A PREVIEW OF NEW FALL RECORDINGS 60 cents

AUGUST '- THE MAGAZNEMUSIC LISTENERS

Affif#10#####ll magnetic recording, with advice on

www.americanradiohistory.com INTRODUCING A NEW SERIES OF COMPONENTS BY PILOT The only thing more impressive than the sound is the price.

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Always playing, always tracking . , , right side up or upside down. The sensational Empire Troubador demonstration of a continuously rotating turntable amazes the crowds at hi fi shows across the country. Right down the line, America's music magazines have been using some well- turned phrases in editorial evaluations of the Troubador. High Fidelity found the Troubador empire to be a "precision- engineered product of the highest quality . .. wow, flutter and rumble completely inaudible." Audio said: "precise performance ... an excellent troubadour buy ... no acoustic feedback." American Record Guide: "... these (performance) figures have not been bettered by any turntable I have tested." If you think you've never heard the Troubador, think again. More stereo FM radio ...world's stations across the country use the Troubador than any other record playback most perfect system. As Don Hambly, station manager of KRE AM / FM said: "The Empire tables have all the basic requirements of design and simplicity of operation and record playback maintenance." The Empire Scientific Corp. turns out a limited number of Troubadors for the music system lover who appreciates the very finest in record playback systems. EMPIRE Scientific Corp., 1075 Stewart Ave., Gorden City, N. Y.

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The Pickering Model U38 /AT is a cartridge designed especially for the new generation of automatic turntables. A true STANTON Stereo Fluxvalve, it combines excellent hum shielding with high output for unequalled signal -to -noise ratio. High compliance is provided for the special turntable features while preserving the ruggedness demanded by automatic operation. Improved frequency response and A NEW KIND OF FOR A TOTALLY NEW REQUIREMENT! lower inductance make the new CAFTRIDGE Pickering U38 /AT a truly universal cartridge to match the universal features of the automatic turntable.

TECHNICANA: PICKERING Model U38 /AT is a STANTON Stereo Fluxvalve with a white body and black V -GUARD stylus assembly. Weight is 14 grams; Mounting centers: 7/16" to 1/2". Supplied with universal mounting hardware. $46.50 AUDIOPHILE NET

RESPONSE: ± 2 db from 20 to 20,000 cycles. CHANNEL SEPARATION: 35 db OUTPUT: 10 my each channel TRACKING FORCE: 2 to 5 grams IMPEDANCE: 47,000 to 100,000 ohms SHIELDING: Complete mu -metal

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The hermetically sealed STANTON Stereo Fluxvalve is warranted for a lifetime and is covered under the following patents: U.S. Patent No. 2,917,590; Great Britain No. 783,372; Commonwealth of Canada No. 605,673; Japan No. 261,203, and other patents are pending throughout the world. CIRCI.E 67 ON READER- SERVICE CARD 2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 4

high fidelity

Page 57

Music and Musicians

44 The Bach Cantatas: a discography Nathan Broder 48 What's in a Name? Leonard Marcus 50 Command Performance: recording sessions in Pittsburgh Shirley Fleming 26 Notes from Abroad: Vienna, 43 The Young Conductors: an editorial Robert C. Marsh 68 New Fall Recordings: a preview

A Special Section on Tape Recording 53 The Age of Tape Robert Silverberg 57 S.O.P. for Smooth Optimum Performance R. D. Darrell 60 A Guide to Tape Kits Len Buckwalter 104 Operas on Tape Ill Tape Cartridges Sound Reproduction 62 Equipment Reports EMI Model DLS -529 "Dutton" Speaker System Fisher FM- 100-B; FM- 200 -B FM Stereo (Multiplex) Tuners Garrard AT -6 Record Changer 111 High Fidelity Newsfronts Norman Eisenberg Reviews of Recordings

71 Feature Record Reviews Britten: ,Noyes Fludde (Sheila Rex, Owen Brannigan, et al.) Holst: The Planets () 73 Other Classical Reviews 79 The Imports Gene Bruck 94 The Lighter Side 99 Jazz 103 The Tape Deck

AUGUST 1962 VOLUME 12 NUMBER 8

Published monthly at Great Barrington, Mass. by The Billboard Publishing Co. Copyright O 1962 by The Billboard Publishing Co. The design and contants of High Fidelby Magazine are fully protected by copyright and must not be reproduced in any man., Second.class postage paid at Great Barrington and al additional moiling offices. One ye subscription in U. S.. Possessions, and Canada 36.00. Elsewhere 37.00. Indexed in the "Reader's Guide to Periodical Uhrrato,n ' Change of Address noticese and undelivered copies [Form 33791 should be addressed to High Fidelity. Subscription Dept., 2160 Patterson St., Cincinnati 14, O.

www.americanradiohistory.com Now you can enjoy the superlative re- wIV.w r r. Oat . «ew.,.. production and fidelity of prerecorded tape at the price you'd expect to pay high,,r,:fidelity for a record changer. Precision en- gineered, the RK -141 is equipped with its own 6- transistor stereo preamplifiers TI 1E AGF. OF designed to play back 1/4 track and 1/2 track stereo plus 1/2 track and full track monaural tape with true NARTB hi -fi 7Á1'F. The New tape equalization. Its tape handling mechanisms and heads are of a type Lafayette found in costlier units. Accepts all size 2 reels to 7". Measures 103%x143/8Wx Speed 5"H. Complete with cables. Shpg. wt., Stereo 17 lbs. RK -141WX Net 59.50 Playback Furniture Grade Walnut Base. Wt., 4 lbs. Cover Design: by Roy Lindstrom. Tape Deck RK -148W Net 6.95 Portable Carrying Case. Wt., 5 lbs. Complete with RK -147W Net 9.95 Built -in Roland Gelatt 6 Transistor SPECIFICATIONS Editor in Chief Frequency Response: Joan Griffiths Dual 71/2 IPS, 50-15,000 CPS -!- 2.5db; Executive Editor Playback rib 334 IPS, 50 -9.000 CPS 2.5 db Wow and Flutter: Norman Eisenberg Preamps 0.15% Or 71/2 IPS, 0.2% @ 336 IPS Audio Editor Cross Talk & Stereo Channel Separation: 50db Sue Severn Signal To Noise Ratio: 50db Managing Editor Playback Output with Built -In Stereo Playback Shirley Fleming Preamplifiers: 0.5V Assistant Editor The Magnificent AC operation 110 -120V, 60 cycles H. C. Robbins Fidelity European Editor Roy Lindstrom of Art Director Stereo- Tape Nathan Broder John M. Conly R. D. Darrell Alfred Frankenstein John F. Indcox Nothing Else To Buy! Robert C. Marsh Includes Stereo Contributing Editors Playback Preamps

Claire N. Eddings Director of Advertising Sales

Walter F. Grueninger Circulation Director

Warren B. Syer Publisher

A D V E R T I S I N G

Main Office Claire N. Eddings, The Publishing House Great Barrington, Mass. Telephone 1300 New York 1564 Broadway. New York 36 Telephone: Plaza 72800 ceTTAFAYETTE Seymour Resnick, Andrew Spanberger ^L. R A D I O Dept. WH2-1. P.O. Box 10, Syosset, L. I., N. Y. Chicago The Billboard Publishing Co.

188 1 Name FREE W. Randolph St.. Chicago Telephone: Central 6 -9818 Address Lafayette Thomas Berry Summer Catalog City Zone State Supplement Los Angeles 836 N. Fairfax Ave., Los Angeles 46 Mail Order Sales Center New York 13, N. Y. /Jamaica 33, N. Y. /Bronx, 58, N. Y. Telephone: Olive 1 -3180 Syosset, Long Island, N. Y. Newark 2, N. J. /Paramus, N. 1. /Plainfield, N. 1. / 10, Mass. Robert J. Friedman

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MARY MARTIN r New Wellington's Victory The (TIME OUT NARMONICATS RODGERS a HAMMERSTEIN'S t - BEETHOVEN ANDRE lie MR POMICI OUSa1n THE SOUND of MUSIC KOSTELANETZ }L, i1f N:k Ir-vt Peg O' My Head Wonderland ANTAL DORATI Deep Purple of naon s,mmnn> a, Tenderly Original Soundtrack C. on. a M,,,,er Sound" -9 More mi Caul ,cou rn,A l Recording lnlNt nn1ALl MAO SOWS in 9. Complete academy 24. "Ideal for stereo." 11. "He is champion o 22. "It soars and il 40. Battle Hymn of the 29. Also: Sabre Dance, 7. Do-Re -Mi, Uendle , 25. 13 top stars 14 Award winning score -High Fidelity recordings! "Newswk. swings. " -Playboy Republic, Dixie, etc. Mam'selle, etc. Maria, 17 in all classical and pop hits ONff: CONMINO MAIM BEETHOVEN] FRANNIE fME RRIOSe140RCINSrM AS A NEW MEMBER YOU MAY HAVE SYMPHONIES No. 4 and 5 LAINE WWI. raMom JAilLL ORMAROTrNlrty KILL MT III LEATHER r- WINNERS Nqh RNA MamEtn.D,nt. MIN luwo ElinglN BRUNO Mur, Train NYNCA WALTER mort 15 NW .tart CHWNHa S,n,hM d,CMSIf, 16. re- 5. No better need be 10. Also The Hangin 21. Also: Don Elliott, "Superb...best to $9.95 stereo 4 -track tapes -Wash. Post ought "- Allantic Tree, Rawhide, etc. of these $6.95 Gerry Mulligan, etc. cording." REX HARRISON LERNER a LOEWE ikRACHMANINOFF JULIE ANDREWS Rano Concerto No. 2 MV FAIR LADY CamOlot v BER INENTRE ROST RICHARD BURTON emoTHAL JULIE usr ANDREWS `G FOR ONLY RETAIL VALUE up to $29.85 ' ncwnHa age Omuta I. a Club now and agree to purchase as aalCol if you join the IcoLUr IA1 1 /. t N. T. PHILHARMONIC few as 5 selections from the more than 150 to be 12 28. °Packed with rowdy 5. The Rain in Spain . Complete score. "A 9. "Gorgeous colors. ' offered in the coming months Fidelity Me, 16 in all triumph. " -Nilgallen -Hi Fi Review gusto. " -High Show Bouquet SING ALONG TCHAIKOVSKY RAY of Love CONNIFF THE VIVA 0414! WITH The his orchestra PERCY FAITH MITCH SLEEPING and chorus STRINGS' XAVIER BEAUTY CONCERT 1nv,tahon CUGAT Ballet Suite Blue Moon anJ hrs IN '` O,ch. Eat'to Love 1 RHYTHM rose (47.7..;) IcoLurassul MAW ml,INSI Scum slims

A I Moonlight Bay, Ava- 13. sound." 30. Also includes:April . I'm AlwayS Chasm 4. Also The Boy Next 3. AIsO: How High th 47. Isle of Capri, SI. 31. Wonderful Guy, 4. "Fabulous alnbows, 12 In all Door, Bewitched, etc. Moon, etc. boner. Say Si Si, etc. Love , 12 in all Ion, 16 hits In all -Washington Post in Paris, etc. PERCUSSION OFFMNBACH: Bach OPERA OVERTURES EILEEN FARRELL ,,Trut, TN ORIENTALE Gaife rfaltisienne LESTER 5., 6me PUCCINI-ARIAS BIZET: Organ 104` DAVID Favorites i 4 LANIN THOMAS raoarE CARMEN HIGHLIGHTS SCHIPPEN CARROLL AT THE T,Ar6ct, LA E. Power oHEra Mid Me IN rosca Biggs TFFANY cH.mA, Orchestra Andre Ifostelamitt. sY® A..,, ® / BALL 27. "Exquisite,glitlers Bt. "A super soprano." 46. Caravan. In a Per 9. "A glittering per- 40. Rib Joint, With a 20. .. perfect in 45. Too Darn Hot, Be. 35. "Rich, bellowing throughout. " -Playboy -The New Yorker sian Market, 9 more formante... " -Billboard Song in My Heart, etc. stereo." -High Fidelity witched, 43 hits in all sound. " -Hi Fi Review

HERE AT LAST is a convenient method of chase 5 tapes from the more than 150 to be SEND NO MONEY -mail coupon to receive 3 tapes for $5.98 acquiring, systematically and with expert offered in the coming 12 months. Thereafter, guidance, a stereo tape library of the music you have no further obligation to buy any COLUMBIA STEREO TAPE CLUB, Dept. 402 -7 CIRCLE 3 you enjoy most -at truly remarkable savings! additional tapes . and you may discon- Terre Haute, Indiana NUMBERS: The selections shown here are typical of the tinue your membership at any time. be offered wide range of entertainment you'll FREE BONUS TAPES GIVEN REGULARLY. If you I accept your special offer and have circled 2 15 29 each month - every one reproduced with all wish to continue as a member after purchas- at the right the numbers of the 3 tapes I the flawless clarity and brilliance of modern will FREE a would like to receive for $5.98. plus small ing five tapes, you receive - - mailing and handling charge. Enroll me in 3 16 30 pre- recorded stereo tape! pre -recorded bonus tape of your choice for the following Division of the Club: By joining now, you may have your choice every three additional selections you buy! 4 4 18 31 of ANY THREE of the outstanding -track The tapes you want are mailed and billed CLASSICAL POPULAR stereo tapes shown here - up to a $29.85 to you at the list price of $6.95 (Classical retail value - ALL THREE for only $5.98. $7.95; occasional Original Cast tapes some- I understand that I may select tapes from 5 19 34 what higher), plus either Division. I agree to purchase five se- TO RECEIVE YOUR 3 PRE -RECORDED STEREO a small mailing and handling charge. lections from the more than 150 to be of- 6 20 35 TAPES FOR ONLY $5.98 - simply fill in and fered in the coming 12 months, at the list mail the coupon today. Be sure to indicate SEND NO MONEY - just mail the coupon price plus small mailing and handling charge. which Club Division best suits your musical today to receive 3 tapes for only $5.98. Thereafter, if I decide to continue my member- 7 21 40 taste: Classical or Popular. ship. I am to receive a 4 -track pre- recorded bonus tape of my choice FREE for every three IMPORTANT NOTE: All tapes by 8 22 45 HOW THE CLUB OPERATES: Each month the offered additional selections I accept. the Club must be Club's staff of music experts selects out- played on 4 -track stereo play -back equipment. tape 9 24 46 standing selections for both Divisions. These If your record- er does not selections are described in the Club Mag- play 4 -track stereo tapes, Nome may rl'Ima.sc Print) 10 25 47 azine, which you receive free each month. you be able to convert it simply and economically. See You may accept the monthly selection for your local service dealer for complete details. Address 11 27 48 your Division . or take any of the wide variety.of other tapes offered to members of 13 28 Divisions . both in the Magazine .. or take COLUMBIA STEREO TAPE CLUB City Zone....slale NO tape in any particular month. LAPO, FPO addressees: write for special offer 300 1 3,.wcl Your only membership obligation is to pur. Terre Haute, Indiana J liucuras Distribution Curp., 1902 ® "Columbia," ..Epic," c. Marcas Bug. ui Columbia CIRCLE 27 ON READER- SERVICE CARD AUGUST 1962 5

www.americanradiohistory.com Now, for the first time, even the most advanced stereo control -amplifier...

The new Fisher X -101 -C - open.

Even if the new Fisher X -101 -C had an tility. But for immediate enjoyment of stereo component -as well as the end entirely conventional arrangement of stereo by even the least technically in- of all uncertainty on the part of the controls, it would still be by far the most clined members of the family, only the non -technical music lover. advanced single -chassis integrated 'must' controls (Program Selector, The X -101 -C is rated at 60 watts IHFM stereo control -amplifier in its power Stereo /Mono Switch and Volume Con- Music Power (30 watts per channel) class. That much is assured by its per- trol) are in view. The other controls - and features several important innova- formance. Its Hinged Control Cover, those that are not absolutely essential tions in addition to its Hinged Control however, makes it the first genuine all - for instant use of the amplifier - are Cover. The exclusive Fisher Tape -Play family amplifier in high fidelity history. concealed behind an attractive hinged System, for example, permits full use For the audiophile members of the cover. The result is the most unclut- of all controls during tape playback and family, the X -101 -C incorporates com- tered appearance and the most func- yet retains the convenience of monitor- prehensive controls of the utmost versa- tional operation ever achieved in a ing while recording. A front -panel jack

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is available for the connection of head- FREE! $1.00 VALUE! Write for phones, and a special switch can silence the Fisher Handbook, a 40 -page FISHER HANDBOOK the main speakers while the head- illustrated reference guide to custom stereo installations. phones are in use. A revolutionary new ----- u, Radio Corporation Fisher New! The Fisher X- 100 -B. circuit development permits direct 21 -25 44th Drive *MO connection of a center -channel speaker New, even more powerful version of the Long Island City 1, N. Y. without using an additional amplifier! famous Fisher X -100, a leader for many Please send free 40 -page Handbook plus com- plete specifications on the Fisher X -101 -C hear X -C moderately priced, high - See and the new Fisher -101 years among and X- 100 -B. at your nearest dealer. Even the briefest quality stereo control -amplifiers. The Name demonstration will convince you of its IHFM Standard Music Power rating has Address superb engineering logic and brilliant been increased to 50 watts -25 watts City lone State performance. Price $199.50.* per channel. Price $169.50.' 01905 *W.Inet or mahogany cabinet, $24.95. Metal cabinet, $15.95. Prices slightly higher in the Far West. Export: Fisher Radio International, In Long Island City 1, N.Y. Canada: Triinl Associates, Ltd., Wlllowdale, ont, CIRCLE 41 ON READER -SERVICE CARD AUGUST 1962 7

www.americanradiohistory.com AUTHORitatively Speaking

HIGH FIDELITY is gratified this month to present again a full -length feature from its long -time Contributing Editor and record reviewer Nathan Broder (for "The Bach Cantatas," turn to p. 44). Mr. Broder -a New Yorker by birth, education, and continued residence-is a well -known critic and musicologist. His latest projects include a series of essays on Mozart operas, for a forth- coming book on that composer, and continued work on a history of orches- tral music, for the completion of which he has recently received a grant from the Ford Foundation.

Since his graduation from Harvard in 1951, Leonard Marcus -who makes his first appearance in these pages with "What's in a Name?" p. 48-has been active as a writer and musician. His articles have appeared in various national publications, he studied un- der at Tanglewood for three summers, and for one season was assistant to Antal Dorati during the latter's tenure as conductor of the Minneapolis Symphony. For several years Mr. Marcus has been associated with the record industry, most recently as Manager. Information Services, for . With a chilly indifference to the needs of this column, our colleagues on the staff prefer to preserve total anonymity. However, we've finally managed to ex- tract from Assistant Editor Shirley Fleming a few facts other than self - apparent vital statistics (she's a tall, dark young woman, and speaks in accents un- mistakably of Georgia). After being sent to school in Virginia, Miss Fleming proceeded further north to Smith Col- lege, where she stayed on to follow her A.B. with a master's degree in music. At some point along the way, her affec- tions were transferred from the piano to the viola and there they have re- mained. In addition to writing of re- Precious handful of sound cording activities for HIGH FIDELITY (see "Command Performance," p. 50) Miss Fleming also reviews live concerts for This hand cradles the finest pickup cartridge in the world. The Music Magazine. And on those is to sound rare occasions when she's had enough The ADC -1 high compliance stereo cartridge the key pure, truthful - of music of all kinds, she takes to horse- the very heart of living sound within the microgroove. back riding and mountain climbing. This cartridge is years ahead of its time. It is made for people of sound judg- This issue's special section on tape re- hidden qualities, the subtleties of timbre and cording features familiar names: Robert ment and rare appreciation of the Silverberg writes on "The Age of Tape," tone, which all too often vanish before they have uttered their message of fidelity. p. 53: R. D. Darrell plays his usual role of mentor with "S. O. P. for Smooth In combination with the new Pritchard tone arm, you have the most remarkable Optimum Performance," p. 57; and system available today. Len Buckwalter offers "A Guide to Tape Kits," p. 60. These chores for us For complete information on the ADC -1 and the new Pritchard tone arm, write today. finished, Mr. Silverberg and Mr. Buck - walter are having brief respites-the former bringing up a kitten (called ADC -1 Specifications sometimes Fred. sometimes Aida). the TYPE: Miniature moving magnet STYLUS TIP MASS: .5 maligrams latter teaching his two -year-old daughter the intricacies of Morse Code. The in- AND VERTICAL COMPLIANCE: SENSmVrrY: 7 millivolts per channel ± 2 LATERAL defatigable R. D. D. is catching up on x 10 -6 cms/dyne minx -mum db at 1,000 cps (6.s cm /sec recorded velocity) 25 his correspondence with other tape FREQUENCY RESPONSE: 10- 20,000 cps ± 2 RECOMMENDED LOAD IMPEDANCE: enthusiasts. db 47K ohms FORCE: .75 CHANNEL SEPARATION: 30 db, 50 to 7,000 RECOMMENDED TRACKING cycles, comparable everywhere to 2 grams in top quality arms 1/2 " and Last month this column included the STYLUS TIP RADIUS: .0006° (accurately MOUNTING CENTERS. Standard 7/16" centers name of Marcello Cortis, author of maintained) "Zoo of the Golden Throats." Short- ly after that issue went to press, we were saddened to hear that Mr. ADC AUDIO DYNAMICS CORPORATION Cortis had died, suddenly of a heart Pickett District Road New Milford, Conn. attack. CIRCLE. 12 ON READER -SERVICE CARD 8 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Don't buy it just because it's the world's best seller.

(There are 7 better reasons for choosing the Fisher 500B integrated stereo receiver.)

1. All-in-one design: FM Stereo Multiplex tuner, stereo control -preamplifier and r stereo power amplifier, all on one superb chassis, only 131/2" deep by 171/2" wide by FREE! $1.00 VALUE! Write for the 1962 Fisher Handbook, a 40 -page FISHER a it's ready HANDBOOK 53/4" high. Just connect pair of speakers and to play! illustrated reference guide, idea 2. Ultrasophisticated wide -band FM Multiplex circuitry, with 0.7 microvolts sensi- book and component catalogue for tivity for 20 db quieting at 72 ohms (2.2 microvolts IHFM Standard), four IF stages, custom stereo installations. stability. absolute Fisher Radio Corporation 3. Exclusive Stereo Beam indicator, the ingenious Fisher invention that shows 21- 2544th Drive instantly whether or not an FM station is broadcasting in stereo. Long Island City 1, N. Y. 4. High undistorted audio power: 65 watts IHFM Standard stereo music power at less than 0.8% distortion. Please send free 40 -page Handbook, with com- plete on the 500 -0 and 800 -B. 5. Master control -preamplifier section of grand -organ versatility and simplicity. specifications 6. Magnificent styling, with architectural brass -finish control panel and beautifully Name finished walnut or mahogany cabinet.* Address 7. The Fisher name. (No comment necessary.) Price, $359.50.* The Fisher 800 -B, virtually identical but also including a high- City sensitivity AM tuner, $429.50.° 011101 J 'Cabinets $24.95 extra. Prices slightly higher in the Far West. Export: Fisher Radio International, Inc., L.I.C. 1, N. Y. Canada: Tri -Tel Assoc., Ltd., Willowdale, Ontario CIRCLE 41 ON READER -SERVICE CARD Aucusr 1962 9

www.americanradiohistory.com all- transistorized New Sony Sterecorder 777

Sf1 i :71 the first / complete /portable /all- transistorizec'high fidelity PROFESSIONAL RECORDING & PLAYBACK SYSTEM

The most advanced achievement in recorder engineering to date, the superb new Sony has also developed a complete port- remote- controlled professional Sterecorder 777 series features the exclusive and patented able all- transistorized 20 watt speaker/ Sony Electro Bi- Lateral 2 & 4 track playback Head, a revolutionary innovation that amplifier combination, featuring separate permits the playback of 2 track and 4 track stereophonic or monophonic tape without volume, treble and bass controls, mounted in a carrying case that matches the Sterecorder track width compromise - through the same head ! Included in an array of outstanding features are individual erase /record /playback 777. $175 each. Also available is the MX -777,a six channel heads, professional 3" VU meters, automatic shut -off, automatic tape lifters, an all - all-transistorized stereo /monophonic mixer solenoid, feather -touch operated mechanism, electrical speed change, monitoring of that contains six matching transformers for either source or tape, sound on sound facilities, and an all-transistorized military plug -in balanced microphone inputs and recorder type circuitry for simple maintenance. The three motors consist of one hysteresis outputs, individual level controls and channel synchronous drive motor and two hi- torque spooling motors. selector switches, Cannon XL type receptacles, Unquestionably the finest professional value on the market today, the 777 is avail- a switch to permit bridging of center staging able in two models, the S -2 (records 2 track stereo) and the S -4 (records 4 track stereo). solo mike. $175 complete with matching car- Both models can reproduce 2 and 4 track tapes.* And, the Sterecorder 777 models will rying case. The integrate into any existing component system. $595 complete with portable case and first/ complete /portable /all -transistor- remote control unit. ized/high fidelity /professional recording & playback system: $1120 complete. *Through the exclusive Sony Flert ,-o Bi- Lateral 2 and 4 track playback head. Sold only at Superscope franchised dealers. The better stores everywhere. For additional literature and name of All Sony Sterecorders SUPERSCOPE The Tapeway to Stereo nearest franchised dealer write Superscope, are Multiplex ready! Inc., Dept ¡, Sun Valley, . CIRCLE 89 ON READER-SERVICE CARD www.americanradiohistory.com Now there's no reason why anyone can't own a Fisher!

Introducing the new Fisher KX -100 StrataKit...

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I N I I I r1 t

There has never been anything like it. You invest $129.50 plus a few evenings of r FREE! $1.00 VALUE! Just published! highly entertaining work-and you are the owner of a Fisher amplifier rated at 50 The K!t Builder's Manual: a new, The power (IHFM Look again at the price and the power illustrated guide to high -fidelity Kit Builder's watts stereo music Standard). kit construction Manual output figure. They are not typographical errors. You don't have to look again at Fisher Radio Corporation the name. We know that you know what Fisher means. 21 -25 44th Drive Long Island City 1, N. Y. era, But even if the KX -100 were not the most astonishing kit value of the stereo Please send me without charge it would be worth building just because it is a StrataKit. The StrataKit method of The Kit Builder's Manual, complete with detailed information on all kit construction is the exclusive Fisher development that enables a totally unskilled Fisher StrataKits. and inexperienced person to achieve the same end result as a professional labo- ratory technician. You can't help ending up with a faultless Fisher product when Name you build a StrataKit. In addition to more watts per dollar than any other top -quality amplifier, the Address KX -100 features all the standard control and switching facilities plus a few remark- lone able extras: A front -panel headphone jack with speaker silencing switch... full tape City monitoring facilities with the famous Fisher Tape -Play System...a High Filter State and a revolutionary new permits direct connection of a center - switch... circuit that 01811 channel speaker without using an additional amplifier! Yes. All that for $129.50.* L .1 Associates, Ltd., Willowdale, Ont. *Walnut or mahogany cabinet, $24.95. Metal cabinet, $1595. Prices slightly higher in the Fe, West. Export: Fisher Radio International, tnc., Long Island City 1. N.Y. Canada: TriTel CIRCLE 41 ON RF:A1)ER -SF:RV ICE CARI) AUGUST 1962 11

www.americanradiohistory.com Reader's Digest MUSIC, INC.,

GOO T'AR MELACHRINO STRINGS j //URIC OF CONCERTOS JEROME KERN Julian Bream OF THESE SMOKE CETI IN TOUR EVES. ALL THE TMINSI TOM ARE 349. The Song is You, The 368. Warmly romantic A N Tune I Y Last Saw Paris, Yes. concertos played with terdays, more. dazzling virtuosity. DESMOND BLUE Ht, R(CORDIH I GERSHWIN RAVEL LET THE MI TIRES ROLL i= PAUL DESMOND, I MARIAN GOOD -TIMM JAZZ BY NEIFETI CONCERTO IN F ! Alto Sax, With Strings DAPHNIS CUBAN OVERTURE MY FUNNY vulENTiNL ANDERSON PRIMROSE RHYTHM" AND TURK IRURPHY '&1 _I GOT VARIATIONS BODY AND SOUL NUS CHLOE IATICORSKY COT THE And Ils SAR FRANCISCO SAU BANG! I SHOULD CALL WHOLE WORLD CHARLES B.erAeree MUNCH Mt .17. IN NIS NOS rr BOSTON / i OTHER SYMPHONY rsn, 12x1 ORCHESTRA ScAvsert BOSTON POPS / FIEDLER SPIRITUALS nwMlulfi.r EARL WILD. P+Mst IKIARK tGsunti AVO US MAN t.R. 371. One of the out- 341. New calypso album 378. Brubeck alto sox star 369. Her first recording in 366. -rdsively the best." 379. Wild Man Blues, Tin 330. "Electrifying, precise standing Gershwin discs." Belafonte fans have waited ploys lush ballads with many years -superbly - r. Stereo Review. Roof Blues, Sweet Georgia stylistically -High Fidelay, fort elegant." - 6 years strings, harp, woodwinds. moving new performance. Stunning sound! Brown, more azz. HIFt /Stereo Review.

SCHUBERT COOL SONS SOIIJSA FRANKIE CARLE UNFINISHED OF THE WATER PIONEERS FOàAEVElF3! A CARLE -LOAD SYMPHONY No. 5 TUMBLING OF HITS TUMBLEWEEDS MORTON GOULD 4,*14' BAND WHEELS Ano ln. GROFÉGRAMO CANYON SUITE \ ANA II. TAUTATUEE - ILL 1ROVCN - RttvsGtOR -S YICIORY MAOAMA IRTTLLLI Remer/Chlclo Symphony x01101 Goulu , U IODINE TWA 324. The divine Schubert 292. Also Red River Volley, 297. Includes The Thon 304. HiFi spectacular of 311. Met's new si -i s -.tlo. 313. Definitive recording 364. Pianist cloys 25 great masterpieces in glowing The Last Round-Up, 18 derer. 14 Sousa strutters colorful Grofé, bombastic sings arias from Verdi and of a superbly romantic hits- Srardust, performances. Western gems. Candy, in walloping sound! Beethoven. Puccini operas. masterpiece. Solitude, etc. PEOROtEr ALEXANDER WILD THE TRAPP 40 SONGS NEVSKY FAMILY SINGERS LET'S DANCE WITH KONDRASHIN;:"Th IIEINEI/CNICA60 BTNPNOMT THE THE THREE SUNS IOSAUND LUAU Messo worm PERCUSSION w3 7 VAN

CLIBURN i 0' AND HORNS APLENTY CONCERTO No. 3 DICK SCHORY'S i.! RACHMANINOFF Mma. FIEOL BETONR POPS 334. Stirring epic of 291. Rich Spanish . Gypsy 278. Ssionistt, 246. Trapp family sings My 233. Danceable versions 224. "= :.s,onately roman- 215. Definitive versions of heroism and valor- thril- moods spun by the leer. bristling crass The corps. Favorite Th:ags, Do-Re-Mi, of 40 hits by Kern, Porter, tic :endid playing." Gershwin's most populor lingly performed. less Flamenco guitarist. Peanut Vendor, more. more show "greats." Rodgers, others. classics.

IBACH -.. Two Part Inventions Schubert Three Part Invention) "DEATH AND THE MAIDEN"! LANDOWSKA . GLENN IUtLLIARD STRING MARIO LANZ - AL HIRT ,,íATII QUARTET MILLEIITIS TIE GREATEST MElICN11sO 01CeE111A THE - HORN IN - t SIP CAI Imam DESERT + ; e. THE WORLD 1110011UNIT SIBELIUS Autumn Begin the Begulne J SONG VIOLIN CONCERTO Leases NUM CHICAGO SYMPHONY Stella by Starlight 1R11F WALTER HENDL t 11106E NID

323. Called the greatest 303. One of Heifetz' 274. And 10 more by TV Also 10 1. more soothing 145. Also Kalamazoo, 326. Warm, ardent read- 25e. Romberg's irresist- harpsichordist of all time! greatest recordings! Stir trumpet star with swing instrumentals - While Tuxedo Junction, String of ing of this melodic work. ible score magnificently )Reg. L - Tingly 7 Pb; amyl beautiful music. band and strings. We're Young, Estrellato. Pearls, 6 more. Also Quartet No 12. sung by the late . OFFENBACH. This 3 -disc set counts as 3 selections. THE WILL BRADLEY Write GA1TE PARISIENNE RECORDED IN each number separately on card. JOHNNY GUARNIERI BAND KN ACII AT UHIAN GAYNE BALLET SUITE NEAPOLITAN BIG BAND B000 Puccini RrAw,oR MANDOLINS * WOOGIE T111:ANOOT

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RAVEL & THE MARCHES IN HI -FI ERICH LEINSDORF GUy WARREN TCHAIKOVSKY FIEDLER, BOSTON POPS conductar IlEBUSSY QUARTETS COLONEL ROOKY BIG SOUNDS CONCERTO NO 1 SEMPER FIDELIS AFRICAN VAN CLIBURN HITSa;PRADO CsNRCtN, DRUMS NO)RRASNR MAMBOe5 V PATRICIA i

932; 952 -A; 952 -6. Complete opera w CHERRY PINK & APPIE bretto. Celebrated cast! Bravos from the r,,i SOM WHITES The Turandot one has waited for and it super- I MAMBO JAMBO sedes all previous albums. " -N Y Times. "II w rooks as o milestone." -HIFi, Stereo Review. 318. The two master. 281. And 8 mere of his top 89. Powerful native Afri- 5. The first classical L.P. 54. Rousing marches by pieces of French impres- Latin dance band hits in can percussion! "Fascinat- of all time to sell over 1 Gershwin, Sousa, sionist . "new sound." Verdie ing." says Variety. million copies! Herbert, Willson, etc. CIRCLE 73 ON READER -SERVICE CARD 12 HIGFI FIDELITY MAGAZINE

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S if you join the new RCA Victor Record Club now and agree to purchase only 6 VICTOR RECORDS records during the GREAT RCA f°. next 12 months. IN YOUR CHOICE OF STEREO OR REGULAR LONG -PLAY THROUGH THIS SPECIAL OFFER you may choose ANY 5 of the superb records shown on these pages for + THE SLIGHTLY FABULOUS STEREO only $1 (plus a small handling and postage charge). Thereafter, RUBINSTEIN ] if you wish, the new RCA Victor Record Club will help you LIMELITERS Mann CONCERTO No.24 ACTION UNLIMITED I build an audiophile's "dream library" of recordings by great stars such as Van Cliburn, Harry Belafonte, Rubinstein, Reiner, Heifetz, Fiedler and many other famous artists from the fields of Popular and . And, you acquire your records at your own pace -at substantial savings. BELOVED MUSIC THRILLINGLY REPRODUCED ¡Ma= cAR FOLL OW From the moment you slip one of these great records out of its a, intimate 367. Hauntingly beautiful 363. Amusing, amazing 348. Won 2 Academy jacket you understand why the RCA Victor reputation for ncert by top performance of o glitter- showpiece- various Awards -for Best Score, quality is so well deserved. And, when your stylus settles into nedy trio. ing classic. artists. STEREO ONLY. Best Song (Moon Riven I the first groove you know that here -without the shouts and the hoopla and the maze of frequency response charts-here is .Cirhrs/raurt . 5alortsir ' true high fidelity. You hear music with a brilliance, vitality and Bach BOSTON On / realism that only RCA Victor's long years of experience can you all your Motet THE MEN OF THE/ capture. For these are records created to bring that ROBERT SHAW r equipment can deliver! No. 3 CHORALE Cantata THE SEA SOME OF THE ADVANTAGES YOU GAIN As a member of the new RCA Victor Record Club No. 4 Debussy - You Receive FREE the exciting new monthly magazine, Reader's SHAW Ibert PORTS OF CAL sgúNwNY ORCNCSr RA Digest Music Guide. In addition to describing the hundreds of CHORALE csossTRLeN records offered to members, your Music Guide takes you favorites by is affirmation o 314. The glory of 330. Beloved favorites 357. Salty "behind the scenes" through fascinating stories about music lusty male chorus. Blow The igh the powe Debussy s "Sea" splashed beauti!ully arranged to and its outstanding personalities. susic. in brilliont evoke a tender mood. Mon Down, Shenandoah. You Receive Expert Guidance in your choice of records from the Music Guide editors. They help you avoid expensive mistakes in mom the building of your lifetime record library. You Enjoy "Arm- Chair" Shopping Comfort in choosing the fAVORITE records you want from the Music Guide in your own home. CHOPIN K And you pay for your records only alter receiving them and while you are enjoying them. Prices paid by members are shown /1 in the Music Guide (usually S3.98- 54.98- Stereo: SI.00 extra) t.ru 7t - plus handling and postage. You Receivo 1 FREE Dividend Record of your choice for every two records you take, after purchasing the 6 records you agree Mighty surge of tone, 376. Sweet Leilani, To c film score con - 356. First solo recording) 317. to take when you join on this Special Offer. Free records are rriginol version of Includes C-Sharp Mino blending a great organ You Sweetheart Aloha, Waltz, Polonaise, others with full orchestra. Now Is the Hour, more. exactly the same quality and value as those you purchase, and 'erne. you have a wide choice from many hundreds that will be offered. MAH LE R: SEND NO MONEY NOW PIANO SYMPHONY On this Special Offer send no money with the postage -free card No.4 accompanying this advertisement. You will be sent the 5 records FORTE of your choice at once -and you may later remit only SI, plus a few cents postage and handling charge, for all 5 records. ;r PETER But you should act at once-while this Special Offer remains open. Write the numbers of the 5 records you want on the NERO postage -free card and mail it today. If card has been removed, REINER CHICAGO SEMPROS, 950 and 950A. The actual LISA DELLS CASH write Carnegie Hall Concert - directly to: 34 riginal 342. Piano, full orchestra. 335. The haunting malesttc recorded LIVE! RCA Victor Record Club, c/o Reader's Digest Music, Inc. Br y Look Over The Rainbow, N'ght score fea Lures an exquisite Two -record sot. Writ* P. O. Box 5, Village Station, New York 14, N. Y. and Day, many more. vocal solo. M. both numbers on cord. TNcer RADIO CORPORATION OF AMERICA

A THE VOICES OF RACHMANINOFF VIVALDI R WALTER SCHUMANN CONCERTO No.2 The Eon rSrn.`on.h LONG OUT OF PRINT! BACK BY REQUEST! G LISZT CONCERTO No WHEN CI WE Vol. 2 Glenn Miller, 00 t co WERE 1 + '' j¡L AL .-f[.T I YOUNG J° Vol. 2 RUBINSTEIN SOCIETA CORELLI HIS ORCHESTRA 370 74. 12 romantic wohzes. 299. Two of the most bill- 333. As colorful and re- AND Brand new pressing of Thi Ramona, Grrl of My Dreams, ions piano concertos ever freshing os the change of 60 irreplaceable musical seosons. sect Always, more. recorded. ' masterpieces! Includes 5- Record Edition Indian Summer, Along INSKY De Luxe Gold the Santa Fe Trail, 1 PETROUCHKA Dreamt I Dwelt In Harlem, SYMPHONY INCLUDES 16 -PAGE MONTEUR SOUVENIR PROGRAM Daddy, Heaven Can Wail, Sunrise Serenade, If you prefer this 5- record Col- My Heart Belongs to Dad- lector's Album instead of five dy, April In Paris, Blue Falling Leaves. MELACMRINO ORCHESTRA others, check the special box on Orchids, Tenderly Dune Seplenke Sep WORKSHOP the order card. (Regular Long -Play only) 24. Plus Too Young, 97. Gershwin ploys his 280. Guitar virtuoso plays 325. Monteux pioneered M Warsaw Concerto, Char. own Rhapsody in Blue - Lullaby of Birdlond, Mane, this work and made it im- "lame, others. in hi.fi and stereo! Whtspenng, 9 others. mediately famous. CIRCLE 73 ON READER- SERVICE. CxH11

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Figaro in Vienna

Sm: In his article on the Czech Philharmonic [HIGH FIDELITY, May 1962], Paul Moor writes: "When the Vienna Court Opera with New first presented that effervescent Mozart masterpiece [The Marriage of Figaro], "Professional Length" it inexplicably laid, to use Bert Lahr's phrase. a cake-i.e., twelve eggs." Like BY hell it did! I have no idea what prompted Mr. Moor to make this gratuitous con- tribution to that chapter of the folklore of music appreciation known (or not) as The Legend of the Composer Unap- preciated in His Own Time, but for the record I cite the following. from the memoirs of Michael Kelly, the Irish tenor who sang the roles of Basilio and Don Curzio in the premiere: "At the end of the opera I thought the audience would never have done with applauding and calling for Mozart: almost every piece was encored. which prolonged it nearly to the length of two operas. and induced the Emperor to issue an order on the second representation that no piece of music should be encored. Never was anything more complete than the triumph of Mozart and The Marriage of Figaro. to which numerous over- flowing audiences bore witness." Henry Pleasants APO 80, New York, N. Y.

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Continued on page 22 CIRCLE 44 ON READER -SERVICE CARD 18 HIGH FIDELITY MAGAZINE

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ELECTRO- VOICE, INC., Commercial Products Division, Dept. 822H, Buchanan, Michigan gLetercryeez. CIRCLE 37 ON READERwww.americanradiohistory.com -SERVICE CARD "Brine out sound HIGH FIDELITY PHONOGRAPH CARTRIDGES NOT HOW MUCH? BUT HOW GOOD? According to United Press' Preston McGraw, the Shure series M33 cartridges from records are "so good that a hard -shelled listener might suspect Shure engineers of not knowing what they had when they hung a price tag on them." We knew, all right, Mr. McGraw. Its just that we don't believe the best that more sounding cartridge need be the most expensive. The new Series M33, after all, was developed by the same team of engineers who developed the redoubtable Shure M3D series ... the world's first truly high fidelity stereo cartridge. Numerically, Shure has made more highest -quality stereo cartridges than any -expo ive other manufacturer -and they're used by more critics and independent hi.fi authorities than any other. Chronologically, Shure had a two year head start on the others. In short, Shure has learned how to make these critical components carte ges in the kind of quantities that result in lower prices. THE SOUND OP SPECIFICATIONS o not" Again quoting Mr. McGraw: "Professional engineers are largely impressed by specifications, and the specifications of the M33 (except for compliance) are not unprecedented. But the way it sounds is something else again. The M33 puts flesh and bones on specifications. It brings out sound from records that more expensive cartridges do not." He's right. To begin with, Shure specifications (as published) are not theoretical laboratory figures, or mere claims ... they are actual production standards. 20 to 20,000 cps. response may appear average. But what the bare specifications don't show is that the M33 series goes right through the audible spectrum without a hint of the break -up prevalent in most other cartridges. Also, it is remarkably free from disconcerting peaking at this frequency or that. Result: absolutely smooth, transparent, natural sound re- creation. (Inciden- tally, where would you find a record that goes from 20 to 20,000 cps. with genuine music on it ?) Separation is over 22.5 db. at 1000 cps. Much more than necessary, really. Again, the separation figure doesn't show that the M33's separation is ex- cellent throughout the audible spectrum. No cross -talk between channels. Even when an oboe plays. And the matter of compliance: 22 x 10-6 cm. per dyne for the M33-5. Now there's a specification) According to Mr. McGraw, the Shure stylus feels like a "loose tooth." And so it should. The incredible compliance of the M33-5 gives it the ability to respond instantly to the manifold and hyper -complex undulations of the record groove. Superior sound is one outcome of the superb compliance. Another is the ability to track the record at low force. The M33.5 will track at forces as low as any other cartridge on the market today.

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One other item: if your tracking force is 4 to 6 grams, the even lower cost M77 Stereo Dynetic will deliver the best sound you can possibly get from your cartridge -arm combination. THE ULTIMATE TEST Give a listen. In fact, compare the Shure M33 series with any other cartridge. regardless of price, in A -B tests (we do it all the time). If you are not impressed with the distinct difference and greater naturalness of the Shure, don't buy it. That's punishment enough for us. PRICES: Why spend more than you must? M33-5 and M33-7 net for $36.50 The M77 is only $27.50 If you insist on Shure when you buy, you can demand more from the rest of your system when you play ... write for literature, or still better, hear them at your high fidelity showroom: Shure Brothers, Inc., 222 Hartrey Avenue, Evanston, .

CIRCLE 82 ON READER -SERVICE CARD 20 HIGH FIDELITY MAGAZINE

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Continued from page 13

work. This, mind you, on public support and in the supposedly uncultured Mid- west. Plenty of live broadcasts, tapes of broadly based lecture courses on campus, plus five hours of good music daily (more on Sunday) all add up to get those highs excellent fare. If Mr. Silverberg were o taken as your authority, this network o,17 (and others in other states) simply do Aq not exist. even though they have been o,y in operation at this high level for years S longer than most of the stations to which IN?t -40 ON he refers. SyO w rHAT NEWCOMB PUTS John W. Anderson REPRoDUCES Madison, Wis. THEM FLAT AT FULL RATO Toscanini's Philadelphia Recordings

SIR: Thank you for calling attention to the neglected genius of in your "Music Makers" report on his Phila- delphia Orchestra recordings [HIGH FI- DELITY, June 1962]. It is a pity that sonic considerations should block from the public musical interpretations un- paralleled even by the Maestro himself. I have written to Mr. Kayes of RCA Victor of my support. Anthony Paterno Bronx, N. Y. Errata SIR: Two corrections are in order for my re- views in the June issue. with Mr. Leo Goldstein of Chicago, who is a living discography of practically everything in serious music. has reminded me that the first electrical recording made by the was the NEWCOMB Beethoven Fifth under Furtwängler, in My remarks. therefore, opener? Take your best source material, something rich in high waxed 1925. Want an ear and the Deutsche Gram - in. five -hundred -dollar stand corrected. frequencies. Record it with any tape machine the mophon disc under review should be re- class. Now record it on a Newcomb SM -310B (two track) or SM- 310-4B (four numbered as the third (and final) track). A -B the results. Yes, you can hear the difference. You can measure Furtwängler- Berlin edition of that score. the difference with. instruments. Newcomb holds up perfectly ; meets pub- The man. woman, or gremlin who lished specs at full rated ouput of 2.5 volts. This gives you a far better signal - edited my Mahler review has made me -noise Another feature that makes it possible to get those elusive seem guilty of referring to the "Phil- to ratio. record collec- on Newcomb recorders are built with receptacles for Newcomb adelphia Symphony." What highs tape- tor hasn't known for thirty years that it Humfree Plug -in Transformers. So equipped you can use long cords and low over - is the Philadelphia Orchestra? impedance microphones, preserve every tweet, twitter, transient, and Robert C. Marsh tone. Another feature the pros like- Cannon sockets are used for mike inputs. Chicago, Ill. The Newcomb new Series B models are the most foolproof, most depend- class. They are also easiest on tape , handle your pre- able machines in their High Fidelity, August, 1962 Vol. 12, No. cious recordings with maternal gentleness. Easiest to operate, too. Cybernet- 8. Published monthly by The Billboard only machines Publishing Co.. publishers of Billboard ically engineered; operation is intuitive. They are still the Music Week, Vend, and Amusement Busi- in their class that take 10%" reels, have four -digit counters, pointer -to- ness. Telephone: Great Barrington 1300. for both channels, blend con- Member Audit Bureau of Circulations. pointer recording level meters, mixing controls Editorial Correspondence should be ad- trol, ganged volume control, complete preamplification. For the perfectionist. dressed to The Editor, High Fidelity, Great Barrington, Mass. Editorial contributions Definitely. will be welcomed. Payment for articles Newcomb stereophonic tape recorder meets accepted will be arranged prior to publica- Each tion. Unsolicited manuscripts should be these specifications: SIGNAL-TO-NOISE accompanied by return postage. RESPONSE RATIO OUTPUT Subscriptions: Subscriptions should be ad- At 71 ips ±2 db Better then 50 db Average approx. dressed to High Fidelity, Great Barrington, 30. 15,000 cps 2.5 volts from Mass. Subscription rates: United States, Pos- cathode follower, 1 2 years, ±3 db Better than 45 db sessions, and Canada, year, $6; At 3% ips each channel 40- 10,000 cps $II; 3 years, $15; 5 years, $20. Elsewhere $1 per year extra. Single copies 60 cents. Write for a complete description. C ;I,.:!l Change of Address notices and undelivered (Form 3579) should be addressed to Humfree copies Cannon sockets for mike inputs, and receptacles for Newcomb High Fidelity, Subscription Fulfillment De- Plug -in Transformers are accessible from side of case. partment, 2160 Patterson Street, Cincinnati 14, Ohio. 38, CALIF NEWCOMB AUDIO PRODUCTS CO., DEPT W -8, 6824 LEXINGTON AVE., CIRCLE 63 ON READER -SERVICE CARI) 22 HIGH FIDEI.ITY MAGAZINE

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www.americanradiohistory.com We told you this was dangerous loudspeaker!

In the fall of 1960 we introduced you to the EMI bookshelf speaker system and warned you about its dangers. We told you that its effortlessly smooth, sweet, free -floating sound would be fatal to some of the bulkiest and most expensive loudspeakers by comparison -let alone other bookshelf speakers. We explained the psychological hazards of listening to the EMI Model DLS 529 after having purchased a larger, costlier, but not nearly as natural- sounding speaker system. And we cautioned you against the risks of exposing mediocre amplifiers, pickups or other equipment to the transient -perfect scrutiny of the EMI bookshelf unit. Despite our warning, thousands of you went out and bought EMI bookshelf speakers anyway. The rest is high fidelity history. Our loudspeaker turned out to be even more dangerous than we had thought possible. We knew we would come out far ahead of all competing designs, but we didn't really mean to start a massacre. When people get rid of three -hundred -dollar speaker systems and switch to our $159.00* unit, even we begin to feel a bit frightened. Of course, there's nothing we can do about it at this point, except perhaps to put the blame on EMI's world- renowned Dr. G. F. Dutton. It was he who designed the fabulous drivers of the Model DLS 529. He is responsible for the exclusive, hand -made 13'/2" by 8'/8" elliptical woofer with aluminum cone and special plastic suspension. Not to mention the two specially designed 3'/2" tweeters, the high -precision 4,500 -cps crossover network or the heavily rein- forced and damped 24" by 13" by 12'/4" enclosure. As for the magnificent walnut cabinet work, the superb finish on all sides (including the back!) and the elegant woven metal grille, certain highly skilled crafts- men must share the responsibility for that. So we have no choice but to go on living dangerously ... If you can now overcome your trepidation, we suggest that you listen to a pair of EMI's on good stereo material at your nearest dealer. Like climbing Mount Everest, it will be well worth the danger.

EMI (ELECTRIC AND MUSICAL INDUSTRIES LTD.) ENGLAND

*Higher in South & West. For further information, write Scope Electronics Corporation. a subsidiary of Symphonic Electronic Corporation, 10 Columbus Circle, New York 19, N. Y., exclusive distributors of EMI Preamplifiers. Amplifiers. Loudspeakers. Tuners, Recorders, Integrated Tone Arms and Pickups. CIRCI.E 79 ON READER-SERVICE CARI) 24 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Heathkit® puts professional quality into new low cost stereo tape recorder

Here's the latest example of the Heath ability to give you more for less ... the all new Heathkit 4 -Track Stereo Tape Recorder. Its obvious quality yields professional results (less than .18% wow & flutter at 71/2 ips). Its many extra FEATURES 1. D,e -Cast aluminum panel. features assure better, more convenient performance (see chart at right). Its 2. Speed change lever (7A 6 fast, easy circuit board construction makes any tyro confident of technical ex- 3.: ") 2. Seven inch reel capaci- ty. 4. Three -digit counter. S. cellence. Its versatility is remarkable ... record and playback 4 -track stereo Fast forward -rewind lever. S. tapes or playback 2 -track monophonic tapes ... use it as part of your stereo VU -type level meters. 7. Stereo /Mono record switch. S. Mixing music system or as a portable. Choose your model now: the Model AD -I2 level controls (mie. 6 line). S. provides the mechanism for playback of stereo or mono tapes (converts to a Microphone inputs. IS. Cath- recorder later by adding the electronics) $124.95; the model AD -22 includes both ode- follower output jacks. 11. Line inputs. 12. Record -play- mechanism and electronics for stereo record and playback, $179.95. Optional back lever. 13. 4 -track record - carrying case, $37.50. Accessory ceramic microphones, $9.95 ea. playback and erase heads. r Ordering Instructions: Fill out the Enclosed is $ end order blank. Include charges for parcel post according to weights shown. Es- press orders shipped delivery charges Name collect. All prices F. O. B. Benton Harbor. Mich. A 20% deposit is required on all C.O.D. orders. Prices subject to Address HEATH COMPANY change without notice. Dealer and ex- port prices slightly higher. Benton Harbor 8 y Michigan City Zan, State t J CIRCLE: 47 ON RF:.tI)ER- SERVICE CARD AUGUST 1962 25

www.americanradiohistory.com professional workhorses

These AR -2a speakers have been serving as portable monitors for recording sessions since 1959. They have been shipped, carried in taxis, NO1!S and stowed in car trunks. They have worked in studios, in concert halls, and, propped up on FROM logs, in.the Kentucky woods. They have presided over the recordings of a variety of artists - pianist Ann Schein, bandleader Eddie Condon, ABWAD folk singer Theodore Bikel.

