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A Portfolio of Stereo Décor

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Drs to this all -in -one Fisher receiver!

Most important of all, each of these three sections is just as modest version of the 500 -C at substantially lower cost. ruggedly built, just as reliable in operation, just as free from Any Fisher stereo receiver is ready to play as soon as you overheating and other life- expectancy problems as any sepa- take it out of its shipping carton. Simply connect a pair of good rately sold Fisher component. No other manufacturer has gone loudspeakers to it-preferably as good as the Fisher XP -4A's quite in single- that far chassis stereo receiver design. (That is shown on the right. The famous XP -4A is a 3 -way system that undoubtedly the reason why the Fisher 500 -C is the best -selling has been called "one of the best, most truly musical reproducers high fidelity component in the world today.) available today" by no less an authority than Julian D. Hirsch. In areas where AM stations are still an important source of There is no better `marriage' in stereo today than that of a music, most users will prefer the new Fisher 800 -C, which is Fisher 500 -C with a pair of these superlative speakers. completely identical to the 500 -C except for including, in addi- Prices: Fisher 500 -C, $389.50; Fisher 800 -C, $449.50;Fisher tion, a high- sensitivity AM tuner section with adjustable 400, $329.50; Fisher XP -4A, $199.50; walnut or mahogany (Broad /Sharp) bandwidth plus a ferrite-rod AM antenna. cabinet for any of the three receiver models, $24.95. All prices Also available is new the Fisher 400, an only slightly more are slightly higher in the Far West. .PAT. PENDING www.americanradiohistory.com r H E: I Ft AS t }SIEKEU tftAlUN waUt

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AUTOMATIC c 88 89 90. 94 96. , 9 o

SPEAKER SELECTOR

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Simply connect your Fisher speak=

The new Fisher 500 -C stereo receiver, shown here actual the famous STEREO BEACON *, the Fisher invention that size, incorporates all of the electronics of an advanced stereo instantly indicates FM Stereo broadcasts and automatically system-everything you need, on one compact chassis. It is, switches between the mono and stereo modes. in effect, three professional -caliber Fisher components in one: The master control section has provisions for every function a high- sensitivity FM Stereo Multiplex tuner, a versatile stereo required by the advanced high fidelity enthusiast, yet it is control -preamplifier and a heavy -duty stereo power amplifier. simple enough to be used by the entire family. New features The FM tuner section features the new Fisher GOLDEN include a four -position speaker selector switch and a front - SYNCHRODE* front end and has the remarkable IHF Stand- panel earphone jack. The exclusive Fisher DIRECT TAPE ard sensitivity rating of 1.8 tkv. There are four wide-band IF MONITOR* permits both recording and playback with full stages and three stages of limiting, including the wide -band use of all applicable controls and switches-without any change ratio detector. The Multiplex circuitry is of the superior time - in cable connections. division type; critically accurate tuning is assured by the new The power amplifier section has 75 watts total music power d'Arsonval -type signal strength meter. An exclusive feature is output (IHF Standard) at only 0.5% harmonic distortion. www.americanradiohistory.com These are the speakers of a great stereo system. All the other components are shown life -size under this fold.

4

4 (First, open the fold. Then mail this card.) d PLACE 40 STAMP HERE

FISHER RADIO CORPORATION 21 -40 44th Drive Long Island City 1, New York i Overseas residents write to Fisher Radio International, Inc., Long Island City 1, New York Canadian residents write to 4 Tri -Tel Associates, Ltd., b Willowdale, Ont. z Ü d www.americanradiohistory.com CIRCLE 37 ON READER -SERVICE CARD

FEBRUARY 1964 1

www.americanradiohistory.com what makes an automatic sound like a turntable?

The new generation of automatic turntables tracking and tripping at lower The U38! and lower forces demands this new kind of cartridge. Demands a "floating stylus" that protects your diamond and record as it plays...demands comple- mentary electrical characteristics which maximize the use of forward -looking expressly designed circuitry whether vacuum tube or solid state. The U -38 meets these demands and makes your automatic sound I &e a turntable. With Pickering's famous for automatic plug -in replaceable stylus assembly you get a car- tridge with a life -time of trouble free performance. I e °fin turntables Pickering and Company, Inc., Plainview, New York. q

1.138 cartridge with AT Stylus...2.5 grains tracking force 7 1 Plug -in head assembly for ATG...1 -3 grams m...- Garrard Type A and Model AT6 CIRCLE 55 ON READER -SERVICE CARD 7 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Page 38

Page 46

high fideli

Page 49

Music and Musicians 46 The Hardy Independent: Vanguard Records John Tebbel 49 The House That Wagner Built: Bayreuth Festspielhaus Edward Downes 22 Notes from Our Correspondents- London, New York, Vienna, Stockholm

Sound Reproduction 37 Towards the Total Installation: an editorial 38 A Portfolio of Stereo Décor John Anderson 35 High Fidelity Newsfronts: visit to a (not -so) small plant Norman Eisenberg 55 Equipment Reports Leak Point -One Control Center; Stereo -60 Basic Amplifier Ampex Model F -4460 Tape Recorder Fisher Model 500 -C Tuner /Amplifier

Reviews of Recordings 65 Feature Record Reviews The Philadelphia Orchestra (Charles Munch, cond.; Eugene Ormandy, cond.) Alfred Cortot: Recital Discs 68 Other Classical Reviews 84 The Imports Gene Bruck 89 Reissues 96 The Lighter Side 102 The Sonic Showcase 105 Jazz

1 l l The Tape Deck

FEBRUARY 1964 VOLUME 14 NUMBER 2

Published monthly of Great Barrington, Moss., by The Billboard Publishing Co. Copyright V 1964 by The Billboard Publishing Co. The design and contents of High Fidelity Magazine are fully protected by copyright and must not be reproduced in any manner. Second -class postage paid at Great Barrington and at additional mailing offices. One -year subscription -Anywhere on Earth $7.00. Indexed in the "Reader's Guide to Periodical Literature." Change of address notices and undelivered copies (Form 3579) should be addressed to High Fidelity, Subscription Dept., 2160 Patterson St., Cincinnati, O., 45414.

www.americanradiohistory.com GRADO "Truly the world's finest..."

Cover Photo: Ezra Stoller

Roland Gelatt Editor in Chief

Joan Griffiths Executive Editor

Norman Eisenberg Audio Editor

Sue Severn Managing Editor

Shirley Fleming Assistant Editor

H. C. Robbins Landon European Editor

Roy Lindstrom Art Director

Nathan Broder John M. Conly R. D. Darrell Alfred Frankenstein Robert C. Marsh Contributing Editors

LABORATORY SERIES TURNTABLE Claire N. Eddings Director of Advertising Sales FOR THE FIRST TIME TI-E MAIN FLYWHEEL IS MOUNTED BETWEEN TWO Walter F. Grueninger BEARING CENTERS IN AN EXCLUSIVE PATENTED DESIGN. Circulation Director The first COMPLETELY new turntable in half a century!! Warren B. Syer Two vibrationless twelve pole hysteresis motors with ultra light mass armatures Publisher (they weigh 4 grams eaci) drive two massive flywheels in a super low friction system (friction reduced DImost 500 times). Flutter and wow are vir-ually nonexistent (if at all measurable). Noise and rumble for the full frequency range are completely inaudible. A D V E R T I S I N G

This is tFe only turntable designed for the stereo record. Main Office Claire N. Eddings, The Publishing House Great Barrington, Mass., 01230 1300 PATENT #3,082,635 Telephone: New York SINGLE SPEED TURNTABLE WITH BASE $99.50 165 West 46th St., New York 10036 Telephone: Plaza 7 -2800 COMPLETE ENSEMBLE (as shown less cartridge) $153.00 Seymour Resnick, Andrew Spanberger

Chicago The Billboard Publishing Co. 188 W. Randolph St., Chicago 60601 For further information please write: Telephone: Central 6 -9818 Jerry Taylor

GRADO LABORATORIES, INC. 4614 Seventh Ave., B'klyn 20, N.Y. Los Angeles 434 So. San Vicente Blvd. Los Angeles 90048 Telephone: Olympia 2 -2100 Robert J. Friedman, Michael R. Simon

CIRCLE 39 ON READER- SERVICE CARD 4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com no "agree Records at Cost! to purchase" freedom through our Special Membership Plan of selection prompt service BUILD YOUR RECORD LIBRARY INEXPENSIVELY, QUICKLY, CONVENIENTLY periodic NO "AGREE TO PURCHASE" OBLIGATION - CHOOSE RECORDS YOU WANT specials free Schwann THE CITADEL RECORD CLUB is a unique kind of membership club that entitles its members catalog are to purchase singles, hi -fi and stereo albums at cost; all categories of music available 100% including classical, popular, jazz, show hits, folk, children's records etc. Prices never vary guarantee from our published price list. There are never any "list price" purchases through Citadel.

CITADEL RECORD CLUB MEMBERSHIP - the complete record service for you and your family. Whether your music interests are classical, popular, jazz, show hits. folk - whether you prefer one label or a variety of labels and artists ... all are available through Citadel.

Bonus benefits make your Citadel Membership the CITADEL MEMBERSHIP THE PROVEN METHOD OF - you If'/GV Specie!!V most valuable club ever joined RECORD BUYING USED BY THOUSANDS OF SATISFIED DIAMOND NEEDLES GIFT CERTIFICATE OPTIONAL CLUB MEMBERS BECAUSE ... SERVICE PRE -RECORDED TAPE DIVISION YOU DECIDE ON YOUR PURCHASES - You are not obligated MEMBERSHIP to purchase any particular quantity of records. Buy as few or as / w A of many records as you want, when you want them the choice complete selection i-+ ... 100% guaranteed, Many Citadel members is always yours. Citadel has no "agree to purchase" requirement precision engineered A great help in solving collect both LP's and of any kind. diamond needles is your gift giving prob- pre -recorded 4 -track available for virtually lems to friends and rel- stereo tapes. As an all cartridges. A clearly atives for birthdays, added service we have YOU HAVE COMPLETE FREEDOM OF SELECTION - Virtually pictured, easy -to- follow anniversaries, holidays made all stereo tapes sent available. All member- any record or album by any artist on any label is available includ- order form is to or any special you with your catalog. occasions. ship benefits apply. ing ABC, Angel, Atlantic, Audio Fidelity, Bach Guild, Blue Note, Caedmon, Capitol, Columbia, Command, Decca, DGG, Dot, Epic, Membership dues is $3.00 a year ($1.00 more for tape division member- Folkways, Impulse, Kapp, Liberty, London, Mercury, MGM, Pacific ship) ... a nominal amount if you reflect for a moment on the record Jazz, Period, Philips. Prestige, RCA, Riverside, Roulette, Spoken and tape purchases you have made within the past year and the prices Arts, United Artists, Vanguard, Verve, Warner Brothers, West- you have paid. AS A CITADEL MEMBER BUYING RECORDS AND TAPES AT minster, and hundreds of others as well as most imports. Again, COST, YOUR DUES WILL BE PAID FOR WITH VIRTUALLY THE FIRST the choice is completely up to you. Citadel has no "pre- selected" PURCHASE YOU MAKE THROUGH THE CLUB. Additional savings quickly buy many more LP'S and tapes. Special list of recordings for you to choose from. We do not limit your mount up, permitting you to bonus benefits make your membership an ever increasing asset as you choice in any way. now have a complete source to serve your needs. May we suggest that you give Citadel an opportunity of proving its PROMPT SERVICE - Many orders are shipped the same day value to you. You enter no obligations, take no risks ... simply complete received, rarely later than the next several days. In the event the coupon below, enclose your yearly membership dues and upon receipt of a delay, partial shipments are made and your order completed we shall immediately forward all club membership material to you. We as soon as the record is available and, of course, without any cordially invite you to join thousands of other satisfied Citadel members additional cost to you. who are purchasing their records and tapes at cost price through their Citadel Club membership. -gR a'yc.k.!c.!c*ar *.Ye 'SATISFACTION- receive a list hit PERIODIC SPECIALS - Periodically you of gGUARANTEED -- Try CITADEL RECORD CLUB albums from all categories of music at prices up to 55% off y'membership in the Citadei Record Club 545 Fifth Avenue, New York, N. Y. 10017 H -24 list. The selections depend on those special purchases we have y for 30 days. If at the Enroll me in Citadel for one year. I am under no obliga- been able to make. Again, you are under no obligation to pur- - end of that any particular quantity of records or y' time you are not tion to purchase I will be at cost chase any of these selections. 5 completely satis tapes, but those that do purchase price ... NEVER more. I am to receive a current Schwann ú'fied, simply re -p subsequent periodic lists of quest your mem -' catalog immediately and albums. I understand that if after 'bership dues back specially priced hit FREE! SCHWANN RECORD CATALOG With your member- I am - tz:and it will ber trying membership in Citadel for 30 days not I get membership dues ship you receive this quick reference to over 25,000 albums. re completely satisfied, can my full immediately -;F immediately. Also, include the free quality record 5funded, no ques back This easy -to -use catalog contains separate sections for classical, -r cloth as a tions asked. cleaning gift. popular, ballet, opera, musical shows, folk music, jazz, etc., and n¡cycires ¡c; ¡;3 ¡' $3.00 enclosed. Record membership only. a separate section for all new releases. You are not re- v7 lists Record stricted to this catalog; it is simply a handy guide. Chump $4.00 enclosed. Both record and tape membership. FREE ! / Harrison Cloth (Complete tape catalog as well as the d Schwann catalog sent) 100% GUARANTEE All records Citadel supplies to members Act now. Fill out the - coupon, enclose your FULL NAME are guaranteed factory fresh and free of defects or damages of dues and we will in- any sort. If a damaged or defective record does get through our clude a free quality STREET record cleaning cloth with a copy. inspection, we shall immediately replace it perfect as a gift. This is our cITY STATE way of thanking you for your confidence in us.

CIRCLE 20 ON READER- SERVICE CARD FEBRUARY 1964 5

www.americanradiohistory.com EXPRESSLY FOR STEREO

The music is spacious, transparent, alive with detail in proper perspective - utterly faithful to the tex- ture and dynamics of the original, as you expect from Bozak speakers. The B -4000, distinctively styled in mahogany or walnut, is surprisingly small for such big music. A pair are unobtrusive in even a modest living room. They are also available in kit form. Ask your Franchised Bozak Dealer, or write for catalog.

Ria

DARIEN 1 CONNECTICUT

CIRCLE 16 ON READER -SERVICE CARD 6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 7xee &c. u THE NEW ALL SOLID STATE INTEGRATED PARALAN 730 AMPLIFIER

We DARE YOU to do this

Disconnect speaker outputs

OR THIS I

Short o speaker outputs o

to any solid state amplifier, integrated or not, while the power is on.

You can on the PARALAN z nd ycu will not blow any fuses, activate any relays or ruin any expensive silicon -semiconductors ... why ? ?? Because in the PARALAN THERE ARE NONE ... THEY ARE NOT NEEDED.

Forget any amplifier you have ever seen or heard about. ARE GUARANTEED LISTED BELOW Now a completely new concept, the Paralan 730 is ready SPECIFICATIONS 4 OHMS for you after years of intensive research. 100 WATTS INTO TOTAL BOTH CHANNELS: Don't even think about other amplifiers - now or to POWER OUTPUT IHF MUSIC RATING. 730 will deliver come; because the Paralan 730 is years ahead of its 8 Ohms; the Paralan speakers are 4 or low efficiency time, and the 5 Patents Pending will keep low efficiency into these the critical Most watts total, respectively, a few watts watts total and 75 and require only factors of the totally new circuit construction exclusively 100 are high efficiency systems usually 16 Ohm speakers 16 Ohm speaker for Paralan and for Paralan owners ... for years to come. units. watts total for WILL DRIVE ANY drive them; the 50 PARALAN 730 to require WITHents. THE ENT RESPONSE Yes, entirely new planning, designing and give their power FINEST TRANS building exceeds MADE, THE Paralan the never SPEAKER SYSTEM 730 newest, before used, all solid HUM AND NOISE high level CLARITY. db below 1 volt, state circuit for a major breakthrough in perfection of AND O At least 80 10 my (1,000 audio reproduction. least 60 db below 4 Ohm Speakers At 100 WATTS into cps), Phono Input into 8 Ohm Speakers The Paralan 730 sets a high goal for others to shoot at 75 WATTS CONTROLS Ohm Speakers TONE 20 cps to 20,000 -but not reach -the 5 Patents Pending insure Paralan's 50 WATTS into 16 ±20 db of range at leadership. cps 100 WATTS SENSITIVITY RESPONSE INPUT Phono (1,000 cps) FREQUENCY 100,000 cps at gti 5 cps to THE PARALAN CARRIES A 3 YEAR DOUBLE WARRANTY. ±2 db from RIAA Equalization 7'/z Head (400 cps) NAB Paralan Electronics Manufacturing Corporation of New 100 Watts cps to 20,000 cps 2 mv, Tape ±0.5 db from 20 equalization York up to 100 Watts ips will repair at no charge for parts and labor any unit at any power 0.3 volt High Level returned in accordance with the warranty instructions DISTORTION TOTAL HARMONIC INPUT IMPEDANCES enclosed with each Paralan unit for a period of THREE at 100 Watts phono Less than 0.2% cps 47K Magnetic YEARS. WE WILL SHIP THE UNIT BACK PREPAID AND than 0.7% between Tape head Less ts20 220K level inputs INSURED ANYWHERE IN THE CONTINENTAL UNITED 20,000 cps up 220K All high STATES. (IM) INTERMODULATION SIZE i x 8" deep TOTAL wide xf /s" high DISTORTION 15' /a " 0.2% at 100 Watts with enclosure A 20 DAY MONEY -BACK GUARANTEE IF YOU ARE NOT Less than DELIGHTED AND COMPLETELY SATISFIED. - - - - -20 DAY MONEY -BACK GUARANTEE- - - -- Exclusive world -wide representatives The almost unbelievable low price of the Paralan 730 (not a kit) PARAN DEVELOPMENT CORP. Shipped Prepaid and Insured $249.50 150 Ninth Avenue Complete with metal enclosure New York, N. Y. 10011 Oiled Walnut enclosure (optional) $14.90 Enclosed is $249.50 Also available at 50 cycles, 220 volts for export. On special order. Please send me the Paralan 730. I understand I can return this unit within 20 days for a full refund if not completely satisfied. I further understand Exclusive that the Paralan 730 carries a double 3 year warranty as stated in this ad. Put me on your mailing list for future Paralan product literature.

DEVELOPMENT ELECTRONIC CORP. Name CORPORATION New York, U.S.A. pfig[j Designers and manufactur- Address ers of solid state circuitry. Representatives City 7one State 4 CIRCLE 79 ON READER SERVICE CARD www.americanradiohistory.com AUTHORitatively Speaking

John Anderson, who has written the ac- count of some handsome stereo installa- tions which accompanies "A Portfolio of Stereo Décor" (p. 38), was for some eight years Managing Editor of Interiors, a professional journal published for in- terior designers. After leaving that post, real FM he made himself a present of an ex- tended tour abroad (visiting such coun- tries as Egypt and Jordan as well as western Europe) and then returned to work as a free -lance editor and writer authorities specializing in interior design, furniture, and architecture. A onetime enthusiastic tenor with a large metropolitan choral society, he has lately had to curtail his agree , . . musical avocations in the interests of a perhaps more important duty: as a quasi - employee of the State Department, Mr. Anderson can frequently be found escort- ing around the country visiting digni- taries from other nations. Many of them are from the new African republics, and their cicerone finds himself acquiring it new perspective on American interiors. Journalism professor and writer Jolla Tebbe) began life as a violinist but at an early age switched to the newspaper busi- ness because he was so clearly not a prodigy. At present a member of the faculty at New York University, Mr. Tebbel has also been employed in maga- zine and book publishing and has written many volumes of both fiction and non- fiction. Currently, he has the distinction (unique even among our more prolific writer friends) of bringing out three books within the brief period of four months; The Compact History of the American Newspaper (Hawthorn) and David Sarntoff (Mr. Tebbel's first ju- venile, published by the Encyclopaedia Britannica Press) just appeared this win- ter: From Rags to Riches: Horatio Alger, Jr. and The American Dream (Macmil- lan) will be forthcoming any day now. We don't know how he found time for "The Hardy Independent" (the story of Vanguard Records, p. 46) but he did. Edward Downes, author of "The House That Wagner Built" (p. 49), became a devoted Wagnerite as a small boy when he first read-the libretto of Siegfried and became fascinated by the dragon. in 1930 he made his first visit to Bayreuth (this was the summer that Toscanini made his debut there) and has returned every year since 1959 to teach in Friedlind Wagner's master classes. Mr. Downes's other activities as a teacher and music critic are a matter of general for the best seat in the house .. . knowledge.

you need a AWARD WINNING High Fidelity, February 1964. Vol. 14. No. FINCO 2. Published monthly by The Billboard Publishing Co., publisher of Billboard. Vend. Amusement Business, American Art- FM ANTENNA ist, Modern Photography, and the Carnegie Hall Program. Telephone: G reat Barrington 1300. Member Audit Bureau of Circulations. Guarantee yourself the best seat in the house for Editorial Correspondence should be ad- dressed to The Editor, High Fidelity, Great Barrington, Mass., 01230. Editorial contribu- . . . tonight's FM concert install a fidelity -phased tions will be welcomed. Payment for articles accepted will be arranged prior to publica- FINCO FM antenna. Dept. HF. tion. Unsolicited manuscripts should be :tccomp:mied by return postage. Subscriptions: Subscriptions should be ad- dressed to High Fidelity, Great Barrington. THE FINNEY COMPANY Mass., 01230. Subscription rates: Anywhere on Earth. 1 year, S7; 2 years, $13; 3 years, $17. Single copies. 60 cents. Bedford, Ohio Change of address notices and undelivered copies (Form 3579) should he addressed to High Fidelity, Subscription Fulfillment Dept., 2160 Patterson St., Cincinnati. O., 45214. "See your local FINCO dealer or write for catalog 20- 213." CIRCLE 36 ON READER -SERVICE CARD 8 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com COLUMBIA STEREO TAPE CLUB NOW OFFERS YOU

of these exciting pre-recorded 4-track

FOR Value up to 98-.. $39.80 at TAPES ONLY regular Club A STEREO prices if you join the Club now and agree to 4purchase as few as 5 selections from the more than 150 to be offered in the coming 12 months

THE TCHAIKOVSKY: ANDY WILLIAMS BARBRA SWAN LAKE STREISAND Ballet Suite DAYS OF WINE you join now ALBUM AND ROSES FREE -if -UP REEL ORMANDY plus TAKE Happy Days SELF THREADING Philadelphia Orch. Cant Bet Used REVOLUTIONARY Are Here Again to Losing You Includes a My Coloring A Sleepin' Bee i- {': Special Booklet Original Soundtrack Book i A_M Cry Me A River and Rare 9 more B MORE [r'oLt!MHtnl icOII BOO Al Recording Illustrations

9034. Also: A Taste 9004. "The most ad- 9048. "A treat, a de- 9033. Also: What of Honey, My Honey's venturous musical light all over again." Kind of Fool Am I ?, Loving Arms, etc. ever made."-Life -N.Y. Journal -Amer. May Each Day, etc. start your recorder, tape over this reel, the end of the Just drop rewind. Cherry Pink STRAVINSKY JOHNNY'S NEWEST HITS The New and watch t thickness, releases freelyeon AND 1 upl tape rof any conducts What Will -_ ANDRE ' thre ads Apple Blossom The "FIREBIRD" Mary Say BALLET White COMPLETE That's The Way KOSTELANETZ It Is ID MORE "Wonderland FORTUNATE PEOPLE who own 4 -track stereo smEmzu Io IF YOU ARE ONE OF THE JOHNNY MATHI of tape playback equipment, you know the thrill of the near-perfect Jerry Murad's Sound" fidelity, the unsurpassed sound of tape. Now you have an exceptional) HARMONICATS ® opportunity to build an outstanding collection of superb stereo tapes the most generous offer ever made by the 9060. Ramona, Ruby, 9047. "Brilliant per- 9006. Also: Wasn't 9015. Be My Love, at great savings through Fascination, Mack formance ...lush... the Summer Short ?, Unchained Melody, Columbia Stereo Tape Club! The Knife, 12 in all rich. " -Musical Amer. Marianna, etc. Volare, 12 in all By joining now. you may have ANY FOUR of the magnificently recorded 4 -track stereo tapes described here - sold regularly by the ORFF: CARMINA BURANA LERNER A LOEWE Rhapsody in Blue Club for up to $39.80 - for only $5.98! THE PHILADELPHIA ORCHESTRA TIME OUT THE DAVE BRUBECK QUARTET An American in Paris YOUR 4 PRE -RECORDED STEREO TAPES FOR ONLY $5.98 soloists and chorus Camelot- TO RECEIVE ORMANDY conducting simply fill in and mail the coupon today. Be sure to indicate which t-1- Leonard - RICHARD BURTON Club Division best suits your musical taste: Classical or Popular. Bernstein JULIE ANDREWS plays HOW THE CLUB OPERATES: Each month the Club's staff of music ex- ROBERT GOULET perts chooses outstanding selections for both Divisions. These selec- and Broadway Gershwin Original are in the Club Magazine, which you receive free [cot MRIAI Cast tions described each month.

9038.RSuperb...best 9025. "It soars and 9003. "Most lavish, 9035. "Fierce impact You may accept the monthly selection for your Division . . oR of many perform- swings . .. a break. beautiful musical; a and momentum." - take any of the wide variety of tapes offered in the Magazine to Post through. " -Playboy triumph! Kilgallen N.Y. World -Telegram ances."-Wash. "- members of both Divisions ... or take no tape in any particular month.. is to purchase 5 tapes from the Themes for Young Lovers Your only membership obligation THE BEETHOVEN TONY more than 150 to be offered in the coming 12 months. Thereafter, PERCY FAITH BENNETT GIANTS "Emperor" you have no further obligation to buy any additional tapes ... and I WILL FOLLOW You OF Concerto I Left My you may discontinue your membership at any time. MY COIORINB Heart in BOOK FREE TAPES GIVEN REGULARLY. If you wish to continue as a member BRUBECK 1001# \ RUDOLF San Francisco RHYTHM OF ELLINGTON SERKIN after purchasing five tapes, you will receive - FREE - a 4 -track THE RAIN co,... Tender Is the Night DAVIS MONK stereo tape of your choice for every two additional tapes you buy. 9 more CONDON BERNSTEIN Smile 9 more 10 others col MRm N.Y. Philharmonic (coLCMetal The tapes you want are mailed and killed to you at the regular Club price of $7.95 (occasional Original Cast recordings somewhat A 9058. Most 9028. Love 9022. Also: Go Away 9031. truly defin- exciting Also: for higher), plus a small mailing and handling charge. Little Girl, Up on itive cross -section of and thrilling of all Sale, Candy Kisses, The Roof, etc. the great combos Beethoven concertos Marry Young, etc. SEND NO MONEY -- Just mail the coupon today to receive your four pre -recorded 4 -track stereo tapes - ALL FOUR for only $5.98! REX HARRISON TCHAIKOVSKY GREAT PICTURE THEMES JULIE ANDREWS MY FAIR LADY Symphony No. 5 IMPORTANT NOTE: All tapes offered by the Club must be played on LEONARD BERNSTEIN -back equipment. If your tape recorder does not EXODUS 4 -track stereo play NEW YORK PHILHARMONIC play 4 -track stereo tapes, you may be able to convert it simply and NEVER ON SUNDAY ORIGINAL economically. See your local service dealer for complete details. ? CAST THE APARTMENT Ì \ RECORDING plus 13 more COLUMBIA STEREO TAPE CLUB Terre Haute, Ind. ç,l.s.,, SEND NO MONEY-mail coupon to receive 4 tapes for $5.98 9030. Also: Smile, 9001. The best -sell- 9009. Ebb Tide, The 9057. "A wholly per - Some Like It Hot, ing Original Cast re- Breeze and I, Sleepy suasive perform - Magnificent 7, etc. cording of all time Lagoon, 12 in all ance!" -N. Y. Times COLUMBIA STEREO TAPE CLUB, Dept. 423-4 SEND ME Terre Haute, Indiana THESE FOUR I accept your special offer and have written TAPES TWIN- Ray Conniff Singers THE in the boxes at the right the numbers of the MESSIAH BLUE (fill in numbers MUCH 4 tapes I would like to receive for $5,9R. plus PACK SO DANUBE a small mailing and handling charge. I will below) EUGENE IN my reel Equivalent A Johann also receive self- threading - FREE! ORMANDY LOVE Enroll me in the following Division of the To Two Strauss Club: The Philadelphia Festival Orchestra Selections CLASSICAL POPULAR THE MORMON TABERNACLE I understand that I may select tapes from CHOIR either Diri,sion. I agree to purchase five se- IcoLUmulw] PHILADELPHIA ORCN. ORMANDY lections from the more than 150 to be of- fered in the coming 12 months. at the regu- 9044.9045. Two -Tape Set (Counts As Two 9008. Chances Are, 9042. "Performances lar Club price plus a small mailing and han- if I decide to con- Selections.) "Zestful . a powerful, vital Just Walking in The that really sparkle dling charge. Thereafter. and glow. " -High Fid. tinue my membership. I am to receive a statement!" -HiFi /Ste reo Review Rain, 12 in all 4- track. pre- recorded tape of my choice FREE for every two additional selections I THE NEW CHRISTY MINSTRELS MARY MARTIN in accept. A FESTIVAL OF MARCHES FIRST TIME! with RANDY SPARKS RODGERS A HAMMERSTEIN'S DUKE ELLINGTON This Land Is Your Land THE MUSIC March of the Toreadors MEETS SOUND of Nine Hundred Miles Name American Saluta COUNT BASIE 12 MORE EassEX5o (PLEASE PAINT) Stars and Stripes Forever Meadowlands lcoLtimarAl 9 more Address PHILADELPHIA ORCH. ORMANDY City Zone... .State 9059. "Abundance of 9024. "Walloping en- 9007. Also: Railroad 9002. A show that's This offer is available only within pulsing rhythms. sembles and stirring Bill, Cotton Pickers' "perfectly wonder - " - the continental limits of the U.S. T3 St. Louis Globe Dem. solos. -High Fid. Song, Whistle, etc. ful! " -Ed Sullivan J m Col umh in Records pistributIon Corp., 19e4 CIRCLE 22 ON READER -SERVICE CARD FEBRUARY 1964 9 www.americanradiohistory.com 2. I felt 1. I used to think people looked down suppressed, repressed, depressed 3. Clyde was my friend. I admired him. incapable of on me, even my wife. I felt like one of ... greatness. He was big, strong, capable. I said those husbands on TV. "Clyde ... what's new ? " -everything was always new with Clyde.

I 7. ran ... slowly to my neighbor- 8. So I did I ... it ... bought my Scottkit 9. I opened the kit. I started reading hood hifi dealer. He was like Clyde ... and took it home ... wrapped in plain the instruction book ...I began to feel confident. "Of course you can build a brown paper. I went up to the attic and confident. "Me! ", I exclaimed. "Me, Scottkit," he said. "You'll have fun locked the door. building a Scottkit!" A sense of power ... save money ... gain knowledge and crept upon me. skill ... and get professional results.

13. I listened. I was Clyde -like in my pride. 14. "I built my own Scott hifi amplifier!" 15. "I strongly recommend Scottkits. They I said aloud, "That's great!" "What's I said, gaining confidence as I listened. give you self assurance ...pride ... and all the enthusiam ?" my wife asked as she "And what's more, I'm going to build a they're fun. And besides, they give you the climbed the stairs. "Are you reading Scott tuner next week!" Music soothes world's most reliable, best -sounding stereo! Playboy ?" the savage beast ... and my wife looked 'up at me with awe.

CIRCLE 100 ON READER -SERVICE CARD 10 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com r.. _. .,... .. 11,!i,' nulwllm 1111ñüÌlïlïinllnd -'

4. Clyde said, "I'm proud." He didn't have to, 5. I said, "What kind is it ?" "A Scottkit," 6. "Gosh," I said, " Do you think

he always was. He said, "I just built my own he answered. I shouldn't have asked. could ?" Clyde smiled confidently. "Sure," hifi." Without a moment's hesitation (Clyde Clyde never does anything halfway. he said, "Sure... you cart build a Scott - he never hesitated) played it for me. It sounded kit." I felt all choked up ... Clyde had great. shown confidence in me!

10. I went right ahead. The book said "go slow, 11. The next page, B -7, had all kinds of 12. I kept going. The hours slid by . . .

read completely and carefully .. . have fun." black, orange, purple and gold blobs. I and I was finished. I was nervous as I I always do what I'm told. So I turned to the first got nervous. The colors were so vibrant. plugged in my Scottkit ... but with me diagram slowly. Everything was in Technicolor. But the book said to pick up Part -Chart nervousness was natural. This was my

I could see by color which wire to use. It was B -7. And suddenly everything became moment of truth. I turned it on. It worked! no harder than falling off a log ... which I had clear. The first part on the card was the done well as a child. one needed in the first direction on the page ... the one that went with the purple

blob. I was connecting a CC -680! I began to feel like Clyde... confident... assured!

16. You, too, can get profes- sional results and save money by building your own Scottkit. Why not visit your neighbor- hood hifi dealer and have him show you the full line of seven Scott tuner and amplifier kits, or, if you want a copy of the new 24 page Scott catalog, write: H. H. Scott, Inc., Dept. 226 -02, 111 Powdermill Road, Maynard, Mass.

Export: Morhan Exporting Corp., 458 Broadway, N. Y. C. Canada: Atlas Radio Corp., 50 Wingald Ave., Toronto CIRCLE 100 ON READER -SERVICE CARD FEBRUARY 1964 11

www.americanradiohistory.com Cool Water for Schoenberg

WHEN OTHER TAPES HAVE RUN OUT ... SIR: Since ignorance and passion seem to ignite so often at the mention of Arnold Schoenberg's name, please permit me to pour cool factual water on a letter from Steven R. Simels [ "Letters," November 1963]. In attacking Peter Heyworth's excellent article on Schoenberg [August 1963], he states: "Berg's Wozzeck, for example, is as twelve -tonal as anything written in the past sixty years, and it is popular none- theless." For the record, Wozzeck was written between 1914 and 1920 and thus completed three years before Schoen - berg's first twelve -tone compositions. Aside from this chronological factor, it is not a twelve -tone composition and no knowledgeable musician has ever claimed it was. Berg's first flirtations with this technique appear in the Kammerkonzert and the Lyric Suite, which came six years after Wozzeck. Further, Mr. Simels attributes Schoen - berg's neglect to "the paucity of ideas that Schoenberg's serialism only partially conceals." Anyone who has looked at a AMERICAN'S "PROFESSIONAL LENGTH" Schoenberg score knows that one of his pages often provides more ideas than many composers have in an entire sym- STILL HAS 25% MORE ON THE REEL phony. Indeed, part of the problem with Schoenberg's music is that most listeners Only American's Revolutionary New are not yet able to handle so many ideas at once. Four- and six -part polyphony is "Professional Length" Tapes offer not an easy thing for the casual listener, whether it is written by Bach or by up to 25% more tape and 25% Schoenberg. But "paucity" is very funny. John McClure more playing time on the standard Valhalla, N.Y.

7" reel. Available in 1500', 2000', SIR: Steven R. Simels says I am wrong to 3000° and 3600' reels at little or no suggest that Schoenberg's lack of popular acceptance stems from controversy over more than you would pay for other the twelve -tone system, because "Berg's Wozzeck, for example, is as twelve -tonal leading brands in standard lengths. as anything written in the past sixty It isn't, and the simple See your dealer or write to: years." for reason that it isn't "twelve- tonal" at all. In any case, Mr. Simels has missed ELECTRONICS 291 S. LA CIENEGA BOULEVARD the main point of my article. Perhaps GREENTREE BEVERLY HILLS, CALIFORNIA Continued on page 16 CIRCLE 40 OH READER -SERVICE CARD 12 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the one outstanding feature is that it has them all

6 nP Of *If,

o1 NIXING ZERO mL-+Il ü-l 2Ella

New Benjamin -Truvox PD -100

The Truvox PD -100 is a new 4- track, stereo cathode- follower outputs c transistor pre - and here are some hints of the quality tape deck with built -in 'record', 'playback' amps for monitoring record' q uality with low - you can expect: a frequency response: 30 and 'monitor' preamplifiers. It is so complete impedance headphones direct y from tape. to 20,000 cycles at 71/2 ips; 30 to 12,000 in every detail, no one feature or facility o 2 VU db -col brcted metcrs o 4 -digit at 33/4; and 50 to 8,000 at 17/8; ±3 db can be said to dominate. It has them all. co inter w.th automatic zero -reset button O wow and flutter: less than 0.1 % at 71/2 0.25°ó at 17/e. A remarkable example of British through - o stop -star' cueing button a : ;elf- adjusting ips; 0.15% at 33/4; and ness in audio equipment design! instantaneous 'step' brake. c 'inged -cover o signal /noise ratio: better than 50 db giving access to tope heads with con- o channel separation: better than 55 db Whether you judge this unit by these feat- venient spl cing guide -plate built in o auto- ures or by the quality of its performance, Dimensions of the PD -100: 141/4" wide x matic end -of -plcy and tape break 'shut -off' there is only one conclusion you will reach: 152/8" deep x 7" high. Price is $399.50 (less O patented 'hubloc' spirales hold reels the PD -l00 stands squarely with the finest base). At your high fidelity dealer, or write: securely when opera-ed vertically o func- professional tape units available today. tion signal lights. BENJAMIN ELECTRONIC SOUND CORP. features: o operates vertically or hori- recording versatility: o off--he-air tapes of 80 Swaim Street, Westbury, New York Conado: Transwave Electronics Co.,Ltd., Torontd 'zontally o 3 speeds: 71/2, 33/4 and 1 ips FM- multiplex. mono radio or TV programs o 3 heads: 'erase', 'record', and 'playback' o stereo and mono tapes floor your favorte r o 3 motors: including Papst 'squirrel -cage' records for unlimited playback without wear BENJAMIN motor for capstan drive o 61/2 -inch capstan to your records and stylus o sound -on- flywheel o 'record -playback' preamps with sound a echo, fade and mixed nput effects. -ri uv x CIRCLE 14 ON READER- SERVICE CARD

www.americanradiohistory.com THIS IS NOT A REFINEMENT

Mr. Peter Pritchard, Presiden- anc Chief Design Engineer, Audio Dynamics Corporation.

www.americanradiohistory.com Can a new magnetic cartridge be that differ- in turn, move a heavy magnet or set of coils. ent? The ADC Point Four Stereo Cartridge The The Point Four stylus is mounted at one end is. It embodies a concept sufficiently unique of the desired aluminum tube - but the to establish a new type of playback head. other end extends into a light armature of We call the Point Four an "Induced Magnet Induced soft, magnetically permeable, iron tubing. Transducer ". But that is not the only reason A heavy magnet is on the premises, but it for putting it in a class by itself. We also Magnet has no physical connection with the moving believe it to be the most advanced cartridge system. It is completely outside the cartridge available anywhere today. Transducer body. In fact, it is mounted on the easily Although there are many "magnetic" car- replaceable stylus assembly, and positioned tridges, the term embraces a wide variety of to induce high density of magnetic flux in variable reluctance, moving coil, moving magnet, and mov- the armature. The efficiency of this method actually assists ing iron designs. Each is a distinct type, with advantages in permitting armature weight to be reduced. and disadvantages unto itself. Much hard thinking has gone The end of the pivoted armature away from the stylus is into ways of wedding the virtues while skirting the draw- near the pole pieces of the pickup coils, with the coils being backs. The result, in this case, was something more than the well back into the cartridge. The remote position of the best balance of compromises and reconciliations. The magnet with respect to the main structure, including the "Induced Magnet Transducer," in achieving new and coils, ensures freedom from saturation and hysteresis dis- impressive goals, goes about the business of reaching them tortion - serious effects that are beyond control by con- in its own way. ventional shielding. The cold specifications are here. Proof of what The physical configuration of the stylus assembly they mean is up to your own ears. Some of the yields another important advantage. With the points, however, to which we'd like to call pivot point brought close to the record surface, special attention are the significantly reduced obtaining the now established tracking angle mass of the moving system, the optimum of 15° is no problem. This requirement may tracking angle of 15°, the extremely low seem simpler than it is, at first. But the pivot distortion, and the high compliance. point of the stylus assembly is often high As to the mass, let's remember that the above the surface, because the assembly first duty of the stylus is to track the shape must move something well up into the "guts" of the recorded groove as accurately as pos- of the cartridge. It is well understood that the sible. To the extent that it falls short here, we most important factor in the tracking of a tone cannot have complete fidelity. Unfortunately, to arm is the location of its pivot point. The analogy finish its job, the stylus must also push a load that holds true for the pivot of a stylus arm, as well. will ultimately produce an electrical signal. Whatever the Its angle of vertical motion is not the only feature of the load - it may be a magnet, a set of coils, or a bit of iron or stylus. We use a nude diamond, which we grind and polish steel - it has mass. And this mass must inhibit the freedom to a radius of .0004 inch. We have found this radius opti- of the stylus to track the groove. Mass of the moving system mum for all modern recordings, both mono and stereo. in the Point Four is reduced to half or less that of systems On the practical side, the stylus assembly is exceptionally previously regarded as low -mass designs. easy and convenient to replace. The stylus itself is retract- How was this done? Consider the usual load on the stylus. able to protect itself and your valuable records. As to the Sometimes the cantilever or stylus arm is itself the heavy, quality of the sound, we have already said that it is up to you steel armature that must be moved. Sometimes the arm is a and your ears. We can only hope that you try it with equip- desirably light, aluminum tube - which must nevertheless, ment that will do it justice. 3 5

/ \8 5 9 2 1. Coils 2. Pole pieces \ 8 9 ADC Point Four Specifications 3. Mu -metal shield Type Induced Magnet Sensitivity 5 my at 5.5 cm /sec 4. Stylus assembly recorded velocity _... cps 5. Magnet Channel Separation 30 db, 50 to 8,000 Frequency Response _ 10 to 20,000 cps rt 2 db 6. Armature Stylus Tip Radius .0004 inch Vertical Tracking Angle _. 150 7. Pivot Tracking Force Range 0/ to 1% grams block IM Distortion Less than 1%, 400 and 4,000 cps at 14.3 cm /sec 8. Stylus velocity 9. Aluminum Minimum Compliance Vertical and Horizontal 30 n 10-6 cm /dyne cantilever tube Price ...... 550.00

TAUDIO DYNAMICS CORPORATIOr PICKETT DISTRICT ROAD. NEW MILFORD. CONNECTICUT

CIRCLE 9 ON READER -SERVICE CARD

www.americanradiohistory.com LETTERS

Continued from page 12

this is my fault; but I certainly did not mean to give an impression that the theoretical disputes that have surrounded twelve -note music since its first appear- ance in the early Twenties (why does Mr. Simels attach importance to the quite irrelevant figure of sixty years ?) was the mar reason for the failure of Schoen - berg's music to win popular acceptance. Its innate complexity and the composer's historical position, spanning two epochs, are, as I thought I had made abundantly plain, far more crucial factors. Peter Hevuorth London, England

Genesis, Giants, and Pygmies

SIR: Reviewing the Robert Craft recording of Schoenberg's Prelude to Genesis [Decem- ber 1963], Alfred Frankenstein reports that when this musical symposium came to performance, the prelude "was switched to the end and played as a postlude." This may have been true at some per- formances, but not, as I remember, at the premiere in Los Angeles on Novem- ber 18, 1945. As a symposium of seven pieces by seven composers, Genesis was doomed to be an artistic failure. But Mr. Frank- enstein is most ungenerous when he says that Nathaniel Shilkret, the film corn - poser, commissioned the work in order "to buy his way into good company." If he "bought in," then six other com- posers "sold out." This kind of slanted language places the whole transaction on the wrong level. All the composers knew who their colleagues were to be, and they accepted the conditions of the com- mission for the two best reasons in the world: (1) they wanted to compose, and (2) they wanted to be paid for com- posing. If Genesis should be revived in the old try this with any Werner Janssen recording, a whole new other cartridge generation of listeners would discover (at your own risk) what some of us knew twenty years ago -that, in the company of Schoenberg and Stravinsky, Here's another reason why the Velocitone Mark IV is the finest cartridge you can Nathaniel Shilkret was select for your record playing system - added protection against stylus damage. by no means the only pygmy. No sur- prise, however -for who remembers Bee- The Velocitone Mark IV incorporates a major new development in stylus design, the thoven's fifty colleagues in the little sym- Sono -Flex®. This new assembly grips the stylus shank in a resilient butyl rubber posium conducted by Diabelli a century mount. This means you can flex the stylus shank in a 360 -degree orbit without and a half ago? breaking it - pluck it, flick it, bend it, bump it - it will spring back and perform Lawrence Morton as good as new. Los Angeles, Calif. Moreover, the Sono -Flex increases the performance capability of the Mark IV by Old Heifetz, New Mastering providing higher compliance, wider and flatter frequency response, lower IM distor- tion - longer stylus and record life. SIR: The Mark IV, newest in the Velocitone series, comes with the new Sono -Flex stylus. R. D. Darrell's reviews of Heifetz's Bee- However, if you are one of the many of thousands of music lovers now using any car- thoven and Brahms violin concertos tridge in the Velocitone Series, you can replace your stylus easily with the new [December 1963] state that these are re- Sono -Flex. You'll not only notice the marked improvement in performance, you'll makes of the earlier 1955 -56 recordings. enjoy added protection against stylus damage. The Mark IV with dual diamond styli, According to all of the recent RCA ad- $24.25; diamond /sapphire, $20.25. At high fidelity dealers everywhere. vertising blurbs, the new releases are still the original recordings, reissued and re- packaged as a special Heifetz promo- SONOTONE CORPORATION Electronic Applications Division Elmsford, New York tional series. If this is so, one wonders In Canada: Atlas Radio Corp., Ltd., Toronto cartridges speakers microphones tape heads hearing aids headphones Continued on page 18 CIRCLE 80 ON READER -SERVICE CARD 16 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com To provide for all reasonable require- ments a control unit needs a certain minimum number of controls. It is essential, however, that their function and purpose are immediately obvious. Every control on the QUAD 22 fills a basic and essential purpose, and moreover its caption indicates exactly what it does.

