their minds, not with their hearts." Yet the opinion and I hope to God it's temporary." of the professionals notwithstanding, when you hear Sra. Noronha's lovely, faintly husky voice, you are hearing fado of the highest order. As is the case with THE ONLY fadista ever to win international fame Amália, though, your chances of hearing her at first is the electrifying Amália Rodrigues. A child of hand are slim indeed. The Countess reserves her ap- Lisbon's slums, she has almost singlehandedly raised pearances for private gatherings and occasional the fado from the slough of disrepute to the level benefit performances. of an accepted art. Her soprano is strong and clear, This leaves as chief claimant to the title of Lis- with the slight, hoarse catch -sine qua non of a bon's premier performing fadista fiftyish, well- fleshed successful fadista -slangily termed a voz de bagaço, Hermínia Silva. Holding forth in her own boîte in or in English equivalent, a whisky tenor. However, Bairro Alto, Hermínia possesses a hearty voz de the visitor to Lisbon, as indeed the Lisbonese them- bogaço -along with a striking ability to piano it ef- selves, must reconcile himself to not hearing Amália fectively -and has the habit of peppering the verses in the flesh. She is now the wife of a Brazilian of her songs with earthy asides. This enrages purists. engineer and intersperses her life in Rio de Janeiro "Bandarillias!" a Portuguese friend snorted in disgust. with progressively rarer professional appearances in "She does nothing but plant verbal bandarilbas. Her - her native country. mínia s over the hill, she's lost all tragedy, so she Still, one can never tell. A few years ago, as does this to win easy laughs." Easy laughs? Per- Lisbon was celebrating St. John's Eve -a local haps. But few people laugh at the fado, even at festival characterized by wine -bibbing in multiple Hermínia's. And she herself, in the long midwatch cafés -a workman lazily strummed his guitar on a of the night, when the crowds have thinned and the dark, twisting alley in Alfama. An Angola -bound streets outside are silent, reverts to the black laments soldier paused at the sound of the midnight guitar of the fado de Mouraria. At the tables sit the Por- and, saddened by wine, began to improvise a fado tuguese, those inveterate losers. And to the sound to the soft chords. A small group gathered in the of the grieving guitars, they stare emptily at the

sultry June night. Encouraged, the soldier sang on. fadista twisting the ends of her somber shawl . . . his voice swelling with poignance. The crowd, an at her white face ... her closed eyes.... "The years inky clot in the unlit alley, listened quietly_ . More are remembrances, /Torments, /Which dissolve in this shadows drifted to a halt. One of them, a well- suffering."

110 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com With X dollars to spend, how much should go for each component ?

by Edward F. McIntyre

EVEN THE MOST CASUAL. acquaintance with sound may encounter a confusing and often frustrating reproduction -or sheer instinct, for that matter - complex of variables and exceptions. For instance, would suggest something seriously amiss in installing the simplest stereo disc-playback system involves an a $75 pickup on an $18.95 changer or feeding a amplifier more complicated than the older mono $400 stereo amplifier into two four -inch speakers rigs; it uses a cartridge and tone arm that are of an at $5.50 each. But the intelligent shopper will want entirely new breed; it plays through two (sometimes something more than instinct as a guide to apportion- three) speaker systems. The old rule of thirds does ing his funds among the various components that not apply -and simply doubling up on the old fig- comprise a balanced or matched music system. ures can be misleading. A stereo amplifier. although In the dim past of simple monophonic disc -playing it handles two channels, need not cost twice as much systems, a rough `rule of thirds" could be applied as its monophonic predecessor. Stereo pickups and to achieve a balanced system. With, say, $300 in arms. while offering new heights of performance, hand, in those days it made good sense to spend cost only marginally more than mono types. As for about $100 on each of the main sections of such a speakers, two still cost about twice as much as one - system: turntable and pickup; amplifier; speaker but the dollar value, vis -à -vis older models, has defi- system (including the speaker enclosure). Today, nitely increased for the buyer; the plain fact is that anyone trying to follow this rule "by the numbers" there are more acceptable speaker systems available

OCTOBER 1964 111

www.americanradiohistory.com take either of two views. An old saw in audio has A it that the over -all performance of a system can be no better than that of its poorest component -the chain is as strong as its weakest link. This approach has a tempting simplicity and finality, but the fact is that it does not always hold. It is true that a superior speaker substituted for an inferior one in a B D GET relatively modest -quality system may reproduce u rumble from the turntable never heard before; however, it most certainly will reach down deeper into FOR STEREO the musical bass. Again, a better -designed amplifier in place of an older or cheaper one may amplify more distortion as well as signal from the pickup; but its wider frequency response and superior transient characteristics will render certain forms of distortion and noise, such as record ticks, less objec- now in any given price class than ever before, and tionable. Because of an increasing experience with increased production know -how enables speaker such examples of apparent "mismatch," today many manufacturers to offer systems that outperform simi- audio experts insist that any improvement in a re- larly priced models of a few years ago. If you build producing system represents a real, audible benefit. your components from kits, you will of course In any case the serious shopper will listen care- reduce the cost in all categories. fully to different combinations of components; and If the old budgeting rules no longer apply, what the conscientious audio dealer will try to understand does? In the present audio market, approximately the client's needs by relating his listening tastes, his what portion of a total budget ought to be assigned room acoustics, and his budget to the selection of to each component, or section, to assure one of a equipment at hand. balanced system? And beyond that, how does one invest additional money to enlarge the system, improve it, or update it? To begin with, it must be AS A POINT OF DEPARTURE, let US consider first apparent that-aside from the extreme example cited a "bottom- budget" system for playing stereo records. earlier -the question of "balance" between com- Such a system, in today's market, will cost somewhat ponents is no longer as critical as in the past. For under or near $300, exclusive of cabinetry, and will one thing, signal outputs and inputs are pretty well buy decent -sounding components. About $60 will standardized as to voltage, sensitivity, and impedance, go for the changer, or turntable plus arm. At this so that a random selection of different components price, it may have a degree of flutter, but it will be is more than likely to assure a correct match. Con- heard only very occasionally, and then only on some trols are more versatile to assure the fine adjustments slow piano music. Its rumble will be inaudible with that further provide correct signal- matching. the volume control set for normal loudness (but Some thought should be given, of course, to the not very far above it) and with the bass control not efficiency of speakers vis -à -vis the power output of too far advanced. A suitable cartridge can be bought the amplifier; but inasmuch as the former has gener- for $20 to $30. The amplifier, costing under $150 ally gone down and the latter gone up, the likelihood and rated at 10 to 15 watts sine -wave power per of satisfactory matings is as good as ever. Experience channel, will drive speakers of moderate to low has shown that a well -made 15 -watt amplifier will efficiency in a small or moderately large room loudly drive the lowest- efficiency speaker if sonic demands enough to give music an exciting dynamic range and are modest, as in a small room or at relatively low power. It will not shake the rafters in a large room listening levels. For more stringent demands the or in one with lots of sound- absorbing material, nor perfectionist will still choose the highest -powered will most amplifiers in this class put out full power amplifier he can afford. Actually, power as such is in the very low bass -on organ pedal notes or the not really what is germane here; what does count bottom of the bass tuba, for instance. The speakers is clean, undistorted power over the audio range. in this system would be compact types that might For instance, an amplifier that delivered, say, 30 cost from $30 to $60 each and that could be ex- watts at mid- frequencies but distorted badly at 40 pected to handle the important midrange with clarity cps and at 15,000 cps, or delivered only a few watts and ease and at least to suggest something of the at those frequencies, or did both would be a poorer heft of the bass and the air of the highs. choice than an amplifier that delivered only 10 or To add FM stereo to this system will cost about 15 watts but did so from the lowest to the highest $120 to $150 for a wired tuner, or $75 to $100 for frequencies with very low distortion -regardless of a corresponding kit. (At present FM stereo tuners the efficiency of the speaker used with it. priced significantly below these figures will not, in As for balance among other components, one can general, have high enough sensitivity and low enough

112 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com distortion to qualify; tuners that cost much more can the man with $300 bought. (The better amplifier and be expected to be more sensitive, or offer more con- speakers will improve the low bass response, but to trol features, or both.) For FM stereo, you may well avoid hearing rumble you will then need the better need a high -gain, directional roof antenna to bring turntable.) A turntable with arm (automatic or in signals free of noise and "multipath distortion" - manual) selling for under $100 ought to qualify a garbling and a loss of separation which come from here. The pickup of the cheaper system will not getting strong reflections of the FM signal along necessarily be outclassed, since this strategic com- with the signal. A good antenna, plus installation, ponent was above the prevailing level of the budget might cost upward of $50; if you are highly skilled system. An amplifier for the higher quality system - and don't mind working on a roof, you can buy the say, one rated at 15 -25 watts -may cost near $200; antenna for perhaps $20 and put it up yourself. If speakers will cost about $75 to $100 each. a rotator is needed, add another $30 -$35 to the cost. This combination should provide strong and clean It would be difficult to estimate the cost of adding response to the near bottom of the bass, 30 to 40 tape to this system inasmuch as the tape machine cps. It could also be expected to provide a generally could be as simple or as elaborate as you liked. In big sound even in a big room (providing that it is terms of average performance level, a suitable deck not too dead) before the amplifier would overload. for playback -only of prerecorded tapes might be Flutter and rumble would be rarely, if ever, audible, bought for about $100. With the recording func- and hum would be below the music even in very tion, the cost goes up, and with built -in speakers it quiet passages. goes up even more. Built -in speakers duplicate the An FM stereo tuner to match this system in fre- amplifier and speaker components already in the quency response and freedom from distortion will system -but this duplication may be worth the addi- cost about $175, more if you need really high sen- tional cost. If you plan to make live recordings else- sitivity. Again, tape can be added in any of a num- where than in your own home, you can listen to ber of forms. them on the spot, which is almost essential to be sure The plateau of cost marked by $750 to $850 for everything is going on the tape properly, at the right a stereo record -playing system can represent a qual- level, and with effective microphone placement; and ity of sound close to the best available in home audio of course you have the advantage of being able to systems today. The turntable of the medium system play tapes anywhere an electric outlet is available. is still appropriate, but it can be fitted with one of the latest and best in available stereo cartridges, at a cost in the range of $50 to $60. The difference in IF the system outlined above will provide satisfying sound quality between this unit and the lower -priced listening, what will a higher -priced rig do, say one cartridge is admittedly small, but in the system made costing under $600, and how should the funds for up of superior components, it can be discerned, ap- such a system be apportioned? For instance, should pearing as an airier, smoother, high end and in im- one spend $300 on an amplifier and use it with the proved tracking of heavily modulated records, par- turntable, pickup, and speakers of the less expensive ticularly at the inner portion of the groove. system? Or should a good deal of the money be put Medium- to high -powered amplifiers (25 to 40 into speakers, while staying with the cheaper turn- watts per channel) for this system can be bought table, pickup, and amplifier? at varying cost -depending on the features offered, In general, neither way is ideal, yet either approach ruggedness of construction, newness of design. What- can be taken. The better amplifier can be expected ever the model, the amplifier for this system will to deliver more power, especially in the very low have quick overload recovery, plenty of power at the bass. The cheaper speakers probably won't be able bottom of the bass, and extremely smooth highs to to handle that power-they will distort if you turn beyond the limits of hearing. Hum and noise will the volume up -and only a little of the stronger be far below the softest music you are ever likely bass will come through. On the other hand, the to play. The speakers should be able to handle the speakers may sound generally cleaner than they did higher power such an amplifier can deliver. Their with the more modest -priced amplifier. Similarly, own response ought to be clean and smooth to the if you choose to spend a large proportion of this very bottom of the bass (20 to 30 cps) and to be- budget on better speakers only, you may find that yond the limits of hearing at the high end. Without they improve the performance up to a point. Beyond such highs in both amplifier and speakers, some cf that, however, you will have more speaker power the all -out clarity you bought in the pickup will fail capacity and response than the rest of the system to come through. can supply. In this sense, the vastly superior speak- The stereo tuner for this system can well be the ers would be wasted -unless, again, you plan to up- best one can afford; the reproducing channel set up grade the rest of the system at a later date. for it certainly can handle whatever is fed into it. The most reasonable approach would be to appor- Similarly, in tape equipment, one would logically tion the $600 to buy at the same time a better look for decks or recorders capable of doing full amplifier, better speakers, and better turntable than justice to the best prerecorded tapes and, if one is

OCTOBER 1964 113

www.americanradiohistory.com so inclined, capable of making near- perfect copies for such a system could be priced from about $300 of other program sources, as discs and FM broad- to $700. It would have superb transient response, casts. Only a few years ago, to get such results it lightning-fast overload recovery, hum far, far below was necessary to buy professional tape equipment audibility at any setting of the volume control one at a cost of $1,000; today, the cost is about half that. would ever use, distortion nearly unmeasurable at For equivalent results on live performances, cost normal power levels. Switching, tone controls, input perforce goes up another significant notch, to allow and output connectors would be extremely precise, for better microphones than are customarily supplied long- lasting, and convenient to use. The prices of with tape recorders. These could be, say, low -im- speakers for an all -out system cover an even wider pedance types selling at about $100 each. Possibly range. Speaker design is such a complex matter that too, a matching transformer might be needed to per- a relatively small increase in fringe -end response - mit feeding such mikes into a recorder that had only i.e., at the extreme bass or high end -necessitates a high- impedance input. a big jump in cost. But always remember that the Yet fine as it is, the system just outlined can be sound you prefer may not come from the most ex- improved on. The perceptible improvements may pensive speakers. For these reasons, then, one all - vary from relatively subtle to startling, and the mar- out system might employ a $400 amplifier driving gin for improvement may vary with individual instal- a pair of speakers that could cost $800 each; another lations. For instance, in a very large room -and all -out system might use a $600 amplifier driving especially one containing much carpeting, draperies, a pair of speakers that cost $200 or so each. heavily upholstered furniture -the amplifier- speaker FM tuners at the all -out level cost from about combination of even this very superior system might $250 to $600. Refinements at the top of this range not be able to deliver enough clean audible power, are typified by one such tuner that never needs align- with consequent distortion en fortissimo passages. ment; that has a built -in cathode -ray tuning indicator In such a case, one would have two general lines and monitor showing not only center -of- the -band set- of attack: to go to a higher -powered amplifier, rated ting but the extent of multipath interference and the at, say, 60 watts per channel, or to shift to higher best antenna direction; that has bandwidth, limiting, efficiency speakers (though usually it is easier to and linearity characteristics considerably better than settle on a speaker that satisfies one's personal sonic they need be for sound as good as the FM multiplex tastes and then get the amplifier needed to drive it). system can at present produce. Tape machines for an all -out system start at about $400 for a transport, $600 for a deck with preampli- EQUIPMENT that offers the ultimate in convenience fiers, and $750 for a complete machine, and go up as well as in performance and durability, that is gen- from there. Here we are moving into the profes- erously "overdesigned" so that it has rocklike re- sional class of tape machines, in which the mechan- liability, that is classed as "state of the art" because ical functions -transport of the tape, starting, stop- of its advanced techniques, that enjoys a kind of tech- ping, rewinding, etc. -are designed to maintain high nical supremacy acknowledged even by competing precision and total reliability through hundreds of manufacturers, and finally that probably does not sell uses a day. This kind of mechanical design is very in as large quantities -such equipment is, under- costly, which is why a professional deck with no elec- standably, very expensive. (Kits, of course, even at tronics may cost from $1,000 to $2,000. the top level of audio performance, still represent In attempting to generalize on budgeting, it be- substantial savings over equivalent factory-wired comes apparent that the rules for apportionment units.) And on this level, even a small improvement (such as they are) prevail more forcibly for the or refinement will increase the cost considerably. In lower-priced systems. The older rule of thirds almost the very highest -priced range of equipment, only per- applies- modified perhaps from a 1:1:1 ratio (for sonal tastes can dictate expenditures. For instance, a mono record player, amplifier, and speaker) to a

how much is it worth to a given listener to have a I : I.25:I.50 ratio for similar stereo components. In four -speed turntable with a fine adjustment for each the higher -priced categories, though, the proportions speed, as compared with a two -speed model without change noticeably. Pickup and turntable drop to a such adjustment, but with otherwise similar rumble smaller part of the total -about 15% to 25 %, and and other performance characteristics? How much even less in the most expensive systems. (Actually, more is it worth to have an automatic player that the stereo pickup has become the great bargain of turns records over than one that simply stacks them? high fidelity today, and a turntable for stereo is the How much more is it worth to have an amplifier same as one for mono, except that rumble has been that is built to last practically forever over one that better controlled.) At this price level it is impossible has virtually identical specifications but may need to generalize about the relative amounts to be spent servicing after a few years? for amplifier and speakers. As for an FM stereo It is obvious that -longevity and ultimate reliabil- tuner, generally speaking it should cost about the ity aside -an "all -out" system can he assembled at same as the amplifier. Cost of tape equipment will varying cost. Thus, the preamp and power amplifier vary, depending on the owner's intended use for it.

114 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Manita de Plata listens to the playback of a stereo master tape which will become "Flamenco Legend" (Connoisseur CS 263). The speakers are AR -3'S.

first plarllilrirl: after tlttr, reitrrlitig: guitarist Manila dn, Plata listens to himself through A11-3's

Connoisseur Society makes stereo records in 12 -inch 45-rpm LP's, of the very highest quality.

Connoisseur engineers recently made a European tour, taking their recording equipment with them. They recorded Flamenco Legend (Connoisseur CS 263) with Manita de Plata in Arles, France, where this photo was taken.

Recording engineers make critical decisions on the basis of the playback sound achieved on location. Artificial coloration in the monitor loudspeakers provides false clues to work with, and tends to perpetuate itself inversely in the record. Connoisseur engineers chose AR -3 speakers as producing the sound most faithful to the tape.

The AR -3 ($203 - $225, depending on finish) and the lower -cost AR -2a ($109 - $128) are often used professionally because of their high quality, but they are primarily designed for the home. AR -3 speakers were selected for the top stereo systems described by three magazines - the September 1963 Popular Science, the Fall 1963 Bravo, and the 1964 edition of Hi -Fi /Tape Systems. A five -year guarantee covers any repair costs, including freight.

ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge, Massachusetts 02141

CIRCLE 2 ON READER- SERVICE CARD

OCTOBER 1964 1 15

www.americanradiohistory.com HOBSON'S CHOICE? NEVER AGAIN!

If, in 1631, you went to rent a horse from Thomas Hobson at Cambridge, England, you took the horse that stood next to the door. And no other. Period. Hence, Hobson's Choice means No Choice.

And, as recently as 1961, if you went to buy a true high fidelity stereo phono cartridge, you bought the Shure M3D Stereo Dynetic. Just as the critics and musicians did. It was acknowledged as the ONLY choice for the critical listener. Since then, Shure has developed several models of their Stereo Dynetic cartridges-each designed for optimum performance in specific kinds of systems, each designed for a specific kind of porte -monnaie.

We trust this brief recitation of the significant features covering the various members of the Shure cartridge family will help guide you to the best choice for you.

THE CARTRIDGE ITS FUNCTION, ITS FEATURES ... IS YOUR BEST SELECTION The ultimate! 15' tracking and Bi- Radial Ellip- If your tone arm tracks at 11/2 grams or less tical stylus reduces Tracing (pinch effect), IM (either with manual or automatic turntable) - and Harmonic Distortion to unprecedented and if you want the very best, regardless of lows. Scratch -proof. Extraordinary quality con- price, this is without question your cartridge. trol throughout. Literally handmade and in- It is designed for the purist ... the perfection - dividually tested. In a class by itself for repro- ist whose entire system must be composed of ducing music from mono as well as stereo the finest equipment in every category. Shure's V-15 discs. finest cartridge. 562.50.

Designed to give professional performance! If you seek outstanding performance and your Elliptical diamond stylus and new 15° vertical tonearm will track at forces of 3/4 to 11/2 grams, tracking angle provide freedom from distor- the M55E will satisfy -beautifully. Will actually tion. Low Mass. Scratch -proof. Similar to V -15, improve the sound from your high fidelity except that it is made under standard quality system! (Unless you're using the V -15, Shure's control conditions. finest cartridge.) A special value at $35.50.

A premium quality cartridge at a modest price. If you track between 3/4 and 1'/2 grams, the 15° tracking angle conforms to the 15° RIAA M44 -5 with .0005" stylus represents a best -buy and EIA proposed standard cutting angle re- investment. If you track between 1'/2 and 3 cently adopted by most recording companies. grams, the M44 -7 is for you ... particularly if IM and Harmonic distortion are remarkably you have a great number of older records. low . . . cross -talk between channels is ne- Both have "scratch- proof' retractile stylus. M44 gated in critical low and mid -frequency ranges. Either model under $25.00.

A top -rated cartridge featuring the highly For 2 to /2 gram compliant N21D tubular stylus. Noted for its 2' tracking. Especially fine if present sweet, "singing" quality throughout the audi- your set -up sounds "muddy." At less than $20.00, it is an outstanding buy. ble spectrum and especially its singular re- truly if you own regular M7D, you can creation of clean mid -range sounds (where (Also, it for higher most of the music really "happens ".) Budget- grade compliance and lighter tracking installing priced, too. by an N21D stylus.)

If floor vibration is a problem. Saves your A unique Stereo -Dynetic cartridge head shell records. Models for Garrard Laboratory Type assembly for Garrard and Miracord automatic "A ", AT -6, AT -60 and Model 50 automatic turntable owners. The cartridge "floats" on turntables and Miracord Model 10 or 10H counterbalancing springs ... makes the stylus turntables. Under $25.00 including head shell, M99 scratch -proof . . . ends tone arm "bounce." .0007" diamond stylus.

A best -seller with extremely musical and trans- If cost is the dominant factor. Lowest price of parent sound at rock- bottom price. Tracks at any Shure Stereo Dynetic cartridge (about pressures as high as 6 grams, as low as 3 grams. $16.00) ... with almost universal application. 111 M3D The original famous Shure Dynetic Cartridge. Can be used with any changer. Very rugged. (3-12 f/ //FiGe_-.

HIGH FIDELITY PHONO CARTRIDGES... WORLD STANDARD WHEREVER SOUND QUALITY IS PARAMOUNT Shure Brothers, Inc., 222 Hartrey Ave., Evanston, Illinois CIRCLE 73 ON READER -SERVICE CARD

I 16 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The consumer's guide

to new and important II ! 1 I1 HI ri-rltiIIi ! t high fidelity equipment i

11 high fidelity ::: 1 VI i ° I 1 ¡I ''--µ I i II EQUIPMENT REPORTS

Altec Three Sixty

Integrated Amplifier

THE EQUIPMENT: Altec Playback Three Sixty, an left and right speakers are connected directly to two integrated stereo preamp -power amplifier. Dimensions: dual -terminal barrier strips; suitable output impedance 51/2 by 15 by 111/4 inches. Price, $366. Manufacturer: (4/8 or 16 ohms) is selected by a slide switch. The Altec Lansing Corp., 1515 S. Manchester Ave., Ana- rear of the set also has two AC convenience outlets. heim, Calif. The circuitry of the Three Sixty is built around twenty -eight transistors, and three diode -rectifiers. To COMMENT: The Playback Three Sixty is a completely prevent damage to the transistors or amplifier failure solid -state control amplifier offering reliable performance owing to an extreme rise in heat (which may be caused in the medium -power class. The front panel contains by excessive current in the output stages due to a short six rotating controls and a row of nine keyboard -type circuit), the amplifier is equipped with three thermal - switches. The rotating controls include: a six -position type, automatic -reset circuit breakers. Two of these de- program selector (microphone, tape head, phono, radio, vices are in the output signal channels, and the third tape amplifier, and auxiliary); a volume control com- in the AC power line to the amplifier. In tests con- bined with the power off -on switch; separate friction - ducted at United States Testing Company, Inc., these coupled concentric treble control knobs for each chan- circuit breakers proved to be excellent safeguards nel; similar type bass controls; a channel blend control; against short circuits or severe overload. USTC regards a channel balance control. The keyboard switches are their use as a definite design advantage as well as a for: rumble filter; stereo -mono; tape monitor; channel convenience, inasmuch as they obviate the need to pull reversal; high or low gain; volume contour; scratch the amplifier out of its installation to replace a fuse. filter; phase reversal; headphones or speakers. A low - In performance tests, the Altec Three Sixty exceeded impedance headset jack also is on the front panel. its power claim of 25 watts per channel at about 1.5% The rear of the amplifier contains six pairs of stereo total harmonic distortion, providing actually 25.9 watts input jacks that correspond to the settings of the pro- on the left channel, and 26.2 watts on the right channel. gram selector, plus an output jack for feeding each Other related measurements are shown on the accom- channel to a tape recorder. There also is a slide switch panying charts. The power bandwidth, extending from to select suitable gain and equalization for either a 13 cps to 30 kc, is especially good for an integrated magnetic or ceramic (crystal) cartridge. A separate jack amplifier. Harmonic distortion varied with the power provides an "A plus B" signal for driving an additional the amplifier was called on to deliver, rising somewhat basic amplifier (for monophonic sound in another room, generally above 20 watts per channel and in the high - or a center channel in the main listening room). In frequency region. The IM distortion was typical of addition, there are terminals for a center -channel speaker many solid -state amplifiers, decreasing as audio power that may be hooked up directly to the Three Sixty. The output was increased up to almost full power. The

Equipment reports are based on laboratory measurements and listening tests. Data for the reports on equipment other than loudspeakers. is obtained by the United States Testing Company, Inc., of Hoboken, New Jersey, a completely independent organization not affiliated with the United States Government which, since 1880, has been a leader in product evaluation. Speaker reports are based on controlled listening tests. Occasionally, a supplementary agency may be invited to contribute REPORT POLICY to the testing program. The choice of equipment to be tested rests with the editors of HIGH FIDELITY. No report, or portion thereof, may be reproduced for any purpose or in any form without written permission of the publisher. No reference to the Unified States Testing Company, Inc., to its seals or insignia, or to the results of its tests, including material published in HIGH FIDELITY based on such tests, may be made without written permission of United States Testing Company, Inc.

OCTOBER 1964 117

www.americanradiohistory.com lowest distortion, in general, was measured with the yet measured. Tone control. loudness contour, and filter amplifier driving an 8 -ohm load, and at power output characteristics all conformed closely to the curves shown levels from about 10 to 20 watts per channel. This, by the manufacturer and were quite satisfactory. along with the amplifier's fairly low damping factor, An unusual feature of the Three Sixty is its "high would suggest the Three Sixty's optimum use in driving gain" switch for changing the amplifier's input sensitiv- well- damped speakers of moderate to high efficiency. ity. The switch, when off, decreases the amplifier's Frequency response, RIAA disc equalization, and NAB gain and thus can prevent overloading from high -level tape equalization all were very good; the tape -head sources that are supplying very strong signals. In its playback characteristic, in fact, was one of the finest ON position, the switch permits the Three Sixty to operate at full gain. The oFF position of this switch, as expected, improved signal -to -noise ratio. although the S/N characteristic was very good in the ON position. There was no appreciable change in distortion from one position of the switch to the other. Square -wave response was, in general, good for an integrated amplifier. The 10 -kc photo showed some rolloff of the extreme highs, but no ringing. The 50 -cps photo showed some low- frequency boost but no excessive phase distortion. The amplifier proved to be completely stable with all loads. All told, the Three Sixty shapes up as a very worthy contender in the medium -power class Square -wave response to 50 cps, left, and 10 kc. of new, all- transistor integrated amplifiers. f2 o Power Bandwidth Curve at 1.5% THD Lab Test Data - 2 - 4 Performance -6 THD at 22.7 W characteristic Measurement - 8 -10 THD at 11.3 Watts Power output PERFORMANCE CHARACTERISTICS (at 1 kc into 8 -ohm load) - 12 Frequency 1 Watt THD - 14 I ch at clipping 22.7 watts @ 0.46% 16 I ch at 1.5% THD 25.9 watts - Zero DB =- 25 Watts -18 I ch at 1% THD 25.2 watts r ch at clipping 24.8 watts @ 0.45% THD 1 10 100 1K 10K 100K r ch at 1.5% THD 26.2 watts FREQUENCY, CPS r ch at 1% THD 25.5 watts

+5 Both chs simultaneously at I ch clips at 19.2 watts with RIAA (Disc) 0 clipping 0.5% THD -5 r ch clips at 19.2 watts with 0.5% THD EQUALIZATION CHARACTERISTICS +5 NAB (Tape) Power bandwidth for 1.5% 13 cps to 30 kc 0 THD rated distortion -5 Harmonic distortion 20 50 100 300 500 1K 3K 5K 10K 20K 22.7 watts output below 1%, 20 cps to 5.5 kc; 1.5% 20 kc FREQUENCY, CPS at 14 kc; 2.3% at 11.35 watts output below 1%, 20 cps to 7 kc; 1.5% 16 kc; at 20 kc FILTER AND TONE CONTROL CHARACTERISTICS at 1.6% + 20 Bass Boost IM distortion, 8 -ohm load less than 2 %, 9 watts to 24 watts +15 Treble Boost output - +10 Loudness + Frequency response, 5 Contour . 1 db, 5 cps to 20 kc; -1.7 db ai 0 -watt output ±1 z Rumble Scratch 30 kc; -3.3 db at 45 kc °_ 5 Filter - Note- Filter -10 RIAA disc characteristic +2.3, -1.1 db, 20 cps to 20 kc Bass Cut Volume control at 9 o'clock - 15 for loud control measurements Treble Cut NAB tape characteristic +1.2, -1.7 db, 20 cps to 20 kc - 20 20 50 100 300 500 1K 3K 5K 10K 20K Damping factor 4 at 1 kc; 5 at 60 cps

FREQUENCY, CPS HI -GAIN HI -GAIN Sensitivity for full output INPUTS SWITCH ON SWITCH OFF phono mag 3.9 mv 16.5 mv 8 Ohm Load mic 4.8 mv 20 mv tape head 23 mv 94 mv phono cer 150 mv 620 mv aux 415 mv 1.76 v tape mach 415 mv 1.76 v radio 415 mv 1.76 v S/N ratio phono mag 63 db 74 db mic 74 db 82 db tope head 56 db 66 db INTERMODULATION DISTORTION phono cer 45 db 55 db aux 79 db 84 db 2 4 6 8 10 15 20 30 tape mach 79 db 84 db radio 79 db 84 db AUDIO POWER OUTPUT IN WATTS

118 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ADC Point Four and

Point Four /E Cartridges

THE EQUIPMENT: ADC Point Four, a stereo cartridge with 0.4 -mil diamond stylus. Price, $50. ADC Point Four /E, same cartridge with elliptical- radius (0.2 -mil by 0.7 -mil) diamond stylus. Price, $60. Manufacturer: Audio Dynamics Corp., Pickett District Rd., New Mil- 4.8 millivolts for the left channel, 5.6 millivolts for the ford, Conn. 06776. right, values suited for modern preamp inputs. The slightly higher output from the right channel -about 1.5 COMMENT: Inasmuch as their basic design departs db -is insignificant from a listening standpoint and from the familiar moving -magnet type, the new Point could, in any case, be readily compensated by the Four cartridges by Audio Dynamics have been termed slightest adjustment of the balance control on a stereo generically the "induced- magnet" type. In this cartridge, amplifier. The cartridge's channel separation was ample the stylus is imbedded in a cantilever which fits into a for today's stereo records. Harmonic distortion did not groove of a tiny permanent magnet. At the end of this become evident until about 5 kc on the test record, magnet farthest from the stylus, the cantilever extends and was low. Vertical and lateral IM distortion also via its pivot point -through a tube of soft iron. The tube was low. The measurements, supplemented with listen- interacts with the permanent magnet surrounding the ing tests, add up to a fine cartridge -very much in the stylus to set up a predetermined magnetic flux. When the ADC tradition of high quality and clean sound. cantilever -cut -tube vibrates, in accordance with the The Point Four /E has the same rated compliance signal in a record groove, the assembly acts as an arma- and range of recommended tracking forces as the Point ture to vary the initial magnetic flux. This varying flux, Four, and the same comments apply as to tone arms and in turn, induces a voltage in two sets of coils, one for relative tracking forces used. Its over -all response char- each channel, which is the output signal of the cartridge. acteristic is similar to, and -except for the rise above 10 The design is said to make for a minimum number of kc- smoother than, that of the Point Four. The two moving parts, low dynamic mass, a linear translation of channels are more closely balanced. The left channel stylus movement to signal voltage, and a practicable measured ± 1 db to 10 kc, then rose to about 3.5 db at way of achieving the 15- degree vertical tracking angle. 14 kc, and fell to -5 db at 20 kc. The right channel The "stylus" in this case consists of the entire assem- measured virtually the same, except that its high end bly of stylus proper, cantilever, permanent magnet, pivot rose to 3 db at about 12.5 kc. These "peaks" are not, block, and soft iron tube. The cartridge body contains in our view, terribly important from a listening stand- only the coils and their terminal connections. The origi- point and are, in fact, similar to what is measured in nal Point Four was so named because the stylus tip has most cartridges. The Point Four /E put out a slightly a nominal radius of 0.4 -mil (.0004- inch). The same unit, higher signal voltage than the Point Four (6.2 milli- fitted with an elliptical stylus (nominally 0.7 -mil by 0.2- volts on the left channel). Channel separation was out- mil), is designated as the Point Four /E. Both models standing on both channels, remaining better than 20 db have a vertical tracking angle of 15 degrees. ADC also to above 10 kc. Harmonic distortion began at 10 kc and has a 3 -mil stylus assembly for use with this cartridge was low. IM also remained low. for playing 78 -rpm discs. Attempting to describe audible differences between The Point Four has a rated compliance of 30 x 10-6 the Point Four and the Point Four /E would be virtually and a recommended tracking force of 3/4 to 11 grams. splitting hairs. Both have an easy, open, airy sound that It is designed for use in most tone arms, including is well articulated and very wide in range. Vis -à -vis the those found on the new, improved automatic players. Point Four: the Point Four /E seems especially good at In tests conducted at United States Testing Company, "staying with it" as the cartridge reaches the inner por- Inc., it was found that installed in the SME arm -with tion of a heavily modulated record, and -like other el- all adjustments carefully made-the ADC Point Four liptical stylus models -it does a remarkable job of tracked well at 1 gram; in other arms, the 11/2-gram eliciting clean, full response from older mono records. tracking force yielded top performance. Both the Point Four and the Point Four /E have negligi- The over -all response of the Point Four was quite ble needle talk and are free of hum pickup. Both have smooth over the audio range. The left channel re- the retractable stylus feature, so that if the tone arm is mained uniform within +1, -2 db to 18 kc, falling to dropped carelessly the stylus is protected from damage. -4.5 db at 20 kc. The right channel was uniform within In sum, both cartridges exemplify recent advances in the +2.5, -0.5 db to 20 kc. The measured signal output audio art, and either model can be recommended for (at 1 kc, with a 5 cm /sec peak recorded velocity) was use in the finest of reproducing systems.

Response of the ADC Point Four, left, and the Point Four/E.