Decca- London's pro- thirty -three symphonies have been suc- jected complete re- cessfully taped. Special emphasis was cording of Wagner's laid on the early works, and all but - VIENNA Siegfried (Georg Sol three of the symphonies numbered 1 -24 ti conducting) is now in the old Gesamtausgabe will be avail- under way, after the able to Haydn collectors this fall. most thorough prepa- No. 20 presented exceptional diffi- rations. Some advance takes with Hans culties because of the high horn parts Hotter (Wanderer), Gustav Neidfinger which cannot he played on modern in- (Alberich), and Gerhard Stolze (Mime) struments. With the help of a Viennese were completed in Vienna's Sofiensaal instrument maker. who built two horns this spring, and further sessions will in C alto especially for Goberman. take place in October. when Birgit Nils- that problem was solved. (There was son (Brünnhilde) will be on hand for another problem. however; playing the final scene. By then Decca- London these quasi -eighteenth -century instru- will also reveal what is now a closely ments proved to be so taxing that guarded secret here in Vienna: the name throughout the sessions two additional of the singer cast in the title role. horn players had to stand by ready to [Elm-roles NOTE: According to rumor, substitute for their exhausted colleagues.) Siegfried will be sung by the young Further efforts to achieve a historically German tenor Ernst Kozub. It is also authentic sound included reducing the rumored that Joan Sutherland will be number of string players to mid - heard as the Forest Bird.] eighteenth- century proportions: for the performance of symphonies without parts Haydn's Horns. America's Library of for trumpets and drums no more than Recorded Masterpieces. as earlier an- fifteen string players were used. nounced in these pages. will eventually During the sessions the control room bring out all the symphonies Haydn of the studio. located in the suburb of ever wrote. This spring Max Goberman Baumgarten. presented a strange mix- David Jones, the recording engineer who owns was again here to record with the or- ture of recording equipment and musi- them, brought them in to AR for a preventive chestra of the Vienna Volksoper. So far cological paraphernalia. Photostats of maintenance checkup. We made a few minor re- old manuscripts unearthed from dusty pairs that they didn't really need, replaced the archives in half -a -dozen Central Euro- pean countries were piled up to he con- grille cloths (a repair that they did need), and sulted whenever doubts as to correct took a picture of them. interpretation arose. Also on the scene was the Haydn specialist H. C. Robbins AR loudspeakers are often used in professional Landon (HIGH FIDELITY'S European applications because of their natural musical Editor is currently known in Vienna as "Mister Haydn- Urtext ") to advise on quality, but they are primarily designed for use matters of performance as well as on in the home. AR -2a's are $109 to $122, depend- the accuracy of the scores. ing on finish; other models are priced from $89 Incidentally. recognition of this pains- taking Haydn has to $225. A five -year guarantee covers the full recording project come from the Archive Production of cost of any repairs, including reimbursement of Gesellschaft. freight charges. Dr. Hans Hickmann of DGG came from Hamburg to arrange an agreement whereby A catalog and list of AR dealers in your area are the Archive Production will release the whole Haydn series to the request. available on general public. while the Library of Re- corded Masterpieces will continue to supply its own subscribers. ACOUSTIC RESEARCH, INC. 24 Thorndik St., Cambridge 41, Mass. Max Goberman: again in Vienna. Continued on page 32 CIRCLE I ON READER- SERVICE CARD 26 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 10.000 things Electronic To Enjoy -10,000 Ways to Saue in famous RADIO SHACK CORPORATION'S Brand New 1963 Electronics Catalog FREE for You & 2 Friends Mail Card Today

The Radio Shack Story Radio Shack Corporation of Boston, Massachusetts is one of America's big 3 distributors of things electronic to the general public, industry, craftsmen and hobbyists. We offer a com- plete selection of precision built products by mail, through stores, and direct to manufacturers. Our exclusive REALISTIC line of electronic products is famous nationwide for its high quality, dependable service and fine values. Our selection of national brand products is the largest in the country. Radio Shack Corporation has been serving the nation since 1923 -from the very beginning of the electronic age. This year over 2,000,000 people -music devotees, ham opera- over 10,000 items tors, amateurs and professionals -will shop from our catalog because they get the most value for every penny they spend Partial List of Products on their favorite products . . . they will buy on the easiest in our New 1963 Catalog terms, cash or credit ... they are assured by our guarantee of getting the most satisfaction on every purchase. Radio Amateur Radio Public Address Shack Corporation invites you and your friends Antennas Radios to get your share of these savings and satisfaction Batteries Resistors by mailing the card opposite for your FREE catalog. Books Tape Recorders Capacitors Test Equipment Controls Tools FRADIO SHACK CORPORATION Dept. 62H14C Hi Fi Transformers 730 Commonwealth Ave., Boston 17, Mass. Microphones Transistors Without obligation send me Free and Postpaid, your New Needles Tubes Electronics Catalog plus every new issue for one full year. Phonographs Wire Your name Address NO MONEY DOWN CREDIT TERMS City, State Take up to 2 Years to Pay Name of a friend 62H14D RADIO SHACK Address City, State

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www.americanradiohistory.com RECORDS IN REVIEW-1962/61 EDITION . now in preparation, will bring you in one con- venient book hundreds of reviews of stereo and mono records which appeared in High Fidelity Magazine in 1961- classical and semiclassical music exclusively. Edited by Frances Newbury, this hardcover book will save you countless hours in your dealer's listening booth or earphone corner. And it will help you build a distinguished collection of music YOU enjoy, for it is the most complete and authoritative book of its kind -the standard refer- ence work that gains in value as the years roll by. Each reviewer stands high in his field- Nathan Broder, for example, reviews Bach and Mozart,

Alfred Frankenstein the moderns . . . Paul Affelder covers the romantics, Robert C. Marsh specializes

in Haydn and Beethoven . . . Conrad L. Osborne writes on opera recordings. Forthrightly, they discuss the composition, performance and fidelity. And they compare new recordings with earlier releases. You'll find the reviews organized alpha- RECORDS IN REVIEW betically by composer for quick, easy reference - 1962 -/ 61 Edition and in the case of composers frequently recorded, the Seventh High Fidelity Annual, further subdivided by such categories as Chamber is scheduled for publication Music, Vocal Music, etc. You'll find, too, a special August 20, 1962, at section on Recitals and Miscellany. $6.95 The Wyeth Press, a Division of High Fidelity But you can order your copy The Publishing House, Great Barrington, Mass. now -for shipment the moment Send me as soon as published RECORDS IN REVIEW- 1962/61 Edition it comes off press -at the special -at the special prepublication price of only $4.95. I prepublication price of enclose payment.

only $4.95 Name

Payment with order -but satis- Address faction guaranteed, or your money back! City Zone State Foreign orders sent at buyer's risk. Add 25c for postage on foreign orders except Canadian.

ll HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Pardon us while we change our face

Some say that only women are privileged to change their minds, and their faces, whenever they choose. We disagree. And we have the courage of our convictions, because -from this day forward -Audiotape will be wearing a bright new face you've never seen before. We think you'll like the new Audiotape look, not only because it's fresh, clean and attractive but because it will now be easier than ever to select the type of Audiotape you need. We've assigned a distinct, highly visible color to each of the eight types so that you can locate your favorite immediately. We've also printed a description of the contents on every package- brief, simple and in large, clear letters. (No matter which Audiotape you favor, you're getting the tape that quality made famous.) Look for the new family of Audiotape packages. They're well worth your attention. I. AUDIO DEVICES INC., 444 Madison Ave., New York Offices in Los Angeles, Chicago, Washington, O. C. ÌRSp CIRCLE II ON READER -SERVICE CARD www.americanradiohistory.com NOTES FROM ABROAD

Continued Irons page 26

Recorded Souvenir. The happy few who ARE YOU BEING CHEATED? were able to get tickets for the open- ing night of the newly reconstructed and refurbished Theater an der Wien [see HIGH FIDELITY, June 1962, page 281 We at GRADO are constantly asked "How does a consumer were presented with a record entitled know which ads are truthful ?" "How can the consumer be sure "Theater an der Wien" and issued by that what he buys is really good ?" "What protection does the the Austrian firm Amadeo. The 12 -inch consumer have after he spends his money ?" He couldn't be sure disc contains extracts from the many until now! works -ranging from Fidelio to operettas like Rettelstudent and Griffin Mariza- 100% CONSUMER PROTECTION. Proof of GRADO integrity which have had their first performance and superb product quality is what we offer you with absolutely in this house since it opened in 1801. no risk on your part!! According to Heinrich Hiirdtel, Ama- deo's director, this company's recordings GRADO SENATOR CARTRIDGE -only some of which have so far reached A Genuine Moving Coil Stereo Cartridge $24.95 the States, on the Vanguard label -will now also be exported directly. Among CERTIFIED SPECIFICATIONS. After carefully controlled Labora- current releases will he another in Ama- deo's series of operetta recordings, Rob- tests the New York Testing the tory Laboratories certifies ert Stolz's latest operetta, Die Trarrmin- following specifications to be completely accurate. (Note: These sel. This work will have its first live specifications will be recertified at various intervals to assure performance at the Bregenz Festival, you, the consumer, of consistent quality). where an open -air theatre with a stage built out into Lake Constance will lend itself perfectly to the "Dream Island" SPECIFICATIONS - FREQUENCY CHANNEL CERTIFIED (New York RESPONSE: SEPARATION: suggested by Stolz's title. The recording Testing Laboratories) 20CPS -IKC- Vertical- lateral was made in the Vienna Konzerthaus =1DB 30DB -1KC under the baton of the eighty- two -year- 1KC -10KC- 18DB -15KC old composer himself. ' 1.5DB 45' -45° 10KC -22KC- 1KC Echt Ilofmannslhal. Another Austrian 30DB 2DB 15KC 14DB firm. Preiserrecords. recently completed a recording of Hugo von Hofmannsthal's APPLICATION: Output - libretto to Der Rosenkaralier. This Tone Arm or 8MV 10CMV "Rosenkaralier without music," though Record Changer Tracking Force - lacking Strauss's magic. has an attraction Excellent for 3 grams of its own. As one listens to Helmut Monaural Records Diamond Stylus Qualtinger speak in the authentically Austrian accents of Ochs von Lerchenau ONE YEAR UNCONDITIONAL GUARANTEE (From date of purchase). and to Kiithe Gold's appropriately If the cartridge becomes defective for any reason (including children) aristocratic Viennese idiom as the Mar - you will receive a brand new cartridge FREE!! schallin. one is hound to realize that Der Rocenkaralier is not at all a Ger- If the 5 YEAR DIAMOND STYLUS GUARANTEE. diamond wears from man opera. Hofmannsthal's language playing within 5 years of the purchase (even in a record changer) GRADO has a melody of its own which the Ba- will replace it FREE!! varian Strauss was able to follow. ex- singers who ADDITIONAL PROTECTION. You may return the cartridge to your plore. and exploit. and dealer for a full refund if you are not completely satisfied after ten days do not master that language cannot, of close listening in your own home. in my opinion, interpret the music cor- rectly. To find the proper idiomatic ele- THE EXPERTS SAY: ment in recordings of the opera one "Provided a tape like stereo effect with no instrument wander." has to go back to such older editions Larry Zide ... American Record Guide as the Decca- London version conducted "Superb sound at any price." by Erich Kleiber and the "historical" Chester Santon ... Adventures in Sound, WQXR recording with Lotte I.ehmann and Richard Mayr made in 1933. Perhaps If the cartridge becomes defective after the warrantee period expires, for Preiserrecords' production of the libretto a flat fee of $15.00, you will receive a brand new cartridge. will help to restore the essentially Vien- ONLY GRADO CAN BE PURCHASED WITH COMPLETE SECURITY!! nese manner to productions of Strauss's The above guarantee also cover: opera. KURT BLAUKOPF

Laboratory Stereo Cartridge $49.50 Classic Stereo Cartridge $37.50 TOP RATED The past year has For Ultimate Results Use The Laboratory Series Tone Arm $39.50 been an uneven one for the Italian record ROME industry. in July 1961 ASK YOUR DEALER ABOUT THE GRADO DUSTAT $6.95 the government im- VELVET TOUCH RECORD CLEANER NO MESSY FLUIDS posed a new ten per cent tax on both domestic and imported records. dealing FOR FURTHER the industry a severe blow at a time INFORMATION WRITE GRADO LABORATORIES, INC. when sales were anything but spectacu- 4614 Seventh Ave., Brooklyn 20, N. Y. Export -Simontrice, 25 Warren St., N.Y.C. lar. Apparently this action was inspired

Continued on page 34

CIRCLE 43 ON READER -SERVICE CARD 32 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com This Tape Cartridge records Stereo or Mono at 50 to 15,000 cps at 33% ips .. .

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Why wait to buy a recorder made this Pre-recorded cartridges available in- Automatic Shut -Off stops tape at end of convenient way? Look at all you get in cluding classical, jazz, top musicals by run, prevents tape breakage. quality, performance, convenience and such greats as Cliburn, Rubenstein, 16 -oz. flywheel provides virtually con- economy from RCA Victor right now! Clooncy, Belafonte, Lerner and Loewe -a stant speed. Capstan is accurate to Advanced tape cartridge system! Each treasury of others -in both Stereophonic 1/10,000 of an inch! and Monaural. RCA Victor cartridge contains 600 feet of Precision recording head features gap 1 up Mylar tape mil thick. Records Stereo Plays back Mono through High Sensitiv- of only 90 millionths of an inch. True high to 1 hr. 33% ips, up to 2 hours at 174 ips. x 5" cutoff at ity 3" front speaker. Internal fidelity is yours at 33/4 ips. Records Mono up to 2 hours at 33%, up to switch shuts speaker off during playbacks 4 hours at 1% ips. No reels to thread. Just through external system or rewinding. For complete specifications and demonstra- tion see your RCA Victor Dealer. Choose insert cartridge and start. Change in 31/2 Digital Tape Counter and Dual Ray from 3 amazing models. Start building seconds! Cartridge case protects tape from Recording Monitor on models 1YB2 dirt and dust during handling, storage. your library now the modern RCA Victor and lYCI. Cartridge windows show tape cartridge way! Safeguards valuable recordings. amount of tape being used. Ideal as a tape deck! Full set of plug -in *Manufacturer's Nationally Advertised Pricesfor Interlock prevents acci- jacks lets you record and playback stereo Erase -proof Stereo 12C1 shown and monaural 12B1 (not dental erasures by locking out "record" or mono through your own Stereo hi -fi, shown). Prices, specifications subject to change. position. TV or radio. if properly equipped. Dual high impedance ceramic mikes have 7 -ft. 4-Pole Motor has bearings sealed in oil cords, store snugly in lid. Only 71/8" high, for life. Rubber mounted to eliminate The Most Trusted Name in Sound 9%4" wide, 11%" deep! vibration. Enclosed cooling fan. Tmk(s) CIRCI.E 71 ON READER- SERVICE CARD AUGUST 1962 33

www.americanradiohistory.com NOTES FROM ABROAD

Continued from page 32

by the exaggerated claims ( "millions of copies sold ") in some pop record ad- vertising, but unfortunately the tax hits not only popular albums -where a lit- tle thinning out of production would do no harm -but also classical record- ings, Classical LPs were already too expensive in Italy (the official price of a 12 -inch disc is now about $7.40), and everyone was hoping that prices could be lowered to a more reasonable figure. Now there seems small chance of a reduction. But despite this new burden, Italian companies have gone on producing and importing: and at last spring's inaugura- tion of the new RCA Italiana studios [see "Music Makers," HIGH FIDELITY, May 1962, page 63] there were plenty of smiling faces. RCA itself is now pressing the third volume of its mam- moth "History of Italian Music," which will eventually run to four volumes handsome, new You can play your Miracord manually or automatic- totaling about forty records, from ally with the Miracover in position. Slip -hinge Gregorian Chant to Puccini and later. design permits cover to be raised to operate player. MIRACOVER Or it can be completely removed, if desired. Two -piece construction insures snug, seal -tight fit Music Recorded -Mainly Baroque. An- keeps your Miracord that keeps out dust and dirt. Has provision for other recent musical event in Rome was stowing spare spindles. $14.95 at your hi -fi dealer. the tenth anniversary concert of I Musici dust -free clean For further details about the Miracover, write to: at the Teatro Eliseo, packed for the occasion with musicians, diplomats, and just plain admirers. It seems hard to BENJAMIN ELECTRONIC SOUND CORP.. 97.03 43RD AVENUE. CORONA 68. NEW YORK believe that this highly polished cham- SOLI O. S. OIITRUOTOR FOR ILICTROAcUSTrce R[MORO PLATING TS ber ensemble of young Roman musicians CIRCLE 19 ON READER -SERVICE CARD has gone. in a decade, from the halls of the conservatory to world -wide fame. In honor of the anniversary issued Hear a special record. "Concerto de' I Musici," the newest stereo development ... offering one of this group's typical pro- grams that includes Vivaldi's Concerto for Flute ( "II Cardellino") and Concer- to for Violin ( "II Favorito"), Corelli's Concerto grosso. Op. 6, No. 4, Albinoni's Concerto for Oboe, Op. 9, No. 2, and Manfredini's Concerto Op. 3, No. 2. Philips-distributed in Italy by the Mi- lanese firm Melodicon -has also re- cently issued a record devoted to the eighteenth- century composer Giovanni Battista Cirri. Cellist Renzo Brancaleon and pianist Clara David Fumagalli per- form six sonatas for cello and piano from the Op. 16 of this little -known musician. The Omega all- transistor FM /multiplex tuner One of the few all- Italian -owned re- cording companies is Angelicum of Mi- and 60 -watt stereo amplifier ... lan. run by an order of monks. who You'll thrill to breath -taking concert hall reproductions with the also sponsor an interesting series of totally -new all- transistor Omega FM /Multiplex Tuner and 60 concerts during the winter season. With watt Stereo Amplifier. These solid -state units represent a major its own orchestra and hall (and soon to "breakthrough" in electronic design. Exclusive transistor cir- have its own new recording studio), cuitry eliminates disturbing tube hum, microphonic noise and Angelicum makes a limited number of excess heat. Meticulously engineered, Omega provides you with discs, under the guidance of the young flawless sound. The amplifier develops a full 60 watts (30 musicologist Riccardo Allorto. Its most watts per channel) ... the tuner gives you positive channel ambitious project to date is a series of separation for unmatched stereo enjoyment. Other performance albums issued under the general title and styling features will also delight the most discriminating "Music in in the Eighteenth Cen- audiophile. tury." The project has three subdivisions. In the "Church" section there are record- For complete information, contact your local Omega dealer or write directly to Omega. ings of Sammartini's Magnificat. Fio- roni's Dies venir exspectata, Mozart's Exultate, jubilate, Sarti's Regina Coeli, onnegG ELECTRONICS CORPORATION and Johann Christian Bach's Dies Irae. 10017 North 19th Avenue Phoenix 21, Arizona Continued on page 36 CIRCI.F 65 ON READER- SERVICE CARD HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Perhaps two years from now the quality of this d. .. perhaps never! Soundcraft Golde Tone a phy musically perfect soun A bold claim? Ye

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www.americanradiohistory.com agnecord NOTES FROM ABROAD t for Continued fron) page 34 UNFORGETTABLE PERFORMANCES The section entitled "The Concerto" is devoted entirely to Sammartini, con- The King of Swing Chose ducted by the American Sammartini Magnecord for the World's specialist Newell Jenkins (a regular visi- tor to the Angelicum podium during First Stereo Tape Recording the concert season, too). And the "Thea- of Popular Jazz tre" section features the only recording of Mozart's Milanese opera, Ascanio in (Chicago's Blue Note -1951) Alba. In addition to this series, An- It takes a real pro to stand the gelicum has recently brought out some other unusual "firsts," including works test of time . . . a musician like by Tartini, Stradella, Alessandro Scar - Benny Goodman ... a tape recorder latti, and two Handel cantatas (Donna like Magnecord, the choice of pro- the in ciel and Salve Regina). Many fessionals, the one most widely used of the Angelicum recordings are made in the sound and broadcast industry. as co- productions with Harmonia Mundi Don't settle for less ... your home and Lumen -and it is on the latter la- deserves the best! For incomparable bels that they are more often known Stereo, you'll want the Magnecord outside Italy. Olympian it's perfect! Has every- A new Italian company called Arco - ... modeled thing you've wanted including full phon- on the German Archive Production- should be making its debut fidelity 4 -track play and record. shortly. Under the artistic direction of write for additional information and In his New York apartment, Benny Goodman the conductor and musicologist Angelo name of your nearest Magnecord dealer listens to his Magnecord Professional with Martin Ephrikian. Arcophon plans to bring out Betton, factory sales representative. an integral series of recordings of early Italian music. The company has already taped a complete version of Jacopo Peri's agnecord SALES DEPARTMENT (1561 -1633) Euridice and a number of t works by Monteverdi and Gesualdo. MIDWESTERN INSTRUMENTS, INC. manufacturers of electronic data acquisition instruments Music Live- Moderns and Meyerbeer. P. O. BOX 7509 TULSA 35, OKLAHOMA A predictable flood of Richter record- CIRCLE 59 ON READER -SERVICE CARD ings preceded the pianist's recent Italian debut at the Maggio Musicale. The program of the first recital was a puzzler: after a Handel suite, Richter made his way through the interminable Hindemith Sonata in A major. No. 1. `.. which caused many people in the audi- ence to shake their heads. The second part of the recital was all Prokofiev and more successful. but even there the Sonata No. 6 seemed an odd choice to some listeners. Italian admirers of Rich- ter's records had hoped he would play some Beethoven or Schubert at his first appearance here. After a second pro- gram (which did include Schumann and Debussy). Richter left. but he has an- nounced his return in the fall for more appearances. The opera season (except at the stodgy Rome Teatro dell' Opera) was WOOSH unusually adventurous this year. La Scala bravely presented an opera by ...dust's gone! Dallapiccola. /I Prigioniero, and Alice in Wonderland. a new work by Niccolò Castiglioni. Italy's most promising corn- ...using the ALL NEW Changer Model Dust Bug "! poser in the younger- than -Nono genera- * The Dust Bug cleans records thoroughly and safely tion. There were also some fascinating * Designed to fit all high fidelity record changers revivals: in Naples. Donizetti's Maria di Rohan (one of the more solid * Reduces surface noise, ends stylus fuzz operas of Donizetti among those rediscovered re- * No vertical stylus loading on cartridge cently): in Florence. Tommaso Traetta's Turntable owners -Buy the Standard Dust Bug -over Antigone (written for Catherine II of 200,000 Sold -$5.75 CHANGER MODEL Russia); and at La Scala the long awaited DUST BUG Les Huguenots (or Gli Ugonotti, as it $475 was sung in the Italian version). After FOR LISTENING AT ITS BEST COMPLETE the recent Munich production of L'Afri- caine and a Zurich production of Le Electro -Sonic Laboratories, hic. Prophète. the Scala venture seems to indicate that the Meyerbeer revival is DEPT. H, 627 BROADWAY, NEW YORK 12, N. Y. under way. Record companies please note. WILLIAM WEAVER CIRCLE: 36 ON RI. 1,1)1..R-M- RN ICI-. C %RD 36 HIGH FIDELITY MAGAZINE

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40 HIGH FIDFI ITY MAGAZINE

www.americanradiohistory.com The Young Conductors

CHANGES OF COMMAND in the so- called Big Five ism of American orchestra boards and of the big of American orchestras are, by their nature, infre- New York music managements. Their espousal of quent events that provoke-and deserve-comment. European conductors is usually taken as strong This year two of the Big Five will be in a transitional proof that an imported maestro possesses some mys- state, and in both cases the new leadership brings tical font of skill that will be forever denied the a twenty- one -year drop in the age of the resident American musician. And it can be taken almost music director. Erich Leinsdorf, just turned fifty, for granted that any young European of reputation will take over in Boston next month, succeeding has a better chance at the St. Louis, Dallas, and San seventy- one -year -old Charles Munch. In June the Francisco jobs than his American counterparts. Chicago Symphony opened the Ravinia Festival What adds an ironic dimension to this situation under the direction of its new boss, fifty- two-year- is that the most gifted of the sparse crop of younger old Jean Martinon, who is due to succeed seventy- European conductors (and of the young Americans three- year -old Fritz Reiner as the orchestra's music working in Europe) feel that their greatest oppor- director in 1963. tunities are to be found outside the United States. These changes make (at sixty-five) Ferenc Fricsay seems to have turned his back on us. the dean of the Big Five maestros and put Eugene Wolfgang Sawallisch is said to have no interest in Ormandy (two years his junior) second in calendar American engagements. Rafael Kubelik apparently seniority. Leonard Bernstein, now forty -four, re- gave many of his colleagues a none too flattering mains the youngest member of the group. The aver- account of his Chicago years, while Dean Dixon age age of the conductors leading America's best - and have made it plain that they have known orchestras has suddenly tumbled to the mid - opportunities in Europe which would not exist for fifties. A new generation is in command, and the them in their own country. effects- particularly in program content -will un- We do not believe in artistic chauvinism. A doubtedly be noticed very shortly. great artist is first of all a credit to humanity and Three other important American orchestras are only secondarily a representative of his nation. It now searching for new music directors. We can is an honor to this country that distinguished Euro- well wonder how the decisions of the Boston and pean musicians want to live here and direct our Chicago trustees will influence the choice of con- major orchestras. But in welcoming them we should ductors in St. Louis, Dallas, and San Francisco. not forget that our own citizenry contains many Technically speaking, Boston and Chicago both gifted musicians who rightly claim reasonable op- followed a classic pattern and hired a man of Euro- portunities to develop and display their abilities. pean birth and training. Martinon, actually, is Alfred Wallenstein, at sixty -four the senior almost a direct importation, since his American American conductor of rank, surely ought to be career up to now has been brief. Leinsdorf has heading an important American orchestra. Thor been active in the United States for half of his life, Johnson, Milton Katims, Walter Hendl, Louis Lane. and we have come to think of him as a compatriot. Irwin Hoffman, and Theodore Bloomfield are all Both men would seem to be excellently equipped experienced American conductors with the crest for their new jobs, and undoubtedly compelling of their careers ahead of them. It would take a reasons dictated their selection. Nevertheless, when long look in Europe to find a half dozen men who one contemplates the chauvinism of Europe, which can match their skills, and yet none of these Ameri- decrees that the director of the Grausstark National cans has achieved the recognition he deserves. Opera must be a Grausstarkian, however dubious Surely, the time has come for a reconsideration. his ability, it is depressing to see the reverse chauvin- ROBERT C. MARSH

AS high fidelity SEES IT

Aucusr 1962 43

www.americanradiohistory.com BY NATHAN BRODER

a discography"''

_... ± i.,;¡,,rmNP11aiP....

F ALL THE DIVISIONS of the recorded rep- hardly ever to be played. But thanks to tape and ertory, that of the Bach cantatas is surely microgroove, the treasury of Bach cantatas need not one of the most precious. The cantatas remain locked to all but a few. are treasury that contains some of the best work The sixty -one cantatas now available on discs of one of the greatest musical minds the world has in the domestic catalogues present a representative seen. Yet for various reasons these compositions are cross section of Bach's work in this field. They re- seldom performed, even in the large musical centers; veal how great a variety of types is covered by what and when they are, they are not often done with the we call cantatas (Bach himself seldom used the proper vocal and instrumental forces, or with the word: he usually termed these works concertos, or knowledge and insight that modern musicians must oratorios, or motets -and sometimes gave them no have in order to present their values adequately. generic title at all). Among the sacred cantatas, as There is scarcely another example in music of a Paul Henry Lang has pointed out, are "religious whole important category of works by a great pastorals, oratoriolike dramatic scenes, pictorial master remaining practically unknown to the con - biblical episodes, lyrico -epic poems, and, finally, certgoing public. It is as though the string quartets transfigurations steeped in pious contemplation, of Beethoven or the symphonies of Mozart were avoiding dramatic, pictorial, and characterizing ef-

44 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com fects but filled with mystic symbolism." The secular text, or even by a phrase or a word, produces whole works include solemn, large -scale celebrations of cantatas that are sublime masterpieces. local political events, tender or joyous music for In what follows I propose to take a quick tour wedding festivities, and light- textured, allegorical through the cantatas currently listed in the domestic little music dramas. Almost all of the baroque catalogues or only recently cut out, stopping to methods of dealing with accompanied voices, from observe those that are on the highest musical level, monumental choruses to operatic arias, can be found even when the available recordings do less than in these productions. justice to the music. In specialized studies the sacred The cantatas vary in extent and shape as well cantatas are often listed according to their place in as in subject and mood. Many of them open and the Lutheran liturgy, but I have here adopted an close with choral movements, with recitatives and arbitrary listing that may be more helpful to the arias in between. In some the chorus also sings reader not familiar with that liturgy. I shall examine between the two outer movements; in others it is first the cantatas that are divided into two main parts, used only in a final chorale; in still others it does next those that are based either entirely or largely on not appear at all. It is a rare cantata that does not a single chorale, then the remaining cantatas in which have at least one inspired number in it; and in an the chorus is important, and finally those in which extraordinary number of these works the genius of the chorus is used only for a final chorale or is not Bach. inflamed by an idea, or by the subject of the used at all.

SEVLRAL of the sacred cantatas are contrapuntal strands are enriched by No reservations about the quality extended works in two parts, being allotted to the rest of the of the performance need inhibit our one of which was performed before chorus. Both recorded versions of enjoyment of No. 76, Die Himmel the sermon on the Sunday or feast this work (Archive ARC 3064, con- erzalilen die Ehre Gottes. This is day for which it was intended, and ducted by Fritz Lehmann, and Van - not one of the monumental can- the other after the sermon. No. 11, ?, guard BG 501, conducted by Iona- tatas: except for the chorale at the Lohet Gott in seinen Reichen, called -than Sternberg) are uneven but gen- end of each part and the participa- by Bach an oratorio for Ascension, erally acceptable. with Lehmann's tion of the chorus in the first move- is in this category. The opening keen understanding and better -bal- ment. the work comprises a series movement is festive with trumpets anced chorus giving him the edge. of recitatives and arias, most of and drums, and the chorus' praise of No. 39, Brich den; Hungrigen dein them accompanied by one or two the Lord is brilliantly festooned with Brot, another of the two-part can- obbligato instruments and continuo. garlands of notes. The great alto tatas, is considerably shorter. The Even the sinfonia that opens Part H aria of Part I was later used for the deeply expressive opening movement requires only an oboe d'amore, a Agnus Dei of the B minor Mass. establishes the mood of compassion viola da gamba, and continuo. But Another especially striking move- and charity which informs the whole this economy in the setting does not ment is the soprano aria in Part II, cantata, and its fragmented accom- reflect an economy of musical ideas. which is given a floating, ethereal paniment depicts the breaking of All of the music is extremely expres- quality by its instrumentation - bread for the hungry one. (This sive. and all of it is well performed flutes, oboe, violins, and violas, with latter point is ignored in the English under the direction of Hermann no continuo. Splendor returns in translation by Sanford Terry sup- Scherchen on Westminster XWN the last movement. an elaborate set- plied in Archive ARC 3066. which 18393. ting of a chorale for the entire begins "Give the hungry man thy The most striking sections of the chorus and orchestra. The Lyrichord bread. ") Another high point is the seven- movement No. 187. Es warier version (LL 34, conducted by Hans sixth number. a tender accompanied alles auf dich, are the first, a grand Grischkat) is just barely adequate, recitative for alto. expressing thanks choral movement broadly developed but it is to be preferred to the Lon- for God's goodness. The Archive on polyphonic lines, and the fifth, a don disc (5092. directed by Reginald performance. directed by Lehmann. fine aria for soprano, beginning Jacques), whose only redeeming fea- is no better than adequate. A not with a florid. lovely Adagio. The ture is Kathleen Ferrier's singing of much above routine performance is sole available recording (Cantate the alto aria. also. unfortunately, the only one 640210) offers an efficient perform- Perhaps the best known of the available for No. 70, Wachet, betet ance well directed by Ludwig Door - two -part cantatas is No. 21, lch (Vanguard BG 524. conducted by mann. Not a sacred cantata, strict- hatte viel Bekiimmernis. A rela- Felix Prohaska), though Anny Fel- ly speaking. but one of the most tively early work, it is full of a bermayer, soprano. and Norman imposing works in the two -part cate- youthful fervor and has a wide Foster, bass, are helpful here. This gory is No. 198, the Trauer -Ode, range of expressiveness, from the is a work that remains on a high composed to commemorate the tortured dissonances of the soprano plane throughout. with a brilliant death of Christiane Eberhardine. aria in Part I to the triumphant joy opening chorus, an especially fine Queen of Poland and Electress of of the final chorus. One of the most soprano aria expressing firm confi- Saxony. The poignant harmonies stirring movements in it is the ninth, dence in the Lord, and an agitated and intensely sorrowful choral "Sei nun wieder zufrieden," in which accompanied recitative for bass phrases of the opening movement a grave and smoothly flowing con- graphically depicting the coming of mourn for the admired ruler, who trapuntal web for four solo voices the Last Judgment. There follows a retained her Protestant faith when is penetrated by the choral bass aria expressing ecstatic longing her husband turned Catholic upon singing a chorale; later all the so- for Heaven and describing, in its acceding to the Polish throne. A pranos take up the chorale while the middle section. the final catastrophe. fine fugal chorus, praising the

AUGUST 1962 45

www.americanradiohistory.com tains No. 12 (BG 610 or BGS 5036). The sinfonia is a brilliant arrangement for organ, accompanied antatas Continued from preceding page by the orchestra. of the Preludio from the Violin Partita in E major: and the work ends with an imposing Queen as a "model for great auf, ruft uns die Stimme. In the chorale sung by the chorus with a women," concludes Part t. In the first movement the arch of the cho- large orchestra including trumpets lovely final movement the Queen is rale in the sopranos curves over the and drums. In between are some told that she will live on in the counterpoint in the rest of the cho- interesting movements for solo hearts of her people. The work is rus and the strongly rhythmic voices. including a ringing, affirma- elaborately scored, and is full of the figures in the orchestra. This is fol- tive tenor aria that is later sung in rich, dark sounds of oboes d'amore, lowed by a recitative and duet, after another version by the alto; there is gambas, and lutes. Of the two avail- which the second verse of the cho- also a broad choral fugue that was able recordings (Columbia ML 5577 rale is sung by the tenors while an eventually to turn up again in the or MS 6177, conducted by Robert elaborate and entirely independent B minor Mass. Craft, and Westminster XWN melody winds its way above and In No. 31, Der Himmel lacht, ?" 18395, conducted by Scherchen), around it in the violins and violas. die Erde jubilieret, for Easter Sun- the Westminster seems to me to Another recitative and duet lead to day, the music proceeds from joy, offer a considerably superior per- the final verse of the chorale in a in the festive "sonata" and first formance and its sound is quite ac- straight four -part setting for chorus chorus, to thoughts of death. Per- ceptable, though not as clear or as and orchestra. The Scherchen ver- haps the finest movements along the realistic as the Columbia. sion (Westminster XWN 18394) is way are the tenor aria "Adam muss more stirring than the Prohaska in uns venresent" which is some- ARATHER special category among (Vanguard BG 598 or BGS 5026, what operatic in feeling, and the ex- the cantatas is formed by which is superior to the older re- quisitely beautiful soprano aria those that are based entirely or cording by the same conductor with "Letzte Stunde, brich herein." largely on a single chorale. Four different forces on Vanguard BG Neither recorded version (Vanguard such works are available on discs, 511), if not as well recorded. BG 512, conducted by Prohaska; and all four are masterpieces. No. Columbia ML 5342, conducted by 4, Christ lag in Todeshanden, con- F THE REMAINING cantatas in Marcel Couraud) is free from weak- sists of a sinfonia and seven vocal O which the chorus is important, nesses. but it seems to me that Pro- movements. Each of these move- I begin with No. 1, Wie schön haska's tempos are better chosen ments is a setting of one of the leuchtet der Morgenstern. In keep- than Couraud's. verses of Luther's hymn, and even ing with its subject, the Annuncia- In the first section of No. 33, the sinfonia employs motifs from tion to Mary, it is a happy work, Allein zu dir, Herr le.su Christ. the the chorale tune. The whole work exuding joyousness, especially in the chorus sings a chorale. but the or- is thus constructed out of a single lovely opening chorus. the carefree chestral introduction, interludes. and melody. yet each verse has its soprano aria. and the gay, though postlude are so elaborate that the own fresh and distinctive treat- very difficult, tenor aria. in the effect of the whole is of a big or- ment. Of the five available record- Archive recording (ARC 3063, di- chestral composition with the cho- ings, it seems to me that Robert rected by Lehmann) Helmut Krebs rale embedded in it line by line. Shaw's (RCA Victor LM 2273 or sings the tenor aria competently, Also noteworthy is a moving aria LSC 2273) stands out above the Gunthild Weber does less well but for alto. "Wie furchtsam wankten others in beauty of tone, in clarity acceptably with the soprano aria, meine Schritte." An acceptable per- of sound, and in justness of choral and the chorus is fair. formance coupled with good sound balance and that it conveys the No. 12. Weinen, Klagen, Sorgen, on Vanguard BG 603, conducted by brooding expressivity of this mov- Zagen, begins with a grave little aria Woldike. ing work as well as do any of the for oboe and orchestra and con- No. 34. 0 ewiges Feuer, for other editions. tinues with a slow chorus full of ex- Whitsuntide, is a happy piece that Another cantata in this group is pressive dissonances over a chro- Bach arranged from a wedding can- No. 80. Ein feste Burg ist unser matic figure repeated in the bass. tata. It opens with a fine, big cho- Gott. Here the great Reformation This section later served as the basis rus and closes with a brilliant one. hymn is employed in four of the for the "Crucifixes" in the B minor In between are two brief secco reci- eight movements. The only avail- Mass. Another interesting move- tatives and a lovely aria for alto. able recording of this powerful and ment is the sixth, a florid aria sung Of the two available recordings Can- dramatic composition (Vanguard by a tenor while a trumpet intones tate 640210. conducted by Diethard BG 508, conducted by Prohaska) a chorale. The sole available re- Hellmann, is the superior. is far from being wholly satisfactory cording (Vanguard BG 610 or BGS The first chorus of No. 46, but is perhaps better than none. 5036, conducted by Mogens W01- Schauer doch und sehet. to a text In No. 93, Wer nur den lieben dike) is satisfactory with respect to from the Lamentations of Jeremiah, Gott lässt walten, all seven move- both performance and sound. begins in a mood of deepest tragedy J ments are based on the chorale that No. 19. Es erhuh sich ein Streit, (this section was used later in the gives the work its title. The opening deserves mention here. especially "Qui tollis" of the B minor Mass). movement is a lovely fantasia, with because of its grand and powerful There is also a big aria for bass the chorale in the sopranos. An- opening chorus. which depicts the with obbligato trumpet and thunder other fine section, a duet for so- struggle between the heavenly hosts rumbling in the basses. Here again prano and alto, was later arranged led by St. Michael and Satan's the Cantate recording (641204, di- by Bach for organ and included in forces. Its grandeur. however, is not rected by Helmut Kahlhöfer), while the Schübler set of chorale compo- conveyed by the only available re- less than ideal -for one thing. it sitions. The performance on Cantate cording (Archive ARC 3065, con- sounds a half tone higher than it is 641201, conducted by Ludwig Door - ducted by Lehmann). supposed to-is the better of the mann. is agreeable throughout, with For No. 29, Wir danken dir, Gott, two available versions. On the other especially commendable singing by we are fortunate in having an ex- (Vanguard BG 503. conducted by the solo bass and tenor. cellent performance. well recorded, Sternberg), none of the performing Finally there is No. 140, Wachet on the Vanguard disc that also con- forces. except for Hugues Cuenod.

46 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com do justice to this magnificent music. formance had been on the same tive and aria, is excellent; the other Nun ist das Heil und die level. soloist. the bass Alois Pernerstorfer, II No. 50, L. Kraft, consists of a single movement No. 71, Gott ist mein König, is a and the chorus are adequate (Van- for double chorus and orchestra and big, festive work. written when Bach guard BG 503, conducted by Stern- is thought to have once formed a was twenty -three for the inaugura- berg). part of a cantata. It is a grand and tion of the town council of Mühl. The opening chorus of No. 105, powerful piece, and is well per- hausen. There are fine passages in Herr, gehe nicht in's Gericht, is an formed by Prohaska on Vanguard it and an imposing fugue. and the extremely expressive prelude fol- BG 555. The Christmas cantata first and last movements success- lowed by a fine fugue. The other No. 63, Christen, iitzet diesen Tag, fully convey a feeling of grandeur five numbers, which include an aria begins with a jubilant chorus and and dignity. There are curious things for soprano and one for tenor, main- ends with a movement of thanks- in it that are not to be found tain the high level of intensity and giving in which brilliant passages in in the mature Bach. but only one imagination established at the be- the orchestra alternate with long, miscalculation: the otherwise effec- ginning. Both of the available re- richly harmonized lines in the cho- tive finale ends with an absurd toot cordings (Vanguard BG 603, con- rus. Especially delightful is a on the recorders. A satisfactory ducted by WOldike, and Archive minuetlike duet for alto and tenor, performance is conducted by Kurt ARC 3066, conducted by Lehmann) praising the Lord "with song and Thomas and well recorded on Elec- are uneven, but each has enough dancing." The performance on Van- trola E 80494 and S 80494. good qualities to make it acceptable. guard BG 518, conducted by An extraordinarily gripping cho- No. 106, Gottes Zeit ist die al- Michael Gielen, is uneven, with only rus opens No. 78, Jesu, der du lerbeste Zeit (Actus tragicus), is a the alto and tenor recitatives and the meine Seele. It is a fantasia on the funeral cantata, probably written final chorus rising above mediocrity. chorale that gives its name to the when Bach was in his early twenties. A splendid procession of the Wise cantata. The chorale is sung by the Its structure is different from that Men bringing their gifts to the Child sopranos over a chromatically de- of the later cantatas: its extended is depicted in the first chorus of scending bass similar to that of the first vocal section, for example. No. 65, Sie werden aus Saba alle "Crucifixus" in the B minor Mass, runs together ariosos for tenor and kommen. This seems to me to be while the rest of the chorus and bass framed on either side by choral one of the most beautiful choral the orchestra weave a contrapuntal passages. There is a high degree of movements in the cantatas. Each of web between. This is immediately expressivity throughout, colored with the two available recordings has its followed by a delightful duet for the plaintive hues of recorders and virtues and defects. The Lyrichord soprano and alto in which they are gambas. Prohaska's performance (LL 50, conducted by Roger Wag- depicted hastening "with eager foot- (Vanguard BG 537) is less imagina- ner) is in C major (Bach's key), steps" to Jesus for help. The per- tive than Scherchen's (Westminster has a more imposing first move- formance. conducted by Prohaska XWN 18394) though more authen- ment, but uses what sounds like a (Vanguard BG 537), is on the tically instrumentated, while Roger large chorus, as well as flutes, Eng- whole good. as is the sound. Wagner's (Lyrichord LL 50) is not lish horns. and a harpsichord. The Another magnificent chorus be- as well recorded as either of the Cantate (641204, directed by Hel - gins No. 79, Gott, der Herr, ist others. V mut Kahlhöfer) is a half tone Sonn' and Schild, in a blaze of splen- Of unusual interest is the first higher but uses a smaller, more dor, as befits a work celebrating movement of No. 110, Unser Mund transparent choir. the recorders and the Reformation Festival. The fes- sei voll Lachens. For the opening oboe da caccia prescribed by Bach, tive mood returns in the third num- of this Christmas cantata Bach and an organ. The solo basses are ber, a setting of the chorale Nun adapted the Overture of his orches- evenly matched, both being excel- danket alle Gott with the full or- tral Suite No. 4, in D. He kept the lent, but Cantate's solo tenor is su- chestra, including horns and drums. slow section that begins and ends perior to Lyrichord's technically and This cantata also contains a fine the movement as it was, but turned in correctness of diction. duet for soprano and bass. There is the fugal Allegro into a remark- A fine aria for bass with choral available a generally acceptable per- ably effective setting of the text: interpolations is the high spot of formance, conducted by Lehmann, "Let our mouth be full of laughter No. 67, Halt' lin Gedächtnis Jesum on Archive ARC 3065. Entirely dif- and our tongue full of praise. For Christ. Unfortunately, the perform- ferent in spirit is No. I04. Du Hirte the Lord hath done great things ance (on London 5092. conducted , höre. "The ravishing eu- for us." Another outstanding num- by Reginald Jacques and sung in phony and the perfect grace of this ber is the brilliant bass aria with English) is stodgy and poorly re- work." wrote Schweitzer, "ensure a florid trumpet obbligato. The per- corded. although a few measures of its immediate effect upon any au- formance on Cantate 641210. con- recitative sung by the great Kathleen dience." This pastoral composition is ducted by Hans Thamm, is a fairly Ferrier give a tantalizing glimpse of indeed one of the tenderest and good one. what this disc could have been if loveliest of the cantatas. Hugues Four of the five movements are all the other elements of the per- Cuenod, the tenor, who has a recita- especially Continued on page 116

AUGUST 1962 47

www.americanradiohistory.com At. FFESTINIO (",

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:,¡U.. .. ,7r1, + 7:1"r :; - d/' , ,. y .',y '¡JI, \ir;t \r:tñ . .,1,, 1111,: lr. ...1; . ..4n,,--.4;,,,e,./.%1)0..,tt,{.W a ? jr r,:° 11! `db "Ii ii.j¡1.ÑIN,.: ÿ;\II,.11' d-/. ,11 . ` t OR',,,..,.. L¡ . u, I,,.¡,i/i.h1. u. W :' ' ' ` . .` 1' . - %%l,..%, . Á ..o1o WHAT'S E A NAME? Can you imagine -asks our author -a Friml composing even passable symphonies or a Rachmaninoff writing successful operettas? Thereby hangs a theory...

BY LEONARD MARCUS

THERE IS A THEORY, popularized in a recent book is necessary to transform the lady into a Belle Dee. by comic Roger Price, that if you name your baby Now for that drive upstate. My car radio was Adolph he will grow into a different sort of man than tuned to one of those good music stations which it is if you name him Patrice. always an adventure to hear. This time the unex- To be sure. pected took the form of an announcement of L'His- Names undoubtedly color their bearers. I dread toire, followed by a recording of a fat, lazy opus for to think how many of my own namesakes would still cello and orchestra. Whatever the music was, I real- be acting like Steinbeckian idiots had not a young ized that it not only wasn't L'Histoire, but that it conductor substituted for an ailing one couldn't have been written by Stravinsky at all. The Sunday some nineteen years ago. very name "Stravinsky conjures up the master's But does this theory go far enough? A recent style- bone -dry music, with all the fat cut away, trip up the Henry Hudson Parkway to Yonkers, and little enough meat left, too. coupled with a non -broadcast of Stravinsky's L'His- That was it! The very name! STRA- VIN -SKY. toire du Soldat, not only convinced nie that it does A brittle St begins it, it ends on a wry skee, with an not, but opened up for me an entirely new technique electric v for its only other important motivating of musical analysis. consonant. The name, like the whip -clear music, is First of all, it is obvious that the last name ex- crisp and clean; the music, like Stravinsky's name, is erts more influence than the first. A poor first possibly cold- blooded and aloof, but it is certainly name can be shed as comfortably as a dirty sock; it not sloppy. No, the piece might have been by is the surname which sticks to the soul with family Khachaturian, but not Stravinsky. ties and legal glue. Jezebel Damn may. with just a When the announcer later corrected his error and little mercy, become Belle Damn; but a court of law declared that the work played had indeed been

48 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Khachaturian's Cello Concerto, I knew I was on to MEANINGS of names, as distinct from their sound, something. If science is the art of prediction, here seemed to have little correlation with the resultant was a scientific method of musical analysis. I felt musical product, as will be evident upon the slightest like Edison must have when he first heard "Mary examination of the music of Sir Arthur Bliss. Nor is had a little lamb" cone from his tinfoil. Foote heavy nor Verdi green. True, some composers, like self -conscious pun- sters, have incorporated their names into their music. How, I wondered next, do other composers' works One thinks of Britten's obviously British music or of reflect the sound of their names? The results of Bach translating his name, letter for note, into The even the most cursory research in this direction Art of Fugue. The prize for this sort of thing must proved to be truly gratifying. go to the punster- composer of Carnival of the Ani- Take Bach, for instance. It starts with a clear, mals, whose magnum opus was Samson (pronounced ringing, no- bones- about -it B and finishes with an Saint -Saëns) et Dalila. But these are exceptions. emotion -filled and strongly conclusive ch. Lying be- Psychologists alone might be able to tell us why tween, a broad a hints at the uncluttered lyricism and composers' music mirrors their names, but who can serenity found in so much of the composer's music. deny that it is so? It can be no accident that the best What incredible economy! The entire range of hu- work of a composer with such an unreal name as man experience in one syllable, four letters. It would Humperdinck should be Hansel and Gretel. One take such a name as Bach to produce Johann Se- could hardly imagine a Friml composing even pass- bastian's masterworks, which remain unrivaled in able symphonies or a Rachmaninoff writing success- concentrated expressivity and power. ful operettas. Is there any question, in the famous Substitute similar sounds for those of Bach, a V Gluck -Piccinni rivalry, which composer's music held for the B, a hard g for the gutteral ch, add an anti- the greater power? climactic tag and what do you have? Wagner. Think about it. Isn't Wagner a Bach who didn't GENERAL historic questions might also benefit know where to stop? from a musico-nominological investigation. According to my study, the difference between Why, for instance, has Great Britain failed to Schumann and Schubert also corresponded to the produce a major composer in three hundred years? difference in their names. Both begin with a soft, Consider the character, or lack of it, in British com- lyric Shoo. But while the one perks up with a lively - posers' names: Boyce, Parry, Stanford, even Elgar. sounding bert, the other finishes with the heavier and Vaughan Williams came close. At least he might depressing mann, even employing an extra n to add have written more concise music had he not taken weight to the melancholia. an augha to produce a single vowel sound. Perhaps Brahms, of course, is the muddiest of all. Just Her Majesty's Government would be well advised to look at his name. It parallels his eleven- fingered, offer Royal College of Music scholarships to tal- turbidly orchestrated, metrically ambiguous music. ented Scots who agreed to drop the superfluous Macs An r to thicken the otherwise clear B, a silent h to from their names. What might we not expect from mute the, soft a, an ni to rival Schumann's nn a Dougal or a Laughlin! The Welsh are a problem and, with a final tribute to duplexity -a plural! ... and a world ... unto themselves. (When Handel A more subtle ambiguity is found in the appar- -born Händel- decided to emigrate to England he ently distinct, but strangely evanescent name De- may have been prompted by a unique advantage he bussy. The vaporousness of Impressionism could not found there. On the Continent he had been chained have been more perfectly incorporated than in this to a constriction which must have inhibited the natu- magic name which, for no obvious reason, engenders ral broadness and expansiveness of his music; but in more uncertainty as to its pronunciation than any England he could drop the astringent umlaut.) other composer's. Not only does the speaker become Is the entire high -pitched Italian operatic tradi- perplexed on meeting these three syllables, none of tion due to the final ee climaxing the names of such which he is sure he should stress, but Webster's New exponents as Rossini, Bellini, Puccini, et al? It had World Dictionary gives three separate pronunciations, to be someone with as coloratura a name as Donizetti all of them different from the one in my edition of to have produced Lucia di Lammermoor. What Baker's Biographical Dictionary of Musicians. peaceful music can come from the Italians when, The enormous difference, as well as the similar- like Palestrina, the composer's name does not have to ities, between Mozart and Mendelssohn may also be be screeched. And, on the other hand, what a Paga- shown through an investigation of their names. Both nini can do to even the lovely violin. start with a soft, untroubled M. But the more bril- Russian names have undoubtedly contributed to liant and penetrating master is struck suddenly by a the sprawling nature of that country's music. Mus- sharp ttart, while Mendelssohn continues unadven- sorgsky's brooding output reflects the rgsk buried turously in the sane vein as before, with only the within. On the other hand, all those bright ks and light ss and fainthearted d to break into the comfort shiny ss show up in Rimsky -Korsakov's music. The of the 1, the ns, and vowels. lighthearted Kabalevsky Continued on page 117

AUGUST 1962 49

www.americanradiohistory.com ,. , 44 4, _4 ..wv.nr. it uw.,, w ' JraMIigtMY%o¢g K r e. w, t "wt^IAu . `',yRMIRlM1nw .

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In Pittsburgh the sonics can be pretty spectacular

BY SHIRLEY H'I.H:MING

"Tragic. Take one." ith the Pittsburgh project to waste a second, once The voice over the loudspeaker might have been the switches were turned. In fact, during the entire announcing some imminent disaster or foreshadowing three -day session (which saw the recording of an irrevocably doomed course of action. In reality, Brahms's Third, Beethoven's Fourth, Schubert's of course, it was simply giving the traditional go- Third and Eighth symphonies, in addition to the ahead for an event of a much more promising sort - Lronore and Tragic overtures) waste of any kind - in this case, the taping by Command Records of of time, film, words, effort -was almost nonexistent. Brahms's Tragic Overture with the Pittsburgh Sym- Efficiency is a cold thing in itself, but the ef- phony under William Steinberg. The fact that the ficiency of Enoch Light's Command team and Dr. voice had an undertone of urgency was perhaps due Steinberg's orchestra, as they work together, is not to one special aspect of the situation in the control of the cold- blooded sort. Rather, it reflects a mutual room: the usual quarter -inch reels of magnetic trust proceeding from the happy results of earlier ses- recording tape had been replaced by the fat rolls sions. On the side of Dr. Steinberg and the orches- of Command's well -publicized 35 -mm film -and the tra, at least, it grew in spite of some initial difficul- going price of film (about $50 for ten minutes of ties. The greatest of these arose from Enoch Light's recording time) did not encourage anyone concerned insistence, on his first trip to Pittsburgh, that for

50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com In the control room between takes, Dr. Steinberg puffed his pipe con- tinually, breaking off only to demon- strate occasional matters of tempo. Enoch Light and his daughter Julie Klages debated questionable passages with the maestro and everyone shared in moments of high good humor when Steinberg's sharp wit came to the fore. Before the orchestra began to record, Light made clear the ne- cessity for maintaining absolute si- lence whenever the film was running.