TWA for the closest approach to the original sound

DEALERS ONLY. Specialist high fidelity dealers with demonstration and service facilities are still required in several areas for appointment as QUAD agents. Write for details of this interesting scheme.

Write for an illustrated leaflet and the name of your nearest QUAD dealer, to The Acoustical Manufacturing Company Limited, Huntingdon, England.

CIRCLE 3 ON READER -SERVICE CARD 17 FEBRUARY 1964

www.americanradiohistory.com Choose Mylar LETTERS Professional Quality Continued from page 16 or Acetate how your reviewer finds the "newer' edition "less tense, more resilient, more luminously poetic...." TARZIAN Alex M. Klein Montclair, N. J

R. D. Darrell replies: "Mea culpa! 1 blun- TAPE dered egregiously. Yet in pleading guilty 1 mast point out that when 1 directly compared the new 4 -track and the nl l 2- track versions the marked aural differ- ences convinced me that something new was at heard. The 4- track sound li »s a much smoother spread than the original, is generally much lighter and brighter in texture (with the former tubbiness elimi- nated), and even seems to have warmer acoustical ambiences. So evident are the .sonic improvements that they bewitched me into thinking that even the perform- ances were more vital, vibrant, and elo- quent. For whatever consolation it n' he, I've certainly proved to myself that the influence wielded by a reëditing engi- neer can be quite as potent as that of the original recording director."

Bachauer Not the First

SIR: Shirley Fleming errs when she gives Gina Bachauer credit for being the first ENGINEERED woman to record Stravinsky's Pítrouchka Suite [November 1963]. There was a for highest fidelity magnificent recording of the work on an old Haydn Society LP by Marcelle l\TcI er. Tarzian Tape won't turn up its nose at Leslie Gerber High Output -can accept signals any recording job you care to Brooklyn, N. Y. with give it. dynamic range to realize the Some manufacturers claim that their full potential of even the finest On Behalf of Victor Cousin professional equipment. "premium" tapes are so good that you shouldn't use them for your Wide -Range Response -virtually fun activi- SIR: ties, but only for the greatest flat response for all recording fre- music. I wish to compliment you on the c ccl- quencies. Why should you pay premium prices lent and most revealing article on Erik to have Low Distortion- distortion is less someone tell you what you Satie by Everett Helm in your fine maga- than 24% at maximum record level should record? Tarzian Tape gives you zine [December 1963]. I feel, however, as measured by Navy Specifica- unsurpassed quality at a price that that Mr. Helm unnecessarily and wrongly tion W -T -0061. slipped makes it excellent for any recording ses- in calling Victor Cousin "an un- important writer." The fact of the matter High Uniformity -uniformity with- sion -from children's birthday parties to is that Victor Cousin was a philosopher in a 1200 -foot reel is within plus the latest version of Beethoven's Ninth. or minus''/, db. A new and scientist of the greatest importance. oxide for- As long as mula and special selectivity of you have the practical good recognized as such not only by his con- oxides protect recording heads sense to avoid damaging your recorder temporaries but also by the thankful from wear and prevent abrasion. with cheap "white box" and "special" community of Paris which named a street Humidity and Temperature Pro- tape, but you don't want to pay premium after him. tection- special coating, prim- prices for a fancy box, come along with Erwin .Silhnr ing, and binding techniques help Tarzian. In case your local hi -fi or photo- Lyndhurst, O. keep Tarzian tape in new condi- graphic equipment dealer tion longer in ordinary good tape cannot supply In Tune with Partch storage conditions. you, send us his name and we'll see that your requirements are supplied SIR: Complete Line -choose from l'A promptly. 1 We would like to and -mil acetate, or 1 -mil and 4,- thank you for intro- mil tensilized Mylar tape on 3, Meanwhile, send for a free copy of ducing us to the music of Harry P rich 3'/ 5, and 7 -inch reels; lengths Tarzian's illustrated 32 -page booklet, by way of Peter Yates's article [July from 150 feet to 2400 feet for every "Lower the Cost of Fun With Tape 1963]. Not for several years have we recording application. discovered new music that we have Recording." It's full of tips to make your en- tapes more enjoyable joyed as much. Partch's music is not and more valuable. difficult to get used to. Our children, ages five and six, have been requesting Castor and Pollux and Ring Around the SARKES TARZIAN Inc. Moon almost daily. The only drawback to elWorld's Leading Manufacturers of TV and FM Tuners Closed Circuit TV Systems Broadcast too much Partch is that afterwards every- Equipment Air Trimmers FM Radios Magnetic Recording Tape Semiconductor Devices one else sounds slightly MAGNETIC out of tune. TAPE DIVISION BLOOMINGTON, INDIANA Donald M-'tte.son Export: Ad Auriema, Inc., N.Y. Canada: E. J. Piggott Enterprises Ltd., Toronto, Ont. Pullman, Wash. CIRCLE 60 ON READER -SERVICE CARD 18 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com right amount of damping The JBL Energizer /Transducer raises audio - with exactly the home high fidelity reproduction to a degree of perfection and pre- NOW! at all frequencies. No other cision never before available to the home listen- equipment can give you these results. er. You hear music re- created in all its detail, ALL ARE The JBL Energizer is a stereophonic all- solid- rich and splendid, life size, without hum or dis- state device of scientific -instrument quality. tortion. The Energizer /Transducer sets new Devoid of microphonics, generating negligible standards for fully controlled bass, completely AVAILABLE heat, it can be mounted within an acoustical highs, and realistic mid- range, immaculate enclosure. All JBL loudspeaker systems are transient reproduction without equal. SELF - available as Energizer /Transducers. The JBL An Energizer /Transducer has its own source you now own can be made of power: the Energizer. The Energizer is ex- loudspeaker system actly matched to the specific loudspeaker-and - ENERGIZED into an Energizer /Transducer. When ordering enclosure system in which it is used. Energizer and trans- your matched Energizer, you need only provide your ducer are engineered as a unit. Given a flat, pure signal Audio Specialist with the complete model number of your from a preamplifier, the Energizer /Transducer delivers system. Write for your free copy of the new Energizer/ sound that is perfectly flat and pure - an exact replica Transducer six -page brochure.

James B. Lansing Sound. Inc., L A. 3a 0 CIRCLE 49 ON READER -SERVICE CARD 19 FEBRUARY 1964

www.americanradiohistory.com ifit Infosli PROMISES YOU

In every specification McIntosh makes a solemn promise. For 15 years McIntosh has made and kept such promises to you. We have guaranteed to equal or exceed our published specifications or refund our advertised price. McIntosh specifications hide no tricky evasions. For example. you need not fear fine print subtly limiting the specifications of our stereo amplifiers to one channel at a time.

Nor will you find that McIntosh amplifiers are limited to 15 seconds at full treble power as are some of today's transistor amplifiers. You will not be oversold by McIntosh exaggerating the importance of square wave response or useless extension of high- frequency response.

The promise to you in McIntosh specifications is not based on a single "LAB

MODEL." The maximum realizable performance of a McIntosh instrument is well above the written McIntosh specifications.

For example, our MC 240 Stereo Amplifier which is rated at 40 watts per channel, both channels at the same time, will actually deliver 50 watts 20 cycles to 20,000 cycles at less than % of 1% harmonic distortion. There is no other commercial audio amplifier with this margin of performance above specifications coupled with such low power dissipation in its output tubes as the McIntosh MC 240.

if you want stereo amplifiers and tuners in your home that give life -like pleasing sound, you can trust McIntosh to fulfill its promise to you.

nfo LABORATORY INC. 2 CHAMBERS STREET. BINGHAMTON. N. Y.

Phone -Area Code 607.723 -5491 Zip Code ,13903 CIRCLE 51 ON READER -SERVICE CARD www.americanradiohistory.com any, ac ) is obsolete today if it can't ...

track with today's start and stop change records finest cartridges automatically... when desired... 1 ...at 1 gram or less 2 at 1 gram or less 3 at 1 gram or less The fidelity of record reproduction The human hand is at best a crude The quality gap between the record and the actual life of records depend device for placing a mere 1 gram changer and the manual turntable

essentially upon cartridge compliance weight on a record . . . and lift- has been steadily narrowed, but ... the freedom of the stylus in trac- ing it at the end. Existing automatic never completely closed ... until ing the contours of the grooves. Car- mechanisms, even in the better record now. For the convenience of unin- tridges have been constantly refined changers, require heavy tripping terrupted music, performance had to until today's finest high compliance forces . . . heavier than actually to be compromised. Some die -hards models can track between 1/2 and 11/2 needed for tracking. With the Dual have bridged the gap by buying a grams. At such light forces, the sty- 1009, this problem no longer exists. changer and a turntable. This is no lus can respond instantaneously, sen- The Dual's revolutionary new free - longer necessary. The identical cali- sitively and with a minimum of suspension trip switch operates even ber of performance in the Dual's resistance to the most abrupt attacks below 1/2 gram! This accomplish- single play turntable mode is matched and stops. High frequencies, peaks ment alone establishes the Dual 1009 in its changer operation. For ex- and transients are handled cleanly, as a state -of- the -art record playing ample, even with ten records on the effortlessly and accurately. Under 2 instrument. But along with it come platter, stylus force increases less grams, the stylus ceases to be a factor other important advances: tracking than 0.2 gram. Vertical tracking angle in record wear. Used in previously error below 0.4° /inch ... tonearm increases less than 6° ... even less designed automatic tonearms, such resonance below 8 cps ...anti-skating than variations from cartridge to cartridges either skip and distort or compensation for 1 gram tracking cartridge! And the Dual 1009 has no just don't function at all. They can and below. Oh yes, you can antiquated pusher platforms or operate properly only in tonearms start manually too, while overhead swinging with perfect dynamic balance, low the record is rotating or devices. over -all mass and virtually friction- at standstill. less movement in both horizontal and vertical planes. A tonearm of this professional caliber has been designed for the Dual 1009.

Only the Dua1 1009 Auto /Professional offers all... plus Write for complete reprints of perfect pitch for critical ears, with 6% variable speed sensational equipment reviews. Better yet, see the Dual 1009 adjust ... newly designed, utterly silent Dual Continuous - at your United Audio dealer. Pole" motor maintains speed accuracy within 0.1% when line voltage varies even beyond 10% ... feather -touch slide switches permit soft -sprung footings that isolate chassis from shock and UNITED AUDIO DUAL acoustic feedback ... 71/2 pound dynamically balanced platter ... 12 West 18th St New York 11, N. Y. fine -thread damped counterweight. An extraordinary value at $94.75.

CIRCLE 30 ON READER -SERVICE CARD FEBRUARY 1964 21

www.americanradiohistory.com BRAND NEW

NO1ÎS ouiQOM CORRTSPON I*'F11s

For his latest oper- During 101 Puts your components on the wall where they may the late 1950s he conducted in be enjoyed so conveniently. A refreshing new approach atic -aria sessions at Italy -on the La Scala and Santa Cecilia to express your individuality. Offers a thousand and LONDON Kingsway Hall. Boris podiums, among others -after training One decorative possibilities. Complete with equipment Christoff enclosure, record made his at the Cracow and Leningrad conserva- shelf, custom panel and concealed bow vtall supports. Finished in Oiled Walnut $69.50 in a smartly tories and after serving with the Lenin- tailored gray suit, grad Philharmonic Orchestra under the looking every inch the wing of Eugene Mravinsky. For three cosmopolitan businessman. This I found years he was head of the Bolshoi Theatre an agreeable change from the beach orchestra. then. in 1959, returned to slacks, sunglasses, and crew -neck jerseys Poland as chief conductor and director which commonly infect recording studios of the Warsaw Opera. nowadays. On the part of those who had not previously worked with the celebrated Sinfonia Domestica. Bulgarian basso, there were the usual In Decca- London's big studio at West unvoiced questions as to whether Hampstead. the Lon- he don would prove craggily temperamental, Symphony Orchestra tuned up for sessions would be terribly hard to please. would under Pierre Monteux. They were down for the break off and sit despairingly, head in second (D major) flute concerto of Mozart, Bach's hands. . . . second orchestral suite, and Gluck's Dance of the Blessed Spirits. Imperial Ambience. Nothing of the sort. That ebullient and in- comparable extrovert Doris Monteux, Tests, rehearsals, takes, playbacks, and the 303 Award winning design created for "Shelf Speak- Maestro's third wife ("I am the Eroico," ers." Placé your shelf speakers at each end and in- retakes succeeded each other blandly, to stantly she explains), sat alongside. On her lap a beautiful Stereo Music Center is created. Has the accompaniment of mutual beams and djustable component was a gros point cover. three shelves, sliding changer/turn- congratulatory murmurs. Only once was parts fin- -fable pull -out shelf and place for hundreds of records ished, with design of drums, garlands, and tape deck, too. Christoff exigent. Contrary to usage in Over six feet long. $109.50 hautbois. and manuscript scrolls. such cases, he insisted on the full orches- Her needles were unresting. The tral prelude to "Ella giannnai m'annì" cover was for a footstool to accompany the (Verdi's Don Carlo). Without the prel- big leather armchair in the Maestro's study ude. or with only a fragment of it. the at Hancock, Maine. listener does not, he argued, get the On came the Maestro proper tragic build -up. himself. He lifted his baton and winked. The orches- After "Ella ,Ciammai" came three other tra leaped to their feet as one man numbers -the Dream Scene from Verdi's and played not Mozart. or Bach, Attila, one of Agamemnon's arias from or Gluck but Happy Birthday to Yon. At its con- Gluck's Iphigenia in A tills, and Khan clusion Mme. Monteux put Konchak's big aria from Prince Igor. down her gros point, stepped forward. and made To this sequence is being added a "lift" a short speech: "Thank you so of the Death Scene from Christoff's his- much. I'm wondering what you'll toric Salle Wagram recording (1962) of do next year, when I shall be seventy." That was Boris Godanov. Planned by recording met by her husband's prompt rejoinder, director Peter Andry to exemplify the "We'll play it twice." (General laughter.) unique weight and authority which 404 Stunning equipment cabinet that features two After this, Mum (as the LSO men af- big pull -out drawers, one for Christoff brings to great regal roles. the changer /turntable, the fectionately refer to Mme. Monteux) other for hundreds of records or tape deck at your album is being released by HMV -Angel fingertips. Beautifully accented fronts in cane or match- handed round a box of Dutch liqueur ing veneers. under a splendidly apt general title of $99.50 chocolates, urging everybody to take the All Mr. Andry's own devising -"Tsars and are carefully crafted from genuine hardwoods and biggest ones in sight. "I like people who superbly finished Kings." to match every decor. See the com- are greedy." she said. "What I don't plete line at leading Hi Fi dealers or write for free The orchestra was the Royal Philhar- brochure. like is people who always say they monic. led by the young Polish conductor aren't Jerzy Semkow. whom Christoff "discov- hungry and ask for small helpings." ered" in Italy. Semkow's career, like that audio of certain other artists lately come to Filial View. In the Mozart concerto and rigiria,ls Dept. HF -2 prominence (among them the singer Nic- the Gluck item -as also in Happy Birth - olai Ghiaurov) is an interesting case of 474 S. MERIDIAN ST. INDIANAPOLIS 25. INDIANA Curtain -straddling and Soviet nursing. Continued on page 24 CIRCLE 11 ON READER -SERVICE CARD 22 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com fro,,, SERVICE...WITH A SMILE?

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iu the Ma1, 196 i IIiI'l/til('r(!Onsuw

HIt;II-FtDtLITY ,-I% iríttg is a headache for every- one for the rnattttl:tc toter. for the dealer. and roost of all. I,,, II:r cmmrur ßrtakdouuc Call rang troni case, of ,,,htlt (I1,Untion to the %ut,kt- hilln%5itrg cataatruph, i. it in .ttts of thew. the repair of tits r otttttxtrnt t not t ht ,nusittured rnmplitt until the unit muon., its otiv»nit %pet ifit estions. Gtttine. cut lo ct in( al servicing dos., cnnttt'uutls is a far i:zcet .tn,l problem than gettim. .1 uashitg machine hs.rt es ,11 is :tsIttt repair, .ori a probIttt these (Loss. : tsttn,it r. and oser torrs cotttplex... I hit. are Some poet .uttìun, an .tudi1,14111e t all take du t.til. shat can you do I too`% But then rotnp,ncttrs to h 11 then titi' furtrtional Iol of hi, %tien II' about i; ' It unlit unit fail. tuning Its t'arratty period 11111k),I.111t item proftr cettil.,tion i, ,o .ins ' ciat-. front pur - w' for faili,,, -ant..here front thins days tu tine ch. , b Inert ¡ng on tilt manufacturer twit' rett.ut

l'ctltap, the 1110,1 tent toit, tsanah(t rit suhi, h rr- :5 i, e is provided le : %, ou,tic Re,carrh. a,r (,itlrnut ch.ct art \R sin aket ss;thin fine sears it purchase tilt, -..end v, n pas, dripping charge, ono the 1.1, r,.15 Sotie (1e :rit%, artpli c . c prosid,. his is- sers ire itt the ,1,. 1, o, ,,5511 n-tr.rir ,Iwl,. or at ,t.-tse in a Itt,t ts.ut.ots ,tatiun

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I n 1961, on the basis of favorable field experience, we extended our original one -year speaker guarantee retroactively to five years. This guarantee covers parts. labor, and reimbursement of freight charges.*

The same guarantee conditions apply to the AR turntable, except that the guarantee period is one year.

We would differ with Mr. Berger on one minor point. We don't consider our guarantee conditions "generous," but fair to all concerned. And care in manufacture keeps our repair rate very low - for some models less than one per cent.

AR speakers are $89 to $225; AR turntables are $66 and $68 (5% higher in the West and Deep South). Literature is available on request.

'If a speaker is returned and found to have no defect the owner pays freight both ways, but no other charge is made. If a returned speaker is found to be defective because of gross abuse (such as plugging into the 110V outlet), the owner is charged for both repair and freight. Of speakers returned about 4% are without defect, and 7 are judged to have been subjected to abuse.

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CIRCLE 2 ON READER- SERVICE CARD

Flfltl(t'MO I 964

www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS

Continued from page 22

day -the flute solos were played by for- ty- three- year -old Claude Monteux, son of Pierre Monteux by his second mar- riage. Born in Boston and reared in France, Monteux the younger took up ec ords the flute at seventeen, and has been play- ing professionally since he came out of the United States Army in 1946. These Decca sessions were the first time he had played solo for his father. "But," he told me, "it isn't the first time I've played 111 eview under his baton. For three summers in a row. I acted as second -flute replacement in the New York Philharmonic at Lew - Annual "highly pleased . . . Fidelity isohn Eighth High Stadium-thirty concerts all told, The also the new improved new program every night, hardly any re- hearsal. I have played under many con- typography is a ductors. Playing under Pierre Monteux is -how shall I put it? Comfortable: welcome change." that's the word. You feel safe." W. D. Snodgrass The Maestro, now eighty -eight and no longer nippy on his feet, is completely of Texas. alert of mind and ear. To show the vio- lins how to phrase Gluck, he sang to them with an incisive, unquavery bari- tone. Having finished the LSO sessions, he started out on a widespread tour that was to take in five Amsterdam concerts with the Concertgebouw, a flip back to RECORDS IN REVIEW - 1963 Edition brings you in one convenient London for concerts with the Royal Phil- book hundreds of reviews of stereo and mono records which appeared harmonic Society and his LSO friends, in in High Fidelity Magazine in 1962 -classical and semiclassical music. three assignments Boston, and then Hamburg, Tel Aviv, Rome, Milan, Flor- This hardcover book will save you countless hours in your dealer's ence, Amsterdam again, London . . . CHARLES REID listening booth or earphone corner. And it will help you build a again. distinguished collection of music YOU enjoy, for it is the most complete and authoritative book of its kind -the standard reference work that Much to the amaze- con- gains in value as the years roll by. ment of everyone NEW YORK cerned, Angel's thir- Each reviewer stands high in his field- Nathan Broder, for example, teen- record set of the Beethoven piano sona- reviews Bach and Mozart, Alfred Frankenstein the moderns . . . Paul Haydn and tas played by Artur Affelder covers the romantics, Robert C. Marsh specializes in Schnabel very quickly L. writes on opera recordings. Forth- Beethoven . . . Conrad Osborne rose to the top of that company's best- rightly, they discuss the composition, performance and fidelity. And they seller list this winter. It was originally compare new discs with earlier ones. Over 500 pages. estimated that sales, with luck, might reach the 3,000 mark within the first You'll find the reviews organized alphabetically by composer for three months of release. In fact, some quick, easy reference -and in the case of composers frequently recorded, 10,000 copies of the set-that is, 130,000 further subdivided by such categories as Chamber Music, Vocal Music, records -have already been sold. etc. You'll find, too, a special section on Recitals and Miscellany. And No one could have been more grati- an index of 1300 artists. fied at this turn of events than Walter Legge, the veteran EMI recording di- And you may as well order, also, the earlier editions still available, rector, who -as a very junior employee some at a special price, as shown on the form below. thirty -odd years ago-had persuaded his company to record the complete Bee- thoven piano sonatas for release on a ------subscription basis. Mr. Legge happened to be visiting in this country at the THE WYETH PRESS, a Division of HIGH FIDELITY height of the recent Schnabel- Beethoven Name Publishing House, Great Barrington, Mass. 01230 sales boom, and over lunch in his New York hotel he reminisced about the gesta- 2 -64 Address tion of the project. "We were consider- Send me pospaid the books I enclose $ ing three pianists -Wilhelm Backhaus, checked. City Harold Bauer, and Artur Schnabel -and Records in Review 1963 Edition ....$5.95 I made it my business to hear each of Records in Review, 1962/61 Edition them in recital as close together as pos- $4.95 State & Zip Code Regularly $6.95. Now only sible. That was in 1931. The company al- Records in Review, 1959 Edition, Foreign orders sent at buyer's risk. Add ready had Backhaus under contract, but regularly $5.95. Now only $2.97 25s per book for shipping on foreign orders I found him discouragingly anonymous as you wish, a an interpreter- despite his enormous pi- Records in Review, 1958 Edition, except Canadian. If attach gift regularly $5.95. Now only 52.97 list. Continued on page 26

24 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com plays your precious records with a light, gentle touch

Whether you use your Miracord as a manual turntable, an auto- Incredibly quiet, smooth and gentle, the Miracord brings out the matic turntable or an automatic changer; whether you play best in your records with every play, and preserves that quality stereo mono; or you enjoy the same gentle quality, the sane for long- lasting enjoyment. flawless performance that has made Miracord first choice in the Before you choose a record player for finest consoles and component systems. your system, be sure to see and hear the Miracord at your high fidelity dealer. Model It is the only unit of its type obtainable with self -regulated, 10H with hysteresis motor, $99.50; model 10 with 4 -pole induc- constant -speed hysteresis motor, the only one with a one -piece, tion motor, $89.50 (less 12 -inch turntable and mass -balanced tone' arm employing no cartridge and base). For r E N)A M I N, springs, and the only one with feather -touch pushbutton controls. complete details, write to: MIRACORC) L J

BENJAMIN ELECTRONIC SOUND CORP., SO SWALM ST., WESTBUPt, LT SOLE U S L IYPIEUTCR FOE V °UCOPU T'ITPNTASTE5, www.americanradiohistory.comELAC CARTRIDGES AND OTHER ELECTROACHSTICS PECOPD PLAYING COMPONENTS. NOTES FROM OUR CORRESPONDENTS Continued from page 24

anistic skill -and because of this I voted against his selection. Bauer was a much more potent possibility. He had a high reputation as a Beethoven player and was in fact a very accomplished artist. But after hearing a couple of Schnabel recitals, I was convinced that he was the man to make our records, even though his reputation was then restricted mainly to Central Europe. The Schnabel idolatry really began after the records Does a appeared. I wonder what would have happened if we had chosen Bauer in- great loudspeaker stead ...." R.G. Straussian Sweeps. It was 10 p.m. when Lisa Della Casa sang the final note of a have to be recent New York recording session for RCA Victor, but the lateness of the hour and the chill setting in the deserted ball- loud? room of Webster Hall had not dimmed her enthusiasm for the composer to whom her newest disc will be devoted-. Richard Strauss. "I like singing Strauss best of all," she said as she gathered her scores from the music stand. "Even more than Mozart. But I do feel that it is very important to sing both -they are so diametrically opposed. Mozart's arias are built up- almost block on block - and each one becomes more and more difficult towards the end. For Mozart you must sing clearly and cleanly. But Strauss sweeps in with a long melodic line, with so much feeling that your heart goes right out of you and you are in danger of losing control." Miss Della Casa, known to opera au- diences all over the world and particu- Loudspeaker systems by EMI give you natural, undistorted larly for her portrayal of Mozart and low listening levels. Strauss heroines, explained that she found reproduction of music at high and operatic roles much less subject to varia- Crank up the volume and the EMI sound bursts forth in full tion in performance than art songs. "The concert -hall glory. Turn the music down to a whisper and way you feel affects a song so greatly. If you are in to the balance, the song will be there is still a live, robust, thoroughly realistic quality smooth and happy; if you are disturbed sound. in your personal life, that will put a dark Not many high fidelity speakers can accomplish that at shadow under the notes." Whether pre- paring opera roles or Lieder, however, it in models, of any price. EMI manages to do four different this soprano holds fast to one rule: she progressively greater complexity and sophistication, from never listens to recordings. "I really do $69.75 to $249.00.* not want to be influenced by anyone, in any way," have she said decisively, "even Visit your EMI dealer for a demonstration. You noth- though I may feel that another artist ing to lose except your illusions about other loudspeakers. can sing something better than I can. In singing a Strauss song, I try to go inside the poem. EMI(makers of The Dangerous Loudspeaker) That way it is my own." S.F.

As is true for many large -scale recording VIENNA sessions, the sequence in which a score is taped often is deter- mined by who's avail- able when. In the case of RCA Victor's Carmen sessions at the Sofiensaal here, work began with those parts of the opera that required the pres- exclusively from Scope Electronics Corporation (subsidiary of ence of Mirella Freni, the young Italian who has been much acclaimed Lynch Corporation), 235 East 42nd Street, New York, N.Y. 10017 soprano From left to right: the new Model 630, 569.75; the new Model 319, ¶99.75; the famous Model DLS -529, $159.00; the new Model 711A, 6249.00. All prices slightly higher in South & West. Continued on page 28 CIRCLE 61 ON READER -SERVICE CARD 26 HIGH FIDELITY MAGAZINE

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What makes a stereo receiver great? Performance, relia- bass response at low listening levels, stereo headphone, bility, versatility, simplicity of operation. The new Award rumble and scratch filters, separate bass and treble, tape TA7000X fulfills all these requirements! Here's how: monitor -you name it, the TA7000X has it! A distortion -free 70 watt stereo amplifier engineered An FM tuner offering extreme sensitivity, plus the to drive any speaker system made -and to provide unprece- unique STEREO LOGIC CIRCUIT. This is the exclusive solid state dented bandwidth! The frequency response of the TA7000X is device that literally thinks for you! It automatically switches 12-70,000 cps ±1 db. No other stereo receiver, regardless the tuner to stereo the instant a station begins to broadcast of price can even approach it! What makes the difference? A stereo! solid state power supply, plus massive, grain- oriented steel An AM tuner offering low- noise, wideband circuitry de- output transformers. By insuring the reproduction of fre- signed to make AM listening a totally new experience! quencies well beyond the normal range of hearing, phase Compare the new TA7000X to all other brands. From shift and transient distortion are reduced to negligible levels. input to output, this is the newest, most exciting receiver The result -flawless reproduction within the audible range on the market today. And the price is only $369.95 (slightly at all power levels! higher in the West.) Add speakers, a turntable or record A stereo preamplifier offering every control and facility changer, and your stereo system is complete! For complete you require, sensibly arranged and simple to operate. These specifications, write Dept. include: a blend control for perfect stereo regardless of HF -2, Harman -Kardon, kardon speaker placement or room acoustics; stereo contour to boost 1 'inc., Plainview, New York. A subsdhary of THE JERROLD CORPOPA%ION'

CIRCLE 42 ON READER -SERVICE CARD FEBRUARY 1964 27

www.americanradiohistory.com NOTES FROM NOW...FAMOUS FREEMAN OUR CORRESPONDENTS Continued from page 26

PROFESSIONAL RECORDERS at La Scala -and elsewhere -during re- cent seasons. Miss Freni had been as- Offer Studio Performancerance signed the part of Micaëla, but at an early date she was also due in Milan. where she was to sing in Donizetti's In Your Family Circle Elixir d'amure (together with Giuseppi di Stefano) and in Jean Vilar's new pro- duction of Le Nozze di Figaro. Fortu- easiest to operate... most fun to use nately, recording director John Culshaw was able to schedule proceedings so that she got off on time. Miss Freni, inci- 411-0 dentally, is so fond of the role of Micaëla that she even named her little daughter SOPHISTICATED! after Bizet's village girl.

Bue= w4 Only the Carmen at the Sofiensaal. Later sessions saw Leontyne Price and Franco Corelli FREEMAN "600" where so } on this stage many RCA Victor e Decca have , _ and -London opera recordings High Fidelity -Three Head been made. Miss Price. I might say, ' Stereophonic Recorder offers brought to Carmen (her first interpreta- tion of this role) a restraint which I per- these Professional Features: sonally found very attractive. The Seguidilla, for instance, is begun in a Automatic Shut -off subdued tone and only gradually rises as Don José would _- .r Hysteresis Synchronous Motor to the climax. Corelli also seem to he happily cast. Occasion- ' " . 3 -Head Professional Stereo design ally, this singer has been criticized for at the slightest 15 Watt Stereo Output "turning up the volume" excuse. When he arrived in Vienna some Dual Professional VU Meters time before the Carmen sessions started. A COMPLETE HOME MUSIC SYSTEM he intimated to the press that they might qualifies for School Use Audiophile Net $449.50 have a surprise in store. "You are going Available with Decorator C -246 Cabinet to hear quite a lot of piano and mezza- $99.50 optional extra voce singing from me." he said. Cer- tainly when he appeared at the opera house as Manrico in 11 Trovatore he kept his word. And what about Escamillo? Well, at MASTERPIECE! SENSATIONAL! the time of writing. the Vienna Philhar- monic, Herbert von Karajan. and most of the Carmen cast were still ensconced in the Sofiensaal. The Toreador. in the person of baritone Robert Merrill, was to arrive the next day. KURT BLAUKOPF

AT LAST! Studio Flying in from Bay- Performance Audiophile reuth last summer for a television recital from a Portable! Net $199.50 Audiophile Net $159.50 STOCKHOLM and a concert at the FREEMAN "660" SEN /OR FREEMAN "550" SEN /OR Tivoli open -air theatre A Professional Portable Tape Recorder to Tapes up to 2 hours. The finest lecture, in Stockholm, Birgit tape high fidelity anytime, anywhere. 3 report and conference recorder in the Nilsson also found speeds. VU Meter. Battery and AC power. world. Battery or AC power. time for her first recording session in Sweden since 1955. Decca-London had approached the singer some eight months Ask your Dealer to demonstrate this mag- The Distinguished9 FREEMAN "200" nificent Professional Stereo Tape Recorder earlier and had waited patiently for a break in her busy schedule. As it turned out. only four hours of Miss Nilsson's FREEMAN ELECTRONICS CORP., Dept. HF -2 time were needed for the taping of the 729 N. Highland Avenue, Los Angeles 38, California four numbers she recorded: Franck's In Canada: 1156 Beechwood Crescent, North Vancouver, B.C. Paris angelicas, the Bach -Gounod Ave 19 Le Royer St., W., Montreal 1, Que. Maria (sung in Latin), Gruber's Silent Please send me: International Office: I. D. Marshall International. 170 W. Washington St.. Chicago 2. III. Night, and Adams' O Holy Night (done Booklet containing ingenious suggestions on how to get the most from a tape recorder at work or both in Swedish and in English). The play. I enclose 254 (coin, stamps) for postage and handling. Name of nearest dealer. session was held in the Gustaf Vasa Information on: church, which boasts a Cavaillé -Coll Name Model 200 El Model DM -166 organ. This instrument can also be heard Model 600 Microphone Address on a Swedish Decca recording of works Model 550Sr. Model SEP -100 Model 660 Sr. Stereophones City Zone State by Handel, Campra, Gigout, and a num- I WHEN IN LOS ANGELES, BE SURE TO VISIT THE FREEMAN RECORDER SALON. 731 N. HIGHLAND / Continued on page 32 CIRCLE 38 ON READER -SERVICE CARD ?g HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 10"

20"

How can a speaker be this small and still sound like a Fisher?

Its far from easy. It requires a bona pounds, a flux density of 12,500 gauss that will satisfy even the most demand- fide advancement of the state of the art. and a totally new suspension system ing audio perfectionist. It can be un- And that's precisely what Fisher engi- utilizing a long -throw inverted half - hesitatingly recommended for all appli- neers have accomplished. roll surround. The free -air resonance cations where space is at a premium. The new Fisher XP -5 is the first is at 25 cps, an almost incredible figure Price, in oiled walnut, $54.50. In un- `compact' in the loudspeaker field that for an 8" driver. The completely en- finished birch, $49.50. (Slightly higher doesn't sound like one -in fact, as well closed baffle is heavily damped with in the Far West.) as in claim. Its bass is round and solid, AcoustiGlas packing. The result is FREE! Mail this coupon very close to that of the largest speaker fundamental bass response down to 34 for your free copy of the Fisher technical fact book- systems and free of artificial correctives cps, without doubling. let on speakers plus the like shaping networks that alter the The 21/2" tweeter has a new low - XP -5 technical fact sheet. bass output of the amplifier. Its treble mass cone made of a combination of Fisher Radio Corporation has a smooth, rich texture and a genu- the usual fibrous material plus a spe- 21-40 44th Drive ine `see -through' quality. It is the mil- cial polyurethane foam, resulting in Long Island City, N. Y. 11101 lennium: a moderately priced one - peak -free response out to 20,000 cps, Name cubic -foot speaker that sounds like a without coloration. The LC-type cross- Fisher ! over network uses low -loss air -core Address The most important part of the secret inductors. is in the woofer. This is an 8" unit with The Fisher XP -5 is without question LCity State 01710 1 a magnet structure weighing 21/2 the first loudspeaker system of its size

OVERSEAS RESIDER *S PLEASE wRITE TO EISNER RADIO INTERNATIONAL, INC., LONG IL,NN PITT, N. T. 11101 .+,ANIT 1 RESIDENTS WRITE TO TRI TEL ASSOCIATES, LTD., WILLOWDALE, ONT. CIRCLE 37 ON READER -SERVICE CARD FEBRUARY 1964 29

www.americanradiohistory.com if you're buying a turntable, read this:

from "An Introduction to Hi -Fi & Stereo" published by the Institute of High Fidelity:

"As far as the turntable is concerned, it must spin the record at precisely the right speed. Moreover, the speed mustn't waver; the turning rate must be rock -steady. The speed of a turntable should be constant within one percent. To avoid rumble, good turntables have all their rotating parts balanced carefully, machined to fine tolerances, and running on precision bearings ".

"Such manufacturing techniques don't come cheap, which explains why a quality turntable is worth its price ".

moral: Don't let price alone determine which turn- table you buy. Don't downgrade your entire system with an "automatic turntable" changer, that stacks records on the 'turntable.' Also, don't buy any turn- table just for performance today ... you'll lose the very quality for which you're buying hi- fidelity in the first place ... to give years of reliability as well as per- formance ... the transcription turntable is the only way to play a record properly. To be certain about playback quality, include this name in your system .

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If your dealer can not qualify for a Thorens Franchise -go to another one! ELPA MARKETING INDUSTRIES, INC., Dept. HF2, New Hyde Park, New York. CIRCLE 35 ON READER- SERVICE CARD 30 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS

Continued from page 28

ber of Swedish composers, played by the Gustaf Vasa's organist, Ake Leven.

Sweden's Busy Ladies. A recital disc from another internationally known Swedish singer, Elisabeth Söderström, will also be in the Stockholm shops ... ::': ::;'':: ;.1':;:'ï;+i;,.;:J::,;::ti. .:: .C'' s.,: $.:. f¡i Z. `.. this winter. Ever since her debut at the ytti;!¡¡V: y 1tr:w t (:M 1 1 t f i Royal Swedish Opera Miss Söderström V .:j 51"-i .~ . c has been a great favorite with local audi- ences, singing major roles in operas from \:;.: Gluck onwards (including all three lead- ... every time you capture the ing soprano parts in Der Rosenkaralier) magnificent world of full fidelity and establishing a considerable reputa- sound on tape. tion as a concert singer, particularly in Taped sound retains full fidelity even the modern repertoire. During the past few years she has also made frequent after hundreds of playbacks ... yours to appearances at the important music fes- enjoy always . . . on VIKING tape com- tivals abroad and for two seasons sang ponents, naturally. with the Metropolitan. It was in New York as a matter of fact that she re- A VIKING invests you with unlimited versatility to record live corded the program -sung in Norwegian, programs or off the air including F.M. multiplex, duplicate, French, German, and English -now put sound on sound and edit with perfect ease. being given a belated release here on the RCA Victor label. Among Miss Söderström's current plans are a visit Retto -matic 220 ultimate to the Bolshoi in Moscow and a projected performance with -tomorrow's recording of the Missa Solemnis, under features for discriminating Klemperer, in England. audiophiles and professionals only. Two - directional playback, quarter track stereo at two speeds. "Feather- touch" push buttons, remote control, 12 watt amplifier, simultaneous record /playback with 20 -25,- 000 cps frequency response. Independent channel controls, "luma- touch" record but- tons and illuminated VU meters. Photo electric run -out sensor, four heads, hyste- resis capstan motor plus two reel drive motors and digital counter. Superbly styled with stainless steel face plate this compact operates vertically or horizontally.