+5 0 0 FREQUENCY RESPONSE AND CHANNEL SEPARATION r'- z 5 FREQUENCY RESPONSE AND CHANNEL SEPARATION Zero DB = 6.2 mv for left channel -15 r z -15 = Zero DB .= 4.8 mv for '. -- Tracking Force = 1.5 grams a - 20 ° 20 left ch; 5.6 mv. for right ch. 111 Left Channel - 25 - 25 Left Channel Right Channel - 30 30 Right Channel - -35 20 50 100 300 500 1K 3K 5K 10K 20K 20 50 100 300 500 1K 3K 5K 10K 20K FREQUENCY, CPS FREQUENCY, CPS

OCTOBER 1964 19

www.americanradiohistory.com Stanton 800B

Stereotable System

THE EQUIPMENT: Stanton 800B, a single -speed (331/2 The arm is a precision- crafted, hollow metal type, rpm) turntable supplied with a Model 200 tone arm suspended on a single ball pivot (hence the name Uni- and a walnut base. Dimensions: 15 -13/16 by 12 -7/8 by poise), and is fitted with an accurately calibrated scale approximately 6 -1/2 inches high, depending on adjust- and sliding weight for setting tracking force. When ment of leveling feet. Price, $99. Manufacturer: Stanton correctly installed, the arm is truly balanced, and per- Magnetics, Inc., Terminal Drive, Plainview, N.Y. fectly free to move in all directions with virtually no friction. It has no pronounced resonance above 10 cps, COMMENT: Although the turntable, known as the and is hardly susceptible to pronounced jarring or ex- Gyropoise, used in the 800B system is sold with the ternal vibrations. It fits onto the arm mounting board Model 200 Unipoise arm, the latter can be bought sep- by means of a single, narrow shaft; the board itself arately for $24 for use with other turntables. Our unit may be pulled up to remove the arm. The cartridge came with a Stanton 481AA cartridge which also sells signal leads in the arm terminate in a dual plug that is separately for $49.50 and which is a logical mate for clipped to a small bracket under the table; from this use in the 200 arm. Any of these components is, in plug, the signals are carried by pre- soldered cables itself, a top quality audio device; together they comprise (supplied with the unit) for plugging into the preampli- a disc -playing ensemble of unusual design, handsome fier. A separate grounding lead also is supplied to appearance, and splendid performance. eliminate hum. The arm has a novel- shaped finger lift Assemblying the parts is a short and easy task. The that, once the user gets accustomed to it, makes handling turntable goes together in jig time and requires no tools; the arm and cuing a record quite easy. the cartridge slips into the arm's shell by means of a In measurements made at United States Testing special plug and without the need for terminal clips or Company, Inc., the turntable's speed proved accurate "sleeves "; the arm comes premounted on a wooden plat- within 0.5% over a range of supply voltages from 105 form that fits into a cutout on the main base where it to 129 volts AC. Wow and flutter were insignificant at is aligned by two guide pins. 0.15% and 0.04% respectively. In our view the existing The turntable has a unique type of suspension. The NAB standard for measuring rumble produces a figure platter literally floats on a cushion of air or, more cor- ( -21 db) that is not indicative of the performance of rectly, on a magnetic field set up by two flat circular the 800B, because it occurs at a very low, inaudible fre- magnets under the platter that are so polarized as to quency, and -in addition -as the manufacturer points repel each other. The circular shaft that extends through out, the novel magnetic suspension system is designed the platter and through both magnets thus is not used to to minimize any rumble being transmitted up from the support the platter, but only to center it during its rota- motor to the pickup. Our evaluation of rumble therefore tion. Thus, except for the rubber idler wheel, there was based on listening tests using several test records; is very little mechanical contact between the platter and in a word, whatever rumble may be present is well below the other parts of the mechanism. the threshold of audibility and would not be a factor in The tone -arm mounting board is held in place by listening. The measurement of rumble, incidentally, is another magnet, this time by attraction to a metal plate. reportedly being examined by a committee of the NAB, Inasmuch as this is the same plate that mounts the and a revised test standard may be forthcoming soon. bearing for the center shaft, there is a predetermined Using the 800B ensemble is a gratifying experience and constant mechanical relationship between platter The platter runs smoothly and silently; the arm handles and arm, which is desirable. The plate itself is sus- well. The ease with which the tone -arm mounting board pended from the motor mounting board by means of can be removed and replaced is a boon to the experi three hollow rubber balls, so that the platter and arm menter or curious audiophile who is often trying new combination is isolated from the motor. This type of pickups. The 481AA cartridge itself, known as the suspension, combined with the magnetic trick described Calibration Standard, is Stanton's best, designed for use above, is designed to reduce acoustic feedback and with very lightweight arms such as the Unipoise, and rumble. capable of tracking at well below 3 grams. The stylus The platter -111/2 inches in diameter -is made of too is readily replaced by the user, and a stylus assem- cast aluminum, finely machined and balanced. It weighs bly is available for playing 78 -rpm discs. The 481AA, 2 pounds, 111/2 ounces without its pad; 3 pounds, 2 in listening tests, proved to be among the cleanest we ounces with the pad. Power is supplied by a four -pole have auditioned, with wide, smooth response and excel- synchronous motor via an idler wheel that engages its lent channel separation. Hum pickup and needle talk inner rim. A large metal knob at the front left of the were negligible. Whether as a complete record- playing turntable is pushed to engage the idler and to start the ensemble, or as individual components, the Stanton motor. The walnut base is handsomely finished and its equipment merits serious consideration by the discrimi- four feet may be adjusted to level the turntable. nating discophile.

REPORTS IN PROGRESS Ortofon SPE /T Cartridge Bell 1000 Tuner /Amplifier

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Fisher XP -10 and XP -5

Speaker Systems

system was driven. The response had a slight rise at THE EQUIPMENT: Fisher XP -10, a floor- standing about 60 cps and then continued very smooth to beyond speaker system in an integral enclosure. Dimensions: audibility. The output, checked at various test -tone 301/4 inches high, 243/4 inches wide, 143/4 inches deep. frequencies, seemed uniformly dispersed in all planes, Weight, 80 lbs. Price, in oiled walnut. $249.50. Fisher becoming more directional as we approached 10 kc, XP -5, a compact speaker system in an integral enclosure. which was to be expected. Test tones themselves were Dimensions: 10 by 20 by 9 inches deep (can be posi- reproduced with outstanding clarity, and a 14 -kc tone tioned vertically or horizontally). Weight, 15 lbs. Prices: still was perceptible slightly off axis of the system. The in oiled walnut, $54.50; in unfinished birch, $49.50. white noise response of the XP -10 was smooth and Manufacturer: Fisher Radio Corp., 21 -21 44th Drive, subdued. Long Island City, N. Y. 11101. Handling program material, the XP -10 exhibited all the virtues associated with a fine reproducer. The sound COMMENT: These systems represent two recent ap- had clarity, transparency, tonal balance, excellent tran- proaches to the air -suspension speaker design. In both sient response, fine separation of instruments. The bass the XP -10 and the XP -5 the woofer has a natural had no hang -over and plenty of impact. The midrange resonance below its performance response range; the and highs were airy. Voices sounded natural. In a cone is "stiffened" or brought up to the response range normal- to large -size room, a pair provides an excellent by the air within the enclosure, which is confined by a stereo presentation of all types of program material. packing of sound -absorbent material. The XP -10 em- from solo piano to large -scale opera works. A nice sense ploys a 15 -inch woofer for this purpose; the smaller of air and space also is imparted to monophonic ma- XP -5, an 8 -inch woofer. Special techniques are used to terial reproduced over a pair of XP -10's. The over -all obtain optimum performance with these drivers and impression of this system is one of natural, musical their associated components. sound. The tweeter and midrange controls on the rear The XP -10 is a three -way system. The 15 -inch of the speaker can be adjusted to tailor the over -all woofer is crossed over at 200 cps to an 8 -inch midrange tonal balance to suit different room acoustics. They do unit; this again is crossed over at 2,500 cps to a wide - make an audible difference, and we found that in one dispersion type cone tweeter. The crossover frequencies room we preferred them at maximum settings; in another were chosen to minimize phasing problems in the region room, we had to reduce these considerably. where most orchestral and vocal fundamentals occur. The smaller XP -5 uses an 8 -inch woofer of special In addition, the upper 2,500 -cps crossover frequency design and very compliant suspension. It is crossed over was chosen, as designer Bill Hecht explains, as a "good to a small cone tweeter at 2,000 cps. Input impedance is compromise between the midrange carrying the major 8 ohms. The over -all response of the XP -5, like that of fundamentals and the point at which good dispersion the XP -10, confirmed the manufacturer's performance assumes increasing importance." The woofer in the claim. In general, it was exemplary of its price class: XP -10 employs the eddy- current damped copper voice - moreover its bass response, for a speaker costing coil used in the earlier Fisher XP -4A (see Equipment about $50, seemed outstanding. Full and clean bass was Reports, February 1963) to obtain good transient reproduced down to about 36 cps; with the doubling at- sponse. A "long- throw" type, it is powered by a 6 -pound tendant on driving a speaker harder, the bass extended magnet. The midrange unit, designed especially for this to below 35 cps. Midrange and highs were smooth and system, uses a 51/2 -pound magnet. The tweeter is a evenly distributed, though not as airily or as omnidirec- hemispherical dome type with a soft composition dia- tionally as in the XP -10. This consideration, in our phragm, on which a patent is pending. It too is driven view, relates chiefly to the size room in which the XP -5 by a 51/2-pound magnet. All drivers are mounted behind will be used. In a fairly large room, the highs seemed - a grille cloth, and the system functions as a direct by comparison with the XP -10- somewhat remote. In radiator. Input impedance is 8 ohms; efficiency is mod- a smaller room, acoustically on the "live" side, the highs erately high. took on a brighter, more "rounded" quality, and the The response range of the XP -I0, which conformed speaker as a whole came into a more satisfying tonal very closely to the manufacturer's claim, was excellent balance. This characteristic, combined with its fair and among the widest encountered in any speaker. The efficiency, would suggest that the best use of the XP -5 bass was clean and smooth down to 30 cps; response would be in an installation employing an amplifier below this frequency rolled off in amplitude. Doubling rated at, say, 15 to 25 watts per channel, and installed was evident below 30 cps, depending on how hard the in a room of up to 1,800 or so cubic feet.

OCTOBER 1964 121

www.americanradiohistory.com NOW! In 3 Astonishingly Brilliant New Albums!

The astounding miracle of 3 speaker presence UNBELIEVABLE, INCREDIBLE Gsvistcpsta, DIMENSION3PROCESS

Without making a single change have done is to play these great in your stereo equipment, these fan- songs the way we feel they ought to tastic records enable you to hear sound - the way a movie sound three distinct "separate channels" of track could sound if they took full sound so clearly defined that music is advantage of all the possibilities reproduced with greater depth than available in modern arrangements ever seemed possible, with more and in modern sound reproduction. magnificent grandeur and with a "One of the most important factors texture that is rich beyond belief. in making these songs sound "the THE ALBUM THAT SHOOK THE RECORDING INDUSTRY... way we believe they ought to sound" Originated and Produced by is the use of Command's Dimension ENOCH LIGHT 3 utterly astonishing DIMENSION 3 ENOCH LIGHT Process, that i new recording technique that actu- FOR THE FIRST TIME! With this album suddenly you HEARD A PHANTOM GREAT THEMES = HIT FILMS ally creates a third "ghost" speaker SPEAKER where NO SPEAKER EXISTED! in your regular two -speaker stereo In addition to the left and right speakers, COMMANDS DIMENSION 3 PROCESS system. it was possible to definitely and actually hear a third phantom speaker IN THE "Command's Dimension 3 Process MIDDLE ... so creating an entirely NEW dimension in sound reproduction-Com - fills out the spectrum of sound repro- mand's DIMENSION 3! duction by giving you three "sepa- SELECTIONS: ALL I DO IS DREAM OF YOU LIFE IS JUST rate" sources of sound - the right A BOWL OF CHERRIES CARRIBE WAS ..rtr ft;tlra...-.. left separation that we have SHE PRETTIER THAN I? MY OLD FLAME .newwr and HEY THERE LOVE AND MARRIAGE ADIOS Al1Ml1ïtlMrarPlpMrlll . to a third SWAMP-FIRE THE HAWAIIAN WEDDING lwurrwlYtnirw,»... , been accustomed plus IT'S niaale rras-rwrertat SONG FOR ALL WE KNOW ONLY A rtre+mEMtlr.. "separate" source in the center - PAPER MOON. Command Album #867. UM! Mll[..naMMMOIK 1<= xaw MIEMLMR....- even though there is actually no speaker there. The effect, as you can JUST RELEASED DANCE DISCOTHEQUE ENOCH LIGHT and His Orchestra hear on these performances, is awesome. RECORDED IN GREAT THEMES FROM COMMAND DIMENSION 3 PROCESS a of excitement Enoch Light and his Orchestra HIT FILMS "It adds new sense to the pleasures of listening. The mad, mad dance craze that's the rage of the "In- Crowd" is brought out in RECORDED IN "And these great new songs from all its sophisticated brilliance by Enoch COMMAND'S DIMENSION 3 PROCESS the movies have the scope and the Light and his orchestra. Command's scin- tillating album, DANCE DISCOTHEQUE, Original "Master- Recorded" on 35 mm dimension and the vast, singing, pulses with electric excitement with a Magnetic Film melodious beauty to show off the potpourri of the latest dances including true potential of this astounding the FRUG, WOBBLE, SLOW ROCK, "When you hear music on a movie HULLY GULLY, WATUSI, SHAKE, SWIM, new advance in sound reproduction POTATO, ETC. sound track," Enoch Light has ob- BOSSA NOVA, MASHED Command's Dimension 3 Process." SELECTIONS: - I served, "the orchestra is usually just DOWN BY THE RIVERSIDE IF HAD A HAM- MER HELLO, DOLLY! NIGHT TRAIN I a big melange. The arrangements WANT TO HOLD YOUR HAND YA! YA! SELECTIONS FROM designed to keep WATERMELON MAN AND I LOVE HER, PLUS are ordinarily GREAT THEMES FROM FILM HITS OTHERS. Command Album #873. everybody in the orchestra busy RUSSIA WITH LOVE A HARD DAY'S Write for FREE full -color brochure of all FROM releases. ME IRRESPONSIBLE TOM Command playing all the time, subservient in NIGHT CALL All Command Recordings are also available As JONES FATE IS THE HUNTER I COULD in 4 Track Tape. dynamics to the "spoken word." HAVE DANCED ALL NIGHT MONDO CANE World Leader in Recorded Sound a result, when a sound track is trans- NO. 2 THE SEVENTH DAWN ALL THE ferred to a record album, the music WAY HOME IT HAD BETTER BE TONIGHT LOVE THEME FROM THE CARPETBAGGERS records does not have the significance or defi- JOURNEY. Command Album SENTIMENTAL A subsidiary of ABC -Paramount Records, Inc. nition that it should have. What we #871. 1501 Broadway, New York 36, New York CIRCLE 28 ON READER -SERVICE CARD 122 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com reviewed by PAUL AFFELDER HARRIS GOLDSMITH NATHAN BRODER ROBERT C. MARSH O. B. BRUMMELL CONRAD L. OSBORNE R. D. DARRELL ALAN RICH SHIRLEY FLEMING ERIC SALZMAN ALFRED FRANKENSTEIN JOHN S. WILSON

Birgit Nilsson James McCracken

A Fidelio Pitched for Excitement by Conrad L. Osborne

BY AND LARGE, I have better things to So this is, to start with, a breakneck pitch: Tom Krause pours it on for his do than stand around the living room Fidelio. It is not entranced by the pro- vengeance lines, James McCracken is with a checkered flag and a stop watch, fundity of each of the master's notes or rock -firm with Florestan's defiance, and waiting for Version 1 of Fidelio to cross by the Nobility Of It All. It opts for Birgit Nilsson flings out a stunning the finish line. Someday, nonetheless, I excitement. Whether one cares for this "Tiit erst sein Weib! " -a moment which am going to time the complete record- approach is naturally a matter of taste, she always renders unforgettable in the ings of this opera as a sop to science: but I think we will have to concede its theatre. Knappertsbusch, obviously, will bring up validity, for it produces some thrilling The quick tempos are also welcome - the rear; and I suspect that Lorin Maazel, moments. and at least one sustained pas- to me, at least -in the songs and duets winded but still game, will go home with sage of enormous effect -the close of allotted to Marzelline, Rocco, and Jac - the cup. The latter's version may require the dungeon scene. Here, from the point quino in the opening scene: in almost all a few minutes' more playing time than of Pizarro's "Er sterbe!" through the Pizarro's music; and in a number of the Toscanini's, but into this span it crowds rescue trumpets, the ensuing furious en- arias (Nilsson, for example, is certainly as much of the spoken dialogue as one semble, and the duet "O namen /ose much more comfortable in this "Abscheu- ever hears (the Toscanini edition, like Freude," Maazel drives his forces through lielier!" than in the one conducted by Furtwängler's, includes no spoken ma- roughly ten minutes which must stand Downes on her recent recital record, and terial except the "melodrama" in the as among the most exciting in recorded succeeds in shaping the piece better than grave -digging scene). opera. His soloists key themselves to the 1 have ever heard her do). The finale

OCTOBER 1964 123

www.americanradiohistory.com also carries conviction in this reading; surmounts the killing climax of the aria one may miss the expansiveness and in extremely imposing fashion, but weight of Knappertsbusch or the balance sounds on the thin edge in some of the of Klemperer or Böhm, or the warmth recitative that precedes it. His dark, of Furtwängler, but these qualities would weighty tenor, capped here with more of be misplaced in the context of the present a high ring than it usually has in the interpretation, and Maazel at least keeps opera house, is a good instrument for the things firm and controlled. music, and both musically and interpre- Sometimes it doesn't work, because it's tatively he makes a decidedly positive just too damned fast. The concluding impression. Let's hope his voice can bars of the overtures are almost ridicu- withstand the uninhibited use to which lous, a breathless scramble, and there are it is put. other points where things seem on the Krause is a sturdy, incisive Pizarro. verge of going haywire. The introduction Though changes in the recording perspec- to Act 11 has little about it of gloom or tive occasionally lead one to the conclu- mournfulness and it misses the cataclys- sion that his voice is not as large or dra- mic sense of doom which Toscanini was matic as it seems, for the most part his able to convey in his own rapid version. presence is appropriately domineering, I simply don't understand this reading of and his singing has temperament. Böhme Pianist Wilhelm Kempf f . the "Prisoners' Chorus "; it is not only proves a surprisingly fine Rocco. I had fast, but so crisp (the accent is almost not thought his rather ponderous bass staccato) as to seem practically jolly. would take well to the role, but he han- But that's the way it is with this inter- dles it lightly and intelligently, and gives WITH SO MUCH TALK these days of im- pretation: it is not piteous, or warm, or us a recognizable, unforced characteriza- minent excursions to the moon, it's a profound, or reverent. But it is dramatic tion. Graziella Sciutti, extremely musical startling thing to come upon a and exciting; and if one prizes these as always, has some precarious moments rather European musician, long celebrated in his qualities in Fidelio, one may also prize vocally, but brings a good deal of charm field, who has yet to pay a visit to the the performance, and overlook some of to Marzelline -and her German in the is precisely the the reckless tempos and some of the dialogue is amazingly fluent -sounding. United States. Yet that situation regarding the famed pianist forced accents and overemphatic detail. Hermann Prey is a perfect Fernando, and Kempff, who will be playing The cast is no bouquet of shrinking Donald Grove is quite satisfactory as Wilhelm here for the first time during the month violets, either. 1 am sure that many lis- Jacquino. Herr Kempff (whose Con- teners may prefer a Leonore who sounds Orchestrally, there are a few ragged of October. more personally involved, but then they moments, but I think we must lay the tinental appearances have for years been will have to put up with some rough blame on Mr. Maazel, for they all occur received with the kind of awed rever- singing on the part of the recorded artists at points where he is thrashing the day- ence usually associated with Bayreuth) who dig into the role this way: Hilde lights out of things; most of the time, has made numerous trips to South Amer- Konetzni, Martha Mödl, Sena Jurinac the execution is more than acceptable. ica, has toured Canada once, and is are all very much extended by the de- The chorus is extremely fine. The sound, certainly no unknown quantity to Amer- mands of the music. In the theatre, to judge from the advance pressings, is ican music lovers. Old -time collectors Nilsson's Leonore is indeed compelling, excellent, with the soloists not so far back will vividly remember the artist's early for she is an intelligent and thoughtful as London has sometimes placed them. electric versions of Beethoven Sonatas actress who uses pantomime, rather than Even in stereo, everything is gotten onto released on the long defunct Brunswick vocal coloration, to make the salient four sides with no detectable sacrifice in label in the late Twenties and early dramatic points. Her singing is expressive sound quality (the Leonore No. 3, I need Thirties. The postwar generation knows in that it is well phrased, round, strong, hardly add, is absent). the complete edition of the Beethoven and always beautiful (with, of course, For most listeners, the Fidelio choice Sonatas, which Decca issued here in the some glorious top notes). It is also free will boil down to Klemperer vs. Maazel, early Fifties, and has been listening to of artifice and mannerism; it bespeaks if stereo is desired. On Klemperer's side: Kempff ever since. sincerity. Yet it is quite possible that balance; the wisdom of experience; a ripe, Yet Kempff's forthcoming recitals will listeners who have not seen her Leonore full vision of the work: and a generally be greeted with uncommon interest and will find her recorded version a bit cool strong cast. In the background. of course, curiosity, for in spite of his many re- or lacking in urgency -in the manner of are the specialized and familiar virtues cordings this artist remains something of many classically great vocalists, she does of the Toscanini and Furtwingler edi- an enigma. He is one of the most in- not under any circumstances allow emo- tions (minus dialogue), and the distinct dividualistic and least predictable of the tional involvement to interfere with vocal excellence of the Böhm performance great pianists now before the public, a freedom. For my part, I suspect that (Vox), which unfortunately is badly re- highly subjective performer who chooses Nilsson's Leonore will wear better than corded. The uneven DGG Fricsay set has to cloak his liberties behind a veil of that of any of the others; there is no an intermittently powerful Leonore in understatement. He has much in common doubt that, a few of the runs excepted, Leonie Rysanek, the excellent Rocco of with Sviatoslav Richter -which may here is the best -sung Leonore on records. Gottlob Frick, the silken malevolence of sound surprising in view of the two Anyone doubting her dramatic compre- Dietrich Fischer -Dieskau's Pizarro. And players' totally different orientation. hension can listen to her voicing of the there is Westminster's Knappertsbusch, Both favor extreme plasticity of tempo dialogue, particularly during the dungeon for those who set store by the fable of and are lavish in emphasizing shifts of scene, for she is persuasive and moving. the tortoise and the hare. tonal color, both have a fondness for McCracken, who is suddenly one of the biting sforzandos. and both are capable world's leading dramatic tenors after of coaxing sounds of the utmost delicacy years in the galleys as a comprimario, BEETHOVEN: Fidelio and seductive beauty from the instru- is here making his first major recording ment. But there are differences too: in (a listening to the Columbia Lucia will Birgit Nilsson (s), Leonore; Graziella much of the music he plays, Kempff disclose him briefly as Normanno). Sciutti (s), Marzelline: James Mc- tends to be more angular and far less McCracken is an impressive singer and a Cracken (t), Florestan; Donald Grove glossy than his Russian compeer. He also very individual artist. He is at his best (t), Jacquino; Kurt Equiluz (t), First would appear to have a touch of humor, when the music calls for size and in- Prisoner; Tom Krause (b), Don Pizarro; even irony, in his playing of classic tensity -the truth is that he sounded Hermann Prey (b), Don Fernando; Kurt composers, while Richter, in that terrain, thoroughly bad in most of the bit parts Böhme (bs), Rocco; Günther Adam tends to be either constrained or unabash- the Met used to assign him. His singing (bs), Second Prisoner; Vienna Philhar- edly romantic. Kempff is patently the is somewhat pressurized, not relaxed, and monic Orchestra, Lorin Maazel, cond. possessor of a masterful technical equip- it shows strain when he is called upon LONDON A 4259. Two LP. $9.96. ment, yet at times he can be rather to scale it down. On this recording, he LONDON OSA 1259. Two SD. $11.96. cavalier in regard to hitting the right

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www.americanradiohistory.com these, he tends to be withdrawn, even dis- passionate. Kempff's evident antipathy to extrovert display is manifested in two by Harris Goldsmith ways. He is sparing in his use of pedal and he flattens out extreme contrasts of tempo -generally playing adagio sections rather briskly and matter -of- factly while curbing the allegros, vivaces, and pres- tissimos with an iron hand. For this reason, I do not care much for his treatments of the Tempest and Waldstein, Beethoven and Brahms although both are celebrated interpretations and have many marvelous features. But in the Op. 101 Kempff's detached objectivity makes his interpretation a joy With a Master's Stamp to hear; certainly the contrapuntal textures of the Marcia and finale are incomparably clear and subtle. There is also much to be said for Kempff's leisure- ly pacing of the Hammerklcn'ier's first movement (which permits every phrase to fall into place with unfailing logic), notes. He certainly is not as careful a logic. Practically without exception, his even if I myself am one of the few pianist as, for example, Gieseking was. renditions convey a breath -taking im- people convinced by Schnabel's attempt To commemorate Kempffs long over- petuosity and unbroken nervous inten- to play this composition at Beethoven's due visit, Deutsche Grammophon Gesell - sity. Schnabel was, in many ways, the amazingly fast metronome marking. And schaft has just made available a lavish precursor of our modern pianistic though relatively small -scaled, Kempff's cornucopia of his recordings. In a boxed school: he was basically an antiroman- versions of Op. 109 and 111 are deeply ten -disc album we are presented with a ticist concerned with the over -all analytic felt and convincing. All told, this album handsome reissue of the well -known set content of the music rather than its is a towering achievement. of Beethoven Piano Sonatas which have momentary diffuseness. Though there is Kempff will be playing the last four been unavailable in this country since awesome attention to detail in his read- Beethoven Sonatas at one of his New their deletion from the Decca catalogue ings, one sometimes feels that the quest York concerts this autumn. and the new over a year ago. New versions of the for essential "truth" takes precedence recorded versions (Nos. 29 and 30 on last four Sonatas, recorded for stereo, over precise technical refinement. Schna- 18944 or 138944. Nos. 31 and 32 on appear on two discs. Finally, there is a bel is at his best in the big, dramatic 18945 or 138945) are a sort of foretaste two -disc set of Brahms piano music, Sonatas -both late and early -which of that program. It will be extremely largely duplicating material which can absorb his Herculean relentlessness. interesting to hear how the presence of Kempff recorded for London a decade At other times, as in the slow movement an audience affects the pianist in these or so ago. of Op. 2, No. 2, the effect he produces works. The newer recordings would In terms of sound, all of these DGG is almost too overpowering to be pleas- seem to indicate that. like Gieseking, issues are extremely fine. The processing urable. Still, his is always gigantic inter- Kempff has in recent years become even is superlative, with silent surfaces and pretation, and (contrary to the generally more concerned with refinement and firm piano tone. The set of the Sonatas held myth of Schnabel's technical in- tonal colorisnt. To an even greater degree is a real prize, for despite the compres- adequacy) superb virtuoso keyboard than on his older records. there is sion of the series onto ten discs (as mastery. avoidance of heaven -storming drama in opposed to the fifteen employed by Kentpffs cycle, in contrast, is on a these performances. Those repeated G Decca), the conics are often improved smaller, less cosmic scale. His is a more major chords near the end of Op. 110, almost beyond recognition. To hear gracious, reflective temperament, and for example, are even more restrained these performances in really adequate this quality stands him in particularly than in the earlier rendering and the reproduction after all these years is a good stead for such works as the whim- washes of tonal color are. if anything, revelation. As a matter of fact, I confess sical Op. 7, in E flat, the perky, imagina- even more scintillant. But except for to preferring this resurrected sound to tive Op. 31, Nos. 1 and 3, the fantastic this Op. 110 Sonata. which can profit that on the brand -new Kempff discs and poetic Op. 78. Kempff's differs from from cantabile understatement. I tend to in the stereo series, for the older mono- most present -day Beethoven playing in prefer the Kempff readings in the integral phonic recording has a more mellow that he emphasizes the cameolike Haydn - set. The present Hammerklavier sounds and substantial bass registration. Piano esque element which is undeniably as almost flippant and prosaic in compari. sound need not be ultrabright in the strong an aspect of Beethoven's funda- son with that of twelve years ago. while Beethoven Sonatas. mental outlook as his heroic force. Op. 109. for all its great tonal beauty, Last year Angel Records performed Kempff's sardonic sfor:andos and ex- somehow lacks the solidity and strength a true service to the public in making quisite trills are a pleasure to experience. heard in the monophonic recording. And available the late Artur Schnabel's com- One follows his traversal from Op. 2 to although the urgently needed but pre- plete cycle of Beethoven Sonatas, re- Op. 1 II with a sense of wonderment and viously omitted repeat of the exposition corded for HMV in the decade before adventure. Although his tonal dimensions in the first movement of Op. 111 is re- World War II. To everyone's delight, are not particularly large, he suggests a stored in the newer recording. Kempff's the mammoth thirteen -disc album turned kind of suppressed draina, a beguiling rhythm and control of dynamic grada- into a best seller. It is to be hoped wittiness in many of the lesser -known tions is less tightly maintained. Indeed, that DGG's similar effort in behalf of Sonatas. An amazingly diverse coloristic the first movement begins to sound Kempff will meet with like success, for grasp delineates all sorts of unsuspected slightly turgid here. and the already fast in their totally different ways both sets harmonic innovations with supreme skill. pace for the adagio of twelve years ago are equally important. Each version Kempff, it might be said, shifts the seems to have lost whatever breadth it bears the evidence of interpretative focal point away from the standard, possessed. I have a premonition that the genius, and the strong (sometimes totally popular Sonatas towards those that have live performances will have more tension irreconcilable) views held by these two hitherto languished in relative obscurity. and force than these: Kempff impresses masters make it almost imperative to Save for a lovely, intimate Moonlight me as a performer who reacts to an audi- have both readings at one's disposal. and an Appassionata of rugged grandeur, ence. Perhaps he lavished just a shade too The overriding feature of Schnabel's Kempff seems almost embarrassed by the much preparation on these two discs. playing was his uncompromising attitude much heralded drama of the most com- The pianist is absolutely radiant in the towards Beethoven's tempos and formal monly played works in the series. In Brahms collections. I confess to enjoy-

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www.americanradiohistory.com íng the present performances more than first movement of the C minor Concerto, any others that 1 have ever heard. for Two Harpsichords, S. 1062 (Bach's Kempff's attention to light and shade, transcription of his own D minor Con- his pointed intellectualism, and his certo for Two Violins), for example, is touches of stark accentuation when called taken at a pace that is lively yet with- for imbue his interpretations with con- out haste; the opening section of the D stant enlightenment. These are highly Classical minor, S. 1063, on the other hand, goes personal, individualistic readings which rather deliberately, which gives it the nevertheless respect tradition. The two character of drama rather than dance. Rhapsodies from Op. 79 and the mighty The sound is clear, even when, in the No. 4 of Op. 119 (together with Op. 76 triple and quadruple concertos, the on 18902 or 138902) are square -hewn, scene gets crowded. Occasionally, in rugged, and virile. Their moments of the C minor and A minor (S. 1065) Con- rhythmic energy are enhanced by the certos, there are moments of less than fact that Kempff refuses to let his tex- complete unanimity. They are not bad tures become thick; inner lines emerge BACH: Concertos for Two, Three, enough to be ragged, but they do blur with unobtrusive clarity. A brusquer and Four Harpsichords and Strings, the already complicated goings -on for than average tempo gives the F sharp S. 1060 -1065 a while. There is not much directionality minor Capriccio of Op. 76 a delightful in the stereo, but the sound is resonant. tongue -in -cheek roguishness, while its Anton Heiller, Erna Heiller, Kurt Rapf, N.B. companion in B minor dances with Christa Landon, harpsichords; Solisti di gnomelike laughter. Spare, somewhat Zagreb, Antonio Janigro, cond. BACH: English Suite, No. 2, in A staccato statements of the much played VANGUARD BG 659/60 Two LP. $4.98 minor, S. 807 Op. 117 group drain every trace of each. tMozart: Sonata for Piano, No. 17, in treacle from them. What beautifully VANGUARD BGS 70659/60. Two SD. D, K. 576 poised rhythmic logic Kempff gives $5.95 each. t Scarlatti, Domenico: Sonatas for these pieces! As for the lilting C major Piano: in E, L. 23; in A, L. 345 Intermezzo of Op. 119, one would have BACH: Concertos for Two, Three, to go back to Dame Myra Hess in her and Four Harpsichords and Strings, Josef Fidelman, piano. prime to find an interpretation of similar S. 1062 -1065 PARLIAMENT PLP 300. LP. $1.98. brio and ease. (Her LP version sounds PARLIAMENT PLP 1300. SD. $2.98. stodgy in comparison to Kempff's slow - Fritz Neumeyer, Lily Berger, Konrad ish but rhythmically supple reading.) Burr, Ilse Urbuteit, harpsichords; Mr. Fidelman, whom I have not heard I remember having a fondness for Chamber Orchestra of the Saar, Karl before, was born in Tiflis, came to this Kempff's older London versions of this Ristenpart, cond. country in 1933, and now, the notes in- music, but I cannot recall any of those NONESUCH 1019. LP. $2.50. form us, enjoys a successful teaching performances having the exquisite au- NONESUCH H 71019. SD. $2.50. career. His playing here is clean, his tumnal atmosphere and haunting mellow- phrasing musicianly, he uses the pedal ness of the present miraculous state- In the Vanguard set all the soloists sparingly in these pieces, and his tone ments. This is pianism of towering turn in good, well -coördinated perform- is agreeable. In the fast movements greatness. ances, and Anton Heiller, who plays of the Mozart the basic pulse varies Harpsichord 1 in all the concertos, has from section to section, and the slow seldom sounded better to me. The or- movement seems a bit fast. In the BEETHOVEN: Sonatas for Piano chestra gets off to a rather nervous start Bach, Mr. Fidelman is unusually gener- (complete) in the first movement of the C major ous: he not only repeats each section of Concerto for Two Harpsicords, S. 1061, the Sarabande proper, but plays, with Wilhelm Kempff, piano [from Decca and the pace chosen leaves no time for repeats, both sections of the embellished 9578/92 and 9864, 1952]. nuance in the solo parts. The other two version of the same -piece too. Good DEUTSCHE GRAMMOPHON KL 42/51. movements are more tranquil, but tense- sound. N.B. Ten LP. $59.80. ness mars the orchestral contribution in one or two other places. Janigro's BEETHOVEN: Sonatas for Piano highly charged style suits some sections BACH: Partitas, S. 825 -830 -such as the first movement of the No. 29, in B flat, Op. 106 ("Hammer- great C minor Concerto for Two Harpsi- Joerg Demus, piano. klavier"); No. 30, in E, Op. 109; No. chords, S. 1060- better than others. WESTMINSTER XWN 19067/68. Two 31, in A flat, Op. 110; No. 32, in C Perhaps the flaws here should not be LP. $4.98 each. minor, Op. 111 wholly charged to the conductor, how- WESTMINSTER WST 17067/68. Two ever. The recording is unusual in that it SD. $4.98 each. Wilhelm Kempff, piano. combines strikingly good qualities with DEUTSCHE GRAMMOPHON LPM 18944/ some that are not. In the stereo version There is a good deal to be said for these 45. Two LP. $5.98 each. there is effective separation in the double performances. Demus plays with good DEUTSCHE GRAMMOPHON SLPM concertos, and in the triple concertone, which is carefully modified to suit 138944/45. Two SD. $6.98 each. tos one gets to a remarkable extent the the character of each piece. Except in illusion that there is one harpsichord at the first movements of Nos. 1 and 4, BRAHMS: Piano Works the left, one in the middle, and one on where the rhythm sags in spots, there is the right. But to offset this, there is a smooth flow which usually has enough Capriccios in F sharp minor, Op. 76, a curious imbalance: if the volume is ad- vitality to prevent monotony. Such move- No. 1; in B minor, Op. 76, No. 2; justed so that the harpsichords are heard ments as the Courante and Tempo di Rhapsodies: Op. 79 (complete); in E at the proper dynamic level, the orches- Menuetto of No. 5 are played with flat, Op. 119, No. 4; Fantasias: Op. 116 tra is too loud. Despite this loudness, delicacy; the Allemande of No. 4 has (complete); Op. 118 (complete); Inter- the orchestra does not cover the key- a supple beauty, the Aria of the same mezzos: Op. 117 (complete) ; Op. 119, board sound; it is merely too obtrusive. suite is charming. In forty movements Nos. 1 -3. Yet when three harpsichords play alone, not a single tempo struck me as unto- as in the slow movement of the Triple ward. In short, these are safe and sane Wilhelm Kempff, piano. Concerto in C major, S. 1064, there is a performances, well recorded in both DEUTSCHE GRAMMOPHON LPM 18902/ beautiful clarity and transparency. versions. Adventurous listeners may pre- 03. Two LP. $5.98 each. On the Nonesuch disc all four works fer the more imaginative recording by DEUTSCHE GRAMMOPHON SLPM receive first -rate performances. The tem- Gould, which occasionally soars higher 138902/03. Two SD. $6.98 each. pos are usually quite convincing: the -and sometimes sinks lower. As for