Photos by Ben Spiegel

AUGUST 1962 51

www.americanradiohistory.com ing machines, and gave a new impetus to research. aesthetics of this procedure are still warmly debated, Our armed forces made wide use of wire recorders; but the practical result is incontrovertible: the the Germans continued to perfect their plastic tape. Schwann catalogue would be about a tenth its present In 1944, Minnesota Mining and Manufacturing size were it not for the ease of record making that Company began research on a recording tape coated tape permits. Furthermore, the use of tape instead with ferromagnetic powder, but it was not until the of disc for the masters yields superior dynamic range, "liberation" of Germany's works the improved frequency response, lower distortion, and following year, when American technicians obtained less noise, as a comparison of today's recorded sound detailed knowledge of German tape technology, that with that of fifteen years ago obviously attests. real progress was made. But, while serving to improve disc recording, By early 1947, Brush Development Company had tape also challenges the preeminence of the disc as a made available the first commercial tape machine, program source. "Prerecorded tape " -a barbaric, the Brush Soundmirror, using tapes of paper coated though apparently deep- rooted, term -is tape that with a black oxide of iron and called "magnetic bears recorded music. In addition to its sonic vir- ribbon." Some months later the sleek plastic tapes - tues, tape has over records the advantages of im- and the familiar reddish coating -began to reach munity to scratches, dust, and natural deterioration. the market. In the next couple of years, both wire Although tape is subject to technical problems of and tape recording enjoyed widespread growth, but its own -known by such arcane terms as crosstalk by 1949 the less convenient wire recording, with its and print- through -it is, by and large, the best limited frequency response, had begun to falter and medium yet devised for recording music. soon disappeared completely. The new tape record- Yet prerecorded tape has had a hard time gaining ers made it possible to record a frequency range of general acceptance in the twelve years since the up to 15,000 cycles; in addition, they permitted the first eight reels were issued by a firm called Record- user to edit the recorded product, to erase unwanted ing Associates. One problem has been price: the tapes, to extend the range of the recorded repertoire manufacture of prerecorded tape is far costlier than -indeed, a host of miracles. stamping out vinylite discs. The early prerecorded tapes were astronomical in price, compared to the THE COMING of tape recording has been of four- cost of the same music in a conventional recording fold importance to the music lover. First, it (even today prerecorded tapes are up to twice as has permitted him to build a home music library expensive as the microgroove equivalent), and record cheaply by taping radio broadcasts. Secondly, it dealers were unwilling to stock a product that only has altered the entire operation by which discs are a minority of their customers could afford. made. Thirdly, it has, in recent years, provided a Another factor affecting the acceptance of pre- new forni of program material- prerecorded tape. recorded tape was the speed with which one method And, lastly, it has given rise to an entirely new school of manufacturing was made obsolete by the next, of compositional technique. the net effect being to drive the potential consumer The first point is obvious enough. By jacking a out of the market in bewilderment. The first pre- tape recorder into the tuner or preamplifier of a recorded tapes were two- track; that is, the sonic in- sound system, a listener can make his own copies formation was carried in two tracks on the tape; of live concerts, rare recordings, or even last month's when you had played a reel to the end, you flipped new releases for no more than the cost of the raw it over, sent it hack through the machine, and played tape. And as long as he makes no commercial use the other track. Then came a double complication: of the tapes he records, no one is likely to raise four -track recording and stereo. Four-track record- cries of "copyright violation." ing doubled the amount of information one reel of As for tape's effect on the making of records, it tape could carry. A four -track monophonic tape has, in fact, revolutionized that process. In pre -tape could hold all of Beethoven's Ninth; a two -track tape, days, when master recording was done directly on only the first two movements or the last two. Stereo, disc, editing was impossible. If the tenor blew the though, demanded two information tracks played final climax of "Nessun donna" or "Celeste Aida," simultaneously, one for each channel -and so a four - there was no choice but to do the whole aria over track stereo tape carries no more music (and pro- again. When the standard recording speed was vides no more program time) than does a two-track 78 rpm and record albums were made in four-or- monophonic tape. five- minute segments, this procedure was feasible. For a while, prerecorded tapes were released in With the advent of long -play records in 1948, how- a multitude of formats: two -track mono, two -track ever, such a system would have been completely stereo, four -track stereo. Confusion reigned. intolerable -imagine having to scrap a master be- Gradually, prerecorded monophonic tapes faded cause of a miscue twenty -three minutes along in a from the scene entirely, two -track stereo tapes be- twenty- five -minute side! Happily, the perfection of came rare, and, as of today. four -track stereo prevails tape recording came about almost at the same time in the prerecorded tape field. (People who owned as the 331 speed, making it possible for offending two -track recorders of early vintage had to convert patches of music, even a single sour note, to he easily or replace their equipment when four -track tape excised and a corrected retake spliced in. The carne in.)

54 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com About the same time that the four -track system Toshiro Mayazumi in Japan to in the was introduced, RCA Victor attempted to revolution- Netherlands, have plunged into tape- recorder com- ize the mechanics of tape playback by introducing position, with results that thus far have been uneven a cartridge device (described in detail on page 111). but occasionally significant. Concerts of tape -re- With cartridges, there was no need to thread tape; corder music -sans orchestra, sans conductor, sans you simply put the cartridge in place-alas, you all performers but the man at the controls -have be- needed special equipment -and pushed the button. come features of the avant -garde musical scene. The four-track cartridge, then a completely different Beyond the world of music, tape has invaded three -track cartridge developed jointly by CBS and education, religion, communication, electronics, space Minnesota Mining but not yet on the commercial technology, industry -in a word, nearly every phase market, and rumors of "endless loop" cartridges of modern life. Tapes can be used to run machines, all have added new complexities to the prerecorded to record data for storage, to deliver messages. tape picture, leading many potential tape enthusiasts Soon tapes will record a complete federal tax dossier to take a "wait and see" attitude. for each of us. Tape recorders take down tape- The importance of tape to music itself has been miles of data fed from orbiting satellites, run auto- to make possible a brand -new compositional medium. mated subway trains, aid in the decipherment of The technology of tape has fascinated the postwar Babylonian cuneiform by computers. Hardly a generation of composers, and few under fifty haven't decade and a half after the commercial introduction dabbled in the creation of tape- recorder music. of tape, the new medium impinges on us a dozen Some, like and Vladimir Ussachevsky times a day -when we enter an elevator which bathes in this country and the Musique Concrète group in us in pop music, when we telephone a movie theatre France, compose their music from natural sounds - and hear a recorded announcement of film sched- the human voice or an instrument or even street ules, when we listen to a delayed playback of a noises-distorted and transmogrified to create an Presidential press conference. And video tape -an intended musical effect. A German school headed application of the magnetic recording idea to images by Karlheinz Stockhausen has chosen to create instead of sounds-has totally transformed the tele- synthetic sounds electronically rather than to use vision industry in just a few years. natural ones. The ballet Electronics by George A growing development is tape correspondence, Balanchine- performed last year to capacity audi- far more vivid and personal than old- fashioned let- ences in New York -used music synthesized from ter- writing. Thousands of tapes constantly circulate electronically produced sounds by Remi Gassmann in the mails, keeping tape friends in vocal contact. and Oskar Sala. Dozens of other composers, from Although the usual home tape reel is seven inches

TYPES OF TAPE EQUIPMENT

To listen, connect output to suitable Transport, plus low -level input on external preamplifier 1 Tape Playback Deck playback head. or control amplifier. This unit cannot record; it only plays topes already recorded.

Same, plus an 2 Tape Player To listen, connect output to high - integral playback level input on external amplifier. preamplifier.

3 Tape Record /Playback Transport, plus To listen, connect output same as 1. Deck record and playback To record, feed program source through head (or heads). external recording preamplifier.

To listen, use built -in reproducing Same, plus an facilities OR connect as in 2. Some integral record/ stereo tape recorders provide only one 4 Tape Recorder playback preamplifier, channel for playback, which means that for and perhaps a stereo you would need at least one built -in power external amplifier- speaker system.

amplifier and speaker. To record, feed program source directly into appropriate receptacles on the machine.

AUGUST 1962 55

www.americanradiohistory.com in diameter, tape manufacturers produce a three - signed for stereo use, it can also record or play back inch reel, complete with mailing carton, for the monophonically. Two -track machines will not, of use of "taperesponders." An assortment of "tape - course, handle four -track tape, but most of them pal" clubs exists to facilitate contacts between can be converted to four -track service by adding, strangers in distant lands; the largest of these or- or replacing, a head assembly in accordance with ganizations, operating out of Texas, claims a mem- the manufacturer's instructions. The newer four - bership of more than five thousand. The tape clubs track machines generally handle two -track tapes by publish magazines listing members' addresses, local one of three possible expedients: a separate two - chapters are formed so those who have met via track head, in addition to the four -track head; a tape can get together in person, a complex jargon shifting device that positions a common head for is emerging -in short, tape correspondence is be- optimum alignment in either four -track or two -track coming a full -fledged hobby in its own right, whose service; or a "compromise" setting of one head to partisans spend hours each week with microphone do both jobs. in hand. As for the matter of recording speed, the faster a tape moves past the recording head, the higher THE MAN who wants to avail himself of the new the fidelity of the recording, since sound quality wonders opened up by tape must start, obviously, increases as the amount of information packed into with some kind of tape equipment. The price of each inch of tape decreases. Record companies tape machines ranges from below $100 right up to make their master tapes at 15 inches per second. five figures for laboratory -quality machines. Some some even faster, but the prerecorded tapes sold provide only for playback of recorded tapes; others run at 7.5 ips. Although a few demanding tape re- both play and record; still others, equipped for one cordists insist on having their home tape decks with function, permit the other to be added later. I5 -ips speeds, 7.5 ips is fast enough for most normal The basic piece of equipment, called a tape deck, home taping. Most tape recorders sold today are consists of a tape transport (the mechanism for multi -speed machines -7.5 ips for high fidelity tap- moving the tape) plus various combinations of tape ing, 3.75 ips for taping spoken material (where the heads and "electronics" -the preamplifiers for fur- ultimate in high frequency response is not an im- nishing equalization, bias voltage, and gain for re- portant consideration). Where fidelity scarcely mat- cording and 'or playback. The deck itself must ters at all and where economy is important -in tape he connected to an external sound system (or to correspondence, for instance-an even slower speed, headphones) to be heard. since it lacks a power 17'14 ips, is often used. (Naturally. the slower the amplifier and speaker. For this sanie reason it is speed of recording, the less tape is consumed. In the obvious buy for the person who alr.ady owns this regard. the costlier tape machines, because of a high fidelity component system and thus has no their greater sensitivity, are often "bargains" in that need for the power amplifiers and speakers that they give better response at 3.75 ips than cheap come with a "complete" tape recorder packs' e. machines do at 7.5 ips. However, most people who The perfectionist who collects prerecorded tapes can afford the expensive equipment rarely worry but has no desire to record his own may want to much about the cost of raw tape.) spend several hundred dollars for a playback -only machine. The less demanding, or less affluent. may TAPE on the market today is of two main kinds- settle for a $150 playback /record deck that he can one with a cellulose- acetate backing, and one hook into his existing system. As far as taping with a Dupont -made polyester -film backing trade - music goes, not all recording heads and playback named "Mylar." In both types, a thin layer of units, obviously, are equally sensitive. The $400 ferrous oxide, 0.0003 to 0.0006 inches thick, is tape deck will get more of the signal down on tape laid over a plastic hase, itself '/4 -inch wide and and play back more of it than will the $100 deck. 0.0005 to 0.0015 inches in thickness. Acetate Whether the difference is worth it to a given indi- tapes are the cheaper and more widely used for vidual depends on the acuity of his ear and the home recording; Mylar tape is tougher and less flexibility of his budget. It's generally agreed that vulnerable to changes in temperature and humidity. the complete units, speakers and all, are better suited Both are extremely durable: Mylar tape will last for the casual taper than for the man who demands just about forever if treated with care. and acetate the ultimate in recording and playback-but, if one's is only slightly less long- lived. One widely held point interest lies in the direction of making tapes of light of view in the tape industry is that acetate is quite music for background purposes, it's hardly necessary good enough for home use, but there are many to sink huge sums into ne plus ultra equipment. knowledgeable tape enthusiasts who insist on the If you know what purpose you plan to employ your costlier Mylar. recorder for (casual use, playback of prerecorded Tape for home use usually is bought on 7 -inch tapes, serious off- the -air taping, or all three) and reels, though smaller- and larger -size reels are avail- can take a clear -eyed view of your bank balance, able. The "standard" acetate reel holds 1.200 feet of you should have no trouble finding a deck or com- I1/2-mil thick tape, good for an hour of taping in plete rig that suits your needs. four -track mono. Mylar, because it is stronger and While virtually all new tape equipment is de- can thus be Continued on page 115

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Notes on the proper pampering of your tape gear

BY R. D. DARRELL

AFAVORITE SUBJECT Of cartoonists in this age of tape player is used a great deal, but at least once a automation is the complex computer which balks at week) and comprising three essentials: inspection ... its tasks until its exasperated operator gives it a good cleaning ... visual and aural performance- checking. swift kick. Then it obediently settles down to work. Inspection doesn't imply a casual glance to see Thus, Man triumphs over the Machine and the hu- that none of the knobs is missing! It means carefully man ego is vindicated. In real life, however, mal- examining the cabling connections (power plug in ?, treated electronic gear inevitably takes its revenge. right and left output lines in the correct channel More violent and more frequent shock treatments jacks ?) ... control settings (speed, tone, and volume are required to restore operation, until finally the controls in normal positions ?, mono /stereo mode abused equipment breaks down entirely. Now it's switch set as desired ?, playback head correctly the abashed owner's turn to be jolted -by a formi- switched or adjusted for 4- or 2 -track operation ?) dable repair or replacement bill. ... and the condition of all tape guides, pressure To avoid such bitter experiences the owner of pads, heads, capstan, pressure roller, etc. Don't for- any machine should realize that full responsibility get to check ventilation screens for fluff -clogging for its satisfactory functioning rests on him -and if [see final Note on effects of heat] and to examine the machine in question is a tape recorder, the own- both take -up and supply reels for possible warping er- operator is particularly vulnerable. It is he who or damage. Most of these inspections can be made has made a deliberate choice of a specific model, before and during the cleaning procedures (below); who best knows its idiosyncrasies, who judges its they should be completed afterwards with final performance. He should be the first to spot any checks to make certain that both reels are flatly lapse from optimum operation and to determine seated (with holders, if used, firmly on) and that the whether the trouble falls within his ability to correct tape itself is tautly threaded without twists or sags. or demands more expert doctoring. What is mainly Cleaning means just that: the complete removal involved is a program of preventive care, practiced of all oxide deposits, dirt, and oil on guides, idlers, with the most assiduous regularity (every day if a pressure pads (if any), capstan, pressure roller, and

AUGUST 1962 57

www.americanradiohistory.com etc.) which can be corrected only by other means. Head demagnetization well may be considered a special kind of cleaning process and should be just as systematically practiced, at least for equipment used at all for recording. Machines used for play - hack -only normally need demagnetization less fre- quently, but of course this process should be un- dertaken whenever there is an otherwise inexplicable rise in noise or distortion levels or a falling -off in high frequency response. In any case a demagnetizer is necessary if one is to avoid the very real dangers not only of head magnetization, but of that in any of the splicing scissors, screwdrivers, etc., used in close proximity to tape and tape equipment. There are many standard models (Ampex, Audio Devices. Audiotex, Lafayette, Robins, etc.), among which you should choose one with the most convenient tip -design for use with your particular head -housing Capstans as well as heads need cleaning. layout. (And don't neglect to cellophane -tape the tips themselves to avoid scratching if they accidentally touch the head surfaces.) especially the magnetic heads. For these last, in particular, the usual cleaning -fluid brush applicator

1 or special cleaning tapes which work as they run VlsunL and aural performance- checking brings us through) seldom can do as thorough a job as a to areas where the operator's responsibilities "Q-Tip" or pipe cleaner. For the fluid itself, carbon are frequently ignored, although they are, in fact, of tetrachloride is best avoided: it can damage certain the greatest importance. Even novices appreciate, in types of synthetic "rubber" rollers and in any case principle, the need of inspection and cleaning. But its fumes can be dangerous indoors without proper hile all operators glance occasionally at the spin- ventilation. Use isopropyl alcohol or one of the ning reels and always listen (more or less intently) standard fluids ( "FilMagic Long Life," Robins, to what's coming out of the loudspeakers, few of etc.) made especially for this purpose, unless a them practice -or even grasp the necessity of- specific type is recommended by the equipment systematic performance "yardstick" evaluations. Un- manufacturer (Ampex, for example, specifies its like the professional engineer. the technical novice own head -cleaning fluid), in which case its instruc- cannot make accurate measurements of frequency tions should be followed exactly. Don't use too response, power output, noise level, distortion, etc. much fluid; wipe up any spillage immediately; and (tests made every day in every recording or broad- allow ample drying time. cast studio!), but he can -and regularly should -un- If pressure pads are used, examine them after dertake simplified comparative checks which, rough cleaning for evidences of too hard packing or glaz- as they may be, provide significant operational in- ing-the nap usually can be restored by gentle ap- formation and often warnines of impending trouble. plications of a nail file (hut take great care not to Check first the whole system's "static output ": scratch the magnetic heads). Check that in normal that is, with the deck motor running (but the tape "run" operation the pads make firm and even contact itself motionless) and all controls at normal playback with the tape exactly over the heads and that they settings, stand close to each loudspeaker in turn and are completely retracted in the fast- forward. reverse, listen carefully to the hum and tube noise, which and stop modes. If necessary, clean and lightly lubri- ideally should be just barely audible. By fixing this cate the slide mechanism that controls their position, permanent background noise level in your mind you and in replacing worn pads be sure not to use ex- can better judge later the dynamic noise and hiss cessive adhesive that may saturate and harden them. level of your reproduced tapes. And of course if Most careful operators apply a silicone lubricant the static noise level itself is abnormally high, or if fluid (supplied as part of most standard tape- clean- turning off the motor markedly reduces the hum, ing kits) to the cleaned guides, pads, and heads - you know immediately that tube replacement, motor but emphatically not to the capstan and its pressure grounding, or other servicing is required. roller! -or they recondition brittle and squeaky tapes Next, start a tape running and scrutinize it and by running them over an impregnated cloth or pylon both reels in motion. Does the tape flow smoothly made for this special purpose. Personally, I'm some- and freely without jerks caused by hitting against a what dubious about the lasting effects of such treat- warped or non -flatly seated reel flange? Does it pass ments: they certainly achieve temporary reductions over the heads without any up and down motion. in "squeal" and undoubtedly improve badly dried - and does it wind evenly. again without hitting, on out tapes, but in my experience there are other the take -up reel? Irregularities of motion are unmis- causes of squeal (improper tensioning, warped reels, takable symptoms of tape -feed or mechanical trou-

58 LIIGH FIDELITY MAGAZINE

www.americanradiohistory.com bles which, if allowed to progress, inevitably result for trouble! As a general rule, though, nontechnicians in squeals, wows, and other objectionable noises, should play safe by venturing inside equipment cases some of which may be electrically transmitted to only to replace tubes in the electronics section, which the speakers; these irregularities also result in im- usually is more easily accessible than that housing properly (unevenly, too loosely, or too tightly) wound the mechanisms. reels-with the consequent likelihood of damage to the tape itself. AURAL "yardstick" evaluation may seem an awe- Right here is the time to check tape speed. which some notion to the average listener, but actu- to be done accurately demands either a strobe -wheel ally it is well within the capabilities of anyone with or strobe -tape. The former is available in a pre- normal hearing and a willingness to train his sonic cision Scott Instrument Labs model and a much memory. The only tool required is a recorded tape of cheaper ($4.95) but serviceable Orr Industries Model first -rate technical quality with which you are (TSB -I). An excellent Robins Industries Tape- Strobe- thoroughly familiar. The music itself may be almost and -Light Kit (TK -5, costing only $2.00) includes anything-provided it includes both extreme highs a handy neon -light holder with cord as well as five and lows, some sustained tones, good channel bal- 25 -inch lengths of stroboscopically printed paper ances, and minimal surface noise and hiss. By play- tape, which can be spliced into an endless loop, ing it, or at least selected key passages (always with or spliced onto the beginning or end of recorded exactly the same control settings) as a habitual part tape reels to check for speed variations under dif- of your equipment -care program, you will soon ferent "loading" conditions. Some of the test tapes learn to distinguish any lapse from optimum per - to be mentioned later include timing checks, but formance-in particular any falling off in power strobe testing is preferable, both in accuracy and in output, high frequency droops, speed or feed irregu- providing visual evidences of flutter or speed varia- larities (aurally apparent as pitch changes or wavers), tions too small to be detected by ear alone, at least channel imbalances, rises in background or surface in musical program reproduction. noise levels, sudden appearances of reverse -track Warning to Novices: Without technical experi- spill -over, etc. ence, don't try to correct either tape speed or major Such a performance standard also is invaluable tope feed irregularities. If they persist after normal for the critical evaluation of newly purchased re- cleaning procedures and replacement of warped reels corded tapes. If one of these sounds defective in any or hardened pressure pads, turn the problem over to respect, immediately replay your yardstick to assure an authorized dealer or serviceman. If, however, yourself that the flaws are actually inherent in the you have enough skill to follow the instructions for new tape and are not the result of operating defects disassembly and internal cleaning in your equip- in your system. Be careful, however, to allow for ment's maintenance handbook (more complex and normal differences in frequency and dynamic con- technical, as a rule, than the operating instruction tent of various types of music and performance, in manual), you well may find that a thorough clean- acoustical environments, microphoning techniques, ing of all drive belts, idlers, brake pads, etc., is etc. In general, "yardstick" comparisons are most enough to cure most nonaggravated speed and feed reliable in exposing basic distortion, excessive noise, troubles. Motor and drive -mechanism lubrication and spill -over defects. usually is not necessary; but if it is. follow the manu- For objective quantitative rather than subjective facturer's specifications exactly -lubrication of the qualitative evaluations, professional test tapes and wrong kind or in the wrong place is simply asking response measurement Continued on page 112

Use the right plug for the right connection. A splicer's handy, to edit or add speed -check strip.

AUGUST 1962 59

www.americanradiohistory.com A Guide to Tape Kits

There's a wide variety of tape equipment now available for home assembly

by Len Buckwalter

RECOGNIZING no area of sound production as cal sections were mated during the final stages of sacrosanct, kit makers are now paying increasing assembly. Although the TRI -D has since been attention to the field of tape recording and playback. superseded by more versatile equipment, it set the And though the prospect of building a tape mecha- construction pattern followed by later kits. nism might seem formidable, it is in fact quite Recently, Heathkit has announced its new "AD" within the powers of the reasonably experienced do- series of tape kits, which permit the builder to it-yourselfer. advance to 4 -track stereo record and playback by My own first excursion into the tape kit field was gradual stages. The simplest version, the AD -12, is made, with much curiosity and some trepidation, a basic tape mechanism, priced at $124.95. It can about three years ago when the Heath Company play 4 -track stereo or mono through external elec- brought out its TRI -D, the first tape mechanism tronics (in your present music system, for example, in kit form to become available. The TRI -D in- if it can handle tape head outputs). If at a future cluded a stripped -down tape deck which the builder date you wish to outfit the transport with built -in completed merely by installing tape heads and footage preamps for record and playback, Heath allows you counter. The electronics consisted of record 'play- that option. Construction of these sections resembles back preamps, which consumed about seventeen that of its predecessor, the TRI -D, in that printed hours of construction time. Electronic and mechani- circuit boards are first wired, then fastened to the

60 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com transport mechanism. The price of a complete deck - and earphone jacks for monitoring during recording plus- electronics kit (known as the AD -22) is $ I79.95. are among its other features. The AD -22 is replete with a weighty complement of Obviously, the KP -70 is intended for the audio- tape features. Two VU -type meters indicate signal phile who wants the flexibility characteristic of levels for record and playback and aid in head professional equipment, and its construction is no alignment. (A test tape is included in the kit.) There week -end task. However, the job is speeded and the is a mixer for blending voice and music while re- margin for error considerably reduced through the cording. And, for recording away from home, a use of printed -circuit boards-small parts like resis- carrying case is available ($37.50). tors and capacitors are inserted into board holes and Reflecting the industry's growing affinity for the soldered -and the Knight -Kit instruction manual (as transistor is EICO's Model RP -100 4 -track tape sys- is true for most kits today) is a marvel of clarity. By tem, available in do -it- yourself form for $299.95. It following the manual faithfully -and giving due at- relies on fourteen transistors in its electronics to tention to good solder joints -the builder should achieve the merits peculiar to the semiconductor: encounter few problems. A series of final adjustments virtually no heating of equipment during use, and enable the preamp to be electrically matched to the reduced possibility of hum and microphonics. Other heads of the tape deck. Like Heath's AA-17I, the advantages are compactness and low power consump- Knight KP -70 must be reproduced by a stereo power tion. Besides 4 -track stereo record and playback, amplifier and speaker system. the RP- I00 has facilities for sound -on -sound record- While adding the KP -70 to a basic tape deck, or ing (dubbing an additional signal onto a recorded the AA -17I to a deck that already has a single - tape without erasing the original), microphone -plus- channel preamplifier, will provide the necessary program mixing, and earphone monitor facilities. electronics for stereo playback and recording, con- The use of solenoids for performing mechanical tasks version of a mono unit to stereo also involves the at the touch of a push button provides the operator substitution of a new tape head for the existing with a responsive machine. head or, in some models, the addition of a second In packaging the RP -100, EICO has implemented head. This area of mono -stereo conversion is served what could be termed the "separate chassis" ap- by a unique type of kit, of which the Nortronics proach. The kit builder wires an individual section models are at present the most numerous and would of the electronic circuit on its own subchassis -first seem to fit most conversion requirements. (A query the power supply, then the playback and record to the manufacturer of your present tape machine preamps. Thus, each subchassis may be checked as well as to Nortronics should help decide the for error as it is completed by referring back to feasibility of any specific conversion.) Working with each wiring step. Use of an ohmmeter is, of course, a Nortronics conversion kit, I found that the job a faster and more accurate method of checking for is largely a matter of removing top and bottom errors. (The instruction manual, by the way, gives panels of the tape recorder and securing the new checkpoints and their normal resistance readings for head assembly in place -time, about two hours. each assembly.) All of the electronic sections are The important differences among the tape kits joined to the underside of the transport mechanism thus far made available lie in the number and nature (which, as in other semi -kits, comes factory- assem- of functions they provide. Generally, these units bled) during final phases of construction. bespeak an attempt to bridge the gap between "home entertainment" and "professional- type" equipment. For those willing to spend the time assembling such OWNERS of a serviceable tape deck who want to kits (admittedly, a lengthier process than building a upgrade it for stereo can do so with a "tape elec- tuner or basic amplifier) the do- it- yourself approach tronics only" kit. a modest example of which is the represents an economical and rewarding entry into Heathkit AA -17I, costing only $39.95. In effect, it the world of tape recording. duplicates the single record playback preamp in a recorder to provide the second channel needed for stereo-recording or playback. Fulfilling the same purpose but also providing an array of functions Further Tape Features normally reserved for the small broadcast station is Allied's two-channel Knight -Kit KP -70 (cost, As part of this issue's special emphasis $89.95). Essentially a record /playback preamp, this on tape, see "High Fidelity Newsfronts," unit is designed to link almost any tape deck to the rest of a stereo system, but especially noteworthy page 111, for an account of tape car- are the KP -70's intriguing provisions in the record tridges and "The Tape Deck," page 104, For instance, it allows sound -on -sound re- channels. for a discussion of opera on 4 -track tape. cording as well as an echo effect which may be imparted to program material at the time of record- ing. There also is an internal mixer that allows blending of two program sources simultaneously. Dual VU -type meters, clutch -coupled gain controls,

AUGUST 1962 61

www.americanradiohistory.com The consumer's guide to new and important high fidelity equipment

high fideli EQUIPMENT REPORTS

EMI Model DLS -529

"Dutton" Speaker System

AT A GLANCE: Designed by Dr. G. F. Dutton of Elec- IN DETAIL: The DLS-529 employs an elliptical woofer tric & Musical Industries, Ltd. (EMI). a leading British (131/2 by 81/4 inches) with an aluminum cone and plastic recording and electronics organization, the DLS -529 is a surround. This driver is crossed over at 4,500 cps to a two -way speaker system pre -installed in a compact, sealed pair of cone tweeters, each 31 inches in diameter, and enclosure. Dimensions are 24 by 13 by 121/4 inches; having a specially curved diaphragm to aid in treble weight is 50 pounds; nominal impedance, 4 ohms. The dispersion. These speakers, especially designed for this cabinet is available in walnut, either with a hand -rubbed system, are mounted on a baffle so as to radiate directly oil, or a lacquer, finish. Price is $159. (Manufacturer: into the listening area from behind a metallic grille Electric & Musical Industries. Ltd., Hayes, Middlesex, cloth. The enclosure itself is a nonresonant type, being England. American distributor: Scope Electronics Corp., completely sealed, very solidly constructed, and with 10 Columbus Circle, New York 19, N.Y.) heavily padded inner surfaces.

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 which, since 1880, has been a REPORT POLICY leader in product evaluation. Speaker reports are based on controlled listening tests. Occasionally, a supplementary agency may be invited to contribute to the testing program. The choice of equipment to be tested rests with the editors of HIGH FIDELITY. No report, or ortion thereof, may be reproduced for any purpose or in any form without written permission of the publisher.

62 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com In performance tests, the speaker seemed well bal- horizontally. The position of the two tweeters doubt- anced and fairly smooth throughout its range, which is less is responsible for this effect, since they are adjacent estimated to extend from about 30 cps to beyond to each other horizontally when the cabinet is positioned audibility. Variations in amplitude of response were horizontally, and this relationship would naturally tend minor, and seemed of a sort common to most middle - to spread the highs over a wider horizontal angle. The priced speakers. Also verified is the fact that this speaker elliptical shape of the woofer, also wider in the hori- is quite efficient, and does not need much amplifier zontal attitude, again would contribute to this effect. power to produce a good deal of bass response. In fact, Thus, for the widest possible dispersion angle with the with a 60 -watt amplifier driving it, and volume control DLS -529, the horizontal position is recommended, al- on the preamp turned just past the "12 o'clock" position, though this suggestion is subject to variations in room enough bass power was radiated to set up vibrations in acoustics. For instance, in a small room, 131/2 by a cabinet door located some thirty feet away from the 141/2 feet, very effective stereo could be obtained with a speaker. The speaker cabinet itself, by the way, buzzed pair of DLS -529s installed vertically and spaced about a little when driven hard just above 100 cps. Doubling seven feet apart. In a larger room. 19 by 30 feet, we in the bass region begins somewhere below 50 cps, de- preferred to use the speakers horizontally, radiating pending on how hard the speaker is driven by the power down the length of the room about two feet in from one amplifier. With this speaker, it seems apparent that high of the short walls, and spaced about nine feet apart from efficiency means less tolerance of high -powered bass each other. than in some other compact types, which would suggest The sound of the DLS -529 on program material that the DLS -529 should best be used with amplifiers of seems well defined, somewhat forward- projected, and low to medium continuous power rating, say in the 10- tending toward a quality that might be termed robust. to 35- watt -per- channel class. With such amplifiers, it Many listeners have been thoroughly pleased with it, will provide more than ample sound levels in normal - pointing in particular to its fine handling of brass and size rooms, and it should not be called on to do more woodwinds. Others have felt that it could be a little than that. more "refined" in its reproduction of strings. There is Its characteristic sound on white noise was medium general agreement that the female voice is handled well; to soft, which would indicate the smallest amount of the male voice tends toward the least bit of heaviness. midrange preëmphasis. Its dispersion pattern is mod- Transient response is quite satisfactory, with ample erately directive, being neither very directive nor yet crispness and no hangover effects. In sum, the DLS -529 "omnidirective." To some extent, this effect depends on merits careful audition. It is certainly full and solid- the position of the speaker. Thus, when standing upright sounding, though some listeners may prefer a little less vertically, it tends to be more directive than when lying mid -bass and a bit more "air" in the extreme highs.

Fisher FM- 100 -B; FM -200 -B FM Stereo (Multiplex) Tuners

AT A GLANCE: Both the FM -100 -B and the FM- 200 -B, buyer. Price of the FM -l00 -B is $229.50; of the FM- brought out by Fisher since the advent of FM stereo, 200-B, $299.50. (Manufacturer: Fisher Radio Corp., are extremely sensitive, low- distortion instruments de- 21 -25 44th Drive, Long Island City 1, N.Y.) signed to provide top quality monophonic or stereo FM reception for the finest of home music systems. Tests IN DETAIL: The FM- 100 -B, to begin with, is an excel- conducted at United States Testing Company, Inc., indi- lent tuner for mono or stereo use in either extreme cate that first -class performance can be expected from fringe areas or strong signal areas. It incorporates either tuner, although there are some differences in the Fisher's "stereo beacon," which provides a visual indi- two models that may prove of interest to the prospective cation that a station is broadcasting in FM stereo.

AUGUST 1962 63

www.americanradiohistory.com Switching from monophonic to stereophonic operation is automatic when the selector switch is set to an ap- MONOPHONIC FREQUENCY RESPONSE 4 propriate position. The tuner has a front -panel muting

o threshold control. local- distance sensitivity switch, and a level -type tuning indicator. All these features were 4 Zero DB - 1.0 Volts judged to be real conveniences, and the tuning indicator 20 50 100 300 500 1K 3K 5K 10K 20K was found to be accurate at all signal levels. The antenna input on the tuner is 300 -ohms balanced, and the sensitivity selecting network (controlled by the local- distant range switch) is located between the an- tenna terminals and the antenna coil. The FM circuit employs a 61318 cascode RF amplifier, a 6AQ8 oscilla- tor- mixer, five 6AU6s providing three stages of IF ampli-

4 fication and three stages of limiting. and a crystal diode FREQUENCY RESPONSE ratio detector. Half of a 6DJ8 is also used in the tuner's S muting circuit. I 12 In monophonic operation, the ratio detector's output M 16 FM STEREO RESPONSE CHARACTERISTICS is fed directly to two 12AX7 output stages, one feeding 20 the channel A output and the other feeding the channel 24 -r B output. Each output stage has its own level control CHANNEI SEPARATION located on the rear panel of the tuner, and there are 28 __ two output jacks for each channel. 32 In stereophonic operation, the ratio detector's output 36 Righ Channel - is fed to a 12AT7 amplifier stage in the multiplex 40 from 20 50 100 300 500 1K 3K 5K 101 20K adapter section of the tuner. Part of the output FREQUENCY RESPONSE this stage is fed through a 19 -kc tuned transformer to a 19 -kc amplifier stage (1/2- I2AT7), the output of which synchronizes a 38 -kc oscillator (I2AX7). The oscillator's output is fed to two balanced- bridge demodulators containing four crystal diodes each. The 38 -kc switching signal on one bridge is 180° out of phase with the 38 -kc switching signal on the other bridge. When the com- o signal is applied to the demodulators. the S posite stereo signal is sampled in such a way that the output from one 10 bridge is the left channel, and the output from the IS second bridge is the right channel. The signals are fed 20 through a balancing circuit (containing a separation 2S IHFM Sensitivity at 98 me 1.8pv control) to 12AT7 amplifier stages. 15 -kc low -pass 30 filters, and the final 12AX7 output stages where de- 35 IHFM SENSITIVITY CURVE emphasis occurs. 40 Performance of the FM- 100 -B- measured at USTC 15 -was excellent in more ways than one. The IHFM 50 usable sensitivity was 1.8 microvolts at 98 mc, 2 micro- 1 10 100 1000 10K 100K volts at 90 mc. and 2.1 microvolts at 106 mc, all very TUNER RT INPUT - MICROVOETS fine figures. The harmonic distortion of the tuner on mono operation was quite low, being 0.40% at 1,000 cps, 0.31% at 400 cps, and 0.44% at 40 cps. IM dis- tortion was measured to be 0.04 %, which is extremely Chart at top shows monophonic frequency low. The tuner's signal -to -noise ratio was 73 db referred to 2 volts output. Calibration across the tuning dial was response of the Fisher FM -100 -B tuner. The excellent. Frequency response, on mono, showed a very slight droop at the low end, but did remain flat within second chart shows its stereo response and plus 0.2 and minus 1.3 db from 35 cps to 20 kc. On stereo operation, both channels had uniform re- channel separation. Sensitivity is plotted on sponse characteristics within a small fraction of a decibel. Response was measured as flat from 50 cps to 9 kc chart the third chart, while the last shows within plus 0 and minus 2 db, and from 25 cps to 13 kc 4 separation sensitivity for the model Fill- 200 -B tuner. within plus 0 and minus db. Stereo channel was adequate, and was maintained in excess of 16 db from 20 cps to 15 kc. The total harmonic distortion (THD) of the stereo output signals was very low by comparison with the distortion produced by many other stereo tuners or multi- o plex adapters. At 40 cps, for instance, THD on either channel did not exceed 1.1%, and at 1,000 cps did not 10 exceed 0.29%. Capture ratio was measured at 12 db. 15 Although the FM -200 -B stereo FM tuner is similar 20 IHFM Sensitivity at 98 mc = 1.7,uv in design to the FM -100 -B tuner, it has a number of 25 added features and improvements, designed to make it 30 easier to use and to give it even better performance in 35 deep fringe areas. 40 IHFM SENSITIVITY CURVE As on the FM- 100 -B. the FM-200 -B has a front 45 panel muting control, sensitivity control, selector switch 50 10 100 1000 10K 100K (mono, stereo. or stereo filter positions). and, of course,

TS a tuning control. In addition, the FM -200 -B has a vol- TUNER RF INPUT - MI(ROVOE

64 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com urne control and an AFC selector switch, with a "Micro - The chief significance of this improvement, aside from tune" position. the convenience features available in using the tuner, Fisher's "Microtune" position is an electrically oper- is its enhanced responsiveness to extremely weak signals. ated AFC -defeat switch. A sensing device on the tuning Thus, on the FM- 200 -B, the 1HFM sensitivity at 98 control activates the Microtune amplifier circuit when megacycles was 1.7 microvolts, as compared with 1.8 the tuning control is touched, energizing a relay and microvolts for the FM- 100 -B. More important than the cutting off the AFC circuit. Both the Microtune feature tenth -of- one -microvolt, however, is the shape of the as well as the AFC circuit were found to work very well. sensitivity curve of the FM- 200 -B. As may be seen Two different amounts of AFC "pull -in" range are from the accompanying chart, this curve falls very provided for different receiving conditions, explained in rapidly to minus 45 db at 3.1 microvolts, and levels off the tuner's instruction manual. The AFC circuit also at minus 49.5 db, with only approximately 10 microvolts can be completely disabled. usually desirable when of signal. Spot -checks made by USTC of other charac- tuning to a weak station located adjacent to a very teristics indicate generally fine performance throughout. strong station. The tuner's harmonic distortion at 400 cps was 0.4 %. There are differences between the circuits of the Its frequency response was flat within plus 0 and minus two tuners. The FM -200 -B has a 72 -ohm antenna input 2 db from 20 cps to 16 kc, falling off to minus 5.3 db in addition to the regular 300 -ohm input. The FM -100 -B at 20 kc and minus 3 db at 15 cps. On FM stereo, uses a 6AQ8 dual- triode for its mixer -oscillator circuit, channel separation was better than 20 db up to 10 kc. whereas the FM -200 -B uses two separate 6CW4 triodes The capture ratio of the FM -200 -B was checked at 4 db. for these functions. The FM -200 -B uses a dynamic Summing up, either of these tuners is a top -ranking limiter to improve the over -all limiting characteristics instrument that will acquit itself admirably for mono or of the tuner, and the audio amplifier has been improved stereo FM reception over a wide range of signal- strength from a single -stage amplifier to a two -stage amplifier. areas. Both are a joy to use, with the silky smooth kind Both tuners employ the same multiplex adapter sections. of response from the controls that has become a Fisher Altogether, the FM -200 -B has fifteen tubes, whereas characteristic. Both provide a full, clean audio signal. the FM -100 -B contains twelve tubes. The costlier FM -200 -B boasts a few extra convenience The net effect of these embellishments gives the features and somewhat more sophisticated circuitry FM -200 -B a measure of performance that is superior to which is designed to cope with broadcast signals that the already fine results obtained with the FM- 100 -B. are weaker, or at a longer distance from the listener.

Garrard AT -6

Record Changer

AT A GLANCE: The AT -6 by Garrard is a recently land. American distributor: Garrard Sales Corp., 80 designed automatic record changer capable of four -speed Shore Road, Port Washington, N.Y.) operation (16, 33, 45, and 78 rpm) as well as of inter- mixing 7 -inch, 10 -inch, and 12 -inch records of the same IN DETAIL: The AT -6 uses a four -pole induction speed. United States Testing Company, Inc., points out motor which drives a 23/4- pound, 10 -inch platter through that the unit is handsomely styled, compact, and easy a four -step motor pulley and rubber idler wheel. As to operate, although care should be taken when installing with most intermixing -type changers, the record size is it to see that it is thoroughly shock -mounted since it determined by a small "selector arm" which is located appears to be fairly susceptible to external jarring. Price, at the tone arm mounting post and which "feels" the less base: $54.50. (Manufacturer: Garrard Engineering records as they drop to the turntable. An overarm is and Manufacturing Co., Ltd., Swindon, Wiltshire, Eng- used to balance the records stacked on the "automatic"

AUGUST 1962 65

www.americanradiohistory.com spindle as well as to sense when the last record has been power. At 33 -rpm speed, with one record on the platter, dropped to the platter. The long spindle may be re- the AT -6 ran 0.22% fast at 105 volts. 2.07% fast at 117 placed with a shorter "manual" spindle for playing one volts, and 2.69% fast at 129 volts. With ten records on record at a time, or with a 45 -rpm automatic spindle the platter, the changer ran 0.22% slow at 105 volts, for stacking records with the 11/2-inch center hole and 0.72% fast at 117 volts, 1.4% fast at 129 volts. At 16- having them play in sequence. rpm speed, the AT -6 ran generally somewhat slow. At The arm has a rear counterweight which may be 45 -rpm and 78 -rpm speeds, it ran slightly fast, with the adjusted for balance in the vertical direction, after which maximum variation occurring at the high supply voltages, a spring control is used to set the downward tracking or 3% at 129 volts. On another sample, speed was force applied to the stylus. The markings on a little checked to about 2S; fast, with one record on the scale near the pivot end of the arm provide a rough platter, running at 33 -rpm setting from 110 volts AC. approximation of the actual force, as measured with a Our experience with changer measurements indicates separate balance gauge. Thus, with the arm balanced generally that with one record on the platter, most according to instructions, 2 grams on the arm scale was units tend to run fast when new. Manufacturers tell us found to be half a notch heavier than 2 grams on a that as changers "run in," they tend to slow down balance gauge; 3 grams on the arm scale was a shade closer to nominal speeds. lighter than 3 grams on the gauge; 4 grams on the arm Wow and flutter both were relatively low, measured

scale was about half a notch lighter than 4 grams on . respectively as 0.09% rms and 0.04% rms. Turntable the gauge. rumble- measured at 34 db below the standard refer- A removable plug -in head or shell is supplied into ence level or 1.4 cm /sec peak velocity at 100 cps- which any standard cartridge can be installed. The arm was judged high enough to become slightly annoying has great freedom of movement in the lateral direction. when listening to quiet musical passages on a record permitting the AT-6 to track a record and to perform played over a powerful amplifier and very wide -range its changing operation with a stylus force as low as 2 speaker system. However. with more modest reproducing grams, without hesitation or groove -jumping. The dif- equipment, this rumble probably would not be observed ferential vertical stylus force, from the first to the tenth or considered very objectionable. There was some hum record stacked on the AT -6, was only 0.1 gram, which is field noted above the platter which could induce hum in remarkably low and indicates that once set, the proper a magnetic cartridge which itself is not thoroughly stylus force will be applied to all the records that may shielded. With many recent magnetics that are so shielded, be stacked on the player. The usual sets of cables and and with ceramics, this hum would be no problem. grounding wire extend from the tone arm and out from The AT-6, mounted on the wooden base supplied under the unit's base. An automatic muting switch with it, seemed to be susceptible to external vibrations shorts out the signal leads during the change cycle so and mechanical shock, such as from a person's walking that no mechanical noises are transmitted. in the vicinity of six to eight feet away, which caused Speed accuracy of the AT -6 appeared to vary with the arm to skate across a few grooves. In view of this supply voltage and the number of records stacked. USTC possibility, it is recommended that the AT -6 be care- ran tests at 117 volts AC, as well as at 105 and 129 fully installed, possibly with the entire assembly resting volts AC. The last two figures represent normal average on a thick foam pad. Alternately, one should remember variations of plus or minus 10% from the nominal to tread lightly when it is running.

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www.americanradiohistory.com New Fall Recordings a preview

os:

THANKS TO Igor Stravinsky and recent vintage and include a complete has good news for all those Wagner - (see page 71), Fidelio, with a cast headed by Christa ites who have been clamoring for a we have recently been awash with Ludwig and Jon Vickers; the St. reissue of Die Walküre, Act I, as re- recordings of the flood. Now it's time Matthew Passion, featuring Elisabeth corded a quarter of a century ago in to brace ourselves for the flood of Schwarzkopf, Christa Ludwig, Peter Vienna by Lotte Lehmann and Lauritz recordings. Between the beginning of Pears, Nicolai Gedda, Dietrich Melchior under the direction of Bruno August and the end of November, an Fischer -Dieskau, and Walter Berry Walter. Their incandescent singing inundation of microgrooves will pour as soloists; the Bruckner Seventh and will be made available once again in forth from the pressing plants -hope- Mahler Fourth (with Schwarzkopf in the "Great Recordings" series. fully to trickle, without undue delay, the final movement); a Richard into the hands of cash customers. Strauss miscellany; and a collection of ARTIA: Hope still springs eternal for Herewith a brief survey of the com- light music comprising Kurt Weill's a new stereo Boris Godunov recorded ing deluge. Dreigroschenoper Suite, some Strauss at the Bolshoi Opera (it was promised waltzes, and the conductor's own for last fall but never materialized). ANGEL: The London -headquartered Merry Waltz. Other anticipated autumn items from EMI combine controls two record We note a welcome emphasis on U.S.S.R. sources include a first re- labels in the United States, Angel and song literature in Angel's fall plans. cording of the Shostakovich Fourth Capitol, and its classical recordings Victoria de los Angeles, accompanied Symphony (Kondrashin / Phil- have for many years been apportioned by Gonzalo Soriano, is heard in a re- harmonic) and a new stereo version of between them. Beginning this fall, a cital of Spanish songs (Falla, Grana- the Tchaikovsky No. I new policy is in effect. All EMI dos, Turina, et al.), Fischer-Dieskau in with prize winner Vladimir Ashken- classical recordings will henceforth be Schubert's Schöne Müllerin and Elisa- azy as soloist. From Czechoslovakia's issued here only on the Angel label. beth Schwarzkopf in Wolf's Goethe Supraphon studios, Artia expects to Artists formerly on the Capitol roster Lieder (both with Gerald Moore at derive a complete stereo recording of (for example, Nathan Milstein) are the piano). Last, but assuredly not Dvofák's symphonic poems, also his now to be transferred to the Angel least, we are promised two LPs of opera Rusalka. list. Angel's forthcoming repertoire 1 Schubert songs interpreted by Elisa- thus promises to be more extensive beth Schumann in the "Great Record- CAMBRIDGE: Biber and Bartók en- and varied than ever before. ings of the Century" series. compass the range of this new label's Otto Klemperer, that intransigent Two of Europe's notable young forthcoming releases. The Fifteen Bib- and seemingly indestructible conduc- conductors demonstrate Angelic affili- lical Sonatas of Heinrich von Biber tor, dominates the autumn offerings. ations this autumn-Carlo Maria Giu- (1644- 1704), described as "wild and No less than ten albums will carry lini in the Brahms First and Dvofák wonderful" by the company's musical the Klemperer imprimatur, all but Fourth, Georges Prêtre in a program director, are played by violinist Sonya one recorded in London with the Phil - of contemporary French ballet music Monosoff with viola da gamba, bas- harmonia Orchestra. The exception (Poulenc, Dutilleux, Milhaud). Yehu- soon, harpsichord, and organ account- is the Brahms Violin Concerto in a di Menuhin contributes the Mozart G ing for the continuo. Bartók is rep- collaboration with David Oistrakh major and A major Violin Concertos resented by the Sonata for Two Pianos and the French National Radio Or- and the six Bach sonatas (with harpsi- and Percussion and the Divertimento chestra (see "Notes from Abroad," chordist George Malcolm), the Dol- for String Orchestra; performances are HIGH FIDELITY, September 1960, metsch Ensemble is heard in selections under the direction of Harold Farber - for an account of the trials and tribu- for the recorder, and the celebrated man. Other Cambridge recordings on lations encountered). Angel's other Leon Goossens is featured in a pro- the fall schedule include recitals by Klemperer issues are mostly of more gram of oboe music. Finally, Angel soprano Lucine Amara and tenor

68 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Hugues Cuenod, the first volume in a certs Colonne Orchestra under Pierre -the complete piano concertos in a complete edition of Rameau's key- Dervaux. four -record album (Wilhelm Kempff board music, and a collection of organ and the Berlin Philharmonic under works by Sweelinck. COMPOSERS RECORDINGS: Rob- Ferdinand Leitner), the Eroica Sym- ert Ward's Pulitzer Prize opera, The phony (Karl Böhm /Berlin Philhar- COLUMBIA: A barrage of Leonard Crucible, heads the list of this corn - monic), the Fifth Symphony (Fricsay/ Bernstein leads off the autumn pro- pany, which specializes in music of Berlin Philharmonic), and three piano ceedings at Columbia. Undoubtedly contemporary American composers. A sonatas (Andor Foldes). the most newsworthy item is a Bern- second opera, The Pot of Fat by Opera lovers with a taste for the stein -led rendition of the Brahms Theodore Chanler, is also on the unusual can sample highlights from Second Symphony, not so much for autumn docket, as well as a flock Hindemith's Mathis der Maler per- the repertoire as for the fact that of pieces by Charles Ives, Henry formed by Dietrich Fischer -Dieskau it was recorded (in great secrecy two Cowell, Wallingford Riegger, and and Pilar Lorengar with the Berlin months ago) in the new Philharmonic other native notables. Radio Symphony under Leopold Lud- Hall at Lincoln Center. Other Bern- wig. The versatile Fischer -Dieskau stein releases (all with the New CONCERT DISC: Contemporary mu- can also be heard in a Schubert collec- s York Philharmonic) include Berlioi sic is to the fore with this label too. tion entitled "Songs of Greek Antiq- Harold in Italy, a collection of popular Due for release before long are record- uity" and in a Liszt song recital (Jörg pieces, and a bevy of ings of Schoenberg's Pierrot Lunaire Demus is the pianist in both). Aus concerto recordings -the Beethoven (Herbert Zipper conducting, with /[alien we're due to get a new version Emperor (Rudolf Serkin), the Tchai- Alice Howland stimming the sprech), of Verdi's Don Carlo, taped at La kovsky Piano Concerto No. 1 's Eight Etudes and a Scala with a cast including Antonietta (Philippe Entremont), the Berg Violin Fantasy (New York Woodwind Quin- Stella, Flaviano Labo, and Boris Concerto (Isaac Stern), and the Con- tet), Shostakovich's Opus 67 Trio Christoff. certo for Two Pianos by Francis (the Lyric Trio), and Hindemith's Concertos? You can look forward Poulenc (Gold and Fizdale). Sonata for Four Horns. For the to the Brahms Double Concerto From its storehouse of unreleased more traditionally inclined, Concert (Schneiderhan-Starker, with the Berlin Bruno Walter tapings, Columbia will Disc promises Bach's Art of the Radio Symphony under Fricsay) and issue this fall the Dvoták Fourth Sym- Fugue in a transcription for strings the Dvoták Cello Concerto (Pierre phony and a Mozart miscellany (Eine and winds by Samuel Baron as well as Fournier, with the Berlin Philhar- kleine Nachtmusik, the Masonic Fu- the complete set of late Beethoven monic under George Szell). Chamber neral Music, and several overtures). quartets (the ). music? The complete Bartók quartets, Ormandy and the Philadelphians con- as played by the . tribute a new Scheherazade and an DECCA: Violinist Erica Morini and Orchestral oddments? Liszt's Faust album of Strauss and Lanner polkas. the Aeterna Chamber Orchestra under Symphony (Fricsay/ Berlin Radio Sym- To augment its already considerable Frederic Waldman collaborate in new phony) and Satie's Parade (Frémaux/ catalogue of twentieth -century music, stereo versions of Bach's E major and Monte Carlo Opera Orchestra). Columbia will release another Edgard Mozart's A major Concertos. Other Varèse collection (Deserts, Arcana, Decca regulars on view this fall in- GOLDEN CREST: Grant Johannesen Of/rancie) directed by Robert Craft clude the New York Pro Musica en- will make further progress in the and yet another Stravinsky collection semble (fourteenth- century Spanish complete piano music of Fauré, and (Les Noces, Renard, Ragtime) with Masses and medieval English carols), in addition we can expect Johannesen the composer presiding. the harpsichordist Sylvia Marlowe collaborations with violinists William The defection of Vladimir Horowitz (Bach's Goldberg Variations), and the Kroll and Michael Rabin in the from RCA to Columbia will be signal- guitarist Andrés Segovia (in a set of classical sonata repertoire. Four quar- ized by his first new recording in pieces for guitar, orchestra, and nar- tets by Juan Arriaga, the short-lived many years. Entitled simply "Vladimir by Castelnuovo- Tedesco based Spanish contemporary of Schubert, Horowitz," the pianist's initial Co- rator on Jiménez's Platero and I). have been consigned to microgroove lumbia recital embraces the Chopin B by the Phoenix . flat minor Sonata, two Etudes Tableaux by Rachmaninoff, the Schu- DEUTSCHE GRAMMOPHON: Dis- LIBRARY OF RECORDED MAS- company's mann Arabesque, and Liszt's Hungar- tribution of the German TERPIECES: The Haydn symphony in the hands of ian Rhapsody No. 19 in the Horowitz records has been put project continues apace; thirty -three M a bumper crop of new transcription. Finally, in honor of -G -M and Urtext symphonies have already been releases is forecast from now to the Lotte Lehmann's seventy -fifth birth- taped in Vienna, and at least a dozen end of the year. There'll be masses of day (can it really be so ?) Columbia of them will be available before Mozart Requiem has put together a recital of German Masses, including the Christmas. The ubiquitous Max (Von Karajan conducting the Berlin Lieder recorded by the soprano in the Goberman has also been to London, Philharmonic and Vienna Singverein), early 1940s. Six songs never pre- not to visit the Queen but to record the Liszt Graner Mass (recorded in viously issued are included, as well The Beggar's Opera in the original baton of Janos as material that has been missing Budapest under the published score of 1729. William Ferencsik), Haydn's Great Organ from the catalogue for several years. McAlpine as Macheath and Mary Mass in E flat and Little Organ Thomas as Polly head a cast of young Mass in B flat (Theobald Schrems COMMAND: Some new 35 -mm re- British singers. The two-record set by William directing the Bavarian Radio Sym- cordings recently made will be out in November. Steinberg and the Pittsburgh Sym- phony and Regensburg Cathedral in by Choir), Mozart's Laudate dominu,n phony are detailed an article LONDON: Perhaps on the theory that in is- church music (Maria Stader Shirley Fleming elsewhere this and other charity should begin at home, London sue; all them should he on sale with the Berlin Radio Symphony of Records is training its sights this In from Paris comes under Fricsay) and the Dvoták Stabat shortly. addition, fall on operas of London origin. a pairing of Ravel's Bolero and Rap- Mater (Václav Smetácek conducting). sodie espagnole performed by the Con- There'll also be batches of Beethoven Continued on page 92

AUGUST 1962 69

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www.americanradiohistory.com PAUL AFFELDER NATHAN BRODER O. B. BRUMMELL R. D. DARRELL ALFRED FRANKENSTEIN reviewed by HARRIS GOLDSMITH JOHN F. INDCOX Records ROBERT C. MARSH CONRAD L. OSBORNE in III! SII \IIV JOHN S. WILSON Review

As presented at the Orford Church, Suffolk, England.