88 Stereo Compact-for con- noisseurs of the fine things in high fidelity stereo sound. Sweden's pretty pianist IC'ik.ctroni. Two speed tape recorder with choice of only of who half or quarter track stereo. Three new It's not singers, course, type hyperbolic heads -no more old fash- are enhancing this country's musical ioned pressure pads. New design amplifier reputation outside of Scandinavia. Pian- with excellent 30- 18,000 cps frequency re- ist Inger Wikström made so auspicious sponse, lets you monitor off the tape with an American debut last spring with a "A - B" comparison switch. Independent channel controls and VU meters, two mo- recital at Town Hall that this winter tors, record indicator light, counter, auto- she is embarking on an extensive tour matic tape shut -off. With its attractive, of the States. In spite of her youth, brushed aluminum face panel, the 88 Com- Miss Wikström (a pretty blonde, by the pact fits any installation for vertical or horizontal operation. way) is no stranger to foreign concert halls: she's been applauded in London and in various cities on the Continent. Put Command Performance ut your finger tips with VIKING After participating in the Spoleto Festi- tape components made by skilled American craftsmen. val this past summer, she interrupted - her vacation to record, for RCA Victor, Tape recorders, transports, cartridge players -even for your car or boat - some short pieces by Scarlatti, Schubert, at reputable high fidelity dealers most everywhere. Debussy, and Wilhelm Stenhammar. The disc is called "Capri Encores"-and in case the significance of that title eludes Your assurance you, it refers to the fact that Miss of Quality in Wikström has a particular penchant for -king OF MINNEAPOLIS, INC. Tape Components San Michele and makes a practice of 9600 Aldrich Avenue South, Minneapolis, Minnesota, 55420 spending a week or two there every year. FRANK HEDMAN CIRCLE 75 ON READER -SERVICE CARD 32 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com NEW FOR VIANNSC PERFECTION

Transistors have changed the idea that old - But no amount of words on paper can relate SPECIAL FEATURES Automatic reset circuit fashioned vacuum -tube amplifiers could not the somewhat startling audio revelation we breakers for over -current protection of each be appreciably improved. First proof of what had when we first listened to the 360A. The channel and AC line. Diffused keyboard illumi- transistors could really do came to us five sound of perfection is not easy to describe. nation plus daylight power indicator. Both years ago when we applied solid state circuitry May we suggest a trip to your nearest Altec headset and speaker monitoring for tape to specialized amplifiers for the telephone Distributor for a personal evaluation of this recording on front panel. Variable crossover industry, the military, and other commercial thing we call "transistor sound" (or perfection type bass tone control for bass boost inde- and professional users. This early experience if you will). pendent of mid -range. taught us that transistors had a revolution in store for future amplifier development; it was only a matter of time and a great deal of PERFECT PARTNERS experimentation before we could make a more NEW IN APPEARANCE, TOO! truly perfect amplifier available for studio The 360A is the first "keyboard" ampli- VIKV ACK, and serious home use. fier. Named for its unique musical- instru- Three years ago, at a time when most ampli- ment type front panel keyboard control fiers were of the vacuum -tube type, we mar- arrangement, the 360A offers operating keted our first all- transistor power amplifier convenience at one central front panel for VI,AYBACXC applications. Today, the 351B location, eliminating the universal objec- model is credited as the most advanced single - tion to a miscellany of switches. channel amplifier of its type in the professional field. Shortly after the 351, we introduced the now famous 708A "Astro" -the only all -in -one stereo center with all- transistor power output POWER 70 watts (IHFM); 35 watts per stages. Now, after five years of actual produc- channel. FAVORITE OF BROADCASTERS tion experience with solid state circuitry, we The 314A Emperor Royale FM Multiplex Tuner. take pride in introducing the 360A all- transistor INPUTS 12, stereo or mono: magnetic or stereo pre /power amplifier... for VI.ANVACK ceramic phono, tape head, stereo microphones, perfection. tape, radio, auxiliary. For FM stereo that will do justice to the Royale II, the 314A Emperor Royale FM Multiplex TO HEAR THE WANT SOUND OUTPUTS 7, stereo or mono: left, right and tuner is the answer. The 314A is a fully profes- left right OF "MAN IN 11CK PERFECTION? center speaker outputs, and channel sional component which is offered in the Altec recorder outputs, center channel voltage output PLAYBACK, catalog for network relay and That question contains a strong claim, but one for auxiliary amplifier, headphone output jack. that we have seen substantiated time and rebroadcast applications. Among its distinctive features is a monophonic output for feeding a again during the many listening tests per- KEYBOARD CONTROLS Rumble filter, stereo - 351B all-transistor power amplifier for single - formed on the new solid -state Altec 360A Roy- mono switch, tape monitor, channel reverse, hi- ale II stereo amplifier /preamplifier. In fact, the channel music distribution througout the low gain, volume contour, scratch filter, phase home. Price: including difference in perfection between this unit and reverse, headphone- speaker output switch. $359.00, cabinet. even the finest vacuum tube amplifier is amaz- Hear Altec's complete line of genuine studio ingly apparent. The lowest frequencies are OTHER FRONT PANEL CONTROLS Input 4%.AY8ACK, components soon at your nearest unbelievably solid and life -like; snare drums selector, channel reverse, independent bass Altec Distributor (see your Yellow Pages). sound like snare drums, an organ is an organ and treble controls (friction coupled), blend Also, be sure to ask for your courtesy copy (you almost look for the pipes). Transient dis- control, balance control, volume control. of the Altec Catalog, " VI ANBACK. and Speech tortion, background hiss, and microphonics are REAR PANEL CONTROLS Magnetic- ceramic Input Equipment for Recording and (Broad- conspicuous by their absence. Hum is so com- phono input selector, speaker impedence cast Studios," which illustrates how the big pletely inaudible, even at loudest volumes, that selector. name record companies and broadcast net- we conclude there just isn't any. The highs are works use Altec equipment to achieve crisp, clean, transparent; for the first time, PRICE $366.00 including cabinet. Only 51/2" H, PLAYBACK, perfection. Or, write for your free you hear a piccolo in complete purity because 15" W, 11,4" D. copy to Dept. HF -2 the amplifier does not contain, and does not need, a built -in bass boost for the lower end. In short, the 360A is so far more perfect than the finest tube amplifier, we predict that ALTEC LANSING others will hastily experiment and a rash of transistorized amplifiers will follow. But at CORPORATION Altec, experimentation is over! Five years of ALTE[ A Subsidiary of transistor amplifier production have literally LANSING CORPORATION Ling-Tem.co-Vought, Inc. put the 360A five years ahead of the home music field. 01.,,1 ALTEC L,,.."G CORPORA-7,, îA N A H E I M , C A L I F O R N I A

CIRCLE 1 ON READER -SERVICE CARD FEBRUARY 1964 3 i

www.americanradiohistory.com A Troubador is a Troubador is a Troubador

TROUBADOR TABLE OF CONTENTS

Empire 3 -speed "silent" 980 dynami- first turntable; cabinet doors, too technically When Empire built the Empire Trou- cally balanced playback hide behind bador 398 it was strictly for professional and arm with sensational perfect for a whisper of distortion. And its Sta- studio use -The thought of a highly techni- Dyna- Lift *; 880p mono - components, used by more FM Stereo cal, precision company, kept busy with in- stereo cartridge featur- tions than any other brand. "But what about dustrial and laboratory products 24 hours a ing the virtually inde- my cabinet ..." came the cry of a new breed. day, entering the consumer field was unreal. structible Dyna -Life* Enter the Empire 488 -no larger than a rec- However, as the Troubador was seen and stylus. 488 complete ord changer ... every inch a Troubador. with walnut mounting heard, the demand became quite great, and Same motor ... same belt -.. same arm .. - $192. Walnut base a new consumer product came into being. board: same cartridge same weight platter, only optional ($15); 398 com- ... Now we liad a professional record playback plete with handsome wal- the size has changed. system, second to none - too handsome to nut base: $210. For Complete Literature Write: "Patent Pending F EM PI R - . world's most perfect record playback system." Empire Scientific Corp, 845 Stewart Ave.. Carden City, L. L. N. Y. Export, EMEC. Plainview. L.I.. N. Y. Canada. Empire Scientific Corp., Ltd., 1476 Eglington West, Toronto CIRCLE 34 ON READER-SERVICE CARD 34 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com HIGH FIDELITY

B Y N O R M A N E= EN e E° G NEWSFRONTS

New Plant, New Kits, New Look. Aside out are calculated to represent the equiva- 165 -J, offered on written request by from nearly doubling the company's lent of a dipole antenna in sensing FM Jensen Manufacturing Co., 6601 So. working space (from 60,000 to 100,000 signals and whose electronics provide Laramie Ave., Chicago, Ill., 60638... . square feet), Eico's new plant in Flush- gain for those signals. In a difficult, dis- H. H. Scott, Inc., Dept. P, Ill Powder ing, N.Y., has been designed with a lay- tant reception area, the Multitron we Mill Rd., Maynard, Mass., is offering a out that puts unusual emphasis on quality tried gave somewhat better results than brochure describing its new line of control. The Q.C. department, in fact, a conventional indoor folded dipole on stereo consoles. Also available from Scott actually "straddles" the incoming ma- some stations, and equivalent results on is a booklet titled "Scott Stereo" that - terials operation: that is to say, the con- others. In an apartment in New York with its photos, diagrams, and informa- veyor belt, on which parts for Eico's kits City, where FM stereo reception had tive text -seems more like a magazine travel to be arranged and packaged, been difficult, it improved things con- feature article than a product catalogue. passes first through Q.C., whose inspec- siderably. With the aid of the Multitron, . . . Acoustic Research, Inc., has re- tors can stop everything in the plant at one station that had been coming in printed from American Record Guide a moment's notice. "With the growing noisily was received with complete an article by AR president Edgar Vill- complexity of audio kits," explained vice - clarity; two other stereo stations we had chur. Entitled "What the Consumer president Philip A. Portnoy during our never received strongly enough for ac- Should Know About Record Players," recent visit, "a manufacturer must do ceptable stereo listening we heard it may be obtained for the asking from everything possible before the kit gets clearly for the first time. the manufacturer at 24 Thorndike St., into the builder's hands, in order to as- The Rembrandt, resembling the fa- Cambridge, Mass., 02141. . . . Do -it- sure successful assembly and perform- miliar rabbit -ears. comprises a pair of yourself speaker components and kits ance." telescoping arms that form a dipole and are described in a new brochure avail- As we chatted with various company are adjustable for different angles as able from Altec Lansing Corp., 1515 officials, we heard about a number of well as length. It also has a control S. Manchester Ave., Anaheim, Calif. recent developments at Eico. Product that varies the basic inductance of the . . . The 3M Company has two offer- designer Ike Rosenstein briefed us, for dipole. Thanks to its adjustable arms, ings: its Sound Talk Bulletin No. 39, dis- example, on the firm's new Classic series. tuning control, and the directionality of cussing the pedestal height adjustment in "These units are not merely old products the whole array, the Rembrandt can be tape recorders, will be mailed on request with restyled front panels. We've actu- set up to provide a signal that is some- to the company at 2501 Hudson Rd., ally reexamined basic engineering design what stronger than what is obtained from St. Paul 19, Minn.; a 16-mm color film concepts, and in many instances have an ordinary indoor dipole. explaining sound recording and the many come up with what we feel are real .1-o anticipate the inevitable question uses of magnetic tape is available on a improvements. For instance, the new that now rises in the reader's mind. it is free -loan basis to organizations (for de- amplifiers do not have the conventional impossible to state categorically which tails, write Dept. Z3 -580 at the com- loudness contour. Instead, the bass tone of the two -the Multitron or the Rem - pany address). . . . From Heath comes control provides the desired effect. This brandt-is the better. Depending on re- word of its new catalogue describing innovation not only simplifies the cir- ception conditions, either might prove over 250 do- it- yourself kits. For a copy, cuit, but it actually conforms to the Rob- somewhat superior to the other. or both send to Heath Co., Benton Harbor, inson- Datsun curves which we feel are could he equally effective. The Multitron Mich., 49023. more accurate than the well -known is priced at $29.95 and is compact enough

} The curves we to be tucked away out of sight. The letcher- Munson curves. New Products from Old Hands. Estey, a use were worked out in 1956 Brit- Rembrandt costs only $6.95 but does oc- -at name known in music and organ circle:, National Physical Laboratory cupy a fair amount of space, particularly ain's - since 1846, has entered the rapidly ex- while the older curves were derived in when its arms are extended. panding tape recorder field with a line of 1938." monophonic and stereo machines starting new look of Eico's quarters and Literature, All Free. "All New from The at $99.95 and going up to $339.95. In Eico's equipment coin- Sony " new catalogue listing tape re- the restyling of -a addition to claims of high performance, cide with new packaging and instruc- corders. microphones, and accessories - a major reason for bringing out a new tions for the company's kits. Now fea- is available from Superscope dealers. line in a highly competitive field is, ac- tured is an easel -type stand that holds . . . Speakers. enclosures. networks. and cording to Estey vice -president William the manual and the various parts in the systems are described in Catalogue Souweine, the conviction that "we have sequence in which they will be assem- solved what is generally considered to be bled. "We've made kit building as pleas- the biggest weakness in tape recording, ant and as foolproof as we know how," design -malfunction during use." Mr. Portnoy told us. Souweine allows that "our tape recorders New Indoor Antennas. Two new an- have been made almost foolproof," and tennas for those FM listeners who for explains that. with only fourteen moving one reason or another cannot use out- parts, an Estey recorder's potential for door types have lately come to our at- error and malfunction has been so re- tention: the Multitron by Antronics, duced that "the possibility of breakdowns Inc., and the Rembrandt by All -Channel caused by the user's failure to follow Products Corp. The Antronics unit, directions has been virtually eliminated. housed in a plastic box, is composed of . . ." Nonetheless, Estey has established tuned circuits, mounted on printed 250 service centers throughout the coun- boards whose physical spacing and lay- Estey: from organs to tape recorders. try -just in case.

FEttRUnRY 1964 3_5

www.americanradiohistory.com consider this... Whatever the other components- most music systems today start with a Garrard Automatic Turntable!

What makes the Garrard so special?

Is it creative engineering, quality con- sure; the convenience of single and This is why more dealers recommend trol, Garrard's 50 years of experience? automatic play, either at your service Garrard, and more people are buying when you want it -all play their parts. Garrard, than any other high fidelity Is it features? component! But a Garrard is more than the sum Admittedly-the counterweight- of such parts. There is a Garrard Automatic Turn- adjusted tone arm; the heavy balanced table for every high fidelity system. Type turntable; the Laboratory Series® mo- A Garrard is a pleasure to own. A, $79.50; AT6, $54.50; Autoslim, tor; the ability to track your choice of A Garrard Is an enduring source of $39.50. For literature, write department cartridge at the lightest specified pres- pride and satisfaction! GB -24, Garrard, Port Washington, N. Y.

w. e

g, WORLD'S FINEST

CIRCLE 17 ON READER -SERVICE CARD www.americanradiohistory.com T atvards the Total Installation

As EVERYONE KNOWS, stereo has changed the components. These rooms, and dozens of photographs method of recording music, modified our playback of others, attracted crowds of admiring visitors- equipment, and revised our listening habits. It now significantly, of both sexes. Furthermore, exhibitors appears that it has also worked a very real change in general had abandoned the old strategy of merely -functional, aesthetic, perhaps even metaphysical - displaying their wares haphazardly on a table in in the point of view we take towards the room in favor of tastefully planned arrangements which were, which we listen. in effect, exercises in interior design. Many of us are audio hobbyists; most of us But the most telling documentation of this trend regard our high fidelity equipment as a source of is the growing number of music listeners who in their family entertainment; but very few of us these days own homes are fitting rooms with and for stereo would define high quality sound reproduction cate- components, who are modifying their décor and gorically as "hobby" or "entertainment." It can be sometimes structural details for the acceptance of both; it is certainly much more than either. More stereo, and who in some cases are building rooms- and more, the enjoyment of music is being seen as literally, in terms of size, proportions, and materials part of the total experience of living; less and less, -expressly for the installation of stereo. Most of as a purely detached and self -contained activity. By these rooms constitute the household living room ( in the same token, the means for that enjoyment -the our time, neither a Victorian front parlor nor the mechanical and electronic equipment- cannot very démodé "rumpus room "), but the principle according well be relegated to workshop or playroom. Whatever to which they are designed -the union of artifacts area is designated as the "listening room," it is today and environment in a harmonious whole -is relevant likely to be a place of multifaceted attractions for to any area bounded by walls. the pursuit of multifaceted pleasures. In line with this changing concept of the On the most obvious level this means that audio "listening room," HIGH FIDELITY publishes this components are no longer simply deposited in a month "A Portfolio of Stereo Décor," illustrating in room wherever they will fit, in disregard of other photographs some outstanding examples of rooms functions it may shelter or aesthetic ends it may be where music can be heard in a setting that invites expected to serve. Rather, there is a trend to integrate the eye, and explaining in the accompanying article stereo equipment with the furnishings and décor the by design specialist John Anderson how such rooms room's owners have chosen to express the ambience can be created. The stereo installations shown and of their leisure life. Nor is this merely a matter discussed were chosen on the basis of how well of setting up sound equipment to be as unobtrusive they exemplify the application of acoustic and as possible; on the contrary there is a growing technical considerations essential to the proper feeling that stereo components can be installed, and functioning of any high fidelity sound system and without danger of sonic compromise, in such a way how well they demonstrate the integration of such as to enhance a room's visual attractions and to a system into the total pattern for living desired by increase its potentialities as a center for those activi- men and women of widely differing tastes and needs. ties that delight the mind and refresh the spirit. Our presentation here is of course by no means the Although signs of this approach -which may be last word on the subject. It is a safe assumption that called that of the "total installation" -have been -as, increasingly, the question becomes not whether evident for some time, it has recently become a to install a high quality music system but how to widespread phenomenon. Last fall, for instance, a install it- interest in the symbiotic relationship of prominent feature of the New York High Fidelity sight and sound will continue to flourish. We expect Music Show was an exhibit of model rooms that that future issues of HIGH FIDELITY will herald new had been "decorated" around, with, and for audio achievements in this direction.

AS high fidelity =.._,.

FEBRUARY 1964 37

www.americanradiohistory.com BY JOHN ANDERSON

A PORTFOLIO OF

IN THIS CORNER we have the stereo buff, who worshipfully installs his equipment in his lis- tening room with the most mi- nute concern for acoustic fac- tors -and total disregard for lie cor such considerations as beauty and convenience. Woe betide the housekeeper who moves his chair two feet from the exact spot where the sound from the speakers converges, or who even sends a rug to the cleaners. And in this corner we have the interior designer, who resists with every T- square and fabric swatch any attempt to turn the living room into a concert hall, much less a sound studio. The living room, says he, is the gracious center where all the themes of domestic life should be played out harmoniously. In the first days of high fidelity, many interior designers were caught up in the common enthusiasm for the new equipment, and they found a measure of elation in spotlighting the components that delivered such lifelike reproduction of music. Some still maintain this viewpoint. But among many designers high fidelity is taken for granted these days, and it's considered de trop to make a big deal, visually, out of the equip- ment. Granted they are needed for the sound, there is nothing beautiful,

says the interior designer, in a pair of unblinking 1 -inch eyes staring out at you from the wall: nor in a pair of huge boxes, if the speakers are in enclosures. Amplifiers, pi-camps, tuners, and turntables -even when models of industrial design (as they often are) -are not the sort of thing the eye enjoys turning to again and again in search of new aesthetic rewards. "They're nice, but they're not objets d'art," says Daren Pierce of William Pahlmann Associates. With this in mind, today's interior designer feels that the machinery for stereo should take a more modest place. The best thing is to build the stereo into the room as a whole. "Building in" means more, to the interior designer, than cutting holes in the walls to receive the speakers, or tucking the other components into a closet. It means incorporating stereo into the architectural and decorative idea of a room. It means planning an interior in which lis- tening to music is one, but only one, of the activities the room invites, taking its place with the relaxed conversation, the parties, the quiet reading -and sharing the available space with the pictures. the books, the conveniently placed end table. To integrate stereo into the decorative

38 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com In a suburban house designed by archi- tect George Nemeny, a stereo system is integrated with storage walls flanking the entryway between living room and dining area. Floor -to- ceiling walnut panels fold back, accordion -fashion, to reveal, on the left, a bar and one of a pair of speakers; on the right is housed the second speaker, with space for record storage and stereo compo- nents below it. Speakers are 15 -inch Tannoys; other equipment consists of a Leak stereo amplifier, Sherwood tun- er, and Garrard Type A record player.

FEBRUARY 1964 39

www.americanradiohistory.com A modern drop -leaf cabinet -desk forms the visual center of this shelf installation, in which all elements are supported by cantilevers. To the right of the desk are a Scott tuner and a control amplifier; just below them is the turntable. Speakers, by Acoustic Research, provide satisfactory stereo for someone seated at the desk as well os or other people in the room.

scheme of such a room, the wisest approach deliberately made the stereo center the most is to plan the stereo installation at the visually prominent feature of the room - room's very conception. but prominent as architecture. She con- At this beginning stage of planning, structed a walnut- sheathed column to house a designer can approach the problem of the tape library, two amplifiers, preamp, stereo in a number of ways: as architecture, and tuner; she built a large counter to hold as cabinetry, as furniture, or as an invisible the two record players and the tape deck, presence. It all depends on the size and and gave it an imposing walnut front deco- proportions of the room, the availability of rated with brass and ebony strips to partici- closet space, the general decorating plan; pate in a handsome pattern of horizontals but most of all it depends on the tastes and verticals with the walnut column and and habits of the client. Interior designer cherry vertical panels of the wall behind. Virginia Whitmore Kelly recently designed The record players and tape deck, of which two very different, though equally fine, the owner is justifiably proud, are easily stereo installations, tailored to the pleasure visible under Plexiglas shields -but only spectrum of the owners. The first was for when one steps up to play them; they do a young family with an arsenal of equip- not affect the visual design of the room. ment, including turntable, changer, and The second project was undertaken for tape deck. Besides the components them- a music -loving couple who yet wanted the selves, there was a large library of records mechanical and electronic sources of their and tapes to deal with. Since it would music to be out of sight. For them, Miss have been impossible to minimize the tangi- Kelly conceived a room in terms of light ble existence of this array, Miss Kelly and color and form, a poetic space

40 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com At right is the main listening area of an installation designed by Leslie Larson and depicted on the cover of this issue of HIGH FIDELITY. Close -up above shows the components used: Fisher X -1000 control amplifier and MF -300 tuner, Neumann turntable, and Ampex tape deck. The XP4 -A speakers (pictured in the cover photo) are spaced ten feet apart -which distance helped determine cabinet proportions. Cantilevered cabinets, of wal- nut with travertine tops, were made by the Master Craft Cabinet Shop of Hoboken, New Jersey.

in which the machinery for living never The storage wall is another popular de- intrudes. Miss Kelly banished the stereo vice for solving the stereo problem, and control center to a booth off the foyer there are any number of ways of handling and imbedded the stereo speakers behind a such a wall. One such installation is pic- wall in the living area, the wall completely tured on the cover of this issue of HIGH covered in a linen and reed fabric. FIDELITY: in this instance, Leslie Larson Another way of building stereo into an designed for one end of a long living interior is to associate it, visually and func- room a cabinet wall in which a counter - tionally, with other aspects of the good high bottom section houses all the equip- life. Television is an obvious companion. ment except the speakers, installed in a And it is interesting to observe how often fitted top section. Architect George Nemeny a bar joins the TV and stereo system to planned the storage walls as integral struc- create a pleasure center for the living room, tural parts of a suburban house, where family room, leisure room, or study. Paul they divide the living room from the dining Lester Wiener and Ala Damaz created an room and kitchen. On the living room side, elegant trio of floor -to- ceiling white lacquer floor-to- ceiling walnut panels conceal the cabinets for stereo, television, and bar in stereo, television set, and bar when they the leisure room of a surburban house; and are not in use. Schainen -Stern Design Associates combined Decorator Peter Prince took the op- the three felicities in an arrangement of posite approach with a storage wall in his English oak cabinetry that creates an in- own apartment, making it one of the high- teresting pattern on the walls of a window- lights of the space. Stereo is integrated into less interior room. a decorative wall arrangement that also in-

FEBRUARY 1964 41

www.americanradiohistory.com The work of Virginia Whitmore Kelly, this stereo center features a floor -to- ceiling walnut column which houses a tape library as well as a Fisher tuner, Marantz preamp, and two power amplifiers. The hori- zontal cabinet in center holds an Ampex tape recorder, Weathers turntable, and Miracord automatic, each under its own Plexiglas lid. A walnut -shielded lighting fixture is on the wall above this cabinet; records are stored under it. KLH -9 electro- static speakers are located behind sheer curtains set forward across window bays.

eludes books, a collection of Chinese porce- Because, as a rule, the interior designer lain, and a painting that lifts up on hinges is not also a high fidelity expert, he usually to expose a television receiver. This instal- engages an audio specialist to handle the lation is a good example of planning a technical aspects of an installation. One sound system along with the room, inas- audio engineer who makes a career of in- much as the proportions of the decorative stallations for interior designers is Holly wall were determined by the size of the Neill in New York. Mr. Neill's services speakers. sometimes include the selection of the com- ponents, but more often he sees to the proper installation of the client's equipment 0N AREA where the stereo enthusiast and advises the designer on correct place- and the interior designer do agree most ment of speakers and on ways to improve emphatically is in their mutual preference the room's acoustical characteristics. Again, for audio components over package units. Mr. Neill emphasizes the importance of the Individual components afford much more audio engineer's being consulted at the very flexibility, more room for ingenuity in beginning, since the stereo installation, building in. Few things are more dampen- especially the location of speakers, can affect ing to a designer's spirit than to decorate the organization of an entire interior. around an object as unwieldy and imper- For the best stereo sound, says Mr. sonal as a commercial console. Neill, the speakers should be placed ac- But if they resist the mass- produced cording to the following calculation: dis- varieties of cabinetry, interior designers tance of speakers from listening area should sometimes do treat a stereo installation as be one and one -half to two times the dis- furniture, by fitting the equipment into an- tance between speakers; for example, if the tique or modern pieces. These furniture speakers are to be located twelve feet from items often tell no tales of what they hold: the major listening area, they should be Spanish chests in which the lid lifts up to from six to eight feet apart. According to reveal a record player and a vertically Mr. Neill, the listener can get the full stereo mounted control panel; Oriental cabinets effect if he is seated anywhere within the and Venetian commodes that betray no sign large area in which sounds from the two of vibrating diaphragms behind their ele- speakers overlap. gant fabric coverings. And there is no rule Speakers -or at least the midrange and that says the two speakers can't be in two tweeter units of multidriver systems -are totally different kinds of hideouts; many a preferably located from two to four feet decorator has put one speaker in a French above the floor, because they are then near armoire and another under a draped oc- ear level when people are seated. If speak- casional table. ers are set at floor level in a carpeted room,

42 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com For his own apartment, Peter Prince integrated a stereo system with a decorative wall holding a collection of books and Chinese porcelain, and a television set hidden behind a painting

that l fts up on hinges. Proportions of the wall were determined by the elements to be in- corporated, especially the piano and speaker enclosures. Audio components were built into an existing closet, which forms part of the design. Its cane -paneled doors open inward, thus not intruding on that parr of the sit- ting area. The power amplifier. a Citation V, is set highest, so that its heat will be dissipated; below it are shelved a Citation III -X tuner, Citation IV preamp, and a Gar- rard changer. At the bottom of the closet there is space for record storage. Tannoy speakers flank the recessed piano. Equip- ment was chosen and installed by Holly Neill.

FEBRUARY 1964 43

www.americanradiohistory.com the carpet may absorb too much sound. At the opposite extreme, some speakers, when placed too near the ceiling, often produce an echolike effect unless the room includes an unusually high proportion of sound -absorbing materials. On the subject of speaker size, Mr. Neill holds that for clear, full -bodied bass, big speaker systems are essential; they, in turn, require enclosures of considerable size. Large boxes, however, are not easily con- cealed. The obvious solution, where pos- sible, is to build the enclosures into nooks or crannies, spaces under windows, in closets, and the like. This is obviously more difficult to do with stereo than with mono because it doesn't often happen that a room possesses a made -to -order pair of hideaways, properly spaced, which afford the correct cubic footage. As an alternative, the designer usually builds the speakers into cabinets of some kind. These may be cabinets he de- signs specifically for the room; or they may be any kind of decorative furniture pieces, so long as they allow sufficient interior space, are given proper padding with acous- tic materials, and have a covering material porous enough not to impede the movement of sound waves. Metal grilles, wire mesh, cane, pandanus cloth, and many fabrics are all suitable. A client may not crave the large speakers Mr. Neill prefers -and, indeed, there are many who find that some of the smaller speaker systems are equal to the giants in bass delivery. These In her office -den, Geraldine Nicosia used a decorative wail to Had more compact speaker systems come in miscellany as well as stereo components. Equipment, installed be- their own in fact, the enclosures; enclosure hind doors near the window, includes Harman -Kardon tuner, amplifier, is an integral part of the acoustic design. and Garrard changer. Bozak speakers are behind the cane valance The decorating problem is of course sim- plified by objects of more modest size. Vir- at he top. Glass shelves, lighted from above, add a sense of depth. ginia Whitmore Kelly often places such speaker enclosures on or somewhat ele- vated from the floor in front of the win- dows and simply moves the curtains out from the windows and into the room to hide the speakers. Or, attractively fronted with cane, the speakers can participate in a pattern for a decorative storage wall, as they do in Peter Prince's apartment. Placement of stereo components other than speakers is much freer; they can be set wherever they will be most convenient to use. If they reside out of sight, say in a closet, they can simply rest on shelves. But if they are to be on view, the interior designer usually creates a housing of some kind for them. Designing and constructing a cabinet, a wall installation, or other type of housing for high fidelity components is a delicate operation, and it is usually achieved by a collaborative effort between the interior designer and the audio expert. Left to himself, the interior designer is apt

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www.americanradiohistory.com to cram the record player, tuner, amplifier, and preanp into the most compact unit possible, overlooking the necessity for pro- viding ample ventilation for the equipment -especially important in connection with the power amplifier, which generates a great deal of heat. Inasmuch as heat rises, Holly Neill wherever possible places the amplifier above the other equipment. All cabinets or other housings for components should be constructed with openings and air passages to allow as free a flow of air around the equipment as possible. In loca- tions where insufficient ventilation cannot be provided by means of openings or ports, a silent cooling fan may be installed. The need for subsequent servicing should also is built. Room at left, created by Schainen -Stern Design be anticipated when the cabinet all the panels should be nailed or glued: Associates, has Jensen speakers installed near Not at least one should be clipped or hinged ceiling to cover a large, comfortable, L- shaped in a way that makes it easy to remove. wall is com- seating area. Below, the equipment If speakers are incorporated into the posed of a cabinet system designed for general cabinet or wall installation, the danger of storage as well as for audio components. Scott vibrations ( "feedback ") from the speakers be against. 500 -B tuner /amplifier is fitted into front cut- to the record player must guarded The latter must be carefully shock -mounted out. Rek -O -Kut Rondine II turntable is on steel to isolate it from any vibrations caused plate, recessed into the white marble counter by movement of the speakers. and top. The cabinets are made of English oak A really thoughtfully designed cabinet cane, and provide storage space for bar equip- is not only technically sound and handsome ment, television set, records, and other items. to behold, it is a pleasure to use. Controls should be placed at a comfortable level, and this will depend on whether the owner is in the habit of sitting or standing while operating the set. Good illumination should be provided at sensitive spots, especially for the record player. A final consideration in building stereo into an interior is that of room acoustics. Holly Neill suggests that at least twenty per cent of the surfaces in a room should be sound -absorbent. He holds that the aver- age room is more likely to be overly than underly brilliant, especially in new apart- ment buildings where walls are almost always long, smooth, and unbroken. Book- shelves, an irregularly shaped decorative screen, a large tapestry, or any other device for breaking up a sheer wall can help the carpeting, draperies, and upholstery to absorb and deflect sound and so reduce the tendency of such spaces to echo. As it happens, the decorative interest of a room usually increases with efforts to improve it acoustically. The converse also is true: an interior that is designed with a con- cern for a variety of textures and an inter- play of masses and forms almost auto- matically induces good acoustics. "It's really very simple," says designer Virginia Whit- more Kelly, "to achieve a beautiful interior and wonderful stereo, too. Just think of them together -as lovers."

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www.americanradiohistory.com The Hardy Indepenclent

At Vanguard Records the brothers Solomon concentrate on "music we like by people we respect."

The formula seems to work... . BY JOHN TEBBEL

WHEN ITS SEATS are removed, the Mozartsaal one arm but in spite of intense pain continued to in Vienna's great gray Konzerthaus loses some of its drive himself and his seventeen men hour after hour. elegance-but it's deprived of none of its superb Heiller, a large man, perspiring from his exertions, acoustical qualities. Artists like to perform in this followed suit with the same assiduous attention to intimate setting, and apparently they also like to detail. Discussion followed discussion, take followed make records there. Such, at least, has been the take, and in the center of things Seymour Solomon experience of the Vanguard Recording Society, Inc., moved back and forth, soothing frayed nerves, which every year conducts a spring recording ses- settling debates, delivering a final accolade -"that sion in these favored precincts. was beautiful . . . Vanguard Records is a small independent com- Thus the days went in Vienna -and the evenings pany located on New York's somewhat tarnished too. Problems increased when the time came for the Fourteenth Street, next door to the Salvation Army's recording of the Concerto for Four Harpsichords national headquarters, and its association with one ( "When they are out of balance, they sound like a of the most celebrated recording halls in Europe is swarm of bees," Seymour Solomon said, "or a only one of the anomalies in its history. The biggest, sewing machine "), but this difficulty too was solved. in fact, is its existence, in a business dominated by Eventually, before total exhaustion had set in, every- giant combines and involving fiercely competitive thing was committed to tape, the performers de- strategies. That for nearly fifteen years it has not parted, the engineers packed up their equipment, only survived but been remarkably successful is and there remained only the chore of editing. directly attributable to two young men who, when The perfection of performance for which Van- the LP era began back in 1948, chose to stake guard strives in its recordings is matched by the out a claim in the new, unexploited territory: Sey- company's attention to recorded sound per se. All mour Solomon, a violinist who had studied to be a record firms vaunt their products' superior sonics, musicologist, and his brother Maynard, who had but Vanguard's engineers are freely acknowledged been a music student and later done graduate work even by competitors to be among the best in the in literature. Together, they set up shop in a small business. For its sessions in Vienna (where it has bleak office at Broadway and Eleventh Street as the recently installed itself with a permanent control Bach Guild-and hoped for the best. Happily, the room in the Konzerthaus) the team is headed by numerically small audience of Bach lovers was a Karl Wolleitner, a professor of music at the Vienna devoted one, and the brothers' recordings were suc- Academy; Mario Mizzaro, a bearded young Italian cessful enough to encourage them towards their own who was instrumental in helping to select the ad- kind of expansion, which meant the formation of vanced equipment Vanguard uses and in setting it Vanguard on the foundation of the Guild. up; and Gerhard Schuler, a Viennese technician It happened to be Bach that was being recorded usually found at the control board. Seymour Solo- -complete harpsichord concertos with Anton mon, who has by this time become a proficient en- Heiller and Antonio Janigro's Solisti di Zagreb - gineer as well as musician, presides over all. when I visited Vanguard's sessions in the Mozartsaal last May. To old hands at such affairs, the grueling striving for perfection might not have been surpris- IN THE BEGINNING, the Solomon brothers were in- ing; to me it was a marvel. Both the soloist and the terested primarily in classical music and particularly orchestra had been rehearsing for these sessions for in repertoire then rare on records. The audience for six months, but they approached the music now as the glories of the baroque is, however, a limited though it were a new work. Janigro, a thin, dark, one; and while Vanguard's recordings in this field intense man, was suffering from acute neuritis in have paid their way, the company faced the sane

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www.americanradiohistory.com basic problem as other small independents: how to establish a few substantial bread -and- butter items which would compensate for recordings with a smaller sales potential. Since no Mantovanis nor Mitch Millers were likely to join its roster, Van- guard was compelled to develop specialities that might (hopefully) have fairly wide sales appeal but which the big companies would not preempt. The imaginative resourcefulness of the Solomons in this respect has led to the very lucrative part of their business which Maynard supervises from Fourteenth Street. Ten years ago, when folk music was still a highly specialized part of the catalogue and the making of guitars not yet a major industry, Vanguard had begun to record it on a small scale, carefully select- ing in a repertory already beginning to show signs of wear among the comparatively few artists spe- cializing in it. In the mid- Fifties the Solomons were perceptive, and courageous, enough to sign up the celebrated Weavers, who at that time had fallen a victim to the McCarthy era terror and who were being blacklisted by television and recording com- panies alike. In 1955 the Weavers gave a historic The Solomon brothers, Seymour and Maynard. concert at Carnegie Hall which has been widely credited with sparking the great revival of folk ties, to the benefit of the artist himself and the com- music, now as much a cult as it is an industry. pany's exchequer. Currently, one of the most im- Vanguard released a recording of the concert. That pressive examples of its technique is the career of album put the Weavers on top again -and caused Netania Davrath, a young Russian -born soprano Vanguard's cash registers to jingle harmoniously. who is, in the opinion of some knowledgeable critics, Soon after, the Solomons found themselves the lead- on the verge of a spectacular success. Little more ing impresarios in folk music recording. than four years ago, Miss Davrath was not far out As the company developed its artists and reper- of the student class when she auditioned for Van- tory, classical and pop, the Solomons continued to guard, singing arias from Tosca, Aida, and Cost follow their own ruggedly individual way. "We only fan tutte. work with people we really believe in," Seymour said "We knew we had what was potentially a major the other day. "We issue music we like by people we talent to deal with," Seymour Solomon recalls. "The respect." question then was, what to do with her? We are not And a good many people respect the Solomons. in the business of recording operas, and in any Early in the company's career, the preoccupation case to do an album of operatic arias with a com- with high quality sound noted earlier in this account pletely unknown singer would have been.hazardous began to attract a wide variety of artists. All rec- commercially, to say the least. Everybody knows ord companies, of course, strive for the best pos- that a `working' artist exposes himself to the public sible sound, but some strive harder than others and on the concert stage, which thus becomes a market make fewer mistakes. This fact was noted in 1954 for his records, while the records in turn create by John Hammond, the jazz impresario and critic, an ever expanding demand for concert appearances. now an executive of Columbia Records, who wrote Everybody benefits from this neat and practical a Saturday Review article deploring the bad re- cycle, which operates as well for the great lumi- cording meted out to good jazz. When the Solomons naries as it does for the comparative newcomer. assured him that they could record jazz as though But as for Netania, she was not yet 'working.' it were Bach, Hammond began an association with "We knew we had a chance to record someone Vanguard which brought to its lists many of the who seemed certain to become a really important finest jazz artists on the scene. They were, inci- artist, though, so we talked to her and found out dentally, recorded in the Brooklyn Masonic Temple that she had a broad repertory of folk songs -in -a locale that would seem highly unlikely to anyone Russian, Israeli, Yiddish, and French. Now that was except recording engineers. The engineers-and the a field in which we had experience, and we con- jazzmen when they heard the Brooklyn playback- cluded that people might buy beautiful folk reper- professed themselves so pleased with the Temple tory even by an unknown singer if she were good. that Vanguard recorded there for some time. We therefore presented Netania, somewhat cautious- In both the classical and the pop fields, Vanguard ly, in an album of Russian folk songs." has its own method of developing artistic potentiali- The critics confirmed Vanguard's judgment,

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www.americanradiohistory.com and the company followed up Miss Davrath's debut she announced that she'd like to keep right on- recital with a disc of Israeli songs. She was then and another hour resulted in that rarity, an entire assigned minor roles in a Bach cantata and a Haydn recording made without retakes. (At another time Mass, and later was recorded in an album of Mus- during the spring sessions this process worked in sorgsky art songs. Then came a singularly bold step. reverse. Alfred Deller, the countertenor, gathered As Seymour Solomon tells it: "By this time Netania with other singers to record Handel's Birthday Ode had been established, on records at least, and we to Queen Anne, remarked briskly, "Let's rehearse decided to stick our necks out. It was quite an ex- this thing once before we start." As they began, tension. We meant to record our artist in Cante- Seymour instinctively pressed the recording button loube's Songs of the Auvergne, which Columbia had and the result was a near perfect take.) Again, in done twenty years before with Madeleine Grey in spite of the tension attendant upon recording ses- an album which became such a legend among col- sions, there is with Vanguard a genial camaraderie, lectors that other attempts to duplicate it had been reflected in the fact that even after exhausting hours dismal failures. Canteloube's music is a cross between before the microphones the Vanguard people like pure folk music and art song, and it requires an to gather together. I recall in particular one late artist who is versed in the folk idiom and yet with evening in Vienna's Hotel Bristol when Netania sophisticated vocal technique and training. This we Davrath and Maureen Forrester sat drinking coffee thought we had in Netania." with Seymour Solomon and listening to the bar's What Miss Davrath did with this assignment is pianist. Somehow the ladies found themselves hum- now a highly satisfactory part of Vanguard history. ming along, and soon they were giving an im- Her Auvergne became a best seller in its field. and promptu concert to the enchantment of everyone in it was recently followed by a second album of Cante- the room and the Genliitlichkeit of the occasion. loube's songs. In Vienna last June the singer was Most important, of course, is the devotion of extending her recorded repertory further, with Tati- Vanguard artists to the company. The Solisti di ana's "Letter Song" and other Russian arias. Mean- Zagreb are a case in point. This ensemble's first while, she has been enhancing her reputation by recordings were made for Vanguard, and these widespread concert appearances. discs had both critical success and excellent sales. Another, and one of the most spectacular, re- Later, the Solisti were beguiled by a tempting offer sults of the Vanguard method has been the career from a larger company, with which they signed up of Joan Baez, the dark young folk singer who was when their Vanguard contract ran out. In the three completely unknown three years ago and whose years of its new affiliation the ensemble made only fame is now such as to need no repeating here. Long three records, and was unhappy about two of them. before the Newport Folk Festival which brought her In its previous three years with Vanguard, the or- into the limelight, Maynard Solomon had been chestra had made no fewer than twelve highly suc- aware of Miss Baez as he traveled about the country cessful records. looking for fresh talent and repertory. He was cer- There were sound business reasons for this dis- tain he had made a find. crepancy. In a large company, sales of music such It might be supposed that a record company as the Solisti perform is limited by the firm's own would have to do no more with such an artist than standards. The overhead too is larger, with the put a microphone in front of her and let her sing. result that a sale of X number of records, which At Vanguard, however, the intent was to bring out might be profitable for an independent, would have the best she had to offer rather than to settle for to be two or three times larger to make a profit for something merely commercially viable. To make the major. For this reason alone, some artists with Miss Baei s third album, for example, she was re- a limited sales potential are better off with a small, corded in several live performances, the tapes of independent company. Such an independent is often which were then accorded the most careful and able to reach an audience which a major company critical editing. For the forty -five minutes or so of cannot, a fact that the public itself recognizes by music on the disc, engineers had followed Miss looking to specialized companies for certain kinds Baez from Bangor, Maine, to Carmel. California, of repertory. and several hundred man hours had been spent. Vanguard has made its reputation by "special" From Vanguard's point of view the job was obvious- attention to "special" artists. When this painstaking ly more than "just recording a girl with a guitar." care is supplemented by the warm human relations existing between the brothers Solomon and their artists, the combination may be accounted respon- THE Solomon brothers' peculiar genius for deal- sible for Vanguard's prosperous survival. It is a ing with artists -notoriously temperamental whether unique tribute when an artist of international repu- they're jazz trumpeters or lutanists -has paid off in tation, sought after by the major recording com- a number of ways. Recording artists always work panies. assures a reporter (although not, of course, hard, but Vanguard's seem to give themselves com- the Solomons) that he would never leave Vanguard pletely to the project in hand. Last May in Vienna, no matter what kind of contract he might be of- for instance. after Miss Davrath had gone through fered elsewhere. Such loyalties are rare. At Van- both a sustained morning and afternoon session. guard they are deserved.

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www.americanradiohistory.com The House That Wumx Aunt

More than a building for the staging of operas, the Bayreuth Festspielhaus is a shrine constantly rededicated.