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www.americanradiohistory.com me, 1'11 stick to Kirkpatrick (Archive) As a maize, of fact this is a more BEETHOVEN: Sonatas for Piano playing these works in superlative fashion mature performance. at least if you as- on the harpsichord. N.B. sociate maturity with a spaciousness and No. 29, in B flat, Op. 106 ("Hammer- breadth of phrase that put the expres- klavier"); No. 30, in E, Op. 109: No. 31, sive manipulation of the line ahead of in A flat, Op. 110; No. 32, in C minor, BACH: Suite No. 2, in B minor, S. any ostentatious show of virtuosity. Bee- Op. 111. 1067 -See Mozart: Concerto for thoven's final piano concerto is a transi- Flute and Orchestra, No. 2, in D, tional work. You can see it as the last Wilhelm Kempff, piano. K. 314. of the great classical concertos or the first of the great romantic concertos- For a feature review including this re- a choice of perspective that either has cording, see page 124. BACH FAMILY: "The Sons of Bach" you looking backward to the harpsichord or forward to the grand piano literature Johann Christian Bach: Quartet for as treated by Liszt. Brahms, and Tchai- BEETHOVEN: Sonata for Violin and Flute, Violin, Viola, and Cello. Johann kovsky. In Rubinstein's hands. this is Piano, No. 3, in E flat, Op. 12, Christoph Friedrich Bach: Sonata for a grand piano concerto. and it gets a No. 3 Piano, Flute, and Cello. Carl Philipp recording with nine -foot quality fully tMozart: Sonata for Violin and Pi- Emanuel Bach: Quartet for Piano, Flute, represented in the listening room. ano, No. 17, in C, K. 296 Violin, and Cello. Wilhelm Friedemann It is the most completely satisfying Bach: Sonata for Cembalo, Flute, Vio- Beethoven performance I know from this Erica Morini, violin; Rudolf Firkusny, lin, and Cello. remarkable artist, combining the charac- piano. teristic Rubinstein bravura with a deeper DECCA DL 10094. LP. $4.98. Momoo Kishibe, violin; Helmut Riess - awareness of the Beethoven style than I DECCA DL 710094. SD. $5.98. berger, flute; Hatto Bayerle, viola; recall hearing from him at any time in Wilfried Böttcher, cello; Hans Kann, the past. For those brought up in the Another in the superb series of collabo- cembalo and piano. Schnabel tradition it will probably con- rations by these two sterling artists. Both MUSICAL HERITAGE SOCIETY 545. LP. tinue to be criticized as "too romantic." Sonatas receive bracing performances, $2.50. but Schnabel himself remarked that this full of bite and brio. Miss Morini keeps MUSICAL HERITAGE SOCIETY S 545. literature was "so total and universal" her tone pure and taut, with utmost at- SD. $2.50. that no one performance was adequate to tention to staccatos and accents. Mr. exhaust the content of any of these Firkusny also strives for extreme even- As a family portrait, this record has scores. Rubinstein sees this music in ness and clarity of texture. He uses some curiosity value -principally in the special light of a wise old virtuoso scarcely any pedal at all, with the con- revealing the differences in musical ap- with lots of heart, and that's the way sequence that even rapidly played six- proach among the Bach fils and in fo- he plays it. The result is a perform- teenth and thirty- second notes in the left cusing on some of the problems that ance with the technical fireworks of hand sound forth with distinctness. The arose at this transitional stage in mu- his earlier version, but with far greater polish and virtuosity of both participants sic history. Wilhelm Friedemann is depth and more lasting appeal. are almost awesome; certainly I, at least, closest to the father here; he retains Leinsdorf cannot be the star of this have never before heard the difficult the continuo even as he endeavors, not show, but he provides an accompaniment writing of Op. 12, No. 3 solved with with complete success, to keep a melody that mirrors the soloist in manner and comparable finesse. Indeed. if there is line moving on its own momentum. rivals him in effect. Naturally seven any reservation at all with these readings, Johann Christoph Friedrich, though quite years of progress in recording technique it would have to be that they are just galant in spirit, keeps a curtailed con- does make a difference in the sound. a bit too perfect, and consequently slight- tinuo outline in the cello part. Both The current stereo engineering conveys a ly unsettling in their aloof elegance. Johann Christian and Carl Philipp far more convincing likeness of both Decca's sound is perfectly -really Emanuel look ahead-the former more the pianist and the orchestra than was perfectly -balanced, and as realistic as successfully here, in his agreeable, tidy possible in the earlier album. R.C.M. one could hope for. A phenomenal tour (though hardly inspired) quartet. Eman- de force for everyone concerned. H.G. uel's quartet, written in the last year of his life, is very thin in texture and sounds BEETHOVEN: Fidelio rather anemic, but it does show some BERG: Lyric Suite: Three Pieces - rhythmic inventiveness. The perform- Birgit Nilsson, James McCracken, Tom See Webern: Five Pieces for Strings, ances are not particularly refined, but Krause, et al.; Lorin Maazel, cond. Op. 5. they are adequate, as is the sound (which is quite well spaced in stereo). For a feature review of this recording, S.F. see page 123. BIBER: Fifteen Sonatas and Passa- caglia for Violin BEETHOVEN: Concerto for Piano Suzanne Lautenbacher, violin; Rudolph and Orchestra, No. 5, in E flat, Ewerhart, organ and harpsichord; Johan- Op. 73 ( "Emperor ") nes Koch, viola da gamba. Vox VBX 52. Three LP. $9.95. Artur Rubinstein, piano; Boston Sym- Vox SVBX 552. Three SD. $9.95. phony Orchestra, Erich Leinsdorf, cond. RCA VICTOR LM 2733. LP. $4.98. This is, remarkably enough, the second RCA VICTOR LSC 2733. SD. $5.98. complete recording of these fairly rec- ondite sonatas and. even more remark- Artur Rubinstein's stereo version of ably, it is a great deal like the first, this work (with Josef Krips conducting) a Cambridge recording by the violinist was one of the first in the two-channel Sonya Monosoff. The set consists of medium. One is startled to think that fifteen violin and continuo sonatas, each it should be regarded as ready for re- of which accompanies a print illustrating placement, but it was released way back one of the Mysteries of the Rosary; a in 1957, and Rubinstein at seventy -five sixteenth print depicting The Guardian is obviously a more mature and expe- Angel accompanies a Passacaglia for rienced artist than Rubinstein at sixty - solo violin. All of the sonatas, except eight. We've got to give these kids a the first, and the Passacaglia employ chance to mature. Collaborators Firkusny assd Morini. various mis- tunings of the violin, the

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www.americanradiohistory.com so- called scordatura technique that per- composition, is a most scrupulous player. THE SOUND mits unusual effects of timbre and fiddle His reading shows, on the whole, admir- OF virtuosity. Quite apart from all the ex- able attention to detail and smooth vi- tramusical considerations, these are works olinistic command. Although Roman GENIUS of great interest and beauty. Biber Totenberg, on the two -year -old Vanguard created a unique virtuoso form which version, digs into the music with slightly served his own technical abilities in the more abandon and gypsy fervor, the Verdi Requiem manner of a series of tours de force and present soloist is generally more attentive yet remained at the same time deeply to the composer's dynamic and phrase felt and imaginative. markings. Menuhin's is not a particular- Both Miss Lautenbacher and Miss ly warm or intense interpretation, how- Monosoff alternate harpsichord and or- ever. Certainly the first -movement ca- gan as continuo instruments; both use the denza could profit front more cumulative viola da gamba on the bass lines (though impact, and there could also be more

BUXTEHUDE: Chamber and Key- CASTELNUOVO -TEDESCO: Platero board Music and I: Five Pieces -See Ponce: Sonata romántica. Robert Brink, violin; Judith Davidoff, viola da gamba; Daniel Pinkham, harpsichord and regal. CHAUSSON: Poème, Op. 25 Music GUILD 57. LP. $5.98. -¡-Saint -Saëns: Concerto for Violin and Music GUILD S 57. SD. $5.98. Orchestra, No. 3, in B minor, Op. 61 Since trio sonatas by Buxtehude are rare on discs and practically never appear on Nathan Milstein, violin; Philharmonia concert programs, it is good to have Orchestra, Anatole Fistoulari, cond. four of them as well performed and re- ANGEL 36005. LP. $4.98. corded as they are here. The first four ANGEL S 36005. SD. $5.98. of the seven that were published as Op. 1 in 1696, they are written for violin, Milstein's lean style, his biting tone, gamba, and harpsichord and follow no and his penchant for objectivity stand regular pattern except alternation of him in very good stead for the two pieces slow and fast sections. In general they recorded here. Both can, and on occa- are richer in harmonic and contrapuntal sion have, become excessively maudlin in Veyron-Lacroix, in Dittersdorf. than in melodic or rhythmic interest. less aristocratic hands. Fistoulari is obvi- Occasionally, as in the Largo of No. 3, ously a congenial partner: he shows an (RCA Victor) and Novaes (an older there is an intensity arising from much admirable concern for orchestral balances Vox set). Miss Haebler's fluent, well - chromaticism. At other times, as in the and sundry details. This is probably the recorded playing can be endorsed for Vivace of No. 4, tension is built up in best Saint -Saëns No. 3 available in stereo those who prefer their Chopin sounding a longish movement by means of an and, perhaps, on discs altogether-al- like John Field. H.G. ostinato in the bass. (Although this though the aging Francescatti perform- ostinato is repeated unchanged more ance is a very fine one. I hope that than thirty times, it seems to have Milstein will get around to doing the CORTES: Chamber Concerto-See escaped the annotator's attention.) The Introduction and Rondo capriccioso one Sydeman: Music for Flute, Viola, other works included on the disc are two of these days. The repertoire on the Guitar, and Percussion. canzonettas, played on a regal (why a present disc only serves to whet one's regal ?), and the rather fine Suite No. 12, appetite for more. in E minor, played on a harpsichord. All Spacious recorded sound, perhaps a DITTERSDORF: Concertos: for three artists perform with a strong sense shade on the distant side but none the Harpsichord and Orchestra, in B of the style of the period. In the slow worse for that. H.G. flat; for Flute and Orchestra, in E sections they embellish their parts minor; Sinfonia concertante for generously but on the whole tastefully. Countrabass, Viola, and Orchestra, The sound is clear and well balanced. CHOPIN: Nocturnes (complete) in D N.B. Ingrid Haebler, piano. Robert Veyron- Lacroix, harpsichord (in Vox VUX 2007. Two LP. $6.95. the Concerto in B flat); Kurt Redel, flute (in the Concerto in E minor); NEXT MONTH IN This set of the Nocturnes is truly com- Georg Hortnagel, contrabass, Georg plete -with every last posthumous work Retyi, viola (in the Sinfonia concertante); included, whereas some of the previous Pro Arte Chamber Orchestra of Munich, editions omitted one or two of the minor Kurt Redel, cond. high fidelil works. Miss Haebler favors a rippling WESTMINSTER XWN 19060. LP. $4.98. suavity and in general veers towards WESTMINSTER WST 17060. SD. understatement. She produces an admir- $4.98. The Method and Manner able feeling of flow in some of the Of Elisabeth Schwarzkopf Nocturnes in triple -meter (the B major, Karl Ditters von Dittersdorf (the title Op. 9, No. 3, and the G major, Op. 37, of nobility was bestowed in 1773, when An international star makes was by no means a debut No. 2 are two such) by impelling the he was thirty -four) her Metropolitan music along with unusually rapid tempos. mere compositional hack, one of those this season. I like the effect. In some of the larger short -winded eighteenth -century craftsmen who ran out of breath at the end of by Edward Greenfield pieces in the series, however, I felt that her style fell short of the dramatic every four -bar phrase and sat down on an potentialities implied by the notes. Cer- imperfect cadence to gain time. Though FM on the Threshold tainly, there are more eloquent ac- today his principal claim to fame seems big C minor Noc- to be that he played quartets with Haydn by Leonard Marcus counts of the sharp turne, Op. 27, No. 1, and the C minor and Mozart, there is more to his story: from Op. 48. Haebler, for the most part, the inventive works on this disc exhibit Lulu, Daphne, is a modest player who subordinates her many a genuinely graceful turn of And an Uncertain Sky own personality to the music. She never thought, and they "move" harmonically abuses a rubato and seldom strays far and even in a developmental sense. At Santa Fe's open -air from the printed indications in her score. The Harpsichord Concerto (superbly theatre, operas old and new She could have found a more authentic performed, by the way) indicates that are all thriving. edition to attach her fidelity to, how- Dittersdorf knew the keyboard as ever: the text used in the present re- thoroughly as he knew his own violin, Patrick J. Smith by cording is the corrupt one which perpetu- and he gives it room to expand and ates a host of editorial errors, such as modulate in its own fashion. The Flute The Monte Carlo Opera ending the B major Nocturne, Op. 32, Concerto displays in its first movement No. 1, in major instead of minor. one of the most elaborate solo parts for An opera house on the None of the integral versions of the that instrument I've ever heard, and Mediterranean - Nocturnes is so fine as to satisfy all Kurt Redel proves himself a virtuoso in photographs. needs. Perhaps the most interesting (as as he winds, eel -like, around these con- well as the most controversial) of those figurations. Even the Mutt- and -Jeff com- now on the market are by Rubinstein bination of viola and double bass is

1 30 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "... a gift for the gods.'=VINCENT SHEEAN This extraordinary new recording production is stripped of its the- represents a rare collaboration be- atrics and vulgarity. tween one of the world's greatest Leontyne Price, heard here for the sopranos and one of its foremost first time in this role, operatic is joined by conductors -a collabora- an outstanding cast in a production ón yneJrzce tion in the finest and fullest sense, staged especially - and only - for lighted by strokes of pure genius, this recording. The in a new interpretation of and one New York Her - which Show Magazine ald Tribune says, "I\liss Price makes describes as "a miraculous union." a strong, passionate and convincing The New York Times calls this new Carmen. Miss Freni is the Micaela album a "beautiful realization of of our dreams." Vincent the Bizet opera Sheean ...makes the thrice - writes: "Corelli's superb tenor is at Carmen,with Franco Corelli, Robert familiar score sound fresh all over home in Don Jose's music, which Merrill, Mirella Freni. Herbert von again." This, indeed, is not the Karajan conducting the Vienna supplied his first great success at traditional Carmen but a more the Scala ". Robert Philharmonic Orchestra. musical ... Merrill, as interpretation in which the Escamillo, appears in the famous role he has performed throughout the operatic world. In this splendid performance, the orchestra under von Karajan realizes musical subtleties rarely if ever heard before and, in fact, becomes an integral part of the dramatic action onstage. This new album, which the New York Times hails as "a stunning achievement," is one that must be heard by everyone who enjoys great opera. 3- record Soria package, elaborate notes and libretto. cq victor Pricy: et: cry niusicul requisite" Von Kara ja n, Price: "a miraculous unína The most trusted name in sound

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www.americanradiohistory.com more effective than one might expect, Co., 3029 N. Fourth St., Arlington, Va. bert's lyrics are up to his highest stand- with a good sonority at moments when 22201). ard, but some are as good as he ever the viola is scored below the bass. But turned out. and the book's satire is wider the bass does need a little extra help GILBERT and SULLIVAN: Utopia, in scope, sharper in point than anything front the engineers: even though it oc- Ltd. (excerpts); Trial by Jury he had previously written. The burden cupies its own channel in stereo, it fails of the thing is this: Utopia, a South Pa- now and then to come through strongly Ann Hood (s). The Princess Zara (in cific island kingdom, lolls through his- enough. The Pro Arte has that extra Utopia) and The Plaintiff; Jean Allister tory under the rule of King Paramount zip which sets it above the usual modern (c). The Lady Sophy (in Utopia); Thom- the First. an amiable despot who must standard of well -tailored competence. as Round (t). Capt. Fitzbattleaxe (in answer for his actions to two ambitious Sound is clean as can be. S.F. Utopia) and The Defendant: John Reed wise men. Scaphio and Phantis. They (b), Scaphio (in Utopia) and The control him by means of Tarara. the Learned Judge: Kenneth Sandford (bs). Public Exploder. who is under instruc- DVORAK: Symphony No. 7, in D Phantis (in Utopia) and Counsel for the tions to blow up the king at the first minor, op. 70 Plaintiff: Donald Adams (bs). King Para- sign of defiance. mount the First (in Utopia) and Usher; This more or less stable situation is London Symphony Orchestra, Istvan Anthony Raffell lbs). Mr. Goldbury (in disturbed by the return of Princess Zara, Kertesz. cond. Utopia); D'Oyly Carte Opera Chorus: Paramount's eldest daughter, who has LONDON CM 9402. LP. $4.98. Orchestra of The Royal Opera House. been sent away to England for a proper LONDON CS 6402. SD. $5.98. Covent Garden. Isidore Godfrey. cond. bringing up at Girton. She brings with LONDON A 4155. LP. $4.98. her as escort Capt. Fitzbattleaxe and a You might call this work Dvofák's Eng- LONDON OSA 1155. SD. $5.98. platoon or so of The First Life Guards; lish symphony. as opposed to his New Lady Sophy, a proper English governess; World with its American overtones. Writ- When Utopia. Ltd.. the last but one of and a group of half a dozen gentlemen ten for the Philharmonic Society of the G & S collaborations. was first collectively dubbed The Flowers of Prog- London, it was published as the corn- produced by the D'Oyly Carte in 1893. ress. whose mission is to see to it that poser's Second Symphony and had been it received widespread critical appro- Utopia is Anglicized completely. The played and recorded under that designa- bation. and enough popular acceptance Utopians. fully aware that Great Britain tion. In fact it is the Seventh chrono- to achieve a run of 257 performances- represents all that is noble and pure in logically, and with the belated discovery a moderate success. Shaw went so far the world. are eager to learn. The army of the wealth of Dvorák's symphonic as to say he had enjoyed it more than and navy are reorganized by Fitzbattle- legacy, an enlightened scholarship gives any of the previous Savoy operas. though axe. the Utopian court is instructed in it its true number. I am coming to re- the tone of his review makes it clear correct drawing -room protocol. and near- gard it as the most unjustly neglected that this was due in part to sheer rely every other area of Utopian life is symphony of the entire late- nineteenth- lief at restoration of the partnership. reformed in accordance with English century literature. Altogether lyric and After the first production had run its practice. But the key transformation is charming yet building to impressive cli- course. Utopia pretty much plummeted in the hands of Mr. Goldbury, a corn - mactic pages. it is exactly the sort of from sight -D'Oyly Carte has never pany promoter, who in his song "Some music to please the ear with familiar revived it. and it has never before been Seven Men Form an Association" ex- structural materials while teasing the recorded. plains that Utopia must be changed from imagination with the development of a It is not quite true -as London's a limited monarchy to a monarchy, fresh set of musical ideas. note -writer states -that it has not since limited -it must, in other words, incor- Kertesz displays the kind of sensi- been accorded professional production. porate, for as is well known, a corpora- tivity and insight that go far beyond the Dorothy Raedler's American Savoyards. tion in economic straits has but to de- surface features of the score. Moreover, a decidedly professional group, have clare bankruptcy, dissolve, and re -form in he has the services of one of the very produced it in New York twice within the order to escape financial embarrassment. best of the English orchestras, and he past decade, with substantially different Not only the government, but each in- is backed up with extremely bright, full, casts, and with no little success. The dividual citizen, is incorporated, each richly colored sound from the recording Lyric Theater Company of Washington, a Utopian declaring a capital investment crew. His chief rival is George Szell, semiprofessional company, has also pro- and maximum liability of eighteen pence. whose Cleveland performance is some- duced it twice, and has now issued the But Scaphio and Phantis-both of what more subtle in its effects but less first complete recording in a limited whom love Zara -are opposed to these persuasive in its sonics. The Kertesz edition. This album is supplemented by reforms; their lucrative business deal- disc. I suggest, is probably preferable London's group of excerpts, which fill ings are repeatedly confounded as indi- for those who are getting to know this out the D'Oyly Carte's new recording vidual debtors declare corporate bank- music, while Szell will remain the choice of Trial by Jury. ruptcy. and their hold over the King is of those already familiar with its merits. An obvious reason for Utopia's disfa- rendered null, since it is obviously im- R.C.M. vor is its difficulty. The Raedler revivals possible to blow up a corporation. They were extremely enjoyable affairs, because foment revolution. and things are at a of the company's stylistic cohesiveness, sticky pass when Zara happily remembers EFFINGER: Little Symphony No. 1 the knowledgeable direction. and the the missing ingredient: government by -See Imbrie: Concerto for Violin general excellence of the principals. But party. This. of course. solves all prob- and Orchestra. Utopia is an opera that calls for full or- lems since any measures enacted by one chestra and chorus. a ballet complement, party are bound to be repealed forthwith and a stage and auditorium of reasonable by the other. The opera ends with a GILBERT and SULLIVAN: Utopia, size and good acoustical properties. These chorus in praise of English wisdom and Ltd. the American Savoyards are unable to righteousness. provide, and it is the chief merit of the This framework provided Gilbert with Marion Scodari (s). The Princess Zara; Lyric Theater's recording (apart. of a broad platform, enabling him to poke Carroll Mattoon (c). The Lady Sophy; course. from its very existence) that, into nearly every aspect of English gov- Barry Morley (t), Capt. Fitzbattleaxe; though the orchestra is just passable and ernment and society. Utopia's satire is Jerry Holloway (b), Mr. Goldbury; Pe- short on strings, it gives us at least a sweeping. and it is rather less good - ter Kline (b), King Paramount the First; fair idea of Sullivan's scoring, which is natured than was Gilbert's habit -it is Thomas Jones (bs), Scaphio; Gregory perhaps subtler and more imaginative great fun. but sometimes bitter fun, not Wise (bs). Phantis; et al.; Chorus and here than in any of the earlier operas. calculated to warm the heart of a stock Orchestra of the Lyric Theater Company Perhaps this is the place to say that. broker, bureaucrat. or social snob. Sul- (Washington. D. C.). John Landis. cond. on the basis of merit. Utopia's absence livan responded with a brilliant score. LYRIC THEATER. Three LP. $11.75 from the repertoire is a clear -cut case The patter song is conspicuous by its (available on order from Lyric Theater of criminal negligence. Not all of Gil- absence, except when Scaphio and Phan-

132 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com tis are singing. But there are at least GROFE: World's Fair Suite for the ripieno. This works very well half a dozen songs from Sullivan's top except in one or two movements-the drawer; several choruses at once impres- World's Fair Symphony Orchestra, Paul finale of No. I, for example -where the sive and satirically evocative of anything Lavalle, cond. organ overloads the tutti a bit. George from La Favorita to the English choral RCA VICTOR LM 2764. LP. $4.98. Malcolm, harpsichordist in Nos. 1 -4, society; a wealth of charming occasional RCA VICTOR LSC 2764. SD. $5.98. plays some particularly imaginative reali- music, including fanfares and marches, zations. Another novelty is the use of drawing-room music. and a delicious Renowned translator into music of the oboes in Nos. 5 and 6: these double the little dance used for Scaphio and Phantis gaudier sights of our land, Ferde Grofé strings. Finally there is the matter of and later reprised with the King; and an has done it again. There is little point the sound. A splendid effect is achieved extended, involved first -act finale worthy in belaboring his score honoring the cur- by having the violins (the two solo instru- of Rossini. There is a love duet. "Words rent goings -on in Flushing Meadow, be- ments as well as the orchestral firsts and of Love Too Loudly Spoken." which is yond wondering whether this is to be the seconds) on separate channels. This, as meltingly lovely as any of Sullivan's sole contribution the Fair is to make to coupled with the resonance and lifelike lyrical inspirations, and there is a cap- culture. (If so, we are in sad shape in- quality of the recording, makes this the tivating Christy Minstrel take -off. There deed.) One must also wonder whether best sounding Opus 6 I have heard on is, in fact, an almost infinite variety of Mr. Grofé really had the current Fair in discs. inventive, cleverly orchestrated pieces - mind, or World's Fairs in general. His Of the other available complete sets hardly a weak number in the longish movement entitled "Fun at the Fair" is it has seemed to me that the Archive was score. Utopia deserves a full -scale pro- mostly conceived as a tarantella, despite musically the best, but the present one duction, and a full -scale professional re- the fact that Italy is one country con- strikes me as just as good and its sound cording. spicuous by its absence. One wonders is much better. The Angel set, by the The Lyric Theater recording does not, too why this piece was orchestrated by way, has been recorded at a high dynamic of course, do the work thorough justice. Albert Glasser, considering that Mr. level. I found that best results were ob- The leading singers are not up to the Grofé's own achievements include the tained when the volume control was vocal demands, and many of the princi- orchestration of Gershwin's Rhapsody in turned down considerably lower than pals substitute emphasis for understand- Blue. usual. N.B. ing in the dialogue. However, Messrs. Such questionings help pass the time Jones and Wise are rather good as as this tawdry merchandise is set before Scaphio and Phantis, Peter Kline has the us. The performance and recording are HANDEL: Suites for Harpsichord: E; right idea as King Paramount, Jerry Hol- suitably loud. A.R. No. 5, in No. 7, in G minor; F con loway does a good job with Mr. Gold - No. 8, in minor. Aria variazioni, in B flat bury, and Carroll Mattoon shows good HANDEL: Concerti grossi, Op. 6 vocal material and musical sense as Lady Li Stadelmann, harpsichord. Sophy. Chorus and orchestra are on a Bath Festival Orchestra, Yehudi Menu- LP. $5.98. good level for this sort of enterprise, and ARCHIVE 3194. hin. cond. ARCHIVE 73194. SD. $6.98. everyone communicates spirit -they are ANGEL 3647. Four LP. $19.92. obviously enjoying themselves, which ANGEL S 3647. Four SD. $23.92. There are two contradictory qualities in counts for a great deal. In any case, these performances. Some of the slow no one with any interest in the work Menuhin, who has produced some fine movements are highly embellished: should hesitate to order the recording, work as conductor and soloist in the con- eighth notes are dotted, dotted figures are for it is certainly competent enough to certos and orchestral suites of Bach, now double dotted, many unwritten ornaments acquaint the listener with a delightful turns his attention with equal success to are added, and plain progressions sprout opera. Handel. The twelve works of Opus 6, runs and other tonal foliage. All this London has recorded five of the musi- no two of which are alike in pattern, freedom, I hasten to add, is in good taste cal numbers, and the presence of polished are given performances full of vitality, and cannot be faulted on stylistic orchestra, chorus, and principals gives robust and majestic when Handel is strid- grounds. In many fast movements, how- us a glimpse of what a full -scale produc- and when he is ing about, tender lyrical ever, and even in some of those played tion could be like. But so many fine The are usual- being poetic. slow sections at moderate tempos, the rhythm is ruth- things are missing that it merely whets the fast ones are lively, ly taken broadly, lessly regular. An occasional movement the appetite. Still, the excerpts make and the songful ones are spun out with -the Prelude and Allemande of No. 5, a nice complement to the complete reno trace of sentimentality. Very seldom the Andante of No. 7 -is more flexi- cording, especially for the excellent ren- is the spirit a piece missed; the only of ble, but in too many of the others dition of the choruses, "O maiden, rich example of this I noticed is the first rhythm is not pulsating motion but a lore," and "Eagle high in No. 5, which lacks the sauci- in Girton Allegro of kind of strait jacket. The harpsichord Cloudland soaring." ness it can have. Frequently the playing used is a handsome instrument made in The performance of Trial is not ex- rises to a high plane of eloquence, as in England in 1763. It has a fairly attrac- traordinary -the main thing is that it the curious `Scotch snap" passage in the tive sound, with a rather noticeable noise gives a stereo recording of the Musette of No. 6 or the first Andante or good component. N.B. work to those who want it. Hood and the very expressive Adagio of No. 8, or Round are certainly more than accept- the whole of No. 12. As soloist in the able in the leads, Kenneth Sandford concertino Menuhin is ably seconded by HANDL: Motets -See Monte: Mad- sounds good in the Counsel's Plea, and Robert Masters. rigals. Adams is appropriately hooty as the In addition to its general excellence, Usher. As good a performer as Reed is, there are some points of special interest though, I do not think he makes an espe- about this set. One is the treatment of HARRIS: Quintet for Piano and cially good Judge -the comedy is all the continuo. In some concertos there Strings; Sonata for Violin and hit rather hard, and I still cling to the are two keyboard instruments, a harp- Piano notion that the Judge ought to be a real sichord for the concertino and an organ singing part, not another Chancellor or Johana Harris, piano; Eudice Shapiro, Major General. The chorus and the or- iIz9 violin; Nathan Ross, violin; Sanford chestra are fine, and the sound ex- Schonbach, viola; Edgar Lustgarten, tremely good. C.L.O. cello. CONTEMPORARY COMPOSERS SERIES 8102. LP. $4.98. GLUCK: Orphée et Eurydice: Dance CONTEMPORARY COMPOSERS SERIES of the Blessed Spirits -See Mozart: S 8102. SD. $4.98. Concerto for Flute and Orchestra, No. 2, in D, K. 314. The rise and fall of Roy Harris is one

134 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com of the most curious stories in the still nicely recorded, and well played. If of the death of this young couple on a young history of American musical life money were no object I still would take snow -swept mountain. Mittenhofer, the and taste. In the Thirties, Harris was the Goberman, if for no better reason poet, is the central character; his pen regarded, along with Copland, as the than to get the printed scores which ac- is guided by his own tragedy, and by that bright hope of American music. His role company his records; but when the ratio of the people around him. All that tran- was most particularly that of The Ameri- of costs is nearly 8 -1, few but very well - spires in the opera becomes the final can Symphonist-those were the days off Haydn collectors will follow that transfiguring poem, read by Mittenhofer when everyone was looking for The course. to an invisible audience on a stage full Great American Novel and The Great These are the symphonies Haydn wrote of shadows and ghosts: a striking and American Symphony as well. Harris in 1761 in order to show off himself and disturbing scene. adapted the great tradition to a purely his newly formed orchestra to Prince Aside from his Fifth Symphony, which American mode of address and, with this Paul Anton Esterházy, whose service he the New York Philharmonic commis- synthesis, produced a series of works had recently joined. The music contains sioned and performed last year, Henze's that had an American, almost popular virtuoso parts for the principal instru- music is unknown in this country. mode of speech built on diatonic -tonal mentalist, but the whole thing is a show- Basically, he is a conservative atonalist, ideas and structures which were clear piece for the composer in the delightful influenced somewhat by later Schoenberg and accessible while still possessed of baroque manner that offers sunrises and and by Berg, much less by Webern. He seriousness of purpose and scope. Pieces storms, formally portrayed, in the art - is also something of an eclectic, with the like the Third Symphony of 1938 and the rivals- nature manner. good dramatic sense to draw upon a wide Piano Quintet of 1936 were models for Want to help start a trend? This mu- repertory of contemporary devices to suit hundreds of similar works produced in sic belongs in the "standard" repertory, the needs of a particular moment. Inso- this country in the ensuing quarter cen- and the present record could take it a far as one can judge from an hour's tury. Yet Harris has faded so badly that long way in that direction. R.C.M. worth of music from a full- length opera, even his popular works are not often Henze has an excellent operatic intel- performed any more and an important HENZE: Elegie }fir junge Liebende ligence and a flair for a kind of sophisti- composition like his Piano Quintet-once (excerpts) cated contemporary vocal melody which so famous and widely hailed -has been is shapely and communicative. I wish that out of the catalogue for years. Liane Lubin (s), Elisabeth; Catherina I could summon more enthusiasm than Perhaps this pleasant music could not Gayer (s), Hilda; Martha Mödl (s), this, however. I cannot, because the pall really sustain the weight it was supposed Carolina; Loren Driscoll (t), Toni; of contrivance hangs heavily over the to bear, or maybe its rather confident Dietrich Fischer -Dieskau (b), Mitten - score. It is full of the correct gestures, and optimistic mood no longer suits us hofer; Thomas Hemsley (bs), Dr. but it all emerges as something terribly today. Or perhaps we are more aware Reischmann; Hubert Hilten (bs), Mauer; mechanistic and cold. We are told little of the inconsistencies and weaknesses; Members of the Berlin Radio Symphony more through the music than what stands this is particularly true of works like the Orchestra and the Orchestra of the West on the printed page, and this is a fatal Violin and Piano Sonata, of 1942, where Berlin Opera, Hans Werner Henze, cond. lack in any opera. The role of the poet Harris definitely turned to a lighter and DEUTSCHE GRAMMOPHON LPM 18876. is a fascinating conception, and Dietrich more popular style lightly brushed with LP. $5.98. Fischer -Dieskau gives it a commanding Debussyism, folk music, and a pop -show- DEUTSCHE GRAMMOPHON SLPM performance, but the music defeats him. music style. At any rate the Sonata is 138876. SD. $6.98. Henze is young, and he has mastered undeniably pretty and the more ambitious his techniques remarkably well. He seems Quintet, with its attempt to find an orig- Elegy for Young Lovers was composed to operate smoothly within his chosen inal and organic form in its Passacaglia- in 1961, when Henze was thirty -four, and style, but one still awaits evidence that Cadenzas -Fugue structural pattern, is not has been widely performed in Europe. he can put it to genuine dramatic use. without a certain strength and resilience. The libretto -by W. H. Auden and Ches- A.R. Miss Shapiro and Mrs. Harris (the com- ter Kallman, translated into German by poser's wife) play the Sonata very well, Ludwig Landgraf and the composer -tells IMBRIE: Concerto for Violin and and the performance of the Quintet, a strange and haunting story of an aging Orchestra apart from a few ensemble problems visionary, of a poet inspired by her tEffinger: Little Symphony No. 1 (partly due to the scoring which is over- visions, of the latter's young mistress and loaded with octave and unison doublings the young man who woos her away, and Carroll Glenn, violin (in the Imbrie); that do not always come off), is entirely Columbia Symphony Orchestra, Zoltan adequate. The sound is dry and close, Rozsnyai, cond. very separated in stereo. E.S. COLUMBIA ML 5997. LP. $4.98. COLUMBIA MS 6597. SD. $5.98.