Benjamin Britten's Noye's Fludde Written for Children, but Rewarding for All

by Conrad L. Osborne

the crest the flood), the FROM TIME TO TIME-occasionally so. and filled with touches of genius in away on of of the storm, and finally the landing and de- through a live performance but largely apt handling of the vocal line and through recordings-we are reminded orchestra (in both Grimes and Turn of barkation. The course of the play turns Jesus, think anew that Benjamin Britten is one of the the Screw, the interludes are among the about three hymns: "Lord most consistently rewarding of con- high points of the work). on me." which is used as a sort of its temporary composers, especially where Concurrently with the production of processional, Noah entering during save," vocal works are concerned; and that he these pieces. Britten has created a whole singing; "Eternal Father, strong to sung during the storm (it is the hymn is one of the very few composers now stratum of works for or about children - writing on whom one can reasonably Young Person's Guide to the Orchestra. whose refrain asks, "O hear us when we those in peril on the rely for a work of quality when some- Little Sweep, Let's Make an Opera, and cry to thee /For thing new is announced. This has held now Noye's Fludde. In all his output sea "): and "The spacious firmament on recessional. The con- true through a succession of pieces such there is nothing as completely winning high," used as a the cast in the hymns. as , , The as this last -named work. gregation joins Serenade for Tenor, Horn, and Strings, Noye's Fludde is a musical setting of Britten shares his preoccupation with Turn of the Screw, and, by all reports, the Chester Miracle Play, one of the music for and about children with other A Midsummer Night's Dream. These are cycle of presentations given in that town contemporary composers -notably Orff not works likely ever to take a place in on each Corpus Christi Day during the and Weill. But where Orff is involved what we call the standard repertory (and Middle Ages. It relates the story of chiefly in working out an educational indeed, the level of sheer inspiration in God's commandment to Noah, of the methodology, and Weill primarily with Britten does not seem high enough to building of the Ark, the boarding of the social and didactic uses of plays for produce such a work); but they are pieces the animals (and of Mrs. Noah, a gossipy children (vide his Der Jasager), Britten of consistent interest -original and in- sot who has to be dragged aboard by seems to be demonstrating that the sim- genious without being too self -consciously her sons while her companions float plicity and directness of such works con-

AUGUST 1962 71

www.americanradiohistory.com stitute real dramatic virtues which can make for musical theatre meaningful for everyone. This at least appears to be true of Noye's Fludde, and Britten has selected the perfect vehicle for such a demonstration. The steady roll of the Middle English verse and the disarming by R. D. Darrell bluntness with which it makes its state- ments create their own strong effects. and Britten matches what could have been his dangerously sophisticated tech- nique to the material in a perfect join. Not the least of the work's charms is. of course, its projection of English at- titude and expression onto the basic story. (One only hopes that Hollywood's Herhert ton Kara jan Biblical interpretations might seem as naïvely charming a few hundred years hence-but it seems a forlorn hope.) During the argument between Noah and The Planets' New Sterco Apotheosis his wife (actually the least successful portion of the work, I think. due to the rather forced caricaturing of Mrs. Noah and her "gossips"), Noah observes: LONG A FAVORED VEHICLE for demon- Some of these comparisons are mani- "Lorde, that wemen be crabbed aye, /And strating the latest advances in audio festly unfair, since the Los Angeles Phil- non are meke, I dare well saye,/This is technology, Gustav Holst's curious "astro- harmonic plainly is no match for that well seene by me to- daye, /In witness logical" suite for large orchestra, The of Vienna and the greater refinement of you each one." I suspect the author Planets, was of course one of the most of the Karajan disc owes an immeasur- of these lines came in for some hearty sensational showpieces of the early stereo able debt to the engineering progress backslapping down at the tavern the era. But quite apart from other short- that has been made in the last few day after the performance. comings of the 1957 -59 editions -in years. Nevertheless, the Von Karajan/ The hymns, dramatically arranged by which neither Boult nor Sargent matches London triumph is not only relative but Britten. make a tremendous effect -par- his memorable 78 -rpm performance, and absolute. The only lapse from perfection, ticularly "Eternal Father," which be- Stokowski gives undue license to his by all present standards, is in the disc comes a part of the play's central ac- personal idiosyncrasies -their once seem- processing- where, although surface tion, sung as the Ark rolls through the ingly impressive sonic power now is noise itself seems minimal, some of the universal storm. But the rest of the work exposed as having been brutally crude. quietest extremes of the extremely wide too is filled with a touching charm -my With the present London recording we dynamic range expose a very low. but favorite passage is the boarding of the see how much more informatively arad still distracting, background hum or animals. each group announced by one elegantly a stereo apotheosis of The muted "amplification- roar." of Noah's sons. heralded by trumpets. Planets can be achieved. 1 hope that the certain success of this and chanting "Kyrie eleison" in a fash- Perhaps the highest praise I can give album will win over many new listeners ion imitative of the species. (The roles the current release is to rank it close to Holst's score, for I long have had of the animals are taken by children, as beside last year's Ansermet /London a special personal fondness for this are the parts of Noah's sons.) God's Scheherazade as a miracle of sonic music, whose composer I met in 1932 lines are rhythmically to proclaimed, im- authenticity. Again, this is indeed the on my first assignment as a young inter- mense effect. way a first -rate large orchestra in an viewer. He was then preparing for a It is hard to imagine the present acoustically fine auditorium naturally guest appearance with the Boston Sym- performance, recorded at the Aldeburgh sounds! And since Holst's score is phony, I Festival even and had the privilege of hearing in Orford Church. Suffolk, being more complex than Rimsky's, there are him rehearse The Planets and several of improved upon. Owen Brannigan is a in The Planets still more overwhelming his other compositions. Like warm, rude- but -kind -sounding Noah, many musi- and dramatic impacts and even subtler timbre cians of the time he was Trevor Anthony rolls pro- not greatly out God's differentiations. impressed with nouncements in a wonderfully orotund recording potentialities Happily, none of this technological and seemed quite unaware that he had way. Sheila Rex is a coarse, chesty preeminence is achieved at the cost of made phonographic as mezzo, probably of not much use in history one of real singing roles, but well enough suited musicianship. Indeed the engineers have the first contemporary composers (apart to this one. The children all sing with been spared any temptation to spotlight from those who, like . pleasant simplicity, unmarred by the solo passages or to enhance climaxes or were also celebrated conductors) to pinched. artificial sound of the over- pianissimos by Von Karajan's superbly record documentary versions of his own trained child's voice. Orchestra and cho- organized and proportioned reading. Al- works. But the care with which he led rus do their jobs to perfection, and the ways notable for his precision and con- the Bostonians through the intricacies stereo staging gives a fine sense of how trol, the conductor outdoes himself here of a score unfamiliar to them and his the performance goes in Orford Church. in his scrupulous fidelity to the spirit frank delight in their virtuosity assure This record is as close to a "must" pur- as well as the letter of the score, and me now that he would have rejoiced chase as any released this year. he stimulates his Viennese players and in the present re- creation. And surely singers into work that stretches their the differences between this and his BRITTEN: Noye's Fludde familiar skills right to-but never be- first acoustical 78 -rpm Columbia ver- Sheila Rex (ms), Mrs. Noye; Owen yond -human capacities. If one compares sion of circa 1925 would have astonished Brannigan (b), Noye; Trevor Anthony this performance with the Stokowski/ him. (speaker), The Voice of God; David Capitol version, one will find in almost For the benefit of those still unfamiliar Pinto, Darien Angadi, Stephen Alexander, every passage an illuminating illustration with The Planets, I should note that the boy sopranos, as Sem, Ham, and Jaffett; of the world of difference between sensi- "astrological" significance of its titling Caroline Clack, Marie -Therese Pinto. bility and sensationalism, between steady and program isn't to be taken too se- Eileen O'Donovan, girl sopranos, as Mrs. tempos and those rushed or dragged, riously except as a key to the nature of Sem, Mrs. Ham, and Mrs. Jaffett. Chil- between sensuously expressive and merely its individual movements. These are a dren's Chorus and An East Suffolk linked series Children's Orchestra, Norman del Mar, sentimentalized phrasings. This is to say of tone poems obviously cond. nothing of the new edition's vividly pure influenced in many technical character- LONDON 5697. LP. $4.98. tonal colorings. or of the sonorities here istics by Stravinsky, Strauss, and other LONDON OS 25331. SD. $5.98. that truly ring. modernists of the time, but reflecting

72 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com a little too even more strongly Holst's own personal finale of No. 4 -seem fast, it must be admitted that they are carried interests in mysticism and folklore. Mars, ex- CLASSICAL off well. the Bringer of War, for example, The trouble, it seems to me, boils presses the mechanized horrors of mod- down to two elements, one of the per- em warfare (the whole work was written formance, the other of the recording. in the early years of World War I) Robert Gerle, a Hungarian now living and in this country, carefully avoids the through powerful rhythmic ostinatos BACH: Art of the Fugue: Fugues 1 -9 brass and percussion sonori- overuse of vibrato, but his playing is implacable lacking in nuance; it has little inflection ties (made all the more terrifying in the Glenn Gould, organ. 5738. LP. $4.98. of color or dynamics. There is conse- new recorded performance by Von Kara - COLUMBIA ML COLUMBIA MS 6638. SD. $5.98. quently not much difference in char- jan's range of dynamic contrasts, incisive- acter among the various movements, instead of ness, and ability to thunder Gould's treatment of Bach on the organ except that provided by change of tempo merely pound). is much less sensitive and penetrating, it and meter. This monochromaticism is Venus, the Bringer of Peace ineffably seems to me, than his remarkable per- emphasized by a slight favoring of the conveys the respites, rather than the formance of the Goldberg Variations on violin in the recording, with the result passions, of love (a distinction Stokow- the piano. His tempos are generally faster that the right -hand part of the harpsi- chord, which is often equally important, ski ignores) in an impressionistic study than those in the other recorded versions Mes- of Art of the Fugue, and his readings is sometimes-particularly in loud pas- of tenderness. Mercury, the Winged sages- covered by the fiddle. N.B. delicate and are strongly rhythmic. There is also a senger is an electrifyingly to with unremitting loud- in both these move- tendency play airy scherzo. And ness. Add to these traits a consistently Tempered Clavier, ments Holst (abetted now by Von Kara - BACH: The Well- détaché touch, and you have a type of Book 11 jan) achieves extraordinary piquancy by performance that grows tiresome long the subtlety with which the sotto voce before the record comes to its end. One Samuel Feinberg, piano. glitter of celesta and other percussion or two of the fugues can stand this sort ARTIA -MK 212 C. Three LP. $17.94. instruments is woven into the finespun of approach -No. 6, for example, is symphonic textures. strong and effective -but by and large The same virtues and defects noticed in Bringer of Jollity voices there is little trace of the poetry and this Soviet pianist's performance of Book Jupiter, the this music can have folk -song- and -dance gusto emotional power 1 (reviewed here in February) are ap- the rollicking when it is played or conducted with parent in the present set. Once more which Holst shared with Vaughan Wil- imagination. Excellent sound in both ver- there are admirable control, variety of liams and other contemporary British sions. N.B. touch, singing tone, and great facility. composers. "I love a good tune," he once As pianism, this is highly praiseworthy. nor Strauss asserted -and neither Elgar BACH: Organ Works As performances of Bach, however, one ever wrote a fatter, juicier one than that begins to have reservations from the chanted by unison strings and horns in Jifi Reinberger, organ. first Prelude. The dynamic range is nar- the Andante maestoso section of this SUPRAPHON A 10016. LP. $5.98. row and on the soft side- perhaps exultant movement. In dramatic con- Feinberg had the capacities of a clavi- trast, Saturn, the Bringer of Old Age Reinberger (an organist who, according chord inmind in this respect-but within of both to the notes, is active in Prague and has that limited range he achieves many is a wholly unique evocation countries) volume and intensity. is and toured in various European gradations of It the implacable ticking away of Time starts the first work on this disc, the the uses to which he puts his delicately the wizening process of human aging. Prelude and Fugue in D, S. 532, rather varied palette that arouse misgivings. Of the instrumental ingenuities here, the ponderously, but continues in satisfying Some of the faster pieces are played distinction between tubular bells struck fashion, taking the Fugue at a good in a dreamy, blurry manner that seems first with metal hammers and later with speed. Here his swift, smooth, and ac- much better suited to Debussy than to felted sticks is particularly notable -and, curate pedaling is especially commend- Bach. Again, the forward motion is fre- brings out the able. In the Canzona in D minor, S. 588, quently interrupted by retards and de- again, the present disc tempo timbre differentiation more effectively his choice of stops and his slow crescendos; sometimes these point up the stress the melancholy character of the end of a period, but at other times they than I've ever heard it before on records. first section, to which the second section seem arbitrary. N.B. Uranus, the Magician shifts the furnishes a bright contrast. In the varia- emotional mood to that of a grotesque tions on O Gott. du frommer Gott. S. symphonic incantation based on a sin- 767, there are tasteful changes in tempo BACH, CARL PHILIPP EMANUEL: ister motto theme. The antics of the and registration from section to section. Concerto for Orchestra, in D (arr. galumphing bassoons remind us only The other works included here are Steinberg) -See Bach, Johann L'Apprenti sorcier, but Wachet auf, S. 645, and the Fantasy in Christian: Sinfonia for Double Or- too forcibly of with vigor and imagination were G major, S. 572. All are played chestra, in D, Op. 18, No. 3 (arr. even Dukas's earnestness and skill. No information is Ormandy). not as boldly organized and varied as supplied about the organ, which is well Holst's. It is the Magister himself, and recorded. N.B. not his apprentice, who is evoked here! BACH, JOHANN CHRISTIAN: Sin - are obvious echoes f onia for Double Orchestra, in D, And while there BACH: Sonatas for Violin and Harp- of Debussy too in the voices that haunt Op. 18, No. 3 (arr. Ormandy) sichord, S. 1014 -1019 the final Neptune, the Mystic, the tBach, Wilhelm Friedemann: Sin- wonderfully serene music achieves a Robert Gerle, violin; Albert Fuller, harp- fonia in D minor tenderness and plasticity that surpass sichord. tBach, Carl Philipp Emanuel: Con- any composer's attempt to rediscover the DI:CCA DXA 168. Two LP. $9.98. certo for Orchestra, in D (arr. secret -lost with Ulysses-of "what song DECCA DXSA 7168. Two SD. Steinberg) the artistic $11.98. the sirens sang." Here again Philadelphia Orchestra, Eugene Or- insights of Von Karajan and the London There has been, curiously enough, no mandy, cond. engineers grasp just what Holst intended, complete recording of these sonatas in COLUMBIA ML 5742. LP. $4.98. and the listener is left mesmerized at the the domestic catalogues since the Menu - COLUMBIA MS 6342. SD. $5.98. end, uncertain whether the seductive hin-Kentner set was dropped some time voices are still faintly floating from his ago. The present album therefore fills These are fine performances of two loudspeakers, or only reverberating in a gaping hole, but fills it, I regret to interesting works and of a third that his memory. say, not entirely satisfactorily. It has, has a mysterious history. Johann Chris- to be sure, many good points. Albert tian, the youngest of the Bach brothers, HOLST: The Planets, Op. 32 Fuller has quickly developed into one is represented by a splendid symphony, of our finest young harpsichordists. and with two brilliant fast movements. Or- Women of the Vienna State Opera he is in excellent form here. Each player mandy's retouchings seem to be limited jYY Chorus; Orchestra, adds discreet and tasteful ornaments to to a few little changes of instrumenta- Herbert von Karajan, cond. his part: there is perfect unanimity be- tion and, at one spot in the Andante, LONDON CM 9313. LP. $4.98. tween the two performers; and if one the rewriting of a violin passage. They LONDON CS 6244. SD. $5.98. or two movements -for example the are as unimportant as they are unneces-

AUGUST 1962 73

www.americanradiohistory.com "Nothing comes easily to me" says Enoch Light. not uncommon for as many as five Command Records to He is listening to the 38th "take" of one tune. dominate the weekly list of best -selling stereo albums. This is Enoch Light, acknowledged leader in the field of The reason is not hard to find. stereo recording - The Man behind Command. "The season's biggest ear -opener" is the way Life has Enoch Light runs Command Records the hard way, the hailed these records. (Command's Stereo 35imm) quality way. No compromises. "The Recordings (Command Classics) are simply gor- If a tune has to be recorded 38 times before the perform- geous," exclaimed Martin Mayer in Esquire, referring to ance and reproduction meet his exacting expectations, then their reproduction. it is done 38 times ... even though this uses up one entire "The music reaches the listener with breath -taking clarity recording session. and cleanness," declared McCall's. At Command, the search for perfection in performance, The unique quality of Command albums has also been recording and musical values is never ending. recognized by critics of a very different kind: The leading Because of this, Enoch Light, more than any other in- manufacturers of phonograph equipment. They use Com- dividual, has been responsible for raising stereo recording mand Records to demonstrate the performance of their to levels no one had suspected were possible. And he con- components. tinues to stay away out in front. What is the source of this insistence on perfection? It One commentator (CASH BOX, Record Industry Pro- conies from a man who knows music both as a schooled fessional Publication) summed it up: "As the stereo sound symphonic conductor (trained at the Mozarteum in Salz- field gradually catches up with Enoch Light ... the maestro burg) and as the leader of one of the great popular bands takes another giant step ahead." of the dance band era in the Thirties (Enoch Light and the Light Brigade) who is also an experienced and inquisitive Set the record world agog producer of records. When stereo came along, he soon real- Although Command releases relatively few records, it is ized that the full potential of this field was scarcely tapped. CIRCLE 2$ ON R E.ADER- SERVICE CARD 74 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "Stereo didn't make Command; Command made Stereo"

Enoch Light's faith in the potential He felt that with 35mm magnetic sound." The same newspaper chose he saw for stereo was so great that he film an immeasurably greater leeway this album as the "Best Classical Or- decided to personally supervise each in dynamics could he achieved. Dis- chestral Album of 1961." phase of the production in this new sonance created by flutter and tape hiss The almost terrifying attention to de- adventure in sound reproduction. The could be eliminated. Print -through, an tail that enables Enoch Light to pro- result was Persuasive Percussion (Com- ever -present danger with thin record- duce records such as these is perhaps mand 800). He hired his own musi- ing tape, would be gone. Others had best illustrated in the production of an cians, supervised the arrangements and album which called for the use of a 'Y.CainU18T T1 3'11 CY..10ri went to fantastic lengths to see that the harpsichord. Getting the right instru- recording probed and explored every ment from England was a relatively nuance of sound. In his single -minded .. minor problem compared to blending pursuit of perfection in every detail he .. its delicate, dry tones into a complete even hired the widely recognized non- orchestration. Light's technicians solved representational artist, Josef Albers, to the problem in typical Command fash- design a strikingly distinctive cover for ion. Only after they had tested a total this album. of 35 microphones did they feel that "Revo utionizes the record industry" up a solu- Persuasive Percussion set the record Herber Kupferberg, Atlantic Monthly they had come with felicitous world agog. It roared to the top of the PERSUASIVE PERCUSSION tion that faithfully sustained the harp- best seller list, a success that is even sichord's notes with the rest of the recognized these possibilities but it re- more significant when one realizes that music. mained for Enoch Light to prove them. there was no advertising behind it to Working closely with his staff of sound appraise or influence the public. Its engineers through one delicate opera- only recommendations were word of tion after another, he succeeded in pro- mount. ducing music of astounding fidelity and Now a new technique almost unbelievable clarity. In 1961 both Persuasive Percussion and To prove his point beyond a shadow its sequel, Provocative Percussion of i doubt, Light took 60 of America's (Command 806), were selected by top musicians to Carnegie Hall and Billboard Music Week as the two top under his own direction produced the stereo albums of the year. On the best 35 (Command album, Stereo /MM . u triumph... seller list for more than 100 consecu- 826). In the shortest time in the history High Fidelity Magazine tive weeks, it was these albums that reached STEREO 35 /MM of stereo recording, this album Enoch Light and his Orchestra caused critics to exclaim, "Stereo didn't first place on the best seller lists. With at Carnegie Hall make Command; Command made kudos pouring in from such publica- Obviously Enoch Light puts huge de- stereo." Then followed a long line of tions as the New York Herald Tribune, mands upon his staff. But these de- successes, 22 best sellers from a list of High Fidelity, The American Record mands are nothing short of what Enoch 26 productions. Guide, Life, United Pre2s International Light expects of himself. Out of the and an appreciative and discerning pub- demands spurred by these expectations aKautis....,l..,.., .n,y:, lic, Enoch Light now knew what he ..,.,.»... .. come the rewards for those who listen could expect from 35mm magnetic film. to his work. The terrifying attention to details From the popular music used in Stereo The primary component in any high fidel- 35 /MM, Light decided to go on to ex- ity stereo equipment is the record itself. plore the exhilarating challenge of the No matter how good all your other com- classics. Here the dangers multiplied, ponents may be, the ultimate excellence of the performance depends on the record. for the stereophile dedicated to the It is at this point that Command has no classics is relentlessly demanding. The "The Summit in Sound" peer. Discover for yourself hots Com- New York Herald Tribune problems of recording great symphonic mand helps you enjoy the full potential of BRAHMS' Symphony No. 2 works, the complexities of working stereo sound, sound that is virtually free William Steinberg with huge orchestras and the necessity Pittsburgh Symphony Orchestra of all mechanical noises, sweeping in its of satisfying the most critical per- magnitude and clarity. Listen to Com- By this time Enoch Light was looking formers, added to the absolute perfec- mand, and write to Command for its toward new horizons. For some time tion required for 35mm film recording, FREE full color brochure of all its re- leases, now. he had been acquainted with 35mm presented an awesome collection of magnetic film, the film used for record- hurdles. ing by the movies and adaptable to the But what were the results? The New World leader in demands of wide screen sound. But this York Herald Tribune greeted Com- recorded sound recording technique had never been mand's entrance into this field with completely perfected for home listen- William Steinberg and the Pittsburgh ing. It was here that Enoch Light felt a Symphony Orchestra playing the RECORDS great need could be filled. Brahms Second as "the summit in 1501 Broadway, New York 36, New York CIRCLE 28 ON READER -SERVICE CARD AUGUST 1962 75

www.americanradiohistory.com sary. The double orchestra sounds won- If you're looking for a bargain. this set derful in stereo. is genuine enough. If you warn Beetho- Wilhelm Friedemann's work consists ven at his best, it will be necessary for of a melancholy introduction and an you to look further. energetic fugue, both of considerable ex- The Loewenguth Quartet has sound pressivity. The fugue has, I believe, been ideas about tempo and dynamics, it is tampered with: it is supposed to be for faithful to the music, and it plays with a strings only, but flutes are heard here. reverence soon communicated to the The Concerto attributed to Philipp listener. Moreover, Vox has given the Emanuel is pleasant enough, but has no group engineering that produces a ro- demonstrable connection with that mas- bust and nicely balanced stereo effect. ter. It seems to have turned up first So much on the plus side. On the other early in the present century, in a version hand, there are occasional stretches of for viols and other stringed instruments thin, nasal sound, frequently coupled obsolete in Philipp Emanuel's day, at a with just enough insecurity and variation concert in Paris conducted by Henri in intonation to make the Beethoven Casadesus, founder of the Société des harmonies sound rather odd. The per- Instruments Anciens. Koussevitzky heard formances are sometimes straightforward it and asked Maximilian Steinberg, a to the point of being dull and inex- son -in -law of Rimsky- Korsakov, to tran- pressive. and the rhythm (particularly scribe it for regular orchestra. The work in Op. 133) is sometimes too unreliable does not appear in any authenticated list to produce the right effect. The group of Philipp Emanuel's compositions, and thus rates several places below the may well be one of Casadesus's "mystifi- "'standard set by the Budapest in this cations" à la Fritz Kreisler. N.B. music. R.C.M. Eleanor Sieber: in excellent form. BACH, WILHELM FRIEDEMANN: BEETHOVEN: Sonata for Piano, No. Sinfonia in D minor-See Bach, greater variety of :one and a more di- 17. in 1) minor, Op. 31, Johann Christian: Sinfonia for rect, passionate emotional No. 2 content. The ( Double Orchestra, in D, Op. 18, first three sections are uninspired, "Tempest ") No. 3 (arr. Ormandy). clichéd writing, meandering in a dry, tSchumann: Fantasia in C, Op. 17 blank way over a cushion of strings and woodwinds. Sviatoslav Richter, piano. BARBER: Summer of The cycle grows stronger Knoxville, toward the end, though; "My beloved ANGEL 35679. LP. $4.98. 1915 is mine" is a highly evocative bit of ANGEL S 35679. SD. $5.98. f La Montaine: Songs of the Rose of writing, and the concluding sections have Sharon at least some forward motion and The jacket cover of this recording calls urgency. our attention to an "Important Notice," Eleanor Steber, soprano; Greater Tren- Miss Steber is in excellent form -her which I quote in full: "Richter's re- ton Symphony Orchestra, Nicholas Har- voice is clearer, her ability to sustain corded performance of the Schumann sanyi, cond. longish phrases better than on many Fantasia is of 31 minutes', 43 seconds' ST /AND SLP 420. LP. $4.98. recent occasions. Both vocally and in- duration. In order to maintain Angel terpretatively, this is one of the best ex- Records' standards of high fidelity and These two cycles share, I think, a com- amples of her work on records. The to ensure properly consistent dynamic mon failing. In the absence of any real sound is quite good, especially consider- levels, it was found desirable to break poetic structure in the texts, or any set ing the live concert source of the re- the sides at a musical pause in the first framework in the construction of the cording (January 13, 1962, in Trenton); section of the Fantasia. This natural songs, both composers tend simply to the orchestra is sometimes muddy- sound- pause permits faithful reproduction of move from one interval to the next, se- ing. partly because the recording focuses the performance exactly as Richter re- lecting their moves in an effort to avoid on the singer, and partly because the or- corded it, without artistic or engineer- the obvious. Barber's seems to me the chestra is of very ordinary caliber. C.L.U. ing compromise." more skillful work, though, paradoxi- The only trouble with the logic of cally, the less successful. I very much this statement is that in Great Britain, doubt that any composer could entirely BEETHOVEN: Concerto for Piano the identical coupling has been issued solve the problems posed by the text, and Orchestra, No. 2, in B flat, on the HMV label without the annoying which is a piece of James Agee's Death Op. 19 sidebreak. Moreover, HMV's technicians in the Family lifted bodily from the tMozart: Concerto for Piano and Or- have produced a disc distinctly superior novel. It is a highly poetic piece of writ- chestra, No. 17, in G, K. 453 to the domestic edition, which is plagued ing, but it is not poetic in the way Bar- with low -level sound and high -level sur- ber seems to want it to be. The ending Friedrich Gulda, piano; Gulda Sym- face noise. of the first paragraph, for instance, phony, Paul Angerer, cond. Questions of manufacture aside, I am is: ". . the image upon them of lovers VANGUARD V RS 1080. LP. $4.98. not terribly impressed with Richter's and horsemen, squared with clowns in VANGUARD VSD 2106. SD. $5.98. completely subjective playing here. He hueless amber." But instead of letting chooses to overlook Beethoven's explicit this fall to its natural end, Barber in- The Gulda Symphony sounds like a dynamic curves and phrase indications in vents a tortuous little pseudoclimax. soggy Viennese pickup orchestra, and the slow movement of the Sonata. The as if the line had a strong emotional by the close of the Beethoven the gen- performance, as a result, is reduced in statement to make. eral lack of animation has spread to the stature to something sugary, devitalized, The whole passage, in fact, is at a soloist. This makes the performance for and, in fact, rather ordinary. Indeed, the lapping, low- voiced level. The key to it jthe most part an uphill affair, and only same spineless, flabby rhythm is present is restraint of tone. The final lovely the most devoted Guldites will be game to some extent in Richter's rendition lines, ". . . and those receive me. who rfor it. The Fleisher -Szell edition remains of the entire Sonata, and the account is quietly treat me, as one familiar and my choice. highly suggestive of a crayon left on well beloved in that home: but will not, Much the same applies to the Mozart, a hot radiator. oh, will not, not now, not ever; but where the gallant style is called for Surprisingly, in view of some of the will not ever tell me who I am," are but the cautious style is heard. R.C.M. magnificent Schumann playing to come climactic, but climactic, I should think, from this artist in the past, Richter isn't in a muted, fading way. Barber's sweaty, BEETHOVEN: any more successful with the Fantasia. vocally ungrateful little outburst here Quartets for Strings: His is the most "worried" and with- strikes one as a slightly adolescent in- No. 7, in F, Op. 59, No. 1; No. 8, drawn interpretation of the piece I can terpretation of the lines. All this adds in E minor, Op. 59, No. 2; No. 9, ever remember hearing. The pianist ap- up to a cycle that is overblown. that in C, Op. 59, No. 3; No. 10, in F pears to be chiefly interested in color tries to make points that aren't there- minor, Op. 95; Grosse Fugue, in B and dynamic contrasts and in producing this despite Barber's frequently deft touch flat, Op. 133 a string of effects. To judge from the and the pleasant, nostalgic air with sundry indications in the score, the com- which he invests the piece. Loewenguth Quartet. poser would have censured Richter for The John La Montaine cycle gets a Vox VBX 43. Three LP. $8.95. his many perverse tricks with tempo and head start in terms of text, which has Vox SVBX 543. Three SD. $8.95. shading. H.G.

76 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com BEETHOVEN: Symphony No. 7, in der, boy sopranos. as Sem, Ham, and The only other recording of these A, op. 92 Jaffett; Caroline Clack, Marie -Therese works presently available -by Safford Pinto, Eileen O'Donovan, girl sopranos, Cape and his Pro Musica Antiqua on Berlin Philharmonic Orchestra, Ferenc as Mrs. Sem, Mrs. Ham, and Mrs. Jaffett. EMS-is a good one too, but there they Fricsay, cond. Children's Chorus and An East Suffolk are done with a solo quartet or quin- DEUTSCHE GRAMMOPHON 18757. LP. Children's Orchestra, Norman del Mar, tet. 1f, like me, you prefer the rounder $5.98. cond. tone produced by several voices on a DEUTSCHE GRAMMOPHON SLPM LONDON 5697. LP. $4.98. part, you should find this new Vox disc 138757. SD. $6.98. LONDON OS 25331. SD. $5.98. highly satisfactory. N.B. The Beethoven Seventh is probably the For a feature review of this recording, most overplayed symphony in the reper- see page 71. FALLA: El Amor brujo -See Stra- tory, yet the multiplicity of statements vinsky: Firebird: Orchestral Suite cannot obscure the fact that only rarely (1919 version). do we hear a performance equal to the BRUSTAD: Symfoni No. 2 -See Kielland: Concerto Grosso Norve- stature of the score. FOSS: Song of Songs This is one of those infrequent rendi- gese. tions. The best new Seventh since An- tBen -Haim: Sweet Psalmist of Israel sermet's, this version is probably more BYRD: Masses: for Four Voices; for Jennie Touret, mezzo (in the Foss); likely to gain wide acceptance since its Five Voices Sylvia Marlowe, harpsichord (in the Ben - manner is robustly Germanic. The Berlin Haim); Christine Stavrache, harp (in the Philharmonic is heard with the discipline Société de la Chorale Bach de Montreal, Ben -Haim); , and rich ensemble one expects from so George Little, cond. Leonard Bernstein, cond. august a group, and the recording projects Vox DL 880. LP. $4.98. COLUMBIA ML 5451. LP. $4.98. these qualities forcefully, giving the im- Vox STDL 500880. SD. $4.98. COLUMBIA MS 6123. SD. $5.98. pression that the listener is situated mid- way in a fine hall. Fricsay's approach These beautiful works are among the 's Song of Songs, composed is energetic, but its drive is always con- finest settings of the Mass written in in 1947. won the Naumburg Recording trolled by a firm sense of the proportions late Renaissance times. It is an extraor- Award ten years later. but is only just of the score and the need to provide dinary pleasure to hear their long. lovely appearing on discs. It is too late; Foss's aesthetic contrasts. This can be noted lines unfolding with seeming independ- style has developed enormously in the immediately in the statement of the in- ence, yet at the same time forming rich meantime, and Song of Songs seems troduction, and later it becomes the clear harmonies occasionally spiced with the rather pale stuff compared to his re- directive of the slow movement, the key kinds of dissonance that were acceptable cently composed and recently recorded to the trios in the scherzo, and the to Tudor audiences. The Montreal Bach Time Cycle. The last two movements needed touch of reserve that keeps the Choir is smallish (thirty singers) and of the Biblical cantata retain some of finale from becoming frenzied. finely balanced. Each part is phrased their mordant strength. however, thanks It is rare for a conductor to hew to according to its own needs, and Mr. in no small part to Miss Tourel's mag- the golden mean so consistently. Even a Little keeps the whole thing flowing nificent singing and the sympathetic man of Klemperer's stature can miss it smoothly without anachronistic down- support given her by Bernstein. (in his case, on the side of undue de- beat accents. The choir's tone is pleas- Paul Ben -Haim's Sweet Psalmist of liberation), and knowing that Fricsay ing, its intonation is accurate. and the Israel is not without its interest in a can manage it makes it all the more sound is conveyed with fidelity. washed -out Blochian kind of way, but distressing that we have seen so little of him in this country. R.C.M.

BENDA: Sonata for Flute and Harp- NEXT MONTH IN sichord -See Prokofiev: Sonata for Flute and Piano, Op. 94.

BEN -HAIM: Sweet Psalmist of Israel -See Foss: Song of Songs. high fidelity

BERG: Quartet for Strings, No. 3 Debussy Commemorative Issue tSchoenberg: Quartet for Strings, No. 2, in F sharp minor, Op. 10 The Heritage of Debussy Kohon Quartet of New York University The composer ranks with Monteverdi and (in the Berg); Maria Theresia Escrib- Beethoven as one of music's radical reformers. ano. soprano; Ramor Quartet (in the Schoenberg). by Frederick Goldbeck Vox 730. LP. $4.98. Vox 500730. SD. $4.98. "An Inner Unity" Conductor discusses the art of Debussy. The heart -on- sleeve expressionism of the youthful Berg is beautifully handled by the Kohon Quartet. The performance of The Imagery from Without the Schoenberg, however. is on the Debussy and the visual arts -in his own day superficial side, the text of the song is and in our own. not given, and both recordings are a bit shallow. A.F. by Alfred Frankenstein

BLOCH: Schelomo -See Herbert: The Respectable Claude, Concerto for Cello and Orchestra, the Irreverent Achille Op 30, No. 2. Debussy as critic was sometimes wise and always witty. by Roy McMullen BODA: Sinfonia -See Trythall: Sym- phony No. 1. Debussy on Microgroove A HIGH FIDELITY discography BRITTEN: Noye's Fludde by Harris Goldsmith and Conrad L. Osborne Sheila Rex (ms), Mrs. Noye: Owen Brannigan Noye; Trevor Anthony (b), Record Reviews . . . Equipment Reports . . . Other Features (speaker), The Voice of God; David Pinto, Darien Angadi, Stephen Alexan-

AUGUST 1962 77

www.americanradiohistory.com its finale, which is like nothing so much f Grieg: Eros; En Svane; Verdens high places. In Rome he was warmly as the bacchanale from Samson et Gang; Spillemaend; Foraarsregn; received by the influential Dalila, and art -loving is difficult to take seriously. First - Der Skreg en Fugl; Der Cardinal Ottoboni, patron of the cele- class recording and performance. A.F. Gynger en Baud Pa Bolge; Til En (II); En brated Corelli. It was another nobleman, Drom. the Marquis Ruspoli, who commissioned GLUCK: Iphigénie en Tauride (high- the present work and presented it in his lights) Norman Myrvik, tenor; Emanuel Leven- palace with a large orchestra under Co- son, piano. relli's direction. Rita Like Gorr (ms), Iphigénie; Nicolai J EMS 501. LP. $5.95. many Italian oratorios of the Gedda (t), Pylades; Ernest Blanc (b), time, The Resurrection is hardly distin- Orestes; Louis Quilico (b), Thoas. These songs by Griffes (and this is the guishable in style and form from the con- Choeurs René Duclos; Orchestre de la only selection of the composer's vocal temporary opera. The chorus has only Société des Concerts du Conservatoire de music in the catalogue) are still among two numbers, one at the end of each Paris, Georges Prêtre, cond. the most interesting written by an Amer- part, and there is no narrator. The char- ANGEL 35632. LP. $4.98. ican composer -not up to the very best acters are Mary Magdalene, Cleophas, J ANGEL S 35632. SD. $5.98. of Ives, but strongly structured, melodi- St. John, an Angel, and Lucifer. The cally original, and with a flavor that is work consists almost entirely of recita- I have never seen, nor even heard, a very recognizable after one or two hear- tives, both secco and accompanied, and first -rate complete performance of this ings. Especially impressive are the three arias and duets. What is remarkable opera -the only more or less complete Opus 11 songs, based on poems by about it is the assurance and skill with recording (an early LP effort starring Fiona MacLeod. They have a dark which the young master goes about his Simoneau) having been rather a mess, haunting texture, and fine intensity. business, the variety he manages to and the only New York performances in Another outstanding song is the Sym- achieve, and the highly expressive quality recent years having been dull concert phony in Yellow, on Wilde's poem - of some of the music. One of the most versions. Perhaps that is the reason I reminiscent of La Grotte. and quite striking numbers is the Sinfonia, have never taken to the score, which whose as unforgettable in feeling. The two brilliant contrapuntal first section is dra- has always seemed to me too consistently little German songs are clearly imita- matically interrupted to introduce placid and static, too stuffily noble, a re- tive of late nineteenth -century Lieder; citative for oboe, which in turn leads di- for its own good. Conductors and singers still, if one were told that they were rectly into the ritornel for the the first aria. also seem to lose sight of human early songs of Strauss, one would not This overture and the one for Part II drama of the libretto-something that think them bad -they are, in fact, con- are not in the Complete Works Orfeo edition. does not often happen to -and siderably better than most of the out- Conductor Rudolf Ewerhart informs us to level everything out in the name of put of Franz or Loewe. in his notes that he has used a manu- classical purity. The overside brings us not only such script, now in a Münster library, In any contain- event, the present album, overfamiliar Grieg items as En Svane ing revisions in Handel's hand. One though it presents only a highlights ver- and Ein Traum, but some excellent songs wonders whether these sion, for the revisions specify makes a better case opera which one will not hear in many sea- that the trombone double the voice than I have heard in the past. Among sons of recitalgoing. Grieg was a truly throughout Lucifer's arias. so, it its some very strong If is a advantages are great writer in this form, as a listen to very rare example of a miscalculation in singing and leadership that keeps the Eros or Der Skreg en Fugl will make instrumentation on the part excerpts from bogging down in stately of Handel perfectly clear. Myrvik's voice is some- and may perhaps be charged to his boredom. Iphigénie is really a soprano what constricted and limited in color, youth. Another unusual bit of scoring role, and so it is not surprising that but he has a sure sense for the mean- is the accompanying of two arias by vio- Rita Gorr, the splendid French mezzo, ing of a musical phrase, and quite im- lins in unison with the voice finds a bit high and by sometimes the tessitura peccable taste in realizing the most with nothing else, not even a continuo. This for comfort. Even on top, her resources his less than memorable instrument. In works out more successfully in one of never seem under undue strain, and the any event, he has no competition in the arias ( "Augelletti, ruscelletti voice is so lush and beautiful, the pro- ") than the Griffes numbers, and offers by far in the other. For the rest, the work is duction so easy, and the enunciation the most comprehensive cross section of scored with richness and variety, Handel so clean that there is small point in Grieg songs now on record -sung in taking full advantage of the instrumental quibbling about a relatively thin top Norwegian (including, incidentally, the forces placed at his disposal. note here or there -this is magnificent two numbers originally written in Ger- It is a pleasure to report that all of singing. Blanc and Gedda are also in man). Levenson's accompaniments are the singers, none Louis of whom I can remem- good form, and Quilico powers most worthy, if not done full justice by ber encountering elsewhere, are praise- his way through the very demanding "De the generally serviceable engineering. A worthy. Miss noirs pressentiments" to effect, if Gabry, the Angel, sounds good valuable addition to the catalogue. C.L.O. a little thin at first and one or two of not exactly effortlessly. The numbers her top notes have been intelligently selected, though are slightly off, but her HAINES: Concertino for Seven Solo voice is agile and in the main accurate "Le calme rentre dans anon coeur " - and she handles her the wonderful little scene in which the Instruments and Orchestra-See sometimes very flor- Rogers: Variations on a Song by id numbers well. Each of the other solo- Fury -beset Orestes falls asleep -is ists has a voice omitted. Orchestra and chorus do well, Mussorgsky. of attractive quality and uses it with skill. Ewerhart has a and the sound is fine. Perhaps a com- thor- ough knowledge of the style -his dis- plete performance would have caused HANDEL: La Resurrezione the soloists creet use of unwritten dotted notes in to do a bit better by the Mary Magdalene's "Se dramatic aspects of the music; Blanc, for Edith impassible ini- Gabry, soprano; Anne -Marie mortale," for instance, is convincing and example, does not convey much of Töpler -Marizy, soprano; Emmy Lisken, effective Orestes' anguish in his well -sung "Dieux contralto; -and his men play well. The Alfred Fackert, tenor; Erich sound is resonant and lifelike. Only qui me poursuivez," nor he and Gedda Wenk, bass; Santini Chamber Choir and Vox's failure to supply a libretto is a much of the brothers' predicament in Orchestra (Münster), Rudolf Ewerhart, subject their duets. As a series of well -performed cond. for complaint. N.B. selections, however, this disc is recom- Vox VUX 2012. Two LP. $5.95. mended. C.L.O. L Vox SVUX 52012. Two SD. $5.95. HAYDN: Symphonies: No. 6, in D ( "Le Matin"); No. 51, in B flat GOER: Quintet for Woodwinds, No. The three and a half years Handel spent Vienna State Opera Orchestra, Max 2 -See Sydeman: Seven Movements in Italy were an important period of his Goberman, cond. career, a for Septet; Concerto for Camera. period during which the young or LIBRARY OF RECORDED MASTER- German plunged deep into the excitement PIECES HS 2. LP or SD. $8.50 on sub- of life in the center of the musical world. scription; $10 nonsubscription. GRIEG: Songs -See Griffes: Three Of the many works he wrote during this J Songs, Op. I1. Italian sojourn very few, however, are When I heard a test pressing of No. 6 known to the average listener, and it is in the course of preparing my recent GRIFFES: Three Songs, Op. 11: The therefore particularly good to have a re- Haydn discography (HIGH FIDELITY, Lament of Ian the Proud; Thy cording to The Resurrection, one of his October 1961 ), I wrote that this sym- earliest and one of the most in- Dark Eyes to Mine; The Rose of oratorios phony was "the logical starting point for teresting products of those years abroad. even a restricted Haydn collection." the Night. Elfe; Auf geheimem Then only twenty- three, Handel was There is no need to add much to that Waldespade; Symphony in Yellow; already a master of the art of getting Evening Song himself known quickly and favorably in Continued on page 80

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www.americanradiohistory.com GERHARD Hüsch's HMV recordings of flavorful composer in his own right, Schubert's song cycles Die schöne Miil - comparable to Buxtehude. Everything lerin and Winterreise have been the about this release is clear, simple, and standards of comparison since they were tasteful -the playing of Karl Johan first imported here in 1933. Hüsch's Isaksen (who studied with Gunther Ra- voice, then in its prime, was a full, sweet min, among others); the recently built , admirably controlled in the baroque organ of St. Jacob's Church in upper register. Always aware of Schu- Copenhagen; the jacket cover; and the bert's dramatic intentions and the subtle notes in Danish and English, which in- relationships between text and music, he clude the little organ's specifications. The also endowed the songs with a lyrical stereo recording is sensibly spaced and quality that makes most current inter- pure in sound. pretations seem either tense or over- refined. Unfortunately, the HMVs were never pressed in this country by RCA THE Oxford Companion to Music gives in prewar days, nor has Angel, which short shrift to , de- owns the rights today, evinced any in- scribing him merely as "a very active terest in them. There was a postwar Gerhard Hüsch: Schubert unexcelled. composer, principally of operas (of a reissue on microgroove in Japan, bet typically Italian kind)." Just how typical these discs were atrociously noisy -and is demonstrated in the first of two Zan - Crisostomo Arriaga (1806 -1826) and the donai operas recorded at San Remo and hard to come by in any case. Quartet in G by Francisco Escudero Now Electrola has brought out both issued by Cetra, Giulietta e Romeo (LPC (1913 -). The performers, drawn from 1266). Composed in 1922 to a libretto cycles in Germany. Winterreise has al- the orchestra of the Madrid National ready arrived here as an import (two by Arturo Rossato, based on Shake- J Radio, play very much like the Guilet speare, it shows the influence of Masca- discs, E 80679/80 -S), with Die schöne Quartet, whose admired Concert Hall Müllerin soon to follow. I am happy to gni (Zandonai's teacher) in the handling recordings of the three Arriaga quartets of the chorus and of Puccini in the vocal report that the transfer to LP has been were withdrawn from the domestic accomplished without any loss of voice cata- pattern, with some Verdian orchestral surfaces are clean. logue a few years ago. Thus something undertow thrown in. Gracing all this are quality and that the of the gap is filled by the restoration The piano, which had been a bit dull a good flair for melody and an ability to of the ingratiating Quartet No. 3-a work set a dramatic scene (though not to on the 78s, sounds brighter now (though which bears in its first movement a nothing could be done to give the very finish it), with the result that Giulietta thematic resemblance to the early Beetho- deserves its place well up in the list competent pianist Hanns Udo Müller the ven quartets, in the remaining special insight which Gerald Moore three of second -rank operas still performed in movements a graceful, fluent galant style Italy. Antonietta Mazza Medici and brings to the part today). The packaging that led Arriaga's to refer includes notes and the complete text in countrymen Angelo Lo Forese (unknowns, but what to the tragically short-lived composer as beautiful names!) handle the title roles German and English, together with an "the Spanish Mozart." Rather autobiographical sketch in which Hüsch than any- with competence and occasional fervor. thing markedly Spanish, Escudero's quar- Included with the two -record album is a conveniently overlooks the war years and tet. written in 1936, influence mistakenly takes credit for the first com- shows the complete libretto, in Italian only. of Ravel, together with some Bartók In Cetra's other recent Zandonai re- plete recordings of both Schubert cycles. harmonies and the gait Wolf's Italian All in all, this version of Winterreise of lease, Conchita (excerpts only, LPC Serenade. It receives a seemingly sym- 55029), which dates from 1911, the remains first choice. pathetic German Decca has just issued a fas- performance. Unfortunately, the arias and duets have that climactic album sixteen sonatas by sound of this modest record is not quite "bloom," that swelling of high vocal cinating of what is , with George Mal- up to being produced elsewhere sound which marks the best late Italian in Europe-the surfaces coarse here and operas. Soprano Gloria Davy and tenor colm as the harpsichordist (AWD 9901 there, the strings too distant. J C). What an extraordinary sound from Giuseppe Campora make the most of it Johann Caspar Ferdinand Fischer's too, especially in the last -act duet. The the instrument! Constructed in England Ariadne Musica, the direct precursor of in 1952, it has seven pedals and two vocal genre here is Puccinian once more, Bach's Well - Tempered Clavier, has been with an orchestral nod to Bizet, as befits manuals, the lower one with three reg- recorded by Odeon (PASK isters and leather plectra, the upper one Danish the Spanish setting. The libretto, by the 2001). Fischer, who influenced both way, is based on Pierre Louÿs's novel Le with two registers and quill plectra. The work a Bach and Handel, wrote his in Femme et le Pantin and was originally resultant variety of rich timbres adds 1702 an in the new to the seemingly infinite for organ tuned then written for Puccini, who evidently new dimension It is a collection diversity of these tiny works, and Mal- "equal temperament." changed his mind about using it. Zan - of twenty preludes and fugues leading donai's colorful scoring, the good singing, colm himself adds still another by play- chromatically through various keys, leav- ing with a passion and warmth that even and the fine recording (castanets come ing out certain "difficult" keys which through in style) make this record - Landowska did not equal in this reper- Bach later included to bring his total toire. The Decca recording is impeccable nently worth sampling, despite the fact to twenty -four. Fischer makes up for that there are no notes and only the -the harpsichord resonant but not too his omissions by including five ricercaras, close up, the surfaces flawless. The complete Italian text to guide the listener. strict fugues on the opening stanzas of GENE BRUCK sonatas rank among the more familiar, hymns well known to the period. Where- but performances like these are rare on as Bach wrote for harpsichord or clavi- Imported labels are now being stocked records. chord and primarily for instructional by an increasing number of dealers in purposes, Fischer's shorter pieces were this country. A list giving the names meant for church use and for perform- and addresses of the principal U. S. Asmall Spanish company, Zafiro, has ance on the organ. If we leave historical importers will be sent on request. Address brought out a record (L 13) containing context aside and take Fischer out from Dept. RD, HIGH FIDELITY Magazine, Pub- the Quartet No. 3, in E flat, by Juan under Bach's shadow, he emerges as a lishing House, Great Barrington, Mass.

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www.americanradiohistory.com RECORDS IN REVIEW HERBERT: Concerto for Cello and Orchestra, Op. 30, No. 2 Continued from page 78 tBloch: Schelomo Georges Miquelle, cello; Eastman -Roch- statement. The work is the young Haydn ester S) mphony Orchestra, Howard Han- at his most charming, and the perform- son. cond. ance is polished, intimate, and completely Mt REEKY MG 50286. LP. $4.98. in the spirit of this picture of the morning Mt.RCURY SR 90286. SD. $5.98. hours in Arcady. No. 51 here is recorded for the first While Victor Herbert's Second Cello time, and when you hear it you will Concerto doesn't really amount to much surely wonder why it has so long been a (a complete recording of The Red Mill private pleasure for musicologists. Ad- would do Herbert's memory a lot more mittedly, it is not one of Haydn's greatest good and might be much better busi- works, but it is nonetheless a thoroughly ness), Miquelle, Hanson, the Eastman - imaginative production with a vigorous Rochester Symphony Orchestra, and first movement, an ingenious minuet with Mercury's recording engineers add up to two trios, and a very bright finale with as formidable a musical team as there is. a trick ending waiting at the last bar. Their recording of the Bloch masterpiece The horn part calls for instruments in is one of the best ever made. A.F. the B flat alto register. They provide a series of unusual effects, and the play- ers deserve the solo billing Goberman HOLST: The Planets, Op. 32 gives them. Geza Anda: a dual role for Mozart. The engineering is faultless, even in Women of the Vienna State Opera Cho- hard -to- balance passages where the con- rus; Vienna Philharmonic Orchestra, Her- LA MONTAINE: Songs of the Rose tinuo harpsichord must not be blanked bert von Karajan. cond. of Sharon -See Barber: Knoxville, out by other instruments. R.C.M. LONDON CM 9313. LP. $4.98. LONDON CS 6244. SD. $5.98. Summer of 1915. HAYDN: Symphonies: No. 94, in G For a feature review of this recording, LOCATELLI: L'Arte del violino, Op. ( "Surprise "); No. 101, in D see page 72. 3: No. 1, in D; No. 8, in E minor; ( "Clock ") No. 9, in G No. 2 Berlin Philharmonic Orchestra, Karl IVES: Sonata for Piano, ( "Concord ") Roberto Michelucci, violin; I Musici. Richter, cond. EPIC LC 3827. LP. $4.98. DEUTSCHE GRAMMOPHON LPM 18782. Eric BC 1155. SD. $5.98. LP. $5.98. Aloys Kontarsky, piano; Theo Plü- macher, viola; Willy Schwegler, flute. DEUTSCHE GRAMMOPHON SLPM These violin concertos by Pietro Locatel- 138782. SD. $6.98. TIME 58005. LP. $4.98. TIME S 8005. SD. $5.98. li (1695-1764), published in 1733, are V similar in style and layout to those of Both performances here reflect the qual- Vivaldi, but they are somewhat more ities of a great orchestra engaged in This. if I am not mistaken, is the first recording of a composition by Charles venturesome in the technical demands playing Haydn in the established Ger- made upon the soloist, especially in the man manner, but neither suggests the Ives to be made in Europe by European artists. and it suggests that in another elaborate optional cadenzas supplied by presence of a conductor who can impress Locatelli. Like the older master's works, his own image upon the music or the hundred years or so Ives may not be the hero of an exclusively American mys- they are occasionally, as in the first manner of its execution. Since Richter movement of No. 9, lit by the dawn of is only thirty -six. this is not surprising, tique. The registration is magnificent in its the oncoming rococo period. Nos. 8 but it hardly makes for a strongly com- and 9 seem to me more substantial than petitive set when one has alternate ver- clarity, quality, and justness of nuance, and the interpretation is crystal clear. No. I, though that concerto does have sions as forthright as Giulini's Surprise a hearty. robust finale. Mr. Michelucci or Beecham's Clock, to name just two. Kontarsky stirs up less sonic dust than does George Pappa- stavrou. whose re- plays with fire and accuracy, and in the The engineering is no help, either -the slow movement of No. 9 his instrument sound tends to be thin and corded performance of the same work recorded came out not long ago. but he anatomizes sings beautifully. The sound in both ver- lackluster. with the lucidity and sions is alive and spacious, the only This is my first encounter with DGG's the music utmost deftly underlines its frequent indebted- drawback being the timidity of the harp- new packaging. Alas, not even the thick sichord, which is often practically in- from ness to the romantic tradition. especially sleeve prevented my review copy The rather audible when it has vital duties to per- being badly warped; moreover. I got to the music of Schumann. three viola which Pap - form. N.B. a disc that emerged grit -spewn and pop- freakish -bar part, ping from its factory -sealed bag. R.C.M. pa-stavrou omits. is duly violed here. Both versions contain the magnificent MARTINI: Magnificat secundi toni flute part in the final pages. A.F. -See Obrecht: Missa Je ne de- mande : Gloria and Credo. KIELLAND: Concerto Grosso Nor - L- vegese MOZART: Concerto for Piano and tBrustad: Synfoni No. 2 Orchestra, No. 17, in G, K. 453 - See Beethoven: Concerto for Piano Oslo Philharmonic Orchestra. Olav Kiel - and Orchestra, No. 2, in B flat, land. cond. (in the Kielland), Oivin Op. 19. t ielstad, cond. (in the Brustad). COMPOSI {RS RECORDINGS CRI 160. LP. $5.95. MOZART: Concertos for Piano and Orchestra: No. 17, in G, K. 453; Olav Kiel land's Concerto Grosso Norve- No. 21, in C, K. 467 gese is a most attractive work based on folk rhythms and melodies and providing Geza Anda, piano; Camerata Academica an important concertante part for the Orchestra of the Salzburg Mozarteum, Norwegian folk fiddle known as the Geza Anda. cond. Ilurdingfele. Kielland is no sedulous fol- DEUTSCHE GRAMMOPHON LPM 18783. lower of Grieg; the music of Béla Bartók LP. $5.98. has come his way. and he has made the DEUTSCHE. GRAMMOPHON SLPM most of its valuable lesson. The sym- 138783. SD. $6.98. phony by Bjarne Brustad on the other side is a tiresome affair. The recording is In both works Anda chooses satisfying Aloys Kontarsky: homage to Ives. brilliant without being good. A.F. tempos and plays with spirit and grace.