BY EDWARD DOWNES

THE Wagner Festival Theater in Bayreuth remains beginning was made last winter, and operations will after eighty -seven years probably the most contro- continue through this winter and next. Under expert versial opera house in the world. No other postwar architectural advice, the Wagner brothers are pro- opera productions have been so influential as those ceeding by cautious degrees, having planned the se- that have been given on its stage. And the Festspiel- quence of alterations so that there will be no need haus itself is still very much in the avant -garde. It to interrupt the annual summer festival perform- is fascinating for a mere musician to watch the ances. And while the alterations will affect, and very expression of otherwise sophisticated theatre archi- drastically, the part of the house behind the pro- tects when they see the inside of the Festspielhaus for scenium arch (stage, dressing rooms, rehearsal the first time. Indeed, many theatre and opera archi- rooms, scene-painting, storage, and similar areas), tects have just recently caught up with some of from the proscenium arch forward the structure Wagner's ideas and (when their builders can afford is to be preserved almost religiously as it stands- it) are only now putting them into practice. even if individual stones have to be replaced because Ironically enough, this comes just at a time when of age. Wieland and Wolfgang Wagner, the composer's The famous auditorium, with its perfect sight - grandsons, who now head the Festival, have decided lines from every seat in the house and its fabled to make the first major alterations in the building acoustics, is to be substantially untouched. Astonish- since it was completed in 1876. Having endured ingly, although it predates the Metropolitan Opera twelve years of angry attacks on their brilliant stag- House and the Paris Opéra, the Festspielhaus audi- ing innovations, they recently made up their minds torium is one of the most "modern" theatrical in- to raise the roof-quite literally, in a series of struc- teriors in the world. The steep rise of the orchestra tural alterations to the Festspielhaus which may seats is almost the precise rate of rise now calculated conceivably make it still more of a storm center. A most advantageous for both hearing and seeing. The

FEBRUARY 1964 49

www.americanradiohistory.com chief difference from more lately built theatres is a wildly impractical project of four operas compris- that where the Bayreuth seats rise in a straight line, ing one work, and so difficult that no opera house in today they tend to rise on a slight curve. the world was equipped artistically, financially, or The superb Bayreuth acoustics are in due part to in sheer acreage of stage space to perform it. If the simple fact that the house is small, with a total such madness could be surpassed, it was by Wagner's of slightly over 1,800 seats. The steep rise of the vision of a temporary theatre to be built exclusively floor not only aids seeing, but hearing as well, and for the first production of his monstrous cycle. for much the same reasons. Other, subtler features Yet when Wagner outlined the project of his of architectural design -including perhaps the angle fourfold Nibelungen music drama in a nearly of the flat wooden ceiling and the winglike projec- four -thousand -word letter to his patient friend Franz tions from the side walls, echoing the proscenium Liszt, Liszt replied grandly that he had "not the arch- together with a good measure of good luck, faintest doubt" of the "monumental success" of the all contribute their bit. Finally, the curving hood, dream. And with typically Romantic panache, he which conceals the sunken orchestra, and the seating added: "Press boldly ahead, and let nothing deflect of the players (half of whom are underneath the you from your work, for which one could set the stage, with the heavy brass in the most deeply buried program formulated by the episcopal council of spots to the rear) produce a particular blend of or- Seville for their cathedral architect: `Build us a tem- chestral sound ideal for Parsifal and the four operas ple that will make future generations say the Council of Wagner's Ring of the Nibelung. In fact, the Ring was mad to undertake anything so extraordinary.' was written with just such an auditorium in mind, And yet," added Liszt, "there stands the cathedral!" and Parsifal was scored for this specific theatre with And there, twenty -five years later, on a hillside the intention that it should be performed nowhere by the tiny Bavarian city of Bayreuth stood the else. Though these acoustics would not be ideal for, Wagner Festspielhaus, ready for the world premiere say, Mozart or Rossini, they are superb in the bril- of Der Ring des Nibelungen. liance and relief they give to the human voice. As to the question of balance, even singers with voices of moderate volume are rarely swamped by the THE PATH to the Festspielhaus had taken more orchestra. And, a consideration dear to Wagner's than a quarter century of Wagner's life, more than heart, their diction is intelligible. the fanatical devotion of Ludwig II of Bavaria In part, the inspiration for this unique theatre and the resources of his treasury, more than the came from Wagner's lifelong enthusiasm for the genius of the architect, Gottfried Semper, whose Greek theatre, for it was one of his dreams that plans for an ideal Wagnerian festival in Munich his festival performances might one day fill an had won the complete approval of both Wagner artistic and social role similar to the productions of and the King. The failure of the magnificent Aeschylus and Sophocles in ancient Athens. In part, Munich project was due largely to Wagner himself, the inspiration may have had its origin in Wagner's who became so involved in political intrigues that earliest years as a conductor, in Riga. The Riga the King was finally forced to ask him temporarily theatre was small, old, down -at -heel. But it had to leave the country. three features Wagner always remembered: the It was in 1870 during this second "exile," in steep incline of its amphitheatrical seating; the Switzerland, that Wagner hit on the idea of Bay- relatively low seating position of the orchestra reuth. He was first seriously attracted to the city by players in relation to the stage; and the dimmed light- reading that its tiny court theatre, built in the ing- radical for that day- during performance. And eighteenth century by Giuseppe Galli- Bibiena, had another factor in Wagner's choice of Bayreuth as a deeper stage than the biggest modern opera houses the site for his festival was his abhorrence of the in Germany. Since Bayreuth itself was small, attrac- social chi -chi and the artistically deadening routine tive, and had no resident opera company, Wagner he associated with the larger court opera houses. wondered whether its vast eighteenth -century stage Wagner's concept of a revolutionary theatre might not accommodate the scenic storms, floods, began to crystallize about the time ( 1850) when he and cosmic catastrophes of his Ring. started composing a revolutionary opera to he called A four -day visit to Bayreuth the following year Siegfried's Death. A penniless exile, wanted by the convinced him that while the ornate baroque German police for his participation in the Dresden auditorium was totally unsuited for his work, Bay- revolution of 1849, Wagner dreamed of a temporary reuth was the perfect town. The leading citizens summer theatre of the simplest, barest construction were flattered and delighted, and the city fathers where he would stage the first performances of quickly agreed to Wagner's suggestion that they Siegfried's Death with an ideal cast. During the place the necessary land for the festival theatre, in- spring he would rehearse for summer festival per- cluding a surrounding park, at his disposal free of formances, to which, in his still cloudy enthusiasm, charge. Having quarreled with Semper at the time Wagner planned to invite audiences free of charge. of the Munich fiasco, Wagner had to find a new The dream grew fast. By the end of next year architect for the Festspielhaus. He finally settled on the concept of Siegfried's Death had expanded into Otto Briickwald of Leipzig, whose relatively simple

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www.americanradiohistory.com Though the Festspielhaus was built nearly ninety years ago, its seats rise steeply, in the fashion calculated today as best for both sight and sound. Its stage is simple, perhaps because the Wagner grandsons have felt that twentieth- century mar- vels of machinery "would only get in their nay."

RICHARD -WAGNER- FESTSPIELE 1964 function was to execute the very practical ideas that SPIELFOLGE PROGRAMME the composer himself had developed over a lifetime JULI JULY JUILLET 1964 of experience and had matured in his long associa- SAMSTAG 18. JULI TRISTAN tion with Semper. SONNTAG 19. JULI TANNHÄUSER MONTAG 20. JULI MEISTERSINGER The most agonizing problem of all remained, the DIENSTAG 21. JULI PARSIFAL problem which dogged Wagner to his grave and very MITTWOCH 22. JULI RHEINGOLD possibly hastened his death: how to raise the money DONNERSTAG 23. JULI WALKÜRE for this still impossible- seeming project. Friends FREITAG 24. JULI SIEGFRIED SONNTAG 26. JULI GOTTERDÄMMERUNG and supporters flocked to help. Small sums were MONTAG 27. JULI TANNHÄUSER gathered from members of Richard Wagner Clubs DIENSTAG 28. JULI MEISTERSINGER formed in many German cities. Two hundred and MITTWOCH 29. JULI PARSIFAL twenty -five dollars apiece were contributed by per- FREITAG 31. JULI MEISTERSINGER

sons affluent enough to buy a so- called Patron - AUGUST AOUT Certificate entitling them to one seat to each of the SAMSTAG three Ring cycles scheduled for the first festival. I. AUGUST TANNHÄUSER SONNTAG 2. AUGUST Geschlossene Vorstellung The Khedive of Egypt gave $2,500, and the Sultan DIENSTAG 4. AUGUST TRISTAN Abdul Aziz of Turkey an only slightly smaller sum. MITTWOCH 5. AUGUST MEISTERSINGER Wagner raised $25,000 conducting benefit concerts, DONNERSTAG 6. AUGUST TANNHÄUSER FREITAG 7. AUGUST PARSIFAL and his $5.000 fee for a Grand Festival March SAMSTAG 8. AUGUST MEISTERSINGER commissioned in celebration of the hundredth anni- SONNTAG 9. AUGUST Geschlossene Vorstellung versary of American independence also went into the DIENSTAG 11. AUGUST MEISTERSINGER kitty. But these all seemed petty sums compared to MITTWOCH 12. AUGUST TRISTAN DONNERSTAG 13. AUGUST the estimated cost of which, MEISTERSINGER $225,000- of course, FREITAG 14. AUGUST TANNHÄUSER eventually grew to be much more. SAMSTAG 15. AUGUST PARSIFAL Nevertheless, Wagner was able to lay the SONNTAG 16. AUGUST TANNHÄUSER cornerstone on his fifty -ninth birthday, May 22, MONTAG 17. AUGUST RHEINGOLD DIENSTAG 18. AUGUST WALKÜRE 1872, and less than fifteen months later the roofbeam MITTWOCH 19. AUGUST SIEGFRIED was raised. FREITAG 21. AUGUST GÖTTERDÄMMERUNG

At this point money gave out and building came Vormerkungen und Kartenverkauf ab 15. November 1963 Advance booking and see of tickets

from 15th November . to a standstill. Seventy -five thousand dollars was 1963 Prenotations et location des billets a parlay du 15 Nonernbre 1963 needed just to get construction under way again,

FEBRUARY 1964 51

www.americanradiohistory.com to say nothing of completing the theatre or financing half -dozen carriages in Bayreuth, and most of the the performances. Wagner was in despair. All appeals visitors had to climb the hill to the theatre in the seemed in vain, even to King Ludwig, but finally glare of the midafternoon sun. "The rows of dwarf at what seemed the last possible moment to rescue trees on each side of the road, which usurped the the entire project from disaster, Ludwig relented and functions of an umbrageous avenue," remarked the came once more to Wagner's rescue. London Times with heavy irony, "may possibly At last -by dint of more scrounging, more bene- serve the purpose about the time when the `art - fit concerts, and a formidable accumulation of drama of the future has become the art -drama of debts -the house neared completion. It had cost the present... .91 more than money and will power. One day when For the first time in newspaper history, criticisms Wagner and his wife Cosima were leaving the of the performances were cabled across the Atlantic. Festspielhaus, he looked back at it and said bitterly An editorial in the New York Times proudly called to Cosima, "Every brick in that building is stained attention to its cabled reports, "very much such with your blood and mine." criticisms as we would have published had Wagner's As early as 1875 the greatest artists Wagner had great trilogy been produced at the Academy of been able to find, including orchestra virtuosos Music instead of across the ocean 4,000 miles away. headed by the famous Wilhelmj as concertmaster, . . . This is the first occasion, we believe, in which began preliminary rehearsals, working at serious the readers of any journal have seen in the morning financial sacrifice to themselves, most of them for criticism upon a musical or dramatic event that their bare expenses. The fabulous Lilli Lehmann, took place the evening before in another hemi- for example -then a coloratura star of the Berlin sphere." When we think how few criticisms are ca- opera and later one of the greatest of all Isoldes bled even today, these long cabled reviews of nearly and Briinnhildes -sang bit parts: the Forest Bird in ninety years ago are indicative of the importance Sie;'fried, one of the Rhinemaidens in Rbein,olcl and which Wagner's dream had acquired in the eyes of Giitterdiimmerun,, and one of Brünnhilde's eight the world. Valkyrie sisters in Die Walküre. The names of the artists who took part in that first cycle of August 13, 14, 16, and 17, 1876, were cut in gold letters on a great black stone slab in THE OPENING of the first Ring cycle was a world the ground floor promenade area, front and center sensation even before it took place. King Ludwig of the Festspielhaus. When the curtains closed on came in strictest privacy to the last dress rehearsals. the final scene of the last Götterdänunerung on Many days before the official opening night the August 30, neither Wagner, who made a farewell New York Tribune had its critic on hand to report on speech to the audience, nor King Ludwig, who had local color and the personalities gathering as the overcome his shyness enough to return for the final great day approached. cycle, knew whether there would be any festival the The overcrowding in Bayreuth, the heat and following year. As it turned out, the Festspielhaus dust of the town, were not improved by the fact did not open its doors to the public again until six that the landscaping of the uphill area leading to the years later for the production of Parsifal. Festspielhaus was only begun. There were only a Meanwhile, the first and most striking change in the appearance of the Festspielhaus had been made specifically to accommodate the shyness of the King. But in vain. The rather classical -looking two -story structure with pillars and pilasters placed before the theatre façade at dead center provided a private entrance to the Royal box for the King. Alas, he never used it because he never returned: by the time Parsifal was ready for performance, the King's shyness had grown so morbid that he could not persuade himself to leave his mountain fastnesses to attend even a private rehearsal of the work he once regarded as one of the most sublime goals of his own and Wagner's career.

NIV HEN Wagner died, in 1883, the heritage of the Festspielhaus fell into the strong hands of Cosima, who constituted herself a guardian of tradi- tion. During the twenty -three years of her rule there was little change in the Festspielhaus or what went on inside it. Her great achievement was to maintain the Continued on page 118 The orchestra is sunken, beneath a curving hood. the house, to revive

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Perhaps its most important specification ...

We set out to design an amplifying system which would satisfy, without compromise or quibble, the requirements of the great majority of music -lovers who want high quality music reproduction in their The KLH homes. It was our belief that such an amplifying system should be compact in size, simple to use, Model Sixteen reliable, and moderate in price. Above all, it should sound, while playing music at the same relative levels Integrated heard in the concert hall, indistinguishable from the most expensive amplifiers available. The Model Six- Music Amplifier teen is that amplifying system. The Model Sixteen is fully transistorized, with the peak load performance and the trouble -free depend- ability that are now possible with the advent of solid state devices. It is no accident that the Model Sixteen was created by a company which has already made The Model Sixteen offers a quality more high quality transistor amplifiers than all other of performance which will satisfy every musical requirement of the component manufacturers combined. educated home listener, even if he is quite willing to spend more 22 transistors, 8 diodes 70 watts steady state power, 35 watts per stereo channel (over 40 watts music power) into 8 ohms. (2 to 3 db less into 4 or 16 ohms.) Insignificant distortion levels from 20 to 20,000 cps Complete protection against accidental shorting or opening of speaker leads Controls: On -Off, Source, Volume, Balance, Bass, Treble, Loudness Compensation, Stereo -Mono, Tape Monitor, Filter, Speakers In -Out Inputs: Phono, Tuner, Tape, Aux. 1, Aux. 2 Outputs: Speakers, Record, Headphone Guaranteed in normal use (parts and labor) for 2 years All you need is á soundsóurce and speakers $219.95. Oiled walnut cabinet- $19.95

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

high fideli IIIAIIIIÌIÌI IIIIIII II IIIIIIIIIIII 11 i°ilíilpÁpIllllll nIIlI111111111111111111111 1/111 11111I/Iqllllplllll EQUIPMENT REPORTS

Leak Point -One Stereo Control Center; Stereo -60 Basic Amplifier

THE EQUIPMENT: Leak "Point -One" Stereo Control relatively small number of essential controls logically Center, and "Stereo -60" Basic Amplifier, preamplifier laid out. At the extreme left is a large input selector and power amplifier respectively. Preamp dimensions: knob, with positions for tuner, tape head, magnetic 101 by 33/4 by 73/4 inches. Basic amplifier dimensions: pickup, extra (or auxiliary high -level source), and 105/8 by 131/2 by 6'/s inches. Prices: preamp, $119.50; microphone. Just below and to the right is the mode basic amplifier, $219. West Coast prices slightly higher. selector, with positions for monaural (monophonic), left Manufacturer: H. J. Leak & Co., Ltd., Great Britain. channel, right channel, stereo, and reverse (channel Distributed in the U.S.A. by Ercona Corp., 432 Park reversal). Continuing across the panel, there are bass and Ave. S., New York 16, N.Y. treble tone controls-each is ganged so that it operates on both channels simultaneously; a channel balance COMMENT: Although the Leak basic may be used control; and the volume control. Just below and to the with other preamps, the Leak preamp -because of its left of the volume control is a rumble filter switch. gain characteristics and output connections -is not in- The rear of the preamp contains input level con- tended for use with any but Leak amplifiers. The two trols for the magnetic pickup, tuner, and auxiliary units actually are designed for use with each other, as inputs. The microphone and tape head inputs feed an integrated amplifier ensemble, which is how they directly to the selector switch. In addition to these input were tested by United States Testing Company, Inc. jacks, there are recorder output jacks for each channel The two chassis are interconnected by a multi - which tap into the circuit after the tone controls but conductor cable which carries operating power to the before the volume control. The preamp also contains preamp as well as signals from it to the basic amplifier. the octal socket for connecting the cable to the basic For use with preamps other than the Leak, a pair of amplifier, as well as a single phono jack for feeding a standard phono jacks is provided on the chassis of the mono signal (right channel only) to a mono power basic amplifier. As supplied, the Leak combination goes amplifier if desired. The preamp- compact, light in on automatically when the AC line cord is plugged into weight, and enclosed in its own case -may be placed a live outlet; alternately, its switch outlet can be easily in the open on rubber feet or installed in a panel cutout. wired to turn the power off and on from the preamp. The power, or basic, amplifier of this duo contains The preamp is neatly and simply styled, with a its own octal socket for receiving the other end of the

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

FEBRUARY 1964 55

www.americanradiohistory.com interconnecting cable, as well as standard +2 Power Bandwidth Curve (5)0.5% THD phono jacks for use with other preamps. It also has two switched 0 AC convenience -2 2.5 outlets (there are none on the Leak 4 2 preamp) for connecting other equipment. Instead of the series of screws for 6 1.5 the different speaker impedances

8 1 found on most amplifiers, the Leak has only one pair THD at 30 watts 10 0.5 for each channel; different speaker impedances are THD ot 20 12 wattl} 0 selected by changing the position of a shorting plug on the top 14 Frequency Response at i watt surface of each output transformer. Similarly, p 16 the power transformer has a shorting plug which can 18 be positioned for 110-, I17 -, or 124 -volt operation, de- M PERFORMANCE CHARACTERISTICS 20 Zero DB 30 watts pending on the electrical voltage supplied in any locale. 22 The tubes used, in both chassis, are standard types. 1 10 100 1K 10K 100K If inanimate equipment can be said to possess a FREQUENCY, CPS personality, the Leak ensemble may be characterized as "British conservative." This is most apparent in the 45 number and type of controls offered. minimal by Amer- 0 ican standards but enough to keep things going RIAA smoothly. -5 Even such a seemingly insignificant item as the use of EQUALIZATION CHARACTERISTICS the word "monaural" instead of the more recently 10 adopted term "monophonic" (or, indeed, the shortening ° +5 to "mono ") suggests a temper that will not bow to NAB 0 current vogue. -5 This notion is further evident in the equipment's 10 performance. Mr. Leak has indicated that his philosophy of amplifier design eschews both high power very 20 50 100 300 500 1K 3K 5K 10K 20K and wide response (that is, much below 30 or above 20,000 FREQUENCY, CPS cps), As for speakers. he favors magnetic cone types of moderate to high efficiency. USTC's measurements of the Leak amplifier indeed confirm this approach: the equipment is what its designer obviously has intended. Leak Amplifier Combination Thus, the less power the amplifier was called on to deliver, the lower its distortion and the wider its re- Lab Test Data sponse, and at what might be termed -by current practice -low power. the amplifier did cover the audio Performance range with ease. When driving capacitive loads between characteristic Measurement 0.01 and 0.2 microfarads, it tended to oscillate which. of course, would indicate that it is not intended to drive Power output electrostatic speakers. On the other hand, it did have (at 1 kc into 8 -ohm load) a high, favorable damping factor which would help it Channels individually: control magnetic speakers. And its square -wave response. Left at clipping 30 watts at 0.44% THD both at low and high frequencies. was quite satisfactory: Left at 0.5% THD 32 watts the 50 -cps response showed a relatively small tilt, indi- Right at clipping 29 watts at 0.38% THD cating clean bass down to and below the nominal 20 -cps Right at 0.5% THD 31.6 watts limit; its 10 -kc response indicated virtually no ringing Both chs simultaneously: Left at clipping 26.7 watts at 0.40% THD Right at clipping 26.7 watts at 0.36% THD

Power bandwidth Boss Boost THD 27 cps to 6.2 kc for constant 0.5% Treble Boost Harmonic distortion 30 watts output less than 1.6 %, 30 cps to 10 kc Rumble 25 14 kc; 20 watts output less than 1.6 °c, cps to Treble Cut 2.5 °o at 20 kc Bass Cut IM distortion 3.15% at 10 watts output TONE AND FILTER CHARACTERISTICS

Frequency response, 20 50 100 300 500 1K 3K 5K 10K 20K

1 output +0.6, 0.8 db, 9.5 cps to 24 kc -watt FREQUENCY, CPS RIAA equalization characteristic +0, 2.5 db, 20 cps to 20 kc 6 NAB (tape head) equaliza- INTERMODULATION DISTORTION tion characteristic 5.7 db, 50 cps to 20 kc 5 Damping factor 17.7 4 Sensitivity, various inputs extra, 27.5 my 27 my tuner, 3 mag pickup, 2.92 my tape head, 2.5 my 2 mic, 1.22 my S/N ratio, various inputs extra, 54.5 db tuner, 54 db mag pickup, 50 db o

tape head, 49 db 1 2 4 7 10 15 20 30 mic, 49 db AUDIO POWER OUTPUT - WATTS

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com teristics were well suited for their intended functions. The RIAA disc playback characteristic was very good, but the tape head playback characteristic varied by several dbs from the standard. This would concern only those who wanted to play prerecorded tapes from a deck that lacked its own preamps; tape decks with their own preamps can be jacked into either the "radio" or "extra" inputs on the preamp or into the phono input jacks on the basic amplifier. Square -wave response to 50 cps, left, and I0 kc. Both pieces of the Leak ensemble are magnificently built. Wiring and under- chassis layout are among the and good handling of transients. The signal -to -noise finest encountered, and resemble high -grade military - ratios were, in sum, not as high, and the IM distortion type construction. The layout atop the basic amplifier not as low, as measured on many other amplifiers; but chassis is ample, and the unit does not generate exces- these characteristics were impossible to discern as "un- sive heat. The whole has a feeling of rock -solid quality favorable" in listening tests at normal volume levels in about it. The Leak may not be the most spectacularly average -size rooms. performing amplifier, but it surely must be- within its The preamp's tone control and rumble filter charac- admitted limits -one of the most reliable and enduring.

Ampex Model F -4460

Tape Recorder

THE EQUIPMENT: Ampex F -4460. a dual -speed (71 nits the recorder's output signal to be taken directly and 3'/a ips), four -track, stereo /monophonic tape record from the input signal being recorded, or from the play- and playback deck supplied in carrying case. Dimen- back head the instant after it has been recorded. The sions: 14 by 17' by 9' inches. Price: $595. Same machine is capable of stereo and monophonic recording deck, unmounted, available as Model F -4450 (includes and playback, as well as the sound -on -sound function playback volume control; mike inputs on side) or as by which a new sound track is added to an already Model F -4452 (no playback volume control; mike in- recorded track. puts on top plate); dimensions are 13 by 15 inches, The Ampex F -4460 has three heads -for erase, re- with I3/s inches required above deck, and 61 inches cording, and playback. No pressure pads are used, and below deck; price is $549.50. Model F -4450 mounted none are needed inasmuch as good contact between the in optional walnut base, $579.45. Model F -4470, with tape and the heads is obtained by the normal tape wrap- built -in dual- channel power amplifier and speakers, around effect and sufficient tape tension. The record $695. Manufacturer: Ampex Corp., 934 Charter St., button interlock, requiring that two hands be used to Redwood City, Calif. begin a recording. is very effective in preventing acci- dental recording (and erasure) of a tape being played. COMMENT: Judging from the test results and perform- The recording level meters are not calibrated in VU ance of the new Model F -4460, Ampex has produced (volume unit) markings, but inasmuch as the point on a superb tape machine which, mechanically and elec- either meter at which the white and black portions meet trically, represents significant improvement over the was found to correspond almost exactly to a zero -VU older 1200 Series. setting. the meters can be used as accurate guides for The deck is neatly and logically arranged. Just recording with minimum distortion. An unusual feature below the tape reel spindles and centered between them of the deck is that its AC power switch may be turned is the speed shift lever; below this is the head assembly. to "off" during recording or playing a tape. The ma- The tape passes around an idler capstan, across the chine, however, will continue to operate until the end heads, around the driving capstan and an automatic of the tape is reached. at which time the recorder will stop lever, and thence to the take -up reel. To the left of shut itself off. Any other equipment plugged into the the idler is a tape -index counter; to the right of the deck's AC convenience outlet also will be turned off at drive capstan is a pair of recording level meters. Across this time. Phone jacks are used for microphone input the bottom are the controls for operating the deck and and signal output; phono jacks are used for high -level adjusting its electronics. These include a stereo /mono signal inputs. A pair of signal cables- fitted at one end selector switch: a dual concentric playback volume con- with phone plugs and at the other with phono plugs - trol (separate action on each channel); a fast forward is supplied. or rewind switch; a press -to- record button; the main A careful examination, as well as the electrical forward control (for play or record); a dual concentric measurements, of the F- 4460 -made at United States input level control for signals from high level sources; Testing Company, Inc.- indicate very high levels of and a similar control for microphone signals. Just workmanship and performance. The transport. driven above the playback volume control is the power on /off through belts by a single hysteresis -synchronous motor, switch, combined with a "tape /input" selector that per- operates silently and at constant and accurate speeds. It

FEBRUARY 1964 57

www.americanradiohistory.com Reference: Ampex 31321 -01 Test Tape Ampex Model F -4460 Tape Recorder NAB PLAYBACK FREQUENCY RESPONSE AT 7.5 IPS Left Channel Right Channel Lab Test Data 20 50 100 300 500 1K 3K 5K 10K 20K Performance FREQUENCY, (PS characteristic Measurement

Speed accuracy No measurable error, either speed

+5 Zero DB -10 vu wow and flutter 71/2 ips 0.06 °0 and 0.10 °0 respectively 0 33/4 ips 0.10 °o and 0.15% respectively -5 RECORD /PLAYBACK Rewind time, 7 -in., 10 FREQUENCY RESPONSE CHARACTERISTIC AT 7.5 IPS 1,200 -foot reel 1 min., 15 sec. 15 left Channel Right Channel -- Fast forward time,

some reel 1 min., 15 sec. 20 50 100 300 500 1K 3K 5K 10K 20K

FREQUENCY, CPS NAB playback response, 1.c.: 2 db, 50 cps to 15 kc, with 7t/2 ips (ref. Ampex test 3 -db rise at 100 cps tape No. 31321 -01) r.c.: +2, -0.5 db, 50 cps to 15 kc, RECORD /PLAYBACK with 3 -db rise at 100 cps 6 TOTAL HARMONIC DISTORTION AT 7.5 IPS 4 Record playback response Recording (with -10 VU recorded 1.c.: 2.5 db, 32 cps to 15 kc signal), 71/2 ips r.c.: + 1.75, -2 db, 34 cps to 16 kc 0 Left Channel Right Channel 33/4 ips 1.c.: + 1.5, -3 db, 35 cps to 4 kc; 20 50 100 300 500 1K 3K 5K 10K 20K -4 db at 6 kc r.c.: +1.75, -3 db, 37 cps to 9.2 kc FREQUENCY, CPS S/N ratio (re 0 VU, test tape) playback 1.c.: 55 db; r.c.: 55 db record; playback db; r.c.: 49 db m +5 Zero DB = -10vu Sensitivity for 0 VU

5 recording level r Left Channel high level 1.c.: 85 mv; r.c.: 90 mv ó 10 Right Channel RECORD /PLAYBACK microphone 1.c.: 0.39 mv; r.c.: 0.42 mv 15 FREQUENCY RESPONSE CHARACTERISTIC AT 3.75 IPS Max output level 20 50 100 300 500 1K 3K 5K 10K 20K (with 0 VU signal) 1.c.: 1.26 volts; r.c.: 1.32 volts FREQUENCY, CPS THD, record playback ( -10 VU recorded signal) 71/2 ips either channel: less than 3 °ó up to 10 kc; less than 4 °0 up to 15 kc RECORD /PLAYBACK 6 33/4 ips 1.c.: less than 3 °o up to 5 kc; DISTORTION AT 3.75 IPS TOTAL HARMONIC 7 kc 4 3.2 °0 at r.c.: less than 2.6 °0 up to 7 kc 2 Left Channel 0 - IM distortion, record Right Channel Recording Level -_ -10 vu playback with -10 VU recorded signal 1.c.: 2.5°o; r.c.: 2.5% 20 50 100 300 500 1K 3K 5K 10K 20K with 0 VU recorded FREQUENCY, CPS signal 1.c.: 4.0°o; r.c.: 5.5°0 Recording level for max. 3% THD 1.c.: +7.1 VU; r.c.: +6.0 VU proved. in fact. to be the first yet encountered that had no measurable speed error. The controls all worked Accuracy of built -in meter for 0 VU, either channel, meter smoothly and positively: the tape -index counter proved needle rests just before black portion of scale accurate: the deck handled all tapes smoothly and gently. Wow and flutter were insignificant. The recorder's frequency response was excellent at 71/2 -ips speed. among the smoothest ever measured on a tape recorder. Response at the slower speed was. as expected. not as wide in range hut almost as low in distortion. Other significant characteristics -such as IM distortion. signal -to -noise ratio, input sensitivity, and output level-all were uniformly favorable. REPORTS IN PROGRESS The high level of performance of the F -4460 does not. incidentally. imply complicated operation. The deck, in fact, is extremely simple to hook into a stereo com- ponent system and equally easy to set into operation. Scott 299D Control Amplifier It also is handsomely styled in brown and black tones that blend nicely with cabinet finishes. But looks and Korting TR -3000 Tape Recorder ease of use aside, the new Ampex deck is one that should satisfy a demand for superior home recording JansZen Z-600 Speaker System and playback facilities. Its electrical and mechanical performance. in a word, places it in the very top ranks of tape recorders now available.

58 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Fisher Model 500 -C Tuner /Amplifier

THE EQUIPMENT: Fisher 500 -C, a combination FM, fort yet in the "all -in -one" class of stereo component. FM /stereo tuner and stereo preamplifier /power ampli- Across the front panel of the 500 -C is a generously fier on one chassis. Dimensions: 171/2 by 131 by 53/4 sized tuning scale, flanked by a stereo beacon light that inches. Price: $389.50. Optional wood case, $24.95. signals the reception of FM /stereo, and a signal strength Fisher 800 -C is identical except for the addition of an tuning meter for all FM stations. The tuning knob is at AM tuning section; price. $449.50. Manufacturer: Fisher the right, and a speaker selector switch (speaker I, Radio Corp., 21 -21 44th Drive, Long Island City 1, N.Y. speaker 2, speaker 1+2, earphones) is at the left. Across the bottom of the escutcheon are control knobs for bass COMMENT: The very high FM sensitivity, the clean and treble (independent for each channel); channel bal- power across the audio range, the smooth and effective ance; function selector (tape head, phono mono, phono control features, and the handsome appearance generally stereo, FM automatic, FM stereo, FM mono, aux- tape); associated with Fisher components are here combined on loudness contour; AC off /on combined with volume. one chassis that represents Fisher's most ambitious ef- Centered under the tuning scale is a stereo headphone

o +2 0 ó Power Bandwidth Curve -2 / at 0.7% THD 4 IHF USABLE SENSITIVITY CURVE 6 1.5 °z THD at 30 watts -, IHF Usable rçu 98 me - 1.7yv -8 1 v Sensitivity á -10 0.5 -12 0 c THD at 15 14 -16 z -18 Fr equency Response at 1 watt -20 Zero DB 33 watts r-. -22 10 100 1K 10K 100K 10 10' 10' 10' 10' FREQUENCY, CPS TUNER RF INPUT LEVEL - MICROVOLTS +5 RIAA 0 c _ -5 _ +5 111 0 laa EQUALIZATION ERROR -5 od FM MONOPHONIC FREQUENCY RESPONSE Z +5 CL. - NAB N. 1.4.11 LK -5 20 50 100 300 500 1K 3K 5K 10K 20K 30K 10 FREQUENCY, CPS 20 50 100 300 500 1K 3K 5K 10K 20K

FREQUENCY, CPS 0 o, - 5 - Left Channel 3 Z -10 ó Right - -15 Channel 2 INTERMODULATION DISTORTION c -20 o a -25 W 1 °` -30 4:1 CC 60 and 7000 cps, FM - STEREO FREQUENCY RESPONSE AND CHANNEL SEPARATION 0 -35 á 40 1 2 4 7 10 20 20 50 100 300 500 1K 3K 5K 10K 20K AUDIO POWER OUTPUT - WATTS LoudnessBass` Contour Treble Boost - Rumble_ Scratch -5 3 Filter Filtey' Bass Cut Treble Cut 10 `sr TONE AND FILTER CHARACTERISTICS 15 IVAN If ' Volume Control at 9 o'clock 1.. 20 50 100 300 500 1K 3K 5K 10K 20K FREQUENCY, CPS tiqnarc-trave response to 50 rps. left, and 10 kc.

FEBRUARY 1964 59

www.americanradiohistory.com jack for use with any low- impedance set. To its left are slide switches for high (scratch) filter and low (rumble) Lab Test filter; to its right are switches for multiplex filter and Data tape monitor. The speaker selector switch, somewhat Tuner unusual, Section allows one to choose between either of two Performance separate sets of stereo speaker systems, or to use both sets simultaneously. This feature enables the Model characteristic Measurement 500 -C to pipe stereo into another room, or -for those IHF sensitivity 1.7 p.v so inclined -to compare the sound of different speakers on stereo. Frequency response, mono +1, -2 db, 29 cps to 23 kc Input jacks, at the rear, are provided for signals THD, mono 0.4% at 400 1 kc; direct from a tape cps; 0.36% at head as well as from a tape playback 0.64% at 40 cps preamp, high or low level magnetic phono cartridge, and any high level auxiliary source. Each channel has taps IM distortion 0.1% for speakers of 4 -, 8 -, or 16 -ohms impedance, as well Capture ratio 2.5 db as tape feed jacks to record whatever is being heard or tuned in on the 500 -C. There also is a center -channel S/N ratio 62 db output jack for driving a separate amplifier and speaker. Frequency response, stereo Two switched AC convenience outlets on the rear permit left channel +0, -4 db, 20 cps to 15 kc plugging in other equipment, to be controlled by the right channel same, except for -3.5 db at 20 cps power switch on the front panel of the 500 -C. Antenna terminals, for the FM tuner section, are of THD, stereo left channel the 300 -ohm balanced (twin -lead) type, with separate 0.8% at 400 cps; 0.61% at 1 kc; taps for "local" or "distant" reception (the terminals for 1.8% at 40 cps right channel 0.84% at 400 cps; 0.62% at 1 kc; local use are padded to reduce the input RF signal 1.7 °o at 40 cps level). The chassis may be placed on a shelf, in or out of an optional wooden case, or it may be more perma- Channel separation better than 20 db, 60 cps to 10 kc nently installed in a cut -out panel. The only proviso better than 15 db, 40 cps to 15 kc regarding its placement is that it must not be installed 19 -kc pilot suppression -44 db vertically lest heat from the output circuits at the rear 38 -kc subcarrier suppres- of the chassis rise to trouble other circuits of the set. sion -47.5 db As the accompanying measurements-made at United States Testing Company, Inc.- indicate, the Fisher 500 -C Amplifier Section amplifier section provided up to 34.8 watts of power per channel at a harmonic distortion level of 0.7%. Performance With both channels driven together, as they would be characteristic Measurement in normal use, the 500 -C provided nearly 30 watts of clean power per channel at even lower distortion. Other Power output, ind. chan- performance characteristics were equally fine, such as nels, 8 -ohm load a low amount of IM distortion and a uniform frequency left, 1 -kc clipping point 30 watts with 0.13% THD response across the audio range. The amplifier's equal- left, for 0.7% THD (rated distortion) 34.8 watts ization characteristics as well as the action of its tone right, 1 -kc clipping point 30 watts with 0.14% THD controls and filters all were found to be well suited right, for 0.7% THD for their intended purposes. As is typical of integrated (rated distortion) 34.8 watts chassis components, the low- frequency square -wave measurement shows the effect of a deliberate attenuation both channels operating together of the extreme bass below 20 cps, while the high - left, 1 -kc clipping point 28.1 watts at 0.4`o THD frequency square -wave pattern shows a moderate rise right, 1 -kc clipping point 29.3 watts at 0.38 °° THD time with no trace of "ringing," indicating good transient response and stability. Power bandwidth, USTC's measurement of FM sensitivity was 1.7 µv, constant 0.7% THD 22 cps to 20 kc which exceeds Fisher's claim for the unit. Combined Harmonic distortion with the set's low distortion and excellent capture ratio at 30 watts, left ch less than 0.9%, 25 cps to 20 kc of 2.5 db, this makes the 500 -C one of the most sensi- at 15 watts, left ch less than 0.7 °o, 20 cps to 20 kc tive tuners yet encountered (integrated with an amplifier or not), and one that will pull in distant stations in the IM distortion 0.5% at 10 watts; 0.9% at 33 watts

most difficult reception areas. What's more, tuning to Frequency response ± 1 db, 30 cps to 24 kc; -3 db at stations is facilitated by the accurate calibration of the 19 cps and at 33 kc station dial, as well as the indications the tuning of +0, meter, which proved to be accurate with respect to "on RIAA equalization -2 db, 30 cps to 17.5 kc; -3 db at 20 cps and at 20 kc center" tuning and minimum distortion. On stereo recep- tion, channel separation was very good, and the in- NAB (tape head) equaliza- evitable rise in distortion, when switching from mono tion ±1 db, 50 cps to 20 kc; -5 db operation, was not very great. Both stereo and mono at 25 cps programs could be fully enjoyed. Damping factor 6.1 The Model 800 -C is identical to the 500 -C except for the addition of a separate AM tuning section, and Sensitivity for full output phono, low 3.3 mv the necessary additional controls for AM reception. phono, high 10.5 mv Use -tests of a Model 800 -C indicate the same quality of tape head 2.1 mv aux 210 mv stereo amplifier and FM performance as in the 500 -C, tape mon 870 mv with the added fillip of being able to receive AM pro- grams clearly. Either the Model 500 -C or the 800 -C is S/N ratio phono, low 60 db a worthy addition to the growing class of stereo tuner/ phono, high 60 db amplifiers that offer convenience combined with quality, tape head 50 db as the center of a high- perform- aux 78 db and can serve admirably tape mon 80 db ing home music system.

60 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com WHEN YOU NARROW IT DOWN IT HAS TO BE UNIVERSITY!

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LISTEN to all the slim speakers. Base your decision on sound. That's what a speaker is for. University won't sacrifice reproduction quality regardless of speaker size or shape. Any of the three speakers in this ad will give you all the subtle magic Beethoven intended ...all the dazzling color of De Falla or Stravinsky...all the individual virtuosity in a jazz combo. It's almost incidental that University decorator -thin speakers will adorn any wall, accommodate limited space or fit tastefully wherever larger units would seem obtrusive. It's the big sound (the true sound) we were after...and captured. Hear for yourself.

TRI- PLANAR -a 3 -way system only 13/4" thin (the world's thinnest speaker) with a response from 45 through 18,000 cps...the equal of many larger conventional systems! The 264 sq. in. woofer is larger than that of most big speakers. Sound radiates from both sides to surround the entire listening area. Measures only 15' x 23" x 13/4" thin. With cane grille and oiled walnut finish, $79.95.

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SYL -O -ETTE -Big speaker performance engineered into a 3 -way ultra -thin system (29" x 23" x only 4" deep)! Enclosure is University's exclusive RRL tuned ducted-port to enhance reproduction quality over the unusually wide range of 40 to 20,000 cps. Looks like a magnificent, framed picture. With hand -embroidered Petit -Point grille, $109.95. With Neo- Classic art or cane grille, $99.95.

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CIRCLE 73 ON READER -SERVICE CARD FEBRUARY 1964 61

www.americanradiohistory.com Here's Why Discriminating Record Buyers Demand Command 5 OUT OF 5! Command Records produced only five classical albums in 1963. ALL were chosen by High Fidelity's annual publication - STEREO 1964 - in their selection of the YEAR'S BEST RECORDINGS! Because of Command's fanatical insistence on perfection, only a few albums can be produced each year. Results? Unqualified recog- nition! For unqualified musical performance . . . DEMAND COMMAND!

('"stl 1411 I71OVEV ""'"" NN1111U %11.11.1,40,11_%1S A.,1,92 \u..I ni *am in I Ipm WI x war Inü...I.. Poo TIM 1.1,111.01011, 111, wah-n nuW xrw.! AA,.

Here's what Stereo 1964 had to say about Command

BACH: Passacaglia and Fugue in C minor, S. 582. MESSIAEN: La Nativité du Seigneur: Dieu parmi nous. FRANCK: Grande pièce symphonique, Op. 17. Virgil Fox, organ. "A virtuoso with an amazing technique, Fox is also a sensitive musician. Command engineers have captured an unusually wide range of dynamics, without any distortion whatever. In some respects, this is the most thrilling disc of serious music the company has yet issued." Command 11018

BEETHOVEN: Symphony No. 4, in B flat, Op. 60; Leonore Overture No. 3, Op. 72a. Pittsburgh Symphony Orchestra, Steinberg. "These two performances rank as some of the best Beethoven in stereo and prime items in the Steinberg discography. Antiphony between strings and winds is beautifully realized." Command 11016

BEETHOVEN: Symphony No. 7, in A, Op. 92. Pittsburgh Symphony Orchestra, Steinberg. "Many listeners will probably regard this as the best two- channel version of the music to be heard on records. The orchestra is recorded in such a way that it sounds exactly as a symphony orchestra should." Command 11014

BRAHMS: Symphony No. 3, in F, Op. 90: Tragic Overture, Op. 81. Pitts- burgh Symphony Orchestra, Steinberg. "The Pittsburghers play the symphony with incisiveness and tonal glow, and the recorded sound is notable for presence and definition in all choirs." Command 11015

SCHUBERT: Symphonies: No. 3, in D; No. 8, in B minor ( "Unfinished "). Pittsburgh Symphony Orchestra, Steinberg. "This recording is one of the best produced recently for sheer fidelity of Sound. The sense of presence is phenomenal." Command 11017

AVAILABLE IN STEREO, MONAURAL, AND 4 -TRACK TAPE Write for FREE full color brochure of all Command releases

WORLD LEADER IN RECORDED SOUND

C RECORDS 1501 BROADWAY, NEW YORK 36, N.Y. CIRCLE 23 ON READER -SERVICE CARD 64 HIGH FIDELITY MAGAZINE

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

by Leonard Marcus

The Philadelphia - A Paragon of Versatility

With Munch as honored guest.