HAYDN: Symphonies: No. 6, in D I would not hesitate to place Andrew ( "Le Matin "); No. 7, in C ( "Le Imbrie's Violin Concerto among the few Midi "); No. 8, in G ( "Le Soir ") real orchestral masterpieces of this century, American or otherwise. What is Chamber Orchestra of the Saar, Karl remarkable, and a little saddening, is the Ristenpart, cond. slow headway the work has made in the NONESUCH H 1015. LP. $2.50. ten years since it was composed. NONESUCH H 71015. SD. $2.50. Imbrie was born in 1921, and studied composition on the East and West coasts, It is my private theory that, given any principally with Roger Sessions. Since chance, Haydn's Morning, Noon, and 1949 he has been on the faculty of the Night cycle could become as popular as University of California at Berkeley. He Vivaldi's Four Seasons. To achieve this, has received numerous grants and prizes however, a good inexpensive recording since his First String Quartet (Columbia is essential, since the Goberman edition ML 4844) originally brought him atten- (excellent as it is) costs a lordly $20 to tion. Though the present Concerto was nonsubscribers. The sole alternative up written between 1950 and 1954 (under a to now has been a Litschauer set from grant from the Koussevitzky Founda- the Haydn Society issues of some years tion), it gathered dust until a festival to ago, without stereo, and without any par- open the university's new concert hall ticular distinction. smoked it out in 1958. At that time it The Nonesuch release is a blessing all - was nationally praised in the musical round, gloriously cheap (since it alone press, and won a Naumburg Recording gets all three symphonies on one disc), Haus Werner Henze: eclectic. Prize in 1959. Now, five years later, the

OCTOBER 1964 137

www.americanradiohistory.com recording has finally appeared. The first ture are telling. These problems show up New York performance will be given this even closer to the surface in such mat- fall. ters as string tone, which should be full That a work of this caliber has had to and meshed and instead is often a bit on wait a decade before coming to general the edgy side. Finally, the orchestra has public notice points up a real unhealthi- been recorded way too far back and the ness in orchestral circles, both here and sound is overresonant. abroad. Happily, the recording is a good These particular recording forces pro- one. (The Berkeley premiere of this induced a triumph in their recent record- tricate, long, and difficult score -by Rob- ing of the Handel Fireworks music com- ert Gross, with Enrique Jorda and the plete with sixty -four winds and nine per- San Francisco Symphony-was worked cussion. Apparently, the combination of up in two rehearsals, and showed it, espe- Mackerras' Czech background and the cially in the orchestra.) Here, violinist Sinfonietta's scoring for a huge wind Carroll Glenn has mastered her tricky section (including no fewer than twelve part to a remarkable degree, and con- trumpets) made this follow -up seem a ductor Zoltan Rozsnyai has imparted a natural. But the piece gets lost in its great deal of the basic style to the "Co- own glorious reverberation. The whole lumbia Symphony," which in this case musical point of the opening and closing happens to be a pickup ensemble, al- fanfare is that even though-or just though a fine one, gathered together for because -harmonic motion is at a mini- the occasion in Vienna. mum, the melodic and thematic move- Both in melodic material and general ment attains great significance; this is mood, Imbrie's Concerto bears a strong a characteristic Janácek elaboration of resemblance to the one by Alban Berg. an idea derived from folk music. Thus, Like the Berg, it employs some of the the entire weight of this big Sinfonietta devices of atonality, while moving seem- Andrew Imbrie: of the school of Berg. comes to rest on a single triad over which ingly on a series of stable, yet shifting, fanfare and thrilling motives coalesce in tonal plateaus. This is not difficult music JANACEK: Sinfonietta; Preludes: The Makropulos Affair; a great peroration of juxtaposed and to listen to. Its outlines are extremely Katya combined ideas. All Mackerras and Van- clear, and one can follow with little dif- Kabanova; The House of the Dead; Jealousy guard give us (especially in stereo) is a ficulty the mounting tensions within each glorious brassy reverberating sound with- of the three movements. These tensions Pro Arte Orchestra, Charles Mackerras, in which it is almost impossible to tell are considerable, and the emotional sweep what is going on. E.S. of the work as a whole I find quite over- cond. whelming. Relaxation comes in the most VANGUARD VRS 1116. LP. $4.98. Berg -like VANGUARD VSD 71116. SD. $5.95. section of the entire work, a MAHLER: Symphony No. 1, in D tranquil and poignant waltz that forms Of major interest here are the four most of the substance of the slow move- oper- London Symphony Orchestra, atic curtain -raisers on the overside. Ob- Georg ment. The thematic material is strong Solti, cond. viously they were not intended a and motivic; you hear what the composer as LONDON CM 9401. LP. $4.98. foursome and they are too much alike to is working with, and what he does with LONDON CS 6401. SD. $5.98. it. Imbrie is not given to "secrets," on string up well in a sequence; indeed, the whole, although there are a few after the Sinfonietta. they have a tend- Amsterdam Concertgebouw Orchestra, small and rather subtle figures, often ency to sound like bits and scraps that Bernard Haitink, cond. little more than sonorities, that recur got left out of the larger piece (partly PHILIPS PHM 500017. LP. $4.98. throughout the work and help give it because all of Janácek's later music PHILIPS PHS 900017. SD. $5.98. shape. While it is scored for a huge or- sounds so authentically Janácekian). chestra, including triple wind and brass Each of these Preludes, however, is an The Concertgebouw has a Mahler tra- and considerable percussion, most of the effective, contained musical moment dition established by the composer him- actual sound is quiet and transparent. characteristically built on a kind of lively self, and the present Philips disc was Although Imbrie had written little for intensity tinged with Slavic melancholy made for the seventy -fifth anniversary orchestra before this Concerto, he had and foreboding. of the famed Dutch ensemble, in 1963, already acquired an instinctive feeling for The Makropulos Affair, based on a as an illustration of its continuing excel- sound. He is considerate to his soloist, play by the Czech playwright Karel lence under a young Dutch conductor. without sacrificing musical substance to Capek, is one of the least -known of Alas, youth and tradition meet their de- virtuosic considerations. Janácek's mature stage works but, to feat from Solti and his English players In short, this is a work of very special judge by the intense, driving Prelude, (and engineers). For nothing replaces significance, and of exceptional quality. it sounds intriguing. Katya and The knowledge of how this music really goes. It is a strong and altogether convincing House of the Dead are both based on Solti has it. Haitink, on the witness of mingling of a "difficult" musical idiom Russian plays, Ostrovsky in the former this performance, hasn't. and a style of great directness and im- case, Dostoyevsky in the latter. The so- I will refer merely to a few points. mediacy. As such, it demands careful called Jealousy Prelude is really just the Mahler, always explicit, liked to insert attention, both from those who are original opening music for Jenufa, later the remark "Nicht schleppen" in a slow friendly towards contemporary style and replaced; it is the earliest music on this passage -slow without dragging. Solti from those who may entertain lingering record, the most Dvoïákian, and by far knows what the composer was after. doubts. the least impressive. Haitink, on the other hand, tends to Cecil Effinger's Little Symphony is The performances and recording are a drag many a passage where a slow tem- basically an agreeable and undemanding little disappointing. Mackerras is a very po does not mean the lack of a firm essay (only half a disc side long) in un- professional conductor who studied in metrical foundation. So much for the adventurous conservatism, put together Prague with Talich and has been an im- faithful reproduction of the score, with out of the very best second hand material. portant figure in the current Janácek Solti a clear winner. In matters of text, Heard in another context it might well boom in London. His orchestra here is Solti plays the first movement repeat, afford some pleasurable listening, but by clearly a good London pickup group and Haitink does not. Other things being comparison with the Imbrie it sounds a the men play well. But they cannot equal, this is no great matter, but Solti little like dinner music. Effinger wrote really compete with an established sym- is one up again. the work in 1945, and has apparently phonic organization like the Czech Phil- As for sound, the Philips disc favors since composed music of greater com- harmonic in the Sinfonietta, where co- the top frequencies over the bottom, plexity. A.R. hesiveness and a sense of style and struc- yielding a bright quality with rather

138 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com weak registration of bass instruments. flute -but when that instrument is per- MOZART: Sonata for Piano, No. 17, London offers beautifully balanced en- mitted to come forward it is played with in D, K. 576 -See Bach: English semble effects with lots of bass and taste and sensitivity. These are the qual- Suite, No. 2, in A minor, S. 807. everything neatly in place. All told, apart ities that also mark the playing of the from the historic Bruno Walter edition, great flute solo in the Gluck, a melody MOZART: Sonata for Violin and Pi- Solti's version of the Mahler No. 1 would of truly Elysian beauty. N.B. 17, C, K. 296 appear to be the dominant set in the ano, No. in -See current listings. R.C.M. Beethoven: Sonata for Violin and Piano, No. 3, in E flat, Op. 12, No. MOZART: Quartets for Strings: No. 3. 14, in G, K. 387; No. 18, in A, K. MONTE: Madrigals 464 tHandl: Motets MOZART, LEOPOLD: Concerto for Amadeus Quartet. Trumpet, Horns, and Strings, in D Prague Madrigal Choir, Miroslav Ven- DEUTSCHE GRAMMOPHON LPM 18909. -See Stölzel: Concerto grosso for hoda, cond.; Musica Antiqua Wien, René LP. $5.98. Six Trumpets, Winds, Percussion, Clemencic, cond. DEUTSCHE GRAMMOPHON SLPM String Choirs, and Continuo, in D. VANGUARD BG 655. LP. $4.98. 138909. SD. $6.98. VANGUARD BGS 70655. SD. $5.95. The Amadeus Quartet is in excellent MUSSORGSKY: Boris Godunov This disc presents some fine works by form here. In quality of tone, precision two sixteenth- century masters who have of ensemble, accuracy of intonation it Elisaveta Schumskaya (s), Xenia; Eu- not been well enough represented on rec- leaves hardly anything to be desired. genia Verbitzky (s), Nurse; Maria Mi- ords. Of Philippe de Monte, we are Particularly in the G major Quartet, it tukova (ms), Feodor; Irina Arkhipova given two chansons and four of his more presents both the mercurial quality of (ms), Marina; Georgi Shulpin (t), than a thousand madrigals. They are thought and the solidity of workmanship Prince Shuiski; Vladimir Ivanovsky (t), sung with considerable dynamic nuance which together are a distinguishing mark Grigori, later The False Dimitri; Nikolai and lovely tone. There seem to be several of these remarkable works. The Andante Zakharov (t), Missail; Anton Grigoriev voices on a part, however, and this de- of K. 387 is beautifully played: to men- (t), The Simpleton; Alexei Ivanov (b), tracts somewhat from the intimacy of tion only one high spot, there is the Stchelkalov; Eugene Kibkalo (b), Ran - these love songs. For the same or some hushed mystery of the little passage in D goni; George London (b -bs), Boris other reason, the rich polyphony of the flat major near the beginning of the sec- Godunov; Mark Reshetin (bs), Pimen; six motets by Jakob Handl is not always ond part of the movement. The vigor Alexei Gueleva (bs), Varlaam; et al.; as clear as it might be: in the five -part of the finale takes on a rough edge in Chorus and Orchestra of the State Aca- Omnes de Saba, for example, the first some quick forte chords, but seems part demic Bolshoi Theater U.S.S.R., Alexan- tenors are especially weak. On the whole, of the conception. The A major Quartet der Melik -Pashaev, cond. however, these performances are far is sung just as lovingly as the other. I COLUMBIA M4L 296. Four LP. $19.92. more flexible than the same group's re- would have preferred a little more cello COLUMBIA M4S 696. Four SD. cording of Palestrina's Song of Songs in passages where that instrument has $23.92. motets. There are a number of eloquent thematic material, but otherwise the bal- moments here, such as the high attack ances are just and the sound entirely Boris has not been very copiously repre- and descending line on "miserere" in satisfactory. This Amadeus version, it sented in the catalogue, considering its Peccantem me quotidie, and the whole seems to me, belongs among the top two indisputable greatness and its reasonable Ecce quomodo moritur, Handl's best - or three recordings accorded these works. popularity. Of course, we have had the known motet. N.B. two excellent sets featuring Boris Chris - Two of the Monte Pieces are played by toff, the first led by Dobrowen, the second an instrumental ensemble as well as by Cluytens. But other than these we sung, and a third is only played. Texts MOZART: Quintet for Clarinet and have had only some sets made from of all the vocal works are provided in Strings, in A, K. 581; Divertimento Russian tapes, occasionally boasting a the original and in English translation. for Strings and Two Horns, in F, few good principals, yet never adding up Excellent sound in both versions. N.B. K. 247 to satisfactory all -round performances and always somewhat below par tech- Members of the Vienna Octet. nically. Now, however, the catalogue is MOZART: Concerto for Flute and LONDON CM 9379. LP. $4.98. beginning to fill out. This month we Orchestra, No. 2, in D, K. 314 LONDON CS 6379. SD. $5.98. have a second stereo version from Co- 1-Bach: Suite No. 2, in B minor, S. lumbia (recorded by Moscow engineers), 1067 The great Clarinet Quintet receives here and Decca /London is reportedly con- 1Gluck: Orphée et Eurydice: Dance a no- nonsense reading. It has elegance, templating a recording with the basso of the Blessed Spirits smooth ensemble, good balance, and no Nikolai Ghiaurov. frills. Alfred Boskovsky, the clarinetist, Our choice is thus widening, though Claude Monteux, flute; London Sym- plays with sensitivity and musicianship, not with respect to the edition used. Co- phony Orchestra, Pierre Monteux, cond. and each of the string players is fully lumbia's production, like both the Chris - LONDON CM 9400. LP. $4.98. up to the demands of his part. The re- toff versions, uses the Rimsky- Korsakov LONDON CS 6400. SD. $5.98. sult is a mild and mellow performance orchestration. To be honest, I do not that promises to wear well. really find this objectionable. I suppose Claude Monteux, son of the celebrated The Divertimento is another side of it is at least partly true (though exegesis conductor whose passing recently sad- Mozart. Written by the 20- year-old com- on the point generally fails to convince dened the musical world, reveals him- poser for the birthday of a member of me) that Rimsky misinterpreted Mus- self here to be a first -class flutist. His the Salzburg nobility, it is entertainment sorgsky's intent, that he distorted the tone is round and liquid, his intonation music and does not attempt to plumb folk idiom, that he loaded the opera exact even in the trickiest alternations of any depths. This does not prevent it, with inappropriate colors. But Rimsky's normal and overblown tones. The Con- however, from being faultlessly made version has about it an exhilarating the- certo receives as good a performance as and having a lovely Adagio, for the atricality. It is precisely this, of course, we have had on records, even though string quartet alone. (The horns are that many people find objectionable - the orchestra sounds larger than it given surprisingly little to say for them- but why? The Rimsky scoring glows need be. selves throughout this work.) Possibly and glowers with atmosphere; at point In the Suite the conductor keeps the for lack of space, the March (K. 248) after point, it makes telling theatrical soloist in the background in several of that belongs to this Divertimento is gestures (and I do not think "theatrical" the movements -the whole Sarabande is omitted. The sound on both sides is ex- is a dirty word) just where the Mussorg- poetically sung without featuring the cellent. N.B. sky version is inanimate. I have heard

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www.americanradiohistory.com the Mussorgsky scoring a number of times, for it was the version employed at one time at the Metropolitan (it has now been replaced by the Shostakovich, which has a nice barbaric clang to it), and I have concluded that it is simply too dull, too untheatrical for my taste. At Angel invites you to the opera the sane time, I have no doubt that a good recording of the Mussorgsky edition is desirable. It should be available for study and comparison, and for those opera lovers who feel strongly that it is the only legitimate Boris. In the matter of cuts, Columbia's new version follows more or less standard procedures. There is a two -page omis- sion in Pimen's Scene 2 narrative, where he speaks of the end of Czar Ivan's life; a six -page cut in Act II, where Feodor interrupts the Boris /Shuiski in- terview with his chatter about the para- keet; eleven pages in Act III, Scene 2, excising the Dimitri /Rangoni encounter; and four pages in the Forest of Kromy scene, where the urchins have a second go at the Simpleton. Fortunately, the important St. Basil scene is retained, as is the division of scene in the Polish act, thus saving the bewitching little chorus for Marina's serving -maids. None of the And he made it all possible losses is crucial or unusual. As for the performance itself, I am afraid it really cannot be recommended except on very specialized grounds. It has the following points in its favor: 1) A general feeling of "rightness" in the ensemble, particularly with regard to treat- Venice, 1642. Claudio Monteverdi writes L'Incoronazione di Poppea ment of the rhythms and unmarked - an opera that focuses attention on characterizations, rather than noticeable in rubatos. This is especially situations and the first modern grand opera is born. the folk -flavored passages, such as the - song of the inn hostess, which emerges Now, Angel brings you the premiere recording of the Glyndebourne with some real shape, mostly due to performance of this masterpiece. Called "an operatic revelation" by line - proper handling of all the feminine Thomas Heinitz of the Saturday Review, this long- awaited album endings. The late Alexander Melik- Pashaev's work is once and a while, I features a distinguished cast, the Glyndebourne Festival Chorus, and think, overbrisk, but it has a vigor and the Royal Philharmonic Orchestra conducted by John Pritchard. thrust quite missing from the careful Cluytens reading. 2) The singing of the And Angel brings you 7 other new albums featuring music and cho tus. The women tend to be tremu- performances that reflect Monteverdi's influence on modern opera. lous at points, but the men are magnifi- The Christmas Oratorio, by Heinrich Schütz, a student of Monte- cent, the massed sound is tremendous, and everything has musical point. This verdi, and the man who introduced personal expression in vocal music is, of course, extremely important in to Germany. Performed by Edith Mathis, and the Windsbach Boys' consideration of any Boris. 3) The work Choir conducted by Hans Thamm. Operatic Arias and Songs, sung of several ( but by no means all) of the secondary principals. As Marina, Irina by Luisa Tetrazzini, the legendary star of "The Golden Age of Colora- Arkhipova shows all the steadiness, turas." (A Great Recordings of the Century album, in mono only.) smoothness, and color of a major mezzo - The Four Overtures for " Fidelio," from the one priceless gift soprano, and sings with considerable musical and dramatic understanding, too. given to opera by Ludwig van Beethoven. Performed by the Phil - The Rangoni of Eugene Kibkalo is also harmonia Orchestra conducted by Otto Klemperer. Highlights from much above average -an attractive, lightly handled baritone voice and an "Samson and Delilah," by Camille Saint -Saëns, brought "sumptuous oiliness in the phrasing that perfectly color and evocative dramatic power" (High Fidelity Magazine) to suggests the intriguing Jesuit. Also on this biblical tale. Performed by Rita Gorr and Jon Vickers, with the plus side is the Simpleton of Anton Grigoriev; he sings with genuine beauty the Paris Opera Orchestra, conducted by Georges Prêtre. Franco of tone, and his straightforward approach Corelli Sings Great Religious Songs and Arias. "The greatest greatly enhances his two wonderful tenor now ... in Italian opera" (New York Post) in stunning per- scenes. 4) There is at least a theoretical advantage in having the roles of Boris, formances of 12 beloved songs. Maria Callas Sings Verdi Arias. Pimen, and Varlaam taken by three art- The world's most famous soprano sings arias by the master of Italian ists, rather than tripled up, as on the opera. Verdi Requiem. "The finest realization of Christoff versions. The gain is frittered ... away, though, for neither Mark Reshetin Verdi's blazing masterpiece." (Saturday Review) Elisa- nor Alexei Gueleva- competent as each beth Schwarzkopf, Christa Ludwig, Nicolai Gedda, and is in his role -approaches the stature of Nicolai Ghiaurov, with Christoff. the Philharmonia Chorus and Neither, for that matter, does George Orchestra, conducted by Carlo Maria Giulini. CIRCLE 10 ON READER -SERVICE CARD OCTOBER 1964 141

www.americanradiohistory.com London in the title role. Despite the fact dancing fugues imaginable, or create that he is a dramatic baritone and not a gentle blend of parts that is natural a bass, London has made a specialty of and unstrained. And he never, thanks to What Every Boris and has become the first American a fairly adventurous rhythmic sense, to sing the role on the Bolshoi stage. seems to repeat himself. The flute con- Certainly he is serious and conscientious certos, superbly played, are as idiomatic in his approach to the part, and never as the works for strings, though perhaps Listener less than adequate in it. But his voice not quite so individual. does not seem in very good condition Much of the good effect of these re- here; much of the time the tone is dry cordings is due to the excellent perform- Know and strained; often it is off -pitch. The ances of the Münchinger group, which Should round, dark sound which he used to endows the clear, boldly defined themes bring to this role has given way to a with plenty of backbone, and at the sharper one, with more bite but less same time maintains an understanding beauty, less lyric potential. His best work amiability. Sound is excellent, with stereo spread unobtrusive. S.F. fidelitY occurs in the last scene, but even here high he cannot compete with Christoff's ability to sing a long, piano line. London has also adopted the expedient of shouting, PONCE: Sonata romántica not singing, practically everything in Act tCastelnuovo- Tedesco: Platero and I: II. Most contemporary basses seem to Five Pieces &slow consider it the thing to do, but this sort only of declamation is a special and difficult Andrés Segovia, guitar. 111 art, and even when well executed it be- DECCA DL 10093. LP. $4.98. $2.50 comes very tiresome in short order. DECCA DL 710093. SD. $5.98. Mussorgsky did, after all, indicate pitches in the scene with Shuiski. The balanced phrases and formal design The recording has the soloists quite of Ponce's Sonata romántica (composed For more than a decade, readers tell close, sometimes in strange perspective, in 1929 in homage to Schubert, "qui us, the most literate and informative and is better on the low end than on the aimait la guitare ") provide the guitar writing on sound reproduction in the high. It is certainly far better than the repertoire with a pleasantly self -con- home has appeared in HIGH FIDELITY. previous Russian recordings through tained oasis which is- despite the title - which we have tried hear Now, for those who may have missed to the Bolshoi essentially classical. And to tell the truth, some of HIGH FIDELITY's top audio in the past. But recommendation remains there is something of Schubert himself articles (plus a few from sister publica- on the negative side, unless you are will- in the work, in the shifting harmonies of tions) and for those who requested they ing to take vigorous conducting and good the first movement and in the spirit of be preserved in a book, we have se- choral work in place of really topflight the last, sounding for all the world like lected 31 of them for inclusion in the principals. C.L.O. one of the dramatic songs. The emphasis First High Fidelity Treasury. is not particularly on virtuosity, but It's not a "layman's guide" to high enough creeps in to lift the hearts of fidelity, but it tells you just about every- PERGOLESI: Concerti armonici: No. Segovia admirers. The Castelnuovo- thing you need to know for achieving 1, in G; No. 2, in G; No. 3, in A; Tedesco pieces are deceptively simple - good sound reproduction in your home. No. 4, in F minor as, of course, are the little stories of Illustrated paper back book of 132 pages Juan Ramón Jiménez on which they are measuring 61/2 x 91/2 inches. Stuttgart Chamber Orchestra, Karl based. One of the most appealing, and HARVEST YEARS writes the High Münchinger, cond. most programmatic, on the present disc Fidelity Treasury "can serve admirably it LONDON CM 9393. LP. $4.98. (Segovia's second partially devoted to the to help you derive greater enjoyment LONDON CS 6393. SD. $5.98. series) is El Canario: the canary escapes from records or broadcast programs." from his cage to flutter about in the PERGOLESI: Concerti armonici: No. garden all day long; but at sunset he PARTIAL CONTENTS the are 5, in E flat: No. 6, in B flat. Con- flies home again, all children their hands, and even the The ABCs of Stereo certos for Flute and Strings: No. 1, happy and clap Stereo for the Man Who Hates Stereo in G; No. 2, in D small gray donkey Platero joins in an Music and Stereophony old- fashioned waltz. Segovia, of course, Recording Today The sound Stereo Jean -Pierre Rampal, flute; Stuttgart gives it tremendous charm. Cabinets for Components is as fine in one channel as two. S.F. The Music Wall Chamber Orchestra, Karl Münchinger, Improvements in Cartridges and Arms cond. From One Speaker to Many as LONDON CM 9395. LP. $4.98. FM Stereo in the Marketplace LONDON CS 6395. SD. $5.98. PROKOFIEV: Concertos for Piano Antennas for FM and Orchestra: No. 3, in C, Op. 26; FM for Motorists It is generally conceded that the con- No. 5, in G, Op. 55 Anyone Can Be a Sound Engineer certos listed above (both flute and A Mike or Two Around the House string) were not written by Pergolesi. Samson François, piano; Philharmonia High Fidelity Servicing Orchestra, Witold Rowicki, cond. Noise -the Uninvited Guest In regard to the Concerti armonici there are three or four contenders for the ANGEL 36193. LP. $4.98. -and many more! honor; the only fact revealed by the pub- ANGEL S 36193. SD. $5.98. lisher in 1740 was that they "stemmed from an illustrious hand." (Handel's ?) There are two basic approaches to Proko- Wyeth Press, a division of 10 -64 works exceptional. fiev's piano music. One is the objective High Fidelity Magazine At any rate, the are Great Barrington, Mass. Though the "illustrious hand" begins with method, which emphasizes the steely and leaves the Please send me a postpaid copy of the First High thematic patterns not essentially different irony in the writing Fidelity Treasury for the $2.50 enclosed. from the usual yardage measured off at rhythmic thrust relatively untouched by the eighteenth -century dry goods counter, rubato. The other method brings the he has a sure instinct as to the direction lyricism, indeed the latent romanticism, Name of each instrumental line; no group with- to the fore by stressing the chromaticism in the small ensemble ever serves merely and shifting accentuations, sometimes at Address as "orchestral glue," and vitality per- the expense of over -all continuity. While vades every movement. Further, the un- both interpretative schools have validity, known composer can write the most it is usually the former that we hear.

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www.americanradiohistory.com Among the notable exceptions one Italian cast and which has in Serafin a Her interpretation is straightforward and thinks immediately of Horowitz's record- conductor who can be idiomatic and not yet especially individual -that is, ing of the Seventh Sonata and of Sam- warns without getting sloppy. The Cetra one likes her, but does not find anything son François's earlier disc version of the set (Carteri, Tagliavini. Taddei, Siepi) much in the way of phrasing or projec- Third Concerto with Cluytens conduct- also possesses these virtues, but is not tion to separate her from other good mu- ing). Both provide outstanding exam- quite so glamorous or up to date in sical Italian lyric sopranos. But far bet- ples of the lyrical method. Now we have sound. ter this, which is never less than accept- François once again, and with the same The strengths of the new set are good able. than u manneristic, externalized at- approach, this time in stereo. On the sound and good orchestral execution, tempt to plumb new depths. Freni is whole, his playing sounds more appro- plus the happy contributions of Mirella unaffected, direct, and vocally impres- priate in the Third Concerto than in the Freni and Ferruccio Mazzoli and a solid sive, and that is enough to place her lesser -known Fifth. There is brilliant col- one from Mario Sereni. Nearly every- near the top of the field. laboration by Rowicki and the Philhar- thing else must he counted on the nega- Mazzoli reveals an exceptionally beau- monia, and Angel's reproduction offers tive side. Freni, who has already contrib- tiful basso cantadte, effortlessly handled a wealth of ravishing color and detail, uted nicely to the London A /cina and and the sensitivity for a touching "Coat plus very live, wide -open acoustics. For the Victor Falstaff and Carmen, makes Song." Whether or not he is up to the a soft -focus interpretation of the Third an excellent impression. Her voice is a challenges of the great basso roles is of Concerto, this one is unbeatable. My lovely, full lyric soprano, very lightly and course impossible to say on the basis own choice, however, is the Janis -Kon- evenly produced, never shrill or heavy. of his work here, but he is a splendid drashin (Mercury), which offers a perfect synthesis of the François color and the Browning- Leinsdorf (Capitol) pa- nache. FOR THE FIRST TIME IN RECORD HISTORY In the Fifth Concerto, François has NOW ONE PRICE- the misfortune of competing with a super- 9(gyp8 lative Richter -DGG performance (also FOR MONO AND STEREO! conducted by Rowicki). The Soviet artist is incomparably subtler in this wry, EVERYMAN whimsical work. François tries too hard, CLASSICS and paradoxically comes off far less and all Vanguard Demonstration Discs successfully than the seemingly "dead- Distinguished recordings meeting the highest stancards of engineering excellence. pan" Richter. The heavily accented tem- Wide- ranging repertory of masterpieces from the Baroque to the 20th century. pos and extreme contrasts favored by the French pianist lend an aura of grossness to his otherwise very competent work. "Everyman Classics ... stereo recordings that are low- priced and superb." Cleveland Plain Dealer Three of the first five Everyman Classics releases were cited as the best available recordings of the ,c Furthermore, while the Angel -François works at any price, by Martin Bookspan in HiFi /Stereo, June, 1964. sound is good. DGG -Richter is better "Looking for bargains, Vanguard's Demonstration Disc series has it all over everything else in the still, especially in terms of balance. book, The engineering is the highest of high fidelity...The performances and the sourd make them worth even the most jaded listener's attention." San Francisco (tvuniele H.G. EVeRYMAN CLASSICS Vanguard PUCCINI: La Bohème New Releases Demonstration Discs SIBELIUS: Symphony No. 5 & Pohjola's Daughter RIMSKY- KORSAKOV: Scheher- Barbirolli cond.) SRV -137 & *SRV -137 SD azade (Rossi cond.) Mirella Freni (s), Mimi; Mariella Adani BEETHOVEN: Piano Concerto No. 5, "Emperor" SRV -103 & *SRV -103 SD (s), Musetta; Nicolai Gedda (t), Ro- (Mindru Katz, piano; Barbirolli, cond.) LISZT: Hungarian Rhapsodies Vittorio SRV -128 & *SRV-128 SD Nos. 1-4 (Fistoulari cond.) dolfo; Pandano (t), Parpignol; TCHAIKOWSKY: Symphony No. 5 & Marche Slave SRV -108 & SRV -108 SD Mario Sereni (h). Marcello; Mario Ba- (Barbirolli cond.) SRV -139 & *SRV -139 SD LISZT: Hungarian Rhapsodies MOZART: Piano Concertos No. 20 in D minor, K. Nos. 5, 6 & ENESCO: Rumanian - 466 siola, Jr. (h), Schaunard; Paolo Montar & No. 24 in C minor, K. 491 (Denis Matthews, piano; Rhapsodies Nos. 1, 2 Fistoulari solo (b), Alcindoro; Carlo Badioli lbs), Swarowsky, cond.) SRV -142 & *SRV -142 SD & Golschmann cond.) Benoit; Ferruccio Mazzoli hs), Colline; VIVALDI: L'Estro Armonico, Op. 3- Complete (To- SRV -119 & SRV-1l9 SD masow & Boskowsky, violins; Rossi, cond.) 3 discs HAYDN : Symphony No. 100, Chorus and Orchestra of the Rome Op- boxed. SRV -143/5 & *SRV-143;'5 SD "Military" & No. 101, "Clock" era, Thomas Schippers, cond. (Wöldike cond.) SRV -109 & SRV-109 SD ANGEL 3643 B /L. Two L.P. $9.96. Recent Releases HAYDN: Symphony No. 103, ANGEL S 3643 B /L. Two SD. $11.96. HAYDN: Symphonies Nos. 99 in E flat & No. 102 in "Drum Roll" & No. 1.4, "Lon- B flat (Wöldike cond.) SRV -129 & SRV -129 SD don" (Wöldike cond.) HAYDN: The Creation (Wöldike cond.) 2 discs SRV -126 & SRV-126 SD Though this set gives us a close look at SRV- 1311 '1 KHACHATURIAN: Gryne Suite SIBELIUS: Symphony No. 1 (Barbirolli cond.) & KABALEVSKY: The Comedi- a couple of young Italian singers who SRV -132 & *SRV -132 SD ans .(Golschmann cond.) obviously are going to be among their DVORAK : Symphony No. 4 & Scherzo Capriccioso SRV-113 & SRV-113 SD (Barbirolli cond.) SRV -133 & *SRV-133 SD MUSSORGSKY: Pictues at an generation's important operatic artists, VAUGHAN WILLIAMS: London Symphony (Barbi- Exhibition (Ravel orchestration) it is as a whole disappointing, failing in rolli cond.) SRV -134 & *SRV-134 SD and A Night On Bald Mountain TCHAIKOWSKY: Symphony No. 4 (Barbirolli cond.) (Golschmann cond.) its promise to offer us something really SRV -135 & 'SRV -135 SD SRV -117 & SRV -117 SD fresh and empathetic in an overcrowded BRAHMS: Double Concerto & Academic Festival Over- BERLIOZ: Symphonie Fantas- field. There ture (Campoli, violin; Navarra, cello; Barbirolli, cond.) tique, Golschmann cond.) are far too many Bohèmes SRV-136 & *SRV-136 SD SRV -120 & *SRV -120 SD on the market. but there are not too MENDELSSOHN: Italian Sym- many good ones. High- powered phony & Midsummer Nights interna- Forthcoming soon Dream Music ( Golschmann cond.) tional casts capable of providing great BACH: Cantata No. 4, "Christ lag in Todesbanden" & SRV-122 & *SRV -122 SD vocal sheen can still miss the essence No. 140, "Wachet auf" (Prohaska cond.) SRV -152 DVORAK: Slavonic Dances Op. HAYDN: Mass in Time of War (Wöldike cond.) 46 & 72 (Rossi cond.) of this opera, and conductors of unde- SRV -153 & *SRV -153 SD SRV -121 & *SRV -121 SD niable authority and taste can let it slip BACH Easter Oratorio (Prohaska cond.) SRV -156 TCHAIKOWSKY: Nutcracker A BOUQUET OF TARTINI AND NARDINI CON- Ballet - Complete (Abravanel right through their fingers. On the one CERTOS (Tomasow, violin) SRV -154 & *SRV-154 SD cond.) 2 discs. hand there is the stodgy Italian medi- PURCELL: Four Suites- Abdelazer, The Gordian Knot SRV-123/4 & *SRV -_23/4 SD Untied, The Married Beau, The Virtuous Wife (Mahler THE SOUND OF FOLK MUSIC ocrity and phony "tradition" that infects cond.) SRV -155 & *SRV -155 SD SRV -125 the DGG set, and on the other there is VIVALDI: Four Violin Concertos from "La Cetra" BEETHOVEN Symphony No. 3, (Makanowitzky, violin; Golschmann, cond.) ,,,, "Eroica" (Boult cond.) the glossy. "tasteful" perfection that out- SRV -159 & *SRV -159 SD SRV-127 & *SRV -127 SD smarts itself (as on the Beecham set, MADRIGALS OF MORLEY AND WILBYE (Deter BACH: Great Choruses and Ar- Consort) SRV -157 & *SRV -157 SD ias from the "St. Matthew Pas- beautifully sung and played, but simply ALBUM OF BELOVED SONGS (Defier Consort) sion" (Wöldike cond.) SRV -128 & not very moving). I have always liked *Stereo SRV -I41 & *SRV -14I SD *SRS: -128 SD the second London /Tebaldi version, EVERYMAN which is extremely well sung by an CLASSICS A Division of Vanguard Recording Sor;ei' ln.. Ncw York CIRCLE 86 ON READER -SERVICE CARD OCTOBER 1964 4