80 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The fast movements are crisp, the slow places where the oboes cannot be heard, Schwann) and of whom two (Ockeghem ones poetic. As conductor too, Anda re- the sound is clear and well balanced in and Obrecht) are historically important veals no noticeable weaknesses. The mu- both works. N.B. figures. All three works are lovely. The sic flows beautifully, and dovetailings Obrecht Gloria is especially attractive, between piano and orchestra, or between with its mellifluous sixths and chains of sections of the orchestra, are smoothly OBRECHT: Missa Je ne demande: thirds. Mr. Brown admits, in his notes, joined. The orchestra itself sounds like Gloria and Credo that this music was originally performed an excellent professional ensemble here. ,Martini: Magnificat secundi toni with instruments, but, as he implies, it is In the G major Concerto, Anda uses tOckeghem: Credo sine nomine better to have it sung a cappella than not Mozart's cadenzas, which he plays with to have it at all. He takes great pains to free rhythm and considerable eloquence. Renaissance Chorus of New York, Har- infuse variety and nuance into the per- His own cadenzas for the C major work old Brown, cond. formance, and occasionally achieves a are no worse than others that have been BAROQUE 9003. LP. $4.98. telling effect, as in the sequences climb- used. In this masterpiece he does not ing to a climax in the "Suscepit Israel" fill in the spaces Mozart provided for All three composers represented on this of the Magnificat. Elsewhere, however, little interpolations, nor does he achieve disc came from the Low Countries and the swellings and diminishings of the a pianissimo at the end of the wonder- all were active in the latter part of the volume and the long sojourns at the bot- ful Andante, but aside from these small fifteenth century. Mr. Brown is to be tom of the dynamic range are not so con- matters both performances, coupled with complimented for his venturesomeness in vincing. The chorus is well recorded, but clear and well- balanced sound, belong seeking out works by these men, who are on the review disc there was some swish- among the better recorded versions of sparsely represented on records (Jo- ing in the Obrecht Credo and a few these works. N.B. hannes Martini is not even listed in crackles in the Magnificat. N.B.

MOZART: Duos for Violin and Vi- ola: in G, K. 423; in B flat, K. 424 Joseph Fuchs, violin; Lillian Fuchs, vi- Angel ola. releases COLUMBIA ML 5692. LP. $4.98. COLUMBIA MS 6292. SD. $5.98. for August:

Mozart is said to have dashed off these BRUCKNER: SYMPHONY NO. 7 pieces to help out Michael Haydn, who WAGNER: SIEGFRIED IDYLL (S) 36268 was prevented by illness from fulfilling a Otto Klemperer conducting commission for a set of six duos. In any The Philharmonia Orchestra case the younger master lavished on them as much first -class workmanship as RICHARD STRAUSS: TILL if they were to be presented as his own. EULENSPIEGEL The excellent Fuchses give them full - DANCE OF THE SEVEN VEILS (from blooded, robust performances. There was The Klemperer "Salome "), (S) 35737 it-more nuance in the old Heifetz- Primrose authority is fully Otto Klempercr conducting Take three of Strauss' recording of the B flat major Duo, but evident in this The Philhannonia Orchestra most popular works. since it is no longer available, and since definitive reading of Add Klemperer. the only other recording of either work MOZART: CONCERTO NO. 3 IN Bruckner's vast work. G, The result is in the catalogues is an older version of K. 216 magnificence. the B flat major by the same brother - CONCERTO NO. 5 IN A, K. 219 and- sister team. the present disc has no Frothy as the (S) 35745 competition. The recording is a little whipped -cream atop Ychudi Menuhin with The Bath close up, but very clear. N.B. a cup of Viennese Festival Chamber Orchestra The genius of coffee. Afenuhin flowers in MOZART: Symphonies: No. 29, in SCHUBERT: ENTR' ACTE and BALLET the lfozart classics. MUSIC NO. 2 (from ROSAMUNDE) The result is a joy A, K. 201; No. 41, in C, K. 551 GLUCK -MOTTL: BALLET MUSIC ( "Jupiter ") (S) 35746 to hear. Rudolf Kempe conducting Vienna Symphony Orchestra, Ferenc \'icnna Fricsay, cond. The Philharmonic Orchestra DEUTSCHE GRAMMOPHON LPM 18709. HARK, THE GLAD SOUND! (S) 35747 LP. $5.98. Includes: DEUTSCHE GRAMMOPHON SLPM 138709. SD. $6.98. TELEMANN Movements from Partita No. 5 in E Minor for Descant Recorder (Soprano) and Harpsi- The Vienna Symphony is the second chord. orchestra of the Austrian capital, but it cormaIN sounds here, as in some other record- La Linote efarouchée. Le Rossignol en Amour. Le Rossignol ings, like a first -rate band. It seems ex- Vainqueur cellent in every department, The Dolmetsch capable of HANDEL Sonata in F for Treble perfect precision, and sensitive enough Consort brings new Recorder (Alto) to follow wish and Harpsichord. every of the conductor. meaning to the Carl Dolmetsch- Descant Recorder Whether one agrees with every wish is ancient art of (Soprano) a perhaps matter of taste. To me, noth- the Joseph Saxby- Harpsichord Victoria do Los ing is Recorder. gained by broadening the soft an- TIIE DOLMETSCII Angeles displays swer to the ...a masterpiece of CONSORT imperious opening of the a spellbinding Jupiter, as Fricsay does here; on the con- depth and clarity in SHOSTAKOVITCH: SYMPHONY NO. 5 warmth trary, valuable momentum is' lost. The exciting stereo sound. in her slow (S) 35760 voice -a vocal movement too drags a bit. But the Constantin Silvestri 'conducting emotion which is last two movements are done very The Vienna Philharmonic Orchestra nicely indeed. Fricsay's tempo for the Shostakovitch's hers alone. opening mightiest symphony, Allegro of the little A major 20th CENTURY SPANISH SONGS Symphony is also rather slow, as conducted with (S) 35775 Beecham's was. It is true that the tempo fiery power -a stereo Seven Popular Songs - Manuel dc indication is modified by "moderato," experience not to Falla but what both conductors seem to have be missed! Other selections by: E. Granados, overlooked is that Mozart clearly indi- Mompou, E. Toldra, Montsalvatgc. cated that the piece should be taken J. Turina, J. Rodrigo alla breve. The result here is a slightly Victoria de Los Angeles - Soprano ponderous Gemütlichkeit- German beer Gonzalo Soriano -Piano instead of Italian wine. Except for a few CIRCLE 7 ON READER -SERVICE CARD AUGUST 1962 81

www.americanradiohistory.com OCKEGHEM: Credo sine nomine- wartime film; he goes around saying See Obrecht: Ali.csa Je ne demande: "Girt . . . at'hr gilt!" all the time - Gloria and Credo. remember those guys ?) The viewpoint is immoral in that characters are judged good or bad not by what they do, but PROKOFIEV: Semyon Kotko by which side they did it for. We should keep in mind, however, that Prokofiev Lyudmila Gelovani (s), Sophie; Tamara later turned out work of considerably Antipova (s), Frosya; Tatyana Tu- better quality -even War and Pence, garinova (s), Lyubka; Tamara Yanko which is by no means a successful opera, NEW STEREO TURNTABLE (ms). Semyon's Mother; Antonina has very fine moments, and puts to WITH INTEGRATED Kleshchova (ms), Hivrya; Nicholai shame even the relatively decent sec- ARM Gres (t), Semyon; Nicholai Timchenko tions of Semyon. I myself do not see (t), Mikola; Genadi Troyitski Ibs), why we must assume that Prokofiev Remenyuk; Nicholai Panchechin (bs), secretly resented Soviet ideology, merely Tkachenko; Daniel Demyanov (bs), because he suffered a contretemps with Ivasenko: Mechislav Shchavinski, Klem- the Stalin regime. An artist can be per- bovski; Vladimir Zaharov, Von Virhov; fectly sincere and extremely talented, Arnold Lokshin, Fil st Robber; Georgi and still fail. Verdi, after all, wrote per- Ostrovski, Second Robber; Boris Dobrin, fectly horrible operas right alongside Bandura Player. Chorus and Orchestra works of genuine stature. Any attempt of the U.S.S.R. State Radio. Mikhail to turn art to ideological purposes is Zhtlkov, cond. likely to prove a limitation on the artist, ARTIA -MK 2I4D. Four LP. $23.80. but it does not necessarily indicate that he is composing with a bayonet to his I will confess that I found this opera back. ( Semyon, incidentally, was corn- so uninteresting that I skipped little posed in 1938 -39, and first performed patches on Sides 7 and 8. and would in 1940.) not have listened to this last disc at The singing is nearly all absolutely all but for the thought that the needle atrocious. The cast listing does not tell might drop into a groove that contained us the performers' voices, so that one the phrase, nay, the chord, that would must guess who is singing what. I think reveal this piece as the work of the I doped out about two -thirds of THORENS TD -135 composer of the symphonies. concertos. them, but wouldn't stake anything on it. cantatas (well, Ner.cky, anyway), and Nicholai Gres, a tenor, takes the title COMPLETE WITH INTEGRATED ARM operas that made him one of the com- role and reveals a certain stolid strength of voice. The Sophie seems For the first time, Thorens in the positional giants of the century. to be a dark - sort of soprano, not too bad, and the new TD -135 - offers a component - 1 don't want to he unfair. At the quality arm and turntable mated with beginning of Act Ill there is a , Frosya a light sort of soprano, also not a precision that insures you perfect fading into a snatch of a love scene, objectionable. The rest of them simply sound ... always ... with a minimum that recalls the composer's powerful do not matter. C.L.O. of installation effort on your part. lyric gift. Now there is a little twist in the vocal line, and ten minutes from PROKOFIEV: Sonata for Flute and There's no compromise whatever with quality such as you usually find in now a faintly surprising touch in the Piano, Op. 94 integrated turntable and arm units. orchestration, that shows there is some tBenda: Sonata for Flute and Harp- THORENS TD -135 is Swiss -precision gray matter in the writer's noggin. There sichord crafted throughout true component is also a mitigating circumstance - ... G ¡Richter: Sonata da camera for Flute high fidelity all the way. You get: A namely, the absence of a libretto ac- and Harpsichord precision turntable featuring 4 speeds, companying the record. There are some all adjustable, with an 8 -pound non- synoptic notes. which read like extracts Jean -Pierre Rampal, flute; Viktorie magnetic table ... plus a completely from the Little Lenin Library -hut no Svihlíková, harpsichord; Alfred Holecek, new, advanced tone arm that's so good libretto. It may be that there are in- piano. we also sell it separately (see below) superable difficulties to the obtaining SUPRAPI(ON LPV 344. LP. $5.98. for use with any turntable of your of the text. In that event, it may be choice. Exceeds NAB specs for wow, Prokofiev's flute sonata, which rumble and asked is it not better to release the was later flutter. Has same belt -plus- opera without libretto. bringing us at arranged for violin, is one of his most at- idler drive as famous TD -124. Shuts off automatically at end of record. least the score. than not to release the tractive chamber works. Its opening Many, many more features than we opera at all? No, it is emphatically not movement is warmly lyrical; the Scherzo can detail. better. The opera consists almost entirely has much rhythmic interest and a re- of dialogue -no real duets, no con- laxed trio: the Andante is based on a $110 net certed numbers, no arias, no extended seemingly simple. wide -flung melody and orchestral interludes -and consequently includes some fascinating idiomatic writ- it is essential that this dialogue be under- stood. Despite my best efforts with the synopsis provided. I must say that I did not have even a general notion of what THORENS BTD12S was being talked about fifty per cent of the time. and had a fairly specific idea 12" PROFESSIONAL TONE ARM not more than ten per cent of the time. Identical arm included with TD -135, but sold This complaint is serious enough with the as separate unit. Lesa than 0.5' /inch tracking unfamiliar operas of Rimsky -Korsakov error. Built -in cueing device. All adjustments: vertical height; calibrated gram-force; stylus or the songs of Dargomijsky, but large positioning slide; balancing counter-weight. portions of those works can be enjoyed Unique vertical pivot keeps stylus vertical for simply as beautiful music expressive any height adjustment. Resonance well below audible frequencies. Interchangeable 4 -pin of general feelings or moods or actions. cartridge shells. Mounted on board for With a work such as this, the absence THORENS TD124, TD -121 turntables. of a text disqualifies the album from $50.00 net serious consideration. See and hear the THORENS TD -135 and Except for the aforementioned noc- the ALL members of the "TD" family of fine turne, the score is limp and arid in turntables at your franchised dealer's today; there's one for every budget! For additional the extreme. Whether the miserable information, write us direct. level of inspiration can be blamed on ELPA official Soviet strictures. I would not presume to say -though that is the easy THORENS DIVISION and popular explanation. Certainly of the pit- ELPA MARKETING INDUSTRIES, .Semyon Kotko avoids none Inc. falls of art as propaganda. The char- New Hyde Park, N. Y. acters are childish cartoons. (There is In Canada: Tri -Tel Assoc., Ltd., Willowdale, Ont. even a German officer straight out of a George Rockberg: in the great line. CIRCLE 93 ON READER-SERVICE CARD S2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ing in which the flute crawls around berg of the University of Pennsylvania. within a narrow intervallic space; and here represented with his first recorded the finale is a characteristically clever work. Mark it well: this is the recorded quick -march with expansive interludes. debut of a man whom the future will re- Rampal plays it beautifully and is ably gard as one of the major composers of seconded by Holeéek. Excellent per- the twentieth century. Night Music is an formances are also granted the two me- exquisitely beautiful piece. full of mys- lodious Czech pieces, by Frantisek terious, silvery effects and profound, (Franz) Benda (1709-86) and Frantisek compelling expression: of the many new Xaver Richter (1709 -89). Both are in compositions recorded by the Louisville early classic style with an admixture of Orchestra, this must certainly rank among baroque elements. The slow movement the first half- dozen. of the Richter has a rather startling an- Harald Saeverud's Peer Gynt Suite is ticipation (if it was written before 1788) trifling by comparison. but it is most CANTATE of the main theme of the Andante of amusing. It was composed for a 1947 Mozart's big G minor Symphony. N.B. production of Ibsen's play whose director A felt that Grieg's music romanticized the RACHMANINOFF: Concerto drama and its characters too strongly and for Pi- that something earthier ano and Orchestra, No. 2, and more sa- in C tirical in character was in order. This SERIES minor, Op. 18. Preludes: in D, Op. Saeverud provided. His Peer Gym music 23, No. 4; in G, Op. 32, No. 5; in is not nearly as good in its way as Grieg's G sharp minor, Op. 32, No. 12 is in its: still. it is entertaining and was DEVOTED doubtless very good theatre. Recording Moura Lympany, piano; Royal Philhar- and performances are first rate. A.F. monic, Sir Malcolm Sargent. cond. ANGEL 35736. LP. $1.98. TO THE ANGEL S 35736. SD. $2.98. ROGERS: Variations on a Song by Mussorgsky This is a finely conceived. judiciously tHaines: Concertino for Seren Solo CANTATAS OF balanced performance of the Concerto. Instruments und Orchestra The tempos are orthodox in the best sense of that word, avoiding capricious- Rochester Philharmonic Orchestra. Theo- ness on the one hand and steely rigidity dore Bloomfield, cond. (in the Rogers); J. S. BACH on the other. The feeling is warm and Oklahoma City Symphony Orchestra, honest, the technique of the performers Guy Fraser Harrison, cond. (in the Presenting authentic per- Haines). accurate without being exhibitionist. To formances by outstanding be sure, the performance doesn't have COMPOSERS RECORDINGS CRI 153. LP. fquite the brooding romanticism that $5.95. German Soloists, Instru- c Richter brings to the music, and Miss mentalists and Choirs. Lympany's quietly reserved pianism Here are two more works in the Ameri- \eschews the angular propulsion and can Music Center Commissioning Series Released under the aus- rhythmic dynamism that Byron Janis sponsored by the Ford Foundation. Ber- pices of the favors; but for a happy synthesis of the nard Rogers' Variations on a Song by J. S. Bach Institute two completely disparate approaches Mussorgsky is an engaging curiosity. The favored by those artists, this new edition theme (that of a naïve Childs Song not Goettingen is extremely successful. The present art- unlike the song of the Innocent in Boris) ist's pianism, incidentally, now has far is put through numerous paces. all with The Neue Bachgesellschaft more punch and incisiveness than it the utmost skill and ingenuity. respect- Hannover did on the Lympany -Malko edition of fully retaining Russian character through- the Concerto, issued some years ago by out the whole performance. Interesting. The Bach Archive Victor in its now defunct LHMV series. highly respectable. but curiously old - Leipzig (Germany) All told, this Angel disc seems to me a fashioned and academic. clear choice among economy issues of The Concertino by Edmund Haines is the Rachmaninoff Second; and the three also academic. but less firm in structure preludes, duplicating Miss Lympany's and guided by a less sure taste than that performances in the complete London is- of Rogers. Performance and recording sue of a decade or so ago, are played of the Rogers are obviously first -class;

with the same freshness today. so far as the Haines is concerned. 1 am The recorded sound is typical of not so sure. A.F. EMI: a clean, full -bodied piano tone and a slightly woolly orchestral pickup, ROSSINI: 11 Barbiere di Siviglia which is agreeable without being especial- (excerpts) ly remarkable for its presence. Surfaces are a bit obtrusive, especially in the Overture; Largo al factotum; Se il mio monophonic pressing. H.G. nonce; All'idea di quel metallo; Una yore poco fa; La calunnia; Dunque io son; A un dottor: Ehi. di cuss! La testa vi gira; RICHTER: Sonata da camera for First recordings: Flute and Harpsichord -See Pro- Ah. qual colpo; Dì si felice. kofiev: Sonata for Flute and Piano, Gianna d'Angelo (s), Rosina; Gabriella CANTATAS BMV 13, 17, op. 94. Carturan (ms). Marcellina; Nicola Monti 46, 49, 65, 84, 93, (t), Almaviva: Renato Capecchi (b), 100, 110, 117, 127, ROCHBERG: Music Figaro; Giorgio Giorgetti (b), Officer; Night 157, 166, 169, 171, tSaeverud: Peer Gynt Suite, No. 1 Giorgio Tadeo (bs). Bartolo; Carlo Cava (bs), Basilio. Bavarian Radio Symphony 175, 189, 199, 207, 214. Louisville Orchestra, Robert Whitney, Orchestra, Bruno Bartoletti, cond. All six motets. cond. DEUTSCHE GRAMMOPHON LPM 19270. LOUISVILLE Lou 623. LP. $7.92. LP. $5.98. Send for complete catalog (Available on special order only, from DEUTSCHE GRAMMOPHON SLPM 830 S. Fourth St., Louisville 3, Ky.) 136270. SD. $6.98.

The truly great talent has a kind of The Barber of Seville is an opera that CANTATE moral quality in its expression; it reveals adapts relatively easily to the abridged - itself unmistakably in its grandeur and version treatment. since one can cut great rtecor2rs seriousness, and it lets us know at once gobs of recitative and include a good por- that we are in the presence of a com- tion of the major arias and ensembles. P. O. Box 516, Wakefield, poser who stands in the great line. One However. the excerpt treatment does not Mass. such aristocrat of music is George Roch- make too much sense with regard to the CIRCLE 24 ON READER- SERVICE CARD AUGUST 1962 83

www.americanradiohistory.com DGG version, which is much more no- SANDERS: Symphony in A of concert music beholden to American table for the spirit and balance of its folk sources, add now to the names Ives ensemble than for individual cast con- Knoxville Symphony Orchestra, David and Copland the name of Sanders. The tributions. Thus, the most welcome in- J Van Vactor, cond. recording of the symphony is very good, clusions here are the act finales. Both COMPOSERS RECORDINGS CRI 156. LP. as is its performance. A.F. Monti and Capecchi fit into this cast $5.95. well enough, but they are not exciting bravura singers, and their first -act solos This is one of the most impressive of the SCHOENBERG: Quartet for Strings, and duet are among the weaker numbers recordings to come out of the American No. 2, in F sharp minor, Op. 10- in the performance. Cava's "Calumny" Music Center Commissioning Series See Berg: Quartet for Strings, sponsored the Rob- aria is effective in an ordinary way. by Ford Foundation. No. 3. Only D'Angelo's "Una voce poco fa" ert Sanders of Brooklyn College is a able and Tadeo's "Un dottor della mia sorte" highly prolific and extremely com- poser. but his representation on discs, un- SCHUBERT: Symphonies: No. 5, are in a really high class. For some rea- in son, Bartoletti's peppy reading of the fortunately, has been very sparse. The B flat; No. 6, in C symphony is an exceptionally big work, overture has been truncated, though it Berlin Philharmonic Orchestra, Lorin was not on the complete set. The sound filling both sides of the disc, but it is de- Sanders Maazel, cond. is excellent. C.L.O. void of rhetoric or grandiosity. goes back to American folk music DEUTSCHE GRAMMOPHON LPM 18685. through the Protestant hymn, and he LP. $5.98. SAEVERUD: Peer Gynt Suite, No. 1 handles his tuneful material with im- DEUTSCHE GRAMMOPHON SLPM -See Roch berg: Night Music. mense deftness and point. In the world 138685. SD. $6.98. When a young conductor appears before an old and distinguished orchestra, there is always room for legitimate wonder MatIW NMIZi1:"i%lNA over who did what. This has regularly been the case with Maazel's Berlin re- cordings. One hears the work of seasoned instrumentalists on this disc, but searches (largely in vain) for the type of precise ensemble playing or the consistent pro- trilEt jection style of which would indicate masterful leadership. Indeed there is little here that a group as sophisticated as the Berlin Philharmonic might not have man- SPLITTING HEADAGIE! aged without a conductor. Maazel's lapses need not be catalogued. C':')W,Vqt, One need go no further than the third VOW. ft1W- 007ç.: , 49: WV, bar of the Fifth where he allows the first violins to make a premature en- POOR LUDWIG!!! has given the world some of its most trance in an exposed passage and to brilliant music . composed to be heard without spoil the harmonic effect of the chords interruption ... in its perfect integrated entirety. Yet in the winds. (This would not have hap- modern recordings have given him the "splitting head- pened under Karajan.) His achievements ache" - splitting compositions in midst of a movement grow out of melodic sensitivity, and the . or even a passage for a rewind of tape or change Andante con moto of the same work is of record ... destroying the magical spell. a satisfying demonstration of his feeling for nuance and line. BUT, HERE'S NEWS, LUDWIG we at EVEREST have ... Monophonically, the recorded sound is cured that headache. We put all symphonies on a single reasonably well focused from the stand- side of the tape so your loyal followers that may listen point of the balcony but lacking in to masterworks as you composed them . . . a your brilliance. The stereo offers even less continuous, uninterrupted spellbinding experience. clarity. Its contribution is a broader WHAT'S MORE, LUDWIG ... EVEREST DOUBLE FEATURE sound source and increased reverberation. STEREO TAPES give you in one package ... TWO COM- All things considered. the two Beecham PLETE UNCUT SYMPHONIES ... conducted by the world's editions remain dominant (and better - leading conductors and symphonic orchestras in unex- sounding) in both works, with the Schmidt- Isserstedt set an acceptable al- celled CERTIFIED STEREO MASTER FIDELITY ... at a fraction of the price of two single tapes. ternate for those who insist on a stereo Sixth. R.C.M. SEE YOUR DEALER FOR EVEREST DOUBLE FEATURE STEREO TAPES SCHUBERT: Symphony No. 9, in C RECORDED ON 35 MM MASTERS Philharmonia Orchestra, Otto Klemperer,

-*4 .., . ! cond. ANGEL 35946. LP. $4.98. ANGEL S 35946. SD. $5.98. til \I l'I I( )\ 1 Minneapolis Symphony Orchestra, Stanis- BEETHOVEN: SYMPHONY NO. 3 AND SYMPHONY N0. 7 law Skrowaczewski, cond. MERCURY MG 50272. LP. $4.98. MERCURY SR 90272. SD. $5.98.

FEATURES THE EVEREST LEADING As long as we've had this work on rec- ARTISTS, COMPOSITIONS AND ORCHESTRAS ords, I've given allegiance to the Tos- PITTSBURGH SYMPHONY STOKOWSKI canini version, and in stereo I have had LONDON SYMPHONY SARGENT a strong affection for Charles Munch's ROCHESTER PHILHARMONIC KRIPS' HOUSTON SYMPHONY GOOSSENS disciplined treatments of the score. Like STEINBERG the Toscanini, the new Klemperer is SOULT STRAVINSKY: PETROUCHKA AND RITES OF SPRING reserved, unswervingly classical in ap- DVORAK: SYMPHONY NO. 5 (NEW WORLD) TCHAIKOVSKY the TWO COMPLETE WORKS.... only $12.95 proach, and no more reminiscent of SYMPHONY NO. 5 city of the waltz than any good perform- Write for complete listing of Everest Certified Stereo Master 4 -track tapes ance of the Eroica. I don't find this cold. I find it correct. One need only observe a,z3nr. the cumulative strength of the first move- ment as heard here, or the way in which 000000©©©c tempo strict adherence to Schubert's 244 FIFTH AVENUE, NEW YORK 1, N.Y., MU 4 -6694 gives uncommon continuity to IV esp!t E 0 Malmo i Assoc IQ N. Randolph St. Clkga 1, III. markings the second. It is in the gloriously swirl- CIRCLE, 4 ON READER- SERVICE CARD 84 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ing finale, however, that the power and The Schumann has some nice lyric mo- membered. la point of performing forces, depth of Klemperer's approach will be- ments, but it lacks the breadth, robust- its demands are modest: a tenor and bass come wholly evident. ness, long lines, and rhythmic power so soloist, small choir and organ, with oc- My preferences in this work are not essential to an understanding of this casional participation by the congrega- everybody's, however. Many listeners composer. The Stravinsky lacks every- tion. In including the congregation in want a more relaxed, romantic, and thing. A.F. the singing of a couple of hymns, it paral- gemiitlich reading, such as lels the Passions of Bach; unlike the lat- has provided us on two occasions. Now STAINER: The Crucifixion ter, however, it is a continuous compo- we have from Stanislaw Skrowaczewski sition. with arias, duets, and choruses all an account that is also soft and extro- Richard Lewis, tenor; Owen Brannigan, connected by organ passages. Stainer's verted. Tempos are very flexible (far bass; Brian Runnett, organ: Choir of St. musical style. as might be expected, re- too much so for my taste), and the point John's College, Cambridge, George veals the strong influences of nineteenth- of the performance is not the magnificent Guest. cond. century English church music and the architecture of the work but the com- LONDON 5699. LP. $4.98. oratorios of Mendelssohn. munication of its emotional content. The LONDON OS 25333. SD. $5.98. One could not ask for a more devoted approach would have been more con- performance than that accorded The vincing had Mercury provided warmer Sir John Stainer's The Crucifixion might Crucifixion on this record, the first in sonorities and more flattering acoustics, be described as a nineteenth -century Pas- stereo. Both the soloists and the small but one hears the familiar Mercury sound sion. Written in 1887, it is the one work all -male choir (sixteen trebles and four with its knife -edge brilliance and faintly by which this English composer, organist, each of altos. tenors. and basses) sing metallic colorings. There is, however, a choirmaster, and musical scholar is re- with exceptional refinement, while direc- great deal of clarity, and the dynamic range is wider than normal. If you want your Schubert ebullient and full of feeling, your stereo bright and supercharged, Skrowaczewski's edi- tion is likely to please. (The mono disc, it should be noted, is also very well engineered.) But, for me, the Klemperer version -with recorded sound up to Angel's best-has solved the problem of what Schubert Ninth to buy for some time to come. R.C.M.

SCHUETZ: St. Matthew Passion with the all -new BELL T -347 Dietrich Fischer -Dieskau (b), Evange- 4 -Track Stereo Tape Deck list; Johannes Richter (bs), Jesus; Hugo Distler Choir (Berlin), Klaus Fischer- Dieskau, cond. ARCHIVE ARC 3172. LP. $5.98. ARCHIVE ARC 73172. SD. $6.98. In this Passion, the Gospel narrative is recounted in recitative, with brief inter- polations for the chorus and a choral in- troduction and conclusion, all of which is unaccompanied. The long stretches of recitative make the great beauty of the choral portions even more poignant. The performance here is far superior to the old one on Westminster (now with- drawn), chiefly because of the extraordi- nary reading of the Evangelist's part by Fischer- Dieskau. Without ever overstep- ping the bounds of the style, he colors his tones in accordance with the events he is describing, reaching a height of in- tensity in the German rendering of Jesus' cry, "Eili, eili." The other soloists are all satisfactory, the chorus is first -rate, and the sound entirely lifelike in both ver- sions. N.B.

SCHUMANN: Fantasia in C, Op. 17 -See Beethoven: Sonata for Piano, No. 17, in D minor, Op. 31, No. 2 ( "Tempest "). Three -motor professional -type drive provides you full con- SCHUMANN: Quartet for Strings, in trol and safety for your tapes through all functions, at all A, Op. 41, No. 3 speeds. Separate playback heads let you monitor off the tStravinsky: Three Pieces for String tape to keep constant check of recorded program. Quartet Other features offer sound -on- sound, echo effect and amazing . DUOSOUND ... the feature that lets you re- record mon- ANGEL 35733. LP. $4.98. aural records, ANGEL S 35733. SD. $5.98. tapes and broadcasts with thrilling stereo effect. See and hear the sensational new T -347 at your Believe it or not. this is the only record- BELL Dealer soon. Bell Sound Division, Thompson Ramo ing of a string quartet by Robert Schu- mann now available on American discs. Wooldridge Inc., 6325 Huntley Road, Columbus 7, Ohio. It is also the only recorded version of the Stravinsky currently in the catalogues, but that is less surprising. One wishes BELL STEREO the record were equal to its responsibil- ity, but both performances are very poor. Thompson Ramo Wooldriage Inc. CIRCLE Is ON READER -SERN I('F. ('. n) AUGUST 1962 85

www.americanradiohistory.com tor George Guest and organist Brian sonorities. Poor Enoch could not be bet- Runnett insist upon and achieve care- ter served or better documented. fully molded phrases. Futhermore, the The recording is excellent, but I fail diction is unusually clear-although this to see the need of stereo since the in- does not excuse the omission of a printed dividual characteristics of the two ver- text. Balances have been carefully main- sions are so slight. R.C.M. portable tained by performers and recording en- gineers, while the acoustics of the Chapel STRAVINSKY: Firebird: Orchestral of St. John's College, Cambridge. create Suite (1919 version) the proper atmosphere with plenty of res- onance but without blurring a single tFalla: El Amor brujo passage. perfection P.A. Netherlands Philharmonic Orchestra, Walter Goehr, cond. STRAUSS, RICHARD: Enoch Arden, QUARANTE -CINQUE 45004. 12 -in. 45- Op. 38 rpm SD. $5.98. for Claude Rains, reader; Glenn Gould, The advantage of a 45 -rpm disc is pri- piano. marily a more secure brilliance in the COLUMBIA ML 5741. LP. $4.98. high register. and the advantage of the COLUMBIA MS 6341. SD. $5.98. 12 -in. format and the conventional cen- ter hole is longer playing time and ease The product of the composer's twenty - of manipulation -particularly on record hi -fi fans sixth year, Enoch Arden is one of our changers. few long looks at the Victorian Strauss. With prime source material these ( "Victorian" is the only way to describe merits would be clear, but unfortunately this sentimental romance of Tennyson the master tape reproduced here is not and the musical parallel Strauss provides in that class. The recording, from the for it.) Few listening at the time to the late Walter Goehr, is at least two years result would have predicted that the same old, and the orchestra is not of the man would write Salome or Elektra, and, quality needed to provide gorgeous sonic conversely, few who admire that Strauss effects. The ensemble often sounds dis- will find this one particularly interest- appointingly thin. just as Goehr's baton ing. appears leaden, perhaps by reason of The form is unusual enough to merit ill health. The Falla is the better of the explanation. Rains gives a dramatic two performances, with moments which reading of the Tennyson poem which is provide a fair argument for the higher prefaced, supported, and punctuated by speed. Despite the anonymity bestowed music that is largely an ingenious in- by the label, there is a vocal soloist. termingling of three leitmotivs represent- R.C.M. ing the characters of the drama. None of the motives suggests a very strong STRAVINSKY: Three Pieces for character, and that of the protagonist is String Quartet Schumann: especially weak if we take Tennyson's -See measure of his hero. Quartet for Strings, in A, Op. 41, No. 3. From Denmark comes this There is an orchestral arrangement of aristocrat of portables. Su the music by Lucien Cailliet that is somewhat more effective; but it seems SYDEMAN: Seven Movements perb AM -FM- Shortwave per- for to me that the grounds for a lack of Septet; Concerto for Camera formance with all the fea effect here are not any inadequacy of tGoeb: Quintet for Woodwinds, tures you've ever wanted the performers or lack of tonal color No. 2 in a portable: 12 transistor but are inherent in the work. Indeed, power with push -pull out- since this is an important and largely Max Pollikoff, violin; CRI Chamber En- put and a 5" x 7" speaker, unknown example of the young Strauss, semble, Paul C. Wolfe, cond. (in the flywheel tuning, full range we can be grateful that Messrs. Rains Sydeman). New Art Woodwind Quintet independent tone controls, and Gould have combined their skills (in the Goeb). to bring it to us in a form that does COMPOSERS RECORDINGS pushbutton selection, loud- CRI 158. LP. everything possible for its success. Both $5.95. speaker - earphone output performances are sensitive to the nuances and separate tuner output, of the poet's speech and the composer's Both the works of William Sydeman are plus plug -in connection for an auto antenna for over - the -road hi -fi.

Complete information is available on request. Write for the name of your near- est dealer.

Bo

By appointment to the Royal Danish Court --

DYNACO, INC. 3912 Powelton Ave., Phila. 4, P3. Glenn Gould and Claude Rains: their best for Enoch Arden. CIRCLE 32 ON READER-SERVICE CARD 86 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com first -rate -full of wit, energy, pith, and tyryev felt that Taneyev had filled in point in a sparkling, epigrammatic style. some blanks left by Tchaikovsky. Superlative performance and recording But there was one additional problem. help a great deal, but the same virtues According to Tchaikovsky's brother Mo- do not conceal the fact that most of the deste, the symphony was to have had Goeb quintet is dryly manufactured. It four movements, yet the composer had records has a magnificent slow movement, how- left no sketches for a scherzo. Boga- ever, and that is worth waiting for. A.F. tyryev therefore made an orchestral transcription, in the spirit of Tchaikov- TCHAIKOVSKY: Swan Lake, Op. sky, of the latter's Scherzo-Fantaisie, the sound 20: Ballet tenth of his Eighteen Piano Pieces, Op. Suite. The Sleeping 72. This was far from a shot in the Beauty Op. 66: Ballet Suite dark. First of all, these pieces had been Vienna Symphony Orchestra, Edouard written at the same time as the sym- van Remoortel, cond. phony. Secondly, for a revival of Swan best Vox TPL 11770. LP. $4.98. Lake in 1893 Tchaikovsky had promised Vox STPL 511770. SD. $4.98. to orchestrate some of these same pieces, a project prevented only by his sudden Van Remoortel all but accomplishes the death. with impossible in these recordings: he almost Eugene Ormandy and the Philadelphia succeeds in playing every movement Orchestra. who introduced the Seventh from these two ballet suites at the wrong Symphony to America in February, have tempo, without expression, and with care- now recorded the work for the first time Arm -Cartridge anywhere. Having given less phrasing. Even the movements the disc re- TA -12 $49.95 peated playings, as well as having themselves are picked at random and TA -16 $59.95 played out of order. The stereo sound heard the symphony performed in Phila- is fairly good-much better than this delphia and New York, I feel justified in slipshod, unmusical performance de- saying that while it certainly is not in a serves. P.A. class with most of Tchaikovsky's other works in this form, it is nonetheless pleasing. The first movement, with its TCHAIKOVSKY: Symphony No 7, three well- defined themes set forth in Stereodyne II $29.95 for all L.I in E f lat easily recognizable sonata -allegro form. sounds equally good as the beginning of arms and quality changers Philadelphia Orchestra, Eugene Or- a concerto or a symphony. As with so mandy, cond. much of Tchaikovsky, the beautifully COLUMBIA ML 5749. LP. $4.98. lyrical Andante is the most appealing COLUMBIA MS 6349. SD. $5.98. section. The Scherzo sounds as if it really belongs in the work. Only the fi- As Roland Gelatt reported in the April nale is atypical: it is so patchily con- issue of this journal after attending the structed and its un- Tchaikovskyan American premiere, in Philadelphia, of themes are so poor that I suspect there this "new" addition to the Tchaikovsky is more Taneyev than Tchaikovsky here. 4.01k symphonic canon, the composer had be- Bogatyryev deserves much credit not gun work in 1892 on a symphony, in E only for his scholarly research but also flat major, which was to have been his for the fidelity with which he has pre- Bó Sixth. A short while later he wrote to served the Tchaikovskyan orchestral col- DYNACO a friend: "I have begun to compose a ors. symphony, but it doesn't go as smoothly I must agree with Mr. Gelatt that the STEREODYNES as 1 might wish. I'm afraid that this is Symphony also owes a great deal to the the beginning of the end -i.e., that I've highly polished performance it receives written myself out." He had said the at the hands of Ormandy and the Phila- The exclusive quadri -coil, triple - same thing while he was writing the Fifth delphians. The conductor told me that balanced push -pull magnetic Symphony, but evidently this time he he did a good deal of editing on his cartridge gives you the smooth- meant it. By the end of the year he had own, particularly of the string parts: and est sound you've ever heard decided to scrap it and forget altogether he and his musicians have about it." from records with complete lavished upon the score the loving care freedom from hum. Instead of scrapping it, however, he worthy of a far greater work than this laid it aside to compose the Pathétique, one is. So also have the Columbia engi- which then, of course, became the Sixth neers, who have produced mono and Feather -light tracking, high we know. That completed, he returned stereo recordings with a ravishing tone compliance low -mass armature, to the earlier Symphony in E flat, de- and naturalistic quality. P.A. and dynamic equilibrium of the ciding now that it could be suitably re- arm (a combination of low in- worked as a piano concerto. He got as ertial mass, virtually frictionless far as composing the solo part for all TRYTHALL: Symphony No. 1 gimbal mounting, and exclusive three movements and orchestrating the tBoda: Sinfonia ISODYNEe inertial balance) first movement when death intervened. Although his pupil Alexander Taneyev Knoxville Symphony Orchestra, David dramatically increase record later orchestrated the remaining two van Vactor, cond. life and give natural balance to movements, today the completed first COMPOSERS RECORDINGS CRI 155. LP. your recordings with lower dis- movement is usually performed alone, as $5.95. tortion, proper phase relation- Tchaikovsky's Piano Concerto No. 3, in ships at all frequencies, uni- E flat. One of the more entertaining aspects form channel separation, and About ten years ago, Semyon Boga- of the critic's life is to be confronted extraordinary resistance to turn- tyryev, a professor at Moscow Conserva- with excerpts from one's reviews long table jarring. tory and a symphonic composer in his after one has forgotten the work or the own right, decided to try to restore the performance in question. Sometimes ISO =.qual DYNE = measure of force concerto to its original form as a sym- these excerpts are embarrassing: one phony. In addition to the first movement wonders how on earth one could have Write for complete specifications. of the piano concerto in Tchaikovsky's said anything like that. Occasionally, own instrumentation and the other two however, one regrets not having said movements transcribed by Taneyev, he more along the same lines. The jacket also had access to all of the composer's notes supplied with this disc for Gilbert 0 sketches for the symphony, with half of Trythall's First Symphony provide a case CI JIE the first movement already orchestrated. in point. From this material it was not too diffi- The notes quote the writer of these cult to piece together the first and sec- lines as follows: DYNACO, INC. ond movements. The finale presented a "The symphony is most elaborately 3912 Powelton Ave., Phila. 4, Pa. somewhat greater problem, since Boga- made, but its elaboration proceeds from CIRCLE 33 ON READER -SERVICE CARD AUGUST 1962 87

www.americanradiohistory.com tough integrity and a sense of the wonder ambitious diffuseness in Trythall's score. bureaus and the big record companies and eloquence of musical materials. Its Boda's command of rhythms is particu- know nothing, and one must be im- manipulation of those materials has the larly brilliant. and his Sinfonia reaches mensely grateful to the American Music genuinely big line that justifies the use climaxes of a grandly monumental kind. Center and the Ford Foundation for of the 'symphony: It has humor, irony, These two works are the Knoxville emphasizing that fact. Both recordings exaltation, brilliance, and punch. Hin- Symphony's contribution to the American are extremely fine. A.F. demith himself could not have played Music Center's Commissioning Series, a chorale into glory with more telling sponsored by the Ford Foundation. power than Trythall exhibits at the end Probably neither Trythall, a Cornell man of his third movement." now teaching at Knox College in Gales- Hearing the work again on this disc burg. Illinois. nor Boda. an Eastman RECITALS AND three years later, I am struck anew by graduate now at Florida State Univer- all the qualities previously mentioned sity, would have been heard of without MISCELLAN and in addition by the colorful variety these commissions, nor would most of Y of Trythall's handling of the orchestra. us have had any opportunity to become All in all, this is a magnificent work. aware of the fact that there is a first - but it is equaled and in some ways rate orchestra in Knoxville with an LAZAR BERMAN: Piano Recital surpassed by John Boda's Sinfonia on equally first -rate conductor. In other the other side. Boda's piece has a spare, words. there are depths and reaches of Chopin: Elude in B minor, Op. 25, No. lithe, integrated, open and direct effect musical cultivation and creativeness in Io. Debussy: Etude No. 6, pour les which, by contrast, points up a certain this country about which the managerial !wits doigts. Ravel: Gaspard de la tutii: No. I, Ondine. Scriabin: Fantasia in B minor, Op. 28. Rachmaninoff: Moments ntusicaux, Op. 16 (6). Lazar Berman, piano. ARTIA -MK 1577. LP. $5.98.

When made his first tour here in 1955, he spoke glowingly of a young countryman of his who "could play Feux follets as if it were nothing." The young pianist was Lazar Berman. On the basis of this record, it would seem as though Mr. Gilels' enthusiasm was well placed. Mr. Berman has a titanic agility (the kind, in fact, that leaves one slightly breathless), a big, 4'ie /d%è// /;/(iY assertive style similar to Rachmaninoff's, and a penchant for fast tempos. His Ondine bristles with electric intensity, the Chopin Octave Etude is brilliantly headlong in the outer parts and in the middle section grandly inflected. In the Debussy, Mr. Berman leaves all rivals far behind. One ceases to hear notes here: they are supplanted by the haunt- ing strains of a siren. and the effect is simply indescribable. The Scriabin, with its morose melancholy. is superbly done, as are the pieces by Rachmaninoff. It is unfortunate that the recorded sound is not better than it is: the piano tone is grainy, the surfaces gritty almost MODEL 6 -44 3 SPEED 4 TRACK STEREO to the point of being unbearable. Never- theless. we can accustom ourselves to this RECORD PLAYBACK TAPE DECK type of sound in order to enjoy the artistry of certain old- timers; and until Distinctively... we have better recorded discs from Ber- man. we will just have to view this one BETTER, CLEARER, MORE NATURAL SOUND with the same indulgence. H.G. Exhibitsmagnificentrecord /play- Offers distinguished 3 speed per- back frequency response, excep- formance for 4 track Stereo /Mono FRANS BRUEGGEN: "The Virtu- tionally low tape tension and record; 2 and 4 track Stereo/ oso Recorder" virtually no wow and flutter. Mono playback. Permits direct record of FM Mul- Achieves maximum versatility Frans Brüggen, recorder; Janny van tiplex Stereocasts at 3% and 7% through facilities for Sound-On- Wering, harpsichord. ips with original clarity and Sound, Track Adding, Echo Ef- DECCA DL 10049. LP. $4.98. brilliance, and without "beep" fects, Remote Control ... and you DLCCA DL 710049. SD. $5.98. signals. may mount vertically, too. Most. if not all, of the five baroque Incorporates 3 precision lami- Provides finger -light push button nated heads, compositions included here were orig- individually gapped control, automatic microswitch inally published as for violin or flute. -one each for record, playback operated tape stop and free posi- but there seems to be no good reason and selective erase; and an ad- tion turntable action for easy, why they should not be played on a vanced design hysteresis syn- independent tape threading. recorder. A Canonic Sonata in D minor chronous motor. by Telemann has two playful and FREE OFFER winning fast movements. It is performed (for a limited tine only) on two alto recorders. Brüggen playing Your franchised Tandberg dealer is authorized to give both parts. There is also a pleasant Sonata in G by Willem de Fesch, as well you, free with your purchase of a MODEL 6 -44 ... as routine sonatas by Telemann (in E 2 Tandberg CM -6 Crystal Microphones minor), Jean -Baptiste Loeillet (in F and major), and Francesco Veracini (in G 1 Tandberg TC -56 Carrying Case major). Brüggen, a young Dutch p.r- See Your Dealer or Write Direct former, plays with skill, and his ac- companist achieves variety by occasional ..Tandberg®OF AMERICA, INC., 8 THIRD AVENUE, PELHAM, NEW YORK changes in registration. Very good sound in both versions. N.B. CIRCLE 90 ON READER- SERVICE CARD 88 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com HAMBURGER KAMMERSOLIST- or ten minutes the first time I heard Alec Templeton. and Victor Borge. But EN: Recital of Modern Music some of these records, just as I might it is, at least, a conscious parody. Its laugh at Sid Caesar parodying Macbeth humor is largely traceable to the words, Kelemen: Etudes Contrapuntiques. Cas- in the broadest possible style. (How which are (imagine!) a more or less tiglioni: Tropi. Fellegara: Serenata. much less funny it would seem, though, literal translation of the Faust libretto, Yun: Musik für Sieben Instrumente. if we knew that Sid Caesar really wanted and to the unbelievable sounds, at once more than anything else to be a classic extraterrestrial and hopelessly earth- Hamburger Kammersolisten, Francis tragedian, and was under the cruel de- bound, produced by Mr. Burns. Miss Travis, cond. lusion that he was actually a monu- Williams labors under the drawback of TIME 58006. LP. $4.98. mental Macbeth.) Finally, of course, being rather too good-one can hear TIME S 8006. SD. $5.98. these records do not seem funny at worse singing than this at any work- all, but pathetic, and even annoying. I shop performance. I do admire, though, This disc comprises four short works by cannot imagine anyone's playing them her ability to seem to be enunciating members of the European avant -garde more than three or four times, except with great distinction while actually recorded by a chamber group founded by way of De Sade -esque experiment. being totally incomprehensible, and her and conducted by a young American, The reverse side of this disc -A Faust ear for the precisely wrong pitch at key Francis Travis, who has been working in Travesty, created by Jenny Williams and moments. This side is quite entertaining, Germany and Switzerland in recent Thomas Burns -is something else again. at least the first couple of times years. The works of Milko Kelemen As with nearly all such efforts. this one through. C.L.O. and Vittorio Fellegara are composers' will, I'm sure, pall with repetition -sic forum music of the kind with which semper even the best of Anna Russell, Continued on next page programs are padded out from Darm- stadt to Tokyo and back again. The compositions by Niccolò Castiglioni and Tsang Yun, however, are quite remark- able. Build the finest professional Castiglioni's "tropes" are highly charged fragments of sound deployed on a background of silence to produce an color TV Set ever designed extraordinarily plastic effect: it is almost as if these sound- complexes were bits of abstract sculpture which one could savor with one's fingertips. Castiglioni continues the aphoristic tradition of Webern and here takes it into new expressive territory with a thoroughly Italian sense of drama and a thoroughly up -to -date appreciation of percussion I instruments. o O r Isang Yun is a Korean composer now living in Germany. In his liner notes on Yun's work, Robert Dunn justly observes that this music seems to be haunted by the spirit of Berg. Alone (SID bir' among the four composers represented on this disc, Yun has no truck with the Webern style; he goes in for long lines and intricately spun lyricism, and he does a beautiful job of it. Like Casti- glioni, Yun makes an immediate and This Color TV Kit is designed around the most expensive, thor- highly successful appeal to the ear, and oughly engineered and newest RCA TV Color Receiver. no theoretical dissertation on his score Transvision has added improvements, features, and heavy -duty is really necessary. parts to this RCA licensed receiver in order to accommodate The performances and recording are those who seek better quality than is commercially available. first -class. A.F. WITH or WITHOUT REMOTE CONTROL All critical circuitry is wired, aligned, and pre- tested by RCA. FLORENCE FOSTER JENKINS: Anyone Can Assemble -No Special Knowledge Required "The Glory (????) of the Human "Deluxe" Color Chassis with controls Buy Assembly Manual and See Easy, Complete Instructions. Voice" mounted on panel in a vertical position. Exclusive Features: All controls are mounted separately from chassis for flexibility in custom installation... . Mozart: Die Zaitherflüte: Queen of the Only the finest quality oversized, extra heavy -duty Night Aria. Lindoff: The Musical Snuff- parts are used for long, trouble -free use, and they are box. McMoon: Like a Bird. Delibes: FULLY GUARANTEED for ONE FULL YEAR. Lak,né: Bell Song. David: Pearl of The 21" Color Tube is RCA's newest and best tube. The Brazil: Charmant oiseau. Bach- Pavlo- safety glass is bonded to the tube face to reduce re- vich: Biassv. J. Strauss: Die Fledermaus: flections and eliminate dust accumulation.... NEVER Adele's Laughing Song. OBSOLETE -Your Transvision TV Color Kit is al- ways up-to -date because circuit improvements in Kit Florence Foster Jenkins, soprano; Cosme form are passed on to the Kit builder as they occur. McMoon, piano. Buy on Installment Plan. PAY AS YOU WIRE: $50 gets you started RCA VICTOR LM 2597. LP. $4.98. on this fascinating TV Color Kit project.