HASAS THERE EVER BEEN an orchestra over for the Pastorale and Unfinished they were about to break: every delicate the Philadelphia? Others have Symphonies. nuance, every delicious phrase is ca- achieved transient epochs of greatness, Recently, however, we outsiders have ressed with loving care. His choices of but for half a century the Philadelphia been treated to a surprising demonstra- tempos balance each other as though he Orchestra has maintained its virtuosic tion of the orchestra's versatility. Guest were weighing hairs. preeminence among symphonic ensem- conductors galore have been appearing Ravel's Valses were originally written bles. Other orchestras may have surpassed on the podium during the Philadelphia for piano and some of them often sound its skills under certain conductors, as the Orchestra's tours. This season, in New it. Others tend to evoke the composer's NBC Symphony did under Toscanini, York alone, half a dozen maestros are later and more ambitious La Valse. It but when the Maestro was away the net- leading it. And now Columbia has is- is to Munch's credit that he tailors them work orchestra became more or less ordi- sued a unique Philadelphia disc under all from one piece. There are a few nary. The Philadelphia Orchestra seems the direction of Charles Munch. What is minor mishaps, such as at the beginning to retain its independent greatness under becoming evident is that this orchestra of the exposed fourth waltz, where two any master conductor. exhibits the characteristics of a fine lone flutes carry the melody in a sort of This is something that non- Philadel- speaker system, in that its own person- Ravelian organum and the second flute phians have generally had to take on ality hardly intrudes upon the musical misses the new tempo, or in the seventh faith. Out -of- towners have known the interpretation. Although we have gen- waltz, where a Taking- off -of- the -Mutes ensemble chiefly from its tours and re- erally associated a brilliant yet lush ritual is audible. But these hardly dis- cordings in collaboration with its music sound with this group, it now appears turb the gentle Gallic sounds. directors, Eugene Ormandy during this that its bright, extroverted tone is only In the poignant and lovely Fauré, generation, Leopold Stokowski for the what its music directors have decreed. Munch is at his best. PeWas et Méli- preceding one. Until Columbia's release Munch has mounted the Philadelphia sande is not a work often heard in con - of the French program at hand it had podium a dozen times since 1957, though cert-if only because its muted tints and issued only two non-Ormandy/Philadel- never before at a recording session. His hues will bring no concert house down - phia discs since the advent of stereo, and present program consists almost entirely but it shows the composer at his most both of these were with Stokowski: El of delicate, translucent French music, touching. Lines and colors melt into Amor brujo and a Bach program, both which the former chef d'orchestre of the or complement each other, and there four years old now. The last time any- Boston Symphony Orchestra did so well isn't a moment of impropriety in the en- one else recorded with the orchestra was with that group. Munch handles this col- tire four movements. in the mid -'40s when Bruno Walter took lection of exquisite miniatures as though The Berlioz does have its bravura

FEBRUARY 1964 65

www.americanradiohistory.com tutti episodes, especially in the Rakoczy March, but even here the orchestra's sounds are scaled to match the two more gossamer excerpts. In the March one becomes conscious of a phenomenon ap- parent. to a lesser degree, throughout this disc. It takes effort to remember that one is listening to the Philadelphia Or- chestra; what one hears is the Boston Symphony Orchestra. More than that, it is the BSO under Koussevitzky, when the iron -fingered strings were gloved in vel- vet, and when Mager's first trumpet stuck out like an unsheathed epée. The An Anthology of Pianism first cornet part of the Damnation ( though no sweet cornet is being blown here) and the first trumpet part of the Ravel separate themselves from the blend Froiii a More Poetic Age of the rest of the orchestra as in the Boston Symphony of old. Not that the trumpeter (it must surely be the same man) is playing too loud. He just has that sound. Concurrently with its Munch /Phila- by Harris Goldsmith delphia recording, Columbia has released Ormandy's latest: Don Quixote, featur- ing the orchestra's first cellist, Lorne Munroe (who will become first cellist of the New York Philharmonic next sea- son), as the Don and its first violist, Carlton Cooley (who retired last sea- son), as Sancho Panza. Here we have the familiar Philadelphia Orchestra again, with the velvet gone and the brilliance ON June 15, 1962, Alfred Cortot quently took on the role of accompanist regained. Both soloists perform very died in Geneva at the age of in Lieder recitals by foremost vocalists. well indeed, although the close miking eighty -four. Although he had been one A conductor too, he acquired consider- picks up Cooley's scratches (even Heifetz of his epoch's most celebrated musicians, able reputation as a Wagnerian, intro- sounds scratchy up close) and Munroe's his passing received little more than ducing Gotterdiimmerung to Paris in the breathing. But what particularly dis- cursory mention in the American press. early years of our century and acting as tinguishes this Don Quixote is the amount An unfortunate combination of circum- an assistant director at Bayreuth. He of musical material that can be heard. stances had served to tarnish his name is also remembered for his notable con- Perhaps no one will ever be fully con- and dim his reputation. During World tributions to musical pedagogy; his edi- scious of that final tardy sheep, the ped- War II. Cortot actively coöperated with tions of Schumann and Chopin piano ants running away, or any of several the Vichy regime in France. The stigma music are illuminating (as well as highly other inside jokes between Strauss and of being a "collaborator" lost him most controversial ). orchestra until Walt Disney decides to of his following among the older gen- Whereas most artists trained before film the work, but in no live performance eration of American concertgoers (though the turn of the century were content to of Don Quixote have I heard as much of it was later intimated that he had used display themselves and adhere to "tra- what Strauss wrote as I do in this re- his influence to save the lives of many dition," Cortot was always primarily cording. It is in a complex score like this musicians in occupied France ). The interested in conveying what he felt to be tone poem that a good, well -miked re- young generation, brought up on the the essence of the works he played. He cording can surpass the best -played live pristine accuracy and brash hyperten- could, it is true, be as highhanded and concert. Let this be an answer to those sion of Horowitz, had already dismissed cavalier as anyone else. but in the main who insist that the more faithfully the Cortot on strictly musical grounds. He his was a patrician (though not con- recording imitates the concert hall the stressed the grand gesture and the mi.r- ventional) personality. Like every great better. What hall could capture this terioso effect and even in his heyday he artist, he was a law unto himself; and clarity? could never boast Horowitz's type of he possessed a severe inner discipline executive brilliance. There were certain that confined him to the music for which holes in his basically formidable techni- he had particular affinity- Chopin, FAURE: Pelléas et Mélisande: Or- cal armor (the left chestral Suite -hand fingered octaves Liszt, Schumann, and the French Im- and marksmanship, for example, left pressionist group. By the criteria of his -I-Ravel: Valses nobles et sentimen- much to be desired ), and his art, though day, his interpretations of that chosen tales never dull, could be .1-Berlioz: Damnation de Faust: Men- maddeningly uneven. literature were thoroughly idiomatic. He was a "poetic" pianist in both the uet des follets; Danse des sylphes; Cortot was one of the first artists best and the worse sense, and it is Marche hongroise small fully to appreciate the potentialities of wonder that an era placing such emphasis the phonograph. Few, if any, recorded Philadelphia Orchestra, Charles Munch, on sheer mechanical efficiency and tex- more prolifically than he did. It is inter- cond. tual literalism should have paid him little esting to note that the pianist made the COLUMBIA ML 5923. LP. $4.98. heed. Victor Talking Machine Company's first COLUMBIA MS 6523. SD. $5.98. As happens so often with musicians electrical recording (a coupling of a of longevity, Cortot had lived to be- Chopin Impromptu and Schubert's come an anachronism. In his younger put literally STRAUSS, RICHARD: Don Quixote, Litany), and thereafter days, the French master had, however, hundreds of works on disc. His last Op. 35 been one of the most progressive and concerts and recording sessions took Lorne Munroe, cello; Carlton Cooley, stimulating musical personalities before place in the early Fifties. A goodly part viola; Philadelphia Orchestra, Eugene the public. Aside from his prodigiously of Cortot's repertoire was thus docu- Ormandy, cond. active life as a touring virtuoso, Cortot mented, most of it in duplicate -or even COLUMBIA ML 5915. LP. $4.98. had been the pianist member of an in- triplicate-editions. From the vast COLUMBIA MS 6515. SD. $5.98. ternationally celebrated trio and fre- legacy he left to us, Capitol Records

66 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com and all five are to be welcomed. The vation. The disc containing the Chopin mood of the piece becomes far more Fantaisie and Four Ballades (COLH 9I ) diverse with their presence. Both old is more disappointing. Cortot pulls the and new performances are fine. The music in the Ballades woefully out of earlier one, markedly faster. more brac- shape; and while he manages the Fan- ing and tightly knit than its successor, taisie with greater restraint, the recorded is also better executed: while the Cortot sound in that work is afflicted with of 1953 was able to exploit a diminished "wow." The postwar reading of the dynamic power and manage thereby to B flat minor Sonata, Op. 35 (DTX ravish with a judicious mezzo forte, the 20007) has its sloppy moments, but is pianist in his prime affords greater an extremely effective specimen of old musical satisfaction. Even in the 1929 school pianism. The accompanying record the execution of the finale is readings of the Trois nouvelles études mildly suspect, but this is the only blem- and the Nocturnes (Op. 9, No. 2; Op. ish on what must surely be the finest 15, No. 1, and Op. 27, No. 1) also version of the Symphonic Etudes ever display the lovely Cortot style in abun- put on record (and the sound of the dance. The Barcarolle, which rounds out 1929 dubbing is by no means bad). the disc, is its single failure. A recital Another Schumann performance, that miscellany (DTX 20005 ) containing of Kreisleriana (COLH 86), has the more Chopin -Nocturne, Op. 15, No. 2: magical poetry, pointed contours, and Berceuse; Tarantella; Waltzes 6, 7, 9. gorgeous tonal allure of the Etudes 11; and Etudes, Op. 10, No. 5, Op. 25. symphoniques performances. It too must Nos. 2 and 9 -in addition to delectable be deemed the finest recorded rendition morceaux by Bach, Brahms, Purcell. of that music, approached in merit only and Schumann is also highly attractive by the Kempff (DGG- Decca) and despite slight digital mishaps. Perlemuter (Dover, originally Vox) edi- Cortot's mastery of the French school tions. The Cortot version of the Schu- is amply demonstrated by his readings mann Concerto (COLH 31), however. is of Debussy's Preludes Book I and more questionable. For one thing, the Children's Corner (COLH 93) and by Culver restored sound is sour and poorly the splendid accounts of Franck's Pré- Alfred Cortot: a patrician personality. balanced (one wonders why this 1927 lude, choral, et fugue (with the earli- version was selected for reissue rather er Schumann Etudes symphoniques) and has now imported for general distribu- than that of 1934), and Cortot's inter- Variations symphoniques (with the tion eleven LPs made by the company's pretation is extremely idiosyncratic by Schumann Concerto). The Franck pieces affiliates abroad and complementing the today's standards. His type of rubato, have plenty of the traditional "mystique," set of Chopin Waltzes issued domestical- for instance, is very much more assertive but none of the usual heaviness and ly several years ago. Three of the discs than we are presently used to hearing. lethargy. The tempos, indeed. are rather are devoted to Cortot's final recordings Sir Landon Ronald leads the London rapid. The Debussy Children's Corner from the 1950s, many of which were pre- Symphony sturdily enough, although is a recorded classic. No one has ap- viously available here on the now defunct he and Cortot are not quite unanimous proached Cortot's blend of stylized RCA Victor LHMV series; the remain- in their ensemble (they stay together far charm and sensitive tonal wash in that der are reissues of famous Cortot albums better in the fine Franck Variations sym- piece. The Preludes are expressionistical - from the 78 -rpm days. Although the phoniques overside). ly rather than impressionistically han- sound on the "Gravures Illustres" does Two remaining Cortot Schumann per- dled. The pianist conveys in the pieces not equal the lustrous reproduction of formances, Carnaval (with the newer as much architectural delineation as the newer discs, the older performances Etudes symphoniques) and Davids- Gieseking did, but his statements have are, for the most part, the more valuable biindlertiinze (coupled with Kreisleria- bigger, broader tonal boundaries. De- evidence of Cortot's great artistry. na), are perplexing and even unsettling. bussy must have played them very In one instance we are able to corn - The celebrated duo of Florestan and similarly (to judge from the piano rolls pare Cortot with himself. for both the Eusebius, who represent Schumann's he made in 1913). pianist's editions of the Schumann introspective and extroverted sides, The final entry in this Cortot mara- Etudes symphoniques are once again could be described here in terms of that thon is an Italian import (Odeon QALP available. Pathé COLH 69 contains the equally illustrious twosome Jekyll and 10348) containing a Chopin miscellany 1929 performance of the work, while Hyde. The former furnishes many ad- distilled from other Cortot discs men- Pathé DTX 20004 brings us the 1953 mirable interpretative splendors and tioned previously. It also offers a stir- statement. The latter makes its initial countless instances of expressivity, while ring performance of the A flat Polonaise, domestic appearance with this disc, while the latter displays grotesque exaggera- Op. 53, not elsewhere available on micro- collectors with long memories will re- tions and technical mishaps by the groove. Unfortunately, the transfers are member the predecessor from a Victor legion. Very often in both performances, primitive (severe distortion, inaccurate 78 -rpm album (M 122). Cortot's mas- moreover, a spurious sounding "inner playback speeds, etc.). tery of this lovely music was remarkable voice" will suddenly emerge from a EMI- Capitol, in making this anthology indeed. He played the work with a lovely maze of excessive pedaling. available, has performed an exemplary cantabile tone, radiant poetry, and in- The Chopin Preludes and Impromptus service. Those who heard Cortot will he genious rhythmic and harmonic dis- (COLH 38) offer Cortot at his best. reminded of his greatness; more im- tentions. He also was perhaps the first The pianist brings enormous authority portantly, those who have only heard of artist to include all five of the post- to these pieces, and intones their melodic him will be given an opportunity of humously rediscovered études that lines with strength and coloristic beau- assessing a rare artistry at first hand. Schumann had purged from his stringent ty. He is also technically impressive here. later version of the text. (Most per- Like these works, the two sets of Chopin ALFRED CORTOT: Recitals formers, even today, omit them.) It is Etudes (COLH 39) display Cortot's in- detailed contents of the a high tribute to Cortot's integrity to nately musical approach. Once again For eleven discs, see review above. note that he was playing these jewels he links the many miniatures into one as early as 1929, interspersing them continuous narration, though here he Alfred Cortot, piano. with the standard variations. The third does not quite manage to cope effort- PATIIE COLH 31, 38. 39, 69, 86, 91, and fourth of these additions are par- lessly with the cruel technical demands. 93. Seven LP. $5.98 each. ticularly poignant (the former especial- Since the restored sound on this disc PATHE DTX 20004, 20005, 20007. ly, with its harmonic anticipations of tends to be a trace fuzzy, the collection Three LP. $5.98 each. Rachmaninoff's D minor Concerto), cannot be recommended without reser- ODEON QALP 10348. LP. $5.98.

FEBRUARY 1964 67

www.americanradiohistory.com siderable thumping in the fast move- for fascinating comparisons with the far ments, and the Siciliana is rather dull. different one that Wanda Landowska As for the Mozart, considerably more gave us. N.B. of the charm of this lightweight work is conveyed, it seems to nie, in the old Westminster recording by Paul Badura- BEETHOVEN: Concerto for Piano, Skoda and Reine Gianoli, although the No. 3, in C. minor, Op. 37; Rondo Classical sound on the present disc is much finer. in B flat N.B. Sviatoslav Richter, piano; Vienna Sym- phony Orchestra, BACH: The Well- Tempered Clavier, Kurt Sanderling, cond. DEUTSCHE GRAMMOPHON LPM 18848. Book I LP. $5.98. Ralph Kirkpatrick, DEUTSCHE GRAMMOPHON SLPM clavichord. 138848. SD. ARCHIVE ARC 3211/12. Two LP. $6.98. ADASKIN: Serenade Concertante $5.98 each. See Somers: - Replaying this record, I am increasingly Suite for Harp and ARCHIVE ARC 73211/12. Two SD. convinced Chamber Orchestra. $6.98 each. that it is the finest concerto recording Richter has made. Certainly it is the finest This is the first time, I new Beethoven Third to BACH: believe, that a appear in a Cantatas complete Part of the Well -Tempered considerable period. We have been bombarded with testi- No. 49, Iclt gels Clavier has been recorded on a clavi- and suche mit Verlang- monials to Richter's supremacy as en; No. 84, Iclt bin vergnügt chord. It effectively disposes of the claim virtuoso, a mit sometimes made that and certainly when it comes meinent Gliicke. certain of the prel- to virtuosity he udes and fugues are unplayable on that is not to be surpassed. But he is also an extraordinarily fine Agnes Giebel, soprano; Jakob Stämpfli, instrument. Everything works here, the musician, only exception and it is the impact of this bass; Instrumentalists; Westfälische Kan - being the F major Prel- musicianship which torei, Wilhelm Ehmann, cond. ude, which is taken too fast for the gives solidity to the present achievement. The playing is CANTATE 641212. LP. $5.95. clavichord. The general effect is of mirably ad- CANTATE course quite conceived in terms of a classic 651212. SD. $6.95. different from a harpsi- style, ideally chord's. The difference is something like scaled in dynamics to the registration of the score, No. 49, which seems to be new to the that between a body of plucked strings and consistent throughout for felicities in phrasing domestic catalogues, is a dialogue between and a lute. Everything is miniaturized ornamentation and Jesus on the clavichord, but within which are the mark of a and the Soul, as bridegroom and the smaller perceptive and imaginative bride. It is distinguished by a fine, me- frame a fair range of nuance is available. artist at work. Contrasted with the Fleisher edition, lodious accomplished recitative for the Indeed, some things that cannot easily which two singers; be achieved on the harpsichord I still respect very highly, the a soprano aria with the are pos- effect is one of greater highly unusual combination of oboe sible on the clavichord, such as bringing maturity and the out an larger freedom of expression which ma- d'amore, viola pomposa (which sounds individual voice in a polyphonic turity brings. lower composition. Familiar works will than an ordinary viola), obbligato appear On a technical organ, and continuo; and one of in a new light to those who haven't level there is little those rivalry. The new DGG has rounder wonderful Bachian movements in which previously played or heard them on this warmer and instrument. Thus the sound than Epic's, and much of one voice sings a chorale in long notes great E flat minor the force of while the other Prelude may strike some as rather shal- Richter's playing is due to voice and the orchestra the fact that his rejoice around it. low and matter -of -fact in the present instrument is wonder- Miss Giebel is in fully well recorded. The good form here: her reading. while on the other hand the B pianist projects rather frail- sound- superbly, and with an ing voice is pure and accurate and spins flat minor Prelude takes on a new sim- artist of so remark- plicity able a stature, that is quite enough to in- a lovely line. Stiimpfli is equally com- and unaffectedness that is deeply sure petent moving. success. and his voice is attractive. No. The Rondo which 84 is a smaller work, Kirkpatrick's performance is on the fills out the B side consisting of two is a work from 1795. arias (the second whole masterly. Each piece is given its generally regarded a cheerful, dancing as an alternate finale one with considerable charm ), two re- special character. a steady rhythm is not for the Second Piano Concerto (which is chronologically citatives. and a final chorale. The skill- permitted to congeal into mechanical the rigor, the lines are eloquently first of the five). It is a highly at- ful performance by Miss Giebel and the articulated, tractive fast movement excellent sound place this version of No. with the ornaments always sounding like for piano and or- natural enhancement. chestra, deliciously done, and just the 84 slightly ahead, it seems to me, of the One may question sort of bonus old a point or two speed of the C sharp that ought to tip many mono recording on Westminster. -the choices in the direction N.B. major Prelude, the omission of the first of this disc. beat in the second measure of the D R.C.M. major Fugue. the squareness of the A BACH: Concerto for Three Claviers minor Prelude -but otherwise the play- BEETHOVEN: Symphony No. 4, in and Orchestra, in ing is both authoritative and convincing. D, minor, S. B flat. Op. 60; Leonore Overture 1063; Italian Concerto, in F, S. 971 Listeners who are not acquainted with sound of the No. 2, Op. 72a -j Mozart: Concerto for Three Claviers the instrument may find and Orchestra, in F, K. 2-12 that its thinness and perceptible noise Berlin Philharmonic Orchestra, Wilhelm components may take some getting used Furtwiingler, cond. Robert, Gaby, and Jean Casadesus, pi- to. As a performance this set will make DEUTSCHE GRAMMOPHON LPM 18742. anos; Philadelphia Orchestra, Eugene LP. $5.98. Ormandy, cond. COLUMBIA ML 5895. LP. $4.98. Deutsche Grammophon identifies this as COLUMBIA MS 6495. SD. $5.98. a historic recording made by the Ber- lin Radio in 1944. The consistency of The eminent Casadesus family- father, engineering is such that I assume both mother, and son -demonstrates here one items came from the same session (the advantage that pianos have over harpsi- sanie hall and microphone setup, at any chords in the Bach concertos for two or rate), and the individuality of the en- more claviers. When. as here, three key- semble balances is such that l am also boards are busy simultaneously, it is quite reasonably sure that this is the same practically impossible for the soloists to source material from which Vox once modulate their playing so that the im- issued the Symphony as their PL 7210. portant material, wandering from one That disc was identified as a concert per- clavier to another, stand out -if harpsi- formance from 1945. but the essentials chords are employed. On pianos. how- are the same. What you hear is an early ever. skillful performers like these can tape of a broadcast which took place in establish several dynamic levels and shift wartime Germany. from one to another at will. In other Writing in HIGH FIDELITY in 1957. C. respects. the performance is unfortu- G. Burke remarked of the Vox that "the nately not very interesting; there is con- Richter: an artists hands at work. strange recording seems focused on the

68 HIGH Fturf ITY MAGAZINE

www.americanradiohistory.com timpani." The same peculiarity of out- generally excellent, I noticed an unusual BRAHMS: Songs (11) look remains in the DGG edition, though amount of distortion towards the end -Schubert: Aus Goethes Faust the quality of the transfer is much im- of each side. tSchumann: Gedichte der Königen proved. At the best this is not a "hi -fi" Incidentally, Ansermet takes all the Maria Stuart, Op. 135 recording (despite claims to the con- repeats, including the repetition of the trary), and its faults are not of the sort exposition in the first movement of No. Irmgard Seefried, soprano; Erik Werba, that can be removed by electronic means. 2, which most conductors overlook. This piano. There is fairly heavy broadcast monitor- makes for a long movement, though it DEUTSCHE GRAMMOPHON LPEM ing, with its inevitable effect on dynamic does restore a passage (the first ending) 19372. LP. $5.98. values, quite a bit of flutter, and a sub- seldom heard in performance. DEUTSCHE GRAMMOPHON SLPEM stantial number of wrong notes. The ALAN RICH 136372. SD. $6.98. conductor's postwar version of the Fourth with the Vienna Philharmonic, BRAHMS: Sonatas for Violin and I can think of two good reasons for buy- available as Electrola 90049. is much the ing this record: 1) to acquire an idio- better documentation of what the great Piano: No. 1, in G, Op. 78 matically sung grouping of a fair num- German master was able to achieve with ( "Rain "); No. 3, in D minor, Op. ber of Brahms's folk song settings, and this score. R.C.M. 108 2) to hear some unfamiliar Schubert and Schumann. On the other hand, Seefried's Isaac Stern, violin; Alexander Zakin, singing, while encouraging in relation BRAHMS: Orchestral Works piano. to some of her recent Lieder recordings, COLUMBIA ML 5922. LP. $4.98. is still prevailingly white and under some Symphonies: No. 1, in C minor, Op. COLUMBIA MS 6522. SD. $5.98. pressure. It has a boyish quality, which 68; No. 2, in D, Op. 73; No. 3, in serves well in some of the Brahms set- F, Op. 90; No. 4, in E minor, Op. These performances are remarkably simi- tings, not so well elsewhere. Further- 98. Overtures: Academic Festival, Op. lar to those made by the same artists more, most of the out -of- the -way Schu- 80; Tragic, Op. 81. Variations on a in 1954. The consistency, if it proves bert and Schumann is deservedly out -of- Theme of Haydn, Op. 56a. anything, indicates how deep- rooted are the -way. the musical conceptions of great artists. To specify: of the Schubert pieces, Suisse Romande, Ernest Orchestre de la And for this we may be thankful, for neither Der König in Thule nor Gretch- Ansermet, cond. Stern's Brahms, like Robert Bolt's Sir ens Bitte is of more than passing inter- LONDON CMA 7402. Four LP. $19.92. Thomas More, is something for all Four SD. est, being melodically uninspired and LONDON CSA 2402. seasons. Few other violinists, it seems predictably handled, while the number $23.92. to me, have created quite so vivid an called "Szene" is not a song at all but a illusion of the music's simply pouring reputation as a setting of the Church Scene dialogue be- Ansermet's well- earned forth by itself. Stern lays down one tween Gretchen and Mephistopheles, proponent of coloristic music might phrase and picks up the next like a sea strange complete with the chanting of the Dies lead one to consider him a bird dipping down to water and sweep- sections of recita- for an album of Irae. It breaks up into choice as conductor ing up again in one unbroken curve. set in quite an original and striking is full of surprises. tive, this kind, but life It is this, perhaps more than any other Miss Seefried does all the parts, his work with the German fashion. Actually, single quality, that marks the specialness and extremely well; her suggestion of is too little appreciated in many classics of the present performances. The re- Mephistopheles is especially ingenious. circles, though some of his recordings corded sound is luminous, and so great is symphonies are excep- Gretchen am Spinnrade, of course, of the Beethoven an improvement over that of ten years one of Schubert's greatest songs, but the tionally fine. ago that replacement seems urgently performance is competent, not over- Some, but not all. His basic inclina- called for. S.F. for lyric poetry. powering. tion is towards a search The Schumann songs are somewhat When he finds it. the results are marvel- this therefore, his stark and plain-rather atypical of ous. Not surprisingly, composer's Lieder. They are not overly finest moments in this new set occur in Ab- Symphonies and compelling, though one of them, the Second and Third schied von Frankreich, is lyrical and in the Haydn Variations. In the first for example, tender. Werba's work is expert, the movement of the Second, NEXT MONTH IN sound first -class. There are German he evokes a mood of intimacy almost mu- texts (often minus some of the sung like an idealized kind of chamber verses) but no translations -hard to sic. The final pages of the Third Sym- C.L.O. phony have a radiant glow that is quite forgive. remarkable. On the whole, his treatment of Brahms high fidelity CAMPRA: Te Deum; Ecce papis an- is on a small scale, and those who find the composer just a trifle tiring in the gelorum thickness of his scoring and the in- tensity of his oratory will find this ap- Denise Monteil. soprano; André Mal - labrera, Georg Jelden, tenors; Georges proach gratifying. Here, orchestral The Art Maria Callas textures are clarified to the point where of Abdoun. baritone; Philippe Caillard meaningful details lost on other record- Chorale: National Orchestra of the Mon- ings come through in beautiful balance. by Edward Greenfield te Carlo Opera. Louis Frémaux, cond. While many listeners will prefer the WESTMINSTER XWN 19041. LP. $4.98. romantic exuberance of the Bruno Walter WESTMINSTER WST 17041. SD. set (I suggest his older one, with the $4.98. New York Philharmonic), the massive if A Reprieve for Massenet sometimes willful Klemperer readings, The phonograph has opened up to the a number of or the broad though occasionally petu- long neglect, his operas plain music lover areas lant Toscanini versions, to me the mar- After formerly known only to scholars. One velously lyric gifts of Ansermet's per- are again coming to the fore. of the most rewarding of these fields formances here make for an unusually is that of ceremonial and sacred music satisfying document -and one whose by Robert Lawrence at the courts of Louis XIV and XV. The pleasures I expect will endure. works by Lully. Charpentier, Delalande, It must be noted, however, that the and others that have been made avail- execution by the Geneva orchestra is able on records are almost all on a high far from flawless. The winds and brass From 78 to 7.5 level, noble music capable of brilliance are occasionally a trifle blatant and and expressivity. The present composi- even out of tune: there is a scrambled Discs to tape -a guide to tions by André Campra (1660 -1744) passage in the scherzo of No. 1 which dubbing. join his previously recorded Requiem in should never have been allowed to pass this distinguished group. Both are shaped uncorrected. There are a few obtrusive by Conrad L. Osborne like cantatas, the Ecce paris being fairly moments where the engineers take over: short. They are marked by flowing the cutoff at the end of the introduction melody, effective harmony, and counter- to the finale in No. 1 sounds far too point that does not flaunt its skillful fac- electronic. Although recorded sound is ture. Mallabrera (I think it is he)

FEBRUARY 1964 69

www.americanradiohistory.com sounds more like a countertenor than DUPARC: L'Invitation au voyage; FAURE: Pelléas et Mélisande: Or- an ordinary tenor, but he, like the other Phidylé -See Ravel: Songs. chestral Suite soloists, is an able artist. The well -bal- ¡Ravel: Valses anced chorus has an attractive tone, nobles et sentimen- though its diction is not clear; and the FALLA: Noches en los jardines de tales orchestra includes an excellent first trum- España; Concerto for Harpsichord, ¡Berlioz: Damnation de Faust: Men- pet. Frémaux, well known for other re- Flute, Oboe, Clarinet, Violin, and uet des follets; Danse des sylphes; cordings of baroque music, maintains Cello Marche hongroise his high standard here. The sound is fine in both versions. Latin text and Eng- Gonzalo Soriano, piano and harpsichord; Philadelphia Orchestra, Charles Munch, lish translation are provided for the Te Orchestre de la Société des Concerts du cond. Deum only. N.B. Conservatoire de Paris, Rafael Frühbeck de Burgos, cond. (in Noches); Michel For a feature review including these re- Debost, flute, Robert Casier, oboe, An- cordings, see page 65. CHOPIN: Polonaises dré Boufard, clarinet, Pierre Nérini, violin; Robert Cordier, cello (in the Con- No. 1, in C sharp minor, Op. 26, No. 1; certo). FLOYD: The Mystery No. 2, in E flat, Op. 26, No. 2; No. 3, ANGEL 36131. LP. $4.98. tSanders: Little Symphony No. 1, in in A, Op. 40, No. 1 ( "Military "); No. 4, ANGEL S 36131. SD. $5.98. G in C minor, Op. 40, No. 2; No. 5, in F sharp minor, Op. 44; No. 6, in A flat, These two compositions complement Phyllis Curtin, soprano (in The Mystery); Op. 53 ( "Heroic "). each other very nicely and tend to Louisville Orchestra, Robert Whitney, clarify the stark cond. György Cziffra, piano. originality of Falla's Noches en los jardines de España along LOUISVILLE LOU 635. LP. $7.95. PHILIPS PHM 500009. LP. $4.98. genius. Romanticism (Available on special order only PHILIPS PHS 900009. SD. $5.98. dominates in the from with tonal color and a languorous 830 S. Fourth St., Louisville, Ky.) Iberian atmosphere. on the The Harpsichord Going, presumably, assumption Concerto, on the other hand, is essential- Carlisle Floyd has had great success in that Liszt's keyboard style is not, after ly a chamber recent years as a dramatic Philips work, written in a more composer, all, so very alien to Chopin's, dissonant and inaccessible idiom. The but this is, if I am not mistaken, the has enlisted the services of Cziffra, a emphasis is on rhythmic first work of his to be these Chopin Polo- impetus, and recorded; at noted Lisztean, for while there is much variety of texture all events it is the only work by him naises. The result is unfortunate. The and interplay of tone listed in the current Schwann. of the music seem color among the The Mys- bravura characteristics various instruments, the music as a whole tery involves a purely obstetrical drama; to bring out in this pianist all of the is much more piercing and abrupt in the subtitle is "Five Songs of Motherhood excesses occasionally noted in his play- character. have for Soprano and Orchestra." of Liszt. other hand, Cziffra We had other recorded The poems, ing On the editions of both works (indeed, perhaps by Gabriela Mistral, translated by Anita appears to be incapable of meeting the the finest Noches to Fleet, take the subject from subtle posed by date, that by the conception tonal demands Chopin's late Clara Haskil and Igor Markevitch to the rocking of the cradle, and very elegant style. His pianism here is abso- for Philips, was reviewed beautifully too. Floyd's setting lutely bloodless in hue: all hard, forced, in these pages skillfully only last November), but this is the first places a somewhat Debussyan play of black-and -white. Rhythmically too, his time they modulations and interpretations are woefully unsteady. have shared a disc. modal harmonies, Both performances, fortunately, are richly orchestrated, behind wonderfully Here we are given the type of rubato fine ones. expert declamation, but that disrupts and obscures the musical Soriano's third Noches sur- the whole reaches passes both of his earlier ones with a most un- Debussyan climax, with content rather than enhancing it. The Argenta. trumpets and drums, more subtle pieces such as the two Op. There is greater refinement and at the moment of atmosphere here, and more distinguished emergence; this is decidedly not a for- 26 Polonaises and the sober C minor, orchestral playing. ceps delivery. Op. 40, No. 2 are the most victimized Angel's sound, too, is less glaring and harshly analytical than The cycle was commissioned for Miss by Cziffra's arbitrary approach. The two Curtin by bigger works, the F sharp minor and A was London's on the second of the the Ford Foundation, and the older performances, but more "airy" and matrons who go to symphony concert flat, are also undeniably weakened by matinees will the pianist's episodic phrasing and ex- spacious than the first (for London In- adore it. With excellent ternational -long since deleted). Sori- reason. plosive dynamic scheme, but they, at Robert least, fight back valiantly. ano's reading retains its essential charac- Sander's Little Symphony No. 1 was written It must be added that Cziffra seems ter. As before, he plays the piano part a quarter of a century with classical reserve, always remember- ago and it is difficult to understand to be using a corrupt text. Some of the why it harmonies, especially in the C minor ing that it is an obbligato and not a solo is recorded now. It is one of piece, are highly suspect. Although part in the concerto sense. His finger - those academic, neoclassic things every- work is refined body was writing in those set nor - and even, and neither he days, and neither the Rubinstein the Mal it has cuzynski is without faults, both these nor Frühbeck display any great elasticity not stood up well with time. readings are highly preferable to the of tempo. In short, then, the present Fortunately, Sanders is represented in present one. H.G. rendition is conservative rather than the lists with several other big works of declamatory -the interpretative antithe- superior quality. sis to the Haskil -Markevitch approach. The recordings, as is so often the DAWSON: Negro Folk Symphony If you favor understatement, you will case with Louisville, are not the finest in probably find the performance unsurpas- the world. but they are not bad, either. American Symphony Orchestra, Leopold sable; I, however, still prefer the Haskil Miss Curtin's performance of the song Stokowski, cond. recordings. cycle is magnificent. A.F. DECCA DL 10077. LP. $4.98. The present version of the Harpsichord DECCA DL 710077. SD. $5.98. Concerto is unique in that the performers subdue the harsh vehemence of the score FRANCK: Variations symphoniques What with the agitation and concern and focus their emphasis instead on the -See Tchaikovsky: Concerto for over the race issue, it would be nice exotic, pastel -toned impressionism also Piano and Orchestra, No. 1, in B if a noble, well-written symphony on inherent in the music. Although disciples flat minor, Op. 23. Afro -American themes were to appear of the London disc by Veyron- Lacroix on discs. Unfortunately, this work of Wil- and Argenta -the only other stereo ver- liam Dawson impresses me as unmiti- sion -can always cite the composer's own HAYDN: Symphonies: No. 89, in F; gated trash, ludicrously combining the 78 -rpm recording in support of the No. 90, in C worst features of Dvorák, Gershwin, and aggressively accented reading there, I the nearest television score. A.F. prefer the approach of the present group. Vienna Symphony, Laszlo Somogyi, cond. There is no loss of power (power, in- WESTMINSTER XWN 19043. LP. $4.98. deed, can be intensified by understate- WESTMINSTER WST 17043. SD. DEBUSSY: L'Enfant prodigue: Air ment), and there is much more wit and $5.98. de Lia -See Ravel: Songs. subtlety. Angel's better -balanced sound, furthermore, makes an altogether more These two works were composed as a artistic use of the harpsichord's plangent pair. It had always seemed to me that DEBUSSY: Prélude à l'après -midi tone quality and permits much more in- No. 89 was overshadowed because of d'un faune -See Mussorgsky: Pic- strumental detail to come through. considerable internal weakness, but So- tures at an Exhibition. H.G. mogyi's performance puts the symphony