www.americanradiohistory.com Colline who clearly has the basic equip- 1961 version, but I think the term "old - Anda, unfortunately. is no substitute. ment to be an artist of stature. Sereni, fashioned" would sum up every aspect of He is a highly finished pianist. but his nearly always better on records than on the new release. The performance has reading here is superficial and quite fails the stage, sings warmly and securely as that loose sense of romantic freedom to measure up to the strenuous demands Marcello. which seems so alien to today's younger of the music. The phrasing lacks Unfortunately. the negative aspects of musicians. the recorded sound has that breadth and humanity, the structure is the production carry much weight. My garbled, constricted quality so familiar splintered by all sorts of rhythmic affec- dislike for Schippers' conducting is un- from restorations of 78 -rpm albums of tations (including some actual miscount- doubtedly partly a matter of taste. but hallowed vintage (I am speaking of the ing of note values at the end of the certainly there is a hectic, driven quality stereo; no mono review cony arrived), second movement), and the sweeping about much of it. He seems to have and there is the cavalier attitude towards lines are ruined by choppy, nonlegato wanted to combine an easygoing col cuts which now seems decidedly passé. phrasing. DGG, moreover, has short- canto expansiveness in the arias with a Malcuzynski here follows every excision changed the listener in the amount of crisp, no- nonsense pulse in the recita- present in the historical Rachmaninoff- music provided. Most other versions of tives and ensembles. As an idea of the Ormandy edition, including the really the B flat Sonata offer a bonus, and work, this is fine. but the effect obtained senseless one in the third movement Westminster's recent one with Fou here is much too aggressive and excitable. which collapses the formal logic com- Ts'ong gave us the A minor Sonata, D. and sometimes almost metronomic. as in pletely. The composer obviously slashed 784. plus the seldom heard repeat in the a good deal of the Act I clowning. There the work in order to meet the exigencies first movement of the B flat. Anda are fine details, traceable to the musical of the 78 -rpm medium. There is no ex- takes no such repeat, offers no extra precision of the reading (Rodolfo's cuse for these cuts today. sonata, adopts basic speeds very similar "Ah!" and Mimi's "L'ha trovata?" as Despite the obvious shortcomings of to those of Fou Ts'ong -while DGG's they search for the key in Act I sound deletions and inferior reproduction, I engineering affords no substantial sonic spontaneous and real because they are found myself rather favorably inclined improvement. rendered right in time. as components towards the first movement, which moves No perfect recorded edition of the B of the sane 2/4 measure). But too with swift propulsion and an ingratiating flat Sonata exists in the present domestic much of it is harsh and overemphatic, simplicity. The thorny technical demands catalogue, but those by Schnabel (Angel) as if Schippers did not have quite enough of the second and third movements, how- and Fleisher (Columbia) are by far the faith in the music to let it sing along. The ever, obviously thwart Malcuzynski's best: at least those performances are exceptions are in the arias, which he ac- basically fine interpretative instincts. His reasonably commensurate with the sub - companies understandingly. fingerwork in the whirlwind portions of limities of this composition. H.G. Nicolai Gedda's performance is also a the Intermezzo lacks the requisite pre- bit of a letdown. As usual. he vocalizes cision, while the execution of the Finale is clumsy and unrefined as well as too cleanly and often attractively. with good SCHUBERT: Symphony No. 8, in B attention to markings that are often over- loud dynamically. minor ( "Unfinished "); Overtures: looked (his line " l'ano brucia in un The Horowitz /Reiner is still my fa- Des Teufels Lustschloss; Fierrabras; with Ash - soffio' in the opening scene, for example, vorite reading of this work, Overture in the Italian Style is for once exactly correct. rhythmically kenazyIFistoulari recommended for those and dynamically and with respect to the in search of the latest stereo, and Janis/ Vienna Philharmonic Orchestra, Istvan acciaccatura). But when one wants him Munch a respectable economy version. Kertesz, cond. to expand. to open out with the music, H.G. LONDON CM 9382. LP. $4.98. to breathe some sort of inner poetic LONDON CS 6382. SD. $5.98. heat into the lines, he simply continues to sing along in the same proper. clear SAINT -SAENS: Concerto for Violin SCHUBERT: Symphony No. 9, C fashion. occasionally marred by an ugly and Orchestra, No. 3, in B minor, in which never heard him use Op. 61 Chausson: Poème, Op. little glide I -See Vienna Philharmonic Orchestra, Istvan is somewhat unsympathetic 25. before. It all Kertesz, cond. and soulless, and small. LONDON CM 9381. LP. $4.98. in- The Musetta. Mariella Adani, is s LONDON CS 6381. SD. $5.98. terpretatively traditional, vocally shrill. SCARLATTI, DOMENICO: Sonatas white, and wavery. Basiola. son Mario for Piano: in E, L. 23; in A, L. 345 Schubert put considerably more into his of the well -known baritone of thirty -See Bach: English Suite, No. 2, Ninth Symphony than Kertesz manages years ago (the Tonio and Sharpless of in A minor, S. 807. to find. Thus in the present recording the Gigli Pagliacci and Butterfly), is we hear a young conductor of genuine quite musical and alive, but much too talent in a severe confrontation with a and mouthy- sounding. The cony woolly SCHOENBERG: Verklärte Nacht, score that has proved troublesome to primario singers are sufficient. Op. 4 -See Webern: Five Pieces distinguished maestros much beyond his not a By any absolute standard, then, for Strings, Op. 5. years. Basically, Kertesz's difficulties are very satisfying performance. In relation the familiar ones of pacing the work. recorded Bohèmes, to the myriad other The quiet passages tend to get a slow it is somewhere around the middle of the SCHUBERT: Sonata for Piano, No. and rhythmically flaccid treatment. and class. C.L.O. 21, in B flat the loud ones are provided with artificial excitement through the imposition of Geza Anda, piano. rather fast and inexpressive tempos. RACHMANINOFF: Concerto for Pi- DEUTSCHE GRAMMOPHON LPM 18880. Kertesz's ability is much better seen ano and Orchestra, No. 3, in D LP. $5.98. in his version of the composer's earlier minor, Op. 30 DEUTSCHE GRAMMOPHON SLPM symphony. In the Unfinished he is per- 138880. SD. $6.98. fectly in harmony with his material. tak- Witold Malcuzynski, piano; Warsaw Na- ing Schubert's youthful pages with a tional Philharmonic Orchestra, Witold The decision to distribute in this coun- fresh, dramatic vitality that only youth Rowicki, cond. try the present Deutsche Grammophon itself can provide. Among recent record- ANGEL 36197. LP. $4.98. version of Schubert's great B flat So- ings of this work the only real compe- ANGEL S 36197. SD. $5.98. nata probably precludes our ever getting tition is the Klemperer, and it is the that label's older recording of the work spontaneous quality of Kertesz's per- Malcuzynski made the first LP recording by Adrian Aeschbacher. This is a pity, formance that gives it an even greater of this Concerto, with Paul Kletzki con- for the latter artist (Swiss by nationality impact than the older master's reading. ducting, back in 1950. I have no way and Schnabelian by training) has often Both conductors, it should be noted. of rechecking that long deleted disc to proved himself to be a Schubert player take the first movement repeat and adopt see how it compares with the present, of rare stature. a fairly moderate pace which requires

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www.americanradiohistory.com eloquence in phrasing and nuance. But Chamber Orchestra, Jörg Faerber, cond. Certainly the ceremonial breadth and where Klemperer has the traditional MERCURY 50085. LP. $4.98. drama of this Concerto grosso warrant Kingsway Hall sound of the Philhar- MERCURY SR 90085. SD. $5.98. its surprising, however belated, resur- monic, London eschews these mellow rection. The present versions prove to rumblings to provide a far more vivid Even the few who know of Gottfried be strikingly contrasted in treatment. and direct likeness of the ensemble. The Heinrich Stölzel, or Stölz, 1690 -1749, Wahl's is by far the bolder bravura per- outcome is technically as impressive as are not likely to name him in the same formance with the incandescent high the playing. breath with his very slightly older con- trumpets blazing more brilliantly in ex- As for the relatively unfamiliar over- temporary and compatriot, J. S. Bach. tremely vivid high -level recording. Faer- tures coupled with the Eighth Symphony, Prolific opera and oratorio composer ber's trumpeters, and other players too, all three in this present selection are though he was, he is not even mentioned display less élan; and this conductor's likely to be happy discoveries for most in Manfred Bukofzer's standard Music more deliberate reading falls more often record collectors. These pieces too have in the Baroque Era. Yet a very first into the supposedly orthodox baroque the advantages of good performances hearing of the major work now recorded jog trot. Yet his is a more equably inte- and first -quality engineering. R.C.M. in two editions reveals how impressively grated performance; and while at first Stölzel could deal with some of the same hearing the recording (mono only) sonic -combination -and -contrast problems seems relatively distant, it proves to be SCHUMANN: Symphony No. 3, in that preoccupied Bach in the Branden- quite effective -if never as exciting - E flat, op. 97 ( "Rhenish ") burg Concertos. when the playback level is raised to Berlin Philharmonic Orchestra, Rafael Kubelik, cond. DEUTSCHE GRAMMOPHON LPM 18908. LP. $5.98. DEUTSCHE GRAM MOPHON SLPM 138908. SD. $6.98.

The symphony we are presented here is an extremely romantic work, conveyed in a highly romantic style. Tempo thus becomes quite flexible, with the pulse subordinated to expressive turns of phrase. Accents are soft, with the dramatic line of the score frequently going slack so that the melodic line can be treated more ravishingly. The orchestra is amenable to this approach (although there is some timid horn playing), but Ìulbery® sounds at its best in the final two movements, where more robust and straight- MEETS A forward effects are dominant. The recorded sound is a little tubby, though GREAT ARTIST quite good enough to put the performance across. The question really is an aesthetic one. Kubelik seems to have achieved what he's after, but is this the way the Rhenish should be played? My preference, I confess, is for a more propulsive and tightly controlled performance, such as those recorded in former years by Toscanini and Walter and represented in the present catalogue by the Szell edition. R.C.M.

STOELZEL: Concerto grosso for Six Trumpets, Winds, Percussion, Four String Choirs, and Continuo, in D 1-Telemann: Concerto for Three PHYLLIS CURTIN Trumpets, Two Oboes, Percussion, applauds the "Better, Clearer, More Natural Sound" of Strings, and Continuo, in D; Suite for Strings, in A minor RETandberg MODEL 74B 3 SPEED /4 TRACK STEREO MUSIC Roger Delmotte, 1st trumpet; Chamber SYSTEM Orchestra of Versailles, Bernard Wahl, As a dedicated artist who strives for perfection at all times, Miss cond. Curtin prefers her Tandberg for many reasons . . . its unfailing NONESUCH H 1017. LP. $2.50. dependability; ease of operation; trouble -free use. But, she finds the true mark of Tandberg superiority in its unparalleled record /playback STOELZEL: Concerto grosso for Six frequency response, the lack of wow and flutter, low tape tension Trumpets, Winds, Percussion, Four and these fine features ... FM Multiplex filter, built -in speakers and String Choirs, and Continuo, in D amplifiers, precision laminated heads, asynchronous motor, "free" - Mozart, Leopold: Concerto for tape thread, 2 built -in cathode follower outputs . . . and many more Trumpet, Horns, and Strings, in D quality extras! Ask for a free demonstration. tTelemann: Concertos: for Trumpet and Strings, in D; for Trumpet, ONE YEAR GUARANTEE AT FRANCHISED DEALERS EVERYWHERE $449S0 Two Oboes, and Strings, in D Tandberg of America, Inc., P. 0. Box 111, 8 Third Ave., Pelham, N. Y. Walter Holy, 1st trumpet; Württemberg CIRCLE 79 ON READER -SERVICE CARD OCTOBER 1964 145

www.americanradiohistory.com compensate for the disparity in modula- tessitura which evades rather than an- tion levels. swers the problem. Perhaps only a com- Wahl's lusty trumpeters and timpanists poser of Busoni's intellectual abilities also make the most of the bustling Tele- could have set the text, but Busoni did mann Concerto, and these tautly con- not have Strauss's musical gifts. trolled string players do very well in- Notwithstanding the work's over -all deed with the same composer's more deficiencies, some of Strauss's most pow- varied and elegant seven- movement erful and beautiful music can be found Suite. The latter is one of Telemann's in the score: the moving Watchman's innumerable "Overtures in the French song which ends the first act; all of Style" which apparently has been un- Barak's music; the ending of the second available since its onetime appearance in act; most of the "M -G -M" third. If the "Anthologie Sonore" series. It is, of some of the rest is routine Strauss, it is course, not the same as (although not a falling -off from some earlier in- stylistically akin to) the familiar A minor spiration but a noble failure, for routine Suite for Flute and Strings. Strauss is several cuts above the average. The remainder of Faerber's program Die Frau ohne Schatten may be an un- is more consistently devoted to c/arino- even work but it is a vastly interesting register trumpeting. (In this context, one, and in the Strauss-Hofmannsthal clarino denotes the topmost range of collaboration it acts as a blueprint for which a "natural," i.e., unvalved, trumpet the more intimate tale of a woman's was capable, rather than a specific type realization of love and compassion which of instrument as the anonymous Mercury was to be their capstone and masterpiece, annotator implies.) Leopold Mozart's Arabella. two- movement concerto is already fa- Perhaps the fact that there are now miliar on discs, and Walter Holy's some- two substantially complete performances what choked -tone performance is no of this opera in the catalogue presages match for that by Wobitsch for Van- the coming availability of most of guard. Holy is more relaxed in the two Strauss's late operas. The older record- Telemann concertos, the second of which ing, on a five -record London set, has is particularly for its bitter- attractive Fischer -Dieskau as Barak the Dyer. only a few minor cuts and is well re- sweet costarred oboes, but neither his corded. DGG is enabled to get the opera playing nor Faerber's readings achieve Frau ohne Schatten is a difficult yet on four discs by making numerous cuts, marked distinction. On the whole, the greatly rewarding opera. In the libretto especially in the third act. Although present Faerber /Mercury program sel- Hofmannstahl created an intensely sym- monophonic only, London's sound is dom proffers more than relatively mild bolic fairy tale which lies somewhere generally superior to that of the present attractions; it is the bargain- priced Wahl/ between the worlds of The Magic Flute recording, taken from the November 21, Nonesuch release that is outstanding and Paristal. Its nub is the Empress' 1963 performance at the reopening of sonically as well as musically. search for her shadow. a search that the Nationaltheater in Munich. Unfor- I should perhaps add that other re- leads her to the world of men and to her tunately, DGG's microphone placement cordings of similarly titled Telemann final realization, through her contact is nowhere near as advantageous as in concertos are listed in Schwann, but I with mankind. of the value of human its previous Arabella recording (which cannot state definitely which, if any, are compassion. When she refuses to take was made in the old Prinzregententhea- duplicated by the present discs, since the shadow of Barak's wife because she ter), and the orchestral accompaniment, two others with identical titles in Vols. realizes that by so doing she would de- at least until the brassy third act, is mud- 3 and 2 of the Voisin /Kapp trumpet dy and indistinct. The voices in both stroy another human being - "/ch . . series (now out -of-print on discs but will . . . nicht!" she speaks -she im- versions come through clearly (which still available in tape editions) prove mediately gains the shadow she has only accentuates the imbalance in the to be quite different works in four, sought so blindly for so long. Hofmanns- DGG). but the stereo advantage is negli- rather than three, movements each. thal has created a number of fine charac- gible except in a few instances (such R.D.D. terizations: the all -giving dyer Barak and as the separation of Barak and his wife his discontented yet at heart loving wife; at the beginning of Act III). STRAUSS, RICHARD: Die Frau the Empress and her Nurse, the man- Both performances contain notable ohne Schatten kind- hating figure of evil. W. H. Auden singing. On DGG, Jess Thomas' youthful, has called the opera Hofmannstahl's fin- somewhat inflexible and colorless but Ingrid Bjöner (s), The Empress; Inge est work (up to what he terms the entirely secure tenor is ideal for the Borkh (s), The Dyer's Wife; Ingeborg M -G -M ending); it is certainly a master- part of the Emperor who turns to stone Hallstein (s), Keeper of the Gates of ful example of tightly woven symbolic to be saved by his wife. Hans Hopf on the Temple; Gerda Sommerschuh (s), tale- spinning. This last may be its fault the earlier London set is good, but his Voice of the Falcon; Martha Mödl (ms), on the operatic stage; it is too densely voice is more worn and old- sounding. The Nurse; Hertha Töpper (ms), Voice packed for an audience to grasp more Ingrid Bjöner (DGG) does some of her from Above; Jess Thomas (t), The Em- than a fraction of the meaning intended. finest singing as the Empress, especially peror; Georg Paskuda (t), Apparition For this reason listening to the opera in in the third act. She has an on -tone of a Youth; Paul Kuen (t), The Hunch- recorded form is to its advantage. soprano that soars to a high D flat, but back; Dietrich Fischer -Dieskau (b), Strauss's contribution is uneven. I feel her voice is not really large and at times Barak; Hans Hotter (b), The Spirit-mes- strongly that the composer never more she seems to be pushing it hard, whereas senger: Carl Hoppe (bs), The One -eyed; than dimly understood the complexities Rysanek's Empress was recorded at the Max Proebstl (bs), The One -armed; et of the libretto and consequently was un- height of her vocal powers and is a far al.: Chorus and Orchestra of the Ba- comfortable in setting it. He falls back richer, fuller voice. The Baraks present varian State Opera, Joseph Keilberth, heavily on Wagnerian leitmotivs, yet by a Hobson's choice of excellence: do you cond. and large his use of them is simplistic prefer Fischer -Dieskau's (DGG) mov- DEUTSCHE GRAMMOPHON LPM 18911/ and obvious. Wagner's ability to create ingly sung interpretation, which stresses 14. Four LP. $23.92. quick psychological portraits in the or- the goodness of Barak, or Paul Schoef- DEUTSCHE GRAMMOPHON SLPM chestra is generally beyond Strauss's fler's (London) deeper- voiced rendition, 138911/14. Four SD. $27.92. ability: he never properly creates mu- emphasizing the closeness -to -earth of the sically the malevolence of the Nurse or character? Both are close to definitive. The most complex product of the the dichotomous nature of the dyer's As the Nurse, Martha Mödl's voice Strauss -Hofmannstahl collaboration, Die wife, resorting, rather, to a demanding (DGG) has deteriorated to such an ex-

146 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com tent that much of her singing, especially ly, the same libretto and translation in- STRAUSS, RICHARD: Sinfonia do- as the opera continues, is barely ade- cluded in the London set. Since this li- mestica, Op. 53 quate. Elisabeth Höngen's voice is bet- bretto reflects only the cuts made in the ter, if also worn, and she is able to por- London set (and one of these is restored Cleveland Orchestra. George Szell, cond. tray the evil nature of the character more in the DGG), it will take some agility - COLUMBIA ML 6027. LP. $4.98. tellingly. Inge Borkh (DGG) is excellent in the third act in particular -to follow COLUMBIA MS 6627. SD. $5.98. as Barak's wife, even if her voice is a it. The work, however, amply repays any little hard for the role, and she clearly agility necessary. PATRICK J. SMITH Strauss's symphony of domesticity is the outclasses the rather shrill singing of weakest of all his long tone poems, Christel Goltz. Both versions use excel- lacking the thematic richness and drama lent singers for the smaller roles: for STRAUSS, RICHARD: Der Krämer - of such works as Heldenleben and the DGG, Hans Hotter (yes, Hans Hotter!) spiegel, Op. 66 tight construction of such scores as Don and Hertha Töpper; for London, Kurt Juan. For one critic, it suggested the Böhme as well as others. Herbert Brauer, baritone; Gerhard Pu- home life of the dinosaurs rather than As for the conducting, for me there chelt, piano. the paradigm of gracious living in Gar- is no choice. From the very first crisp EURODISC 71030. LP. $4.98. misch. Yet. in a convincing performance, and ominous sounding of the Keikobad EURODISC S 71031. SD. $5.98. the Sinfonia domestica has many of the theme Karl Böhm and the Vienna Phil- qualities that make Strauss popular. The harmonic (London) rout the broad and During a good part of his life, Richard main themes are full of the sensuous rather flaccid tempos of Keilberth and Strauss was frequently in hot water with chromaticism that is a Strauss trade- his Munich orchestra. As with the one music publisher or another, and Der mark, and many a page could be taken Arabella recording, Keilberth bathes Krämerspiegel, a set of twelve songs set as an anticipation of Der Rosenkavalier. everything in Strauss's lushness, and sev- to texts by his friend Alfred Kerr, is his So far, the best recording we have had eral times, notably in the third act when peculiar idea of revenge. The texts are of this music was a Reiner edition from the Empress sees her husband turned to satirical in a rather nasty Germanic way, Chicago, now (perplexingly) withdrawn. stone, this approach has power and making cruel and not very subtle fun on Szell's version, the only one currently in force. But-probably abetted by the less the names of several German publishers the catalogue, is somewhat tighter struc- than good acoustics -Keilberth doesn't (who had the misfortune to bear names turally, a little harder -driving, a bit more have the articulation and distinctness that that lent themselves to such treatment: dramatic -an approach from which this Böhm brings to every page of the score. Bote, Bock, Breitkopf, etc.). The music music can profit and to which the engi- Certainly there is nothing wrong with is often rather funny, and there are lots neers have done splendid justice. While Keilberth's approach, since it emphasizes of "in" jokes- references in text and the Domestic Symphony is not a master- all that is most immediately appealing, music to Der Rosenkavalier, for example. piece, it is a major Strauss score that, but in the end I know I will turn to the If you like this level of humor, you will especially in the present recording, fully Böhm rendition to hear all that Strauss perhaps like this odd cycle. The songs deserves a hearing. R.C.M. said. are bellowed out, in a manner only dimly The DGG set comes with this corn- related to singing, by Herbert Brauer. nany's usual informative notes and, odd- A.R. Continued on page 152

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www.americanradiohistory.com RECORDS IN REVIEW

Continued from page 147

STRAUSS, RICHARD: Songs that reach beyond 'mere competence. The

is hereby given to Ladies & Gentlemen of our immense charm of Stiiudchen cannot Fresh Stinks of newly prepared wheels for Stiiudchen: Ich nol /t' ein Strütrsslein easily be set aside, and a good perform- Afusical Engines that go of themselves. play. ing the Musick of Great & Ancient Masters hingen: Allerseelen: Für fiinfzehts ance of Aforgen, one which tries to tem- as though on the Flesh performing in your Pfennige: Jets trage meine Minne: per the treacly flow of sentimentality, Private Hall or Chamber, whether Organs. Nichts: Violins, Hautboys or Harpsichords reproduc. Die Nacht: Wiegenlied: Der Stern: Nur can elevate this song somewhat. Zueig- ing every Affect with the Loftiest Verisimilitude. Mut!: Lob des Leidens: Zueignung: Mein nung, with its powerful initial succession Her: ist stumm: Herr Lenz; Ach, Lieb', of chords. begins like a great song though by J. D. Zelenka late of Prague: ich /Hn1.5 nun scheiden: Das Geheimnis; it does not sustain that promise. One of 3 Sonata, f . 2 aboo, Bareoon and Continu,.. First recording of as. Ruhe, meine Seele. my own favorites is Wiegenlied, at least tounding pities written for the tern. nation of Karl VI in 1721. Ray as Elisabeth Schwarzkopf sings it, be- Touhman, \C'iltred Burkle, oboes: Lisa Della Casa, soprano: Arpad Sandor, cause of its ravishing melodic line and John Miller. bassoon; others. CRM 814. CRS 1811. piano. the wonderful flexibility with which by Heinrich Biber late of Salzburg: RCA VICTOR LM 2749. LP. $4.98. changes of meter follow the flow of First recordings of Bohemian virtu. RCA VICTOR LSC 2749. SD. $5.98. words. (I also adore the Elisabeth Schu- oso violin pieces excitingly interpre- ted by Sonya Mon tf. N Sonals mann performance. except for the for Sol-. Violin and Continuo 11.4) bumpy piano playing of Ivor Newton.) CRM 812, CRS 1812; (5.81 CRM 811, CRS 1815. 15 Sonata, fnr STRAUSS, RICHARD: Songs It seems to me that neither of the pres- Sro.Jarura l'inlin (3- record set) is very in cop- CRM 811. CRS 1811. ent recitalists successful ing with this material. Miss Della Casa by Gustav Leonhardt presently of Zueignung; Nichts: Die Nacht; Breit' Amsterdam: Brilliant performances über mein Haupt: Wie .sollten wir geheins; has been a particular adornment to the of organ and harpsichord works by Straussian operatic repertory throughout J. J. Froberger CRA1 509. CRS 1509; All' mein Gedanken; Du meines Herzens J. P. CRM 508. 1508. Sueelinc& CRS Krünelein: Achs. Lieb', ich muss nun her career. but here she fails to penetrate (Schnitger organs at Zwolle. Alk- some the maar; antique French harpsichord.) scheiden; Ach, weh mir ungliicklsafte's deeply into the substance of of Mann: Ruhe. 'seine Seele: Morgen!: songs. A simple folklike air like Ic /s trage meine iNinne she sings quite well. N.B. For Extra Money can be had Discs Nachtgang: Ichs trage meine Minne; engraved in an even more Ingenious Manner disarmingly and with wit. But she cannot to cause to emerge Befreit; Bruder Liederlich: Freundliche lately Perfected Sounds soar, and Zueignung and Wiegenlied from Several Places at Once so that a Blind. Vision; Mit deinen blühe: Augen. Man were certain of Live Musicians Ranged suffer from monotonous small -scale per- before him. Hermann Prey, baritone; Gerald Moore, formances that are hamstrung by the piano. singer's own intelligence and care. It is a little as if the Budapest Quartet were to CAMBRIICK,E REDRES LONDON 5869. LP. $4.98. LONDON OS 25869. SD. $5.98. take on Till Eulenspiegel. The Prey per- 477 Washington St., Wellesley, Mass. 02181 formances are flawed from another direction. As he has shown in his recent CARD Though in the current crossfire over the CIRCLE 23 ON READER -SERVICE Schubert recordings, Prey is an amazingly merits of Richard Strauss his smaller - gifted singer in his way of reacting to scale music seems to be generally over- words and their peculiar colorations; but. This Superb Recording looked, the composer's career as a writer as remarked above, in Strauss the im- of songs was longer. by and large. than I portant thing is the musical line. By of BAROQUE MUSIC his orchestral or operatic career. Some overreacting to the text, Prey makes the of his best -known songs such as Zueig- $1óo lines somewhat swollen and distorted, is yours for ONLY nung and Stündc'/sen predate by several and a song like Marge' dissolves in years his first major tone poem, and the bathos. On the other hand, he delivers four orchestral songs of 1948 constitute a thrilling Zueignung. Perhaps the his leave -taking as a composer. Between SEND NO MONEY NOW, Straussian ideal lies somewhere between 1919 and 1948. however, there is only the approaches represented by these two GEORG PHILIPP TELEMANN (16811767) one work in this medium. the five Songs discs. A.R. Concerto for Trumpet and Orchestra in D -Major of the Orient, and these are not very Concerto for Flute and Orchestra in D -Major well known. Concerto for Oboe and Orchestra in E-Minor Song composition in Germany after Concerto for Viola and Orchestra in G -Major the death of Schubert followed two di- STRAVINSKY: The Rite of Spring The Pro Arte Chamber Orchestra of Munich Hugo Wolf Kurt REDEL, Conductor vergent paths. Nobody until really succeeded as Schubert had in bend- Berlin Philharmonic Orchestra, Herbert Winner of the Grand Prix du Disque von Karajan, cond. of France ing music supplely to the ramifications MHS 518 -Available in MONO or of the poetic sense; Schubert and Wolf DEUTSCHE GRAMMOPHON LPM 18920. STEREO. please specify are alone. in that their greatest songs LP. $5.98. The Musical Heritage Society issues seem to grow out of the poems them- DEUTSCHE GRAMMOPHON SLPM about 30 recordings each year of 17th selves. While Schumann. Brahms. Liszt, 138920. SD. $6.98. and 18th Century music. All recordings and Franz created magnificent songs. with are only $2.50 each plus a small shipping them musical considerations predomi- This is a flawless performance in which charge. Complete details about our So- nated: the music enveloped the poetry, everything goes off like clockwork. The ciety and its endeavors will be sent to and often usurped its interest. This lines and figures move right along on a you along with the trial record. a a was Strauss's way too, though with dif- tense, steady, even course -quiet, mur- T ferent results. He created a pretty musi- muring. menacing. or motoric, pounding, THE MUSICAL HERITAGE SOCIETY. INC. Carnegie Nall. New York, N. Y. 10015 cal framework around the words. a frame hard -driving -cut through by the sharpest Please send me the 12 long Playing Record shaped and colored by the sense of the and cleanest of knife-edge accents. The MHS 518. Within ten days after receipt l'It re- poem as a unity but inflexible to the urg- effect is as utterly Teutonic as one could mit 81.00 as payment in full or return the all but fanatic and record. It is understood there is absolutely no ing of special phrases within the poem. imagine. not wild at obligation on my part otherwise. Furthermore. in 'many cases Strauss does obsessive to an almost frightening degree. Please specify: MONO STEREO not seem to have chosen his texts with This is a hard. brilliant. unyielding con- NAME much taste. In my opinion the best that ception, valid enough perhaps. but thor- is good ADDRESS can often be said about his songs is that oughly unpleasant. The playing is vivid and clear. not at CITY 8 STATE he met the poet on his own terms. and the sound Strauss's 153 published efforts all dry but close and hard. like the per- ZIP CODE l' l Among there are, of course. a number of songs formance. E.S. CIRCLE 58 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE

www.americanradiohistory.com SYDEMAN: Music for Flute, Viola, TALMA: La Corona -See Trimble: Guitar, and Percussion; Concerto Symphony in Two Movements. da Camera No. 2 ¡-Cortes: Chamber Concerto TCHAIKOVSKY: Symphony No. 6, Paul Zukofsky, violin (in the Sydeman in B minor, Op. 74 ( "Pathétique ") Concerto); Charles McCracken, cello (in the Cortes); Contemporary Chamber En- Berlin Philharmonic Orchestra, Herbert KAICHEN. semble, Arthur Weisberg, cond. von Karajan, cond. The brilliant American pian- COMPOSERS RECORDINGS CRI 181. DEUTSCHE GRAMMOPHON LPM 18921. LP. $5.95. LP. $5.98. ist, honored the world over, DEUTSCHE GRAMMOPHON SLPM returns to the United States In the wake of great stylistic innovations 138921. SD. $6.98. this month. and revolutions, there always seem to be talented composers waiting around to There are no surprises on this disc. New Releases: turn the new into the neoclassical. Two Karajan leads, as expected, an efficient Beethoven: PIANO CONCERTO No. such young composers are on this rec- and clean version of the music, with no 5 IN E FLAT MAJOR ( "Emperor ") ord. The very attractive and well- written romantic excesses and a firm hand on its For those who like with The London Symphony Orchestra - Sydeman quartet which heads the disc is, forward propulsion. Pierino their Tchaikovsky dry and without tears, Gamba remarkably enough, a bit of Boulez Stereo CS -6397 Mono CM -9397 neoclassicized. The work was written this is an excellent reading. For my for the same combination, minus the taste, however, it seems a little sober - Brahms: THE COMPLETE PIANO WORKS 1 voice, as Boulez's Marteau sans maître, sided. Surely the conductor could plumb -Vol. greater depths in the last movement with- 3 Intermezzi (Op. 117); Piano Pieces and it was in fact intended for a 1962 (Op. 119); Piano Pieces (Op. 119) out violating the "score as written." tour of the Contemporary Chamber En- Stereo CS -6396 Mono CM -9396 semble which was currently featuring Also, at the present pace the march seems Brahms: THE the Boulez on its programs. Sydeman unusually trivial. Aside from some sour COMPLETE has built a work based on the same intonation from the solo oboe, the or- PIANO WORKS-Vol. 2 chestra plays excellently, and the stereo Piano Pieces (Op. 76); Fantasias (Op. Boulez -ian running, flashing colors and 1168 recording is, like the performance it- textures, but he has regularized them Stereo CS -6404 Mono -9404 self, clear and unobtrusive. A.R. CM into very specific collections of phrase (The beginning of a unique series of the and pulse shapes that, in a way, con- complete piano works of Brahms. Watch tradict the basic premise of freedom and for future releases.) flexibility. Nevertheless, this is certainly TELEMANN: Concerto for Three elegant and ingratiating music by a Trumpets, Two Oboes, Percussion, Some recent memorable talented composer. Strings, and Continuo, in D; Suite releases: Sydeman's Concerto da Camera No. 2, for Strings, in A minor -See Stöl- zel: Concerto grosso for Six Trum- Beethoven: PIANO CONCERTO No. 2 which dates from 1960, is something IN B FLAT MAJOR: along the same line but not quite as far pets, Winds, Percussion, Four String Choirs, and Continuo, in D. PIANO CONCERTO No. 4 down it. The piece is a little more por- IN G MAJOR tentous, with big contrapuntal lines à Stereo CS -6374 Mono CM -9374 la Berg (in the other piece, the lines Grieg: have already meshed into what are hard- TELEMANN: Concertos: for Trum- PIANO CONCERTO IN A MINOR ly more than textures defined structurally pet and Strings, in D; for Trum- by regular rhythmic repetitions and pet, Two Oboes, and Strings, in D Schumann: pulses). The Concerto is still conceived -See Stölzel: Concerto grosso for PIANO CONCERTO IN A MINOR well within the classical concertante Six Trumpets, Winds, Percussion, Stereo CS -6336 Mono CM -9336 idea (solo and tutti, three movements, Four String Choirs, and Continuo, Rachmaninov: RHAPSODY ON motivic use of intervals and rhythms) and in D. A THEME OF PAGANINI the chromatic busy -ness corresponds with Dohnanyi: the neoclassical motor music of a couple VARIATIONS ON A NURSERY TUNE of decades ago. Like its companion, the TELEMANN: Partitas for Oboe and Stereo CS -6153 Mono CM -9262 work is extremely well conceived in terms Harpsichord (6) of the composer's engagement with in- Beethoven: 33 VARIATIONS ON A WALTZ BY DIABELLI strumental sound of a kind rich and No. 1, in B flat; No. 2, in G; No. 3, in Stereo CS -6203 beautifully controlled if of no great C minor; No. 4, in G minor; No. 5, in E Mono CM -9272 depth. minor; No. 6, in E flat. Trodemarks Reg. U.5. Pat. OR. If the Sydeman is neoclassical Boulez, the Ramiro Cortes Concerto is neoclas- Melvin Berman, oboe; Kelsey Jones, sical Schoenberg, a kind of twelve -tone harpsichord. /Jo1{rxrn ffie music written by ear, not by system. Vox PL 14020. LP. $4.98. FULL FREQUENCY RANGE RECORD/NG There is a great deal to say for this Vox STPL 514020. SD. $4.98. piece and for the talents of its composer, but ultimately the work is too disjointed These partitas, which according to both on its rather angular, bumpy, dis- baroque usage could just as properly be connected surface (effective phrases and played on any of several melody instru- musical gestures set in ineffective con- ments, fit the chosen instrument here junction with one another) and in its beautifully. Berman makes the most of more basic intellectual and structural the light dance suites, phrasing with a premises (unresolved conflict and con- never failing graciousness, and coloring tradiction between the serial- develop- contrasting passages with a subtle variety mental idea on one hand and the tonal - of tone. But much would have been concertante idea on the other). added by reinforcing the continuo part The two string soloists are first -class; with a cello -which would have drawn so for that matter is the ensemble under attention to the occasional interplay of Weisberg's expert direction. The record- top and bottom lines and spiced the ing, sponsored by the American Academy flavor of the recital as a whole. As it and National Institute of Arts and stands, the effect is largely simply that Letters, is among CRI's best. E.S. of a solo oboe singing to itself, and one

OCTOBER 1964 153

www.americanradiohistory.com is inclined to listen in small doses. ductor who seems-from the evidence of this is not the usual "French" Wagner, Balance favors the oboe -at times too this and other CRI discs-to have ac- and in the matter of tempos Ansermet is much so. More the pity, as harpsichordist quired a remarkable feeling for American plainly oriented towards Bayreuth rather Jones fulfills his role excellently, and music. than Paris. These are meticulous per- follows his partner's lead in coloration. Louise Talma s note -spinning around a formances, well played with a delicate S.F. set of Holy Sonnets by John Donne con- sense of color and texture. They are tains every immortal cliché of contem- reserved rather than theatrical (even to THOMAS: Mignon (highlights) porary chic firmly in place, but I cannot the point of being somewhat cool) but bring myself to regard the result as there is passion here, even if it lacks Jane Berbié (ms), Mignon; Mady Mes- music. The chorus sings it well, for what heavy -breathing Teutonic emotionalism. plé (s), Philine; Gerard Dunan (t), that information is worth. A.R. The Giitterdünuncrung and Parsifal Prel- Wilhelm Meister; Xavier Depraz (bs), udes have to be counted among our most Lothario; Raymond St. Paul Chorus; interesting disc versions of these works. Lamoureux Orchestra, Jean Fournet, VIVALDI: Concertos: for Guitar and and the Good Friday music is heard cond. Strings, in C; for Guitar and in a distinctive performance which only DI UTSCHE GRAMMOPHON LPEM 19279. Strings, in D; for Two Horns and a master of the orchestra could pro- LP. $5.98. Strings, in F. II Pastor lido, Op. 13: vide. R.C.M. DEUTSCHE GRAMMOPHON SLPEM Suite 136279. SD. $6.98. Christian Aubin, guitar: Roger Guérin, WALTON: Façade Just when Angel seemed to be sewing up Xavier Delwande, French horns; Collegi- a monopoly on condensed versions of um Musicum of Paris, Roland Douatte, Hermione Gingold and Russell Oberlin. French operas, DGG has entered the cond. speakers; orchestra, Thomas Dunn, cond. field with this digest of Thomas's lovely NONESUCH H 1018. LP. $2.50. DI ccA DL 10097. LP. $4.98. work. It includes Mignon's three chief DI:ccA DL 710097. SD. $5.98. solos, Wilhelm Meister's two airs, This C major Guitar Concerto is the Philine's Polonaise, Lothario's Berceuse, same as that performed on the lute by Time has not dimmed the delights of the Swallow Duet, the Overture and two Julian Bream in his recent RCA Victor this brilliantly conceived "entertainment" Entr'actes, and a little choral work. release (LM /LSC 2730), and it goes -the combination of the meaningful Vocally, there is nothing really outstand- beautifully on either instrument. The nonsense of Edith Sitwell's poems with ing, nothing really poor on the disc. present performance is a shade less vir- the delicious insinuation of the Walton Berbié seems to have a largish. solid tuosic than Bream's and a little less settings. While the music itself retains voice, but not a great deal of tempera- rhythmically intense, but it is excellent its charm in the popular orchestral ar- ment; she simply vocalizes through the nevertheless. The D major work is a rangements, it comes into full flower only music, competently but colorlessly and more routine piece of music; Vivaldi when heard, as here, with the words. with no great freedom. The "Chanson treats the solo instrument rather off- The reason is simple: the poems are not styrienne" is her best piece of work handedly, and at times simply relegates mere absurdity; they constitute a bril- here, much better than either of the it to an obbligato role. liant study in the use of words to create two big challenges. Dunan has a white, The two French horns have a very musical rhythms. pleasant tenor and fair enough style: companionable time of it here, bounding The best performance I have ever "Adieu, Mignon! Courage!" is rather along in consonant agreement for the heard was the series of excerpts made by good, "Elie ne croyait pas" just accept- most part and only rarely hewing sepa- English Decca in the early Thirties, with able. Mesplé displays a rather high sharp rate contrapuntal paths. But to my ear Dame Edith and the late Constant Lam- soprano with a quick vibrato. She brings the performing style in the slow move- bert perfectly in tune with the words. some dash to her famous test -piece and ment, where the flourishing Parisian The two later Sitwell performances also executes it well enough, except for an vibrato really blossoms unabashed, had the spirit though the flesh had ugly trill. Depraz is most disappointing, sounds more appropriate to the Salvation sadly weakened. As for the new per- for he has sounded good in the past; Army than to Vivaldi's Ospidale della formance. it promises much but does here his singing has no shape or line at Pieta. The suite from II Pastor lido is not completely fulfill that promise. The all -it is almost bored -sounding. very well arranged for oboe, flute, and words must be delivered dryly, cleanly, The overture is given an uncommonly strings (the original was a set of sona- and with every sound absolutely in place. good reading by Fournet, and in fact tas for solo instrument and continuo), Here Miss Gingold reads in a kind of the orchestral work is good throughout. and the balances are such that every Foxy Grandma style better suited to The sound is excellent. Recommendable part is heard clearly in this monophonic bedtime stories. and Mr. Oberlin found- as a fill -in if you don't want the middling recording, the only version available. ers on a few tricky passages. The music complete performance on London: not S.F. is well projected under Thomas Dunn. otherwise. C.L.O. but the sum total is still incomplete jus- WAGNER: Orchestral Excerpts tice to the task at hand. The Sitwell -Lambert discs having long TRIMBLE: Symphony in Two Move- since disappeared, the best available Episodes for Orchestra Lohengrin: Prelude; Meistersinger: Prel- ments; Five Funeral Music: tTalma: La Corona ude: Gütterdiinunerung: Parrifal: Prelude and Good Friday Spell. Dorian Chorale (in the Talma): Japan Philharmonic Orchestra, Akeo Watanabe, Orchestre de la Suisse Romande, Ernest cond. (in the Trimble). Ansermet, cond. COMPOSERS RECORDING CRI 187. LP. LONDON CM 9386. LP. $4.98. $5.95. LONDON CS 6386. SD. $5.98.