Custom wall installation of "Deluxe" Color Chassis CHOICE OF MODELS: Here is another go -round for the records with horizontal controls separated from chassis. of Mme. Jenkins, the deluded dowager. With Hi- Fidelity Sound System, complete with Color Tube $439.00. They constitute something of an aural LEARN AS YOU BUILD: Learn Color TV Theory, Practice. With Special Circuit (no audio) for connecting sick joke, case and Servicing. Complete course of study available for preserving (in you don't use in conjunction with the Kit-no technical back- into your Hi.Fi System, complete with Color Tube M19.00. know) the ludicrous vocal efforts of ground required to understand it. Remote Control optional $60.00 additional. an elderly and apparently likable woman INSTRUCTION MANUAL Send $5 for complete Assembly who a Also available as WIRED CHASSIS Full line lived in fantasy of triumphal Manual. so that you can see how easy it is to build and ... of Cabinets. concert appearances. In this she was service the Transvision TV Color of Kit. Cost manual - -- START NOW MAIL THIS COUPON._ assisted by the public, who bought refundable upon purchase of Kit. - Send FREE Catalog on Color N Kits... 1 enclose $5 for tickets to her concerts, listened, and Assembly Manual, refundable on purchase of N Color Kit. applauded with sobriety; and by the I enclose 550 for Starting Package on payas-youwire plan. (Complete Kits range from 5409 to 5499.1 HIYC -8 critics, who, as Francis Robinson's ELECTRONICS, Inc. Dept. jacket notes point out, reviewed her ef- Name forts in the same douhle- entendre phrases that might serve for a Tebaldi or Grey Oaks Avenue, Yonkers, N. Y. Dept. HIYC-8 Address

Schwarzkopf recital. Telephone: (914) YOnkers 56900 Zone State I can recall being amused for five I.rry CIRCLE: 94 ON READER-SERVICE CARD AUGUST 1962 89

www.americanradiohistory.com * * * * * * * * * * * * * * * * * * * * * * * ** The romantic voice of POLYFONiCA AMBROSiANA: Ital- donna è mobile. Massenet: Manor: Le ian ,1Iusic of the Renaissance Rêve. Werther: Pourquoi me réveiller. Mascagni: Iris: Apri la tua finestra. Rim - Soloists and Choir of the Polyfonica Am- sky-Korsakov: May Night: The Sun De- brosiana. Mons. Giuseppe Biella. cond. scends. Sadko: Song of the Indian Guest. star of the Broadway VANGUARD BG 623. LP. $4.98. Tchaikovsky: Etigen Onegin: In Your House. Rubinstein: The Demon: On De- show "Bravo Giovanni" Whoever was responsible for this pro- sire's Soft, Fleeting Wings. Puccini: gram had the commendable idea of seek- Tosca: Recondite armonia: E laceran le ing out little -known composers as well stelle. Rachmaninoff: Lilacs; Sweetly as little -known works by celebrated com- .Sang the Nightingale; Tranquility. Gre- posers. The first side contains religious tchaninov: Cradle Song. works by Gaffurio. Tromboncino, and BRAVO SIEPi! Soto. the Sanctus from Palestrina's Mass Dimitri Smirnov. tenor: orchestra. Aeteina Christi ',mere-one of the love- Sil NA S 1003. LP. $4.98. liest pieces in the lot -and an organ toc- cata by Andrea Gabrieli. On the overside DIMITRI SMIRNOV: Operatic and are secular vocal works by Cara. Demo - Song Recital phon. Vecchi, Marenzio, and Gastoldi, as well as instrumental pieces by Fran- Mussorgsky: Boris Godunov: Scene in cesco da Milano and Cesare Negri. the Alunastcry Cell. Sorochintsv Fair: There is much of interest here. for ex- Pourquoi mon triste coeur. Rimsky -Kor- ample Gaffurio's Sanctus from his Afissa sakov: Sadko: Song of India. Tradi- tramhetta, in which the lowest voices tional: Song of the Boatmen. Ros- alternate, trumpetlike. between do and sini: It Barbiere: Se il mio nome, Doni - so /: Soto's /! pietoso Gesìt. a melodious zetti: La Favorita: Spirto gentil. Mas - work here performed as a dialogue for cagni: Iris: Apri la tua finestra. Puccini: soprano and tenor with organ accom- La Boliènie: Che gelida manina. Mas- paniment; the charming Cannon de le senet: A/anon: O dolce incanto; A h, ucelli by Francesco da Milano. played dispar. Night And Day; So In Love; I've Got You on the lute stop of a harpsichord: and Under My Skin; You'd Be So Nice To Come the beautiful madrigal Quando sorge Dimitri Smirnov, tenor; Kaidanoff, bari- Home To; Ev'ry Time We Say Goodbye; l'aurora by Marenzio. From the point of tone 1 in Boris Godunov): orchestra. The Beguine; Easy To Wunderbar; Begin view of performance. however. the disc Rococo R 33. LP. $5.95. Love; I A Kick You; I Love You; In Get Out Of does not come off well. Most of the The Still Of The Night; Blow, Gabriel, Blow. * pieces-secular as well as sacred -are The Russian lyric tenor Dimitri Smirnov Mono 5705 Stereo OS 25705 * given in a slow. solemn manner. which is never had much success in his American sometimes justified by the text but appearances (1910 -12 at the Met, and sometimes not. In an apparent attempt later in recital), despite a very high O1 POiV to avoid monotony Monsignor Biella European reputation; but succeeding gen- RECORDS * e * goes in for sudden dynamic shifts and erations of American record collectors * * * * * * * * * * * * * * * * * * * * ** for crescendos and diminuendos that do have enshrined him as a connoisseur's * * * * vocalist. There are CIRCLE 58 ON READER SERVICE CARD not seem called for by either text or certainly pleasing music. Luciano Ticinelli -Fattori. who aspects to his refined, stylish vocalism. does most of the solo singing. has a The quality of his voice -as is usually the case with Russian tenors -was light *k soprano that conveys considerable feel- and VANGUARD ing but is lacking in purity. Original pointed. but it never became precious or Recordings for the Connoisseur texts and English translations are pro- thin. His basic comprehension of style presents vided, and the sound is lifelike. N.B. was excellent, though he was even fonder A distinguished American orchestra of the fermata than most tenors, and is not above disfiguring "Una furtiva lag- THE UTAH SYMPHONY ANDRES SEGOVIA: Music for the rinia" with an inappropriate high ending. ORCHESTRA Guitar To judge by his records, there was also a noticeable constriction in the upper MAURICE ABRAVANEL Antaiiio. Granados -Llobet: Tono- CONDUCTOR Esplá: reaches. The sound of the high tones dilla. Mussorgsky -Segovia: The Old it/ three distinguished recordings is often good. but it is never quite as Castle. Ponce: Allegro in A. Roussel: free or focused as we feel it should be. Segovia. Segovia: Study. Tansman: Compare his work in high -lying passages IGOR STRAVINSKY: VIOLIN CONCERTO Three Pieces for Guitar. Torroba: LEROY ROBERTSON: VIOLIN CONCERTO with his distinguished compatriot Sobin- Pièces caractéristiques. Weiss- Ponce: Tossy Spivakovsky, violin off (also represented by a Rococo LP), VRS -1089 & VSD -2116 Prelude. or even with the contemporary Soviet ORCHESTRAL TRANSCRIPTIONS OF BACH Andrés Segovia, guitar: Rafael Puyana, tenor Lemeshev (to whom he beats a BACH -SCHOENBERG: rather striking "St. Anne" Prelude and Fugue harpsichord (in the Weiss). resemblance), and you Preludes will sense his voice's and Two Choral DECCA DL 10046. LP. $4.98. that potentialities BACH-STRAVINSKY: were never quite realized. Choral Variations on Vom Himmel Hoch DECCA DL 710046. SD. $5.98. BACH -WEBERN: Both the present collections are in- teresting ones. and Ricercare from The Musical Offering This is the third and final disc in the since there are only VRS-1092 & VSD -2120 three Segovia Golden Jubilee album issued duplications in selections, a real A. SCARLATTI: MISSA DI SANTA CECILIA Smirnov fan may buy without as a multiple- record set several years both being "A fine orchestra, splendid chorus and five too redundant. For those who must excellent soloists ... a welcome addition ago (in monophonic form only) and re- make a selection, to the repertoire." viewed as such in these pages in Feb- I think I should recom- Everett Helm, Moira! America mend the Siena release. The surface & -5044 ruary 1959. The other two discs have *Stereolab BG-621 BGS noise is at a level, already been issued singly. both in lower and the pitches more accurately set. mono and stereo editions. than on the Rococo record. it also seems to me the This is a splendid collection of that Siena choice great beautifully phrased, of repertoire is more inter- Segovia's art: esting; the and warmly inter- Rachmaninoff and Gretchani- poetically colored. nov preted. For me. the highspots are the songs are especially welcome, as is this splendid version Mussorgsky excerpt from Pictures at an of " Pourquoi nu' réveiller." The Exhibition (which sounds ravishing on two Tosca arias sound as if they were electrically recorded. the guitar). and the lovely Torroba and Smirnov's voice is in rather precarious suite. but everything here is exemplary. condition for them. For its part, the The sound is fine in both editions. with Rococo disc does offer the Boris little to choose between them. H.G. ex- cerpts, which are fascinating. We seldom hear a Dmitri of any real vocal resource DIMITRI SMIRNOV: Operatic and or musical sense, and Smirnov is sec- Song Recital onded here by a magnificent Pimen from the baritone Kaidanoff. The Garden Send for Catalog. Vanguard 154 W. 14 St. N.Y. Verdi: Rigoletto: Questa o quella; La Duet is so seldom recorded as to be al- CIRCLE 98 ON READER-SERVICE CARD 90 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com most a rarity. .1 Sorochinisy Fair been rescued from oblivion, and appre- excerpt is also of unusual interest, as is hension lest present -day listeners (es- the excellent version of "Spirto genii!." pecially young violin professionals) who The choice probably comes down to rep- never experienced the live magic of ertory, though the Siena disc has an edge Ysaÿe may fail to do them justice. It in terms of sound. C.L.U. would be possible to hear in these per- formances only the obvious mannerisms VIENNA CHOIR BOYS: "Sacred of the period, mannerisms comparable to the turn -of- the -century pianist's "antici- Music and Love Songs by Schubert pating" left hand (Paderewski) or Caru- and Brahms" só s "sob." Short slides up, followed im- Schubert: Das Dörfchen; Widerspruch; mediately by a slide down, seem incon- Psalm 23; Der Gondelfahrer; Litanei auf gruous to the fastidious ears of our dem Fest Allerseelen; An die Musik; antiseptic -or rather, aseptic -age (the Heidenriislein; Die Forelle. Brahms: phrase is that of a recent English com- Regina Coeli; Ave Maria; Psalm 13; mentator). But to listen condescend- Six Songs from Liebeslieder Walzer und ingly, without the historical perspective Neue Liebeslieder; Juchhe!; Nachtigall; necessary in such cases (I would say in Feldeinsamkeit. all cases!), would be to lose the unique experience of playing touched by genius. Vienna Choir Boys. The sensitive listener will savor the PHILIPS PHM 500002. LP. $4.98. inimitable mixture of fin -de- siècle mel- PHILIPS PHS 900002. SD. $5.98. ancholy and elegant virtuosity in Ysaÿe's own Lointain passé, the lovely quality of The point of the collection is the display his tone, colored by a (close)- serried, the famed boy sopranos of of the nonmechanical vibrato, a rubato so natu- Wiener Siingerknaben. How pleased you ral that one is barely conscious of it. be the results will with depends largely He will accept the less than perfect de- on how you feel about boy sopranos. scending scales in thirds or the slides on I prefer the adult, female variety, and in descending fourth or ascending thirds the Brahms Liebeslieder waltzes the for the sake the elegance and sinu- boyish voices appear of rather incongruous osity of that last flourish. He will re- in terms of the text. (Who wants to joice in the rhythmic snap and the old - hear love songs sung by a child ?) In world cavalier gesture of the nowadays the sacred music of both composers and forgotten Vieuxtemps Rondino and the in such Schubert songs as Die eloquence of its second theme. He will Forelle, however, these problems vanish condone the period piece slant with those -although even so I would prefer to traditional rubatos of the Brahms Hun- hear a mature voice. The recorded garian Dance No. 5, as he will accept the sound is rather pale, and for that rea- slides (always those descending son the concentration of the mono was fourths!) in the Preislied sake actually preferable to the stereo ver- Wagner for the of An Assemblage of sion. K.C.M. the essential quality of exaltation that Ysaÿe communicates without histrionics. As to the Finale of the Mendelssohn The World's Finest Artists: EUGENE YSAYE: "Echos du Souve- Concerto, taken at a speed of 104 -108 nir" and with several cuts (one of which the violinist overlooked and scrambled Dietrich Fischer- Dieskau Brahms: Hungarian Dance No. 5. Vieux - through), here the intelligent listener temps: Rondino. Wagner: Preislied. will re- create imaginatively the viva- Mendelssohn: Concerto for Violin and ciousness and élan of the live perform- Elisabeth Schwarzkopf Orchestra, in E minor, Op. 64: Finale. ance with orchestra which must have Saint -Saëns- Ysaÿe: Caprice en forme de come across from the platform. valse. Ysaÿe: Lointain passé; Poème Today's young recording artists prob- Peter Pears / Christa Ludwig élégiaque. ably cannot visualize what it must have been like for this giant violinists Eugène Ysaÿe, violin; among David Oistrakh, -already a middle -aged man face violin (in the -to Nicolai Gedda / Walter Berry Caprice and Poème élé- the terrors of acoustical recording fifty giaque); C. Decreuse, piano; Vladimir Yampolsky, years ago, standing in a padded, over- piano (in the Caprice and heated room Poème élégiaque). and instructed to remain Otto Klemperer conducting stationary in front of the cardboard horn. FONDATION EUGENE YSAYE. LP. $6.00. And like everyone else at the time, Ysaye (Available on special order only, from Fondation played on three gut strings, only the G THE PHILHARMONIA ORCHESTRA! CHOIR Eugène Ysaÿe, 39 Rue de string being gut wound l'Escrime, Brussels with silver thread. 19, Belgium.) I mention these points because they should be borne in mind when In 1912, when listening Bach: The St. Matthew the celebrated Belgian vi- to reissues of recordings by Passion olinist Eugène Ysaye Joachim, was making his Sarasate, Leopold Auer, and other vio- fifth concert tour of the United States. linists of an earlier era. When I write ALBUM NUMBER (S)3599 E'L the current equivalent an a of & r man of acoustic recordings and of gut strings. finally persuaded him to make twelve I do so from personal experience: I t'esr single -sided discs of four minutes each. started recording in 1909 and Through the I used gut Fondation Eugène Ysaye strings until about 1925. five of these ancient acoustics have been 1 This memorial record fulfills a three- resuscitated and issued on a single LP, fold purpose. Thanks to David Ois- a together with performances of Ysaye trakh's magnificent playing on the - pieces by over David Oistrakh. side of Ysaye's Poème élégiaque (a fore- For me, writing Angel J about this reissue runner of the Chausson Poème) it gives arouses something like a crise de con- us an idea of his gifts as a composer; science. I first heard Ysaÿe in 1906, and in the Saint -Saëns -Ysaÿe Caprice en owe to him indelible memories of great forme de valse it shows us his incred- works played with consummate artistry. ible violinistic inventiveness; and in the In 1923 was honored I by him with the reissues of his own performances it al- dedication the First of Sonata, in G lows us to know the unique artistry of minor, of his set of six -which is, in a one of the great figures in violin history. way, his violinistic legacy. But the JOSEPH SZIGETI ASED " Ysaÿe legacy" benefited the art of the violin in many and profound ways. TO BE One is torn between feelings of grati- tude that the present fragments have IN SEPTEMBER! CIRCLE 7 ON READER -SERVICE CARD AUGUST 1962 91

www.americanradiohistory.com DISCOVER NEW FALL RECORDINGS MERCURY: In June of this year Mercury's mobile recording van THE WORLD'S Continued from page 69 turned up in Moscow for the first sessions by a Western company to be Item, Handel's Alcina (London, 1735), GREAT MUSIC made within the . The with Sutherland, Graziella Joan fruits thereof are to be rushed into Sciutti, Teresa Berganza, Luigi Alva, The most amazing record production as quickly as possible. Ezio Flagello, and the London Sym- Among the made -in- Moscow discs, bug of all time, featuring phony under Richard Bonynge. Item, look for two by Byron Janis and the Purcell's Aeneas (London, the world's great artists Dido and Moscow Philharmonic under Kyril 1689), with Janet Baker as Dido and 11 INCH HIGH FIDELITY LONG PLAYING RECORDS Kondrashin: one devoted to Proko- TEN Anthony Lewis conducting the Eng- '1714: fiev's First and Third Piano Con- r; lish Chamber Orchestra. Among other BECHOr \\Y )RLll:S certos, the other to Rachmaninoff's vocal recordings are Schumann's MOZAR First Piano Concerto and Rhapsody GREATEST Dichterliebe (Eberhard Wächter /Al- TCHAIKOVSKY on a Theme of Paganini. ..m,.. r- fred Brendel), three discs by Peter Look too for several recordings by MUSIC Pears and Benjamin Britten, and a DVDRAK Antal Dorati and the London Sym- RACHMANINOFF Norwegian songs. Flagstad recital of phony -the Bartók Concerto for Or- RIMSKYiLORSAKOV There is a possibility, too, that Lon- chestra, the Beethoven Fifth, Respig- oEeUSSY don's new recording of the Puccini hi's Pines and Fountains, and a col- MENOr.LSSOHN Trittico may be ready before Christ- lection of the conductor's own or- mas; Renata Tebaldi, Giulietta Simio- BORODIN chestral music. Dorati is the ac- SMETANA nato, and Mario del Monaco are as- companying conductor as well in the MUSSDRGSILY sociated in the enterprise. h.-WN....r ,iAIOSLA.pI(,HIkM, UO.',OI;:íIFRRM I,' first discs for Mercury MCUVINICH HLRMANN MOPE. of violinist BRW MS ffHERCHEN In the orchestral (Vienna Philhar- NAiI SMDERLING 1.000 VON WPC( ROGER -'. Henrik Szeryng: the Brahms Concerto monic) category Herbert von Karajan and a coupling of the Tchaikovsky is a Brahms and responsible for Third and Mendelssohn. Another Mercury ONLY $9.97* (of all things) Adolphe Adam's Giselle suggested price debut will be made by harpsichordist list music, Solti leads a collation Georg Rafael Puyana in a recital of Eliza- product of of Wagner overtures, and Aram bethan music. Khachaturian presides over his Sparta- ARTIA- PARLIAMENT cus ballet. From Ernest Ansermet and MUSIC GUILD: Perhaps taking a Indnstrirc. Inc. the Suisse Romande Orchestra we are cue from Charles Cudworth (see "Mr. :.í.í Fifth .1 rrrurc, N. Y. C. to get the Saint -Saëns Third and high- Bach of London," HIGH FIDELITY, lights from Prokofiev's Rotneo and June 1962), Music Guild is putting Monteux and CIRCLE 9 ON READEK- SERVICE CARD Cinderella, from Pierre out Johann Christian Bach's Dies Irae the London Symphony a Debussy- for double chorus and orchestra in Ravel coupling. FM Stereo Recording Fans, the Angelicum -Lumen recording pre- viously available only as an import. ATTENTION! LYRICHORD: According to Grove's The Albeneri Trio has turned its atten- Dictionary, "a copy in Bach's hand of tion to works by Mendelssohn and New Viking MX10 MULTIPLEX FILTER a Passion according to St. Luke is Martini'', the tenor Hugues Cuenod eliminates interference in recordings no longer regarded as his composi- to secular songs by Monteverdi, the tion." Whether genuine Bach or not, harpsichordist Fernando Valenti to "onullr.N01111 the St. Luke Passion will be avail- previously unrecorded sonatas by r'n11nlln111I1 able from Lyrichord this fall, in a M;I11IIIIII11111111111 Scarlatti, and the pianist Jörg Demus performance by the Vienna State to an Austrian assortment ranging 11111111 Opera Orchestra and various soloists from Fux and Mozart to Bruckner IIIIIIIII111111I111 under the direction of George Barati. and Berg. IIIIIIIIIII1#/Il5i:!I Mr. Barati has also turned his atten- IIII11111IIIII1MILIIIIII\ . tion to Haydn, as witness new record- PARLIAMENT: The Czech Philhar- ings of the Harmonie Mass and the monic Orchestra, mainstay of this The new Viking MX10 Multiplex Filter is Symphonies Nos. 20, 32, and 76. a gs.ality, LC -type filter that permits inter- low- priced line of records, will be ference -free tape recording from any FM heard under Sir in the tuner equipped for multiplex reception. The MX10 removes all traces of distor- Franck D minor Symphony, under tion and extraneous signals produced by Franz Konwitschny in the Schubert the nteraction of the 38 kc FM multiplex Ninth, and under its own resident component, or other RF interference, witF the high frequency bias oscillator conductor Karel Anëerl in Prokofiev's in the recorder or recording amplifier. Alexander Nevsky and the Shostako- While some newer recorders, such as the Viking 86 Stereo -Compact have such vich Fifth. a firer built -in, older machines, and some ruin a sonata with new ones d3 not provide this feature. PHILIPS: An established label in Eu- The MX10 Filter passes the multiplex hiss, "pop" and crack! sigal, but provides sharp cut off at rope, but a newcomer this year to 20 kc, retaining all of the high frequency the United States, Philips' plans are save your records... use performance normally dissipated with still somewhat fluid. We are assured, RC -type filters. See it at dealers now. however, that there will be ample representation of the Amsterdam Con - send today LEKTR0STAT LEANER Rockefeller Foundation certgebouw Orchestra, which this fall for free technical literature Recommended by Study for protection of records in govern- is making its second U. S. tour. 1r dNi w ment archives! Ends dust, dirt and static. IE I . I N C . ll . g O F M I N N A I O L S Among the discs due limaNO at record and hi fi stores. 9600 ALDRICH AV. SO. $2.00 for release soon are the Mozart Haff- MINNEAPOLIS 20, MINNESOTA The IEKTROSTAT CORP. New York 59, New York ner and Jupiter Symphonies (Eugen CIRCLE 99 ON READER -SERVICE CARD CIRCLE 56 ON READER-SERVICE CARD 92 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Jochum conducting), the Beethoven Come Ye Sons of Art and Lalande's Seventh and Tchaikovsky Fifth (Wolf- De Profundis. gang Sawallisch conducting), and per- The instrumental category is domi- haps a few wartime recordings under nated by Joseph Szigeti's complete re- Willem Mengelberg's direction. Also cording of Bach's sonatas and partitas on the pre- Christmas agenda: some for unaccompanied violin. In addition, new stereo albums by I Musici (Vival- Antonio Janigro's Solisti di Zagreb di's Quattro Stagioni and Bach's Con- accompany Julius Baker in an album certo for Violin, Oboe, and Strings), entitled "The Virtuoso Flute" and as well as offerings from Arthur perform a like service for Helmut Grumiaux (Mozart's Violin Concertos Wobisch in the second volume of in G major and A major, with the "The Virtuoso Trumpet." rJ London Symphony under Anthony 's original mono-

Collins) and Gerard Souzay (Schu- phonic version of Handel's Messiah bert's Winterreise and selected titles is being restored to circulation this from the Schwanengesang). fall on the Vanguard label, also Sir HELD 's "Philharmonic Prom- RCA VICTOR: Prior to Charles enade" recording of a Vaughan Wil- Munch's retirement as musical direc- liams miscellany. tor of the Boston Symphony, the OVER conductor remade for stereo two of VOX: The young Viennese pianist Al- his Berlioz specialities -the Symphonie fred Brendel will be touring the fantastique and Romeo and Juliet. United States this season and in prep- for N aration therefor been working '63 Both will be evident in the shops has this fall, as well as a Munch, Boston overtime in the recording studio, as pairing of Milhaud's Suite prorenvale witness a coupling of Mozart's Con- and La Création du monde. Another certo in E flat, K. 482, with Haydn's remake scheduled for imminent release Concerto in D, Beethoven's Emperor Concerto (with Los Angeles' Zubin VIKING! is Richard Strauss's Also sprach Zara- thustra, rendered in the latest stereo Mehta conducting), another multi - splendor by Fritz Reiner and the Chi- record set of the complete piano music of Beethoven (this cago Symphony. Jascha Heifetz is rep- one containing the 86 Stereo- resented as virtuoso soloist in Bruch's last sonatas), and a Schubert miscel- Scottish Fantasy and Vieuxtemps's A lany. In the realm of chamber music minor Concerto, as collaborator with we shall be offered the first five in Compact and other instru- a complete recording of the Dvofák mentalists in a galaxy of chamber string quartets and some Handel trio music by Mozart, Schubert, Niendels- sonatas. The complete Brahms piano Proved this year's most popular sohn, Brahms, and Franck. Micro- music in performances by Walter stereo recorder, the Viking 86 Stereo - Compact leads the way into 1963 phones on the stage of Carnegie Hall Klien, Locatelli's L'arte del violino with Susan Lautenbacher as soloist, virtually unchanged and still very recorded Artur Rubinstein's ten re- much in demand. Audiophile net and a first citals last winter, and selections from installment of Debussy's now $23950 complete at franchised the series will be made available in piano music played by Peter Frankl dealers only. disc form this fall. will fill various boxes from Vox. On the operatic front. RCA prof- WESTMINSTER: Another complete fers two albums under the direction recording of Berlioz's Romeo and of Erich Leinsdorf: a complete Die Juliet will make an appearance chez Walkiire recorded in London with Westminster, this one in the hands Birgit Nilsson, Jon Vickers, and of and the London George London and a new Bohème Symphony. Hermann recorded in Rome with Anna Moffo, Scherchen leads the Vienna State Opera Richard Tucker, and Robert Merrill. Orchestra in "Music for Multiple Orchestras" - an assortment that journeys from VANGUARD: A first recording of Gabrieli (Canzone primi toni) to Carl Handel's oratorio Saul is in the van- Orff (Entrain) with a Beethoven stop- guard of Vanguard's autumn list; over (Wellington's Victory) en route. Mogens WOldike conducts the Vienna The Chinese pianist Fou Ts'ong con- Most dealers are still backordered. You may Symphony, and the soloists in- tributes a disc of Scarlatti sonatas, still have to wait a short while for your 86 clude Helen Watts, Jennifer Vyvyan, the French harpsichordist Veyron- Stereo -Compact, but happy owners will tell Thomas Hemsley, and Lawrence Lacroix a four -record album of Bach's you, "IT'S WORTH WAITING FOR!" Dutoit. From out Utah way come clavier concertos (with the Jean - Honegger's Le Roi David (with François Paillard Chamber Orchestra). Free technical literature describes the Martial Singher) and Beethoven's in- 36 Stereo -Compact and its many capabilities cidental music to Egmont (with Ne- THE MOST duplicated piece of music tania Davrath); Maurice Abravanel this fall would seem to be Wagner's conducts the Utah Symphony in both. Wesendonck Lieder, which can be VIKING OF MINNEAPOLIS, INC., DEPT. HF4 Miss Davrath is also featured in more savored in new recordings by Régine 9600 Aldrich Ave. So., Minneapolis 20, Minn. of Canteloube's Songs of the Au- Crespin, Christa Ludwig, and Eileen Please send full technical literature on the I vergne, the countertenor Alfred Deller Farrell. What happened to Birgit Nils- 86 Stereo-Compact, without obligation. and his Consort in more "Madrigal son? NAME Masterpieces" as well as in Purcell's Happy listening. ADDRESS _STATE AUGUST 1962 CITY_ -_

CIRCLE 99 ON READER -SERVICE CARD www.americanradiohistory.com it, e

POPULAR THEATRE FOLK

a d

Vintage Noble Reincarnated

"Twenty -Four Distinguished Arrangements by Ray Noble and His Renowned London Mayfair Orchestra." Capitol TBO 10312, $7.98 (Two LP). Ray Noble

THIRTY years have passed since the first Ray drastically overhauled his personnel, bringing in Noble discs, on the English HMV label, began Leon Goossens on oboe, the violinists Hugo Rignold to find their way across the Atlantic, and anyone and Jean Pougnet, fine jazz musicians like Nat who recalls the excitement they created among Gonella, Jack Jackson, Danny Polo, and Freddy record collectors and swing musicians will be grateful Gardner, and the pianists Stanley Black and Monia to Capitol for reissuing these twenty -four selections Liter. Black and Liter were particularly important dating from 1931 to 1934. additions, since they enabled Noble -himself the Though the first recording included in this band pianist-to spend time supervising the technical album (Time on My Hands) was cut on February end of the recordings. Noble's interest in sonics, 19, 1931, Noble had been making discs for HMV plus his extraordinary talent for writing beautifully since August 1929. He was then director of HMV's styled orchestral arrangements, soon led to records house band, the New Mayfair Orchestra, and as that were to revolutionize dance -band orchestrations. such was relegated by company regulations to ano- Before Noble took over the New Mayfair Or- nymity. It was not until December 1931 that he re- chestra (succeeding another English band leader, ceived recognition as Ray Noble and His Orchestra Carroll Gibbons), its main function had been to pre- on HMV B 6111, a recording of two songs from the sent the current popular dance hits, keep up with the film Congress Dances. In the interim, Noble had novelty numbers so popular in England at that

94 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com time, and provide a selection of tunes from the exception. It's extraordinary, however, how little latest London musical comedy success. Noble was inequality there is, thanks mainly to Noble's remark- never able to escape from this formula -in fact, his able talent for taking the most banal song and final recording for HMV in September 1934, just writing an utterly transforming arrangement. A fine before he left for America, was a selection from example of this is his work on You Ought to See C. B. Cochran's revue Streamline. But he was ob- Sally on Sunday, a trite little song made exciting viously not unduly hampered by these restrictions solely by Noble's long and extraordinarily interesting and was concerned mainly with getting away from the setting. His best efforts lie elsewhere, though, in the ricky -ticky arrangements that were then the norm. superbly dramatic, almost Ravelian arrangement of How well he succeeded is very much in evidence on Coward's Mad About the Boy; in the tension -strung all the recordings here, made when his career was setting for We've Got the Moon and Sixpence (an at its zenith. Never again was he able to match the Oscar Levant tune from the London musical Out sound of these original discs, nor to obtain from his of the Bottle); and in an extraordinary version of later American bands, which swarmed with first- Arthur Schwartz's After All, You're All I'm After, class sidemen, the wonderfully uninhibited, free - which anticipates Artie Shaw's style by some five swinging performances he got from his English or six years. Noble composed a number of popular musicians. His American -made RCA Victors, though songs, three of which -The Very Thought of You, they have a semblance of the old Noble style, are By the Fireside, and Love Locked Out -are in- generally disappointing; his few Brunswicks are an cluded; strangely enough, his biggest success, Good improvement, but the late Columbias show absolute- Night Sweetheart, is not. One American song is of ly nothing of the real Noble. particular interest, Dubin and Warren's I'll String His American career was an anticlimax after the Along with You, for it was Coty's auditioning of brief years of success in England. Offered a lucrative this record that resulted in Noble's American career. contract for a radio program by Coty, Inc., he Twenty -three of the twenty -four selections here discovered that union restrictions prevented him feature vocalist Bowlly, a South African who sang from bringing over his band. He came, therefore, almost like a Cockney yet never failed to inject a accompanied only by Al Bowlly, his vocalist, and personal warmth into his performances. He added Bill Harty, his drummer and manager. The band much to the pleasure of most Noble records. he fronted was assembled for him by Glenn Miller, As an avid Ray Noble collector, I have most of but it never really got off the ground. Bowlly went the original HMV pressings and have been able back to England, and was later killed in the war; to compare them with Capitol's re- release. The Noble found his way to Hollywood and financial sound of the latter is reasonably acceptable but success, doubling as band leader and Englishman lacks the unusually rich sonority of the old 78s. Be stooge to Charlie McCarthy, on the Edgar Bergen that as it may, the reincarnation of these extraor- radio show. dinary performances on microgroove is very In any collection of twenty -four selections there welcome, and it is to be hoped that more of HMV's are bound to be inequalities, and this album is no vintage Noble will eventually be reissued. J.F.I.

Downright Musical Abandon

"The Hoffnung Astronautical Music Festival 1961." Various soloists; L Hoffnung Choral Society and Symphony Orchestra, Malcolm Arnold

and others, conds. Angel 35828, $4.98 (LP); S 35828, $5.98 (SD).

HUMOR in music -especially in its uniquely what better memorial could there be to the beloveu British combination of elephantine seriousness cartoonist and whilom tuba player, Gerard Hoffnung, and slapstick -is so rare that irreverent music lovers than a perpetuation of the concert romps he initiated everywhere will rejoice in the revival of the Hoff - in 1956? nung Festivals. Apparently these riotous Walpurgis- No American collector who cherishes the con- niichte in the Royal Festival Hall, where many of densed disc editions of the original Festival and the England's finest musicians let down their long hair "Interplanetary" one of 1958 (Angel 35500 and with gleeful abandon, served so valuable a cathar- L! 35800) will need to be urged to hear the present tic function that they could not be abandoned on program. To the uninitiated, however, it can be the death of their founding father in 1959. And recommended only with the warning that what

AUGUST 1962 95

www.americanradiohistory.com tickles some funny bones may merely irritate others. Seven Orchestras. But it's questionable whether they It must be admitted, too, even by those who relish really warrant second hearings. immensely some things in the Hoffnung documen- More consistently amusing is Humphrey Searle's taries, that certain moments just don't come off on take -off on "serial" opera: an avant -garde duo on records. Only too often the live audience's roars of the text "Wer war die Dame, mit welcher ich Sie laughter and applause are stimulated by visual gestern gesehen babe ?" But the one priceless gem shenanigans entirely lost on listeners. , (and the best incentive for owning this disc) is Certainly the elaborate build -up to "an excerpt" - Malcolm Arnold's discovery ( "in a rathole in the from Walton's Belshazzar's Feast, conducted (with Bonn Rathaus") of a hitherto unknown Leonore No. a flyswatter) by the composer himself, is ineffectual 4 Overture manuscript. This proves to be, despite here. The major item, Joseph Horovitz's Horrortorio its numbering, a predecessor of the familiar ver- (with its relatively straight Bachian, Handelian, and sions: the composer's first trial -and-error exploration Sullivanish music matched to a ghoulish text, in- of his materials, with disconcerting side excursions, cluding a lullaby for a two- headed baby) is decidedly hesitant doodling, and restless experimentations "sick" humor at best. There are occasional bursts with the proper location of the famous trumpet call of comic inspiration in most of the other jeux -the climactic appearance of which, in a fanfare d'esprit: the mating of Russian and American sput- orgy by the full forces of the Trumpeters of the niks in Francis Chagrin's Ballad of County Down; Royal Military School of Music, is only the high Francis Baines's handy- for -all- nations Festival point of a superb parody. Anthem: and the olla podrida of musical styles, As in the earlier series, the performances are culminating in a super -Hollywoodian apotheosis of distinguished by their skill and gusto, and the re- the Lost Chord, in Lawrence Leonard's Mobile for cording itself is simply tremendous. R.D.D.

"Tammy Grimes." Orchestra, Luther the exceptional musicianship and vocal Kunz sings with his customary warmth cond. Columbia CL 1789, attractiveness of the Henderson, basses and tenors in and polish and adds, whenever appropri- $3.98 (LP); Columbia CS 8589, $4.98 particular, and here -given a whole a ate, a tasteful dash of the dramatic. His (SD). cappella program to themselves-they extraordinary performance distinguishes Sounding as if she had been rushed into have never sounded better or been more him once again as one of the finest actor - the recording studio after a long and warmly and authentically recorded. Yet singers of our time. Most highly recom- sleepless night, Tammy Grimes raises her pure as the monophonic sonics are, it is mended. O.B.B. rusty -coated voice to sing ( ?) in a ter- only in stereo that the sonorities truly ribly way I'm Just Wild About float in the air and are exquisitely blasé "Gilbert and Sullivan Overtures." The Harry. The performance sounds strictly blended without any loss of quality dif- Pro will ferentiation. is Arte Orchestra, Sir Malcolm Sar- extemporaneous, though the listener It only in stereo, too, that gent, cond. Angel 35929, $4.98 quickly realize that it is a studied and localization spacing (both laterally and (LP); Angel S 35929, $5.98 (SD). polished delivery by an artist of tremen- in depth) can be so musically exploited, Only two the the first moment as it is with special of overtures in this collec- dous originality. From ingenuity in three Pur- tion of six were unquestionably the work on, her highly unconventional way with cell rounds. Purcell is not the only "name" composer of Sullivan himself: the marvelous, fairy- the rest of these strictly conventional represented here, for like overture to lolanthe, one of the com- songs makes this a record to cherish. this "glee club" repertory is definitely that of the new poser's most brilliant achievements, and Miss Grimes is definitely a "character," era inaugurated by Archi- the stately, rather ominous overture to she is never going to let you lose bald Davison of Harvard, and includes and The Yeomen of the Guard, a work of I imagine you some magnificent - sight of the fact. don't part songs by Dow more musical substance than was cus- could, after listening to her performance land, Morley, Schubert, Schumann, and tomary for the time. Yet You, which makes even Brahms, as well as such neither of these of I'll Be Seeing immemorial uni- has ever achieved the popularity of the Tallulah Bankhead sound like a singer, versity favorites as Gaudeamus Igitur, remaining four (The Mikado, Pirates or her version of You Caine a Long Way Integer Vitae, Amici, the Whiffenpool of with irony and Song, Bullard's Winter Penzance, Gondoliers, and H.M.S. Pina- from St. Louis, suffused Song, etc., and fore), all written by Sullivan's disbelief. There are a thousand ways of such rollicking ditties as Old Man Noah musical The Ark's A- Moverin'. assistants, to whom the task had been singing Anything Goes, but never before and Old A leaf- delegated. In general, these overtures are has Cole Porter's song been attacked with let of texts accompanying the discs is no more quite superfluous in way, than potpourris of the principal such casualness or apparent boredom. one since the songs, but they were assembled with such Yet how marvelously effective it is, done singers' enunciation (to say nothing of skill and such sure knowledge too: the clarity of the recording) is of public this way. There are other goodies perfec- taste that even today they take prece- a surprisingly fine Tom Dooley (who tion itself. but it serves conveniently in further dence, in general popularity, over Sulli- would have imagined that ?) and a quite enhancing the pleasure of listen- van's own contributions. The perform- charming Doodle Dee Doo, a "nothing" ers who find the urge to sing -along irre- ances here could hardly number of which Miss Grimes seems to sistible. R.D.D. be bettered. re- They have lilt, thrust, and just the right be rather fond, since it is the only amount of humor to give point to the peat from her previous record. Tammy "Erich Kunz Sings Songs of Revelry, Ribaldry, music. I suspect that most of them have Grimes is a Bostonian, a fact plainly no- and Romance." German been taken from the series of complete ticeable in her pronunciation of certain University Songs, Vol. 5. Erich Kunz, with Gilbert and Sullivan opera recordings works (pahk and cah); and though her Chorus and Orchestra of the Vi- Angel has been issuing over the past voice has a distinct quality, it is amazing enna State Opera, Anton Paulik, con- three or four years; the liner notes, dated how often she sounds like an Eartha Kitt ductor. Vanguard VRS 1081, $4.98 1959, seem to confirm this. J.F.I. who has tarried a few months in Bean - (LP). town. Richard Avedon's photo of Miss Erich Kunz, together with the chorus and Grimes on the back of the album cover orchestra of the Vienna State Opera, pre- "Patachou at the St. Regis Maisonette." is as distinctive as the art of his model. sents another superb recording of Ger- Audio Fidelity AFSD 5961, $5.95 J.F.I. man student songs of many varieties - (SD). love songs and drinking songs, satires, Rising rapidly to take her place among "23 Glee Club Favorites." Men of the ballads, and songs of wanderlust. Al- today's outstanding chanteuses, Patachou JRobert Shaw Chorale. RCA Victor though frequently reminiscent of melo- well deserves the international acclaim LM 2598, $4.98 (LP); LSC 2598, dies of Beethoven, Mozart, and Schubert, she is now receiving. She has an in- $5.98 (SD). most of these songs are anonymous and tensely expressive mode of delivery, a I've seldom reviewed a Robert Shaw serve to point out the rich source of folk warm and pleasing voice, and she sings Chorale release without commenting on music these composers could draw upon. with an intimacy that makes each of

96 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com these chansons parisiens a personal musi- casionally be detected in the setting for cal experience. Although her endeavors Frank Loesser's / Lclieve in You. in English are slightly less successful The album is recorded in Time Rec- than those in French, Patachou is at her ord's new "Process 70." details of which Gallic best in Je t'aime encore, Coin dc are explained on the album. I'm not rue, and Mon anant de St. Jean. sure that I understand all the tech- NOW! O.B.B. nical details, but I can report that it provides this disc with ultrabrilliant. a stereo - "George Maharis Sings." George Ma- clear, clean sound -and with stereo as haris; Orchestra, Robert Mersey, cond. impressive for its breadth and depth. receiver Epic LN 24001, $3.98 (LP); Epic BN J.F.I. 26001, $4.98 (SD). combining Latest of the TV charmers to turn vo- "Carnival Fantastico." Saxsambistas Bra- calist is George Maharis, who-in his sileiros Orchestra. Epic BF 19019, role of "Buz" in the "Route 66" series - $4.98 (SD). whipped up considerable excitement Like most Norte Americanos I'm familiar among female viewers. There is every mainly with Central and South Ameri- indication from his first record that he can popular music as played by our own may well repeat that business. He has orchestras or by southern ones touring BRAINS an excellent voice, a pleasant and un- in this country. But lately I've been re- affected vocal manner, and a style that minded that there's also at least a trickle (for want of a better description) I of foreign releases by outstanding would call Rugged Sinatra. Ballads are Mexican. Argentinian, and Brazilian en- the mainstay of his program, and these sembles. reissued in the United States pri- he handles most convincingly, being ex- marily for expatriates, returned visitors, tremely successful with Moon River and and specialist collectors. These have an I'll Never Smile Again. However, there authentic flavor generally much more is a rocking performance of (surprise!) distinctive than that of performances Get Your Kicks on Route 66 that sug- tailored to our own tastes. One of the gests he might well be even more im- most striking releases of this type is the pressive on up -tempo and easy swing- present program by a Brazilian ensem- ing numbers. J.F.I. ble featuring not only highly skilled flute. sax. and trombone players. but "Roman Guitar," Vol. 2. Tony Mottola also a percussion section which. for and His Ensemble. Command RS sheer variety and piquancy of tonal col- 33 -836, $4.98 (LP); RS 836, $5.98 oring. puts to shame most of the achieve- a (SD). ments of our own "spectacular" percus- Maybe I was unduly hard on the first sionists. The oddly atmospheric perform- release in this series (which I contrasted ances of a lilting . Sancha Fantastico, Nao unfavorably with its superb companion Tacnho Lagrimas, and Aquarela de Brasil "Folk Songs" just a year ago), or per- are sheer fascination. and almost as in- haps Mottola has now succeeded in in- teresting are the idiomatically Brazilian BEAUTY fusing his Italian song scorings with versions of such familiar tunes as Flying much of the same good taste and adroit Donn to Rio, Carioca, Dark Eyes, and skill which delighted me in his earlier .Santa Lucia -all captured in beautifully American settings. At any rate, I expansive and natural stereoism, with thoroughly enjoy the present program - every detail of the intricate percussion both in its lyrically atmospheric moods timbres delicately differentiated. My only (Autumn in Rome, Anema e Core, complaint is that there is no personnel Scalinatella, Souvenir d'/talie, etc.) and information or descriptive notes on the in its livelier, lilting ones (Sapricciatiello, various percussion instruments used here Nina, Funicvcli Ftuticula, etc.). Again the so tastefully. R.D.D. eleven -man ensemble plays magnificently. with Tony's own guitar sharing honors "Sound Tour: France." Orchestra. Ken- Inside and outside, the Kenwood KW -60 generously with Dom Cortese's accordion yon Hopkins. cond. Verve V 50000. Stereo -Receiver tells the same story. Brainy and the invariably distinctive and versa- $4.98 (LP); Verve V6- 50000, engineering. Beautiful designing. A feast $5.98 for the ear ... a pleasure for the eye ... and tile woodwind playing of Phil Bodner (SD). a comfort for the pocketbook, too. and Stanley Webb; but this time the Even in the Jet Age it is patently im- recording (now originally on 35 -mm possible to make a tour of La Belle You'll want the Kenwood KW -60 if you've magnetic film) is even better: strikingly France in twenty -nine minutes. the wanted the best but haven't been able to brilliant in monophony, warmer and even elapsed time of Kenyon Hopkins' musi- afford it until now. A pre- amp amplifier more lustrous in stereo. R.D.D. cal vignettes that are supposed to accom- tuner combination, the KW -60 looks as great as it sounds. Its slim lines and attrac- plish the trick. A restricted itinerary is "Billy May and His tive decor gladden the heart of the lady of Orchestra." Time called for. and on this occasion it means the house. And the KW -60's quality, power S/2064. $5.98 (SD). a quick dash from Paris to the Riviera and performance will give you the thrill of After years of writing arrangements by Le Train Bleu. a brief exploration of your life. (So, for that matter, will the re- which produced the biggest, fattest brass the Côte d'Azur, then back to Paris for markably modest price.) sound on records, Billy May has re- awhile before leaving for Le Havre and See the Kenwood KW -60 -Receiver versed his approach and here has de- home. Not a very adventurous trip. I Stereo at vised orchestrations which exploit the admit, but one made quite your dealer today. (He'll be happy to give rewarding you a free performance.) Or write for corn - strings. He hasn't completely eliminated thanks to Hopkins' provocative and in- plete specs. and name of dealer nearest his brass and reed sections but they teresting musical settings. The music you. Ask for Brochure H -2. are now distinctly secondary. The results makes no effort to sound very French. are thoroughly interesting. May does not yet it manages to achieve a Gallic at- Compare these Kenwood KW -60 features: FM Stereo, FM and AM reception 30 watts channel (60 mono) use the strings in the lush manner of mosphere. provided one uses a little complete control versatility front -panel stereo Mantovani or David Rose. but prefers to imagination. Occasionally, Hopkins prods headphone jack tuning meters for FM and AM keep them closely integrated with the that imagination by incorporating old FM multiplex circuitry built in Metal cabinet in brass and reeds, while always permitting French songs into his score (Frère cream and deep brown, gold finish panel edging. them to dominate the setting. The result Jacques, Au Clair de la line, etc.) or is a warm, vibrant, and extremely rich French music (Offenbach's Can Can over -all sound. The arrangements are de- and Debussy's Clair de lune) to striking cidedly advantageous to such oldies as effect. Only once does he seem to go Pennies from Heaven and Change Part- slightly astray; the modified form of ners, and particularly impressive (when Italian tarantella used for Pays des Bi- KENWOOD (f) a harpsichord is added) in the exotic and kinis places the listener closer to Bordi- ELECTRONICS. INC. exciting performance of an oriental fa- ghera than to St. Tropez. vorite, Oglan Oglan. May's irrepressible For additional French atmosphere. he 212 Fifth Avenue, New York 10, N. Y. sense of humor peeps out of his amusing has blended into his musical commen- 3700 S. B'way Pl.,Los Angeles 7, Calif. versions of Bashful Billie and can oc- tary the sounds of French conversations, CIRCLE 51 ON READER -SERVICE CARD AUGUST 1962 97

www.americanradiohistory.com French trains. birds, bells, waves. and a thunderstorm. The train is unmistakably French. the conversations not particularly Parisian, and how authentic the remain- ing sounds may be, I can't say. Who knows the difference between the call of the American seagull and the French monette, or a French wave breaking on illustrated a Riviera beach and one rolling into a Maine beach? This is a most intriguing idea. though; it has been competently handled. and the sound is excellent. HISTpR The novel, open -front record jacket, with of its handsome color photograph of a French chateau, and the built -in booklet of travel suggestions for prospective tour- ists to France (the work of Richard ILTSIC Joseph) should cause a sudden upsurge in the tourist business. J.F.I.

"Pops Roundup." Boston Pops Orchestra, t , s . Arthur Fiedler, cond. RCA Victor LM , W * 2595. $4.98 (LP); LSC 2595, $5.98 (SD). "The Coldstream Guards Go Nest." Coldstream Guards Band. Riverside RLP 97523. $4.98 (SD). The second disc is included here only to SPECIAL OFFER heighten (by sheer contrast of its taste- lessness and ineptitude) the excellence You'll find AN ILLUSTRATED HISTORY of the first one. Everything that should OF MUSIC is not just another history of not be done in expanding "Western" music or a mere compilation of existing pops materials is relentlessly explored sources. Marc Pincherle, famous French mu- by the usually skilled British bandsmen. sicologist, has produced a work rich in new material and the latest discoveries of musicolo- hard- driven here by a conductor (wisely who gists. The superb illustrations-40 pages in color preferring to remain anonymous) and 200 in black and white-were chosen by succeeds in the seemingly impossible feat Georges and Rosamond Bernier. editors of the of surpassing even the worst of TV and European art review, L'Oeil. They range from film musical directors. Some of the re- Egyptian bas -reliefs to candid photos. sults might be ludicrous enough to be The text covers a span from the distant amusing (as in a super -Lisztian Wagon past to experimental electronic sounds. Con- Train and violently rocked and rolled temporary music and musicians occupy an im- Ragtime Cowboy Joe) if it were not portant part of this readable and scholarly for the coarseness of the harshly re- work. You'll discover new light on the my- corded sonics, and what is either an sterious origins of musical notation . . inability of the bewildered bandsmen to the growth of composition from the itinerant play in tune or -more likely-bad pitch minstrels to the twelve -tone scale . . . tfie wavers in the original taping. forms and styles that appeared as composition developed. You'll see the evolution of the in- Probably the main reason why the dividual role of the composer retraced, as well "Pops Roundup" is so exhilaratingly suc- as that of musical instruments. cessful in every respect is that Fiedler and his men never "play down." but This unique volume presents serious informa- take their program quite seriously as tion gathered by a specialist for laymen music music. while at the sanie time obviously listeners. For those who love to listen here is a treat for both the eye and the mind. relishing its typically American combina- tion of swagger and sentiment and the The second edition of AN ILLUSTRATED ingeniously intricate. magnificently so- HISTORY OF MUSIC will be published in norous symphonic scores prepared by October. Thc first edition sold out in less than Richard Hayman and Jack Mason. The a year. Now issued with an index. arrangements are as rich in genuine in- REVIEWERS SAY spiration and taste as they are in in- - genuity. Mason's are very good. especially "One of the handsomest gift books of this the spicily Irish treatment of Whoopee or any other year. If no one gives it to you . buy it for yourself and you shall have and a strangely sinister treat- Ti -Yo -Yo music wherever you go. " -N. Y. Times. If you're going after top results In stereo ment of Bury Ale Not on the Lone tape you'll want to meet the Concord Prairee. But Hayman's are even better - "This is perhaps the most sumptuous and lavishly illustrated 880. There isn't a unit 4 -track stereo particularly the long title piece (based on History of Music yet to themes from Gunstnoke, Rawhide, Wa- appear in print. It is not just another book reco -der that can match the 880's impor- based on the existing sources of music history. gon Train, and other TV horse opera), tant professional features. 3 heads, 3 Pincherle is undoubtedly a scholar of rare a bouncing Yellow Rose of Texas, a distinction. The entire volume is in every way speeds, 2 separate speakers, sound-on- dramatic Riders in the Sky, and a de- a work of art in itself. " -Musical Courier. sound, computerized tracking, dual VU lirious Pops Hoe -Down where. in addi- meters and many other big advantages tion to surprising dexterity with comic 91/4" x 12 ". 200 pages. effects. the Bostonians demonstrate a in achieving professional standards in Pre price, $18. fleetness and virtuosity that only a -publication Lofer -$20. stereo recording and playback. Enjoy truly symphonic pops orchestra ever the ruxury of listening to the Concord could hope to emulate. \\yclh Press. A Division of High Fidelity Great Barrington, Mass. 880 soon. Certainly before you invest in In several of these pieces there are passages by an un- Send me "An Illustrated History of Music" any tape recorder. And write for your haunting harmonica accredited soloist (Hayman himself ?) when available in October at the pre -publication copy of the specification brochure "All which, in the stereo edition. drift at- price of $IS (later $20). I enclose check. The Facts." Priced under $400. mospherically back and forth as if played Bill Holden by a patrolling rider. The effectiveness naturally it's Name of these passages. to say nothing of the usual gains in expansiveness, gives the CONCORD 880 SD a considerable edge over the more Address CONCORD ELECTRONICS CORPORATION conventional (though excellent) mono version. But in either version this is a 809B N. Cahuenga Blvd., Los Angeles 38, Calif sure -fire hit. R.D.D. City Zone State (ARC I 24 ON RI.. %DER -'.F R %'ICE CARD ')S HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "Tijuana Moods." RCA Victor LPM 2533, $3.98 (LP); LSP 2533, $4.98 (SD).

"Oh Yeah." Atlantic 1377, $4.98 (LP); S 1377, $5.98 (SD). Charlie Mingus: always something provocative.