70 HIGH FIDELITY MAGAZINE

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5451 PAUL CRESTON: Invocation and Dance. 604 WILLIAM SCHUMAN: Judith, A Choreographic 622 HENRY COWELL: Thesis (Symphony No. 15). HEITOR VILLA -LOBOS: Overture: "Dawn in a Poem. GIAN -FRANCESCO MALIPIERO: Piano Con- RODOLFO HALFFTER: Ballet Suite, "La Madrugada Tropical Forest." HALSEY STEVENS: Triskelion. certo No. 3 (Benjamin Owen, Pianist). Del Panadero" (The Early Awakening of the Baker). 5452 HENRY COWELL: Symphony No. 11. ALEX- 605 PAUL HINDEMITH: Sinfonietta in E. CLAUDE 623 HARALD SAEVERUD: Peer Gynt Suite Na. 1, ANDER TCHEREPNIN: Suite, Opus 87. BERNARD ALMAND: John Gilbert: A Steamboat Overture. Op. 28. GEORGE ROCHBERG: Night Music. WAGENAAR, A Concert Overture. DAVID DIAMOND: Overture: "Timon of Athens ". 625 ROSS LEE FINNEY: Symphony No. 2. ZAIN 5453 PETER MENNIN: Symphony No. 6. WAL- 606 BERNARD ROGERS: Dance Scenes. JOAQUIN HAMILTON: Scottish Dances, Op. 32. LINGFORD RIEGGER: Variations for piano and RODRIGO: Cuatros Madrigales Amatorios, for 626 BENJAMIN BRITTEN: Violin Concerto No. 1, Orchestra (Benjamin Owen, Pianist). ERNST TOCH: Soprano and Orchestra (Audrey Nossaman, So- Op. 15 (Paul Kling, Soloist). PAUL BEN -HAIM: Nott urno. prano). VINCENT PERSICHETTI: Serenade No. 5. Pastorale Varice for Clarinett, Harp & Strings, Op. 5454 ALAN HOVHANESS: Concerto No. 7 for 611 ELLIOTT CARTER: Symphony No. 1. ALEXEI 31 (James Livingston, Soloist). Orchestra. MARIO CASTELNUOVO-TEDESCO: Over- HAIEFF: Divertimento. 631 ZOLTAN KODALY: Symphony (1961). NELSON ture to "Much Ado About Nothing." CARLOS 613 PETER MENNIN: Symphony No. 5. JOAQUIN KEYES: Suite, "Music for Monday Evenings' . SURINACH: Sinfonietta Flamenca. RODRIGO: Concerto Galante for Violoncello and 633 WALTER PISTON: Concerto for Viola and Or- 5455 JACQUES (BERT: Louisville Concerto. GARD - Orchestra (Grace Whitney, Cellist). chestra (Paul Doktor, Violist). HALL OVERTON: NER READ: Toccata Giocoso. OTTO LUENING- 614 ALAN HOVHANESS: Magnificat for Four Solo Symphony No. 2 in One Movement. VLADIMIR USSACHEVSKY: Rhapsodic Variations for Voices, Chorus and Orchestra, Opus 157. CHOU 635 CARLISLE FLOYD: The Mystery. Five Songs of Tape Recorder and Orchestra. WEN -CHUNG: All in the Spring Wind. Motherhood for Soprano and Orchestra (Phyllis Cur- 5458 LUIGI DAL LAP ICCOLA: Variazioni per 615 ALEXANDER TCHEREPNIN: Piano Concerto tin, Soprano). ROBERT SANDERS: Little Symphony Orchestra. JOSE PABLO MONCAYO: Cumbres. No. 2 (Alexander Tcherepnin, Pianist). ARTHUR No. 1 in G. ULYSSES KAY: Serenade for Orchestra. DARIUS HONEGGER: Suite Archaique. 636 FRANK MARTIN: Concerto for Violin and MILHAUD: Ouverture Mediterraneenne. 616 ROBERT KURKA: Symphony No. 2. ROBERT Orchestra (Paul Kling, Violinist). ERNEST BLOCH: 54510 ALBERTO GINASTERA: Pampeana No. 3, WHITNEY: Concertino. Proclamation for Trumpet and Orchestra (Leon Raper, A Pastoral Symphony. WILLIAM BERGSMA: A Carol 621 CHARLES IVES: Decoration Day. LOU HARRI- Trumpeter). TOSHIRO MAYUZUMI: Pieces for Pre- on Twelfth Night. HENRI SAUGUET: Les Trois Lys. SON: Suite for Symphonic Strings. pared Piano and Strings (Benjamin Owen, Pianist). ROBERT WARD: Euphony for Orchestra. 563 ERNST KRENEK: Eleven Transparencies. ROBERTO CAAMANO: Magnificat, Op. 20. SEND NO MONEY - 6 RECORDS FOR $8.84 WILL BE MAILED 566 HENK BADINGS: The Louisville Symphony. YOU RECEIPT BEN WEBER: Prelude and Passacaglia. LEO UPON OF THIS COUPON (UNTIL FEBRUARY 29, 1964) SOWERBY: All on a Summer's Day. 574 ROGER SESSIONS: "Idyll of Theocritus" for Richard Wangerin. Manager, LOUISVILLE PHILHARMONIC SOCIETY Sopra- Soprano and Orchestra (Audrey Nossaman, 16. 830 S. St., Louisville 3. Ky. no). Suite Fourth 575 NED ROREM: Design for Orchestra. BERNARD Please enroll me as a subscriber which will be mailed to me on time after purchasing the 6 new REICHEL: Suite Symphonique. for First Edition Records, and every alternate month for one releases at $8.84 each, within the 581 ALEXEI HAIEFF: Ballet in E. NICOLAS send me the 6 records who-e year, at $8.84 each. (Or I will next 12 months. and that you will NABOKOV: Symboli Chrestiani for Baritone and numbers have been circled .above. effect a 51.04 saving by making pay the postage on all records Orchestra (William Pickett. Baritone). You may bill me a total of 58.84 a single annual payment of 557.84 shipped to me. However. If f do 582 LOU HARRISON: "Four Strict Songs" for for these 6. for all 12 records.) not wish to cancel at the end of Eight Baritones and Orchestra. PETER JONA KORN: the first year. I will receive a Variations on a Tune from The Beggar's Opera ". 1 agree to purchase the next 6 I understand that I may dis- free bonus record for each 2 new 583 ELLIOTT CARTER: Variations for Orchestra. new Louisville releases, one of continue this subscription at any releases I receive thereafter. EVERETT HELM: Second Piano Concerto (Benjamin Owen, Pianist). Name 591 AARON COPLAND: Orchestral Variations. ALFONSO LETELIER: Aculeo, Suite for Orchestra. Addres. 601 PAUL BEN -HAIM: "To The Chief Musician ", Metamorphoses for Orchestra. WALLINGFORD 7one State RIEGGER: Variations for Violin and Orchestra, Op. City 71 (Sidney Harth, Violinist). THIS OFFER EXPIRES AT MIDNIGHT, FEBRUARY 29, 1964 CIRCLE 50 ON READER- SERVICE CARD FEBRUARY 1964 71

www.americanradiohistory.com in a new light. He shows the Haydn scherzo called Over the Pavement; the and recordings of a landmark in the early No. 89 to oe a score of unsuspected inuescriúaole "April Fool piece" en- history of the violin concerto. N.B. musical substance with two concluding titled Hallowe'en; and four examples of movements full of droll, rustic humor. the meditative, at times impressionistic What is labeled Menuetto is really a Ives -The Rainbow, The Indians, The MENDELSSOHN: Elijah, Op. 70 peasant waltz, and the Vivace finale is Pond, and Hymn. The songs run the full accented with chuckling good humor. No Ivesian gamut, from the very early Ich Ursula Buckel, soprano; Herrad Weh- previous recording has brought this out, grolle Meta to General William Booth rung, soprano; Margarethe Bence, con- and American Haydn collectors can be Enters Into Heaven, which is one of the tralto; Hans Ulrich Mielsch, tenor; Ed- grateful to have the work restored to the few songs ever written by an American uard Wollitz, bass; Liederkranz Böblin- catalogue in so effective a form. to achieve genuinely epical stature. gen; Stuttgart Philharmonic, Roland Ba- So far as No. 90 goes, this is the Everything is beautifully done here, der, cond. first appearance of the music on an and the recording is flawless. Further- Vox VBS 208. Three LP. $9.98. American label. As the key suggests, more, the set comes with a pamphlet Vox SVBX 5208. Three SD. $9.98. it is a festive score in the trumpet -and- full of notes, by Farberman himself, drum tradition. H. C. Robbins Landon which constitutes a highly distinguished This is the first recording of Elijah in insists that the horns should be C alto, addition to the Ives literature. A.F. stereo, the first to be issued but the point is one on which there has at an econ- omy price, and the first to be sung in been controversy, and conventional German. Hearing the LISZT: Concertos for Piano and Or- it in that language was French horns seem to be in use for a novel experience, and one recording. This is one of the symphonies chestra: No. 1, in E flat; No. 2, in A for which 1, at least, am grateful: much of the in which Haydn wrote an enormously pompous Victorianism effective joke in the finale, and the jest Bryon Janis, piano; Moscow Philhar- is thereby mini- monic Orchestra, liiyril Kondrashin, mized. is beautifully managed here. Bader leads his Both mono and stereo versions are cond. (in No. 1); Moscow Radio Sym- forces with consid- phony, Gennadi Rozhdestvensky, cond. erable vitality, and they respond capa- notable for their engineering, while the bly, if occasionally standard of performance suggests that (in No. 2). without the ultimate MERCURY MG 50329. LP. $4.98. finesse. Most of the singing is full - Somogyi has major potential as a record- bodied and quite ing artist. R.C.M. MERCURY SR 90329. SD. $5.98. musicianly, although every one of the soloists (Margarethe The emphasis here is on headlong glitter Bence more than the others) is momen- IVES: Pieces for Chamber Orchestra; rather than on poetry. If speed were the tarily guilty of a "spread," unfocused Songs only consideration, Janis' playing would tone or two. I also feel that the vocalists probably leave all the rival versions far are placed too near the microphones to Corinne Curry, soprano (in the Songs); behind, but I find much more atmosphere achieve the most desirable balance. Luise Vasgerchian, piano; Boston Cham- and imagination in both the Richter Otherwise, Vox has provided very live, ber Ensemole, Harold Earberman, cond. and Vásáry editions of these concertos. acceptable reproduction. It will be noted CAMBRIDGE CRM 804. LP. $4.98. Janis' pianism is rather bleak and ner- that both this version and that by Krips CAMBRIDGE CRS 1804. SD. $5.98. vously percussive. (for London) are uncut, while Angel's Kondrashin and the Moscow Philhar- Sargent edition omits Nos. 7, 36, 40, This is the best general anthology of monic offer attractive, well -disciplined and 41. H.G. short works by Ives ever issued on rec- orchestral support in the E flat Con- ords. no than It contains fewer eight certo. The Moscow Radio Symphony, MOZART: Complete Wind Music pieces for chamber orchestra and the to judge from its playing in the A same number of songs. Furthermore, major, is so not fine an ensemble as London Wind Soloists, Jack Brymer, the collection manages to include the the Philharmonic. Their French horn cond. Three -Page Sonata for piano as well. has the saxophony wobble that seems so LONDON CM 9346 /50. Five LP. $3.98 The Three -Page Sonata must have prevalent in Russian orchestral execu- each. been written on exceedingly large pages tion, while the tuttis tend to grow LONDON CS 6346/50. Five SD. because it is a big work, over seven coarse and blatant. Rozhdestvensky, a $4.98 each. minutes in length, full of rhythmic and gifted and incisive musician, perhaps harmonic dynamite, and ending, in typi- pushes them too hard in his zeal. cal lvesian fashion, with a heavenly Mercury's technical work is top- The fifteen works on these discs corn- passage wherein a set of orchestral bells notch, producing a brilliant clarity and prise all the music Mozart wrote for supplements the piano. It is superbly plenty of big -hall spaciousness. As with wind ensembles except K. 187 and 188 played by Miss Vasgerchian with the some other new releases from this com- (two divertimentos for flutes, trumpets, assistance of an unnamed second pianist pany recently, however, the annota- and drums), K. Anh. 229 (five diverti- who helps out, as the composer sug- tions are distinctly distressing: the jacket mentos for two clarinets and bassoon), gested, when the going gets too thick, contains a lot of palaver about the art- and some duos. When one considers and by an unnamed bell player. ist and nary a word about the music. that most of them were written to order All the pieces for chamber orchestra H.G. for some special occasion, and that the are scored for exceptional ensembles whole category of wind serenades and of one sort or another. Included are divertimentos was in Mozart's time a LOCATELLI: of the Op. minor branch of composition that was Tone Roads No. 1 and No. 3, those as- Art Violin, tounding works wherein Ives predicted 3, Nos. 7 -12 not expected to produce more than mere the Schoenbergian tone row, almost down entertainment, one marvels once more at the to its very terminology; the brilliant Susanne Lautenbacher, violin; Mainz incredible wealth of his genius. For Chamber Orchestra, Günter Kehr, cond. these occasional works include such mas- Vox VBX 41. Three LP. $9.95. terpieces as the powerful and passion- o Vox SVBX 541. Three SD. $9.95. ate Serenade in C minor, K. 388; the grand and richly scored Serenade in B This completes Miss Lautenbacher's tra- flat, K. 361; and the gorgeous Adagio versal of Locatelli's Opus 3. The com- in B flat, K. 41 I, for two clarinets positions in this last half of the set main- and three basset horns. They include tain the same high standard of quality as too such fine works as the Serenade in that of the first six concertos ( reviewed E flat, K. 375; the Divertimento in E in these pages last July), and both per- flat, K. 252, with its charming Polo- formance and recording remain on the naise; the Divertimento in B flat, K. sane high level. This is a worthy com- 270, with its delightful finale; and the panion of the impressive series of col- Adagio in F, K. 410, a lovely canon lective works by Italian baroque com- for two basset horns and bassoon. posers (Albinoni, Torelli, Corelli. Vi- In addition to conducting, Mr. Bry- valdi) issued a few years ago by Vox. nier plays first clarinet in the works That the outer dress of the Locatelli set calling for that instrument. From the is not as elegant as the albums of the technical standpoint, he and his col- older series is of little importance, it leagues leave little to be desired. Every- seems to me; but one does miss the de- body plays with excellent intonation, tailed notes that accompanied those sets. musical phrasing, and good rhythm, and In any case, SVBX 540 and 541 are there is a remarkable precision in all Charles Ives: sometimes epic stature. recommended as first -rate performances the ensemble playing. The bassoons

72 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Angel

When Victoria de los Angeles was a little girl her uncle The career so launched has culminated in garlands of praise gave her a guitar because she loved to make music. The de- from. critics the world over. The New York Herald Tribune lighted youngster took it with her whenever she went with has called Victoria de los Angeles "a vocal delight unique her father on his rounds as caretaker at the University of in our time." The London Times terms her "a paragon with Barcelona. Up and down the halls of the great university all the virtues." To the Washington Post, she is "one of the she would tag along, playing and singing as she went. world's greatest artists !" Today the voice that stopped classes at the University of And a strange thing began to happen. Wherever her clear Barcelona can be heard on many fine Angel recordings. Her and youthful voice was heard students would stop what Carmen, Madame Butterfly, Faust ancf many other roles they were doing to listen. Finally the university professors are available in both complete opera and Opera Highlights her to had to issue an edict : the little girl must not sing during recordings. And aficionados will want hear and own lectures. They could not compete with her for their stu- Twentieth Century Spanish Songs and Spanish Song of the dents' attention. But they were wise enough to realize they Renaissance. had heard a voice of great promise. A group united to send The little Spanish girl still loves to make music. And people the little girl to the Conservatorio del Liceo for training. still stop what they are doing to listen.

THEE IS ONLY ONE VICTORIA DE LOS ANGELES

As Violetta in La Traviata As _1Sanon in Marton,

As Cio-Cio-San in Madame Butterfly

CIRCLE 8 ON READER -SERVICE CARD FEBRUARY 1964 73

www.americanradiohistory.com scamper about accurately, the horns are MUSSORGSKY: Pictures at an Ex- absence of fakery and tonal exhibitionism particularly clean, even in rapid passages. hibition; Night on Bald Mountain is admirable, one feels that lymph rather Why, then, can I not summon up more than red blood flows through the musical enthusiasm for the series? The answer Royal Philharmonic Orchestra, René arteries: Maazel's constant striving for involves two aspects of the recordings. Leibowitz, cond. tonal transparency robs the music of The first has to do with details of in- RCA VICTOR VCM 2659. Two LP. much- needed dark coloration. terpretation- insufficient intensity in the $6.98. His legendary reputation as a purist C minor Serenade, a rather general dis- RCA VICTOR VCS 2659. Two SD. notwithstanding, Toscanini did not "play regard or flattening out of accents in- $6.98. as written" all the time. His editing of dicated in the scores, and a dynamic Ravel's orchestration amounted to a full - range seldom going beyond mezzo piano fledged revision. The most notable to forte. second MUSSORGSKY: Pictures at an Ex- The may be personal, hibition changes occur at the end of Baba Yaga but will be found a serious drawback (where he altered the trumpet parts by those who consider, as I do, the first t Debussy: Prélude à l'agrès -raidi considerably) and in the coda to The oboe's tone thin and pinched, and the d'un faune Great Gate at Kiev (where the prominent first clarinet's watery and characterless, brass triplets were removed, leaving that like a flute with a cold. In these works Philharmonia Orchestra, Lorin Maazel, swaying cond. rhythm to the strings alone). By this is as fatal as would be a similarly the time he recorded the work in 1953 deficient tone in the first violin in a ANGEL 36132. LP. $4.98. (or possibly ANGEL even earlier than that) the string quartet. S 36132. SD. $5.98. Maestro had extended his rescoring fur- In balance and realism the recording ther by adding timpani rolls in a few is unexceptionable. The sleeves are In the early Fifties, RCA Victor re- key climactic leased two outstanding sections of the Great Gate adorned with attractive colored engrav- editions of the finale. Maazel will have none of it: he ings of scenes from the Vienna of Mo- immortal Ravel orchestration of Pic- adheres to the Ravel tures. One (LM 1719) original (as do most zart's time; the descriptions of these pic- presented the late conductors). Cantelli utilized the Tos- tures in the notes are mixed up: the de- Guido Cantelli leading the NBC Sym- canini text ante -1953 phony; that disc has long since -which is to say scription on the back of Vol. 1 belongs disap- without the extra timpani. peared from the catalogue. Leibowitz goes with the illustration on Vol. 3; that on The other - along with Toscanini all the way, and Vol. 2 with the illustration on Vol. 1; still very much available- featured the the modern same great engineering on his disc makes and that on Vol. 3 with the illustration ensemble, this time under those effective extra timpani flourishes on Vol. 2. Contrary to a statement in Arturo Toscanini's direction (LM 1838; into veritable cannon shots. also in "Electronically He ap- the notes ( "Few of these works have Reprocessed parently feels (as I do) that the editing appeared on LP before "), all but one Stereo," LME 2410). Despite the use of is an asset rather the same than a liability. of them (K. Anh. 226) have been issued orchestra, and the unusually Maazel's version prefaces the Pictures strong bond between - on microgroove in this country, in several Toscanini and Can performance with a finely controlled, cases in more satisfying performances telli, the two interpretations were highly detailed strikingly dissimilar. version of Debussy's than the present ones. N.B. Cantelli's version Après -midi d'un faune which is, never- stressed urbanity, clarity, the and refined theless, just a shade too icy and non - humor of the orchestration. Toscanini's, MOZART: Concerto for Three Cla- impressionistic to be a major docu- on the other hand, emphasized the mentation of this work. viers and Orchestra, in F, K. 242 primitivism, Leibowitz offers the wild Russian flavor of his own orchestration of a Night on Bald -See Bach: Concerto for Three the music itself -which is, after all, by Afoantain, replete with wind machines Claviers and Orchestra, in D mi- Mussorgsky, not Ravel. These renditions and other synthesized "ghoully" served as paradigms noises. nor, S. 1063. for two basically The Rimsky -Korsakov treatment is far different interpretative approaches (de- worthier, and it can be heard with un- spite die fact that their appearance was MOZART: Quartets for Strings: No. surpassed effect in Giulini's rousing pres- preceded by other fine recorded per- entation (Angel) with the Philharmonia 16, in E flat, K. 428; No. 17, in B formances, most notably those by Kous- Orchestra. sevitsky flat, K. 458 ( "The Hunt ") with the BSO and by Rodzinski RCA's Leibowitz disc is part of with the New York Philharmonic). a Juilliard String Quartet. special package. I suspect that the record- Leibowitz follows in Toscanini's foot- ing is an offshoot of the same arrange- EPic LC 3870. LP. $4.98. steps, and for this particular score, at EPIC BC 1270. SD. $5.98. ment that produced the RCA -derived least, the Maestro's mantle seems to Leibowitz tapes of the Beethoven Sym- have fallen to him. The French conduc- This is a separate release of two of the phonies issued by Reader's Digest. If tor gives a magnificent reading of the you want this Mussorgsky, you will have six "Haydn" quartets recorded complete piece, one which, like Toscanini's, is by the Juilliard (reviewed here in Jan- to accept with it a disc called "The vibrant and sanguine. Unlike Toscanini Power of the Organ," which I was un- uary 1963). It is a magnificent set that (or, more precisely, unlike 1953 Tos- belongs in every music lover's library. able to hear. Angel's recording is, of canini -the Maestro's 1940 broadcast course, a standard release. If you are willing to settle for a third acetates are closer to Leibowitz's read- of it, you cannot find any better per- RCA's engineering is superbly man- ing), Leibowitz leads the guided tour aged. The sound has phenomenal bril- formances of these particular quartets with more elasticity and less outward on discs, in my opinion. Or finer re- liance and presence, but at the same time pressure, thereby giving the orchestral the orchestra sounds warm and musical. cordings of them. N.B. players more time to shape and color their solos. The Royal Philharmonic is in splendid form. Maazel's slender and diminutive lyri- cism is in the Cantelli vein, but shows less temperament and individual profile than the young Italian conductor dis- played. Maazel's reading takes some time to get under way. but it comes to life splendidly in the Tailleries section. and gets better still in the episode of the Unhatched Chicks. Bidlo is impressively solemn, and The Market Place at Li- moges' bubbles attractively with activity. Baba Yaga and the preceding Catacombs are precisely judged, but both could stand more power and savagery. As for The Great Gate at Kiev (the foundation on which performances of this suite either stand or fall), that section is in actuality an outgrowth. thematically speaking, of the opening Promenade mo- tif, and here Maazel reverts to the tenta- tive foot -dragging that marred his read- ing at the outset. The Philharmonia Or- Leibowitz: !Mussorgsky <ì la Toscanini. chestra plays very cleanly, but while the Maazel: Mussorgsky more like Ravel.

74 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Angel's reproduction is by no means bad, but it cannot compare to that given Lei - bowitz's ensemble. There is an occasional raspiness throughout the Debussy and RECORDS OF SUPREME QUALITY at the beginning of Pictures which sug- gests that the microphones were slightly overloaded when the recording was made. Taking everything into consideration, I feel that Leibowitz wins over Maazel, in fact giving the finest orchestral Pictures I have yet heard recorded on two chan- nels. H.G.

OHANA: Concerto for Guitar and Orchestra COMPLETE QUALITY CONTROL! tRodrigo: Fantasia for a Courtier Did you know that there are almost no customer returns of DGG Narciso Yepes, guitar; National Orches- records for quality defects? DGG has an enviable, worldwide rep- tra of Spain, Rafael Frühbeck, cond. utation for consistently providing music of concert hall realism. LONDON CM 9356. LP. $4.98. LONDON CS 6356. SD. $5.98. RELEASES -INCLUDING THREE 'FIRSTS' Maurice Ohana's Concerto, completed in FEBRUARY 1958, takes the form of three "diagrams" WAGNER: OPERA ARIAS from: Die Meistersinger, Lohengrin, Die ( "grrí f icos ") of traditional Andalusian Walkuere, Das Rheingold, Rienzi, and Parsifal. Jess Thomas, tenor. dances, but the composer's metallic, per- First solo recording. Berlin Philharmonic, cond. W. Born. cussive, brass -bound orchestra seems to Stereo SLPEM 136 387 leave any recognizable conventions of LPEM 19 387 Andalusia so far behind as to be virtually BARTOK: VIOLA CONCERTO -DAVID: VIOLA CONCERTO, First out of sight. There is considerable emo- recording. P. Lukacs; Budapest State Orchestra, cond. J. Ferencsik. tional power in the agonized, bleak, and LPM 18 874 Stereo SLPM 138 874 vaguely threatening atmosphere created here (yes, it is hard to keep the movies MARTIN: EVERYMAN: Six Monologues. THE TEMPEST: Three out of one's ears), and the orchestra's Pieces. Both first recordings. Dietrich Fischer - Dieskau. Berlin Phil- dehumanized interjections prod the guitar harmonic, conducted by the composer. on to some intense and moody reflec- LPM 18 871 Stereo SLPM 138 871 tions. It is the guitar, often heard alone for long stretches, that harks back to SCHUBERT: PIANO SONATA IN B FLAT MAJOR, Geza Anda, piano. cante hondo, the tragic song (literally, LPM 18 880 Stereo SLPM 138 880 "deep ") so indigenous to the Spain of old. There is no conflict between old R. STRAUSS: DON JUAN -TILL EULENSPIEGEL -SALOME'S and new, however; guitar and orchestra DANCE - FESTIVAL PRELUDE. Berlin Philharmonic; cond. K. Boehm. are woven into one fabric and Ohana LPM 18 866 Stereo SLPM 138 866 has scored very delicately for both. NO. 3, Berlin Philharmonic; The Rodrigo Fantasia is based on BEETHOVEN: SYMPHONY "Eroica ". tunes by Gaspar Sanz, dating from 1667, cond. Herbert von Karajan. From the celebrated deluxe set. and it is a case of the rider crushing LPM 18 802 Stereo SLPM 138 802 the horse. By the time everybody in the BEETHOVEN: SYMPHONIES NO.1 & 2- Berlin Philharmonic, cond. orchestra has had a go at Sanz's simple set. has Herbert von Karajan. From the celebrated deluxe guitar melodies, the whole procedure Stereo SLPM 138 801 become rather pretentious and terribly LPM 18 801 predictable. Narciso Yepes is an adept and depend- able guitarist, though not particularly CRITICS CHOICE -BEST OF 'THE BEST' subtle in the matter of fine shades of a few of the many DGG albums selected as being among the does a good Here are coloring, and orchestra by critics from ESQUIRE, CUE, SATUR- job with the demanding rhythms and tim- the top releases of the year NEW YORK TIMES, NEW YORK HERALD bres of the Concerto. Stereo is most DAY REVIEW, SHOW, helpful, with the sound faithful and TRIBUNE, and HIGH FIDELITY MAGAZINE: bright. S.F. BEETHOVEN: THE NINE SYMPHONIES -(complete)Janowitz, Roessel -Majdan, Kmentt, Berry, Vienna Singverein; Berlin Philhar- PAPINEAU- COUTURE: Pièce con- monic, cond. H. von Karajan. KL-178 Stereo SKL -101/8 certante No. 1 -See Somers: Suite for Harp and Chamber Orchestra. MOZART: COSI FAN TUTTE - Seefried, Merriman, Prey, Fischer - Dieskau; Berlin Philharmonic, cond. E. Jochum. POULENC: Sextuor. Three Songs: LPM 18 861/3 Stereo SLPM 138 861/3 Hôtel, Voyage ù Paris, C. Sonata VERDI: IL TROVATORE - Bergonzi, Stella, Bastianini, Cossotto, for Two Pianos Vinco; Chorus and Orchestra of La Scala, cond. T. Serafin. LPM 18 835/7 Stereo SLPM 138 835/7 Francis Poulenc, piano, Philadelphia Woodwind Quintet (in the Sextuor); HAYDN: SYMPHONIES NO. 88 & 98- Berlin Philharmonic, cond. Jennie Tourel, mezzo, Leonard Bernstein, E. Jochum. piano (in the Songs); Arthur Gold and LPM 18 823 Stereo SLPM 138 823 Robert Fizdale, pianos (in the Sonata). COLUMBIA ML 5918. LP. $4.98. BEETHOVEN: THE EARLY STRING QUARTETS -The Amadeus COLUMBIA MS 6518. SD. $5.98. Quartet. LPM 18 531/3 Stereo SLPM 138 531/3 This is a charming record, a graceful and warm memorial to Poulenc. For me, the high point of the disc is the Two - DIRECT IMPORT - FACTORY SEALED Piano Sonata, a work that might possibly FREE! ON REQUEST: The new 1964 DGG /ARCHIVE illustrated catalog. turn out to be the composer's most im- portant instrumental composition. This Write MGM RECORDS CLASSICAL DIV.,1540 B'way, N.Y., N. Y.10036 is serious, even weighty music, which betrays a good deal more thoughtful- ness than one sometimes credits Pou- CIRCLE 27 ON READER -SERVICE CARD FEBRUARY 1964 75

www.americanradiohistory.com it would be in an opera. A model and a melismatic figuration in Ravel's Kad- hopeful augury that came to nothing - disch is perfectly executed, and lends except a very fine Cantata! the whole song its proper shape; the The performance at hand has a great disarming, seemingly artless simplicity deal to recommend it. Ancerl is a fine of the Greek songs is just what these conductor and the Czech orchestra re- settings need. And the voice, of course, mains one of the best in Eastern Eu- is a lovely, well -balanced one. The or- rope. Still, I am a little put off by the chestra's work is excellent-Prêtre's read- curious restraint in this reading. almost ing of the Shéhérazade is wonderfully at- a "classical" interpretation of one of mospheric and exotic, without being the least classical of the composer's later overstated or daubed up with overrich works. It is not that the performance color. The sound is fine, and there are lacks strength; it has plenty of that, de- texts with translations. C.L.O. rived, however, from a sense of drive and intensity rather than from power and RODRIGO: expansiveness. Both performance and Fantasia for a Courtier sound are close, wiry, tight, and incisive -See Ohana: Concerto for Guitar -without much richness or scope. The and Orchestra. singing is good and the playing under Ancerl is excellent, but these virtues do SANDERS: Little Symphony No. 1, For Poulenc, an affectionate tribute. not permit this version to replace in my in G -See Floyd: The Mystery. esteem the Schippers- Philharmonic -Co- lumbia release. E.S. SCHUBERT: Aus Goethes Faust -See lenc with having possessed. The corn - Brahms: Songs (11). poser himself described the piece as RACHMANINOFF: Concertos for centering on its lyric andante and, sec- Piano and Orchestra: No. 1, in F SCHUBERT: Schwanengesang ondarily, on the lyric middle sections sharp minor, Op. 1; No. 4, in G in the other movements. This expressive minor, Op. 40 Hermann Prey, baritone; Walter Klien, centering, so to speak, is enhanced by piano. the vital Philippe and striking qualities of the rest Entremont, piano; Philadelphia LONDON 5797. LP. $4.98. of the music: the Orchestra, Eugene dissonant, insistent Ormandy, cond. LONDON OS 25797. SD. $5.98. opening, the use of the finale as a kind COLUMBIA ML 5917. LP. $4.98. of summation movement, the firm, ex- COLUMBIA MS 6517. SD. $5.98. Of the three pressive piano scoring young baritones who now which has some- seem to have cornered the German thing of the character of a fine black- If they are to avoid banality, Rachmani- Lieder market and -white pen drawing, noff's highly (at least on records) Her- the neat, fas- elaborate pianistic patterns mann Prey is the youngest, tidious qualities of the must be stated with and for some musical lines supremely finished listeners is rapidly becoming the themselves. All this is characteristic digital control most of and interpretative re- interesting. With this new disc he enters Poulenc at his most typical and most straint. Entremont has temperament, but expressive; the fray headlong, since in recent months and all these qualities are his slapdash performances on this disc both of his colleagues enhanced by the excellent playing do not fill the bill, and -Gérard Souzay of the two concertos and Dietrich Fischer -Dieskau -have also Gold and Fizdale, for whom the work come dangerously near to sounding like produced was written. cocktail -music recordings of the Schwanen- improvisations. Orman - gesang, complete or in The songs are well performed dy's lush part. by Miss accompaniments and Colum- I can imagine many arguments being Tourel and Mr. Bernstein. The singer bia's "souped -up" sound with undue spot- set forth against Prey's reading, but I still has the remarkable art and skill lighting of instrumental detail contribute would regard none to communicate the simple, expressive to the unfortunate of them as really effect. central. His manner of singing is cer- eloquence of this music. I am not ex- Rachmaninoff's own version of No. 1 ceptionally devoted tainly personal; his legato always seems to Poulenc's lyric art, and Michelangeli's of No. 4 retain a to be produced as though the melodic which I find sometimes too self -con- comfortable margin of superiority. line were sciously and deliberately moving uphill. But the results modest and H.G. justify the effort, because we are unassuming, but there is given no denying the singing charged with passion. Where effectiveness of a deeply felt song like Fischer -Dieskau will concentrate on a C- thought by many to be the com- RAVEL: Songs: Shéhérazade; Cinq poser's expressive masterpiece mélodies populaires grecques; Deux smooth, over -all plan for a song, Prey -and espe- roams restlessly through it phrase by cially in a performance like the mélodies hebraïques present phrase, turning onto each word in an in- one. Bernstein's accompaniments, by the f Duparc: L'Invitation au voyage; way, tense quest for meaning. Where Souzay are models of their kind. Phidylé will operate, seemingly, Poulenc's own version of his Sextet, from a pre- -f Debussy: L'Enfant prodigue: Air de selected set of dramatic devices and con- accomplished with the very exceptional Lia of the very trivances, Prey conveys a continuing assistance expert Philadel- sense of spontaneous reaction to each phia group, has a special, pleasant re- Victoria de los Angeles, soprano; Or- new idea as it occurs. The result is an laxed character. Actually I prefer the dry chestre de la Société des Concerts vitality du ardent, immensely communicative per- and witty tense drive of a per- Conservatoire de Paris, Georges Prêtre, formance. Even though the set of four- formance like that of Frank Glazer and cond. the New York Woodwind Quintet. But ANGEL 36105. LP. $4.98. then, this amusing collection of Vic- ANGEL S 36105. SD. $5.98. torian, Mozartean, and music hall knick- knacks takes on a different and very This album (titled "Mélodies de France ") special quality in the performance at is a pleasing and worthwhile recording, hand. though several factors keep it from be- The recorded sound is dry and clear. ing a complete success. For all the in- Stereo profits these works and is. of telligence and musicality of De los An- course, perfect for the Two -Piano Sonata. geles' Shéhérazade, I would like more E.S. color and sensuousness in her tone. Asie in particular could do with more variety PROKOFIEV: Alexander Nevsky and fullness. I am also constitutionally averse to the orchestral versions of Du- Vera Soukupova, contralto; Czech Sing- parc's songs -the whole mood of L'Invi- ers Choir; Czech Philharmonic Orches- tation au voyage flees when the piano's tra, Karel Ancerl, cond. undulations are replaced by the muddy- ARTIA AL 202. LP. $4.98. ing of the orchestra. And at some points, ARTIA ALS 7202. SD. $5.98. a thin, insubstantial pianissimo or a repressed- sounding high forte (as in the Nevsky seems to have remained the only climax of the Air de Lia) makes one musical drama conceived and executed feel that the voice is not operating under completely in the film medium with the ideal conditions. musical side as integral from the start as Many good things, just the same. The Ravel: among "mélodistes de France."

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com teen songs isn't a "cycle" in the usual sense, the listener finds himself emo- tionally drained at the end, as if having experienced a single and powerful dra- NEW RELEASES matic situation. My particular favorites: the burning. in the insistent passion of Stündchen, the dizzy- ing momentum of Abschied, the hair - raising horror of Der Doppelgiinger. It seems to me that no current recording 71160milbstet of the Schwanengesang, or of its in- dividual songs, communicates so much COLLECTORS SERIES of the music's essence. recordings been Walter Mien's partnership is adequate These brilliant monophonic have but seldom more than that. While he completely remastered to provide superb tone quality too has a dramatic sense-evidenced in and unsurpassed listening pleasure. his way of accentuating ever so slightly each remarkable change of key -it be- W -9048 Bach, K.P.E.: Organ Concerto; Soler: Organ Quintet - Paillard comes excessive after a while. W -9049 Brahms: Trio for Violin, Cello, Piano, op. 8 - Fournier, Janigro, ALAN RICic Badura -Skoda W -9050 Brahms: Piano Quartet, op. 26 - Demus, Barylli Quartet

SCHUMANN: Gedichte der Kiinige W -9051 Brahms: Piano Quartet, op. 25 - Demus, Barylli Quartet Maria Stuart, Op. 135 -See W -9052 Brahms: Piano Quartet, op. 60 - Demus, Barylli Quartet Brahms: Songs (11). W -9053 Brahms: Sonatas 1 & 2 for Viola, Piano - Doktor, Reisenberg W -9054 Debussy: Sonatas for Violin, Piano; Cello, Piano; Flute, Viola, Harpsichord - Fournier, Janigro, Doyen SIBELIUS: Songs: Narciss; Illalle; W -9055 Haydn: Scherzando; 3 Divertimenti - London Baroque Ensemble Süf, süf, susa; Rom nu hit, Düd!; W -9056 Mozart: Trios for Violin, Cello, Piano (K.254, K.564, K.502) - Laste laiue %illu; Demanten pa Fournier, lanigro, Badura -Skoda marssnon; Vilse; Scarta rosor; Var W -9057 Mozart: Trios for Violin, Cello, Piano (K.542, K.496, K.548) - det en droll'? Fournier, Janigro, Badura -Skoda 'Strauss, Richard: Songs: Zueignung: W -9058 Mozart: Divertimenti (winds) K. Anh. 229, Nos. 2, 3, 4, 5 - Traum durch die Dümmer'n'g: Vienna Phil. Wind Group Stündchen; Breit' über mein Haupt: W -9059 Mozart Divertimenti (winds) K. Anh. 226; 227; 229, No. 1- Vi- Ach, tech mir unglückbaftem enna Phil. Wind Group W -9060 Mozart: Divertimenti (winds) No. 8, 12, 13, 14 - Vienna Phil. Mann; Heimliche Aufforderung; Wind Group Rube, meine Seele! Cäcilie W -9061 Mozart: Divertimenti (winds) No. 3, 4, 9, 16 - Vienna Phil. Krause, baritone; Pentti Koskimies, Wind Group Tom W -9324 Harpsichord, Vol. 7 Valenti, Harpsichord Williams, guitar. Scarlatti: Sonatas for - piano; John W -9325 Scarlatti: Sonatas for Harpsichord, Vol. 8 -Valenti, Harpsichord LONDON 5783. LP. $4.98. W -9326 Scarlatti: Sonatas for Harpsichord, Vol. 9 Valenti, Harpsichord LONDON OS 25783. SD. $5.98. - W -9321 Bach: English Suites, No. 1, 2, 3 - Valenti, Harpsichord W -9328 Bach: English Suites, No. 4, 5, 6 Valenti, Harpsichord Krause, the Kurwenal of the London - W -9329 Bach: 2 and 3 -Part Inventions Veyron- Lacroix, Harpsichord Tristan and a baritone coming in for in- - W -9330 Buxtehude: Complete Organ Works, Vol. 3 Linder, Organ creasing international attention, is here - W -9331 Buxtehude: Organ Works, Vol. 4 Linder, given his first solo recital. He demon- Complete - Organ W -9612 Armenian Cosmopolitan Chorale strates a manly voice of fairly wide Songs - range, not overly attractive either at top W -9613 Bach: Geistliche Lieder, Vol. 1 - Roessel- Majdan, Cuenod or bottom but under good control and W -9614 Vol. 2- W-9615 Vol. 3- W -9616 Vol. 4 capable of warmth and dynamic shading W -9617 Brahms: Choral Works: Gesang Der Parzen; Marienlieder; Nánie; Songs Vienna Kammerchor in the middle part of the voice. - W -9618 Poulenc: Le Masqué The Strauss side is solid, but does Stabat Mater; Bal Fremaux cond. W -9708 Creston: Symph No. 2, 3 - Nat'l Symphony Orch., Mitchell not offer statements of these songs- mostly familiar ones -that will make it preferable to competitive recordings. W-9109 Berg: 3 Pcs. for Orch., op. 6; Webern: 6 Pcs. for Orch., op. 6; There are small miscalculations -the sing- Stravinsky: Agon Ballet - Rosbaud cond. er sounds a bit rushed on the very line W -9808 Songs And Dances of Spain, Vol. 4: Majorca and Aragon in Traunl durch die Diinunerung ("Ich W -9809 Songs and Dances of Spain, Vol. 5: Granada and Seville eke nicht Ouzel!, ic11 rile nie lu ") where W-9810 In Israel Today, Vol. 3: Music of Yemen, Atlas Mts., Tunisia, he must create the reverse impression. Spain (Recorded in the Field) and the high -lying phrases of Stündchen W -9811 In Israel Today, Vol. 4: Music of Eastern Europe (Recorded in are rather too operatic, making the songs the Field) a bit heavy. top- The presence of the ALL WESTMINSTER RECORDS: $4.98 (Suggested List) Sibelius pieces, however, makes the rec- ord desirable. There has been no sig- Be sure to send for our FREE, ALL -NEW ALPHA- nificant representation of this composer's BETICAL CATALOG, which includes our other new song output since the all -Sibelius recital releases, as advertised in the January, 1964 issue of by Kim Borg for Decca about five years ago (a splendid record. by the way). this publication. Also ask for FREE MUSIC GUILD Krause has chosen many of the same CATALOG. songs, but they are beautiful ones, and apart from an overblown phrase here These recordings are available at all record shops. If you are unable and there he does well by them. Krause to find them locally, simply cons will be a more interesting singer-for my plete the coupon provided. taste, at least -when he expands the color and variety of his tone. and uses WESTMINSTER RECORDING CO ., INC. this range to obtain some of the effects 1501 Broadway, New York, N. Y. 10036 he now gets through a rather heavy un- Enc!osed please find $4.98 for each of the derlining of the "punch lines." Mean- while, anyone who is unacquainted with following (Postpaid) such masterpieces as Illalle, or Süf. süf, sosa, or La.ctu lainehilla -as well as the less familiar Narciss- should not Name fail to hear them. The accompaniments Add rest_ are very satisfactory, the sound excellent, HF and there are texts with translations. City_ _ Zone State 264 C.L.O. CIRCLE 77 ON READER- SERVICE CARD FEBRUARY 1964 77

www.americanradiohistory.com it plays it well. The soloists are fine and second work. Presumably the deletion so is the recording. E.S. was made in the American edition in order to provide wider groove spacing SOR: Twenty Studies for Guitar and a higher dynamic level. the sort of thing essential to the modest claim of John Williams, guitar. "an engineering triumph" borne on the WESTMINSTER XWN 19039. LP. $4.98. sleeve. WESTMINSTER WST 17039. SD. The Strauss heard here is decidedly $5.98. a young man, headstrong, impetuous, swaggering with vitality, Don Juan play- Every instrument can boast of at least ing philosopher. The young man's ap- one protagonist who has created a set proach, too, is evident in the occasional of studies that make a point of technique concern for striking details rather than but go beyond it, that speak directly to well- integrated wholes, and a seeming the player but offer splendid things to failure when the largest orchestral niasses the layman who simply listens. For the must be knit together for the big cli- guitar, Fernando Sor was such a man. maxes. (The clarity of the loudest pages, Like his contemporary Paganini, he strangely enough, is not appreciably im- might have dedicated his studies "To the proved by stereo. They are blurred in Artists," for the problem he poses, like both versions -a fault due either to Maazel's failure Susskind: conducting with the CBC. those in Paganini's Caprices, are for the in keeping melodic lines accomplished player, not the neophyte. distinct, or to an excess of reverberance And it would require an artist of the in the hall.) After the capacities of John Williams (at twenty - conductor's mixed success SOMERS: Suite for Harp and Cham- with Der Roseakcn'alier at the Metropoli- ber Orchestra three a veteran concertizer, equipped with the instruction and the blessing of tan last season, it is hard to say from -tAdaskin: Serenade Concertante Segovia) to present these short pieces this debut recording of Strauss repertory 'j Papineau- Couture: Pièce concertante with such style, fire, and musical under- how much of a flair for the composer he No. 1 standing. We hear almost impossible really possesses (one good reason for things going on: "keyboard" patterns in regretting the loss of that Till Eulen- July Loman, harp (in the spiegel). 1 Somers); Mario which the melody is by Al- would rank this recording as Bernardi, piano (in the supported a good Papineau- berti bass; pieces in which three distinct one, but both musically and Couture); CBC Orchestra, Walter Suss - technically below the matured mastery of kind, melodic lines are kept running simul- cond. taneously; arpeggios molded into an the Reiner edition. R.C.M. COLUMBIA ML 5921. LP. $4.98. almost inconceivable legato; fistfuls of COLUMBIA MS 6521. SD. $5.98. chords fired off in vicious staccato cas- STRAUSS, RICHARD: Don cades. But so musical are these études Quixote, These are three works by three of the Op. 35 best -known and the performance of them that and most interesting Cana- thoughts of discipline are overshadowed dian composers. There is no Lorne Munroe, cello; Carlton Cooley, particularly in harmonies leisurely Canadian profile that one can make by delight drifting viola; Philadelphia Orchestra, Eugene Or- out, by a Stephen Foster -like tune suc- or even any stylistic thread that con- -in mandy, cond. nects them, but they are ceeding an austere exercise in double all pleasant and in the easy charm of a piece well -made works. The most successful stops, For a feature review including this re- straight out of Schumann's Kinderszeaen. cording, see page 65. is probably the piece for piano and or- Sor have by In Williams, must found chestra Jean Papineau- Couture; it is man he was looking for. Westmin- subtitled Rempliealent or "Folding- Back" the ster's sound is excellent either in two STRAUSS, RICHARD: and is in fact one of Songs: Zueig- those peripeteal channels or in one. S.F. pieces -Hindemith's Hin and zuruck, nung; Traum durch die Dämmer- the movie scene in Berg's Lulu are others ung; Ständeheu; Breit' fiber mein -in which the music proceeds forward STRAUSS, RICHARD: Also sprach Haupt; Ach, weh mir unglück- up to a certain point and then reverses Zarathustra, O. 30 haftem Mann; Heimliche Aufford- itself, retracing its own steps right erung: Ruhe, meine Seele! Cäcilie back to the beginning. Beyond the fact of Philharmonia Orchestra, Lorin Maazel, -See Sibelius: Songs. this (somewhat mild) technical tour de cond. force, however, there is enough char- ANGEL 35994. LP. $4.98. acter and musical interest in the piece to ANGEL S 35994. SD. $5.98. TCHAIKOVSKY: Concerto for Pi- keep it sustained and in motion. ano and Orchestra, No. 1, in B Harry Somers is easily the leading When this set appeared in England last flat minor, Op. 23 Canadian composer of a younger genera- May it carried Till Eulenspiegel as a -¡Franck: Variations symphoniques tion (he was born in 1925) and he is certainly one of the most fluent talents John Ogdon, piano; Philharmonia Or- that Canada has produced. Somers is chestra, Sir John Barbirolli, cond. nowadays something of an avant- gardist ANGEL 36142. LP. $4.98. but this harp -and -orchestra piece of 1948 ANGEL S 36142. SD. $5.98. has a more conventional musical an- cestry. Consistency and originality are John Ogdon is the twenty- six -year -old not strong points here -Hindemith, British pianist who tied for first place Bloch, Stravinsky, Berg, and a few other in the 1962 Tchaikovsky Competition in old friends are never very far out of Moscow. The co- winner was Vladimir sight -but the work has a certain easy Ashkenazy, who also recorded the skillfulness and there is a strong com- Tchaikovsky Concerto recently. Mr. Og- mand of the materials which somehow don, a pupil of Claude Biggs and Egon makes them hang together. Petri, already has to his credit two recit- Like its companions on this disc, the al discs and a recorded performance of Serenade of Murray Adaskin is a con- the Rachmaninoff No. 2 (with Pritchard), certed piece although the solos here are but the present release is the first in the assigned to first -desk men in a kind of pianist's discography to be released in concerto grosso style. The manner is this country. Ogdon is a big, free- wheel- neoclassic all right -simple, modest, ing. virtuoso -type pianist who appears playful, tasteful, and not without charm. perfectly willing to call a spade a spade. Old wine. new bottle: more old friends In contrast to Ashkenazy -whose per- recollected in tranquillity. formance of the Tchaikovsky was more The performances are excellent. The polished but also rather precious -Ogdon Canadian Broadcasting Corporation Or- piles into the work with a virile style chestra is (let it be shamefully recalled) and a full -fledged fortissimo. His hearty the only full -time radio symphonic or- playing has plenty of temperament, al- ganization in North America; it is a John Williams: the man Fernando though poetry and refinement are less good orchestra, it plays new music, and Sor must have been looking for. in evidence. While I am impressed, I

78 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com also find this pianism on the whole a bit square and sober. Mr. Ogdon will have to be heard in a wider and more demand- ing repertory before one can form any really conclusive opinion of his art. It is Barbirolli's splendid accompani- ments which give these performances most of their flavor. The orchestral play- ing is exuberant and full of feeling. (The solo cello in the second part of the Tchaikovsky is quite remarkably expres- sive: compare the antiseptic effect of this same passage in the Ashkenazy -Maazel reading.) Both works emerge with a full - flowered emotionalism that never de- teriorates into flaccid sentimentality. Nor, conversely, is there any trace at all of the tightfisted objectivity which so many present -day artists stress as a "corrective" approach to this music. Angel's sound is bright and airy, with fine balance and vivid detail. There is little difference between the one- and two -channel versions, however. All told, then, this is a top -flight release all the way. H.G.