Neither of the Lester Trimble pieces Anyone in search of echt Wagnerissmns recorded here shows his real abilities, will pass this set by for the product of which are in the direction of a clean, such guardians of the flame as Klemperer bright, and attractive neoclassicism. The or Knappertsbusch, but Ansermet's early Symphony (1951) is a rather achievement is not to be slighted by standard kind of busy and brassy Ameri- more cosmopolitan listeners. This con- cana, while the recently composed ductor's work here suggests a synthesis Episodes are simple little atmosphere of German and Gallic cultural tendencies pieces, designed to bring Webern to the of the characteristic Swiss variety. Regis- masses. They receive admirable readings tration is a hit light (especially in from the excellent young Japanese con- the Lohengrin and Meistersinger) but Webers,: ever nearer the center.

154 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Façade remains the Sitwell /Peter Pears with the exception of one or two pieces performance on London. This new one, -to the more traditional romantic -sym- alas, is no challenge. A.R. phonic style of his colleague Berg. The works of Webern, once considered enig- matic and even absurd in their concen- WEBER: Oberon (excerpts) tration and brevity, now command the most unbounded admiration for their Ingrid Bjöner (s), Reiza; Erika Köth formal ingenuity and expressive language. (ills), Mermaid; Hetty Plümacher (ms), This is particularly true of the early Fatima; Jess Thomas (t), Huon; Herbert "atonal" works and especially the string Brauer (b), Sherasmin; Bamberg Sym- pieces, Op. 5, with their links to late phony Orchestra, Wilhelm Schachter, romantic expression on the one hand cond. (every sound is possessed of an almost EURODISC 70828. LP. $4.98. unbearable intensity) and to the mature EURODISC S 70829. SD. $5.98. Webern and serial technique on the other (the handful of ultraexpressive Oberon has always enjoyed a good repu- notes -and rhythms, phrases, accents, tation among musicians, but because of dynamics, and colors as well -are tightly a preposterous book and the extreme dif- organized in a nontonal motivic web of ficulty of staging and casting, it turns considerable subtlety). Movements like from up only occasionally. The overture and the second and fourth contain only a copos "Ozean! du Ungeheuer!" aside, the music few measures and notes, but each musi- MAGIC heard on this disc of highlights is not cal event, no matter how tiny, is packed Soond really very interesting. Huon's prayer with an absolute maximum of expressive can make a beautiful effect in the and structural meaning. hands of a Roswaenge, and the two All of this is well realized in the songs for Fatima have charm and a present recording. The Zurich players melodic loveliness, while the Mermaid's make the musical connections in just Lied also has a simple beauty. But even the way right and they are able to pro- Eig cans3le these are not up to the level sounds frcm a bock of nearly duce the right kind of soft, white, ex- shelf sire speake system? Sounds all of Freischütz. Huon's big, sweaty pressive, expressionist tone. The balances imoossitie? No, it sot.nds great! Act I aria could perhaps be effective if and dynamic relationships are good, and Eut, UTAH ma ic doesn t stop brilliantly sung, but here it only serves De Stoutz achieves the almost perfect, there wits the a I new Pit]. L ke to show Jess Thomas' limitations -his hesitant, flexible, rising and falling tone ek' t: a :hameleon, the PRO also tone is heavy and dry, the phrasing and tempo which this music demands. changes colors to matci any strained and graceless, the runs sloppy The performance also gains from the clanging room decor. Tte front of this beautiful Walnut and unmusical. Though his voicing of dry, clear, close sound in which it has emir °t has a snap it grille, whici can be the prayer is somewhat better, it still been recorded. changed in seconds. A %side selec- hardly sounds like that of a major A singer. peculiarity of this version of the tion cf decorator color 43u'cs are Ingrid Bjöner's " Ozean!' is a consci- Webern, by the way, is the extensive available and the grilles can he entious job; she obviously has a good use of solo strings, which actually puts changed to accent any -33rn color understanding of the piece, and her this edition somewhere halfway between scheme. 2R IS TRULY COMPACT. voice sounds impressive more often than the original string quartet and the string It's di ner:sions of 12" x 12' x 24" not. All that is lacking is sufficient re- orchestra score. I do not know what the pack the finest acoustical elgi- serve and abandon for the final section, authority for this instrumentation may neering -eund anywhere. This 3- speaker high and the ultimate authority that separates be but it is very -compliance system effective in its use of attests a classical rendition from a solid one. the tc tie real magic f UTAHf original chamber sound and in the elictrnic sound engineerig. Hetty Plümacher, who has a pleasant heightened contrasts between solo and light mezzo, sings most musically and tutti strings. Model PRO $9950 net sensitively; Herbert Brauer does his bit Unfortunately, the Swiss ensemble's with good spirit, if not with much voice. virtues go for little in the Berg and the The overture gets a splendid reading Schoenberg. Berg's Three Pieces from from the Bamberg Symphony under the Lyric Suite, also arranged by the Schlichter, and the sound is superb. The composer from a quartet original, require jacket notes, in German only, concen- not so much a sense of elegant and trate on the final months of Weber's life, expressive detail as a feeling for string and tell us nothing at all about the color and for big phrase. And, if this opera. C.L.O. is true of the colorful and inventive Berg, it is ten times true of Schoen - berg's late romantic masterpiece, which WEBERN: Five Pieces for Strings, needs as much in the way of rich sound op. 5 and large -scale line as Wagner or Mah- tSchoenberg: Verklärte Nacht, Op. 4 ler. The performances here simply do tBerg: Lyric Suite: Three Pieces not have the precision, size, and scope of ensemble sound -or the integrated Exciting PRO features: Zurich Chamber Orchestra, Edmond de and powerful long -range conception -to 13ocishels size. :mule Stoutz, cond. sustain and saurd communicate the range of SaaP.sut CCe,t gille VANGUARD VRS 1117. LP. $4.98. expression and thought in these works. Acaestic wspens'sn, h grume Jante roofer VANGUARD VSD 71117. SD. $5.95. There are also some poor tape splices it a sealer eat' let I4arNI.-ubt ,d is' walnut to cloud the picture further. E.S. yen be' ea:inet The string orchestra version of Webern's A tram :oh acoustic egg aerie; little classic of 1909 -originally written Can unents -a Utah for S/t2iters, .1 10' waofer, quartet -seems to move closer and 8' rIc ranse, 31r2' tweeter closer to the center of the repertory all (achys abus levtp Seabird en lustre- heavily the time. It is fascinating to note that darnel wrh fiterrlass Pcwa ratóg -il etts both the avant -garde and the general Inpalancr -8 lins public as well have taken far more rrgeney lesFmse- quickly to the tense, terse, aphoristic 50/ 1 3,300 :ps style of Webern than to the complexities of his teacher Schoenberg or even-

OCTOBER 1964

H U N T I N G T O N, INDIANA www.americanradiohistory.com (a trio sonata performed here in an odd ensemble arrangement; its relationship to the rest of the pieces on this recording (ABC> is not at all clear), this is occasional music connected in some way with the digestion or perambulation of a royal To HIGH FIDELITY mem- personage -in this case, usually Louis bership in the Audit Bureau of `Recitals 3 XIV of France. On the whole the royal Circulations, which now cele- digestion turns out to be more interest- brates its 50th Anniversary Year, ing than the royal perambulation; with means the highest form of busi- miscellany the exception of the apparently unrelated ness practice. Couperin, the Delalande supper symphonies seem to me to contain the most It means HIGH FIDELITY attractive music the record. The anyone to ac- on Phili- does not expect dor is not without interest as a sample of cept unverified claims circu- of the all- percussion rhythmic ideas lation but is more than pleased annual (shades of Varèse) of a modestly ca- to submit to the rigid LILIA ALBANESE: Recital pable composer of the period. The Lully audit of ABC. marches are purely routine. One of them Verdi: Non t'accostare all' urna; La is for kettledrum only: it sounds like a In fact, we're downright giddy Zingaro; Ad una stella; Lo Spazzacamino; about the whole thing since drum part to a march for which the rest ... Il Tramonto; L'Esule (all orch. René of the parts have been lost. each minutely detailed ABC re- Leibowitz). Bianchini: La Maravegia. port continues year after year The performances are fair but not re- Porrino: Attittidu. Pirozzi: L'Urdemo markable; some essential performance to reiterate HIGH FIDELITY's sole. Pieraccini: Eh! Ci vuol altro. Toma- circulation gains. practices (ornaments, etc.) are missing. si: Cantu di malinconia. Darevitsky: The trumpet playing, at any rate, is Arrivederci Roma mia. For HIGH FIDELITY read- quite good and the one -channel recording ers, our 121,824 average total (originally by Vogue in Paris) is ac- Licia Albanese, soprano; RCA Italiana ceptable. E.S. paid circulation, subject to audit, Orchestra, René Leibowitz, cond. is substantial proof of HIGH RCA VICTOR LM 2753. LP. $4.98. FIDELITY's superiority in qual- RCA VICTOR LSC 2753. SD. $5.98. ity of editorial content . be- PIERRE FROIDEBISE: "French Or- cause people just don't lay out The six Verdi songs are extraordinarily gan Masterpieces of the Seventeenth money for a magazine that does beautiful. They date from early in his and Eighteenth Centuries" not fill their needs. An ABC career, around the time of Nabucco, and statement is a barometer of edi- have much of the free -swinging power- Pierre Froidebise, organ. torial excellence. Let the quality ful lyricism, still not completely con- NONESUCH H 1020. LP. $2.50. of content slip, down goes read- trolled, of his early operas. La Zingara, NONESUCH H 71020. SD. $2.50. ership, and ... well, to be hon- a song of immense high spirits, might its est, ABC is not known for almost be a sketch for "Di quella pira"; French music is here played on a Dutch soft voice . the miserable the long scena " L'Esule" could easily organ partly built by a German. The truth will quickly become a mat- find a home in Forza. They were written combination turns out to work very ter of printed public knowledge. with piano accompaniment, but the well. ln compositions by Charles Piroye, Leibowitz orchestrations are shrewd, Louis Marchand, Louis and François And for advertisers . an very much in the Verdi manner. Nico- solid value Couperin, Louis Clérambault, and ABC statement puts It is pointless to pretend that Licia excellent organist puts behind every advertising dollar las de Grigny this Albanese is still in her vocal prime. the splendid instrument in the church of by letting the advertisers know Even so, however, she is wonderful to through its how many St. Lawrence at Alkmaar in advance precisely hear in this music. She manages the among these ten will paces. Outstanding people his message reach tiny thread of tone with an artistry a Récit et where they are. ABC fur- pieces, it seems to me, are and that is overwhelmingly touching; her en ré Marchand, in which ther protects the advertiser's in- plein jeu by feeling for the Verdian line can serve récit, a lovely reverie, is followed as the vestment with its rigid rulings as an object lesson for singers half toccatalike construction; a to how these can by a grand just subscribers her age. This is what one listens for on Chaconne in D minor by Louis Couperin, be obtained. Padding circulation this record, far more than the occasional that pre- with a strangely colored opening with wild offers and fancy strained high note. becomes haunting when one gets used to . . . no miums is strictly tabu The pseudo -folk songs on the other effective contrasts in registration; no acre on the moon it, and mink coats, side are all pretty, and they are also and a fine Duo and récit de nazard by and no 4 -year subscription for beautifully sung. Beside the Verdi songs, Another striking work is paid by a sub- Clérambault. 34¢. The amount however, their worth is negligible. A.R. Louis Couperin's Chaconne in G minor, be sufficient to in- scriber must and it is instructive to compare this big, dicate that his interest lies in performance with another, on in majestic the publication itself ... not COLLEGIUM MUSICUM DE PARIS: recorded a few years ago premium. a harpsichord, the "deal" or "Symphonies and Fanfares for the by Paul Maynard. Each of these per- King's Supper" tonal In short, HIGH FIDELITY formances, at opposite ends of the and dynamic spectrum, is persuasive on is thoroughly delighted with La Stein- Mouret: Fanfares. Couperin: its own terms, a phenomenon by no every aspect of ABC control. kerque. Lully: Three Marches; Fanfares Excellent With ABC we look forward to means rare in baroque music. for the King's Tournament of 1686. sound here. N.B. the next 50 years. Delalande: Symphonies for the King's Supper. Philidor: March for Four Tim- bales. ANTONIO JANIGRO: "Contempo- Collegium Musicum de Paris, Roland rary Music for Strings" high fidelLy Douatte, cond. NONESUCH H 1009. LP. $2.50. Webern: Five Pieces for Strings, Op. 5. Great Barrington, Mass. Hindemith: Five Pieces for Strings, Op. With the exception of La Steinkerque 44, No. 4; Trauermusik. Shostakovich:

156 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Scherzo, Op. 11. Kelemen: Improvisa- the funeral and lamentation of Mignon tions concertantes. Roussel: Sinfonietta in Part One of the novel, setting most of for Strings, Op. 52. the words in a declamatory style and Acoustech Solid State seldom pausing to seek out much in the I Solisti di Zagreb, Antonio Janigro, way of atmosphere. An attractive minor "...better than the best..." cond. work. it rises only once to real eloquence: VANGUARD VRS 118. LP. $4.98. the third section. where the rolling harp -Hi Fi /Stereo Review VANGUARD VSD 71118. SD. $5.95. arpeggios are somewhat reminiscent of the slow section in A flat in the first On the evidence of this recording, I So- movement of the Piano Concerto. Off- listi di Zagreb understand Webern a setting this is the composer's constant good deal less clearly than does the predilection for dotted rhythms, as in Zurich Chamber Orchestra in its simul- the finale of the Second Symphony, taneously released disc including the which becomes tedious after a while. sane work (also for Vanguard, and also The disc purportedly serves to intro- reviewed in this issue -p. 155.) Their duce Maura Moreira, a Brazilian con- playing is, however, accurate, clean, and tralto now active in Europe, but the fin- well- suited to the remaining works in est singing actually comes from Edith this set. Mathis, who has a long solo passage in Of special note is the music of Milko the Schumann. She is an extremely ex- Kelemen, the most important and best - citing young soprano with a brilliant known of contemporary Yugoslavian light voice and remarkable style: she has composers. Kelemen is now an avant - made a few solo records in Europe and gardist of the Stockhausen- Boulez per- should be heard more often. Miss Mo- suasion, but the work at hand, which reira, at least at this stage in her career, dates from 1955, is a strong, vigorous, seems afflicted with production problems Bartókian attempt to create a modern at both ends of her range; her voice is Yugoslavian style of clarity and expres- rather gray in color and little impulse sive rhythmic thrust. The Shostakovich can be detected in her response to the too is of interest. One of two pieces for music she is asked to sing here. strings that followed the composer's First The Innsbruck chorus handles its as- Symphony, the work has that youthful, signments capably in the Schumann and wild brilliance and savage wit so charac- Brahms, and the orchestra is adequate. teristic of the composer's early music. The conductor seems overly fond, how- Two New Kits The Roussel is an attractive if some- ever, of rather thick and gooey string what inconsistent example that of com- tone, which is particularly annoying in poser's special wandering tonal neo- the Mahler songs. A.R. classicism. The Hindemith Five Pieces, That Make Tube though written in first position for young performers, are hardly lighthearted pieces of Gebrauchsmusik; along with I MUSICI: "A Decade of Eloquence" Units the Trauermusik, they provide intense, Obsolete! Vivaldi: Concerto for Violin, Strings, and characteristic, simple but rather striking, These two new Acoustech kits make Continuo, in E minor, Op. 11, No. 2 anything samples of good middle -period Hinde- you've heard sound out -of -date. Direct -coupled ( "II Favorito"); Concerto for Flute, mith. The Trauermusik-or Mourning circuitry throughout Strings, and Continuo, in D, Op. 10, provides performance un- Music -was written in 1936 on the day attainable with tube units regardless of price of the death of George V of England No. 3 ( "II Cardellino"). Corelli: Concerto . factory assembled, plug -in glass epoxy and, amazingly enough, performed the grosso in D, Op. 6, No. 4. Albinoni: Concerto for Oboe, Strings, and Con- printed circuit boards used in both kits give very next clay on the British radio by reliability just not possible until now. Hindemith himself as the solo violist tinuo, in D minor, Op. 9, No. 2. Man - NEW ACOUSTECH IV CONTROL CENTER has un- with a BBC orchestra. Here, Janigro fredini: Concerto for Strings, in A minor, der 0.09% I.M. distortion through tuner plays the solo part well too Op. 3, No. 2. input, -very - under 0.15% I.M. through phono inputs. Rise on the cello. The sound on this record- time under 11/4 µsec. Features dual mag inputs, ing is dark and a bit reverberant with I Musici. tape monitor provisions, Muting. $149 ($149.95 considerable separation in the stereo PHILIPS PHM 500052. LP. $4.98. West of Rockies). version. E.S. PHILIPS PHS 900052. SD. $5.98. NEW ACOUSTECH III POWER AMPLIFIER has over This recording was issued abroad two 200 watts per channel clean transient power. MAURA MOREIRA: Recital years ago to mark the tenth anniversary Under 0.95% I.M. at 60 watts per channel, un- of that fine day in March 1952 when der 0.45% I.M. at 40 watts per channel. Rise Schumann: Requiem for Mignon, Op. twelve students at the Academy of Santa time under 11/2 µsec. All silicon transistors 98b. Wagner: Wesendonck Lieder. Cecilia gave their first public concert throughout. $199.00 ($199.95 West of Rockies). Brahms: Rhapsodie, Op. 53 ( "Alto Rhap- together. We owe them much; for they, sody"). Mahler: Riickert Lieder. with their fellow citizens the Virtuosi. have since set a standard for all chamber *0 Edith Mathis, soprano; Christa Lehnert, orchestras professing honorable intentions Kg) ACOUSTECH, INC. soprano; Maura Moreira, contralto; Mar- towards the baroque literature. Dept. H -10 139 Main Street, Cambridge, Mass. 02142 garete Witte -Waldbauer. contralto; Rob- The birthday celebration is uneven in ert Titze, bass (in the Schumann); Inns- interest but consistent in the opportunity bruck Chorus (in the Schumann and it offers I Musici for the sort of luxuri- FREE Brahms); Innsbruck Symphony Orches- ant music making which one enjoys tra, Robert Wagner, cond. its sake. Please send free booklet "Why Solid State Ampli- almost for own Violinist Roberto fiers Can Sound Better" and full information on Vox PL 12320. LP. $4.98. Michelucci, in the Vivaldi II Favorito, Acoustech solid state kits to Vox STPL 512320. SD. $4.98. never tosses off the passage work as if Name it were simply a job to be done or an Schumann's setting for five solo voices, opportunity to show his stuff; he seems Address chorus, and orchestra of a passage from to revel in the sheer sound of his in- City Goethe's Wilhelm Meister is new to rec- strument -and so do we. The charming Zone State ords. It uses a long passage describing Goldfinch Concerto is another example of

CIRCLE 1 ON READER -SERVICE CARD OCTOBER 1964 157

www.americanradiohistory.com Vivaldi at his best, and the performance foundations of what was later to become lives up to the music. The Albinoni, basso continuo technique. These pieces played by oboist Evert van Tright with are in fact nothing more than meditative very sparing vibrato, sounds quite solo songs on Latin texts-the term feminine in comparison, to say nothing "concerto" would seem to imply that of being a good bit more predictable. they are "art" settings intended for ac- And Manfredini proves himself an ad- companied solo performance. The two herent of Newton in the belief that what represented here are very beautiful and, Spoken Ord goes up must come down, preferably though lacking the refined imagination by sequences. The recorded sound, rather of the Caccini songs. they have their own distantly miked, is deep and resonant, distinct character expressed in the curve creating an over -all blend rather than a of long, supple, dropping lines. more analytical (and perhaps more ap- Giovanni Paolo and Andrea Cima were propriate?) dissection of lines. Very little two brothers active in Milan at the effect of stereo, to my ear. S.F. turn of that fateful century. The Spirit- ual Concertos, after Viadana, and the SHAKESPEARE: All's Well That Sonatas are by Giovanni Paolo, the Ends Well SIXTEENTH -CENTURY VOCAL Capriccio by Andrea. Allegri is generally AND INSTRUMENTAL MUSIC remembered as a retrogressive composer Margaretta Scott, Prunella Scales, Peter who continued to write in the old con- Orr, Michael Hordern, Max Adrian, Pat- Cima: Two Spiritual Concertos; Sonatas trapuntal style and whose music for the rick Wymark, Roy Dotrice; Marlowe for Violin: in D minor; in G minor; Sistine Chapel Choir was still being sung Dramatic Society, George Rylands, dir. Capriccio a 2. Viadana: Two Spiritual in Mozart's day. Actually all the works LONDON A 4370. Three LP. $14.94. Concertos. Caccini: Five Arias. Allegri: represented on this disc are mildly con- LONDON OSA 1370. Three SD. Symphonia a 4. trapuntal and imitative, but the technique $17.94. -especially in the Allegri-is at least as closely related to high baroque sonata Helmut Krebs, tenor (in the Cima and Shakespeare's "somber middle comedies," as to the old polyphony. Viadana Spiritual Concertos, and in the style once apparently about to vanish from The performances are good although a Caccini); Mathias Siederl, harpsichord stage presentation, are now enjoying little stolid. Aside from a strain or two, (in the Violin Sontata in D minor); something of a revival-largely through Krebs sings lightly and engagingly; Walter Kägi, violin (in the Violin So- the influence of Bernard Shaw's enthu- nevertheless, one is almost always under nata in G string ensemble with siasm and the modern interest in "prob- minor); the impression that he ought to be doing Karl Grebe, harpsichord (in the Cima lem" plays. It is notable, however, that a great deal more with the music. The Violin Sonatas and the Allegri). both Measure for Measure and Troilus sound is good. E.S. ARCHIVE 3217. LP. $5.98. and Cressida have had better luck in the ARCHIVE 73217. SD. $6.98. theatre than All's Well That Ends Well, and it is no accident that they have pre- the studios. In discussing the revolutionary new mu- WIND GROUP OF THE VIENNA ceded All's Well to recording Eight- is not, to continue to use Shavian sic of the early sixteenth century, great SYMPHONY ORCHESTRA: This All's Well is more emphasis is often put on the recitative eenth- Century Music for Wind In- terminology, because opera, with its rather dry declamation struments "unpleasant" than the others; in some over an essential bass supporting the respects it is less so. But there seems to harmonic framework. Actually, how- Danzi: Quintet for Winds, in G minor. be less justification for its unpleasantness, ever, the new style was also developed Haydn: Divertimento for Winds, in E and the themes with which it deals seem almost from the very beginning in terms flat. Reicha: Quintet for Winds, in E less interesting and vital. Parolles, for of the solo song and of abstract instru- flat. Stamitz: Quartet for Winds, in E example, is not nearly as nasty as Ther- mental works. This record gives some flat. sites, but since there is so much less dra- fascinating examples. matic meaning in his nastiness, he is al- The arias or solo songs of Giulio Wind Group of the Vienna Symphony ways in danger of appearing considerably Caccini are not unknown in modern per- Orchestra. more so. Neither can the principals be ac- of formance- indeed, a reworked piano-and- MUSIC GUILD M 59. LP. $5.98. cepted wholeheartedly. Bertram, Count voice version of Amarilli mia bella is Music GUILD S 59. SD. $5.98. Rousillon, is enough of a cad so that we standard vocal studio and opening -group are tempted simply to call him an unsym- that. The recital material-but it is a pleasure to There is clear sailing all the way through pathetic hero and let it go at hear them in something like their original this pleasant collection of eighteenth - Victorians rejected Helena (whom Shake- form. Caccini was both a singer and a century music for winds, and the per- speare quite obviously intended us to composer (the combination was not un- formances, like the pieces, are lively, admire) because she dared to love uncommon in those days), and his songs polished, decorous, and gentlemanly to bidden and set out to get her man. are much too poetic in an exquisite lyric the last degree. Danzi's scoring seems Though we have got over such nonsense, vocal idiom to fit into the usual pigeon- particularly skillful, with Rossini -like sug- we may still, I think, be distressed by holes reserved for early baroque music. gestions in the first movement, and sub- her obvious lack of sexual pride. Lodovico Grossi Viadana gets into the tle rhythmic trump cards produced from Of course it is true that the changes history books because his early Spiritual time to time. The Haydn (one of six in the relations between men and women Concertos are said to have provided the Feldpartiten composed for Prince Ester - which have taken place since Shake- házy's military band) may catch you by speare's time cause us to gag at much surprise: the second movement is a set- that the Elizabethans apparently swal- ting of the St. Anthony Chorale, which lowed whole. What of Claudio in Much it remained for Brahms to put on the Ado, who shamed Hero in church be- map. Curiously enough, Haydn's last cause he erroneously supposed that he movement in the Divertimento almost had seen her talking out of a window with parodies the St. Anthony theme -who a man on her wedding eve? What of the can say whether inadvertently or not? noble Posthumus of Cymbeline, who Reicha allots an amusingly operatic dishonors his wife by placing a public role (of the Sparafucile sort) to his bas- wager on her chastity? And though the soon in the first movement, and lets the greatness of Othello is unassailable, we horn take a few solo hurdles too. The cannot watch it quite as the Elizabethans Stamitz is pretty routine, but well- turned did, for we no longer grant a noble hero's nonetheless. Superb recorded sound. right to murder his wife even if she is a S.F. "whore." What I am saying, of course,

158 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com " ... a threshold beyond which advance for some time may be so difficult as to appear impossible. In the light of known technology, nothing further can be done to improve this performance without sharply the spea increased costs." that will us eat our words

That's what we said in 1961 when we introduced the Model Ten, our first speaker under $100. Now we are preparing for an extended KLH diet of our own words. We are introducing a Model new speaker, the KLH Model Seventeen, which delivers a quality of performance we Seventeen believed unattainable at a price we consid- 69.95* ered impossible just three years ago. You're going to hear a lot of comment about this astonishing new speaker. And you will undoubtedly hear the Model Seven- teen for yourself. So all we'll tell you now is - It's a handsome speaker. It costs $69.95 *. It represents a threshold beyond which advance for some time may be so difficult as to appear impossible. In the light of known technology, nothing further can be done to improve this performance without sharply increased costs. It's at your KLH dealer's now. Bon appetit.