FOR SEVERAL YEARS. one of the recurring sistently excellent collection ever put siren whistle. He is. musically. a close causes for grumbling in the jazz world on a single disc. The five selections - kindred spirit of Mingus'. Mingus him- has been RCA Victor's unwillingness to Dizzy Moods, Ysabel's Table Dance, self plays piano here instead of his release a set recorded by Charlie Mingus Tijuana Gift Shop. Los Afariachis, and customary bass. and appears as vocalist in 1957. It was originally intended for Flamingo -are all completely realized on most of the pieces (by which I mean the Vik label. and when Victor dropped by the best group Mingus has led. The that he uses words as distinct from the Vik, the Mingus session was buried along high point is Y.cubel'.s Table Dance, shouts injected into most of his perform- with it. Those who had heard these which epitomizes Mingus' use of various ances). He stays close to the blues and Mingus performances proclaimed them kinds of sounds -in this case. castanets, church -influenced music. and the pieces to be some of the best things he had heels. voices shouting. screaming or are bursting with emotion- sometimes ever done. Now that Victor. under the moaning, instruments as instruments or hot and furious. at other times. brooding aegis of George Avakian. is taking a as noises- mixing them all up into a and furious. This is a fascinating set, renewed interest in jazz. the Mingus beautifullly developed brew in which but because of its concentration within works have finally been released. five sounds and rhythms are intricately .t limited area it lacks the variety of years late. They live up not only to woven together. Jimmy Knepper's luridly the 1957 Victor performances. Mingus past reports but to a statement in large vocal trombone plays an amazing variety has gradually come into focus in the black type on the liner. signed by Charlie of roles. and Clarence Shaw's self - past few years. and on these two discs Mingus. 1962: "This is the best record possessed trumpet adds very effective he stands as a completely unique and I ever made." It is. There have been accents. original figure who makes extremely excellent things on other Mingus records "Oh Yeah." the Atlantic disc, is cur- personal and expressive use of every- -I don't think there ever has been a rent Mingus, again with Knepper and thing that has transpired in his experi- Mingus disc without some provocative including Roland Kirk, the virtuoso of ence, both musical and extramusical. sections -but this is the most con- stritch, manzello, tenor saxophone, and JOHN S. WILSON

Curtis Amy: "Way Down." Pacific Jazz jazz harpist. She is joined here by Terry manner suggesting that he has retro- 46, $4.98 (LP). Pollard. a vibist who has much of Lionel gressed to the empty fashion he fell into Although there are five musicians in- Hampton's easy approach to ballads. several years ago while trying to fight volved in the solos on this disc- includ- Piece by piece. Miss Ashby and Miss his way out of the Charlie Parker box. ing Victor Feldman on piano; Ron Ayes, Pollard, along with their two accom- When Cannonball is not soloing, his an assured young vibraphonist in the panists- Herman Wright, bass. and Jim- brother Nat takes over briefly on Milt Jackson tradition: Roy Brewster, my Cobb, drums -play pleasantly and trumpet. And in between there are or- a pleasantly leathery valve trombonist; without affectation. But the program chestral passages which occasionally and Marcus Belgrave. trumpet -the set hews so closely to simple, undemanding have some point -especially when is completely dominated by Curtis Amy, (and. consequently, not very rewarding) Brown and Cannonball are exchanging a tenor saxophonist with a lean. firm lines, and is arranged so mechanically - phrases on cello and alto. But even the style who produces a sound often ap- uptempos alternating with slow ballads orchestral sections are thrown off bal- proximating that of an alto. Amy's -that the set becomes needlessly dull. ance by the prominence given to Brown's playing consistently bristles with strength, bass playing -the sort of overemphasis vitality, and assurance. The group's Ray Brown: "With the All -Star Big one has come to expect in a set led by ensemble work has a great deal of Band." Verve 8444, $4.98 (LP); either a bassist or a drummer. It is un- force, but Amy is the only soloist who 68444. $5.98 (SD) . fortunate that Brown. who is usually a emerges from this framework and builds Brown is a superb bassist and he plays tremendous asset in any recording, to such strong effects that he adds in- pizzicato cello as well as anyone. Both should be put at such a disadvantage. tensity to the already potent group play- capabilities can be used to good advan- ing. He has been developing in promising tage in supporting roles or as incidental Teddy Buckner: "Midnight in Moscow." fashion on earlier discs. This is the accents. But in this set. Brown plucks GNP Crescendo 68, $3.98 (LP). one on which the promise begins to be his way through several long solos while Although the plan of this disc is drably realized. a big band that includes Clark Terry, routine -cover a current hit. Atidnight Joe Newman. Britt Woodman. Budd in Moscow, and fill out with a group Dorothy Ashby: "Soft Winds." Jazzland Johnson. and Yusef Lateef sits around in of tired Dixie pieces such as Fidgety 61, $4.98 (LP); 961, $5.98 (SD). the background. Brown also gives way Feet, Bailin' the Jack, Bill Bailey, Ja Da, Miss Ashby continues to carve out a frequently to Cannonball Adderley's alto and so forth -the individual perform- niche for herself as a uniquely swinging saxophone. Adderley plays here in a ances frequently rise above the mediocre

AUGUST 1962 99

www.americanradiohistory.com NEW! setting. Buckner has a big, crackling Art Farmer -Benny Colson Jazztet: "Here tone on trumpet, and even though he and Now." Mercury 20698, $3.98 is not above wallowing in clichés at (LP); 60698, $4.98 (SD). times, he can bring freshness even to so Art Farmer's shift from trumpet to stereotyped a piece as Midnight in flugelhorn has had much the same en- DUST Moscow. Trombonist Willie Woodman livening effect on his playing as did brightens things considerably with his Miles Davis' switch to the same instru- COVER loose and lusty attack, and while ment. Farmer, like Davis, appears to Caughey Roberts is an uncertain clari- Hard molded from clear vinyl find more warmth and depth in the netist, inclined to fall back on utter corn flugelhorn. Certainly the appearances ...to protect your Garrard in moments of desperation, he helps to from dust and accidents here on his new instrument have an fill out the front line adequately. The open, communicative emotionality that main drawback here is a dull rhythm never came out of his trumpet. Largely section that plods along its weary way as a result of this, the Jazztet exhibits apparently unaffected by whatever in- a sparkling congruity lacking before. genuity may be shown by the front line Golson still plays expansively on tenor men. saxophone, but it is Farmer who sets the tone for the group and, in his new Arnett Cobb: "Movin' Right Along." form, gives it a suitable mixture of Prestige 7216, $4.98 (LP). orderliness and free -flowing drive. The Cobb, who followed Illinois Jacquet in other two soloists-Grachan Moncur the Flying Home routine with Lionel HI, trombone, and Harold Mabern, Hampton's band, has unfortunately been piano -lend no particular distinction to pigeonholed for many years in this sort the ensemble. But Farmer's emergence wild -man routine that he of (not didn't from the dry, constricted style of the seek it in the first place, of course). past has stamped the group with a suf- Judging by this disc, those days are be- ficiently strong musical personality to hind him, for he cuts below his earlier hold it together. The disc includes a here and with warmth façade plays rich fascinatingly Monkish ballad by Farmer, and shaded feeling. He has Fits Garrard beautifully Rue Prevail, and pieces by Golson, Model Models a sinuous, graceful style in moderate Monk, Ray Bryant, Moncur, and Ma- tempo and. when he wants to put on the DC 1 Model 210 bern. (illus.) pressure, he swings strongly with short, DC 2 RC 88 and clipped phrases, staying close to the Pete Fountain: "Music from Model 88 melody and with scarcely any suggestion Dixie." mk II Coral 57401, $3.98 (LP); 757401, of the exaggerations that have marked DC 3 Type A $4.98 (SD). his work in the past. He is, in fact, a DC 4 Model AT6 Three of these selections are played by DC 5 Au very polished and skillful tenor saxo- toslim an eight -piece ensemble that recalls the phonist with a sound. conservative style rollicking spirit of the Bob some old Crosby NOW AT YOUR DEALER derived to extent from Coleman band at Hawkins. The tunes are evenly balanced its best. There is. in fact, something here that between solid standards (Ghost of a Crosby never had. Garrard Sales Corporation, Port Washington, N. Y. for Teagarden be Chance, Exactly Like You) and service- Charlie can heard on CIRCLE 21 ON READER -SERVICE CARD a crisply potent able originals. lead trumpet, roaring into some marvelously exuberant solos. In this setting, Pete Fountain bestirs him- HAVE YOU HEARD self out of the bland Goodman -crrm- Fazola figures that have become his stock in trade and rises to the challenge III g it untie of playing with some hard -blowing mu- sicians. The treatment of High Society -all ensemble except for Fountain's Realism variations on the traditional clarinet solo THE EXPERTS HAVE ... -is one of the most exhilarating re- cordings released in a good many months. HERE'S WHAT THEY SAY The rest of the set, except for an original called Dixieland Jubilee with which the ABOUT THE band struggles futilely, consists of Foun- tain's customary clarinet plus rhythm section stylings- amiable but monoto- FAIRCHILD nous. CCIONhALYE Stan Getz- Charlie Byrd: "Jazz Samba."" works magnificently Verve 8432, $4.98 (LP); 68432. $5.98 "The COMPANDER I (SD). I tempted to say everyone should ... am Following his interesting collaboration run out and buy one." with Eddie Sauter, Guide Larry Zide who wrote for the American Record - strings on "Focus" (Verve 8412), Getz "...it (the COMPANDERI makes a wel- be an angel has found another highly provocative come addition to most any system and setting for his tenor saxophone in duets puts new life into many recordings... in a variety of sambas with guitarist considerably greater realism to reproduc- write to us in London for Charlie Byrd. Getz's soft but firm tone COMPANDER is a satisfying tion ...the a free back issue of RECORDS blends beautifully with Byrd's gently addition to any good home system." insistent guitar chording in a number of Audio Magazine and RECORDING or MUSIC and strongly melodious tunes that bounce "lt did a very effective job on orchestral along with airy gaiety. These perform- music." Electronics World MusiciANs -the illustrated Eng- ances have a great deal of the suave charm that distinguished many of Audio Test Report lish monthly magazines which are by Hirsch -Houck Laboratories Django Reinhardt's recordings, although there is no real similarity in approach an aid to background music, the absolutely devoted to classical "...As or texture. The playing is unpretentious is hard to beat." COMPANDER and thoroughly delightful. HiFi Stereo /Review records and music. $75.00. In Kit form $59.95 Fairchild Compander Or send for a trial year subscription Pee Wee Hunt: "Saturday Night Dancing Records & Recording $4 Party." Capitol T 1690, $3.98 (LP); Music & Musicians $5 ST 1690, $4.98 (SD). FAIRCHILD Hunt foregoes the deliberately corny ap- HANSOM BOOKS proach that he has milked for the past RECORDING EQUIPMENT CORPORATION 7 & R HOBART PLACE. LONDON SW1 ENGLAND ten years to concentrate on some smooth- 10 -40 45th Ave., Long Island City 1, N.Y. ly functioning small -group swing per- CIRCLE: 39 ON READER- SERVICE: C SRi) CIRCLE 45 ON READER SERVICE CARD 1UU HIGH FIDELITY MAGAZINE

www.americanradiohistory.com formances. Most of the disc can be Taft Jordan: "Plays Duke Ellington." FOR FULL QUALITY passed off as pleasant but not particu- Moodsville 21, $4.98 (LP). larly inspired, with one outstanding ex- Duke Ellington's compositions are con- ception. This is a tune that could only ceived. as a rule, in an ensemble con- STEREO -MULTIPLEX have been written in the Twenties. How text which is so essential that the pieces , Could Red Riding Hood ( "have been do not lend themselves readily to blow- OR MONOPHONIC which the focus is on the !1/4 , so very good and still keep the wolf ing sessions in from the door ") which Hunt sings improvising soloist and not on the simply and directly, after which the band tune. Taft Jordan, who was an Ellington FM RECEPTION goes into some beautifully swaggering trumpeter for a few years in the Forties, USE ensemble playing led by an anonymous has attempted -with the help of solo trumpeter who brightens several other guitarist Kenny Burrell and a rhythm pieces as well (notably Bessie Couldn't section -the blowing session approach Help It). Even those who normally take with a group of Ellington pieces includ- a dim view of Hunt can afford to ex- ing Afood Indigo, Lost in Meditation, In FINCÓ pose themselves to Red Riding Hood. a Sentimental Mood, and Sophisticated Lady. When Jordan responds sensitively to the tunes as he does on Sentimental A- Franz Jackson: "Original Jass All- Stars." Mood and Do Nothin' Till You Hear . Riverside 406, $4.98 (LP); 9406, $5.98 from Me, he produces moving, warmly - (SD). expressed solos. But there are other r Some of the vitality that enlivened the occasions -on Mood Indigo and Lost in two earlier LPs by Franz Jackson's well - Meditation -when he completely loses Model FM -4 aged group of traditionalists is missing sight of both texture and mood. For here. Bob Shoffner's trumpet work is some reason the merits of the set erratic and much of the burden of hold- are concentrated on one side of the World's Most Complete ing the group together falls on Jackson, disc, the demerits on the other -- which, a clarinetist whose taste has not been if there are going to he such differences, line of HI - FI Phased particularly elevated in the past. He is a convenient way of arranging things restrains his tendencies to some extent for the listener. FM ANTENNAS this time, and manages to give direction to pieces that would otherwise ramble Bernie Lowe Orchestra: "If the Big aimlessly. Relatively little use is made Bands Were Here Today." Cameo C The "Top Rated - Best Buy" Line! of John Thomas' trombone. There are 4005, $3.98 (LP); SC 4005, $4.98 good moments in the course of these two (SD). sides -Bugle Blues and Sister Kate Lowe and arranger Sid Feller are hark- Ask your dealer to explain the advantages of these come out commendably (despite Jack- V ing hack to the styles of the Swing Era. antennas or write for Catalog 20213. son's slap- tongue, Fess Williams type of but they use a slightly different gambit outstanding clarinet solo) -but one has come to from customary re- creations of familiar THE FINNEY COMPANY expect more of this group than it de- arrangements by Glenn Miller. Benny livers here. Goodman. Tommy Dorsey, etc. Instead, 34 West Interstate Bedford, Ohio Dept. HF some of today's popular tunes (and it Ahmad Jamal: "All of You." Argo 691, is significant that they have to depend CIRCLE 40 ON READER- SERVICE GARD ( ' $3.98 (LP). to a great extent on the musical theatre 'Twas ever thus. Ahmad Jamal has and films to find anything worth play- broken up his trio, taking shat is pre- ing) are used as the basis for arrange- sumably a sabbatical -and out comes ments in the manner of Artie Shaw, the most consistently pleasing disc he has Miller, Harry James. Tommy Dorsey, made. This is a particularly interesting and. according to the liner notes. Benny collection because the spare. impression- Goodman and Boh Crosby. Without istic Jamal stamp is all over it. without the notes. one might have difficulty any of the gimmickry, of the effect for recognizing Goodman (who is usually effect's sake, evident on even the best easy to copy) and Crosby. The Shaw of his earlier discs. The feeling here is and Miller attempts cone of well, relaxed and rhythmic. with Jamal tick- however, and James and Dorsey are at ling his way through the selections in least recognizable. Besides offering his most ingratiatingly sly and buoyant pleasantly swinging versions of such manner. The tunes are all good. sound, tunes as Exodus, Make .Someone Happy, solid standards -Time on .tly Hands, Moon River. and / Could Have Dancer/ What Is This Thing Called Lore, You're All Night. the set illustrates the last- Blasé, and others of that ilk. ing viability of the general swing -hand style. Harry James and His Orchestra: "Re- Gerry Mulligan: "Reunion with Chet quests on the Road." M -G -M 4003, Baker." Pacific Jazz 47, S4.98 (LP). 1 $3.98 (LP); S 4003, $4.98 (SD). These recordings were made in 1957, Harry James has just about the only five years after Mulligan had formed unqualified, straightforward s ing band his original quartet with Baler on still in existence, and lately it has been trumpet. During those years. Mulligan's swinging more readily than it did in playing on baritone saxophone had in- the late Forties and early Fifties. This creased in assurance and drive, and set, seemingly recorded live (but the Baker, on the evidence of some of obviously dubbed applause makes this these performances, had made some idea suspect), reviews sonic of James's advances on trumpet. Baker manages THE NEW KI.H MODEL TEN great successes from his halcyon days a clean. full -bodied and forthright solo -swingers such as Crazy Rhythm. Ultra, on Jersey Bounce and weaves dexter- SPEAKER SYSTEM Back Beat Boogie, as well as ballads, \ s. ously around Mulligan's saxophone on Sleepy Lagoon and You Made Me Lore Trarelin' Light. But his performances in Is smaller than our other models, Yon. They have not changed much in general are colorless and. at best, only two decades, and neither has James's adequate. Mulligan, on the other hand, Costs less than our other models, trumpet. except that he is less prone bounces along in ruggedly bumptious Operates with a 12 watt amplifier, to indulge his onetime taste for a nanny - style while Dave Bailey, drums. and And - has the KLH sound. goat tone. James is practically the only Henry Grimes. bass, keep the rhythm soloist on this program (except for the moving. Aside from Baker's work. these brilliant Willie Smith, who makes a performances have held up extremely couple of brief appearances). This is well and do credit to the broad musical i essentially a band disc. and as good a outlook that Mulligan maintained in a KLH RESEARCH AND DEVELOPMENT CORPORATION representation of big -hand swing as period when jazz was strongly marked one is likely to hear today. by cliquishness. 3(i CROSS STREET. CAMBRIDGE 3J, MASSACHUSETTS CIRCLE 54 ON READER -SERVICE CARD AUGUST 1962 IOI

www.americanradiohistory.com Turk Murphy: "Let the Good Times äHO1EHEß Roll." RCA Victor LPM 2501, $3.98 FERRANTE (LP); LSP 2501, $4.98 (SD). oRcHE Murphy traverses his customary area, G0 ranging from the exhilarating to the slightly painful, in the course of this collection. The best moments are con- Th8Ø tributed FROM by cornetist Ernie Carson, a fearless individual who is willing to chal- M0 lenge Louis Armstrong on his own tunes p\C,NRES and manages to emerge relatively tri- umphant. He gets no particular help 400 from Victor's engineers (or possibly it `44 is producer George Avakian) who, in Most the stereo version, apply Victor's so- called Stereo Action to Struttin' with Some Barbecue and Wild Man Blues, condemning Carson to lurch back and MusEau, forth from one speaker to the other. This sort of gimmickry ought to be re- served for the gimmick market -which I hope is different from the jazz market. Talented There are some strong tuba spots by Bob Short and several typically lusty GOLDEN THEMES FROM Murphy trombone blasts. The weakest element in the set is MOTION PICTURES is, in the singing of Pat fingers Yankee, who makes so superficial an every sense, a blending of attempt at a lusty, belting style that it the finest talents. It is one of the borders on burlesque. She seems to be best albums of film music ever aiming at a Bessie Smith sound, but comes closer Bibi produced, it has to Osterwald -who and been designed does perfectly well on her own terms to offer a lifetime of listening enter- but makes no claims to being a jazz tainment. The lush orchestral back- singer. grounds, arranged by Ferrante and "Who's Who in the Swinging NITED Teicher exclusively for this album, serve Sixties." Columbia CL 1765, $3.98 (LP); CS KTISTS as a wonderfully melodic backdrop to 8565, $4.98 (SD). twin piano magic of the outstanding record- The names scattered through this sam- ing artists of their time. pler add up to a potent total: they in- The Proudest Name clude Dave Brubeck, Louis Armstrong, in Entertainment UAL 3210 UAS 6210 (Stereo) Gerry Mulligan, Miles Davis, J. J. Johnson. Duke Ellington, and Lionel CIR(l.F. 96 UN RF:IDF42-SF:RVICF: CARD Hampton, plus others. In almost every case. the performances have not been previously released. But, as selection after selection goes by, one begins to wonder if some of them were not re- leased because they were not quite good NOW! EVERY COPY OF enough. There are interesting spots, to be sure -Dave Brubeck's evidence that strings form a good background for his piano on In Your Own Sweet Way; h fidelity Phil Woods's lean, insistent, alto saxo- phone on an all -star performance of Blues for Amy; J. J. Johnson's lusty AT YOUR FINGERTIPS tromboning over organ accompaniment on Bloozineff; Lionel Hampton's re- WITH THIS laxed I Can't Get Started. But Louis Armstrong has a dismal struggle with lyrics written by Dave Brubeck and his BEAUTIFUL BINDER wife; in addition, a 1957 performance by what is listed as "The Gerry Mulligan Concert Band" is not by that recent and ONLY $250 EACH adept group but by an earlier and far less developed studio ensemble; Sir Charles Thompson plays a skating rink NO MORE LOST ISSUES organ style on 'Tain't What You Do; Carmen McRae tackles If the Moon KEEPS COPIES IN PERFECT CONDITION Turns Green at such a slow tempo that she can't sustain the lyrics; and Sam BEAUTIFUL ADDITION TO ANY BOOKSHELF Woodyard's relentless drumming prac- tically buries the LEATHERETTE FINISH -EMBOSSED interesting ensemble IN 16k GOLD passages in Duke Ellington's Asphalt Jungle Twist. CUSTOM MADE TO HOLD 12 ISSUES Still, you get sixty min- utes of music for your money, so there SATISFACTION GUARANTEED. ALLOW 30 DAYS FOR DELIVERY is some leeway for these lesser efforts. r JOHN S. WILSON PREEM ASSOCIATES, INC. 21 E. 40th St., New York 16, N.Y.

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102 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Reviewed by R. D. DARRELL

those The following reviews are of 4 -track throughout, definitely surpassing reel form. of the Krips- London taping (July 1961). 7.5 -ips stereo tapes in normal Yet the more overtly heartfelt warmth and serenity of the Krips interpretation (corn- still moves me more deeply. But listen for BACH: Brandenburg Concertos yourself to find your own temperamen- - plete) tally "right" choice. If it's Reiner, I can assure you that you will be mightily Members of the Vienna State Opera Or- thrilled by the potent dramatic grip of chestra, Hermann Scherchen, cond. his magnificent performance. WESTMINSTER WTT 151. Two reels: approx. 75 and 43 min. $17.95. HANDEL: Royal Fireworks: Suite Consistently inconsistent, the same Scher - (arr. Harty); Water Music: Suite chen who once gave us a mono taping (arr. Harty- Szell); Il Pastor Fido: of the Brandenburgs sparkling with Minuet (arr. Beecham); Serse: interpretative insights now turns in a (arr. Reinhard) far more routine performance, though Sze11: Handel for all but Largo one which adheres more closely to the London Symphony Orchestra, George original scoring (violino piccolo in No. BEETHOVEN: Symphonies: No. 1, Szell, cond. 4, gambas in No. 1, recorders in No. in C, Op. 21; No. 9, in D minor, LONDON LCL 80089. 42 min. $7.95 6, etc.). If this were not the first 4- >h Op. 125 ( "Choral ") track -and now only available tape - - While Szell has no interest in the version, I'd be inclined to ignore it, for Phyllis Curtin, soprano; Florence Kop- original scorings of these works or in in general the tempos are phlegmatic, leff, contralto; John McCollum, tenor; authentic baroque -styled readings, he the sonic balances eccentric, Willi Bos - Donald Gramm, bass. Chicago Sym- and his Londoners play with so much kovsky's solo violin playing overroman- phony Chorus and Orchestra, Fritz expressive warmth and infectious verve, ticized, and Alfred Scherbaum's high Reiner, cond. and the stereoism is so glowing and trumpeting in No. 2 strained and thin - RCA VIcroR FTC 3005. 91 min. well balanced, that no one but a puri- toned. There is more vivacity in Nos. $10.95. tanical Handelian could resist this wealth 4 and 5. with attractive harpsichord and of romantic charm. The program is no flute solos in the latter, but No. 4 is Like other omnivorous record review substitute for the complete, nonarranged miked too far back and No. 5 too far readers, I have been puzzled by the Water Music (which Beinum taped so forward. Bach connoisseurs are advised controversial evaluations of these per- well for Epic), or a complete, original to wait for a more satisfactory edition. formances in their recent disc editions; Fireworks Music, which is still lamen- it is only after hearing them in the tably lacking on tape. But the deservedly Sonata for Piano, No. present taping that I can better under- popular condensations and symphonic BEETHOVEN: may simultaneously rescorings by the late Sir in C, Op. 53 ( "Waldstein ") stand why Reiner 21, displease our own Harris Goldsmith with are both better played and recorded l Ravel: Gaspard de la Nuit: No. 1, his "cold objectivity" and elate Irving here than in the only previous tape Ondine Kolodin with his "nobility." The ex- versions by Appia and Prohaska for f Stravinsky: Pétrouchka: Suite for planation. as so often in subjective dis- Vanguard. My only legitimate complaint Piano agreements. lies of course in the tempera- is that Szell didn't choose another ex- ment of the listener and its kinship with cerpt from the entrancing Faithful Shep- Valentino Marconi, piano. -or alienation from -that of the con- herd music in place of the romantically LIVINGSTON 4T 65E. 43 min. $8.95. ductor. For myself, I'm uncomfortably devotional Largo, which has become only forced (by my temperament) into an too familiar. Marconi is a new name, recorded for the ambivalent mid -position, heartily admir- first time (as yet there is no disc counter- ing much of Reiner's thoughtfully or- MOZART: Symphonies: No. 35, in part of the present program), although ganized conception and powerful ex- he has enjoyed considerable concert suc- ecution. but at the same time conscious D, K. 385 ( "Haffner "); No. 41, cess both here and abroad since his debut of some lack of spontaneity and romantic in C, K. 551 ( "Jupiter ") in 1953. He is most successful in the warmth. Waldstein Sonata, where he displays im- I Columbia Symphony Orchestra, Bruno In the First Symphony, at least, Walter, cond. pressively controlled vigor and gusto decisive, for I much prefer can be more COLUMBIA MQ 436. 50 min. $7.95. (though daring to pace the Adagio molto a smaller -scaled, more zestful and gra- so slowly that even a Schnabel would cious approach. such as Ansermet's: and, be hard put to maintain continuity of otherwise excellently Often as the late maestro recorded curiously. this these favorites. I don't remember any line). The modern works fare less well - processed taping is flawed -in this work scaled Marconi tends to be overvehement and slight. to he sure) previous performances as large- alone -by some (very and fiery as these. The robustness and even slapstick in the Pétrouchka Suite, mid -movement spill -over intrusions. In detailed and not liquid and drive here are particularly appropriate too clearly the Ninth. Reiner's muscularity and place it in marked in impressionistic Ondine. to the Jupiter, enough the grand manner are more appropriate. contrast to the best of the existing 4- Yet he plays both these with great especially in the second movement and track tape versions, that by Prohaska the piano is quite the comes as close éclat and. although finale -indeed latter for Vanguard (June 1961). which is closely miked, the tonal quality has as is humanly possible to transcending drawn on a much smaller scale. Yet de- a natural "ring." Unfortunately, my rec- the intractabilities of the "impossible" spite this. and despite many moments ommendation of these 4 -track tape score itself, with unusually fine quartet of Walter's incomparable eloquence, "firsts" has to be further qualified by and choral singing. and an exceptional of bal- the Columbia strings are often so sharp - noting that the stereoism broadens the mastery of the complex problems edged in their upper registers that I piano to overlifesize proportions and ance. For that matter. both the virtuoso that the processing is occasionally flawed performance and truly auditorium - by spill -over as well as preëcho. authentic stereo recording are notable Continued on page 106

AUGUST 1962 103

www.americanradiohistory.com t Operas on Tape A ROUNDUP OF CURRENT RELEASES . ``11111 Is"

THE PHENOMENAL SUCCESS Of Complete is wholly possible here. It seems un- limitation by sheer vocal artistry (to say operas in 4 -track tape form is clearly likely that even the visually best stage nothing of her engagingly youthful char- just one aspect of the current popularity production could ever generate the elec- acterization) and is both more appealing of opera recording in general, but the trifying excitement exerted by the present and more dramatically "right" than fact that proportionally operas rank recording, and certainly the incredibly Renata Tebaldi in the rival London tap- higher among over -all sales on tapes complex details of the orchestral scoring ing. Rita Gorr's Amneris, while some- than they do on discs is of special sig- (or the intricately polyphonic wrangling what tense, also eclipses Giulietta nificance. While it is known that a con- of the five Jews) are never so vividly Simionato's; and if Jon Vickers' Radames siderable proportion of tape purchasers clarified and differentiated in live per- is almost too boyish (and un- Italian), he confine themselves to that medium only, formances as they are in this vital and sings angelically and -unlike Mario del it would seem that music listeners searching stereophony. Monaco -never indulges in hamming. equipped to play both discs and tapes are To concentrate on the total experience Most of the other roles are more evenly discovering the special merits of the offered and to divide first honors be- balanced (although Eugenia Ratti's High latter for such large -scale works as com- tween conductor and engineers is not to Priestess for London remains incompa- plete operas. minimize the vital contributions of the rable), except for the prominent one of Tape editions normally cost a few dol- singing actors. Birgit Nilsson's Salome Amonasro, where Robert Merrill, despite lars more than their disc equivalents, and is as entrancing vocally as she is dra- a few mannerisms and the doughty com- there is less variety of choice (out of matically seductive; Grace Hoffman as petition of Cornell MacNeil, is outstand- some twenty -two standard operas cur- Herodias and Gerhard Stolze as Herod ing both for vocal nobility and impres- rently available in reel form only three may sing less attractively, but they en- sively regal stature. Over -all. then, while exist in alternative versions). But the act their parts -the latter in particular - few who already own the London Aida only other ponderable disadvantage in with quite extraordinary, horridly fas- may feel any need to supersede it, the the past -the minuscule format of libret- cinating characterizations. Eberhard newer RCA Victor edition must rank as to- and -annotation leaflets -now has been Wiichter effectively achieves the stiff first choice. eliminated by the general policy of man- righteousness of Jokanaan and -thanks ufacturers' supplying (on prepaid post- to ingenious technology -genuinely se- card request) the same full -size booklets pulchral pathos when heard from deep OF TWO OTHER current releases, less prepared for record albums. Of the posi- in his cistern prison. Yet in the end these need be said: in one, many fine moments tive advantages, one is that reel "sides" and the other individual parts are so fail to add up to a really satisfactory generally run much longer than disc perfectly blended in the torrential flow whole, while the other, which comes off sides, with the result that there are fewer of the drama itself that the mesmerized far more successfully, is a work of per- breaks; indeed it is often possible (as in listener tends to take them for granted - haps limited appeal. Solti doesn't seem Aida, say) for a single "side" to contain as he does too the electrifying response at ease in Verdi's Ballo in maschera a complete act. An even greater -and of the Vienna Philharmonic (the notori- (London LOG 90039, 2 reels, approx. to my mind decisive- benefit is tape's ous Dance surely never has been played 79 and 47 min., $19.95), and both ability to withstand both constant replay - with more barbaric sultriness), the in- Nilsson and Carlo Bergonzi, for all their ings and long- interval storage without candescence of the stereo sonics, and the vocal splendor, fail to bring Amelia and audible deterioration or rise in the noise flawless processing of the tape itself. Riccardo to convincing life. The Ac- level. Finally, on the part of many tape cademia di Santa Cecilia Orchestra plays listeners there is the conviction -prob- admirably, but it is unduly favored by ably depending to a considerable degree THE SECOND Aida to appear on tape the often erratic microphoning. Only on tape's freedom from needle -talk and (RCA Victor FTC 8005, 2 reels, approx. the beautifully pure and sweet sonics surface clicks, the smoother nature of 85 and 67 min., $21.95) also features themselves warrant unqualified praise - tape- surface noise, and the ability of Solti as conductor, this time with the as does the tape processing, with its ab- magnetic playback heads to handle large Rome Opera House Chorus and Orches- solutely minimal surface noise and no ensembles and grandiose climaxes with tra, and in music -drama of a quite dif- spill -over at all. little sense of strain -that they are less ferent kind. For the Verdian intensity Puccini's Fanciulla del West (London conscious of mechanical intermediaries and festive grandeur, Solti is again LOG 90041, 2 reels, approx. 62 and 71 between themselves and the music than ideally suited; for the lyricism and ro- min., $19.95), while not as recent a in listening to disc playback. Conse- mantic tenderness, less well so. in gen- V recording, is still a fine one (and excel- quently, dramatic works, in particular, eral, his reading is tauter and more lently processed too). Tebaldi's Minnie seem to be enhanced in immediacy, emo- forceful than Karajan's more expansive is not only a vocal delight but a more tional grip, and the magical sense that London version (released about two robust and compassionate characteriza- one is really there, right in the opera years ago). The latter was one of the tion than I ever expected from her; and house. early " soundstage" successes and at least even as a nonidolator of Del Monaco, some of its merits (panoramic breadth I'm forced to rank his Dick Johnson and almost impracticably wide dynamic as one of the best performances I've TO ILLUSTRATE the peculiar magnetism range) are still unsurpassed. But the ever heard him give. Yet surely a lion's which the dramatic impact of tape can present recording, if somewhat less sen- share of the credits must go to conductor exercise, nothing could be more convinc- sational, boasts more vibrant and natural Franco Capuana, who inspires the chorus ing than the new London "soundstage" sonics; and while there still are a few and orchestra of the Accademia di Santa taping of Richard Strauss's Salome (LOS post -echoes as well as preëchoes, the tape Cecilia. as well as the whole cast, to a 90042, 2 reels, approx. 53 and 45 min., processing is superior here. powerfully persuasive realization of a $15.95), conducted by Georg Solti. That The outstanding attractions of the new far too neglected score. This recording, "willing suspension of disbelief" in the tape are the vocally more favorable mik- eschewing spectacularity, is another of pervading atmosphere of depravity - ing, with both soloists and chorus given the inexhaustibly exciting and satisfy- hard enough to maintain in the theatre better prominence. and the more distinc- ing adventures in music drama which even if a singer adequate for Salome's tive realization of the individual roles. tape recordings can provide and which vocal demands can also miraculously Leontyne Price may have a smaller voice make them often the most rewarding in- look like a young girl and manage to than many of the great Aidas in the vestments the home listener can avail bring off the Dance of the Seven Veils- past, but she more than transcends that himself of. R. D. DARRELL

104 HIGH FIDELITY MAGAZINE

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IIMI I I- N 11\ READER-SERVICE CARI) r1l;GU5T 1962

www.americanradiohistory.com TAPE DECK VERDI: Otello

RESEARCH MAKES THE DIFFERENCE Continued from page 103 Renata Tebaldi (s), Desdemona; Mario del Monaco (t), Otello; Aldo Protti (b), Iago; et al.; Vienna State Opera can find little of the sonic grace and Chorus, Vienna Grosstadtkinderchor, piquancy I relish so much in Prohaska's J Vienna Philharmonic Orchestra, Herbert taping. Disadvantageous, too, are the von Karajan, preëcho- and the cond. plagued processing LONDON mood -shattering sidebreak before the LOR 90038. Two reels: approx. 68 and 75 $21.95. crowning last movement of the Jupiter. min. Presumably this is a carry -over from Leonie Rysanek (s), Desdemona; Jon the disc edition. where Walter's some- Vickers (t), Otello; Tito Gobbi (b), what slow tempos may have made it Iago; et al.; Chorus and Orchestra of unavoidable. but there's no excuse for the Rome Opera, Tullio Serafin, cond. it on tape. In any case. the mighty RCA VICTOR FTC 8004. Two reels: C major work should be preceded approx. 71 and 70 min. $21.95. rather than followed -anticlimactically -by the lovely but frailer Haffner. The hullabaloo that attended the stereo There is considerable string shrillness disc release of these rival Ote//os last as well as nervous intensity in it. too, fall is not likely to rage over the pres- yet even with such handicaps it has no ent tape appearances. For one thing, preferable tape alternative at present: the incomparable Toscanini performance the Schuricht- Richmond version is too (mono) is not available on tape, where lightweight (and not very well recorded. it might dwarf even the better of the with excessive background noise), while present attractions; for another, there the edition made by Krips for London is a clear -cut answer to the question of seems to me to be inappropriately heavy - which reel -set may be considered a good doubles as a car radio, too! handed. investment. The Serafin version is sim- SONY TFM- 95 /AM 9 Transistor Port. -FM ply out of the running: despite first -rate able. Can be used as a car radio when PROKOFIEV: Symphony No. 5, in recording and a wealth of pleasing vo- mounted in bracket (optional). Terminal B flat, Op. 100 calism it is almost completely lacking for Multiplex Stereo Adaptor, Variable in dramatic force and conviction. The Cleveland Orchestra. George Szell. cond. Karajan performance, however, does Automatic Frequency 4" Control, Speaker, EPIC EC 819. 39 min. $7.95. possess gripping dramatic power, de- Push Button for band selection, Unbe- spite some obvious weaknesses. I am no lievable Output. Complete with batteries Szell's approach to this modern mas- great admirer of Del Monaco, and and earphone. List $79.95 terpiece is strikingly individual: his per- flinch from some of his more unin- formance is nervously tense, yet with hibited moments here, Bracket -$12.95 but I have to precisely delineated details; often breath- credit him with bringing the protagonist SONY CORPORATION OF AMERICA takingly fast, yet brought off with as- to life as the more polite Vickers never 514 Broadway, New York 12, N. Y. tonishing virtuosity. The recording. how- does; and while Tebaldi's voice may be ever, while impressively big and bold, fractionally past its prime, the Desde- CIRCLE 84 ON READER- SERVICE CARD fails to match either the transparency mona is still vocally and interpretatively or thunderous dynamic impact of Sar- enchanting. Chorus and orchestra are gent's Everest taping of September 1960. also far more vital in this set, and the And although the present reel is excel- recording even more brilliant and ex- A RABSONS EXCLUSIVE! lently processed in its freedom from pansive- although some listeners may NEW preëcho and spill -over. there is an an- not wholly approve of the more distant noying background hum apparently miking of the soloists. Even in process- built into the recording itself. This ver- ing. the London tape holds a slight edge sion is uncommonly exciting. but I of superiority over the Victor; I was shan't give up Sargent's, at least until conscious of only a single whiff of spill- Columbia makes its Ormandy perform- over in the former, while there were SYMPHONIC FIDELITY ance (to my mind, the best of all several more unmistakable reverse -chan- I recorded editions to date) available in nel intrusions in the latter. RECORDING TAPE tape form. A noteworthy achievement in quality TCHAIKOVSKY: Concerto for Vio- Each box is PRO -TEK sealed lin and Orchestra, in D, Op. 35 in cellophane assuring factory-freshness and David Oistrakh, violin: Philadelphia Or- KARL SCHEIT: "The Virtuoso optimum performance. chestra. Eugene Ormandy. cond. Guitar" COLUMBIA MQ 441. 35 min. $7.95. Specifications: Reel size 7 ". Karl Scheit, guitar; Wiener Solisten, All splice-free except 2400' Wilfried Böttcher. co nd. lengths. Frequency response For most violin connoisseurs. Tchai- VANGUARD VTC I 640. 44 min. $7.95. 20 to 20,000 CPS. kovskians, and admirers of virtuosity, this is it: the famous showpiece apotheo- is Vanguard's Footage 3-11 12-23 24 & up sized with dazzling dexterity and the Here another of rewarding 1200' Acetate $1.26 $1.11 .99 richest of tonal opulence, magnificently explorations of offbeat early repertories. is somewhat mislead- 1800' Acetate 1.73 1.57 1.42 accompanied and recorded. (The tape The program title here (a 1800' Mylar 1.92 1.85 seems to be excellently processed too, ing: only one work lightweight 1.81 by the ff 2400' Mylar 2.66 2.49 2.42 for I assume that a few bits of "beating" Mozartean Concerto-Allegro or "flutter" background noise originated hitherto unrepresented Fernando Carulli, f}I Prices are per reel. Assort any way for in the hall or master recording.) Yet 1770 -1841) was originally written for the Ay.f quantity discount. Please add 15C although I wouldn't have missed the ex- guitar as we know it today; all the per reel postage; 100 per reel perience for anything, being bowled others are actually for lute. Yet that on 24 and up. F; over once is enough for me. If I s'ont historical fact is of theoretical impor- to hear the music again for my own tance only: for in the Italy of Vivaldi's F{ GET OUR pleasure. I'll go back to the less grandiose and Torelli's time the lute was becoming ROCK- BOTTOM Ricci- London reel of last April. This is obsolete and contemporary performances QUOTE on all t," 36 of course manifestly unfair to the may well have substituted an early form your hi-fi needs. grandeur that is Oistrakh's and Or- of the guitar. Anyhow. Scheit's delicate FREE $1 Record Cloth sent with quotation. mandy's -and anyone of less idiosyn- chamber music style of playing (sensi- lyrical rather than virtuosic in -setts Street, Inc. cratic tastes than mine. or anyone who tively RABSONS insists on taking his 100 -proof Tchaikov- the modern sense) is closer to that of the 119 West 57th St., New York 19 , New York skian vodka undiluted, will never be lutanists than to today's more incisive - Diagonally opposite Carnegie Hall in Est. 1905 Phone Area Code 212 Circle 7-0070 more certain of getting full satisfaction toned guitarists. The Vivaldi Concerto than he is here. D, P. 209, has been recorded before, but CIRCLE 69 ON READER -SERVICE CARD 106 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com surely never more engagingly, especially in its dream -enchanted Largo. The same composer's Concerto in G, P. 266 (with Paul Angerer in the co- starred viola new stereo d'amore role), and Torelli's Concerto in G for Guitar and Violin (with Gun- tape releases for ther Pichler) are not only first record- ings but delectable examples of ex- August: uberantly songful baroque music making. For good measure there also are a Kapp- Twin -Pak Sampler; couple of grave galliards from John Roger Williams; Jane Morgan Dowland's Lachrymae -one of which, Captain Digorie Piper, His Gaillard, London -Phase 4 (21 albums) has been previously recorded for Bach Guild by Alfred Deller in its original MGM -Twenty -one ayre version, If My Complaints Could Channel Sound Series Passions Move. And, best of all, the well -nigh angelic performances are en- Richmond- Percussive shrined throughout in gleamingly pure Stereo "at Popular stereoism. Prices" (12 albums) Vanguard -Joan Baez; Twin -Pak Sampler Verve -Sound Tour Series "All American." Original Cast Record- (France, Italy, Spain, Hawaii) ing, John Morris, cond. Columbia OQ "Music Man" 455, 46 min., $9.95. Warner Bros.- original sound track "I Can Get It for You Wholesale." Original Cast Recording. Lehman En- stereo Sounds best on tape gel, cond. Columbia OQ 457, 54 min., $9.95. Ask your music or electronics The first of these two end -of- the -season dealer to play UST's Broadway shows can be quickly dis- monthly new release missed. Even Ray Bolger's inimitable demonstration tape for you. antics couldn't save it from an early closing; in recorded form not even his Or if you would like to amusingly candid soliloquy I'm Fascinat- receive regular new release ing, with its delightful stop -time dance information write: interludes, can redeem what is an other- United Stereo Tapes, wise sophomoric and synthetically con- Ampex, trived score. The tape itself is vividly if Division of rather sharply recorded, but except to 88 Llewellyn Ave., Bloomfield, N.J. Bolger's most avid fans it has little to CIRCLE 97 ON READER -SERVICE CARD offer. The narrowly parochial appeal of the show based on Jerome Weidman's fa- mous novel may mystify out -of- towners An Important Announcement to High Fidelity unfamiliar with the characters and idioms of New York's garment district, yet Readers who want to BUY, SELL SWAP even listeners originally unsympathetic or will find themselves gripped by the musi- cal strength of Harold Rome's remark- So many of you are in the market to buy, sell or swap used equipment and ably substantial score. To be sure, there records that we've been swamped with listings for Trader's Marketplace. This are few whistleable tunes to stick in section couldn't begin to accommodate the many classified ads we receive from one's mind, but even apart from the readers each month. It was with show -stopper ( the serio -comic Miss therefore discontinued the March issue. Marrrte'stein, in which Barbra Streisand To give everybody a chance to reach HIGH FIDELITY'S interested readers. deservedly won fame overnight) there are many inspiriting and touching moments we've started publication of a monthly Buy. Sell or Swap Newsletter. Subscrip- -especially in the jauntily polyphonic tions are accepted at a nominal charge of $1.00 per year to cover part of our Family Way, with its bouncing Israeli - printing and mailing costs. flavored Kazatske dance; the festive Ballad of the Garment Trade: and the Classified listings of used equipment and/or records are available at $1.00 scene in which Lillian Roth milks the per advertisement. Messages limited to 30 words. including name and address. compassionate pathos of Eat a Little No dealer ads can be accepted. Publishers cannot guarantee the accuracy Something almost as well as Molly Picon of statements or might have done. Best of all, the musical condition of merchandise advertised. values of the scores are enhanced by the So. if you're looking for bargains in used equipment or recordings, fill in and realistic recording and the imaginatively mail the coupon below with your check or money -order for $1.00. We'll start stereogenic exploitation of antiphonies and stage -wide spacing. your Newsletter subscription with the next issue. If you're looking for a buyer for your used equipment or records, send an additional dollar for a 30 -word "At the Village Vanguard." Gerry Mul- listing. There's space on the coupon to type or print your message. ligan Concert Jazz Band. Verve VSTC V 267, 40 min., $7.95. HIGH FIDELITY, Dept. CE Enclosed is my payment for S Mulligan's second big -band program Great Barrington, Mass. Insert the following 30 -word advertise- I (following Verve VSTC of April 1961) Start my subscription to Buy. Sell ment lincluding name and address) in the ,J is perhaps less distinctive in its roman- your tically rich slow pieces (Body and Soul or Swap Newsletter with the next issue. next issue of the Newsletter. (Type or print and Come Rain or Come Shine) domi- ($11 plainly.) (Si ) nated by the leader's own sax solilo- quies, but the livelier numbers. in Name which honors are shared with trombonist Bob Brookmeyer and trumpeter Clark Address Terry, display propulsive gusto. Tops here are the bubbling Blueport and City State the floridly rhapsodic Let My People

AUGUST 1962 107

www.americanradiohistory.com Be, and there is exceptional piquancy for a catchy From This Moment On, lands? For myself, the best I can say in the free -swinging Lady Chatterl's most of the present show materials is that while it still bores me, there Mother. And as before, both recording , aren't particularly well suited to even seems to be rather more flavor in the and tape processing are topnotch. It's diluted Dixieland treatment; and only "Serenade" than its companion program, hard to understand why the Sunday the free -for -all New Ashmolean March- and that apart from considerable pre - afternoon Village Vanguard audience is ing Society and Students Conservatory echoing and what is to my ears overly so unenthusiastic in its recorded ap- Band is likely to satisfy old -time fans. close miking, both reels are effectively plause; certainly no home listener is Bright stereo recording. recorded. I should also note for the bene- likely to be so unresponsive! fit of unreformed 2 -track fanciers that "Delightful Interlude" and "Serenade." both these programs are also made avail- "Breaking It Up on Broadway." Dukes Lenny Herman and His Quintet. Liv- able in 2 -track editions. of Dixieland. Columbia CQ 445, 41 ingston 4T 50D, 31 min., and 51D, min., $6.95. 35 min.; $7.95 each. "Focus." Stan Getz, tenor saxophone; String Ensemble, Hershy In a brave attempt to launch a new It has been a long time since I last heard Kay, cond. Verve VSTC 269, career under a new label. the Assunto the "mightiest little band in the 38 min., $7.95. land." The family ensemble has been transfused but Lenny and his versatile sidemen re- enthusiastic endorsement of John Wilson and t with the fresh blood of a more elastic main as jauntily corny as ever. Indeed, other authorities couldn't quite persuade rhythm section which -along with guest why should they change, when even me -in advance -that the guitarist Jim Hall and clarinetist Jerry Manhattan's sophisticated Hotel Roose- "impossible" problem of fruitfully blend- ing jazz Fuller-notably enlivens and lightens its velt audiences apparently relish the corn and serious chamber music could be solved own unreconstructed bluster. But, except just as much as listeners in the hinter- even by a composer as versatile and talented as Eddie Sauter and an improviser as imaginative as Stan Getz. I had to hear this tape to r believe it for myself. Now I count my- self among the most fervent admirers of this music, and can't wait to use this tape Why Burgess No E o as a potent weapon for breaking down C the prejudices of my longhair friends who have never been willing to acknowl- Magnetic Recording Tape edge the serious artistic potentialities of jazz idioms. Sauter's actual writing is 8 (for a seventeen -man string orchestra of ways better: which the Beaux Arts Quartet forms o the nucleus) is quite "straight," tautly 0 woven, and somewhat neutral in char- acter. The final texture is threaded by the exquisitely colored strands of Getz's freely looping yet wholly compatible i,,; arabesques to form remarkably original 1 s. and intricate musical tapestries. There Lower print-through - Revolu- Greater tensile strength - new is a surprising variety of mood, too, tionary Burgess dispersion Burgess processes and fonnu ranging from the processes greatly reduces las make Burgess tape vibrancy of Night possibility of magnetic 'lough' tape. Tensile Rider, through the strange evocations of transfer from layer to strength is important Once Upon a Time and the introspection layer. "NO ECHO" wherever tape is with Burgess given rough of A Summer Afternoon, to the poignant tape - alter handling. as in songfulness of Her. The lovely interplay months of schools and of timbre and sonority contrasts is storage. colleges. UJ-v captured in the warmest Higher frequency response. greater sensi- of glowing tivity - Burgess uses only acicular oxide stereoism. This program is far more than particles 'and disperses them evenly) to Lower noise level New dispersion tech- an ingenious experiment: it is a quite achieve - finer sensitivity and top frequency niques eliminates "clumps" of oxide on unique contribution to the contemporary response. Burgess wide bias latitude pro- Burgess tape. You get a lower noise level duces professional results on all types of and eliminate "hissing" or "popping ". chamber music repertory. recorders. "Ira Ironstrings Destroys l5 the Great (fr Bands." Warner Brothers WSTC 1439, "Th 31 min., $7.95. ceY'i4 " The irrepressible banjoist from North / ;i l-__ Grumble, Georgia, is at it again, leading / his barefooted veterans of the Charleston Age in brightly recorded Consistent satisfaction- Burgess' take -offs on new processes, monitored the famous bands and hits the Freedom from flake -off - New by of swing Burgess precoat formula elim- rigid quality control, assure era. They are at once amusing parodies inates flake -oft. culs the the user that Burgess tape and exhilarating jeux d'esprit in their amount of head.cleaning is uniform from reel to necessary. and gives reel. You get the same own right. The original Goodman constant true tone high reproduction S'tompin' at the Savoy, McCoy Sugar qualities. ( quality today. to- monow or nht Blues, Whiteman San, Pee Wee Hunt ? month. 12th St. Rag, etc., were never quite like this, but they never were any more zest- Supenior built -in lubricant -Enables tape fully toe -tickling Even either. the jacket a to glide smoothly. without friction or Erases clean - Burgess tape erases clean annotator gets into the spirit of high squeaking over recorder head and guides. and evenly on home recorders. No hulk Prolongs the life of tape recorder heads. eraser needed! jinks with a description of one effect produced here by "vibes pelted with marshmallows!"