TCHAIKOVSKY: Symphony No. 4, in F minor, Op. 36 Philharmonia Orchestra, Otto Klemperer, cond. ANGEL 36134. LP. $4.98. ANGEL S 36134. SD. $5.98.

TCHAIKOVSKY: Symphony No. 5, in E minor, Op. 64 Philharmonia Orchestra, Otto Klemperer, cond. ANGEL 36141. LP. $4.98. ANGEL S 36141. SD. $5.98.

It was just a little more than a year ago that I gave a warm welcome to Otto Klemperer's very first Tchaikovsky re- cording, an exceptionally sensible and lucid reading of the Parhrlique Sym- phony. The Fourth is also a model of clarity; 1 doubt if anyone has ever of- fered a reading of this work where each note stands out so clearly. But in achiev- ing this perfection of execution the con- ductor has often sacrificed forward mo- tion. As a result, the entire performance tends to he sluggish and heavy -footed. This is a dramatic symphony that needs more fire than Klemperer gives it. The stereo sound is rich and full, but Mon - teux on RCA Victor and Mravinsky on Deutsche Grammophon remain prefer- able choices. The Fifth, however, restores the high standards Klemperer established in the Sixth. Some passages, such as the inner FRIEDMAN: in the Paganini tradition woodwind parts in the very opening of the Allegro con anima in the first move- "...everybody's idea, since Paganini, ment, have never been so perfectly transparently executed. Once again, of the romantic, debonaire rake Klemperer's remarkable sense of propor- tion manifests itself, with the result that of the fiddle." N. Y. Herald Tribune. we have a performance notable for its sanity yet one unafraid to sing or to be In his new album Ravel's Tzigane richly expressive. Prime examples of the latter quality are the exquisite play- glows with fiery intensity. He ing of the horn solo in the second move- ment and the exciting but controlled approaches Wieniawski's Légende climax built up near the movement's conclusion. The only place where the with a stirring reverence. conductor's insistence on clarity at all He's just 24! How much better costs is detrimental is in the finale, which could have been more animated. can he become? I have not heard the stereo edition of No. 5. but the mono is of a very high caliber. If you are looking for a Tchai- kovsky Fifth with revealing and lasting qualities, this one is definitely worth con- RCA VICTORS sidering. P.A. The most trusted name in sound 3.. CIRCLE 57 ON READER -SERVICE CARD FEBRUARY 1964 79

www.americanradiohistory.com TELEMANN: Orchestral Music WIiSTMINSTE.R XWN 19042. LP. $4.98. problems in this music; the two Tele- WESTMINSTER WST 17042. SD. mann collections at hand overlap by Overture for Three Oboes, Strings, and $4.98. one piece and the duplicated performance Bass, in C; Concertos: for Three Oboes, provides a comparison which is not Strings, and Bass, in B minor: for Flute, The trouble with Telemann is that he had merely interesting for its own sake but Oboe d'aurore, Viola d'aurore, Strings, no real style of his own. Unlike the very much to the point here under dis- and Bass, in E. great eclectics -Bach, say, or Stravinsky cussion. The Concerto in E is very much -he rarely seemed to have succeeded a galant piece Deutsche Bachsoloisten, Helmut Win - (although I would con- in getting the various ingredients in his nect it with the then current Italian de- schermann and Carl Gorvin, conds. music to emulsify (although separately velopments CANTATE 047703. LP. $5.95. as much as with those in they may all be very tasty). The Suite CANTATE 057703. SD. $6.95. France); it is simple and forceful, but Concertante in G minor and the Over- slight, homophonic, strongly motivic, Suite Concertante for Three Oboes, ture in C are, for example, in the old and rather square rhythmically. Bassoon, Strings, and Bass, in G minor; French theatre -music style; the Two - The Westminster performance is very Concertos: for Flute, Strings, and Bass, Violin Concerto in C and, to some ex- good but it tends to treat the work in in D; for Two Violins, Strings, and Bass, tent, the Concerto in B minor for Three a more long -faced manner than it de- in C: for Flute, Oboe d'amore, Viola Oboes, are in the traditional high - serves. Even apart from the fact that d'amore, Strings, and Bass, in E. baroque Italo- German taste; the other a muted violin is used instead of the works run towards the new galant idiom. required viola d'amore (which upsets the Pro Arte Chamber Orchestra of Munich, Questions of style and coherence are balance among the soloists), this reading Kurt Redel, cond. exactly at the root of the performance lacks some of the necessary lightness and verve. The Cantate version has style; the players lean into the music and nudge it out of its unbending metrical groove. This is actually a much less smooth - sounding performance; at times it is almost rude and there is never a sense of ease or slickness. All to the good; ANNOUNCING PREMIER RECORDINGS the music needs a push. This is actually much the more sophisticated reading in NEVER BEFORE AVAILABLE IN THE USA! that it puts a bit of life into the plod- ding measure of the music, helps to THE MOST EXCITING ARTISTS ARE ON justify its length, and gives it some scope. Extend these comments to the rest of the music recorded here, and the picture becomes clear: in the one case, good performances, well recorded; in the other, impressive and understanding perform- ances, attractively recorded, and tending to restore quality and liveliness to the Ini sique d'occasion of a talented if minor Major compositions by major composers creative artist of the past. performed by the major artists of today. E.S. TIPPETT: A Child of Our Time; SHOSTAKOVICH: Symphony #12 Moscow Radio Orchestra, Rozh- The zllidsummzer Marriage: Ritual - Leningrad Philharmonic Or- destvensky, cond. MK 1583 Dances chestra, Mravinsky, cond. MK 1580 SHOSTAKOVICH: Symphony #8 Elsie Morison, soprano; Pamela Bow- TCHAIKOVSKY: Piano Concerto in C Minor- Leningrad Philhar- den, contralto; Richard Lewis, tenor; #1- Ashkenazy, USSR State Sym- monic Orchestra, Mravinsky, Richard Standen, baritone; Royal Liver- phony Orchestra, Ivanov, cond. cond. MK 219B pool Philharmonic Chorus and Orchestra, John Pritchard, MK 1581 GLAZUNOV: Raymonda (Com- cond. (in A Child of Our Time) ; Orchestra SCRIABIN: Etudes-Richter. plete Ballet) - Bolshoi Theatre of the Royal Opera MK 1582 House, Covent Garden, John Pritchard, Orchestra, Svetlanov, cond. cond. (in Alidsummer PROKOFIEV: Symphony #2- MK 220C MKS 220C (stereo) Alarriage). LONDON A 4256. Two LP. $9.96. OISTRAKH, RICHTER, KOGAN, FLIERE, ASHKENAZY, LONDON OSA 1256. Two SD. $11.96. IVANOV, LENINGRAD PHILHARMONIC, MOSCOW PHIL- HARMONIC, AND MANY OTHER EXCITING ARTISTS MAY In 1938 a Nazi diplomat named Ernst BE FOUND ON THE FOLLOWING RELEASES: vom Rath was assassinated in Paris by a young Jewish refugee named Herschel RACHMANINOFF: Symphony #1; Moscow State Symphony, Kon- Grynszpan. This touched off the worst Leningrad Philharmonic, Sander - drashin, cond. MK 1572 blood bath which the Nazis visited upon ling, cond. MK 1525 BARTOK: Violin Concerto # 2; the Jews of Germany before the open- TCHAIKOVSKY: Nutcracker I. Oistrakh. Moscow Symphony ing of World War Il. Michael Tippett's Suite (excerpts); Leningrad Phil- Orchestra, Rozhdestvensky, cond. oratorio. completed in 1942, is based harmonic, Mravinsky, cond. MK 1576 upon the event. MK 1545 TCHAIKOVSKY: Manfred Sym- The sequence of happenings is told CHOPIN: "Funeral March" So- phony /The Tempest; USSR Sym- in a roundabout, quasi -symbolic way. nata /Mazurkas; Yakov Fliere. phony, Rakhlin, cond. with meditations upon their significance MK 1549 MK 208B (2 record set) by soloists and chorus alike. In his notes, BEETHOVEN: "Appassionata" BORODIN: Prince Igor; Bolshoi John Amis observes that the form of the Sonata / HAYDN: Sonata "20 "; Theatre Orchestra, Soloists and piece is rather like that of a Bach Richter. MK 1550 Chorus; Melik -Pashayev, cond. cantata, with Negro spirituals taking the KABALEVSKY: Symphony #2 / MK 215D (4 records) place of chorales as religious folk music Colas Breugnon Suite; USSR PROKOFIEV: War and Peace; characteristic of our time. There are five State Radio Orchestra, Anosov/ Bolshoi Theatre Orchestra, Solo- of these Negro spiritual settings during Paverman, conds. MK 1552 ists and Chorus; Melik -Pashayev, the course of the oratorio. and they are KALINNIKOV: Symphony #1, cond. MK 218D (4 records) quite astonishing, especially since we tend to think of these things as peculiar FOR A COMPLETE CATALOG. PLEASE WRITE: to the American vernacular and do not CONNOISSEUR RECORD CORPORATION 160 PASSAIC AVENUE KEARNY, NEW JERSEY expect them to be universalized by an English composer like Tippett. Elsewhere the style is ruminative. broadly scaled. reminiscent at its best of Vaughan Williams, at its worst of the old Victorian oratorio still cultivated in Britain. The virtues of the score out- CIRCLE 26 ON READER -SERVICE CARD 80 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com weigh its defects, however, and it is solo violin. Despite a broad, melodious good for once to hear a piece of worth- ritornel in the opening movement, the while modern music written from a game soon grows tiresome. P. 266. for humanitarian premise. The performance viola d'amore, lute, and muted strings, by the soloists is simply marvelous; there is more interesting for its colors than for 00 1 is no better quartet of singers in the its content, though the finale has a world for this sort of thing than the one mournful attractiveness. P. 79 is one of BRITAIN'S FOREMOST assembled here. The performance by the the better works by Vivaldi for a "flau- chorus and orchestra seems also to be tino." Here it is played on a sopranino very good, but the choral recording recorder instead of the usual piccolo. RECORD CRITICS leaves much to be desired. The notes Mr. Linde embellishes his part discreetly contain the statement that the recording in the repetitions of the slow movement. WRITE EVERY MONTH was made in 1958. All of the soloists are entirely acceptable, The Midsummer Alurriage is an opera. and so is the sound. N.B. IN Its Ritual Dances, which fill out the fourth side of the present set, are al- legories of marriage in terms of hunt- VIVALDI: Gloria; Credo ing rituals. They all sound like the Alberta Pellegrini, so- kind of music that British composers Maria Stader, 0000n,000I Ballet. A.F. pranos; Anna Maria Rota, contralto; write for the Royal Orchestra and Chorus of the Maggio COMPREHENSIVE CLASSICAL REVIEWS Musicale Fiorentino, Bruno Bartoletti, VIVALDI: Concertos: in C, P. 79; cond. * in C minor, P. 434; in A, P. 222; DEUTSCHE GRAMMOPHON LPM 18788. JAZZ AND SWING REVIEWS in D minor, P. 266 LP. $5.98. DEUTSCHE GRAMMOPHON SLPM Hans -Martin Linde, recorder (in P. 79); 138788. SD. $6.98. MUSIC FROM STAGE AND SCREEN Klaus Storck, cello (in P. 434); Su- sanne Lautenbacher, Ernesto Mampaey, The chants is thick -sounding, the or- violins (in P. 222); Emil Seiler, vio- chestra thin, the soloists unimpressive. EQUIPMENT TESTS AND REPORTS la d'amore, Karl Scheit, lute (in P. 266); As far as the Gloria is concerned. this Emil Seiler Chamber Orchestra, Wolf- recording is not in the sanie league gang Hofmann, cond. with the Scherchen on Westminster. In ARCHIVE ARC 3218. LP. $5.98. fact, the only thing interesting about the ARCHIVE ARC 73218. SD. $6.98. disc is its inclusion of the Credo. which 0000040001 may be making its first appearance on ANNUAL SUBSCRIPTION $5 Outstanding on this disc is the C minor records. It is in four sections, of which Concerto for cello and strings. It is a the two middle ones, an exalted "Ft KENTON darkly expressive work, with poignant ilU ornants est" and a mysterious "Cruel - 379 ROAD, KENTON, dissonances. P. 222 and 266 are, as far fi.rn.s," are remarkably fine. Let us hope HARROW, MIDDLESEX, ENGLAND as I can discover. new to the domestic that before long it will be recorded in a catalogues. The first features a solo performance that is better than merely WRITE FOR FREE SPECIMEN COPY violin echoed from a distance by another adequate. N.B. CIRCLE 46 ON READER -SERVICE CARD HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HACKETT HERE'S BOBBY HACKETT HACKETT HACKETT THE ciMOS"T BEAUTIFUL HORN IN 'THE WORLD

l'E!D

THE MOST BEAUTIFUL a Tt GIAVB THE DRETT HORN iN THE WORLD MUS,;, Of PLAYS THE MUSIC OF BOBBY HENRY BERT MANCINI KAEMPFERT

NMI TOR MINI R THEME RIOM "MI. LUCKY" 3011 MIOOT LOVE I PROFOUND RAU

Here's the sensational Mancini touch -"Days of Here's the swinging Kaempfert sound -such Wine and Roses," "Theme From 'Peter Gunn,' 1e popular songs as "Danke Schoen," "Wonder- "Moon River," "Baby Elephant Walk" and other land by Night," "Afrikaan Beat," "The Happy greats. LN 24061/BN 26061* Trumpeter" and others. LN 24080/BN 26080* cYMOURS ON ,f,----1=0"11-=Ec cRECORDS 'Stereo rilx- ì. "EPIC". Marce Reg. T.M. PR_NTSD IN U.S A. CIRCLE 5 ON READER -SERVICE CARD FEBRUARY 1964 81

www.americanradiohistory.com Chávez, one understands especially well what Horatio Greenough meant when, in writing about the relationship of the 3 Great New LP's ancients to the architecture of the present day, he said, "Let us not imitate them like monkeys but follow their principles like men." A.F. T,CHAhKOIbSKY « REGINE CRESPIN: :! IFTH SYMPÑONYw , ecitals Operatic Recital Rossini: Guillaume Tell: Sombre forêt. Verdi: Il Trovatore: D'amor sull' ali zXiscellany roses'. Otello: Salce, salce: Ave Maria. Wagner: Tann/tiictser: Dich, teure Halle: Al /mücht'ge Jungfrau. Berlioz: Damna- tion de Faust: D'amour l'ardente famine. Régine Crespin, soprano; Orchestre du Théâtre National de l'Opéra, Otto Acker - Oalirter mann, cond. ANGEL 36144. LP. $4.98. Tchaikovsky: LEONARD BERNSTEIN: "Latin SYMPHONY NO. 5 IN E MINOR American Fiesta" REGINE CRESPIN: Arias from Itali- The Vienna Philharmonic Orchestra - Lorin Maazel an Opera Stereo CS-6376 Mono CM -9376 Chávez: Sinfonía india. Villa Lobos: Bachianas Brasileiras, No. 5. Guàrnieri: Verdi: Il Trovatore: Tacea la notte. Brazilian Dance. Fernandez: Batuque. Ballo in maschera: Morrò, ma prima in Copland: Danzón Cubano. Revueltas: grazia. Otello: Salce, salce; Ave Maria. Sensen7ayd. Ponchielli: La Gioconda: Suicidio! Mas - cagni: Cavalleria rusticana: Voi lo sapete. Netania Davrath, soprano (in the Villa Puccini: Madama Butterfly: Un bel di. Lobos); New York Philharmonic, Boito: Mefistofele: L'altra notte, in Leonard Bernstein, cond. fondo al mare. COLUMBIA ML 5914. LP. $4.98. The Moscow COLUMBIA MS 6514. SD. $5.98. Régine Crespin, soprano; Orchestra of Covent Garden, Edward Downes, cond. This lively anthology contains one major LONDON 5799. LP. $4.98. Philharmonic masterpiece, one minor masterpiece, two LONDON OS 25799. SD. $5.98. pleasant entertainment pieces, one fail- ure, and one horror. Both these discs are impressive and en- Orchestra ... The major masterpiece is the Sinfonía joyable. The Angel selections date back india of Carlos Chávez, composed in to 1957 -58, but though they were ac- recorded in London 1935. Stravinsky had opened the door corded French pressings, they have not to a new world of primitive rhythms with been available domestically until now; his Sacre du printemps. Chávez here the London recordings are current. Taken takes full advantage of Stravinsky's in- together, they give us a much fuller :dea VLADIMIR ASHKENAZI' novations to create a whole new world of the singer's talent than we have pre- ' IdIIM1NIMIFI CONCI8t9 NI.2. âP-17 of musical elementalism, employing tunes viously been afforded. and rhythms of the Indians of Mexico. Crespin is an authentically "big" sing- This short, pungent, powerful work re- er. The voice can fill any house, though mains one of the key pieces of modern it sometimes turns edgy at full volume; music; and as one sees it in longer and and it can scale down to a round, float- longer perspective, it grows in signifi- ing piano that is most beautiful. Her cance and quality. Chávez himself has stylistic and musical sense is excellent, recorded it two or three times. His per- her scale even, her range of colors and RVRII RDNDRiDIN formance is tauter, starker, and wide, MIrIMMIOkY Cg¡ll3# tawnier dynamics her awareness of text and a in color than Bernstein's, but Bernstein's dramatic situation keen, the line of her Rachmaninov: has its own decided virtues. if he can't vocalism grandiose. A formidable artist, PIANO CONCERTO NO. 2 IN C MINOR refrain from sentimentalizing the slow clearly. 3 ETUDES TABLEAUX movement, he does so from warm- The Angel recording is, for me at Vladimir Ashkenazy. The Moscow Phil - harmonic Orchestra - Kyril Kondrashin heartedness. And Bernstein's disc -much least, the more interesting of these two. Stereo CS -6390 Mono CM -9390 more, in fact, than any previous record- Good recordings of the lovely "Sombre ing- captures much of the marvelous forêt" are hard to come by, and most of DAVID AND IGOR OISTRAKH tissue of rattling, percussive, and fricative them are in Italian, masquerading as sounds which is one of the great glories "Seh'a opaca." This one is in French, of this work. and exquisitely molded. And while the The minor masterpiece is the Bach - Wagner and Berlioz arias are by no hums Brasileiras No. 5 of Villa Lobos, means unfamiliar, they do not choke the which embodies all the sensuous blandish- catalogue with competitive versions, as ment of the tropics in the extremely un- do most of the selections on the London likely combination of soprano voice and disc. Crespin's interpretative range is eight cellos. The coloristic severity of well illustrated by the comparison be- this combination is what saves the music; tween the dark tone and long- arched with more color it would sound overripe. phrasing of " D'amor sull' ali" (one of The performance is of the kind that gives the very finest modern versions of this Mozart SINFONIA CONCERTANTE IN you a little special chill of pleasure up aria) and the bright, almost girlish ac- E FLAT MAJOR (K. 364) and down the spine at its utter deftness cents with which she launches "Dick, DUO IN G MAJOR (K. 423) and rightness. teure Halle." The Damnation aria is well Igor Oistrakh (violin); David Oistrakh The two pleasant entertainment pieces done, but not quite such a complete suc- (viola). The Moscow Philharmonic Or- chestra - Kyril Kondrashin are the Brazilian Dance of Camargo cess -the marked, halting pattern of Stereo CS -6377 Mono CM -9377 Guàrnieri and the Batuque of Oscar offbeats and rests at the beginning of Lorenzo Fernandez, which seem to show the third verse is softened a bit, and her that the Polovetsi did not limit their ad- tone does not have the aching, smolder- ventures to Central Asia. The failure is ing quality of a Callas for lines such as Aaron Copland's Danzón Cubana, which "O caresse de famine!" Trockonorka Rrp. U.S. Pot. OR. repeats the same jokes too often. The The London programming is not ad- horror is the Sensemayú of Silvestre venturous: still, for anyone looking for 7zok'no, fcrrY Revueltas, which lifts rhythms, melodies, a well-suna. collection of these corner- fiat FPfOcrfarCr DANCE PFCOPO /MG and everything else bodily from the stone arias. the disc would be hard to Sacre. Comparing the Revueltas and the better. "raced' is hauntingly if not very

82 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com warmly sung, with a splendid piano for Société de la Chorale Bach de Montréal, homophonic music, strongly tonal, sweet the turn on "Del, pietosa" in the recita- George Little, dir. and lyric, measured out in straightfor- tive, and a good trill and ample lightness Vox DL 950. LP. $4.98. ward rhythmic lilts, often dancelike in in the cabaletta. Crespin is probably Vox STDL 500950. SD. $4.98. quality, phrased in simple, strong sym- not one's picture of a definitive Santuzza metries never very far from popular or Gioconda or Butterfly, but she brings Henry VIII was on the throne of Eng- origins. off these numbers extremely well, with land from 1509 to 1547 and this collec- As for sacred music, the King and lots of full, free tone and temperament. tion thus represents nearly four decades his party were eager to bring it into The Ballo aria holds its own with any of music. In those days the educated line with the newly Englished texts and modern version. gentleman was expected to be able to to make the Anglican settings serve the The two renditions of the Otello scene play, sing, and possibly even write music word in a declamatory, homophonic, are very similar, and simply gorgeous to -and the interesting point is not so syllabic English style. Only composers listen to. I think I marginally prefer the much whether Henry Tudor actually like Byrd, who retained ties to Roman later London one, primarily because the wrote the pieces attributed to him as Catholicism and continued to set Latin, conductor's very gradual pacing for that someone thought he ought to have. sustained the old polyphonic style after- Angel -most effective in suggesting the The two -part songs he may have corn - wards (otherwise, oddly enough, counter- over -all mood - does not allow the little posed, the pair of jolly proto- madrigals point went mainly secular). One can see interruptions ( "Ascolta. Odo tut lamen- of William Cornyshe, the two Christmas -or rather hear -the course of things to," or "Ah, Emilia, addio!") to make carols, and the early set of keyboard quite clearly in the present collection. their full effect. Otherwise, the late Otto variations known as My Lady Carey's Ackermann's accompaniments have it all Dompe are perfect examples of simple Continued on page 86 over Downes's in terms of plasticity and polish - listen to the lovely woodwind work in the recitative preceding "Sombre forêt." London's sound has the wider dynamic range, and the added vibrancy VANGUARD of stereo, but Angel's mono engineering Current and Choice Recordings for the Connoisseur is first -rate. C.L.O. Classical Folk Choice Releases JUDITH and DORIS LANG: "Con- cert for Two Pianos" Milhaud: Scaramouche. Vaughan Wil- liams -Foss: Fantasia on Greensleeves. Poulenc: Sonata. Leland Thompson: Two Masques. Benjamin: Jamaican Rumba. Falla -Braggiotti: Ritual Fire Dance. Casadesus: Six pièces pour deux pianos. Arensky: Valse. Judith and Doris Lang, pianos. GOLDEN CREST CR 4070. LP. $4.98. GOLDEN CREST CRS 4070. SD. $4.98. BLOCH: Concerto for Violin and Orchestra, The Lang sisters play this varied and in- with BARTOK: Rhap- teresting hodgepodge of a program with sody No. 1. skill and enthusiasm. The Poulenc So- nata is a short but Roman Totenberg, vi- substantial work with NETANIA DAVRATH olin, and orchestra a serious, quite impressive first move- sings 3reat Arias from Russ ar ment, an attractive slow movement, and Opera.. with Vienna State Op.ra conducted by Vladimir a rather ratty, scatter -fire finale corn- Orchestra Golschmann. plete Vladir.ir Golschmann, conduor VRS -1083 (Mono) with parody of the Mephisto Waltz. Tchaikovsky: VSD -2110 (Stereo) And there are two recorded firsts on this Tatiara's Letter Scene frorr "Urgently needed... one of disc: the Leland Thompson work which, "Eug ®e Onegin" and Lisa': the composer's strongest in its short ride from extreme dissonance Aria from "Pique Dame "; aria: orchestral works, one in to extreme consonance, has a certain from Rimsky -Korsako%'t which his bursting roman- "Sadko" and "Snow Maiden,' ticism was governed by amount of character but not much co- Borocin's "Prince Igor," anc THE ROOFTOP mind as well as heart . . herence; and the Casadesus, a mild, Glinka. s "A Life for the Tsa-.' SINGERS marve!!ously colored vaguely clever set of genre pieces which VRS-1114 (Mono) & "Good Time" orchestration ...Totenberg long VSD -71114 (Stern) VRS -9134 (Mono) plays the work beauti- overstays its welcome. "I pe- sonally have not hecra & VSD -79134 (Stereo) fully." The sound of the two pianos, although anythi-g like her voice for :he JACKIE New York Times clear, is not exceptional, and the re- past tait years ... fantastic." - WASHINGTON Paul Kletzki Vol. 2 THE DELLER CON- cording contains a good deal of what DUFAY: VRS-9141 (Mono) appears to be tape hiss. The jacket notes Mass, 'Se la face ay pale" & VSD -79141 (Stereo) SORT: Madrigal Mas- are extremely unfortunate, not to say OBRECHT: BUFFY terpieces, Vol. 2 (In- SAINTE -MARIE cluding Monteverdi's downright embarrassing. These young Mass, 'Sub tuum praesidium' "It's My Way" performers have Vienna Chamber Choir and Ren- VRS-9142 cycle, "Lagrime d'- enough ability and intel- aissanc2 Instrument Ensemb e; (Mono) ligence to let & VSD-79I42 (Stereo) Amante" ) their musicianship speak for Hans 'lillesberger, conductor. Critics' Cheers for a itself, without the need for absurd and BG -653 (Mono) & Unique Record BG -639 (Mono) misleading record company puffery. E.S. BGS -7065.3 (Stereo) SANDY BULL: BGS-5051 (Stereo) Forthcming shortly "Very possibly the best Vangu =_rd's Fantasias for Guitar new & Banjo madrigal recording I hase EVER _'MAN'S CLASSIC ever heard the intona- Sugges ed price VRS-9119 (Mono) ... MUSIC FROM THE COURT AND & VSD -2159 (Stereo) tion is superlative, the bal- Mono - $1.98 "Orte of the most imag- ance of the voices exqui- CHAPEL OF HENRY VIII Stereo - $2.98 site. Above all however is Five n =w, inative minds . a superb recordings y pioneer in the folk the wide range of expres- Anon.: Boar's Head Carol; O Lord, the John iarbirolli conaucting tae avant -garde...a highly Sion." Maker of All Things; Rejoice in the Hallé Orchestra recommended set of I. Kipnis, HiFi /Stereo Lord Alway; My Lady Carey's Dompe. SIBELIUS: free -wheeling improsis- Symph :ny No. 1 alions by an important Fayrfax: O Lux Beata Trinitas. Taver- DVOkAK: musical innovator." Just Off the Press ner: Christe Jesu, Pastor Bone: In Y. Symphony No. 4 & Scherzo N. Tintes New 36 -page Vanguard- Nomine. Henry VIII ( ?): Green Grow'th Capriccioso "An extraordinary rec- ord ... a curious and Bach Guild complete cata- the Holly: Pastime with Good Company. VAUGHAN WILLIAMS: inventive mind." logue, listing all record- Tye: Three Anthems. Smert: Christmas A Londl n Symphony Washington Star ings in full contents. Carol. Tallis: Four Anthems. Redford: TCHAIKOVSKY: "Delightful and re- Send for your free copy. Organ Fantasias. Symphony No. 4 freshing . he has Blitheman: Organ BRAHMS: found inspiration in the Vanguard Recording Society, Inc. Fantasia. Conceno for Violin & 'Cello, 4c musical cultures of Acaderr:c Festival Overture (wilt non -Western peoples." 154 W. 14 St., Gian Lyman, organ and spinet; Montreal CampoL,violin & Navarra, 'celk i Anterlcan Record Guide New York 11, N. Y. Consort of Viols, Otto Joachim, cond.; CIRCLE 74 ON READER -SERVICE CARD FEBRUARY 1964 S3

www.americanradiohistory.com FOLLOWING its presentation of Euridice, Rampal but he occasionally achieves that Also due from Muza are works by Szy- that historic first opera by Jacopo Peri special emphasis which we admire in per- manowski. including the Second Sym- (1561- 1633), Amadeo has now issued a formances of the J. S. Bach cello suites. phony. and "advanced" music by such recording of Book I of Madrigals by At the same time the fast dance move- latter -day Polish composers as Grazyna Peri's contemporary Don Carlo Gesualdo ments have lost none of their lilt. The Bacewicz, Tadeusz Baird, and Witold (AVRS 5013). Interest in the latter recording itself is spacious and close up, Lutoslawski. spurted in our time with the publication and the annotations are in German, of Gray and Heseltine's Carlo Gesualdo, French, and English. Prince of Venosa: Musician and Mur- SOME six or seven years ago record derer in 1926, and over the last five years listeners had their first real introduction has been much intensified by our first IN THE Chopin sesquicentennial year, to musique concrète through a London large -scale exposure to the music itself 1960, the Polish company Muza began disc containine pieces by the French with Columbia's release of two albums recording the composer's complete works, pioneers in this field, Pierre Schaeffer of madrigals and sacred works, con- performed by Polish artists. The first and Pierre Henry. Since then, interest in ducted by Robert Craft. From these re- disc in this massive project to arrive here the electronic manipulation of sound cordings we learned that Gesualdo was an (XL 0079) contains seven out- of -the- materials derived from sources other audacious composer, even ahead of Mon- way pieces, including four sets of vari- than musical instruments and the human teverdi in developing the harmonic and ations. The Variations on a German voice has become widespread -with the expressionistic tendencies of the day. The Theme, dating from 1824, represents the most advanced experiments being con- new Amadeo disc provides further evi- adolescent Chopin's first venture in this ducted in the composition of music made dence, giving us sixteen madrigals which form, a simple exercise in which the dis- up of electronically generated sounds. do not duplicate Columbia's. tinctive piano style is already apparent. Certainly, there may be some question The present release is also particularly From the same year the Variations in E as to whether these sound structures can welcome because Angelo Ephrikian and Major for Flute and Piano, on a theme be organized in meaningful forms and his Italian singers project the music's in- from Rossini's La Cenerentola, has a whether or not a given listener can free dividual vocal lines and dissonant accents turn -of- the -century charm so uncharac- his conventionally trained ear to accept in a way unmatched by Craft's five teristic that it is sure to stump parlor new timbres as well as no tonality. For voices despite their fine phrasing. Each Chopin experts. The Variations brillantes myself, having spent many hours relis- of Ephrikian's singers displays an indi- in B flat on the rondo `7e vends des tening to a new album of musique con - vidual timbre and vigor, and their juxta- Scapulaires" from Hérold's opera Ludo- crète produced by Schaeffer and his position brings us the quality of human vic, composed in 1833 to meet the Pari- colleagues at the French Radio Labora- speech and emotional intensity character- sian taste for ornamentation, has a good tories in Paris (Boîte à Musique, LD istic of Gesualdo's work. The micro - mazurka at the end. 070). I find this the most easily corn- phoning puts the voices appropriately Best by far of the pieces on the disc prehended of the new "freedoms" let close up; the excellent notes and com- is the Variations in E flat, Chopin's con- loose by the Schoenbergian revolution. plete texts are in Italian and German tribution to the Hexameron, a collection Schaeffer's own Etude aux sons animes only, unfortunate since there is such by six composers including Liszt. Czerny. became increasingly fascinating in its close correlation between words and mu- Sigismond Thalberg, Johann Pixis, and germinal development of noise sensa- sic. Perhaps an English translation can Henri Herz. In this virtuoso company tions. The flat -toned architectures of be added when, hopefully, Amadeo is- Chopin chose to write rather simply, Diamorphnses by Yannis Xenakis sug- sues the remainder of the Gesualdo turning the sixth variation on the march gests the faceless. antiseptic future also madrigals. theme from Bellini's I Puritani into a propounded for us by science fiction. nocturne. The major work on the record Luc Ferrari seeks new dimensions of is the Allegro de Concert, originally surprise in Etude aux sons tendus, in WORTH HEARING among ten -inch discs sketched out as the first movement of a which tensions of stretched tones are (finally going out of vogue in Europe, third piano concerto in 1832 and re- kept short of release, and in Etude aux as they did here a decade ago) is an worked as a dramatic piano piece in accidents. with rhythmically agitated intriguing little Harmonia Mundi record 1841. Finally there are a good Fugue in splinters isolated from the main body (HM 25154) of Unaccompanied Flute A minor from 1841, originally attributed of prepared piano tone. The hallucina- Sonatas by J. S. Bach and C. P. E. Bach. to Cherubini, and a 35- second Prelude tory "durations" of bell tones in Schaef- Its special quality comes from the instru- in A flat, written in 1834 but not dis- fer's Etude aux allures have a surrealistic ment played by Hans -Martin Linde, a covered and published until 1918. effect for nie only after dark, however; wooden horizontal flute made in 1750, The young pianist Barbara Hesse - and the valid experiment of using this the year of the elder Bach's death. It has Bukowska copes admirably with this material in a more conventional frame- great resonance, and the semitones of the potpourri, assisted by flutist Wlodzimierz work as tried by Henri Sauget in Aspect scale have to be blown in such a way as Tomaszczuk. She combines brio and sentimental falls flat. I should add that to give them a darker timbre than the rhythmic finesse with a solid piano tone, the spectacular range and colors of the other notes. Linde adds to this contrast though her piano sounds too bright in sounds here are awesome, reproduction with his strong phrasing. He may not this recording. Both the annotations and is superb. and surfaces are flawless. Quel play in the graceful French style of a label copy have English translations. demonstration record! GENE BRUCK

84 HIGH FIDELITY MAGAZINE

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FOREIGN FILM FESTIVAL, Jo Basile, THE INVESTIGATOR, John Drainie- Accordion & Orch. - La Strada A political satire. =6834 Themes Never On Sunday, La Dolce Vita, Mondo Cane: More, Rififi Theme, 81/2, AFLP2124 /AFS06124 JOHN BARRYMORE READS SHAKESPEARE, Vol. 1- LPA2280 SAMOA, Naif Agby & Orch. -Music Vol. 2- LPA2281 of the Middle East. Recorded in Hamlet, Twelfth Night, Richard III, Macbeth. Lebanon. Sanda, Kadwiyeh. Am -El- Kahla, Wordy Had -El -Bait, Baalbaki- AT THE SANTA TECLA, Romano Mus- BERMUDA IS PARADISE, Ross Talbot AR2330 yeh, etc. AFLP2122 /AFSD6122 solini & Orch. - Blues at Santa & Orch.- Sunset In Bermuda, Ber- HELEN MORGAN SINGS Songs She Made Famous Tecla, How High the Moon, Angel muda Is Paradise, Scotch and Soda, NOW HEAR THIS! Bill Barron -Ted Can't Help Loom' That Man, Body and Soul, Some- thing To Remember You By, Bill, Don't Ever Leave Eyes, Come Out, Ow! Honeysuckle Calypso Cha Cha Cha, Castro Twist, Curson & Orch.- Around the World Me, Why Was I Born? Mean To Me, The Eittle Things Rose, Lover Man. etc. AFLP2125 /AFSD6125 In 80 Days, Hurdy Guruy, Big Bill, You Used To Do, More Than You Know, Sand In My I Two Lovers, AFLP2126 /AFSD6126 Jes Swingin', In A Monastery Gar - Shoes, When He Comes Home To Me, See Winter Over Night, What Wouldn't I Do For That Man. den, etc. AFLP2123 /AFSD6123

Plca.cc it-,'it<' for FREI' complete J'ccw'(' catalog. $4.98 -MONO or STEREO / AVAILABLE AT LOCAL RECORD SHOPS OR WRITE TO: AUDIO FIDELITY RECORDS 770 ELEVENTH AVENUE, NEW YORK 19, N.Y. CIRCLE 10 ON READER -SERVICE CARD FEBRUARY 1964 85