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www.americanradiohistory.com is that there is a good deal in All's Well that has simply : Time cast into the vast wallet he wears on his back. The Mar- ÇpamllwpIWfl lowe Society and its associates have, 6eseischa/t however, turned out a very good job indeed. All the actors do well by their NOW- SUPERB STEREO roles and several of them do consider- issues COSTS NO MORE THAN MONO!* ably better than their roles would seem to permit. EDWARD WAGENKNECHT

SHAKESPEARE: The Taming of the Shrew Derek Godfrey, Peggy Ashcroft, Peter Orr, V. C. Clinton -Baddeley, Janette BEETHOVEN: Sonatas for Piano Richer, Michael Bates, Tony Church, (complete) Donald Layne -Smith; Marlowe Dramatic Society, George Rylands, dir. Wilhelm Kempff, piano. LONDON A 4367. Three LP. $14.94. LONDON OSA 1367. Three SD. For a feature review including this re- $17.94. issue, see page 124. Yes, it's true. Imported DGG Stereo albums -among the finest ever All three currently available recordings produced -cost you no more than of The Taming of the Shrew are good LUEBECK: Cantatas: Hilf deinem mono. You save one dollar per ones, though Caedmon (in a two -disc record with every purchase. Start Volk; Gott, wie dein album) omits the Introduction, which Name; Prel- saving now with this brilliant "live" udes and Fugues affords many opportunities for brilliant for Organ: No. 2, recording of Richard Strauss' DIE in E; No. 5, in C minor FRAU OHNE SCHATTEN (4 playing, all bravely taken advantage of in this most records) LPM 18 911 /14...Stereo recent version. Furthermore, Vocal soloists; Eva Hölderlin, organ; SLPM 138 911/14. With Dietrich the London set has a really immense Stuttgart Choral Society; Swabian Sym- Fischer -Dieskau, Inge Borkh, Ingrid Christopher Sly, the ambience of a real phony Orchestra, Hans cond. Bjoner,JessThomas, Martha Moedl, stage Grischkat, performance, and fine sound ef- [from Renaissance X32, 1951]. Hans Hotter, others. Chorus and fects. The music used is as good as any DOVER HCR 5217. LP. $2.00. Orchestra of the Bavarian State I have heard on recordings of Shake- Opera,Joseph Keilberth, cond. speare, and one regrets more was with participating dealers that The Cantatas are fine and moving not included. examples of the old, simple, and austere I have never seen Janette Richer, who MGM RECORDS. Classical Die..1540 B'wa,. N Y C.. N.Y. 10076 North German style before Bach. The plays Bianca in this recording, but she CIRCLE 30 ON READER -SERVICE CARD Preludes and Fugues, played on a has enough sex in her voice to appeal baroque in make Katherine's jealousy organ Reutlingen, Germany, of her seem stand about halfway between Buxtehude credible on grounds other than mere and Bach. The organ playing is faithful shrewishness. All the minor characters and stolid; the choral, solo, and orches- BEYOND ALL DOUBT are well played, but most of them do tral readings are not remarkable. In not interest the auditor very deeply even THE GREATEST RECORDING general, the recording is not up to the on the stage, and in a recording it is sonic or performance standards of much EVER MADE ! hard to keep them, and the parts they recent baroque music recording. E.S. play in the complicated intrigues, straight. The fault, of course, is not that of the players or the director but is ROSSINI: L'Occasione fa il ladro nu [ma rrum inherent in the dramatic material itself. The great strength of the present re- Gianna Russo Berenice; Giuseppina cording is the fiery Katherine of Dame (s), Peggy Ashcroft. It seems shriller, more Salvi (ms), Ernestine; Flavio Sacchi (t), Don Wind, Strings & Percussion nervous, more "modern" than the classi- Count Albert; Piero Besma (t), Don cal interpretation of Ada Rehan (so far Eusebius; Nestore Catalani (b), Dolciotti Martine; as one may judge Rehan by descriptions Parmenio; Tito (bs), Chorus and Orchestra of Società del Taped without microphones of her art and the one brief recording which she made), it lacks the de- Quartetto (Rome), Giuseppe Morelli, and 1954]. licious humor of Julia Marlowe, who, cond. [from Period SPL 595, by the sensational new DOVER HCR 5219. LP. $2.00. if she was not quite Shakespeare's BARCUS -BERRY Katherine, was-by the same token - something much more interesting. But Unlike many bargain discs, this Dover accurately the performance here is a distinguished reissue boasts a nicely printed, DIRECT recording process. de- one for all that. The Achilles' heel of edited booklet with text and a quite the recording, on the other hand, is the cent translation. The opera -at least by its alternate title, Il Petruchio -an actor so tame himself that as well known Cambio della valigia -is an entirely 1r1ClSlyJ60V117 it is impossible to believe he could tame 0 anybody, let alone Peggy Ashcroft. Quite pleasant, if inconsequential, one -act clearly, there was a serious piece of farce. Both musically and dramatically, miscasting here. E.W. it contains in embryo form all the hall- marks of the great comedies to follow; REPEAT RECORDS in the little imbroglio quintet "Di tanto equivoco," for example, we see a minia- E. 2nd Long Beach, Calif. 90803 5782 St. ture model for the crescendo -ensemble STEREO RECORDS $ 5.98 TAPES $9.98 finales which are a delightful feature of nearly every Rossini comic opera, and At your Invite audio or record dealer in the prelude we hear not only the fore- Or sent postpaid runner of the highly developed overtures of the later operas but an example of CIRCLE 66 ON READER -SERVICE CARD 160 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the almost mandatory storm music as A7üdel erinnern: Ist ein Traum. Ariadne well. We have a plot which relies on auf Naxos: Es gibt ein Reich; Zerbinetta's the inadvertent swapping of pieces of Aria. Die ägyptische Helena: Bei jener luggage and the subsequent assumption Nacht: Zweite Brautnacht. of one traveler's identity by another, ANSERMET ending in the happy union of two cou- Lotte Lehmann, soprano (in Cäcilie); ples. There is a buffo -bass servant who is Emmy Destinn, soprano (in the Salome GOAD° honors this mortally terrified of thunder and light- excerpts); Margarete Siems, Eva von der great conductor with a thrill- is still funny. Stylishly Osten. and Minnie Nast, sopranos (in the ning; the device ing release of his new record- staged, it must play very well, and on Rosenkavalier excerpts); Maria Jeritza, records it is a most enjoyable score. The soprano (in "Es gibt ein Reich "); Hedwig ings -all with L'Orchestre de soprano's pensive aria " Vicino è it mo- Francillo -Kaufmann, soprano (in Zer- la Suisse Romande mento" and the duet for tenor and so- binetta's Aria); Rose Pauly, soprano (in prano would have a haunting lyric the Aegypti.sche Helena excerpts); Robert Sibelius: beauty in the hands of first -rate singers. Hutt. tenor (in Breit' iiher mein Haupt SYMPHONY No. 2 (Op. 43) There's the rub. Even the best of and Morgen!); Hermann Jadlowker, Stereo CS -6391 Mono CM -9391 these performers (the baritone Nestore tenor (in Ständchen); Heinrich Schlus- Catalani, who is at least thoroughly pro- nus. baritone (in the first six songs Sibelius: fessional, and the bass Tito Dolciotti, listed above); Richard Strauss, piano (in SYMPHONY No. 4 IN A (Op. 63) who has only a little to do) are only the first eight songs listed above); Bruno TAPIOLA (Op. 112) just getting away with it, and the tenor Seidler-Winkler, piano (in Ständchen); Stereo CS -6387 Mon) CM -9387 Flavio Sacchi is hardly above amateur orchestra (in Cäcilie and operatic ex- Martin: IN TERRA PAX level. The orchestral execution is fair, cerpts) [from various 1907/28]. originals, (with soloists and chorus) the sound ditto. Incidentally, I hear no Rococo 5217. LP. $6.98. Stereo OS -25847 Mono 5847 evidence of chorus, though one is listed. At $2.00, a perfectly sensible buy for Rococo's Strauss memorial disc is a Ravel: BOLERO; LA VALSE anyone interested in Rossini byways; variorum of performances, both song and Honegger: PACIFIC 231 don't seek it out for the performance, opera. by singers close to the composer. Dukas: though. C.L.O. It is, as one might expect, an uneven THE SORCERER'S APPRENTICE collection, but with several fascinations. Stereo CS -6367 Mono CM -9367 The Schlusnus performances, accom- SIBELIUS: Concerto for Violin and panied by Strauss himself, display that Mussorgsky: Orchestra, in D minor, Op. 47 (A) marvelous, creamy voice at its prime NIGHT ON THE BARE MOUNTAIN -[Suk: Four Pieces for Violin and Pi- and afford some interesting tempos from KHOVANSHCHINA-Prelude & Dance ano, Op. 17 (B) the keyboard. (I wish that others would of the Persian Slaves adopt Strauss's own suggestion for a Glinka: Ginette Neveu, violin; Jean Neveu, piano rather fast -paced Ruhe, meine Seele.) RUSSLAN AND LUDMILLA Overture (in the Suk); Philharmonia Orchestra, The Strauss- accompanied Morgen!, well WALTZ FANTASY Walter Susskind, cond. (in the Sibelius) sung by Robert Hutt. is also fleet and JOTA ARAGONESA [(A) from HMV DB 6244/47, (B) from sensible. Hermann Jadlowker. the first Stereo CS -6405 Mono CM -9405 HMV DB 6359/60, both c. 1945]. Bacchus. sings a thrilling Stündc /,en, with ODEON ALP 1479. LP. $5.98. Bruno Seidler- Winkler missing large handfuls of notes; Lehmann's Ciicilie is The record everyone In addition to the numbers given above, surprisingly hectic, and with orchestra. the Suk pieces were also distributed Emmy Destinn's Salome was magnifi- is talking about!' on shellac by RCA Victor as 11 -9840 cent beyond words, at least if one can ANSERMET and 12 -0154, while an LP reissue used judge from the two excerpts included to be domestically available as Angel here. The Rosenkavalier selections are CONDUCTS WAGNER 35129. As a whole. the Sibelius is not with members of the original cast; Siems' Lohengrin -Prelude to Act I; the finest legacy left to us by the greatly is a youthful- sounding Marschallin, and Götterdämmerung - Sieg- gifted young French violinist tragically the final duet with Eva von der Osten fried's Funeral March; Die killed in an airplane crash in 1949. The and Minnie Nast is radiantly aglow. Meistersinger - Overture; tempos are rather lethargic and Susskind Maria Jeritza's "Es gibt ein Reich" cor- Parsifal -Prelude and Good doesn't coördinate his accompaniment rects no memories about the unevenness Friday Spell with any great authority. Furthermore, of her vocal production, but is strikingly Stereo CS -6386 Mono CM -3386 the recorded sound is dull and tubby, ardent. Hedwig Francillo- Kaufmann, the definitely below the best possible at the original Zerbinetta, sings the big aria Tred.merl, R.y. U S. Pet. time. The lovely Suk pieces are a dif- (in its first, more difficult version) Of! ferent story, however: here the reproduc- very badly. Rose Pauly, a great Elektra tion is brighter, and the brother -sister at the Metropolitan. has similar material 7oDo ffr9 collaboration is all that it should be. in two excerpts from Die ägyptische (Jean was a victim of the same dreadful Helena, but sounds shrill and frazzled. Fill, FREQUENCY RANGE RECORD/NG accident that took his sister's life.) This opera frazzles me, too. A.R. A reissue of Ginette Neveu's performance of the Brahms Concerto with Issay Dobrowen is said to have appeared in VIVALDI: Concertos: in G minor, France. Let us hope that it too will P. 404; in F. P. 322; in D, P. 206; be circulated in this country. H.G. in D, P. 198. Sonata in A minor, F. XV, No. 1

STRAUSS, RICHARD: "A Richard Gastone Tassinari. flute; Renato Gian - Strauss Memorial" grandi, violin; Giorgio Semprini, bassoon; Arlette Eggmann. harpsichord Songs': Zueignen,'; Die Nacht; Heimkehr; [from Period SPL 755, 1956]. Das Geheimnis; Ruhe, meine Seele; Ich DOVER HCR 5216. LP. $2.00. liche dich; Breit' über mein Haupt; Morgen!; Stündchen; Ciicilie. Salome: The "concertos" played on this disc are Two excerpts from the final scene. Der actually trios for flute. violin, and bas- Rosenkavalier: Kann ich midi cinch ein soon. with continuo. The harpsichord

OCTOBER 1964 161

www.americanradiohistory.com merely doubles the bassoon and fills in The second side presents the familiar the harmony; in the slow movements of late Bjoerling, joined here and there by lwn P. 404 and 322 and throughout 198 it is the artists who participated in the com- GQs,ellscJta/t omitted altogether. F. XV, No. 1, is plete recordings -Milanov, Warren, Al- for the same combination minus the vio- banese, Peters, et al. The Trovatore NOW- SUPERB STEREO lin. There are a couple of attractive album was the earliest, and the singing COSTS NO MORE THAN MONO!* movements here, but on the whole this is perhaps freshest and most beautiful chamber music does not represent Vi- in the excerpts from that wonderful set, valdi at his best. All the performers are though the others are quite fine, too. competent, and the sound is good. N.B. Fortunately, Victor has not daubed the excerpts with any noticeable amount of added resonance. Notes, no texts. C.L.O.

GREAT VOICES OF THE CEN- JUSSI BJOERLING: Operatic Duets TURY and Arias Beniamino Gigli: Leoncavallo: Pagliacci: Verdi: La Forza del destino: Solenne in Vesti la giubba. Elisabeth Schumann: quest' ora. Don Carlo: lo l'ho perduta; Schubert: Nacht and Träume. John Mc- Dio cite nell' alata infondere. Otello: Cormack: Handel: Semele: Where'er You now save one dollar on the Si, pel ciel. Bizet: Pêcheurs de perles: You Walk. Lotte Lehmann: Strauss, J. purchase of each famous, imported Au fond du temple saint. Puccini: La II: Die Fledermaus: Mein Herr, was DGG stereo record. Mono and Bohème: O Mimi, tu più noti torni. dächten Sie. Feodor Chaliapin: Mussorg- Stereo are the same price. This is' Manon Lescaut: Ab! Marton, mi tradisce; sky: Boris Godunov: Clock Scene. Nellie Richard Strauss' year and you won't Presto in fila; No! pazzo son! Verdi: Melba: Tosti: Mattinata. Claudia Muzio: want to miss this sensational "on Il Trovatore: Deserto sulla terra; Di Mascagni: Cavalleria rusticana: Voi lo stage" recording of ARABELLA, qual tetra luce; Ali, si ben mio; Di quella sapete. Tito Schipa: Massenet: Manor: complete on 3 records. LPM 18 pira. Tu! Alt! Dispar, vision. Maggie Teyte: De- 883 /5...Stereo SLPM 138 883/5 Aida: Antonasro! Rigoletto: Questa o quella; Bella figlia dell' amore. bussy: Beau soir. Frida Leider and With Lisa Della Casa, Anneliese Lauritz Melchior: Wagner: Tristan uttd Rothenberger, Dietrich Fisch- Isolde: Liebesnacht (excerpt). Enrico er- Dieskau and others. Bavarian Jussi Bjoerling, tenor; Robert Merrill, Caruso: Verdi: Rigoletto: Questa o State Opera Chorus & Orchestra, baritone; RCA Victor Orchestra, Renato Joseph Keilberth, cond. Cellini, cond. (in Forza, Don Carlo, quella. with participating dealers Otello, Pêcheurs, and La Bohème); Rome Opera Orchestra, Jonel Perlea, cond.; Various singers, listed above; Gerald MGM RECORDS. Omsk* Oir-1660 *ray. N.Y.C.. N.Y. 10036 RCA Victor Orchestra, Renato Cellini, Moore, piano (in the Schubert and De- CIRCLE 30 ON READER -SERVICE CARD cond. [from various RCA Victor orig- bussy); Landon Ronald, piano (in the inals, 1952 -57]. Tosti); Salvatore Cottone, piano (in the RCA VICTOR LM 2736. LP. $4.98. Verdi) [from various acoustic and electric originals, 1902 -35]. We are beginning to scrape the bottom ANGEL NP -4. LP. $1.00. of the barrel on Bjoerling material, at least where the major companies are con- This is a sample disc designed to demon- cerned; the second side of this record strate the features of Angel's "Great consists merely of snippets from complete Recordings" series, vocal division. But RCA opera albums, of which only the it also stands as a worthwhile record in Rigoletto is currently out of print. Thus, its own right, particularly at the bar- many collectors will be forced to dupli- gain price. Angel's engineering, con- cate up to an entire LP side in order sistently fine throughout this series of to acquire the first side, which is a res- restorations, and its impressive line -up toration of a 10 -inch disc, LM 7007, of artists are well represented. containing the Bjoerling /Merrill duets. One or two cavils: surely something This is a grouping which for sheer vocal more representative of Melba's art than beauty is one of the finest recordings the forgettable Tosti song might have of the LP era. Of special interest is been selected; and surely it would have the fairly lengthy excerpt from Don been better to pick one of McCormack's Carlo (the entire first scene of the four - Irish songs -the air from Semele shows act version, from the point of Carlo's the tenor's taste and sensibility, but entrance), for it brings us two members also the ravaged condition of his voice of the original cast of the 1950 revival circa 1935-than a Handel aria demand- which opened Rudolf Bing's Metropoli- ing precisely those capabilities which tan tenure, recorded as they sounded by the time of this recording came to then. Certainly the tenor romance, "Io him with difficulty. And it is a shame la vidi," has not been sung with such that something from the splendid Super - sLEEP LEAMOW ? smoothness and security since Bjoerling via and Battistini discs could not have "Sleep- learning makes available last appeared in the role. been included -but there are physical . . , additional time . * JOSE FERRER In all the duets, Bjoerling sings with limits. Everything else is unexception- the easy legato and clear, ringing tone able, and the Schumann, Chaliapin, "RESEARCH BULLETINS" FREE! which characterized him at his best; Mer- Muzio, Schipa, and Teyte bands are If you are interested in making productive color, but there among the best recorded representations use of your sleeping hours without losing rill lacks character and your rest, send us your name and address. is vocal beauty and richness in plenty. of those singers; the Leider /Melchior We'll send you a compilation of "Research his to excerpt is just too much of a fragment, Bulletins" including studies on Languages, Through ability color tone and Exam Study, Memory, Smoking, Overweight, render precise attacks, Bjoerling even wonderful as it is. Tension and Anxiety Control, Self-Improve- In short, a great deal of fine singing ment, etc. Tours at no cost or obligates manages to make the Otello excerpt and no one will phone or call. sound reasonably right -in reality, his for a low price -an excellent buy for voice had nowhere near the size or anyone not about to acquire a majority S.D.R.F., Dept. A.37, 207 E. 37 St., N.Y. 16 weight for the role. of the discs in the series. C.L.O. CIRCLE 72 ON READER -SERVICE CARD 162 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com New: 1964 Edition ...New: 1964 Edition

New: 1964 Edition

RECORDS IN REVIEW 1964 Edition, like its eight covers the romantics, Robert C. Marsh specializes in

predecessors, brings you in one convenient book Haydn and Beethoven . . . Conrad L. Osborne hundreds of reviews of records (stereo and mono) writes on opera recordings. Forthrightly, they dis- which appeared in High Fidelity Magazine. It re- cuss the composition, performance and fidelity. And prints reviews that appeared in 1963 -classical and they compare new recordings with earlier releases. semi -classical music exclusively. You'll find the reviews organized alphabetically It will save you many hours in your dealer's by composer for quick, easy reference -and in listening booth or earphone corner. And it will help the case of composers frequently recorded, further subdivided you build a library of music YOU enjoy, for it is by such categories as Chamber Music, Vocal the most complete and authoritative book of its Music, etc. You'll find, too, a special section on kind -the standard reference work that gains in Recitals and Miscellany. And an Artists' Index. value as the years roll by. This hardcover book of more than 400 pages sells for only $6.95 delivered. Each reviewer stands high in his field- Nathan Broder, for example. reviews Bach and Mozart, Payment with order but satisfaction guaranteed Alfred Frankenstein the moderns ... Paul Affelder or your money back. Convenient order form below. r

THE WYETH PRESS, A DIVISION OF HIGH FIDELITY, The Publishing House, Great Barrington, Mass., 01230. Send me RECORDS IN REVIEW 1964 Edition for the $6.95 enclosed.

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CIRCLE 78 ON READER -SERVICE CARD 164 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The King and I. Rise Stevens, Lee Venora, Patricia serves her reputation as a fine musical comedy per- Neway, Darren McGavin, Frank Porretta; Franz Al- former, but she is nowheresville as Anna, at least lers, cond. RCA Victor LOC 1092, $4.98 (LP); LSO on records. Her voice is hard and unattractive, her 1092, $5.98 (SD). enunciation direct from Iowa-all exactly wrong for Barbara Cook, Jeanette Scovotti, Anita Darlan, a middle -aged English governess. Neither Stevens Theodore Bikel, Daniel Ferro; Lehman Engel, cond. nor Cook has the special personal magic or rightness Columbia OL 8040, $4.98 (LP); OS 2640, $5.98 (SD). for the role of Gertrude Lawrence, innocent as she was of vocal technique-which is why the original VICTOR'S new recording of Rodgers' and Hammer - cast album (on Decca) remains basic. stein's The King and 1 is based on the highly suc- Musically, the King has little to do. His only cessful production that occupied Lincoln Center's major assignment in the Victor version is A Puzzle- New York State Theatre for much of the past sum- ment, to which the Song of Kings is added on the

mer. It sticks to Robert Russell Bennett's original Columbia disc. Still, Darren McGavin's manly . orchestrations, and enjoys the advantage of a solid straightforward job is a good deal more sensible than cast already assembled and rehearsed. Columbia's Theodore Bikel's overclever piece of World War II version brings together a cast especially chosen for movie Nipponiana. the recording, and makes use of new orchestrations And then there is the question of the orchestra- (and a new overture) by Philip J. Lang. tions. Mr. Lang's work is not tasteless or unlisten- Though Columbia's cast is marginally stronger at able, it is only unnecessary. He, of course, was faced one or two points, and though the orchestral execu- with the necessity of being different, and his orches- tion is, surprisingly, somewhat superior on the Co- tration is constantly reaching out for some change lumbia album, my own preference here is for the in sonority or voicing that will, hopefully, perk Victor version. The key considerations are two. things up. Bennett, on the other hand, is always First, there is the matter of the casting of the two relaxed and adult, and simply lets the melodies run leads. Rise Stevens is of course no longer the same along, doing what he can to support them. And Stevens who made such a fine Carmen, Octavian, Lang's overture does nothing but select and sequence Orfeo, and Cherubino all through the '40s and early the tunes differently, though here and there a cute '50s. But she is still a thoroughly professional singer pictorial effect or an extra color cliché will pop up. with a mature, womanly voice. She has the poise Among the secondary performers, Columbia may and the vocal means to make Hello, Young Lovers have a slight edge. I prefer Anita Darian's firm, believable, and as an actress she is at least dignified clear singing to Patricia Neway's unfocused tone and and cultivated. Barbara Cook, Columbia's lead, de- muddy enunciation; and I think Daniel Ferro's pleasant baritone is heard to better effect in We Kiss in a Shadow and I Have Dreamed than is Frank Por- retta's rather sharp tenor. Jeanette Scovotti is also very pleasant as Tuptim, though here I think Victor's lovely Lee Venora has the edge, particularly in a memorably fresh -voiced My Lord and Master. In place of the two missing songs, Victor offers the court ballet sequence The Small House of Uncle Thomas, recorded here for the first time. It is one of Rodgers' and Hammerstein's most effective sustained sequences, and it is charmingly narrated by Miss Venora. Victor's sound is slightly clearer and more natural; Columbia's packaging, on the other hand, is more attractive, and the Columbia annotations are Stevens and McGavin: the Governess and the King. far more informative than Victor's. C.L.O.

OCTOBER 1964 165

www.americanradiohistory.com Ulla and Ulrik Neumann. RCA Victor for impassioned exclamations -and such they are not), nor do they employ major International LPM 9970, $4.98 (LP). moments, it turns out, are necessary, performers, other than Mary Martin; Svend Asmussen and Ulrik Neumann: for otherwise the lyrics are delivered but they serve a valuable purpose. Co- "En Kväll med Svend och Ulrik." in what tends to be too stately and, lumbia's Boys front Syracuse is sur- RCA Victor International LPM 9929, eventually, too monotonous a manner. passed by the off -Broadway cast record- $4.98 (LP). The backgrounds by Ray Ellis' orchestra ing, for example, but there is still no Ulrik Neumann has been a cabaret per- are, in most cases, unobtrusive reminders better Babes in Arms (with Miss Martin) former and guitarist in Scandinavia for a of the underlying melody, but there are or On Your Toes. The choice between quarter of a century, appearing with a occasional amusing instrumental touches. this Roberta and Decca's much earlier variety of partners. His most recent is version with Alfred Drake and Kitty his teen -aged daughter Ulla, a girl with Laurie Johnson Orchestra: "England's Carlisle is a tossup, while the original a charming singing manner who plays New Big -Band Sound." Colpix CP cast Brigadoon on Victor seems to me ukulele, piano, and even pitchpipe. 471, $3.98 (LP); SCP 471, $5.98 (possibly from sentimental attachment) Their selections range from Neumann's (SD). to be preferable to Columbia's version. straightforward and persuasive guitar Here's a big band with a distinctive The Columbia series does boast one solo on the bossa nova Manha de Car - sound, in performances that strike the masterpiece: Oh, Kay!. Its Gershwin naval to a vocal duet called Bossa Nova listener with tremendous impact. John- score is superb -Someone To Watch Infantile, in which Ulla achieves some son's basic elements are a trumpet en- Over Me, Do Do Do, Clap Yo' Hands, startling effects by scatting in a childish semble (frequently playing into hats to Maybe, and Fidgety Feet are the well - treble in addition to carrying out several get a broad, mellow sound), a string known numbers, but it also includes such other demanding vocal lines. At one section that sturdily holds its own gems as Dear Little Girl and Don't Ask. moment, she may be at the piano joining against the trumpets, and a percussion The orchestrations are loosely woven in the now widespread swinging of Bach, section glittering with xylophones, and imaginative, with the two pianos of at another blowing her pitchpipe to pro- bongos, and other whackables. Johnson Cy Walter and Bernie Leighton trickling vide the single central note around which displays effective fondness for putting through them provocatively (the mem- her father creates a fascinating Concerto these sections to work in different orable piano team of Ohman and Arden for Pitchpipe and Guitar. rhythms at the same time. Add to this were in the pit band of the original), Vocally, the pair seem to know no an unfamiliar view of familiar tunes: and the music is sung to perfection by limits. They may employ a virtuosic Bali H'ai, for instance, is done at a a cast headed by Jack Cassidy and vocalise, or they may (as in a blithe roaring, express -train pace with the Barbara Ruick. Cassidy is a stalwart treatment of Billy Boy) begin in English trumpets spearheading the attack and performer through the entire series, but and soon find themselves entangled in the percussionists rumbling and rattling he has his best opportunities, and makes vaudeville Russian which leads into some furiously under them. The good old the most of them, in O /t, Kay! very broad German. And a Swedish folk Sheik of Araby, made bright and song provides the basis for parodies of rhythmic by the crisp trumpets, is sur- Edith Piaf. RCA Victor International flamenco, Mozart, and rock 'n' roll. rounded by the rich ripples of a huge FPM 124, $4.98 (LP). Amiability colors all their work, under- gong. By Myself dances with merry A group of vintage Piaf recordings, made lined by the easy, unforced manner of agitation on waves of unison xylophone shortly after the liberation of France, their presentation. figures. There are some calm moments have been collected on this disc in a The same refreshing qualities set the too, on Moonlight and Roses and a setting designed to reproduce the atmos- tone for the collaboration between Neu- couple of originals by Johnson. But the phere of a music hall performance, pri- mann and Svend Asmussen, one of the zest and vitality of the up -tempo selec- marily through the dubbing of applause most brilliant popular /jazz violinists tions lend distinction to this disc. and bravos between selections. These playing today. Though there is some surroundings are not imposed so bla- Swedish dialogue here for the American "Babes in Arms." Columbia OL 7070, tantly as to interfere with one's enjoy- listener to contend with, there is also $4.98 (LP); OS 2570, $5.98 (SD). ment of Miss Piaf's songs. Her singing an imaginative mixture of fun and top- "The Boys from Syracuse." Columbia has the assurance and passion that were notch musical skill. OL 7080, $4.98 (LP); OS 2580, $5.98 Piaf at her best (although the recording (SD). does not serve her as well as it might). Anthony Newley: "In My Solitude." "Brigadoon." Columbia OL 7040, $4.98 The lilting flow she achieved by stretch- RCA Victor LPM 2925, $3.98 (LP); (LP); OS 2540, $5.98 (SD). ing out the melodic lines courses through LSP 2925, $4.98 (SD). "Oh, Kay!" Columbia OL 7050, $4.98 all these selections, with one interesting A good many years ago Ted Lewis, who (LP); OS 2550, $5.98 (SD). exception-Sophie, a torch song that was not much of a singer, found that he "On Your Toes." Columbia OL 7090, might have come out of the popular could deliver a popular song successfully $4.98 (LP); OS 2590, $5.98 (SD). music of the Twenties and to which Miss by means of a sort of rhythmic dramatic "Roberta." Columbia OL 7030, $4.98 Piaf adapts her singing style skillfully. recitation. Lewis, who came out of (LP); OS 2530, $5.98 (SD). In a more typical vein are Amour du carnivals and medicine shows, colored One of the most welcome recording in- mois de mai, Le Geste, Les Cloches his recitations with the exaggerations and novations of the 1950s was Goddard sonnent, and Les vieux bateaux. As an hokum of those fields. Anthony Newley Lieberson's set of recordings of early atmospheric contribution, Bruno Coqua- (although he has considerably more musicals, most from the pre -original -cast trix opens and closes each side leading vocal potential than Lewis and occasion- era -a series that made available several an orchestra and chorus in such cele- ally shows it) takes much the same worthy scores by the Gershwins as well brated items from the Piaf repertoire as approach. Because his colorations come as Rodgers and Hart. In recent years the La Vie en rose, L'Accordéoniste, and from a background of British music halls series has practically come to a halt, Hymne à l'amour. and theatre, however, and because one although there were hopeful signs that hears in his phrasing the influence of it was under way again with the release Ella Fitzgerald: "Hello, Dolly!" Verve Frank Sinatra, the results are quite dif- last winter of Columbia's Lady in the 4064, $4.98 (LP); 6 -4064, $5.98 (SD). ferent. The vehicles he has chosen are, Dark. Many of the albums had dis- Four of these twelve selections were re- for the most part, well -known songs appeared from the catalogue (only Oh, corded by Miss Fitzgerald in England, with lyrics strong enough to sustain the Kay! and Brigadoon remained), but apparently to permit inclusion of such close examination to which Newley's now an opportunity to restore them has late hits as Hello, Dolly!, People, and a declamations subject them. Solitude, It's been provided by way of "electronic selection from the Beatles' repertory All Right with Me, Like Someone in rechanneling" for stereo. No stereo- called Can't Buy My Love. She might Love, I Didn't Know What Time It Was phonic directionality has been imparted have done better to wait until she got are among the titles. Part of Newley's to the originals, but at least the process back home to record them, for she has artistry lies in his ability to find in the serves to keep some wonderful scores to battle a blatant orchestra and, in the lyrics of 1 Didn't Know What Time It alive. This is not to say that all these case of Dolly, a stodgy arrangement (by Was, for example, several opportunities discs are brilliant (with one exception, an American, it should be noted in all

166 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com Dat Up Dere-an uncanny forecast in Bjarne Rostvold's Trio: "Trocrotism." style and tone of Oscar Brown, Jr.'s Dat RCA Victor International LPM 9955, Dere. His pursuit of Goodman's Sing Sing $4.98 (LP). NEW 1965 Sing shows up on Golden Wedding and It takes a certain amount of boldness to during his toying with Lunceford's undertake an entire LP with a group con- stylized two -beat on Four or Fite Times. sisting only of trumpet. bass. and drums. And in the 1944 Hernian recording of a But Rostvold's trio carries it off remark- Dizzy Gillespie composition. Down Un- ably well. its success lies partly in trum- der, one can hear the beginnings of the peter Allan Botschinsky's ability to keep successful Herd. This is a fairly inclusive his horn from sounding monotonous -he summary, constantly brightened by gets variety by playing open and muted Woody's singing and his clarinet. and by using long, flowing lines (Green- sleeves). clipped but continuous phrasing Onzy Matthews and His Orchestra: "Blues (Ease It), and broken phrasing (Perhaps). with a Touch of Elegance." Capitol Niels Henning Orsted Pedersen. the 2099, $3.98 (LP): S 2099. $4.98 (SD). bassist. and Rostvold on drums sustain Matthews' orchestra is made up of West the interest both in their backing and in Ic Coast musicians who have been working the manner in which they take solos. Both uuaflramat together off and on for several years. are sensitive musicians who listen and "ZERO DISTORTION" The leader is a pianist. composer. and respond to everything their two colleagues arranger who. in the present selections, are doing. and supplement and expand amplifiers for those shows a skillful hand at writing in a what might otherwise be a fairly thin who demand the best blues vein, in which he draws interesting melodic line. The most impressive in- ensemble colors and worthwhile solo stance of the trio's skill is in its handling Two new series to give the true audiophile of Thelonious Monk's Well, You Needn't. the sound reproduction, the greatest statements from his men. Away from purest which rides on Rostvold's strong brush- performance, and the highest styling ... the blues. he tends towards the Kenton attack and the Kenton type of over- work while Pedersen's bass provides a statement of the overobvious. Among tremendously propulsive backing for his soloists. the most interesting is Curtis Botschinsky's trumpet. Amy. who plays both soprano and tenor saxophones. He is particularly provoca- "The Sound of Chicago: Jazz Odyssey, tive on soprano, for he has a firm Volume 2." Columbia C3L 32, $11.98 tone and his attack has none of the (Three LP). derivative qualities that cling so tena- The second album in Columbia's "Jazz ciously to this instrument. Clifford Scott Odyssey" (the first dealt with New on alto saxophone is also a superior Orleans) is a wide -ranging sampling of The VELONTE Series soloist, with a big -bodied, singing style. recordings made by Chicago musicians The model 250 integrated stereo amplifier, 40 Lou Blackburn. once an Ellington trom- between 1923 and 1940. There are small watt IHFM power per channel, is a major breakthrough in the medium -priced amplifier market. bonist. displays an unusual. low, muted groups. big bands, blues singers, and All the outstanding performance features of the manner in developing a solo on / Corer pianists-from King Oliver to Roy El- Pure Quadramatics patented circuits are built into this series, including "zero distortion" the Waterfront. Matthews' band has the dridge. from the Midway Dance Orches- normal to watt listening output within the 0 20 of being a regular group familiar tra to Horace Henderson's band. from level. These units dramatically out -perform any merit integrated stereo amp in their price range. Hand- with his arrangements. and his arrange- Merritt Brunies' Friar's inn Orchestra somely styled by one of America's leading de- ments of being worthy of the players. to Charlie La Vere's Orchestra, from signers. Five year guarantee $335.00 Hociel Thomas to Big Bill Broonzy. from Brother Jack McDuff: "The Dynamic Hersal Thomas to Jimmy Yancey. The Jack McDuff." Prestige 7323, $4.98 collection glitters with fascinating per- (LP). formances. familiar and unfamiliar. But it is also an uneven assortment, includ- At a time when most jazz organists seem driven to use their electrified instruments ing quite a few recordings that seem have been put as vehicles of aural torture. McDuff is to in merely as repre- one who is more inclined to stress his sentation -the Midway Dance Orches- organ's enticing resources. On one side tra's House of David Blues, for example, of this disc, his quartet (tenor saxo- or the McKenzie -Condon Liza, Benny phone. guitar, drums, plus organ) is Meroff's Smiling Skies, or Charles La The CANTABILE Series Vere's Ubangi Alan. The model 112 pre -amp control center and model heard with a large orchestra playing ar- 410 -C basic amp. 40 watt per channel true rangements by Benny Golson of two Out of forty -eight selections, however, power, are the last word in performance and there is a low percentage of dross (and styling. Absolute immeasurable distortion within movie themes (The Carpetbaggers and the normal 0 -30 watt listening level makes the The Pink Panther) and two songs from even dross can carry some brief mo- CANTABILE Series superior to any amplifying at ments of merit). The set starts slowly any price. Beautifully styled to enhance any Broadway shows ( You Better Lore Me decor. Unconditional life -time guarantee quali- and Once in a Lifetime). For the film with some less than vintage King Oliver, fies its workmanship materials. and is and ex- but begins to pick tip with Volly de Power amp. $319.00 themes, Golson's writing big Control center $269.00 pansive, using the orchestra as a huge, Faut's appearance with Merritt Brunies' gain momen- CUSTOM SERIES Model 402 -C power amp and imposing setting through which McDuff's orchestra; it continues to 110 stereo control center ... for the male in- organ can weave. On the Broadway ma- tum with Joe Jordan's Sharps and Flats, dividualist who wants pure sound and pure design. Retains optimum performance electroni- terial he uses lighter. more flexible set- and Art Sims s Creole Roof Orchestra. cally and automatically. If you consider yourself tings, which give McDuff greater leeway. Side 2 of the first disc focuses on a above social conformity this is your unit. "Zero remarkable series of trumpeters: Louis distortion" between 0.33 watts output. Corn - In both cases, the orchestra enables the pleteiy hand assembled by our engineers. Life- organ to be used more for its coloristic Armstrong, Freddie Keppard, Bob time guarantee. Power amp. $299.00 and Jones (a woman Control center $249.00 accents than as a shrill dispenser of Shoffner, Dolly who played in the Armstrong vein with PROFESSIONAL SERIES Model 1100 power ampli- melody. Even without the orchestra (on fiers, 90 watts. Designed for sound and labora- the second side), McDuff makes such remarkable skill). Two curiosities are tory application. Quality and performances un- use his that there is a pair of selections by Carroll Dickerson equaled in its class. "Zero distortion" 0.65 watt skillful of quartet output. $249.00 always variety and movement. The group and his orchestra, made in 1928 when See and hear the new Quadramatic line at one is particularly effective in building a very the group included Armstrong and Earl of our many franchised dealers, or send 25c for simple riff into a catchy piece called Hines. These have previously been re- the Quadramatic Story and Literature Bossa Nova West, which has little to do leased only in Argentina. Hines (but Pure Quadramatic Promotions Inc. with bossa nova although it gains its end not Armstrong) sparkles through these 9 E. Ohio St., Chicago, Ill. 60611 through a similarly insistent rhythm. pieces, as well as in his solo of A CIRCLE 61 ON READER -SERVICE CARD 174 HiGH FIDELITY MAGAZINE

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CIRCLE 9 ON READER -SERVICE CARD OCTOBER 1964 7

www.americanradiohistory.com Monday Date and on two pieces with instead of seven. Blues singers and blues really comprehensive summation of the his own big band. (One of his band's pianists get one LP side consisting of period on three 12 -inch discs. Possibly selections is Jimmy Mundy's Take It well- chosen and varied work by Hociel producer Frank Driggs might have done Easy, which later gained some fame and Hersal Thomas, Sippi Wallace, Chip - better if he had not tried to handle it in the Benny Goodman version called pie Hill (with superb Armstrong ac- all at once, or had at least omitted .Swingtime in the Rockies.) The perva- companiment), Tampa Red and Georgia some of the less enlightening perform- sive influence of Hines's piano on Chi- Tom, Cripple Clarence Lofton, Jimmy ances. As it is, the set gives a very cago jazz can be heard in the very Yancey, and Big Bill Broonzy (singing sketchy impression of this flourishing creditably Hines -like playing of Clar- his lovely Louise, Louise). The set con- period. Despite this, however, the col- ence Browning on a couple of Jimmie cludes with the late Thirties work of Roy lection provides a valuable survey of Noone performances. Eldridge, his trumpet bristling brilliantly early jazz recordings in Chicago. In The Austin High School "syndrome," on After You're Gone and Heckler's some respects it is superior to the New as annotator John Steiner refers to the Hop, and Horace Henderson's smooth Orleans volume. rough style of those young white Chi- offshoot of brother Fletcher's big band. cagoans, is represented generously -a Chicago produced so much jazz that Lu Wafters' Jazz Band: "Blues Over bit too generously considering the er- was vital and important during the Bodega." Fantasy 5016, $4.98 (LP). ratic quality of their work. They might nearly two decades represented here that Lu Watters was the organizer and have been summed up in two selections it is understandably difficult to give a guiding influence of the Yerba Buena Jazz Band, which was one of the sparks that set off the traditional jazz revival on the West Coast in the Forties. Watters phones put Channel Control where it put down his trumpet and left music Telex individual belongs... in 1950. If this disc marks his return to activity, it would be a notable event, but the liner notes are so concerned with the construction of an atomic plant at AT Bodega Head in northern California that the circumstances of the recording are never mentioned. Whatever those circum- YOUR stances, Watters is heard with such vet- erans of the Yerba Buena as Bob Helm, clarinet; Wally Rose, piano; and Bob Short, tuba. They play with the drive FINGERTIPS and zest typical of the old Yerba Buena front line, but with a much more lithe rhythm than the often well- starched beat of that earlier band. With the Yerba Buena, Watters was normally part of a two -trumpet team (usually with Bob Scobey) -a situation that tended to cover up his playing. On this disc he is heard clearly and cleanly, and his playing is a joy. Leading ensembles, he has a swaggering punch, and his solo work is often brilliant, particularly his unaccompanied opening on Blues over Bodega, which is pure Louis Arm- strong. Rose plays a pair of ragtime solos in his amiably bouncing style, while Helm's clarinet contributes its ,3 customary wryly humorous accents. Bar- bara Dane sings on several selections, (AND ONLY TELEX HAS IT) frequently sounding as though her voice had been dubbed over the band: her Convenience ... Precision chan- CHANNEL CONTROL. You'll thrill approach and mood rarely fit in with nel control for perfect stereo to the kind of pace setting per- the musical surroundings. balance ... Freedom from the formance you would expect from Paul Winter Sextet: "Jazz Meets the extra cost and encumbrance of 26 years of Telex acoustic engi- Folk Song." Columbia CL 2155, $3.98 a separate headphone control neering leadership. Faithful, (LP); CS 8955, $4.98 (SD). center. flawless sound provides breath- Paul Winter's group has shown such im- That's what you get in the new taking stereo realism for the pressive development on its earlier rec- Telex ST -20 stereo -phones. Smoothly most exacting. 16- 15,000 cps. 4 -16 ords that Winter deserves compassion styled control knobs on each earpiece ohms. Super soft cushions for the ultimate when he takes a wrong turn. This ven- provide separate sound level control for in noise abatement and comfort. $29.15 ture into folk music is an unfortunate each channel. Exclusive with Telex, this one. The sextet's earlier vitality and in- superb fingertip convenience means you ventiveness is replaced here by dry and A Product of Sound Research always listen at the ideal sound level ... often plodding interpretations of music the ideal stereo balance. TELEX /Acoustic Products that does not lend itself to Winter's ap- Insist on seeing ... and hearing ... the proach. The one striking selection is a amazing new Telex ST -20 with INTEGRAL 3054 Excelsior Blvd. Minneapolis16, Minn. charging performance of a nonfolk -like piece by pianist Denny Zeitlin (who does not perform with the group). Winter plays soprano saxophone in most of the selections instead of his customary alto -a choice that does not enliven the drab coloration of these proceedings. JOHN S. WILSON CIRCLE 20 ON READER -SERVICE CARD TEL176 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com LOOK WHAT ROBERTS HAS NOW: Designer Portables & Tape Decks!