No other line of Magnetic Tapes offers you such "The Many Voices of Miriam Makeba." With Hugh Masekela, trumpet, and L ensemble. Ralph Hunter. cond. Kapp VERSATILITY, ADAPTABILITY KTL 41040, 31 min., $7.95. to your needs, or gives you all the advantages cited above In praising the recent disc edition of this program I was so impressed by Miss Makeba's poignant insights (and the BURGESS BATTERY COMPANY curiously expressive choked -tone trumpet- DIVISION OF SERVEL, INC ing of Hugh Masekela) that I failed to MAGNETIC TAPE DIVISION stress the technological features that FREEPORT ,ILLINOIS NIAGARA FALLS. CANADA justify -in part -the album title. They are the uncommonly deft exploitations of multi- dubbing possibilities in the Afri- CIRCLE 23 ON READER -SERVICE CARD 108 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com can courage song Zenizenaho and the "Time Out." Dave Brubeck Quartet. Co- "21 Channel Sound." David Rose and witch doctors' song Nagula, where the lumbia CQ 437, 39 min., $6.95. His Orchestra. M -G -M STC 4004, 32 soloist, unaccompanied, sings and chants This program, high on disc best seller min., $7.95. all the choral parts with an incredible lists, should be one of Dave's most suc- Heard first in a mono disc edition, this variety of harmonious tonal colorings. cessful tapes also, because the closely feature program of M -G -M's new multi - Yet, effective as these feats certainly are, miked recording sounds even more realis- mike series didn't seem anything unusual: the strongest attractions remain in tic in an admirably processed reel. I the recording was full -blooded but exces- heart -twisting Ntjilo Ntjilo, Night Must am not much impressed with some of sively sharp, and what was claimed to Fall, Love Tastes Like Strawberries, and the rather contrived experiments in un- be natural big -hall reverberance sounded the lamenting Zanza passages in Ngola conventional jazz meters, and I seem as if it had plenty of echo -chambering. Kurila. Miss Makeba and her supporting to tire sooner than the players them- Here, in an excellently processed tape, instrumentalists are recorded in vividly selves with regard to the over- the sonics are more warmly attractive atmospheric stereoism. insistent and protracted ostinatos. But the without any loss of true (as distinct from best compositions and performances here artificial) brilliance; and the acoustics, Sampler: "The Many Moods of Kapp (especially the rollicking Take Five in in marked but well -balanced and spread and Kapp- Medallion." Kapp KTL pi 5/4 tempo and the lilting Three To Get stereo, seem less synthetic. The pieces 42000 (twin -pack), 63 min., $7.95. 1, `Ready in a piquant combination of 3/4 themselves, played by a sixty -man orches- Sampler: "Moods Two." UST RSL 408 and 4/4) are genuinely distinctive tra (featuring a notably fine French horn (twin -pack), 71 min., $7.95. achievements and uncommonly fine choir), are of the conventional symphonic Sampler: "Romantic and Nostalgic vehicles for Paul Desmond on sax, Joe pops variety, but at their best they are Moods." Warner Brothers WSTC 1500 Morello on traps, and Brubeck himself. undeniably effective. (twin -pack), 76 min., $7.95. Here are the latest twin -pack cornucopia reels issued at normal -length price, de- signed as introductions to the complete Double your Listening Pleasure catalogues of the companies involved. with Moods Two comprises pops selections from recent tapes of Kapp and Warner Brothers (nine each), ABC Paramount (four), and Seeco (two). Kapp and Warner Brothers also provide (without I r duplications) twenty -four and twenty - five samplings, respectively, from their °oo own pop tapes repertories. The sheer quantity of music for the money will probably outweigh for most collectors the inevitable variability of musical, ex- ecutant, and recording qualities; but it's rather surprising that more consistent care wasn't taken with the tape proces- NEW... from the sings. Both the UST and Kapp reels leader in quality are pretty good as far as surface noise is concerned, but neither is wholly free recording equipment from preëcho and spill -over intrusions. Only the quieter-surfaced, quite flawless Warner Brothers sampler presents con- temporary processing technique at its best. Along." The Kingston Trio. Cap- '"Stringitol ZT 1407, 31 min., $6.98. One of the very best of the talented rolkstiintlicll youngsters' disc programs, S505 this is an ideal choice for their belated tape debut. Both the natural presence and stereogenic effectiveness of the re- Stereo Recorder cording itself come off even better in this technically flawless tape; and on rehearing I relish more than ever the This new, deluxe version of atmospheric charm of the Kingstonians' imaginative treatments of The Escape of the famous Concertone 505... Old John Webb, This Mornin' This in gleaming brushed stainless Evenin' So Soon, and South Wind. A will sprightly lilt animates all their perform- steel ... meet your most exacting demands for reproduction of profes- ances, but perhaps particularly the minia- sional quality. Its exclusive playback feature, Concertone's REVERSE -O- ture music drama The Everglades. MATIC, plays 4 -track stereo tapes from start to finish, reverses, then plays "Swing! Staged for Stereo." Van Alexan- the other stereo tracks...automatically! It doubles listening pleasure and der and His Orchestra. Capitol ZT unattended playing time with no changing of reels. Concertone's new Model 1635, 30 min., $6.98. Like the excerpts included in last May's S505 plays 4- track, records qtr. track stereo and monaural. Priced from "Staged for Stereo" highlights reel, this $599.50. Other stereo models of the famous Concertone 505 recorders program needs no special plastic box packaging to augment the inherent at- are priced from $549.50. tractions of glistening sonics. Add to this appeal those of spirited perform- See your Concertone dealer for a demonstration of the S505 with ances and tasteful arrangements, often ReverseOMatic, or write today for a brochure which shows complete featuring stereogenic duo interplays, details on the magnificent recorder that doubles your listening pleasure with and one has first -rate entertainment professional quality. here - particularly in a Blues by Twos (surely inspired by the "doppio" movement of Bartòk's Concerto for Or- © AMERICAN CONCERTONE, INC. chestra), I Won't Dance (starring pianists A DIVISION OF ASTRO- SCIENCE CORPORATION Henri Rose and Bobby Stevenson), 9449 WEST JEFFERSON BOULEVARD CULVER CITY, CALIFORNIA Stealin' Apples (trumpeters Joey Graves I and Shorty Sherlock), and Tappin' on the Traps (percussionists Iry Cottler and Dealer inquiries invited. EXPORT: Telesco International Corp., Milt Holland). 171 Madison Ave., New York 16, N.Y. CIRCLE S ON READER -SERVICE CARD AUGUST 1962 109

www.americanradiohistory.com Uncompromising engineering + moderate price = best buy

New Eico Stereo FM Multiplex Tuner ST 97

Semi -Kit $99.95 Wired $149.95 Includes Metal Cover AND FET

BUILDING THE SEMI -KIT: (patents pending) eliminates loss of separation due duce no higher output from the FM detector than a The two most critical sections, the front end and 4 to phase -shift in the stereo sub -channel before re- lOuV signal and will not be degraded in quality by IF's through to the detector, are entirely pre -wired covery. Complete rejection of storecasting interfer- overloading the stereo demodulator. Distortion is and pre -aligned for best performance on weak sig- ence. Cathode follower driven, sharp cut -off 15kc low very low, both in mono and stereo, so that the sound nals (fringe area reception). pass filters in each output channel. you hear has that sweetness, clarity, and freedom from grating harshness that results from absence of For the third most critical section, the heart of the THE OPERATION distortion. The stereo output signals are no clean stereo demodulator, you simply mount and solder the that there is not a sign of the 19kc pilot carrier or Two a a fre- components on a high quality circuit board. Pre - slide -rule dials in tine: one, station the re- inserted 38kc sub -carrier visible on a scope aligned coils eliminate all adjustments. The rest is quency dial with the famous EICO "eye -Ironic "'. presentation. non -critical and easily accomplished with the clearest tuning -eye travelling along it to indicate the exact pictorial drawings and most thorough -going step -by- center of each broadcast channel; the other a log- step procedure in the industry. ging dial with an automatic stereo indicator lamp SPECIFICATIONS travelling along it in tandem with the tuning -eye to Antenna Input: 300 ohms balanced. IHFM Usable Sen- indicate when the station tuned in is broadcasting sitivity: 3uV (30db quieting), l.5uV for 20db quiet- THE CIRCUIT stereo. ing. Sensitivity for phase -lucking (synchronization) in the front end Consistent and reliable printed cir- stereo: 2.5 uV. Full limiting sensitivity: lOuV. IF cuit. Ultra- sensitive, stable, and low- noise. Wide -band THE LOOK Bandwidth: 280kc at 5db points. Ratio Detector Band- design. Rugged steel housing for protection width: 1 megacycle peak -to -peak separation. Audio plated Massive and shielding. Meets FCC radiation requirements. extruded aluminum panel and side rails, ex- Bandwidth at FM Detector: Flat to 53kc discounting Precise temperature- compensation for freedom from quisitely brushed and anodized pale gold, with baked pre -emphasis. IHFM Signal -to -Noise Ratio: -55db. drift without AFC. AFC provided with defeat for con- epoxy brown, perforated steel cover. 111FM Harmonic Distortion: 0.6 %. Stereo Harmonic venience. Indirect gear drive is backlash -free and Distortion: less than 1.5 °;. IHFM IM Distortion: eliminates possibility of microphony. PERFORMANCE 0.1 °b. Output Audio Frequency Response: -1db 20cps -15kc. IHFM Capture Ratio: 3db. Channel Sepa- Pre -production field tests brought back the report the IF strip Four IF amplifier -limiter stages (all that ration: 30db. Audio Output: 0.8 volt. Output Imped- "Definitely a fringe -area stereo tuner," which is will do any good) and an ultra -wide -band ratio detec- ance: low impedance cathode followers. Controls: tor, all pre -wired and pre -aligned. Designed with the simply the meaning of our laboratory measurements. Power, Separation, FM Tuning, Stereo -Mono, AFC - utmost practicality so that the simplest alignment We know, for example, that full limiting is achieved Defeat. Tubes: 1- ECC85, 5 -6AU6, 1.6AL5, 1- 12AT7, is also the alignment for highest sensitivity and prac- at lOuV input signal, meaning that the low distortion 2-12AU7, 1.6010 (triple triode), 1 -DM70 (tuning -eye), tically lowest distortion. (Important to you if a serv- and noise specifications (the full benefits of FM) ice alignment is required.) will apply to all but the most distant and difficult -to- 1 -EZ80 rectifier, 6 signal diodes, 1 neon lamp. ever Output is flat to the watts extrac- limit of the composite stereo signal frequency spec- receive stations. The sharp selectivity you need when Power Source: 117V, 60cps; 60 drain; trum to eliminate any need for roll -off compensation a tuner is that sensitive is here also (a strong local tor post fuse. Size (HWD): 5r/e" x 157/e" x 111/4 ". in the stereo demodulator. station and a low -power station 100 miles distant Weight 17 lbs. separated by only 0.4 mc, each had its own sharp the stereo demodulator Ten stages for unequalled tuning -in point on the dial). While signal levels as 'Actual distortion meter reading of derived left or performance capabilities. EICO's brilliantly-engi- low as 2.5uV will produce phase -locking for full right channel output with a stereo FM signal fed neered zero phase -shift, filterless detection circuit stereo separation, very strong local signals will pro- to the antenna input terminals.

EICO, 3300 N. Blvd., L.I.C. 1, N.Y. HF-81 is Send free 32 -page catalog & Transistorized dealer's name. c4i:.o7, :w. co t1 Stereo /Mono :: . . -.- 4 -Track , Send new 36 -page Guidebook to Tape Deck RP100 HI -FI for which I enclose 25g for 70 -Watt Integrated Stereo FM -AM Stereo Tuner ST96 (Patents Pending postage & handling. Amplifier ST70 Kit: $89.95 Wired: $129.95 Semikit: $299.95 Kit: $99.95 Wired: $149.95 Includes Metal Cover and FET Wired: $399.95 Name Includes Metal Cover Carrying Case $29.95 Rack Mount $9.95 re® FM Multiplex Address 40 -Watt Integrated Stereo Autodaptor Amplifier ST40 -r MX99 (Patent City ._Zone State Kit: $79.95 Wired: $129.95 -- Pending) Includes Metal Cover Kit: $39.95 Wired: $64.95 1962 EICO Electronic Instrument Co., Inc. Over 2 MILLION EICO Instruments in use. Cover Optional $2.95 Most EICO Dealers offer budget terms. 3300 Northern Boulevard, L. I. C. 1, N. Y.

Listen to the EICO Hour, WABC -FM, N. Y. 95.5 MC, Mon. -Fri., 7:15-8 P.M. Export Dept., Roburn Agencies Inc., 431 Greenwich St., New York 13, N. Y. CIRCLE: 35 ON READER-SERVICE C.ARI)

11(1 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com High Fidelity Newsfroazts

Has Cartridge, Won't Ravel. Lately ment: one can now record, or play, mag- matic stop at the end of a reel, and we have been experimenting with the netic tapes with no more effort or dex- smooth changing between the two speeds recent models of that miniaturized and terity than what is required for playing (33/4 and 1% ips) supplied. The mono- misunderstood offshoot of tape record- discs. Each cartridge contains its own phonic models come with one built -in ing known as the "cartridge recorder" built -in supply and take -up reels which speaker and one microphone; the stereo and can attest that they offer a good are engaged automatically by two spin- versions supply two of each. deal to the person who wants a measure dles when the cartridge is placed in its Granted that the new cartridge models of faithfulness to the original along with slot on the machine. Other than for have come a long way in solving the extreme ease of operation, reasonably editing or splicing, if desired, the tape problems of convenience and cost which low cost, and highly compact and light- itself need never be handled; there is have long been deterrents to the wider weight packaging. The new cartridge de- nothing to thread, and no danger of tape use of tape, there still remains the ques- vices from RCA and Bell Sound plainly spill -over. tion of their acoustic quality. While the offer no threat to the full -size reel -to- Mechanically, the machines run flaw- first cartridge machines of four years reel machine and will not capture the lessly, with easily actuated controls for ago were clearly not in the running for admiration of the Ampex- minded among the usual forward and rewind functions, high fidelity, today's models may quite us, but they are just right for the man fast and safe braking of the tape, auto- justifiably be said to "approach" high who wants the facilities of tape with a fidelity standards, with response that is bare minimum of fuss and bother. estimated to be fairly accurate and well The equipment has had a long and balanced from about 50 cps to somewhat rather fitful gestation. For a device that above 12,000 cps. On live recording, ac- reportedly took five years and as many curacy is limited of course by the rather millions of dollars to develop, and which minimal microphones provided. Yet was announced with fanfare as a "revolu- voices are recognizable and listenable on tion in sound recording," there was at playback. first remarkably little to show. A tape Recording from other program sources, cartridge recorder was let out by RCA such as from discs or off the air, may be four years ago, only to be shortly with- done in the usual manner, feeding the drawn. The intervening period was a signals from a system's preamplifier time of retooling and improvement, and "tape output" jacks to the inputs on the we now have two lines from RCA and In the Bell stereo cartridge recorder, cartridge recorder. The taped results gen- Bell Sound which include cartridge re- above, one speaker is in the unit itself, erally match the original closely except, corders that are smaller, lower- priced, as might be expected, for a decrease in while a second speaker is built into the and better-sounding than the earlier the full impact of the deepest bass, and prototype. Moreover, there is now a removable lid, which also houses two less of a sense of that open, airy quality much more realistic sense on the part of microphones and connecting cables. Be- at the very high end. Within the some- the manufacturers of just what is being low, a cartridge is slipped into place on what restricted response range, however, offered. The cartridge no longer is a seems the RCA recorder. Both models come in there to be no audible distortion, ti "revolution in sound," but merely a very no wow, no flutter. During quiet pas- monophonic or stereo versions; both easy way to record one's own programs sages, there is some hum. or play back a commercially recorded sound much better when played through Equally interesting is the cartridge re- cartridge tape. an external high fidelity system than corder's playback of a prerecorded tape The new cartridge recorders will ap- through their own built -in speakers. cartridge. Heard through the machine's peal to those who, regardless of other own built -in speakers, the sound is noth- equipment owned or acoustic goals held ing special; at soft levels it is relatively dear, long for a device that will furnish clean but quite limited in range. How- the acoustical equivalent of what the ever, feeding the signals from the re- Polaroid camera provides visually. Con- corder's preamp output (appropriate venience and time saved, rather than jacks are provided) to the "tape amp" ultimate perfection, are the operative or "auxiliary" inputs on an external high criteria. Once this essential aspect is fidelity amplifier, in turn driving wide - understood, the cartridge machine falls range speakers, reveals at once that both into clearer perspective. Certainly the the plastic- encased program source and mechanical and electrical characteristics the miniature "tape deck" on which it of the stereo and monophonic models plays are capable of far better response that we hive sampled leave no doubt than that permitted by its own playback that the device performs "as claimed" - channels. and possibly even a bit better than that. This much, then, is a fact of accomplish- Continued on next page

AUGUST 1962 111

www.americanradiohistory.com NEWSFRONTS simultaneously, suggesting a sort of "his PURCHASING and her" stereo sun -bathing. A HI -FI Continued from preceding page IHFM -Please Copy. From August 31 SYSTEM? Outdoors, but Private. For outdoor lis- through September 9, more than a quar- TIME PAYMENTS AVAILABLE tening while relaxing these summer ter of a million persons are expected to Up to 2 years to pay! days, headphones can prove quite con- mill through the World's Fair of Music venient, being low in cost, easy to Jim Lansing and Sound at McCormick Place in Chi- Altec Lansing connect, and permitting the outdoor lis- cago. The scope of this show is truly Send Us Electrovoice JensenHallicrafter tener to regale himself in two -channel ambitious, encompassing just about any- Hartley Gonset glory without running the risk of neigh- thing that relates to sound generally and USL Citizen Band bors' complaints. The only hitch, of Your List of Texas Crystals music specifically, including musical in- Internat'I Crystals course, is the length of connecting cable struments as well as music reproduction University from the amplifier inside the house; most Acoustic Research and even some segments of the world Components Janszen Viking headphones come with no more than of sound that are not related to music, Wharfedale eight feet of cable. A sign that at least Conc ertone such as communication equipment. Many For A Bell G.E. one manufacturer is convinced that stereo names familiar in high fidelity and re- Weathers belongs on the lawn as well as in the Harma. -Kardon cording will be represented with prod- Eico Pilot living room is a new 20 -foot stereo head- ucts and demonstrations, one of which Package Sherwood phone cable from Koss Electronics, Tend berg* will be a daily series of four recitals by ESL Frazier which incidentally manufactures a highly the Fine Arts Quartet as part of a live Superscope reputed headphone. The cable, which Quotation Dual Changer' vs. recorded concert put on by Acoustic is at $5.95, may be used with any Bogen RCA priced Research and Dynaco. The spirited at- AIREX WON'T Dynakit Fisher standard, low- impedance headphones; for BE UNDERSOLD H. H Scott tendance at similar "A -B" concerts in the Thorens' those who want to roam beyond 20 feet past, and the continued interest in them, All merchandise TEC Roberts and still remain "surrounded with suggests that such performances is brand new, De Wald National remain Sony Challenger sound," two or more such cables may factory fresh & a most effective means of demonstrating Wollensak be combined. Another, more elaborate the superiority guaranteed. G d and effectiveness of high trick, is to use a special junction box FREE Hi Fi Miracord fidelity components while, at the same Glas ers. Steers which may be wired permanently from time, providing an Catalog Avail- Rek -O -Kut experience for visitors able on Request Polytronics the amplifier and installed, say, on that transcends more conventional exhib- Norelco Conrac the side of the house or under a patio its. Hopefully, such demonstrations will Fairchild table. Then, the headphones AIREX Pickering Sonar may be reappear at future high fidelity shows, Audio Tape plugged into this box, which has its own particularly the major one scheduled in Magnecord volume RADIO Rockford Cabinets control for alfresco adjustments. New York this coming October, CORPORATION Fair Traded Some boxes, such as the Koss T -5, allow 85 -HF Cortland St., N. Y. 7, WO 4 -1820 the use of two pairs of headphones S. O. P. FOR SMOOTH CIRCLE 2 ON READER -SERVICE CARD OPTIMUM PERFORMANCE

TOP ALLOWANCE Continued from page 59 FOR YOUR USED COMPONENTS devices (vacuum tube voltmeters or AT oscilloscopes) are of course essential. Lacking these, a nontechnician never Ji audio exchange can make full use of the standard align- Music Mountain ment and frequency test tapes issued by Ampex, Audio Devices, Audiotex, Falls Village, Connecticut WHEN YOU PURCHASE Kamak, NCB Laboratories, Nortronics, et al., or even of the more comprehensive The Fisher FM -100 -B 2 -track test and demonstration tapes now FM- Multiplex Wide -Band Tuner mostly out of print. Yet if he is lucky with Exclusive Stereo Beacon enough to find one of the latter (espe- Features 0.6 microvolt sensitivity, Micro Ray Berkshire Tuning Indicator, Automatic switching between cially the excellent Westminster -Sono- mono and stereo, MPX noise filter. tape SWB -ALI00 or Livingston LX -1E), he should find some of its materials Quartet illuminating for ear -only judgments. And one of the only two 4 -track test tapes and distinguished I've discovered so far (RCA Victor 12- 5 -64T) is particularly valuable for its guest musicians spill -over test -in which track no. 3 (corresponding to the right channel in July 1 through September 2 Side -1 playback) is left blank, while Sundays at 4 p.m. TRADE 4 WAYS all the others contain recorded signals. TRADE Hi -fi for hi -fi TRADE Amateur radio* for hi -fi Thus, in playback with correct vertical For program information TRADE Hi -fi for amateur radio head alignment nothing should be heard TRADE Amateur radio* for amateur write to radial' in the right speaker. (Unfortunately, *Includes HAM; SWL; Citizen's Band; Test Equipment Thomas J. N. Juko AUDIO EXCHANGE EXCLUSIVES: both RCA Victor 12 -5 -64T and 12 -5 -62T Trade -Back Plan New Equipment from over 100 are issued only in 3.75 -ips cartridge manufacturers Used Equipment sold on 10 -day un- form. They can of course be trans- conditional money -back guarantee ... plus 90 -day serif. ice warranty Special GE credit plan Custom Instal- ferred easily enough to open reels, but lation for stereo and monaural equipment. Hi FI while the spill -over test section can be service laboratory. Get more! Pay less when you trade at used at either 3.75 or 7.5 ips, the fre- quency -run sections are valid only for audio exchange testing the special 3.75 -ips equalization For Trading info., write dept. HAU. provisions of equipment playback re- PLEASE MAIL ALL ORDERS AND INOu IRIES TO JAMAICA sponse.) 153.21 Hillside Ave., Jamaica 32, N. Y. AStel 7.7577 The technical novice can play- WHITE PLAINS, N. Y. BROOKLYN, N. Y. MANHASSET, N. Y. check 203 Mamaroneck Ave. 1065 Flatbush Ave. 651 Plandoma Rd. back -head vertical alignment in this and CIRCLE 101 ON READER SERVICE CARD CIRCLE 13 ON READER- SERVICE CARD

I 12 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com other ways, but he must be warned the sooner they are made the less serious against attempting his own corrective and costly they will be. readjustments. Although these can be In short, don't kick a balky instru- made by ear alone, they are sure to ment -kick yourself for failing to recog- throw the azimuth alignment off -and nize its preliminary distress symptoms! that can be set properly only by VTVM or oscilloscope readings. These pro- Note: Most owners of tape recorders are cedures themselves are so simple (and, well aware of the medium's susceptibility in the case of azimuth alignment at to temperature and humidity extremes least, so critically precise) that a prop- and are careful to store their boxed reels erly equipped home technician need have (always vertically, to avoid reel warp- no difficulty, but those lacking the es- ing) well away from radiators and sun sential tools should turn to a profes- exposure, as well as far from any possi- sional serviceman. ble sources of magnetic radiation (mo- Among other performance -checking tors, transformers, etc.). But few of them means, one of the simplest -yet often seem equally aware of the tendency of FIN most informative -is that of comparing some recording- and -playback equipments your own player's reproduction of your to run dangerously hot. "yardstick" (or standard test) tape with Even short of the point where there that of another tape recorder known to can be deleterious effects on head re- be in optimum operating condition. sponse or the running tape itself, exces- Such comparisons are naturally most sive heat is likely to produce marked specific when you can bring the second rises in mechanical noise, speed and feed player home to play through your own irregularities, squeal, etc. Preventive pro- amplifier- and -speaker system; yet even cedures involve maintaining adequate if you have to make your yardstick ventilation both within and outside the evaluations via an unfamiliar system and equipment; checking that motor -fan environment, careful analyses of the blades aren't bent out of proper shape, A distinguished selection over -all response differences not only that case ventilation screens are never of fine quality speakers and can be illuminating in themselves but allowed to up, clog and that the manu- custom crafted cabinetry... will often confirm suspected or reveal facturer's lubrication specifications (if unexpected inadequacies in your own any) are strictly observed. for the lover of fine music. machine. Excessive heat -both ambient and In my experience too few owners of equipment -generated- becomes a serious tape players follow the procedures out- see your ironchlsed dealer or danger not only in the tropics but also write for complete catalog. lined above, and even fewer make ar- during the summer extremes in sup- rangements with a professional tech- posedly temperate climates. Indeed my 587 Connecticut Avenue nician for annual -or, better still, twice own experience has been that almost South Norwalk, Connecticut yearly- servicing. This is an outright all my own tape -deck mechanical trou- failure of common sense: any piece of bles have shown up during summer heat CIRCLE 20 ON READER- SERVICE CARD electromechanical equipment is fallible, waves, particularly as a result of lique- and its operating health is in its owner's fied- grease contamination of internal LUCILIE BALL hands. Constant care can abort many drive mechanisms, belts, and brake pads. My advice troubles; first -aid remedies can cure This is the season when thorough and to anyone many others. Inevitably, expert readjust- skilled servicing attention is most im- who wants to ments and repairs will be . improve his necessary, and periously demanded! ti musical or e speaking ability is to COMMAND PERFORMANCE use a Roberts 1040 Continued from page 52 tape recorder for rehearsal." as he was listening to the playback. the auditorium, and it only remained for maestro was not happy. "For me it is the trumpeter to become accustomed to too loud, too loud. How much pianissimo anticipating Steinberg's beat by the cor- ONLY THE can you take on the film ?" he asked. rect margin of time; otherwise, the sound Light explained that pianissimos were reached the microphones a fraction of not a problem -that any soft passage a beat late. After the second taping of ROBERTS 1040 could be made softer in processing but the Overture, Steinberg listened in stereo tape recorder that a loud passage could not be made silence. "What do you think ?" Light with amazing "Harmonizer" louder without introducing extraneous asked. "With Beethoven I don't think. I 4- noise. "We need exaggeration, maestro. only fear," growled Steinberg. But he MAGI -CABLE offers you Play a little bit loud -we can take it was obviously pleased. track stereo and monaural down later if you want." The Fourth Symphony was next on record /play; 2 -track stereo and A more difficult problem presented the agenda, and it was here that Stein- monaural play; sound with sound itself in the placement of the off -stage berg, having begun the first movement using either track as a basic track, B flat trumpet called for by the score. with very little preamble, simply put his and multiple sound -on -sound In the hall, the trumpet sounded ap- glasses in his pocket after a few measures, recording in stereo. It's a com- propriately far away when played half and with no further reference to the plete recording studio in itself! way back in the auditorium, under the score in front of him led the orchestra overhang of the balcony. But so sensi- through the movement without a break. tive were the microphones that in re- It is impossible not to recognize that ROBERTS ELECTRONICS. INC. Dept. HF -8 -1. cording, the effect of distance was can- special spontaneity, unpredictable and un- 5920 Bowcrolt Ave., Los Angeles 16. Calif. celed out; in fact, the instrument might accountable, which ignites a perform- Please send me: almost have been at the conductor's Roberts Stereo Tape Instruction Manual contain. ance from time to time, and this perform- ing stereo and monaural applications. I enclose 25g elbow. Some ten or fifteen minutes' ex- ance had it. As Steinberg walked into (cash. stamps) for postage and handling. perimentation followed, while Light pro- the control room afterwards, he echoed The name of my nearest dealer. pelled. the trumpeter around various the feeling of everyone there: "Much Name points in the building, including the mar- better than that, you don't get." Bee- Address ble- floored front lobby. The best spot thoven, it seemed, was hardly a cause City Zone State proved to be at the very back of the for fear after all. _ CIRCLE: 76 ON READER -SERVICE CARD AUGUST 1962 113

www.americanradiohistory.com PROFESSIONAL DIRECTORY

ARIZONA MARYLAND NEW YORK DIXIE 1DF-S-PACE? WESTERN HI FI FANS HIGH FIDELITY WHOLESALERS You bet we'd be..... ARE YOU INTERESTED IN PRICES? If we were to tell you Largest discount High Fidelity component dis- ,SU about AUDION's WRITE FOR QUOTATION tributors in the South. Wholesale prices on "Out of this World" Hi Fi Values. AUTHORIZED DISTRIBUTORS package or individual components. Latest mod- free catalog. SCOTT -JENSEN and OTHERS MAJOR LINES els in factory sealed cartons. Write for too high ? -Write: Hi -Fi Sales Company Are prices audio in 735 Main Street West DIXIE HI -FI 25-HF Oxford Road Phone 969 -3191 Mesa, Arizona 12402 Connecticut Ave., Silver Spring, Md. Massapequa, New York CIRCI. F. 48 ON RE I)ER-SERVICE CARI) CIRCLE 30 ON READER -SERVICE CARD CIRCLE 16 ON READER -SERVICE CARD CALIFORNIA QUICK -SEE HARPSICHORDS PROMPT ALBUM FILE DELIVERY Eliminates bottom CLAVICHORDS jacket wear. Rolls by AMPLIFIERS - MULTIPLEX - forward for front - TAPE RECORDERS, TUNERS view, flip -through SPERRHAKE SPEAKER SYSTEMS, ETC. selection. 9 models AIR MAIL QUOTES -- COMPARE fit any cabinet, write for WRITE FOR CATALOG closet or shelf. Illustrated brochure $7.95 up. Also available with cab - inet shown. Deal- Robert S. Taylor AUDIO DIVISION ers, inquire. 8710 Garfield St. L. M. BROWN SALES CORP KERSTING MANUFACTURING COMPANY Bethesda, Maryland Dept. F 242 West 10th Street New York 14. N. Y 504 S. Date Street, Alhambra, California CIRCLE 52 ON READER -SERVICE CARD CIRCLE 22 ON READER -SERVICE CARD NEW JERSEY

MAIL ORDER HI -Fl WRITE FOR QUOTATION RENT Recorders Components Tapes ON HI -FI COMPONENTS at wholesale prices L STEREO TAPES Reliable, Prompt Delivery SOUND Over 2500 different, 4 track & 2 track (Free Catalogue) We'll Air -Mail No deposit on tapes rented REPRODUCTION, INC. loiv quotes on your packaged hi -fi Postpaid 2 to 5 day delivery (48 States) 34 New Street, Newark 2, N. J. CARS7LON tGAiOS FREE Mitchell 2 -6816 stereo -parti 125 E. 88 St. stew York 28, N. Y. BROCHURE -D, 811 -A CENTINELA , INGLEWOOD, CALIF CIRCLE 87 ON READER -SERVICE CARL) (lRC1.1( 85 ON READER-SERVICE CARD CIRCLE 25 ON READER -SERVICE CARD DISTRICT OF COLUMBIA Save 30%, 4Track '4F NEW YORK Stereo Music on Tape RECORDS AT COST ... ea. FOR THE TOPS IN VALUE Through Our Special Membership Plan Empty 3" Plastic Reels, lc . Bargain Prices! Send for AND THE BEST TRADE -IN ON Regular High Fidelity and Stereo our Recorder / blank / pre- Classical-Popular- Jazz -Show Hits-Folk etc. recorded tape catalog H.1. HIGH FIDELITY EQUIPMENT NORELCO SPEAKER A unique kind of record club - no "agree to pur- AD380051, twin cone 8" no record list Famous C /tt'ck tri/ /I Arrow! chase" obligations - "selected" to choose from - no "list price" purchases - model, Ofo merl list 16.00, usual net 9.90 going at 4.99 plus post- no "division" requirements. age (2 for 9.00). Other Norelco Simply, Citadel club members can purchase virtu speaker sizes at bargain prices - ally any record or album, by any artist, on any SEND FOR SPEAKER SPECI- ARROW ELECTRONICS, INC. label for cost price. Yearly membership $3.00. FICATION SHEET. Write for free details ... SAXITONE TAPE SALES 65 Cortlandt St., New York 7, N. Y. CITADEL RECORD CLUB (Div. of Commissioned Dlgby 9 -4730 545 Fifth Ave. Dept. H. New York 17, N. Y. Electronics, Inc.) 525 Jericho Turnpike, Mineola, N. Y. z 1776 Columbia Rd., Wash., D. C. Pioneer 6 -8686 CIRCLE 78 ON READER- SERVICE CARD CIRCLE 26 ON READER -SERVICE CARD CIRCLE 8 ON READER-SERVICE CARD TAPE RECORDERS HI-FI Components Specializes in SAVING YOU MONEY ERITAPE SLEEP LEARN V. FACTORY FRESH COMPONENTS iw cost, KITS LOWEST POSSIBLE QUOTATIONS Igh quality 4 e c o rding U71113 trat BIN RTISI: P' FAST DELIVERY tape. In boxes N.W., WASH., D.C. Or earn. Values 509 11TH ST., We are FRANCHISED DEALERS for most Hi -Fi FREI; lines. Most orders SHIPPED PROMPTLY from 1962 Catalog PRICES. stock. RECORDING TAPE at LOWEST 1523 FA Jericho Turnpike, FREE -95 -PAGE STEREO CATALOG. DRESSN ER New Hyde Park, New York 190 -F Lex. Ave., Cor. 32 CIRCLE 62 ON READER- SERVICE CARD St., New York 16, N. Y. CIRCLE. 31 ON READER -SERVICE CARD

ILLINOIS CIRCLE 15 ON READER- SERVICE CARD SAVE UP TO 40% on record index SOUNDTASTIC! HI-FI COMPONENTS That's what our customers are 15 -Day Money -Back Guarantee EASY PAY PLAN -24 MOS. TO PAY recocords saying upon receiving our prices! WE GUARANTEE WE WILL NOT BE Designed for collections of 150 up. Write for special low prices on UNDERSOLD for brochure, sample record index H -fi components, tape recorders, Please write for FREE return mail quota- Send tion, and wholesale catalog. Also pre- cards, sample index guides by composer. etc. INDIVIDUAL QUOTATIONS recorded tape catalog on request. Recocards ONLY! (H 2) 503 Hyde Park Bank Building No catalogs. HI-FIDELITY 220-HP East 23rd St. New York 10, N. Y. 1525 East 53rd St., Chicago 15, Illinois 2057 Coney Island Ave., Brooklyn, N. Y.

CIRCLE 74 ON READER -SERVICE CARD CIRCLE 17 ON READER -SERVICE CARD CIRCLE 49 ON READER- SERVICE CARD www.americanradiohistory.com THE AGE OF TAPE broad range. When you pay a high price, year in the near future. Many of these you pay for quality control in manufac- will be $79.50 and $99.95 models, but Continued from page 56 ture; cheap tape may well have technical an awesome number will be the re- flaws. For instance. when the oxide splendent $500- and -up models produced made thinner. offers 1.800 feet of I -mil coating is applied unevenly, low fre- by such manufacturers as Ampex, Con - tape on a 7 -inch reel. providing one and quency signals, which are trapped at the certone, Magnecord, Tandberg, and one -half hours of four -track stereo re- bottom of the coating, may emerge dis- Superscope. Sales of blank tape are like- cording, three hours in four -track mono. torted in playback. Other defects in the wise skyrocketing, and prerecorded tape, There is also an extra -thin. extra -long cheaper tapes may create hiss, snapping though lagging, is making sales progress Mylar tape -'/z -mil. 2.400 feet to the of the tape. flaking of the oxide, or even from year to year now that it has been reel- yielding two hours of four -track damage to recording heads. The more standardized at four -track 71/2 -ips stereo. stereo, four hours in four -track mono. sensitive your equipment, the more ap- The growth of FM broadcasting has (At 3.75 ips, eight hours of music can be parent these things will be. been an important stimulus in this boom. recorded on one of these extra -long reels The neophyte tape recordist -and The expansion of classical music pro- in four -track mono -say. Don Giovanni, often too the person whose original gramming to the nation's hinterlands has Le Nozze di Figaro, and a sprinkling of intention had been to use his equipment brought an accompanying upsurge in Mozart symphonies all on the same reel.) solely for playing prerecorded tapes- home tape recording, now that off -the- The use of long -play tapes can have may well find himself totally enmeshed air signals of quality are available. A certain practical advantages. particularly in his new hobby. He will find that a familiar sight in many musical homes to- for taping lengthy works off -the -air, welter of accessories confronts him: a day is the rack of tape -reel boxes -con- when it's important not to have to stop tape splicer to aid in editing tapes. head- taining hours of music taped from FM the machine every half hour or so to flip phones for monitoring the recording as broadcasts. to be played and replayed the tape over or thread a new reel while it is made, a bulk eraser for wiping used in the years to come. the music flows right on. Inasmuch as a tapes clean in a jiffy. storage racks. reel Increased public acceptance has gen- 2.400-foot tape will have to be turned labels. aligning tape. leader tape, colored erated the impetus for constant improve- over only half as often as a 1.200 -foot tape for identifying different selections ment of the product. New tapes, with one. the number of annoying breaks in on the same reel. silicone tape -cleaning vastly improved signal -to -noise ratios the continuity will be reduced. or per- cloths, and much more. Not all these and startling response capabilities. are haps eliminated completely if all goes items are necessary. by any means- whirring past the recording heads of well. (The experienced taper soon de- but they add to the fun. tape machines which themselves are able velops a knack for changing his reels The growth of tape recording. from to do full justice to their program poten- during intermissions. movement breaks, nothing in 1947 to a booming. multi- tial. Further improvements probably will and other such pauses.) However. the million- dollar industry today, is one of continue the general upgrading. but frequency response of the thinner tape the most startling aspects of the postwar without any immediate danger of making is not considered the equal of that of audio boom. Some 450,000 tape ma- 1962 tape equipment obsolete. This still 11/2-mil tape, and breakage danger is chines were sold in 1959, and 600.000 young medium, combining high quality greater. in 1961, a thirty per cent increase in two sound reproduction with. for many, the The quality of tape generally varies years. Manufacturers are confidently fascination of "do- it- yourself." seems directly with price. of which there is a predicting sales of a million machines a destined for an ever expanding future. PROFESSIONAL DIRECTORY NEW YORK NEW YORK WASHINGTON TRADE -INS WINNERS ACCEPTED ALL* www:ITSLEEP Be a winner too! Write for our big discount Headquarters prices on your hi -fi Experiment in this fascinating. needs- -and send for our ~-, Ì educational new field. Use your phonograph, recorder or amazing new "Elec. unusual money - saving endless tape recorder. We audio A -15. Its tronic Educator" catalog carry a full line of endless tapes for standard Ilee! recorders. plus timers, pillow speakers and com- '71,592 plete outfits. Also 200 unusual educational and 'elf -help courses on tape and record for sleep. SATISFIED CUSTOMERS learning and self- hypnosis experimenters. Write Key Electronics Co. TERMINAL -HUDSON ELECTRONICS, Inc. for free 300 -item catalog and full details. 120 Liberty St., Sleep- Learning Research Association N. Y. 6, N. Y. 236 West 17th St., N. Y. 11, N. Y. Dept HF P. 0. Box 24 -F, Olympia, Washington CIRCLE 83 ON READER -SERVICE CARD CIRCLE 53 ON READER -SERVICE CARD CIRCLE 92 ON READER -SERVICE CARI) ENGLAND HI -FI RECORDING TAPE - 7" REELS WHOLESALE RADIO AND CAMERA CO. 1200' -1.5 mil Plastic $1.09 P. O. BOX 3085 PHILA. 50, PENNA. 1200' -1.5 mil Mylar ..... 1.49 1800' -1 mil Plastic 1.75 BUY WHOLESALE- Direct From Distributor 1800' mil Mylar 1.95 . to write to us and we will -1 HUNDREDS OF NAME BRAND PRODUCTS show you how to 2400'- .5 mil Mylar .. 2.49 keep your HI -FI COMPONENTS HI -FI COSTS LOW! Write for FREE quotations and catalogs BRITISH EQUIPMENT CAMERAS Amplifiers, Tuners, Speakers, for your Best Buy in Hi -Fi and Stereo TAPE DECKS Motor s. Pick -Ups from the Equipment. STEREO COMPONENTS United Kingdom. Hi -HI Mall Order Specialists. Serving all your needs in electronics TAPE RECORDERS carefully PHOTO EQUIPMENT packed. insured and shipped LION ELECTRONICS promptly at minimum cost. price lists sent request. Special C. C. Goodwin (Sales) Ltd. 215 Fulton St., New York 7, N. Y. Distributor upon bargain offers included. (Dept. H) REctor 2-6714, Dept. LE 7, The Broadway, Wood Green London N. 22, England ( IRCI.l 57 ON Ri:.U)f:R- SERVICE: CARD CIRCLE 100 ON READER-SERVICE CARD (ii« LF 42 ON READER- SERVICE CARD TEXAS NATIONWIDE DELIVERY... HAVE YOU REQUESTED A STERLING QUOTE? CHANGE OF ADDRESS on all your Stereo The Southwest's largest needs. Recorders,R ¡1 Tuners, Amplifiers, Turntables, etc. source of quality If you plan to move, please notify hi -fi components WILL us six weeks in advance, giving old LET US PROVE that we can supply NOT BE UNDERSOLD! address as well as new, attaching your requirements PROMPTLY AT stencil imprint from wrapper of last LOWEST COST. FREE CATALOG. copy received. Send to High Fidelity, ELECTRONICS, INC. ! Subscription Department, 2160 Pat- STEREO COMPONENT Supply Co., Dept. F SPACE CITY, U.S.A. terson St., Cincinnati 14, Ohio. Box 1229, Dept. HF., Houston 1, Texas.! 148.25 - 12th AVE., FLUSHING 57, N. Y. P. 0. ('111('1 I 86 ON RI xl)FR- SERVICE CARD CIRCLE 88 ON READER- SERVICE CARD www.americanradiohistory.com THE BACH CANTATAS Miss Stader and her accompanying forces have a slight edge over the others. A YOU ALWAYS GET Continued from page 47 fourth version (Electrola 80628) has Elisabeth Schwarzkopf singing nicely in Rock -Bottom Prices noteworthy in No. 131, Aus der Tiefe the three middle movements but her WITH CONVENIENT TIME PAYMENTS AT ritfe ich, Herr, zit dir, another early first aria is taken so fast that it is de- work. Two of these are arias in which prived of musical sense. Two of the one voice has a lovely florid line against other soprano works are gentle and a chorale in sustained tones in another lyric wedding cantatas: No. 202, Weichet voice. The other two are choral move- nur, betrübte Schatten, and No. 210, ments, each divided into a prelude and O holder Tag, erwünschte Zeit. No. 202 a fugue. The only available recording comprises four arias and a final gavotte, ri 1 laia,,,,,_iiicii. (Columbia ML 5577 or MS 6177, con- all but the first preceded by recitatives. ducted by Craft) boasts excellent singing Maria Stader (Archive ARC 3144 or by Loren Driscoll, tenor, and Robert - 73144) is in excellent form and tosses Unless you're a multi -millionaire get our quote, Oliver, bass, but the old version by her like these shrewd buyers did! off roulades confidently and on These excerpts from letters in our files are Robert Shaw (RCA Victor LM 1100), pitch. Irmgard Seefried (Deutsche Gram - proof positive that RABSONS PRICES ARE ROCK now deleted. seems to me superior. mophon LPM 18606 or SLPM 138086) BOTTOM! Your purchase backed by our reputa- tion for 56 years of RELIABILITY! PLUS our No. 133, lcl: freue mich in dir, for does the first aria nicely. but elsewhere six (6) months q instead of the usual the Christmas season. belongs in this list there are signs of dryness in the voice. 90 days. STANDARD NAME BRAND LINES. because of its happy opening chorus and Anny Felbermayer (Vanguard BG 513) From "B.M." North Carolina- a beautiful soprano aria with a blissful provides steady but not very interesting "I was pleased with your quotation on my pro- middle section. The performance. on singing. There is less variety in the dif- posed Hi -Fi set, as it was $30.00 less than the Vanguard BG 523. next lowest bid of over ten." conducted by Gielen, ficult No. 210. skillfully sung by Magda is generally satisfactory. No. 146. Wir Laszlo on Westminster XWN 18396. From "W.W.B." California- müssen durcis viel Trübsal, is one of the The short cantata for alto and strings. "Your package quote was best I received." longer undivided cantatas. It is intro- No. 54, Widerstehe doch der Sünde, corn - duced by a remarkable sinfonia. which prises two arias and a recitative. In the From "J.K.B. " New York State - "Yours was the lowest of six quotations." is a transcription for organ and orchestra first aria, which exhorts the sinner to of Bach's Clavier Concerto in D minor. withstand the temptations of the devil. From "G.E.M." Ohio - In t11e moving section that follows, repre- there are expressive dissonances over a "Your quotation was prompt and I was influ- senting the great enced by the. six months warranty offer." tribulation through resolute basic rhythm. The other aria which we enter the kingdom of God, a is a remarkable fugue. Here my prefer- our quote on the equipment or sys- FREE -With four -part chorus is superimposed upon . is for Hilde Rössl -Majdan (West- tem of your choice we will include a Si genuine Miracle Record Cleaning Cloth. the slow movement of the Concerto. \I - minster XWN 18392), although Helen There is also a lovely soprano aria. "Ich Watts turns in an appealing perform- absons- 57 ST., It,e.Dept.2UC säe meine Zühren," and a rousing duet ance (Oiseau -Lyre 60003), as does the R119 West 51 St., New York 19, N. Y. for tenor and bass. The performance is dark -voiced but not entirely steady (Diagonally opposite Carnegie Hall) rather good on the whole. with the so- Marga Höffgen (Electrola E 80573 or ( IRCLE 69 ON READER- SERVICE C.tRI) prano. Anny Felbermayer, doing some S 80573). Alfred Deller admirers may distinguished singing (Vanguard BG 525, like his reading of this work (Vanguard conducted by Prohaska). BG 550); to me it is too neutral in feel- In downtown Chicago - The sweet solace of death and its ing. A considerably longer work is No. promise of a blissful life in eternity is 169, Gott soll allein mein Herze haken. folks who go first the subject of No. 161, Komm, du siisse Especially impressive here are the sin - class _ Todesstunde. This view of death is ex- fonia, a rather long but lively affair with pressed in many works of Bach, but not obbligato organ. and the moving aria say: more tenderly than it is here. especially " Stirb in mir." Both of these numbers are in the alto aria that opens the work and arrangements of movements from Bach's the chorus that closes it. Both of these Clavier Concerto No. 2. in E. In both movements employ the great chorale of the available recordings (Epic LC "Herzlich tut mich verlangen," familiar 3683 or BC 1077, with Aafje Heynis; from its use in the St. Matthew Passion. Cantate 641202. with Lotte Wolf -Matt- The fifth number. a gently flowing häus) the solo part is sung accurately and "Just get me a room chorus in which the melancholy record- intelligently by voices of attractive qual- ers are prominent, is deeply affecting in ity. Miss Heynis' being a bit brighter and at the ASCOT Motel" its simplicity and beauty. Vanguard BG more mezzolike. Three arias and two Downtown convenience, motel com- 513, conducted by Prohaska, offers a recitatives form No. 170, Vergniigte fort. Free parking, heated swimming good performance with Hilde Rössl- Ruiz'. The first aria is lovely and peace- pool. Superb accommodations, cui- Majdan fine in the alto solos. ful, and the second, a lamentation over sine, and complimentary services. man's iniquity, has a curiously crawling Nearest to McCormick Place and other convention centers. Meeting HERE ARE solo cantatas for each of line. Aafje Heynis (Epic LC 3805 or facilities for 6 up to 600. Courtesy Car T the four principal vocal ranges and BC 1146) is given at times to too much to our door from airport limousine for various combinations of these. The nuance. Alfred Deller (Vanguard BG stop our Essex at Inn and from domestic catalogues list five for soprano, I 550) to not enough: Hilde Rössl -Majdan helicopter landing at Meigs Field four for alto. one for tenor. and four for (Westminster XWN 18392) occupies a Sensible - rates Inquire today. ys bass. Of the soprano cantatas. No. 51, middle ground. Elisabeth Hängen ASCOT MOTEL Jauchzet Gott in allen Landen, is the (Archive ARC 3067) is inferior to these. most brilliant and elaborate. It consists Although its subject is death, the Michigan Ave. at of three arias, a recitative, and a chorale. great cantata for bass, No. 56, Ich will 11th St. -Just south of A joyful work, devoted to thanksgiving den Kreuzstah gerne tragen, achieves Conrad Hilton Overlooking and praise of the Lord, it requires a vir- considerable variety of mood in its five Grant Park and tuoso singer for the difficult arias. Three numbers, which progress from resignation Lake Michigan of the available recordings (Archive in the poignant opening aria to joyful Phone WA 2 -2900 ARC 3144 or 73144, with Maria Stader; longing in the second. Three excellent TWX -CG82 Electrola E 80494 or S 80494, with performances are available, by Dietrich We pay teletype charges. Agnes Giebel; and Vanguard BG 546, - Fischer -Dieskau (Archive ARC 3058). WRITE FOR RESERVATIONS with Teresa Stich -Randall) are rather Mack Harrell (RCA Victor LM 2312 or DEPT. 62 well done. with each of the soloists in LSC 2312). and Hermann Prey (Elec- her best form, but it seems to me that trola E 80572 or S 80572). To make CIRCLE 10 ON READER -SERVICE CARD 116 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com EICO new Transistor Stereo /Mono 4 -track Tape Deck a choice among them is difficult. If standing for light music. By and large Model RP 100W Completely ti.isembied. wire.. Fischer -Dieskau aspirates vowels in the Vanguard 514, con- and tented with 3 heads, and the recording (BG stereo recnnl and stereo pay- his voice is Koch) is sung with back preamplifiers. first aria, his perhaps a little ducted by Helmut Mod.t RP 1008 3eml.Klt Includes transportt rounder and smoother than that of the more finesse in the solos, while the completely assembled and tested with 3 heads; and con- others. A similar dilemma faces us with Archive (ARC 3171 or 73171, directed trol elect...des. stereo record, and .mere° playback pre -am- '7 ,- rrrrl No. 82. Ich habe genug, with which No. by Kurt Thomas) has better choral work, tillers In easy- toas.semble kit ip).. ea 56 is paired on all three discs. Another quieter surfaces, and clearer sound. Van- r Write for full specifications cantata with death for its theme. it con- guard and Koch also provide the only TAPE STORAGE OR sists of three arias and two recitatives. recording (BG 515) in the catalogue of CARRYING CASE Two of the arias, "Ich habe genug" and a work written reg. 9.95, now 5.95 No. 205. to celebrate the (Heavy wood construction, "Schlummert ein," are very beautiful. nameday of a friend and containing some wateproof vinyl covering. Holds up to 24 tapes 1 One could not go wrong with whichever fine ideas and Bach's usual impeccable reg. 2.45, now 1.49 (Pressed cardboard. holds 10 of the three recordings one chose. The workmanship. The bass is rather poor, tapes or 60 45 rpm records.) high spot of No. 158. Der Friede sei alit but the other soloists. and the orchestra, SAXITONE RECORDING TAPE dir, which comprises two recitatives I I.N lila guaranteed not to rub oft in .ik -or money and are satisfactory, and the performance in hark. Compare ours with other ..11.1! "lope. You'll an rind It's more than lust 'prlre" w o. o Situ deal with aria for bass and a final chorale, is general has vivacity and some imag- us. N'e are original pioneers In the tope reeorder husl es. and our reputation means everylldngdo Us. the aria. Here a florid violin obbligato ination. Although not called a " dramma (ten, Ildasur I. 5" .75 cil HOW MlstateI.AR 3 eel .95 cavorts above the elaborate voice line per musica," No. 211 is Bach's nearest 900, 5111.AR Il'uiyrmrr I. 5" .99 SIYI.AR. t._ mil. reel Ì_0"l, 5" 1.15 and both surround the chorale, intoned approach to comic opera. It is well Acetate I ,least le l . 7" 1.19 1200, SIYI.AIl 1 t:, mil. (Strong) 1.25 line by line by the sopranos of the chorus done on all three of the available re- ¡sao, acetate (plastic). 7" 1.79 ISM), MYI.AR 1 51I1. thick. 7" 1.99 singing in unison. Horst ( Günter Archive cordings. with Vox (PL 8980. conducted 2 i00í tAlt sillzrd. 7" 2.99 Studios.ñit ARC 3104) is competent, but the timbre by Rolf Reinhardt) having the best so- Large beers Even Lower. t1.t-i PlSTAr;F. - of Fischer- DieskaLI's voice is more attrac- prano. Friederike Sailer; Electrola tive (Angel 35698 or S 35698). (80168. directed by Karl Forster) the Save 30% .. 4-Track Of the four duet or dialogue cantatas best baritone. Dietrich Fischer -Dieskau; STEREO MUSIC ON TAPE! for soprano and bass now available on and the Archive stereo (ARC 73171; Empty 3 Ia. Plastic Reels 70 ea. records, No. 152. Tritt auf die Glaubens- mono 3171. conducted by Kurt Thomas) hahn, seems BARGAIN PRICES! SEND FOR OUR FREE to me the richest. It is a the best sound. Tas Recorder /Blank /Prerecorded Tape Catalog tender work for the Sunday after Christ- No. 212, Mer halo en Heure Oherkeet, NORELCO mas, and its intimate character is en- was written to celebrate the accession of SPEAKER Famous AD3800M, twin cone hanced by the soft sounds of recorder. a Saxon official as Lord of the Manor in 8" (75- 19,000 cycles) discon- viola viola tinued model. former list d'amore, and da gamba. which two villages near Leipzig. It consists 16.00 usual net 9.90 going at with an oboe and the continuo comprise 4.99 plus postage (2 for 9.00). mainly of arias for soprano and baritone, Other Norelco speaker sizes the entire instrumental apparatus. After some of them no more than songs. at bargain prices SEND little FOR SPEAKER SPECIFICA-- an extended overture there is an aria for Bach uses both popular tunes of the TION SHEET. bass. another for soprano, two recitatives, day and charming folklike melodies SAXITONE TAPE SALES and a final duet, a (DIV. OF COMMISSIONED dialogue between the of his own invention. This is Bach ELECTRONICS. INC.) Soul and Jesus. Dorothy Bond's voice, at his most unbuttoned -which with him 1775 Columbia Rd.. NW, Washington, D.C. in the Westminster recording (XWN means that the top two or three buttons CIRCLE 78 ON READER -SERVICE CARD 18391. with Robert Irwin, baritone), of his waistcoat are open. The Archive is somewhat pinched and "white" in its recording (ARC 3162 or 73162) is not top register. but in most other respects bad. but the singing of Fischer-Dieskau this recording strikes me as superior to on Electrola 80618 makes it no contest. SAVEo4OT0 the Archive (ARC 3104. with Hanni HNFI Mack and Walter Hauck). USE OUR EASY PAY PLAN Upto24 months tapa), An alto. a tenor, and a bass are fea- tured in No. 174, Iclr liebe den HüclLsten. WHAT'S IN A NAME? DON'T BUY HIFIDELITY COMPONENTS The tenor has a very expressive accom- Tape Recorders or electronic equipment until Continued frone page 49 you get our return Air-Mail quotation. Find out panied recitative. and the bass a fine aria. why its just like "Having a Friend in the The magnificent sinfonia is the first Business." TRADE -INS- Highest trade -in allowances for your movement of the third Brandenburg seems to present no problems, but Ippo- old equipment. Concerto with three oboes and two horns litov- Ivanov needs further investigation. ID Our 18th year of dependable and reliable added to the original Polish music has service throughout the free world. strings. Competent apparently suffered s We are one of the largest stocked, fully soloists and excellent playing by the or- from the burdens its composers' names franchised, hi- fidelity component dealers in America, assuring you full warranty protec- chestra are provided on Westminster have imposed upon it. Universal acclaim tion. XWN 18755, with Ann Munch, con- is too much to ask of music which You may return your equipment within 6 tralto, Helmut sounds like months, for 75', allowance, against purchase Krebs, tenor, and Herbert Dobrzynski, Szymanowski, or of other equipment of your choice. Brauer, bass. Four soloists, in as many even Moniuszko. Skrowaczewski, now We g "We Will Not Be Undersold," classifications, even within 30 days after you have made are employed in No. 151, director of the Minneapolis Symphony, your purchase. Sii.sser Trost, on the same disc (with has wisely emphasized the conducting e Your money back within 15 days, less only Hanni side his transportation charges, if you are not com- Mack, soprano). Except for the of career. There may be hope pletely satisfied. final chorale the latter work is a set of for Lutoslawski, but let us not forget BIG MONEY- SAVING CATALOG, BEST BUY HI- solos. one for each voice. The most that Poland's greatest composer bore FI LIST AND STEREO CATALOG FREE. outstanding of these, and one of the the ungarbled French name Chopin. -FI TAPE finest arias in all the recorded cantatas, Antiquity presents some exciting prob- ELECTRONIC WORLD HI RECORDING is the soprano's "Sasser Trost," with an lems. The sweet music of David, or 7" Spools Splice Free Freq. Resp 30 15KC obbligato flute that waxes ecstatically even of Orpheus, might divulge its se- 3 -23 24 8 up happy in the middle section. Miss Mack's crets if only we give thorough study 12A 1200' Acetate $1.17 ea. S .99 ea. to 12M 1200' Mylar 1.29 ea. 1.09 ea. voice seems rather thin and she does not those names. 18A 1800' Acetate 1.59 ea. 1.45 ea. enunciate clearly, but she phrases nicely. These and other pertinent topics await 18M 1800' Mylar 1.95 ea. 1.85 ea. 24M 2400' Mylar 2.59 ea. 2.49 ea. Good orchestra and recording. the serious student: the angular Bartók, You may obtain 24 plus price on a mixed selec- There remain two drammi per nrrcsica the humorous Poulenc, the simmering, tion of any 24 items. Add 15c per reel for postage 8 handling. 1Oc 24 for more. -No. 201, Der Streit zwischen Phrihus yet controlled Schoenberg, the low - and Pan, and No. 205, Der zufrieden- pitched Ockeghem, all those glittering gestellte Aeolus -and the Coffee Cantata, Strausses. No. 211. No. 201, written for perform- There is obviously more to Dvorák HI-FIDELITY ance by the Collegium Musicum in Leip- than meets the eye. And what about CENTER zig, is a gay and at times amusing work Kodály, Byrd, Wolf- Ferrari, Frederick "The Hesse 01 Lew Lew Prices" depicting a contest between Phoebus, the Great, and Honneger? representing serious music, and Pan, What about Egk? 220-A East 23rd St., New York 10, N. Y. CIRCLE 49 ON READER -SERVICE C.ARI) AUGUST 1962 117

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