Ever hear a portable tape recorder so good it's com- at the new Model 1660 -D, a 2- speed. 4 -track stereo patible with a fine hi fi sound system? Roberts new deck, complete with record and playback pre -amps, Designer Portable model 16.50 is that good. You for $299.95. The 1660 -D has a frequency response can install it in your console and use it as your of 30 to 18,000 cps; signal -to -noise ratio of dB; 4 -track stereo tape component, flip a switch and 02% wow & flutter; hum adjust control; channel have it perform as the center channel for 3 -D stereo. transfer switch and many other sophisticated And when you want to tape something away from recording /playback features. home, you just lift the 1650 out of the console. It's Roberts' revolutionary Cross Field concept and a handsome portable, every ounce a Roberts. Costs the amazing Reversatile tape system are also avail- $299.95. able in our complete new line of component tape Ever sec a portable tape recorder so beautiful it decks. if your reasons for wanting a tape recorder fits in the category of fine furniture? Roberts new are sound, get the best there is -get a Roberts! See Decorator Portable model 1670 is that beautiful. the complete selection on display now at your It's a big- studio -sound 4 -track stereo tape recorder nearby Roberts Dealer. Or write for further infor- encased in an elegant console of rich walnut. Ulti- mation. Roberts Electronics, Division of Rheem mately sophisticated both as a superb tape record- Mfg. Co., 5922 Bowcroft St., L.A., Calif. 90016. ing instrument and as a home entertainment center. Dept. HF 10. The Decorator 1670 costs $359.95. Other Roberts In Canada: J. M. Nelson Electronics, Ltd., 2149 Commercial Drive, Designer Portables from $169.95. Vancouver 12, B.C. (prices slightly higher in Canada) Ever run across a tape transport system more reliable than a Roberts? There aren't any. Which is why perfectionists regard the news of Roberts' component tape decks as good news indeed! Take a look ROBERTS CIRCLE 67 ON READER -SERVICE CARD 178 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The following reviews are of 4 -track MUSSORGSKY: Pictures at an Exhi- that its existence will not hinder some 7.5 -ips stereo tapes in normal reel form. bition (orch. Ravel) other conductor (Ansermet, say) from fLiadov: The Enchanted Lake, Op. 62 soon providing a more sympathetic BACH: "The Great Organ Chorales, version, preferably together with its S.651 -64" Cleveland Orchestra. George Szell, cond. tableaux companions Baba Yaga and EPIC EC 838. 38 min. $7.95. Kikimora. Carl Weinrich. organ. WESTMINSTER WTP 170 (double- Szell has been giving us so many great play). 83 min. S11.95. tapes lately that its something of a RACHMANINOFF: Concerto for Pi- relief to be reminded that he is only ano and Orchestra, No. 2, in C Veteran tape collectors will have a spe- human and sometimes can go wrong as minor, Op. 18 cial welcome for the return of Weinrich an interpreter, if never as an executant. tMozart: Sinfonia concertante for to the active reel repertory, from which These Pictures are a model of excellently Violin, Viola, and Orchestra, in he has been missing since his 1957 -58 recorded virtuoso orchestral playing, E flat, K. 364 Bach Sonotapes went out of print. He notable indeed for lucidity and clarifica- has chosen to record on the same instru- tion of often overlooked details. But Vladimir Ashkenazy, piano (in the Con- ment, in the same warmly reverberant the pungency of their essential pic- certo); Igor Oistrakh. violin. David Ois - environment as before. The Varfrukyrka torialism is all but lost in the conduc- trakh, viola (in the Sinfonia); Moscow organ in Skänninge, Sweden, dating from tor's determination to perform the Ravel Philharmonic, Kyril Kondrashin, cond. about 1800 and rebuilt in 1939. is one score exactly as written. without con- LONDON LCK 80139 (double- play). of the most attractive exemplars of late - cessions to the original composer's de- 67 min. $11.95. baroque organ building I've ever heard, pictive intentions. The lovely, however one quite free from the tonal rawness (to naïve. little Liadov tone picture is Even the stanchest advocate of the say nothing of the distracting mechanism performed with more poetry and per- double -play tape format must flinch be- noises) which nonspecialist listeners tend sonality. but it is still too crystalline fore so irreconcilable a coupling as this. to find objectionable. The present re- and controlled to realize its full im- A common conductor and orchestra lease is invaluable, too, in representing a pressionist, atmospheric magic. This is aren't enough to make Mozart and Rach- nwt'e satisfactorily "Bachian" style of the first 4 -track taping, and I hope maninoff collectors wholly compatible - performance than did the only previous all the more a pity because the Sinfonia major 4 -track release the of chorale conce rtante is a tape first ( though an preludes-that by Commette on a nine- Epic version led by Szell has just been teenth- century instrument (Angel ZS announced), and the Rachmaninoff war- 36119 of last February). And here the horse is given an exceptionally attractive programming is more systematic. pre- performance here. senting the first fourteen of the "great As Ashkenazy demonstrated in his reel eighteen" chorales (only three of which debut with the Rachmaninoff Third and are duplicated in Commette's reel) in Tchaikovsky First of last January, he is a proper sequence. (A third volume with pianist of uncommon interpretative sen- the remaining four "great," plus the six sitivity and technical skill. And if his shorter Schiibler chorales. is still to be present reading is not as dramatically transferred to tape.) As always, Weinrich flamboyant or as ultraromantic as some favors deliberate tempos and commands others, it is the most relaxed. varicolored, a notable lucidity and grave eloquence, and perhaps most rewarding of all. Not yet he is also capable of surprising blithe- the least of its many attractions are the ness in more sprightly pieces such as the rich. if perhaps a bit dense. recorded "trio" settings of Herr Jesu Christ (S. sonics of both the piano and Kondra- 655) and Allein Gott in der Hid,' sei shin's characteristically Russian -timbred Ehr'. Throughout, the expansive yet orchestral collaboration. brightly transparent stereo recording The engineering is more transparent on captures ideally both the coloristic the Mozart side. appropriately, with the charms of the organ and the spacious i acoustical ambience of the Varfrukyrka. Weinrich: Bach grave and sprightly. Continued on next page

OCTOBER 1964 179

www.americanradiohistory.com THE TAPE DECK

Continued frone preceding page

soloists effectively spaced. But here the orchestral playing is less sympathetic - as is the saccharine playing of the younger Oistrakh. Yet even purists may be willing to overlook such stylistic deficiencies just for the opportunity of hearing Oistrakh père's magnificently straightforward yet eloquent reading of the viola Even if the new part, to say nothing of savoring the glorious tone he draws from his Guarnerius Uher 8000 by Martel instrument. did not have the exclusive Dia-Pilot* it would still be a great tape recorder. VERDI: Quattro Pezzi Sacri Janet Baker, only the Uher 8000 offers: contralto; Philharmonia Why? Because Chorus and Orchestra, Carlo Maria "Akustomat" -you simply speak and the machine records ... you stop Giulini, cond. speaking and machine stops. No wasted tape. Fully transistorized, 4 speeds ANGEL ZS 36125. 41 min. $7.98. -4 heads -4 track stereo -4 track mono with built -in mixer control for Esteemed as they are by Verdi specialists, both channels; synchronous sound with sound recording, multiplay sound these four Sacred Pieces are new not only on sound, plus echo automatic end of reel shut -off; Console sound effects; to stereo and tape but probably to the -featuring two built -in speakers for perfect separation or can be used as majority of home listeners. The present a tape deck ... and the exclusive Dia- Pilot *, a built -in impulse transmitter well -nigh ideally sung and recorded per- for fully automatic control of slide projectors and animated displays. formances should ensure that they become as widely celebrated as they de- No wonder Audio Magazine reported, "... practically any use that can be serve. The "pieces" themselves are quite imagined is possible with the Uher 8000 by Martel." astonishing distillations of both familiar See and hear the Uher 8000 Martel at your dealer or write for complete and unfamiliar aspects of Verdi's purest literature. genius, ranging from the ethereal loveliness of the unaccompanied Ave Maria City:I199 Broadway and ',midi a //a Vergine Maria (the latter MARTEL ELECTRONICS ChicaAgre:12356chandseneart Pla cork a setting, for women's voices only, of a text from Dante's Paradiso) all the way to the solemnly exultant Stabat Mater CIRCLE 54 ON READER -SERVICE CARD and a nobly impressive Te Deum, both of which have orchestral accompaniment. Worm's Yet no less astonishing in the present BUY, SELL OR reel are the serenity and triumphant af- Fastest Selling firmation of the ineffably beautiful sing- SWAP NEWSLETTER ing and playing. And the superb engi- Dispose of used equipment and records - FM Wireless neering copes equally well with heavenly through this monthly newsletter mailed Microphone floating pianissimo voices and the mag- 1st of every month. Subscription: $1.00 a nificent brilliance of the full orchestral For sheer extremes year. Ads limited to 30 words, including and choral climaxes. of dynamic range, I can't remember a name and address -$1.00 each. No dealer comparable example on tape since the ads accepted. Send check or money memorable Reiner RCA Victor reel of order, use coupon below. the Manzoni Requiem. (It may present similar reproduction problems on narrow- HIGH FIDELITY, Dept. CE range equipment!) Technically, the re- Great Barrington, Mass. cording is a remarkable example of what Start my subscription to your Buy, Sell is either unusually distant miking, or a or Swap Newsletter with the next issue. ($1) large ratio of reflected to direct sound. This is accomplished with no real loss of musical detail (and a magical enhance- Name ment of atmospheric mood), although I must concede that the words aren't easy Address to follow. The accompanying leaflet of texts and translations is more than nor- City State IMPIl mally welcome here. Transmits voice or signal with power and By rarely malevolent mischance, the Enclosed is my payment for $ fidelity to any standard FM tuner or radio. first review copy I received of this match- Perfect for use where mike cords are in- Insert the following 30 -word advertise- convenient. For broadcasting, remote tape less release, impeccably processed for ment I including name and address) in the recording, communicating or hundreds of most of its length, turned out to be de- next issue of the Newsletter. (Type or other applications in schools, churches, theatres, plants, stores, homes and sport- fective at the very end of Side 1 and print plainly.) ($1) ing activities, indoors or out. Tunable: beginning of Side 2 as a result of sudden 88 -108 me band. speed fluctuations in the dubbing equip- IMP -221 Transmitter only.... 1I 3995y ment. But surely very few copies so ob- IMP 11/M -222 Complete with built -in 4995 pin -head microphone J viously flawed could have slipped by Dept. H -8 Angel's usually exacting quality con- See Distributor or write trollers. And mine of course has been Made in promptly replaced with one in which the O.S.A .1 kinematix, inc. 2040 West Washington Boulevard J Chicago, III. 60612 Area 312 866 -0066 Continued on page 182 CIRCLE 90 ON READER- SERVICE CARD I8() HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Yes, Mr. Smith... you can judge a tape by its box!

*ii1,. 4 Qi1t'-.1irr\t ..,; 11N1N 11Q.'ltahC ti Ira\ °C 14 WYi)1..._18.

SUUNDCRAFT TYPE 542

TYPE 1.5413

O ' 11#11'tli TYPE 1.12 444 SUUNDCRAFT PLUS - 50

TYPE 1P.241I SOUNUCRAFT PLUS -1001

SOUNDCRAFT ® TRIPLE PLAY

this one will these tapes will not foul your recorder heads dry up, flake and break lose high- frequency response produce squeal reduce stereo effect wind poorly, be noisy lose signals (drop -outs)

Naturally, there is no name on this box -for obvious rea- To the knowledgeable recordist, the name Reeves Sound - sons. Nevertheless, unbranded (white box) recording tape craft is the most assuring quality testimonial any box of is now being sold in many stores. Since there are some tape can receive. Reeves Soundcraft Tapes are free of people who still believe in the dream of "something for defects...assure flawless recordings. The proof is on nothing" (or almost for nothing) -these stores are literally every reel! Only Reeves inspects each tape and stamps forced to carry this and similar "no- brand /no- account" it with its quality control inspection number! Play it safe recording tapes. ...record it better with Reeves Soundcraft Tapes. Send for new brochure -A TAPE FOR EVERY PURPOSE. REEVES SOUNDCRAFT DIVISION OF REEVES INDUSTRIES INC. GREAT PASTURE ROAD, OANBURY, CONN.

NEW YORK: 302 E. 44th St. Area Code 212 -MU 66451 CHICAGO 28 (Jackson Blvd. Area Code 312-WAbash 2 -5853 LOS ANGELES: 342 N. LaBrea Ave. Area Code 213- WEbster 1.1181 CIRCLE 65 ON READER- SERVICE CARD OCTOBER 1964 181

tasteless; only Pearl Bailey's bluesy You Write for details 379 KENTON ROAD, KENTON, Can't Make It Anywhere and torchy or see your local dealer. Love Is a Rose boast genuine HARROW, MIDDLESEX, ENGLAND any distinction. One can only imagine how far ROTRON mfg. co., inc. WRITE FOR FREE SPECIMEN COPY W00DSTOCK, NEW YORK Continued on next page ROTRON ORioI4 9 -2401 CIRCLE 38 ON READER- SERVICE CARD CIRCLE 68 ON READER -SERVICE CARD OCTOBER 1964 183

www.americanradiohistory.com THE TAPE DECK PURCHASING Continued from page 180 A HI -FI processing throughout worthily matches COMPONENTS & TAPE RECORDERS a recorded performance of music unique- SYSTEM? WRITE FOR OUR PRICE! ly suited to memorialize the one hundred TRADE -INS OK -TIME PAYMENTS 2 YOU'LL BE GLAD YOU DID. fiftieth anniversary of Verdi's birth. Up to years to pay!

THE TAPE DECK Continued front page 183 Why? FOR superior the original Paris production WRITE must have been. Glittering, effectively DO THOUSANDS OF HI -FI stereogenic recording is no consolation ENTHUSIASTS BUY FROM QUOTATION as far as I'm concerned. FACTORY SEALED CARTONS DISTRIBUTOR AUDIO UNLIMITED FRANCHISED "These Are the Blues." Ella Fitzgerald; QUICK SHIPMENT Instrumental Ensemble. Verve VSTC 309, 42 min., $7.95. It's Obvious! Strangely, Ella Fitzgerald has seldom LOWEST PRICES ventured before into the true blues FAST SERVICE the - repertory -which makes it all the more FACTORY SEALED UNITS FULLY pleasant a surprise that she succeeds so INSURED SHIPMENTS UP TO 2 MOST' IN notably in it. She eschews a big shouting YEAR MANUFACTURERS' delivery, of course, but the poignantly WARRANTY lyrical style suits her to perfection. She PACKAGE DEALS -SAVE MORE is superbly eloquent in a relaxed yet FRANCHISED DISTRIBUTORS DISCOUNTS buoyantly floating St. Louis Blues, and Your opportunity to win a VESPA ON ANY HI -FI tenderly touching, fervent, and lonely SCOOTER-except where prohibited COMPONENTS little -girlish by turns in her infectiously by state or local law. rhythmed versions of Holy Long, In the Write today Evening, You Don't Know My Mind, etc. And not the least of the attractions Write for FREE Catalog Today of this well- recorded and -processed reel SEND US YOUR LIST are the appropriately idiomatic accom- FOR OUR AIR SOUND paniments by an ensemble featuring Roy MAIL Eldridge's trumpet, Herb Ellis' guitar, QUOTE TODAY REPRODUCTION and Wild Bill Davis' electronic organ. INC. Visit Our Showroom and Warehouse 34 New Street, Newark, N. J. (07102) "Trooping the Colour." Massed Bands ®AUDIO unlimited, inc. and Pipes of the Grenadier Guards, (201) Mitchell 2 -6816 715 -F Second Ave. (Nr. 38) New York 16, N. Y. Capt. R. Bashford, cond. London 3 blocks from the U.N. LPL 74044, 45 min., $7.95. An excellently processed transfer of one CIRCLE 15 ON READER -SERVICE CARD of the best of London's Phase -4 spectacu- CIRCLE 75 ON READER -SERVICE CARD lars, this tape version of the famous British ceremony is perhaps even more satisfactory than the disc edition since, COMBINED SAVINGS OF if the extreme high end isn't quite as NOW AT YOUR 40% glitteringly sharp, there is more real sonic body and a better frequency spectrum RECORD DEALER'S: ON ALL 4 -TRACK balance. Both the Grenadier Guards troops and bandsmen are on the qui STEREO TAPES vive throughout; the barked commands OUR SPECIAL AS A MEMBER OF THE and the various maneuvers are thrillingly realistic in highly directional stereoism; FIFTEENTH TAPE -MATES and the widely varied marches and other selections are magnificent examples of CLUBB_ military music at its best. ANNIVERSARY

"The Voice of Africa." Miriam Makeba; ISSUE Chorus and Orchestra, Hugh Mase- kela, cond. RCA Victor FTP 1252, We're celebrating our Fifteenth 28 min., $7.95. Anniversary with one of the biggest You will receive a FREE TAPE - The program title is an apt description issues in our history! More than MATES STEREO CATALOG listing of the artist herself, but an inade- 300 pages! Over 36,000 monaural ALL 4 -Track Stereo Tapes currently quate index to the variety of musical and stereo listings, including almost new releases for manufactured-the most complete materials here, which includes a serenely 500 October! And it will contain special informa- Stereo Library available anywhere expressive original setting of the Willow Song from Othello and an unmannered tion on how to obtain a free -at TREMENDOUS DISCOUNTS - pop song Lovely Lies, as well as an souvenir reprint of the first (Octo- PLUS cash dividends and BONUS eloquent spiritual Gone to Glory, and ber 19491 issue -a real collector's TAPES! item! Get the Fifteenth Anniversary a vivacious Cuban Tuson -all in addition October 1964 issue at your record to the expected African airs and chants. 25% DISCOUNT on ALL record dealer's now! albums. These are oddly interesting for the most part, particularly the poignant bride's TAPE -MATES CLUB-DEPT. HF-10 a - 5280 W. PICO BLVD. song Qhude and curiously Israeli LOS ANGELES, CALIF. 90019 sounding Shihibolet. Masekela's accom- Without obligation, send me complete in- schwann paniments are deftly light and ap- formation about the TAPE -MATES CLUB. propriate, without excessive use of per- LONG PLAYING NAME cussion. The Dynagroove recording is ADDRESS markedly stereoistic and vivid, with the RECORD CATALOG CITY & STATE soloist closely integrated in the instrumental textures. CIRCLE 80 ON READER -SERVICE CARD CIRCLE 71 ON READER -SERVICE CARD

I 84 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com SHOSTAKOVICH

MORE and BETTER Continued from page 100

the West, as evidence that even now DYNA Shostakovich is not a free agent. But as FM Stereo Multiplex far as I know no official objection has ever been raised against the music as BROADCASTS such. And to judge from an unclear tape of the original performance, I would MIKES hazard a rash guess that this work is un- FOR YOU likely to prove one of his more remark- Professional able scores, or even much of an improve- pIPPIPI".- with a ment on its disappointing predecessor. ribbon microphones Certainly I could distinguish nothing in it that might offend the most exquisite by B &O bureaucratic sensibility. In fact the MCO trouble seems to have arisen purely from at realistic prices AWARD -WINNING FM Antenna the fact that the Symphony includes a setting of Bubi Yar, the anti -anti -Semitic poem which got Yevtushenko into The choice of microphone af- hot fects the naturalness or accuracy water with Mr. Khrushchev. of sound recording more than Model FM -4 What then accounts for this apparent any other factor, with even the $24.90 List decline at the very moment when Shos- least expensive tape recorders. takovich might be expected to be writ- The superiority of ribbon micro- ing his finest music? That is a question phones has long been acknowl- World's Most Complete we shall not be able to answer for many edged in affording full fre- years, but any attempt to interpret the quency response and maximum line of HI -Fl Phased extraordinary dynamic range without the ups and down of Shosta- harshness or stridency often crit- kovich's career in terms of political pres- icized in far more expensive sures is too simple by far. Ultimately, microphones. the mainsprings of a man's art are to be found in his character, and the music The finest sounding ribbon mi- itself offers one or two clues to what crophone is the Model 200 THE FINNEY COMPANY may lie buried there. DYNAMIKE. This compact, versatile 34 W. Interstate St. Bedford, Ohio Shostakovich has himself discussed his instrument is ideal for natural stereo recordings with Dept. HF failure to write a successful first movement allegro. The essence of sonata minimum effort. Two identical ribbon elements may be rotated lies, in CIRCLE 37 ON READER -SERVICE CARD forni of course, the resolution of up to 90° to each other for conflict, and, significantly, this is some- either conventional or MS stereo thing that Shostakovich has rarely been pickups with optimum separa- able to achieve. There is a further fea- tion and precise instrument lo- ture of his music, perhaps more closely calization. The top element is connected with this than may at first removable for mono use. These appear. The prevalent mood in many of precision elements are renowned for extraordinary range and BULLEYE ! his works is a deep, insatiable melancholy. Yet set against it are brief out- smoothness (unfortunately, response specifications are mean- bursts in the scherzo a hilar- You'll Score -often -of ingless, since cheap mikes ad- C;s, ity so taut and high- pitched that it could vertise far wider range than the BIGGER fairly be called manic. The result is best ones), a perfect figure 8 SAVINGS often a sort of musical embodiment of a pattern, and uniform polar re- manic -depressive temperament. sponse over the range. Profes- Everytime You Buy From We have now approached dangerously sional low impedance 200 ohm close to the treacherous field of psycho- output enables long cables with- "DIXIE HI-FI" logical speculation--an area in which a out hum or interference . . . music critic loiters at his peril. Criticism $149.95. cannot be based on personal observation. But anyone who has seen anything of For over a decade B &O ribbon micro- Largest discount High Fidelity Shostakovich cannot fail to be struck phones have been the choice of broadcast component distributors in the by that strangely twisted face, at once stations, recording studios and record sharp and innocent, like some neurotic manufacturers on both sides of the At- South. Wholesale prices on yet highly intelligent schoolboy. And lantic wherever a premium quality micro- package or individual compo- just as the face, the jerky, clumsy walk, phone was demanded. DYNA believes nents. Latest models in factory and the abrupt, inhibited, and ill- coördi- they offer the amateur recordist the same sealed cartons shipped imme- nated gestures combine to convey the value which has characterized DYNAKIT impression of a man profoundly at odds amplifiers and tuners. Ask to hear the diately from our warehouse. with himself, so does the music, for all Model 200, or other DYNAMIKES from Specia attention given to Audio its imaginative power, finally make the $59.95 at your high fidelity specialist, and watch for DYNA -B Clubs, Churches and Schools. same impression. In this Shostakovich the new &0 tape re- most resembles Mahler, a composer for corder-a home machine which can take whom he has always had a special affec- full advantage of the performance of For Special Price Quote -Write tion and who has clearly been a potent these fine microphones. influence in his stylistic development. One day it may be possible to discuss DIXIE with some confidence the sources of these Write for detailed specifications. HI FIDELITY WHOLESALERS inequalities and unresolved tensions, which are at once the source of his mu- 703 HORTON DRIVE sic's fascination and of its shortcomings. DYNACO INC. SILVER SPRING, MD. But that day has not yet come. 3912 Powelton Ave., Phila., Pa. 19104 CIRCLE 31 ON READER -SERVICE CARD CIRCLE 33 ON READER -SERVICE CARD OCTOBER 1964 185

www.americanradiohistory.com SAVE MONEY on ADVERTISING INDEX

BRAN Key No. Page No. Key No. Page No.

1 .. . Acoustech, Inc. 157 90 .... Kinematix, Inc. 180

2 . Acoustic Research, 49 .. . KLH Research and Inc. 57, 115 Development Corp. 159 3 Acoustical Manufacturing 50 ... Klipsch & Associates, TAPE Co., Ltd., The 4 Inc. 147

. 4 Airex Radio Corp. 182 51 . KSC Systems, Inc. .... 76 5 .... Allied Impex Corp. 70 RECORDER; 6 ... Allied Radio 93 52 .... Lafayette Radio tIt 7 .... Allied Radio 135, 136 Electronics . 168, 169 DO rt 8 ... Altec Lansing Corp 71, 73 53 . Lansing, James B., t 9 ... Ampex Corporation .. 175 Sound, Inc. 172 10 ... Angel Records 141 18 .... Lear Siegler, Inc. 6, 7 TAPES, I I . Artisan Organ 72 London Records ... 153, 161 ACCESSORIES 12 .... Audio Devices, Inc. 177 SLEEP LEARN KITS 13 .... Audio Dynamics Corp. 91 76.... Marantz 55 14 54 .. Martel MERITAPE .... Audio Originals 54 Electronics 180 Top Quality Recording Tape 15 Audio Unlimited, Inc. 184 55 .... McIntosh Laboratory Inc 167

Audit Bureau of 56 .... Miller International Co . 76 Franchised Distributors Circulations 156 Minnesota Mining & Factory Sealed Cartons Mfg. Co...... 82, 83 Up to 2 yrs. Mfgr. Warranty 16.... Baldwin Piano & 58... Musical Heritage Society, Organ Company 92 Inc., The 152 17 Write for our .... Benjamin Electronic VERY LOW QUOTATIONS Sound Corp. 77 59 . Neshaminy Electronic 18 .... Bogen Communications Corp. 12 FREE CATALOG Division 6, 7 19 .... Bozak, R. T., Mfg. Co. 139 60.... Pickering & Co., Inc. 2 British Industries Corp. 19 -50 61 ... _ Pure Quadramatic DRESSNER 21 .. . British Industries Corp. 94 Promotions Inc. 174 22 .... Burstein -Applebee Co. 186 1523 Jericho Tpke. New Hyde Park 32, N.Y 62 .. Rabsons -57 St., Inc. .... 183 Visit Our Showroom 23 .... Cambridge Records, Inc. 152 63 ... RCA Victor Records .. 131 CIRCLE 32 ON READER -SERVICE CARD 24 ... Carston Studios 182 64 Record Club of America . 5 25 ... Chancellor Electronics, 65 ... Reeves Soundcraft Div. 181 Inc. 58 66 .... Repeat Records 160 67 26 ... Citadel Record Club 59 -61 .... Roberts Electronics 178 68 ... Rotron Mfg. Co., Inc. 183 27 ... Columbia Records . 128, 129 >Ì VE SEND 28 .... Command Records 122 69 Sansui Electric Co., Ltd. ere NOW 29 Concertone .... 74 . ... 86 70.... Sarkes Tarzian, Inc. 8 11 FOR Deutsche 71 .... Schwann Record 30 ... Grammophon Catalog 184 Gesellschaft 133, 160, 162 36 Scope Electronics Corp. 75 31 .... Dixie Hi -Fi 185 Scott, H. Dressner 100.... H., Inc. 79, 81 44FREE 32 .... 186 72.. S.D.R.F. 162 83 .... Dual 16 91 ... Sharpe Instruments 170 33 .... Dynaco Inc. 56, 185 89 .... Sherwood Electronic Lab-

oratories, Inc. . Cover IV 228 PAGE Eico Electronic 34 .... 73 .... Shure Brothers, Inc. 116 CATALOG Instrument Co., Inc. .. 171 74 ... Sonotone Corporation 72 41 .... Electro- Voice, Inc. Cover III 75 .... Sound Reproduction Inc 184 35 .... Elpa Marketing 77 .. Superscope, Inc. Industries, Inc. 13 62, 64, 65, 66, 67 36 ... EMI, See Scope Electronics 78 .... Sylvania Electric 108.... Empire Scientific Corp. 9, 10 Products 164 37 .... Finney Co., The .. 170, 185 79 .... Tandberg of America, 48 .. . Fisher Radio Corp. Tl EEEC1NONtS Inc. 145 RADIO Cover II, 1, 85, 87, 89 80 .... Tape -Mates Club 184 20 ... Telex 176 Garrard 19 -50 81 .... Ton- Magazin 182 38 .... Gramophone, The 183 Don't miss the 100's 39 Greentree Electronics 68 82 Records 170 of amazing $$$ savings ...... United Artists on Complete Systems, 83 United Audio 16 components and kits Harman -Kardon, - 40.... Inc 52, 53 84 . University Loudspeakers 78 wind ONLY at BA! 42 .... Heath Company 14, 15 85 .. Utah Electronics Corp. 155 43 .... Heath Company 148 URSTEIN -APPLEBEE CO. 44 .... Heath Company ... 149, 150 86 ... Vanguard Records 143 Dept. 56,1012 McGee St., Kansas City 6, Mo. 87 Viking of Minneapolis, Rush me FREE 1965 B -A Catalog 45 .... Heath Company 151 .... 46 ... Hi- Fidelity Center 182 Inc. 88 Name

Address 47 ... Inter -Mark Corp. 11 88 .... Weathers 69 21 .. Wharfedale 94 City State 59....JansZen Loudspeakers . 12 Wyeth Press 142, 163 CIRCLE 22 ON READER -SERVICE CARD 186 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Model SP12B Coaxal $41.25 list. Model 12TRXB 3 -Way $73.50 list. The Best Buys Are Better Than Ever!

Take a close look at the all -new Electra- and 12TRXB look better and sound better and figures, on appearance, and finally Voice SP12B and 12TRXB custom loud- than ever before. with your own critical ear. In every way full measure of satis- speakers. Speakers with the honest beauty No mystery about why they sound so these speakers give a beauty is that they of precision ... created by the sure, deft good. Every detail of design has been faction. And the real priced. hand of a master designer. refined, every manufacturing tolerance are very modestly tightened to assure the highest level of Here is beauty with a reason beauty ... and engineering in- that actively mirrors the superb perform- musical performance in your high fidelity system. ance of these famous speakers. Chosen for tegrity over a decade as "best buys" by listeners We urge you to carefully judge the SP12B and laboratories alike, now the SP12B and 12TRXB on every basis ... on facts

ELECTRO -VOICE, INC., Dept. 1044H, Buchanan, Michigan 49107 SETTING NEW STANDARDS IN SOL ND

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www.americanradiohistory.com Should Sherwood's new solid -state amplifier be rated at 150 watts? ... 300 watts? ... or 100 watts?

Audio power should be one of your major criteria of amplifier performance. The important thing is to use the same yardstick of comparison. Among responsible component manufacturers, the commonly- accepted expression of audio power today is "MUSIC POWER" -the amplifier's output capability across the full spectrum of orchestral sound. If you simply like to play with bigger numbers, multiply Wait till you hear MUSIC POWER by two (the way some manufacturers do) Sherwood's new Tan- and you get "PEAK POWER ". It's exactly the same rating g lewood 4 -way speaker system! but it looks twice as powerful. Each six -speaker system handles 75 But the really important measurement is "CONTINUOUS watts of program material. Unique de- SINE -WAVE POWER" with both channels operating sign of dual, 10" simultaneously. This is the meaningful measurement, used unifies woofers achieves unprece- in laboratory work. It separates the wheat from the chaff. dented 34 -cycle closed -box resonance. Overall re- Sherwood's new S -9000 delivers 150 watts of MUSIC sponse: 29- 17,500 POWER ... 300 watts of PEAK POWER ... and 100 cps ± 21/2db. watts of CONTINUOUS SINE -WAVE POWER at $219.50 less than 1/2% harmonic distortion. (At normal levels, distortion never exceeds 0.15 %) . Unequalled power - by any standard - is just one of the important engineering advances built into the new Sher- wood solid -state amplifiers. Here are some more :

Military -type Silicon Transistors. Used exclusively throughout Sherwood circuitry. Twice the heat -reliability of ordinary ger- manium transistors. Safe for even the most confined custom installations. Exclusive transistor short- circuit protection. (Pat. Pend.) New system virtually eliminates transistor failure or fuse replace - ment- due to shorted speaker terminals or other improper operation. Additional features: Phono input noise less than -65db., with no microphonics or hum / Professional Baxandall tone controls / Tape monitoring and tape -head playback facilities / Stereo headphone jack with speaker disabling switch / Glass epoxy circuit boards / Compact size - 14" x 4" x 121/2" deep.

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Model S -9000 / solid- state, integrated stereo amplifier / $299.50 Prices slightly higher in Far West

For complete specifications and new catalog, write Dept. H -10. HIGH FIDELITY SHERWOOD ELECTRONIC LABORATORIES, INC., 4300 NORTH CALIFORNIA AVENUE, CHICAGO, ILLINOIS 60618

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