www.americanradiohistory.com RECORDS IN REVIEW ('Dorian "). Brahms: Chorale- Prelnle Op. 122, No. 10. Buxtehude: Magnificat ASSEMBLE YOUR OWN Continued from page 83 Primi Toni. Drischner: Partitas for Organ. Karg- Elert: Symphonic Chorale. Cook: Paean on "Divintrnt Mysterium." ALL -TRANSISTOR The Latin motets of Fayrfax and Taver- Sowerby: Requiescat in Pace. Murrill: ner as well as the instrumental fantasias Carillon. Langlais: American Suite: Cats. of Redford, Blitheman, and Taverner Tournemire: Cycle de Noël: Communion show the good, learned, Popish contra- mystique. Ydtdeit puntal Gregorian style at its English best; even here typically English characteristics Frederick Swann, organ. can be found in the full, parallel har- AUSTIN CM 7245. LP. $3.95. ELECTRONIC ORGAN monic sounds which tend strikingly AUSTIN CS 7245. SD. $4.95. towards a sense of homophonic tonality. 3 NEW MODELS The English Anthems of Christopher Produced by Mirrorsonic Records for Recital $1500 Tye show contrapuntal skill used in con- Austin Organs, Inc., this release is in- Consolette II 850 nection with a blocked -out kind of decla- tended, in part, to "display the musical Spinet 550 mation, while the four examples from effectiveness of organs which are limited Tallis demonstrate what a genius can in resources as compared with the large do even within the kind of limits set up instruments to be found in some concert by the required syllabic, declamatory halls and places of worship." The two This is the new, all - style. Finally, the two short and (signifi- organs demonstrated are the somewhat transistor Schober cantly ) anonymous anthems included "romantic" Austin Op. 2343 in the Christ Consolette II...the here exemplify the pleasant simplified Chapel of Riverside Church, New York most luxurious state that was shortly to be reached. City, and the more "classical" Austin All of the vocal music on this disc is Op. 2344 in St. Mark's "home- size" organ available today. Episcopal Church, performed a cappella by the excellent New Canaan, Connecticut. Both are Full 61 -note manuals, 17 pedals, 22 stops and Canadian organization under its admir- played with assured competence and un- coupler, 3 pitch registers, and authentic theatre able leader George Little. Although I mannered straightforwardness by the voicing leave little to be desired. Comparable believe that foregoing the use of instru- Riverside Church organist, Frederick to ready -built organs selling from $1800 to $2500. ments in this music is a mistaken tradi- Swann, in what I believe is his record tion, I must admit that the glorious and debut. The richly open, The pride and satisfaction of building one of broadspread, and pure singing achievement on this record wide -dynamic -range recording is first - these most pipe -like of electronic organs can suppresses such objections. The record- rate, not too closely miked yet admirably now be yours ...starting for as low as $550. ing of the chorus is good too: the instru- clear in detail, with just the right amount The Schober Spinet, only 38 inches wide, fits mental interludes, however, come out of natural reverberation for relatively into the smallest living room. The all -new, all - loud and close and are thus out of sonic small churches; and the specialist value transistor Schober Recital Model actually line with the rest. E.S. of the recorded performances themselves sounds like the finest pipe organ; its 32 voices, is valuably enhanced by jacket -note speci- fications of the instruments and the 6 couplers, 5 pitch registers delight professional ROMERO: CALEDONIO "Guitar registrations Swann uses for each of the musicians... making learning easy for beginners. Music from the Courts of Spain" selections. AND YOU SAVE 50% OR MORE BECAUSE YOU'RE BUYING Another purpose of this set is that of DIRECTLY FROM THE MANUFACTURER Visée: Suite in D minor. Narváez: adding "new material to the recorded AND PAYING ONLY FOR THE PARTS, NOT COSTLY LABOR. Diferencias sobre " Guardarne las vacas." repertoire." To the best of my knowl- edge only the Sowerby and Murrill It's easy to assemble a Schober Organ. No spe- Galilei: Suite of Six Dances. Milán: Three Pavans. Bach: Minuet, Bourée, pieces, together with the Buxtehude, cial skills or experience needed. No technical Gavottes 1 and II. Dowland: King of Bach, and Brahms, have appeared pre- or musical knowledge either. Everything you Denmark's Gaillard. Rameau: Gavotte viously on discs. Rather disappointingly, need is furnished, including the know -how. You en Rondeau. Sanz: Espaitoleta. among the little -known works only Max supply only simple hand tools and the time. Drischner's Partitas ( 1950) on old You can buy the organ section by section ... so Caledonio Romero, guitar. chorale tunes strike me as notably dis- MERCURY MG 50296. LP. $4.98. you needn't spend the whole amount at once. tinctive. The others are effective enough MERCURY SR 90296. SD. $5.98. in their widely varied ways, but the You can begin playing in an hour, even if you've three familiar Bs represented remain never played before -with the ingenious Pointer This recital is easy on the ears, and will best of all. R. D. D. System, available from Schober. provide the pleasantest of interludes to those who delight in the guitar's capacity Thousands of men and women- teen -agers, too for color -in- microcosm. For Romero MILTON THOMAS: "Six Centuries -have already assembled Schober Organs. keeps the light and shadow playing over of the Viola" We're proud to say that many who could afford these gentle landscapes. The effects can to buy any organ have chosen Schober because he quite astonishing -as they are in Anon.: Three Italian Dances. Schumann: they preferred it musically. Dowland's King of Denmark's Gaillard Mürchenbilcler. Lazarof: Inventions for in which the melody line, peculiarly Viola ana! Piano. Britten: Lacltryntne. Send for our free Booklet, Schober describing damped and "covered" in tone, is framed in detail the exciting Schober Organs and op- by the full sonority of broken chords. Milton Thomas, viola; Georgia Akst, tional accessories; it includes a free 7 -inch The only criticism one might have of piano. COUNTERPOINT /ESOTERIC 606 LP. "sampler" record soyou can hear before you buy. Romero's playing is a certain squarish - ness of rhythm, hardly bothersome until $4.98. IN OUR 10TH YEAR he comes to the Bach movements so COUNTERPOINT /ESOTERIC 5606. SD. closely associated with Segovia, which $5.98. THE erCs6Q41 64gan CORPORATION strike one here as heavy -booted. Let us not quibble over the fact that a majority Just how one accounts for six centuries 43 West 61st Street, New York, N. Y. 10023 of these composers never saw the shores of an instrument that is only four cen- turies old is a matter best left to the Also available in Canada, Australia, Hong Kong, of Spain, much less the inside of a Mexico, Puerto Rico, and the United Kingdom Spanish court -the diversity of their Counterpoint people. Since two of these backgrounds undoubtedly accounts for Italian dances were written two hundred r -t years before the viola was invented and HF -16 the variety within this program. Cer- THE SCHOBER ORGAN CORP., DEPT. tainly Rameau's dandified and rather the third was almost certainly not in- 43 West 61st Street, New York, N. Y. 10023 it, this disc more properly precious Gavotte grew in soil quite differ- tended for - Please send me FREE Schober Booklet and ent from Narváez's delightful variations and modestly- represents two centuries, FREE 7 -inch "sampler" record. on the sixteenth- century popular song the nineteenth and twentieth. Schu- Enclosed find $2.00 for 10 -inch quality LP bucolically entitled Keep the Cons Assay mann's Miirchenbilder is rhapsodic, record of Schober Organ music. ($2.00 re- declarative, and sentimental by turns and funded with purchase of kit.) from Me. Sound is vivid first and close. suggests that the composer had more S. F. Name than a passing familiarity with the instru- ment. Henri Lazarof's Inventions, com- Address FREDERICK SWANN: "Praise Hirn posed in 1962 for the present performers, with Organs" consists of five essays in the twelve -tone City- State Zip No idiom. Changes of pace among the L Bach: Toccata for Organ, S. 538 movements lend a semblance of the CIRCLE 83 ON READER -SERVICE CARD 86 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com design that the ear so desperately manner or "appearance." They behave, searches for, and though the general tone but lacking both the voices and the artis- of the work is frenetic and distraught, it tic will to make themselves felt through is not totally unviolistic. Britten's Lach- any obvious external means, they never rvnute, subtitled "Reflections on a song relax into being. of Dowland," is the star piece here - Geraldine Page, in the most demand- a set of adventurous, colorful, and effec- ing role, was also, in the theatre, the tive variations in which, Ives -like, the most striking performer. Here, however, original song emerges complete only at her sense of psychological truth, her in- the end. tensity, her soft chameleon ways oper- Milton Thomas and Georgia Akst are ate in an essential vocal vacuum: she very good musicians. They deserve better seems unable to relieve the monotony than this rather outdated stereo pro- by means of sound. Her voice possesses duction, in which separation is so ex- a nagging, whining quality that is ex- treme that some listeners may prefer a aggerated by the microphone's closeness. monophonic setting. They also deserve a Sensitive to what little there is to be record jacket that has been proofread at sensitive about in O'Neill's words, her least to the extent of not referring to less impressive habits are not flattered by Miss Akst as "Goerge" in boldface type. recording. Vowel sounds erupt, and S. F. consonants explode. We are left with a portrait in sound of a mean, shrill, petu- lant lady, scarcely a record of what we saw in the theatre. Lastly, the recording situation forced a choice on the actors that was avoided on stage. O'Neill's "interior monologues" were designed by him to reveal feelings that couldn't be spoken directly, a novel- istic device that remains more dramati- cally helpful and enjoyable in Restoration Spoken .MYd comedy (where it was less extravagantly termed an "aside ") and more profoundly psychological in the novels of Joyce. For the theatre, José Quintero wisely made only the smallest distinction be- tween inner and outer speech, never freezing the actors behind the monologue as O'Neill originally intended. On the recording, the monologues are clearly distinguished from the dialogues by EUGENE O`NEILL: Strange Interlude means of a change in sound: dry and Betty Field, Jane Fonda, Ben Gazzara, close in monologue, spacious and echo- Pat Hingle, Geoffrey Horne, Geraldine ing during the scenes. The burden sud- Page, William Prince, Franchot Tone; denly is again on O'Neill, and he bears The Actors Studio Theatre, José Quin- it poorly. The monologues, revealing tero, dir. nothing new or startling, never propel COLUMBIA DOL 288. Five LP. $19.00. the drama's forward motion. Thus, the COLUMBIA DOS 688. Five SD. $21.00. recording emphasizes, probably inevitably in the absence of visible action, O'Neill's This recording of last season's popular failure to develop a device beyond its production by The Actors Studio Thea- artificial suggestions. whom is tre of O'Neill's Strange Interlude intro- For such a monumentally un- unavoidable listenable play recorded? Even on stage, duces some strange and the spectacle Nina facing ironies. First, according to O'Neill of life threat- was currency. ened to drown us under hollow bubbles language itself debased blown from In Uniquely adept at making ten words do operatic soap. recorded for one, O'Neill was never able to put form, so much like radio, the reminder wings on any of them. Where they of those daily fifteen -minute tear festivals they invariably sink, heavily does distinct disservice to O'Neill's seri- should soar, ous intentions. Long and tedious as weighted reminders that there is more to than dark feelings, classi- Strange Interlude may be, it was never playwrighting as trivial or artless as Young Widder cal pretensions, and so- called stylistic in- Brown. The recording, unfortunately, novations. There is irony, then. in our almost it so. who worship a for makes Those Now you can add famous Sony 4 track being asked to listen to playwright uncritically at the O'Neill shrine would whom the word was merely a clumsy stereo tape playback to your present hi fi necessity for expression, never an ex- do his image better service by keeping his tone -deaf a system. Handsomely styled in gold and pressive element in itself. dramas away from medium that only stresses his most grey, with 3 heads, 2 speeds, vertical or The second irony concerns the role glaring faults. Actors Studio in such a record- horizontal mounting, automatic shut -off, of The Under the circumstances, the engineers ing. The actor as disembodied voice is, tape counter and pause control, the new When that have performed their obligations with at best, only half an actor. Sony 263 -D is a remarkable value. proposition is compounded by actors excellent dispatch, moving the charac- whose cardinal rule it is to be soul first ters stereophonically upstage and down- Less than $119.50 and voice last, a rather bizarre element stage, giving us the click to the heels well For stereo recording, add the new Sony is brought into the recording studio. as as the thud from the throats, Not that all their voices are all bad; only moving them. indeed, far more effec- SRA -2L recording amplifier that instantly that the best they have to offer has little tively than the characters ever move us. connects to the 263 -D. Its matching gold or nothing to do with voice at all. GORDON ROGOFF and grey decor makes a handsome com- Clearly they believe in the play and its panion for your 263 -D. All new from Sony! psychological simplifications. What can SHAKESPEARE: Antony and Cleo- be conveyed through voice alone -a patra (excerpts) Less than $99.50 degree of emotional involvement, a bold All Sony Sterecorders are Multiplex Ready! In attack, the external line of a character's Pamela Brown, Cleopatra; Anthony New York visit the Sony Salon, 585 Fifth Avenue development-is usually apparent here. Quayle, Antony; et al.; Howard Sackler, For literature or name of nearest dealer write But what is meant to be more character- dir. Superscope, Inc., Dept t, Sun Valley, California. istic of these particular actors -their C.AEDMON TC 1183. LP. $5.95. subtle way with the text beneath the text -is nowhere available to this re- Not long ago the complete Shakespeare cording. Twenty -six years pass from Act Recording Society production of Antony I to Act IX, but no one ages, either in and Cleopatra received an enthusiastic The Tapeway to Stereo CIRCLE 68 ON READER -SERVICE CARD FEBRUARY 1964 87

www.americanradiohistory.com review in these columns. Now Caedmon he is brought into contact. The soliloquies has extracted from it a single disc of are all beautifully done, and there are "Great Scenes" (as was previously done many subtle, intelligent shades of reading with this company's .V(,cbeth). The ex- throughout. E. W. cerpts are nicely chosen from the play Finger-tip Coofrol as a whole, with the emphasis naturally upon the great Antony and Cleopatra SHAKESPEARE: Much Ado About scenes. If for any reason you do not Nothing want the complete set (which of course Rex Harrison, Benedick; you should), this is the next best bet. Rachel Roberts, EDWARD WAGLNKNECHT Beatrice; et al.; Howard Sackler, dir. CAIDMON SRS M 206. Three LP. $17.85. SHAKESPEARE: Hamlet CAEDatoN SRS S 206. Three SD. $17.85. Paul Scofield, Diana Wynyard, Wilfrid Lawson, et al.; Howard Sackler, Dir. The Shakespeare Recording Society pro- CAEDNION SRS M 232. Four LP. $23.92. duction of Much Ado About Nothing is Stereo CAEDNION SRS S 232. Four SD. $23.92. something of a family affair. with the Intercom parts of the chief protagonists being The recordings issued thus far by the taken by Rex Harrison and his wife Shakespeare Recording Society have not Rachel Roberts. The latter gives far and all reached the same standard, but the away the best performance in the cast. standard has been high, and there have Harrison, unhappily, never comes within been more ups than downs. It is fortunate hailing distance of Benedick, self-con- that the most important play in the world sciously straining to evoke humor even The MOSLEY should now be ready to he entered on where no humor is indicated in the text; SCOTCH - MASTER the credit side of the SRS ledger. Charles Gray is intolerably affected as The direction is excellent throughout, Don John: and Robert Stephens as svvitch plates and though the illusion of living theatre Claudio makes the unbelievable church combine ART and is captured, many studio effects are in- scene even more unbelievable by his to give you cluded which could not possibly have bombast. The comics are dull and life- the ultimate in been effective over the footlights. This is less. and the reconciliation scene is en- notable, for example, in the first scene, tirely too jaunty. Much Ado is admitted- BEAT: TY and where whispering is used skillfully to ly a difficult play to get right. but it FUNCTION. convey the quality of subdued excitement need not be quite so wrong as this. and to point up the happenings to come, E.W. and again in Ophelia's Mad Scene, where mane delicate effects are achieved. The SHAKESPEARE: "Scenes from These beautiful switch plates are last scene is brilliant and robustious, with Shakespeare: The Comedies, Vol. I" available in "Decor Matching" all the stops out. Wilfrid Lawson's Ghost (though he is Marlowe Society and Professional Play- ivory and brown and are designed one of the three featured players, his ers, George Rylands, dir. for installation at a central point name and role are omitted from the cast LONDON 5787. LP. $4.98. printed on the lining), is harsh but ap- and control óny speaker or com- propriately weird, and he is effectively These excerpts from previously released bination of speake-s installed in differentiated front the other characters. Marlowe Society recordings of complete Both here in remote locations. These high and the play scene the plays comprise the Court Scene from engineering problems are well handled. The Merchant of Venice: the rehearsal quality, low cost, flush mounting, No adverse criticism can be made of of the mechanicals and the quarrel of King positive slide switches permit Roland Culver's (a good public Oberon and Titania from A Midsummer relations man, inwardly hollow ), Diana selection of up to four combinat- Night's Dream: Viola's first encounter Wynyard's kind, uncomprehending Queen, with Olivia and the carousing scene from ions of speakers. nor Charles Heslop's Polonius, developed Twelfth Night; the first Prospero- Ariel- along traditional lines. Donald Houston Calihan scene and Prospero's farewell succeeds in making Laertes a much more fron The Tempest. attractive young man than most players Appearing prominently in all the plays do. I thought Edward De Souse's Horatio except The Tempest, Tony Church turns too bombastic in his confrontation of the out to he the hero of the disc. Dorothy Ghost, but otherwise satisfactory. Zena Tutin brings her customary intelligence Walker's Ophelia is convincing, though and charm to Viola. In the selection less and poetical touching than Yvonne from The Merchant, Margaretta Scott is Mitchell's with Gielgud in the Old Vic an able but mature -sounding Portia. For production released through RCA Victor. my money, the most brilliant selection is All the minor roles are satisfactorily the rehearsal scene from the Dream, handled. though some may think it overshaded. And Hamlet? In some scenes I Jill Balcon's Titania lacks the other- thought Paul Scofield a little "soft "; at worldly quality Daphne worst of Carroll's in- his he talks like a schoolmaster, comparable performance in the Spoken not a brooding, tortured spirit. I missed Word set. All in all, a fine comedy the underlying bitterness in the dialogue sampler. E. W. with Polonius in IL 2 and thought the succeeding encounter with Rosencrantz and Guildenstern almost insipid. It is true that Gielgud too sometimes lacks Hamlet's bite, but he never loses his Please send me FREE of charge .\;Iltation or fails to communicate the and obligation, literature on the ,case of being brooded over by mystery. Master Plates. FW Scotch- Switch -2 Nevertheless, I am keeping Scofield, though I already have Gielgud, and I must make it quite clear that the faults Name to which 1 have objected do not show up Address in many scenes. Scofield is very brilliant. for example, in I, 5, his first encounter City /State ...... with the Ghost, and in the play scene. He gives a varied performance. with Mar/may reitonftl..gad tempo, tone. and inflections modulated from scene to the 4610 N. Lindbergh Blvd. Bridgeton, Mo. 63044 one next as if to sug- gest Hamlet's sen,itiveness in responding to the various per.,onalities with whom CIRCLE 53 ON READER -SERVICE CARD 1.\ HIGH FIDELITY MAGAZINE

www.americanradiohistory.com BACH: Ein musikalisches Opfer, S. remains for me the most influential of the most serious) is the Theme and 1079 all recorded versions of the score. R.C.M. Variations; the poorest is the Finale - overly cute and generally awkward. Hermann Scherchen, Viennese ensemble, BUXTEHUDE: Complete Organ The Quintet on the overside has a cond. [from Westminster 18375, 1957] good deal of historical interest to recom- Works, Vols. 1 and 2 WESTMINSTER COLLECTORS SERIES W mend it. Paul Taffanel lived from 1844 9005. LP. $4.98. Alf Linder, organ. [from WN 18117, to 1908 and was a well -known flutist and 18149, 1956] teacher at the Paris Conservatoire, where This realization of the Musical Offering WESTMINSTER COLLECTORS SERIES W he founded the great modern school of uses a string quartet. three double reeds, 9305/06. Two LP. $4.98 each. French flute playing; Georges Barrère, (oboe. English horn, bassoon), flute, Marcel Moyse, and Georges Laurent harpsichord. The solution to the vexed This series, originally planned to com- were among his pupils. His music is pure question of order puts the three -part prise eleven discs, reached at least six nineteenth -century French academic ricercar first, the canons next, followed before it was abandoned. It deserves re- classicism. A whole generation of French by the Trio Sonata, with the six -part vival and continuation, for these are not composers worked in this style, a style ricercar at the end. It is not an entirely only generally excellent performances but derived mainly from Cherubini and satisfactory solution, but then, what is? they are played on the splendid organ in Mendelssohn. In general the productions Both realization and performance are, in the Church of Our Lady at Skiinninge, of this school have been long dead and fact, well designed to bring out the Sweden. As in the original pressings, the buried -a couple of works of Saint - riches of this contrapuntal masterpiece in sound is clear and spacious. One useful Saëns may be the only survivors. Never- the simplest and most direct manner. The aspect of the earlier releases is now theless, it can be said that if these com- readings are restrained and, if not missing: the notes used to give the regis- posers did not have anything in particular smooth in every last detail, still always tration for each piece. N.B. to say, they at least knew how to say it: clear and admirable. The recorded sound they did have a craft and Taffanel was is perfectly valid by latter -day standards. by no means the least accomplished E.S. FRANCAIX: Quintet for Winds Taffanel: Quintet for Winds workman of the school. Certainly this is well -behaved music, neatly written for its modestly clever BEETHOVEN: Symphony No. 1, in New York Woodwind Quintet. [from the instruments, and ConcertDisc M 1222/CS 222. 1960] Mendelssohnian scherzo finale rises C, Op. 21 (A) mere workmanship to a certain tBrahms: Tragic Overture, Op. 81 EvLRI.sT LPBR 6080. LP. $4.98. above EVEREST level of invention and even poetry. E.S. (B) SDBR 3080. SD. $4.98. Mozart: Die Zauberflöte: Overture The original tapes of these performances (C) MASCAGNI: Cavalleria rusticana were and still are excellent, and the new l Leoncavallo: Pagliacci BBC Symphony Orchestra, Arturo Tos - pressings are good. Certainly, the per- canini, cond. [from various English HMV forming group remains at the top of its Elena Nicolai (nos), Santuzza; Laura albums. (A) and (B) 1937, (C) 1938] field. Didier 1 ms), Lola; Anna Maria Anelli OueoN QJLP 106. LP. $5.98. The work by Jean Françaix is mere (c ), Mamma Lucia; Mario del Monaco fluff. It is busy, facile. often pretty, (t), Turiddu; Aldo Protti (b), Alfio; These are three classics of the Toscanini sometimes witty; its strong point is its Orchestra and Chorus ( Milan ). Franco literature, beautifully transferred to mi- scoring, which is effective and remark- Ghione, cond. (in the Mascagni). Clara crogroove format and (with the addition ably original. The best movement (and Petrella (s), Nedda; Mario del Monaco of the Mozart) duplicating a 78 -rpm (t), Canio; Piero di Palma (t), Beppe; RCA Victor album which shaped the Afro Poli (b), Tonio; Aldo Protti (b), taste of a generation with respect to these Silvio; Orchestra and Chorus of Ac- works. cademia di Santa Cecilia (Rome), AI- The Magic Flute Overture was re- berto Erede. cond. (in the Leoncaval lo) . corded the summer after Toscanini's [from London A 4216, 1954] Salzburg production of the opera, and RICHMOND RS 63003. Three LP. $7.47. the disc can be taken as an act of homage to the composer's birthplace, ringing At the Richmond prices, this album is forth in the weeks following Hitler's "lib- another distinct bargain in that bargain - eration" of Austria in 1938. The Bee- choked line. The Pagliacci, in fact, is a thoven and Brahms come from the pre- most exciting performance, capable of ceding year. They are perfect examples holding its own with any competitive of the best prewar recording, made in version. Petrella is a singer of intelligence the acoustical splendor of Queen's Hall, and temperament. and here she is in fine London, and capturing the Maestro in a voice to boot, with an instrument whose relaxed and happy mood with an orches- timbre is well suited to this role. Del tra he had grown to respect and which, Monaco is in one of his best roles with in turn, gave him their best -and beyond. Canio, and while one could always wish The Beethoven was re- recorded in 1951 for more flexibility and a closer approx- with the NBC Symphony, but hearing imation of real legato in his singing, he the two performances again 1 am inclined offers such a full -blooded, ringing sound towards this one. As for the Brahms, it Toscanini of the '30s on discs again. in the big moments that one is won over.

FEBRUARY 1964 89

www.americanradiohistory.com Poli, in surprisingly strong voice, is a tempt to turn it into a glittering orches- sections of ballet vital, dramatic music (the original Tonio, who makes much tral showpiece. The Wagner is also Haydn Society version of the scene with Nedda. gave all five). Only Gobbi played without frills. but it is spoiled by In almost every other matches him interpretatively, respect it is in- and only unusually rapid tempos, which cause ferior to the Angel, which Warren and MacNeil is consider- are more sump- many lovely subtleties to be glossed over. ably cut. The role of Idamante, tuous of voice. Protti, while not written ex- Good stereo with a reasonably wide for the Italian singer Mozart called traordinary, is nonetheless his no drawback range of frequencies and instrumental "molto amato castrato Del as Silvio, and the whole performance Prato," is goes distribution. P.A. sung here by a soprano with considerable momentum (in the Angel it and con- is given to a tenor, viction. the excellent Léopold Simoneau). This makes three sopranos The Cavalleria, on the other hand, MOZART: Idomeneo is in important parts, and as it quite ordinary. Del Monaco has good happens, Greta Menzel (s), Idamante; Gertrud the voice that is supposed to represent moments, and is less graceless than I Hopf (s), Ilia; Gertrud Grob - Prandl (s), the heroic prince has the tenderest, most had remembered (this Turiddu is decid- Elettra; Horst Taubmann (t), feminine quality of the three. All edly better than his later stereo version), Idomeneo; of the Herbert Handt (t), Arbace; Chorus principal singers turn in workmanlike but Nicolai is no more than competent, of the Vienna State Opera; Vienna jobs, but none achieves any special and Protti rather hacks his way through Sym- dis- phony Orchestra, Meinhard tinction. The Idomeneo is Alfio. Ghione conducts with von Zalling- a qvi-qval- sympathetic er, cond. [from Haydn qvesto man, but his opposite number feeling, but gets some shoddy work Society HSLP in from 2020, 1950] the Angel is not very strong his choral and orchestral either. forces. Still. Vox OPBX 161/63. Neither the Ilia here nor the an idiomatic, passable job, good Three LP. $9.95. Elettra is enough a match for Sena Jurinac and Lucille to make the album desirable. The Pa- This album was, on its first appear- Udovick, who sing these roles in the gliacci alone is worth the price. C.L.O. ance, one of the most exciting of the other set. John Pritchard there conducts Haydn Society's releases: the first re- a tighter, more nuanced, more dramatic MENDELSSOHN: Symphony No. 4, cording of a neglected major work of performance than Zallinger achieves. Mozart's in A, Op. 90 ( "Italian ") (A) maturity. Those of us who had Finally, the Angel sound is superior; practically given "i Wagner: Siegfried Idyll (B) up hope of ever hav- the Vox pressing is not as bright as the ing it on records were so elated with it original Haydn Society version, Pittsburgh Symphony Orchestra, but it has William that we ignored its defects and reveled quieter surfaces. A libretto with Italian Steinberg, cond. [(A) from Capitol P /SP in the opportunity it provided of hearing and English texts is supplied. N.B. 8515, 1960; (B) from Capitol 8368, the complete opera, including the ballet 1957] music. RAVEL: PAPERBACK CLASSICS L 9204. LP. Today we are in a position to be Daphnis et Chloë $1.98. choosier: the Angel recording of the Motet Choir of Geneva; Orchestre de la PAPERBACK CLASSICS SL 9204. SD. Glyndebourne production is also avail- Suisse Romande, $2.98. Ernest Ansermet, cond. able. The one advantage of the Vox set [from London LL 693, 1953] is its completeness. It contains the entire RICHMOND B 19094. LP. $1.98. Steinberg handles the Italian Symphony work except for some secco recitative, with style and simplicity, making no at- an by aria Arbace, and two of the five This warrants an honored place in your

Zi America's Most Honored Stereo Furniture is now available in three distinct group- ings. For brochures of each collection write Dept. F or visit your local dealer. BARZILAY FURNITURE BOX 48 GARDENA, CALIFORNIA DESIGN /JACK BENVENISTE

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CIRCLE 13 ON READER -SERVICE CARD 90 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com library if only as a historically outstand- ing museum piece -the first complete recording of Ravel's ballet masterpiece. But it is much more than that. To my own amazement (as one who has long insisted that only stereo can do adequate justice to a score like this), I have re- heard it with genuine delight in its still gleaming sonic qualities as well as in Ansermet's now familiar but always illuminating reading. Of course, no one who knows Daphfli.s et Chloë in the latest Ansermet or Munch stereo triumphs ever can be wholly satisfied with any mono version. Nevertheless, this one re- mains both a miracle of its era and one still as capable as it was more than a decade ago of enchanting new listeners to one of the most magical creations of all twentieth -century music. R.D.D.

SCARLATTI: Sonatas for Harpsi- chord (20) YEHUDI MENUHIN Wanda Landowska, harpsichord. [from "He is the noblest yet the most humane of all violinists. "... Manchester Guardian HMV albums, 1939 -40] various French As man and musician, Yehudi Menuhin is one of the most colorful celebrities of QJLP 108. LP. $5.98. ODLON our century, an eminence in worthy company on the artist roster of Angel records. Latest Release: Mozart /Concerto No. 4 in D, K. 218 and No. 6 in D, K. 271a (also This is the second series of Scarlatti listed as No. 7) Angel Album (S) 36152. sonatas recorded by Landowska in Paris for the Scarlatti Society before (and during) the war. The collection includes some of the most superb specimens of the Italian keyboard master's art and some of the most marvelous playing left to us from the Landowska legacy. ('1 She was at the absolute peak of her An powers at the time: she scarcely missed a hemidemisemiquaver, and her brilliance CIRCLE 8 ON READER- SERVICE CARD in the fast sonatas simply has to be heard to he believed. Musically, of course, she is remarkable too, and Scarlatti emerges as the great composer we are only now beginning to know and appreciate. Al- though the recorded sound is utterly without highs and the resulting harpsi- chord muffle is odd and uncomfortable, you get used to it and, in any case, the fabulous playing takes hold. Incidentally, there is a remarkable and moving story about this second Scarlatti series. The sonatas were recorded during the "phony war" winter of 1939 -40. and three distinct blasts of Paris anti- aircraft fire can be heard during the GOODBYE TO THE BLUNDERBUSS course of Longo 206. Landowska heard the test pressings only after the war and Here, from Weathers, is the amazing solid state LDM stereo cartridge. Its size decided to approve them, gun blasts and alone makes other stereo cartridges seem clumsy and cbsolete. Its perform- all. The discs finally came out in 1946 ance will convince you that they are. The same advanced engineer ng tl-at and '47; there was also an earlier LP produced the Weathers FM and PS -11 Professional has created the LDM -a transfer, since withdrawn, in the early cartridge so small, so light, so compliant, you get ideal channel separati)n Fifties. Now both volumes are again ( -35 db) and the cleanest, sharpest definition you'll ever hear from sterno available on good transfers. records. The LDM performs perfectly with any transcription turnable Dr The reissue comes not from EMI's is shown below actual size. French affiliate but from Italy (Voce del changer that tracks at 1.5 grams or less. The LDM Padrone ). The jacket notes, in Italian, give no clue as to the origin of these performances except to state that they were made in January 1939, a date that seems to be quite inaccurate. Another inaccuracy: Longo 138 is listed as in Fu minore (F minor) when it should be WEATHERS La minore (A minor). Actually, all of the performances are a good half step Frequency response: 20 to 20 kc ±2 db Tracking force: I gram .7 30 010". cm /dyne above A -440, but whether that is due Stylus: mil diamond Compliance: to high French pitch, Landowska's tuning Cartridges from 39.50, Turntables from 119.50 thru franchised :eaters. preferences. some kind of technical PRODUCT OF TELEPRO INDUSTRIES, CHERRY FILL, NEW JERSEY anomaly, or a combination of these, I am not in a position to say. E.S. CIRCLE 84 ON READER -SERVICE CARD FEBRUARY 1964 91

www.americanradiohistory.com TCHAIKOVSKY: Sinan Lake, op. 20 Victor, which was a nearly complete is in prime condition, with the high Es (A); The Sleeping Beauty, Op. 66 version of Act 111 of the opera. The rolling out thrillingly and the huge, black (B); The Nutcracker, Op. 71 (C) present set is, instead, drawn from vari- voice scaling down beautifully for "Das ous issues, often single records. Unless ist Charfreitagszauber, Herr!" Wolff is Minneapolis Symphony Orchestra, Antal my reconstruction, based on reference to uncomfortable anywhere above F, but Dorati, cond. [(A) from Mercury OL the comprehensive information given in phrases sensitively and has an attractive 3102, 1955; (B) from OL 3103, 1955; the 1936 edition of R. D. Darrell's timbre. There is also some lovely or- (C) from OL 3101, 1954] Gramophone Shop Encyclopedia of Re- chestral playing here, particularly by the MERCURY OL 6114. Six LP. $14.94. corded Music, is imperfectly arrived at, solo clarinet. MERCURY SR 69014. Six SD. $14.94. the album has been put together as fol- There are notes, but in Italian only. lows (references are of course to Amer- The sound, even as such transfers go, is Few major new releases, let alone reis- ican label numbers): not especially good. C.L.O. sues, boast as many distinctions as this The Transformation Scene from Co- metamorphosis of the famous Dorati lumbia 763640; the Grail Scene (with- versions of all three great Tchaikovsky out the solo parts) from Columbia ballets. Historically, these were the first 67365/7D; Flower Maidens' Scene from complete recordings, and The Sleeping Columbia 67368D; Act III prelude from Beauty remains the only uncut edition we Columbia 67369D; Good Friday Spell have. from Columbia 67370/1D. The As performances, no others have Muck TOMAS ever won more deservedly widespread excerpts, available separately, were also ALCAIDE: Operatic Recital and enthusiastic praise. Technically, these included in the eleven- record Bayreuth Thomas: Mignon: Addio, Mignon; Ah! discs set new standards for high fidelity set, Columbia M 79. There are internal non credevi tu. Massenet: Werther: Ah, cuts in the Grail Scene; in glitter and impact; nearly a decade later addition, the non titi ridestar. ;llanon: 11 sogno; A h, they still sound spectacularly vivid. Flower Maidens' scene is only that por- dispar, vision. Bizet: Les Pêcheurs de In some ways, indeed, they sound even tion beginning with their "Konen, holder perles: Mi par d'udir. Donizetti: La Fa- better than before, for in reclining the Knabe" and ending just before Kundry's vorita: Spirto gentil. Flotow: Aima: original relatively sparsely filled sixteen calling of Parsifal's name, with Parsifal's M'appari. Boito: Mefistofele: Giunto std lines omitted. sides to fit on twelve longer ones, a Wolff and Kipnis figure passo. Verdi: Rigoletto: La donna è mo- lower modulation level has been used only in the Good Friday spell music. bile. Mascagni: Caralleria rusticana: Si- with a One must hope that the Act consequent tempering of the Ill album ciliana. Vivie: Dona Francisquita: Fer - somewhat excessively sharp highs yet will someday be reissued, not to replace nando's Aria. Longas: Andalouse; Près without but to complement the significant loss of brilliance or present one. de l'étang. Leite: Gusto de ti. Cruz e serious inner -groove distortion. And Meanwhile, we have a release that is Sousa: O tee segredo. while the "stereo" reprocessing has been not only of considerable historic interest accomplished with discretion, with no but that constitutes the only extensive Tomas Alcaide. tenor; orchestra. [from attempt at authentic localization of spe- recorded representation of this score not various 78 originals, 1930s] cific sound sources, it has panoramically purely orchestral (the single complete Rococo 5206. LP. $4.95. widened the over -all spread and to a recording aside). The dovetailed versions considerable extent has minimized the of the Transformation and Grail scenes The career of this Portuguese tenor was original acoustical dryness. The 1954 manage, even without the solo voices evidently one that never carne to the Nutcracker remains slightly less sonically and the long stretches of missing music, fulfillment which his talent promised. He impressive than the other two works, but to give a fairly sensible picture of the made his debut in 1925 and retired in its celebrated musket shot still explodes approach to the sanctuary and the cele- 1946, his prime years having occurred electrifyingly. I have not yet heard the bration of the love feast -and all this during World War 1I, when his appear- new mono version, but the "electronic - is glowingly performed. The chorus is ances were severely restricted. Despite stereo" edition is the most satisfactory exceptional in the clarity of its enun- engagements at La Scala, the Rome Op- of its kind I have encountered. ciation and the firmness of its tone. era, and the Paris Opéra during the The inevitable "catches" are minor (Much of this music is melodically so Thirties, he never quite pulled himself enough: "automatic" side -sequences; one simple, and harmonically so bare, with to the top of the operatic ladder. ballet's ending and another's beginning the frequent use of unison singing, that These recordings disclose a lyric voice on the same disc side; bandings only for imperfections or inconsistencies in a cho- of considerable beauty, especially in the work and act divisions; and a 4 -page rus are magnified.) The absolutely un- high range where it has an exhilarating leaflet of ballet -story synopses replacing frantic, measured leadership of Muck free ring. It is under superb control, and the original elaborate annotation book- is of the sort that seems to allow the while it is emphatically on the light side, lets. Then, too, Dorati has already given music to make its own points; it be- it is by no means restricted to the leggiero us a new, genuinely stereophonic record- speaks faith in the music, refusing to roles; it is of approximately the weight ing (with the London Symphony) of opt for special sonority, or special of, say Dino Borgioli's, or, to bring us The Nutcracker and undoubtedly soon clarity, or any qualities except those of up to date. Alfredo Kraus's. The purely will also redo Swan Lake and The Sleep- balance and fullness. Yet the music's im- musical rewards of this recital are not ing Beauty. But at the present bargain portant turning points -such as the re- great. Alcaide was apparently infatuated price (to be contrasted with the over turn of the motive of the bells, with its with the sound of his own diminuendo, $50 total for the former three albums), accompanying quickening of tempo, on and there is hardly a sustained high tone the new release is vastly attractive. page 91 of the vocal score (it leads into that does not come in for this sort of R.D.D. the chorus of the boys, "Weir turd treatment -most beautiful, to be sure, Brod ") -are firmly indicated. but a little tiresome when employed so The Flower Maidens' Scene is not consistently. He does not hesitate to dis- WAGNER: Parsifal (excerpts) helped by the antique dimness of the re- tend the music in the name of vocal ef- cording, which robs it of much of its fect, and sometimes makes rather lugu- Fritz Wolff (t), Parsifal; Alexander Kip - tonal sensuousness (the same can be brious use of a melting mezzo-voce. nis (bs), Gurnemanz; Chorus and Or- said of the whole record, but perhaps Nevertheless, there are many impres- chestra of the Bayreuth Festival, Karl it is of most importance here). It also sive moments, and several of the arias - Muck and Siegfried Wagner. conds. loses from being taken out of its con - "Mi par d'udir," "Spirto gentil," "La [from various originals, c. 1930] text-no Parsifal to respond to all this, donna è mobile" -are as ravishing as any ODEON 10464. LP. $3.98. and in any event the section's effect de- versions ever recorded. The opening of pends partly on its location between the "Ah, dispar, vision!" is also exquisitely The discographic history of this collec- Klingsor scene and the long crucial done, and it's a pity the aria is truncated. tion, now made available in this country Parsifal /Kundry duet. The less familiar items are of no interest through EMI's Italian affiliate, is con- The well -played Prelude and the Good whatever, though the popular songs fusing. These excerpts are not drawn Friday Spell are another matter. Kipnis sound enough like parodies of them- from the famous Muck Parsifal album on is close to an ideal Gurnemanz, and here selves to be amusing the first time

92 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Extra savings are "in the bag "...

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distortion: (at rated output) Less than 3% Yes, Heathkit parts come to cps at 8 watts per channel! In addition, there's Intermodulation "In the bag "? t. .11 J _ mixsd 4.1. Hum 8 noise: Man phono in- you in simple brown paper bags surrounded a mono /stereo switch; a dual concentric vol- put 43 du u I n_ .'out. Aux. input, 65 db below rated by protective containers. No elaborate, ume control for adjusting the level of both output. Channel separation: 42 db C. 30 cps. 45 db @' 1000 sturdy 15,000 Input sensitivity: Mao phono, 6 full - cps. 30 db t', cps. expensive packaging. Not necessary. Just adds channels individually or simultaneously; mv; Car. ()nano, 250 mv; Tuner, .25 V.; Aus. .25 V. Input im- to the cost. When you receive your Heathkit, range tandem -type controls for simultaneous pedance: Mag phono, 47 K ohm; Cer. phono, 2.2 m'rg.; Tuner, 16 ohm. the parts are as safe and sound as they were adjustment of both channels; 7 -tube amplify- 470 K ohm; Aux. 470 K ohm. Outputs: 4, 8, and Damping factor: 9. Feedback: 18 db. Tube complement: 4 when they left our factory. To you this repre- ing circuit consisting of two -stage pream- 3 -6EU7 and 4- ECL -86 (6GW8). Power requirements: 105.125V. sents a savings, since the difference in pack- plifiers; and two push -pull power output 50.60 cps AC. 85 watts at 120 volts. Dimensions: 13%" W x 4- H x 9 %" D. aging costs is passed on to you in the form of stages. The power supply is a complete trans- 11116" better parts and lower prices. Simple efficient former operated full -wave silicon -diode cir- r ---I packaging is just one of the many reasons why cuit. ` FREE 1964 CATALOG you can count on Heathkit for extra value, See these and over 250 other Styling! ... the compact, "fit- anywhere" exciting Heathkits available in extra savings. steel cabinet is richly fashioned in a new easy -to -build kit form. Save The new Heathkit 16-watt Stereo Amplifier Heathkit color styling of mocha brown with 50% or more by doing the easy beauti- assembly yourself! Send for (illustrated above) represents not only "extra black accents and beige trim -blends your free catalog today! savings ", but a superbly designed unit with fully with any decor. L - _ J plenty of versatile high fidelity /stereo capabil- Easy -to- build! ... with simple -to- follow ---I ities for all- around performance and music instructions and point -to -point wiring -be- system expansion. Compare these advantages ginners can finish it in a matter of a few hours. $ 2 -1 with others: HEATH COMPANY Extra Savings!... costs just $39.95 - D Benton Harbor, Mich. 49023 Versatility! ... has four stereo inputs for compare it to units costing twice this low Enclosed is $39.95. plus postage. Please send model magnetic phono as well as ceramic phono price. no. AA -32. cartridges, tuner and an auxiliary source such Please send my Free copy of the 1964 (Heathkit catalog. wise to as a tape recorder. Ideal for use in a "second" Now you know why you'll be choose Heathkit's new 16 -watt Stereo Amplifier. music system, or for the beginner who wants Name an inexpensive, yet "up -to- date" unit. And Kit AA- 32....15 lbs $39.95 is first in newly styled Address since this the a Heathkit SPECIFICATIONS -Simultaneous power output per chan- line, matched companions can be added later. nel: 8 watts (16 watts total); IHFM music power output per chan- City State Zip nel: to watts (20 watts total.) Frequency response: ± 1 db from N F-156 J Performance! ... delivers a continuous 30 30,000 cps at rated output. Harmonic distortion: (at cps to ! power response of ± 1 db from 30 to 30,000 rated output) 2°%, a1 20 cps, 0.7% C 1000 cps, 2% G 15,000 cps. Buy Now ! See Order Blank Page CIRCLE 43 ON READER -SERVICE CARD FEBRUARY 1964 93

www.americanradiohistory.com Through. The recorded sound is fair -to- of the most delightful things on the disc. middling; I suspect the originals were And Domgraf- Fassbiinder's splendid con- not in uniformly good condition. tribution to the Rigoletto "Vendetta" duet C.L.O. makes one wonder when a record will be devoted to some of his fine Lieder and ERNA BERGER: Operatic Recital Mozart recordings. The sound is very good, considering the source; the jacket Rossini: The Barber of .Seville: Frag' ich notes are of a rather gossipy nature - mein beklommnes Herz. Mozart: Die both these conditions being normal for Entfiihrcrcg arcs dent Serail: Martern this series. C.L.O. aller Arten. The Marriage of Figaro: Went: die .sanften Abendliifte. Die Z.ou- berfliite: O zittre nicht, mein lieber Sohn. ALFRED CORTOT: Recitals Mass in C, K. 427: Et incarnates est. Donizetti: Don Pasquale: Arsch ich Alfred Cortot, piano. versteh die feine Kunst. Verdi: Rigoletto: For a feature review of reissues Hab' ich erst vollbracht. Nicolai: Die of lustigen Weiber von Windsor: Ei, das ist Cortot recordings, see page 66. wirklich doch zu keck. Wagner: Tann - hiiaser. Frau Holda kam acts dem Berg GIOVANNI MARTINELLI: Operatic hervor. Puccini: La Bohème: Man nennt Recital mich jetzt Mimi. Giordano: Andrea Chénier: Un dì roll' Erna Berger, soprano; Elisabeth Grüm- azzurro spazio: Come un bel dì di nter, soprano (in Marriage of Figaro); Maggio. Fedora: Amor ti lieta: Mia Charlotte Müller, contralto (in the madre, la mio vecchia madre. Mascagni: Nicolai); Willie Domgraf -Fassbänder, Cavalleria rusticana: Siciliana; Addio baritone (in the Verdi ); various orches- alla madre. Leoncavallo: Pagliacci: Vesti tras and conductors. [from various Eng- lcr giubba: NO, Pagliaccio non son! Puc- lish HMV and Electrola albums, 1930- cini: La Bohème: Che gelida macina. 58] Verdi: Ernani: Come rugiada al ces- ODEON 83384. LP. $5.98. pite. La Forza del destino: O tu che in seno ag /'angeli. tl Trovatore: Di This release -part of Odeon's "Goid- quella pira! Otello: Dio! mi potevi elic, Stirnele" series, with nostalgic scagliar: Niun mi tema. spoken commentary from the artist -is a LOWBOY must for any vocal enthusiast. High so- Giovanni Martinelli, tenor; orchestra. prano voices just do not come any [from various RCA Victor albums, 1915- fresher or freer than Berger's. and few 39] operatic artists possess her kind of per- RCA VICTOR LM 2710. LP. $4.98. sonal charm or innate musicality. Not the least remarkable aspect of this retro- This release commemorates the celebra- spective showing, if I may borrow the tion of the 50th anniversary of Marti - term. is its demonstration that with the nelli's Metropolitan debut, and it is sort of a voice right treatment can probably the most satisfactory single sound just as limpid youthful in a it's sail* and LP devoted to the great tenor's singing. 1954 recording of Mimi's aria as in a The 1926 -27 discs are all of the best 1930 version of the "Shepherd's Song" vintage; the voice is fresh -sounding and front TcnnJciiuser. tremendously vital. As sheer sound, I suppose a could say that THE BEST quibbler Martinelli's voice never wins me -even the voice is too light for Constanze's on his earliest recordings. I find it steely many of big aria, or even that these and rather strained- sounding. Yet it selections ought not be sung in German. cannot have strained him much, con- But there is no gainsaying the silvery, sidering the length of his career and SOUND floating tone. the musical sensitivity, the the length of his phrases, some of which HE wants SOUND...SHE wants STYLING! interpretative accuracy of the singer; seem endless. For absolutely even legato "Marten, aller Arlen," in fact. is one HIS masculine ear listens to the unexcelled singing, Martinelli was not excelled even sound of the LEAK PISTON ACTION SANDWICH by Caruso, and for the vigorous. au- SPEAKER ... HER feminine eye sees the beauti- thoritative ring of his declamation he ful, award winning decorator design ... the has no peer. No- nonsense tenors like rich, deep grain, custom Scandinavian furni- this have vanished from the scene, it ture. SHE visualizes the speakers in at least seems. four different room decors... HE KNOWS wher- Nearly every item here is a stunning ever it's placed -whatever size room: the LEAK example of dramatic singing. I think SANDWICH will deliver the BEST in SOUND! my favorites are the Chénier "Improv- viso" and "No, Pagliaccio THEY BOTH AGREE ... in sound and style, LEAK non son!" - SANDWICH is indeed the "universal" speaker but they are all thrilling to listen to system! and rewarding to study. The Otello excerpts are. beyond denial, uncomfort- able- sounding (he was already an old man, as tenors go, when he recorded them in 1939), but they are still in- teresting and compelling mementos of a characterization for which he is fondly Brochures and Test Reports Available at your remembered by a whole generation of operagoers. is local Leak Authorized Sound Specialist, or write The sound good, ex- cept for the fact that echo seems to ERCONA CORPORATION have been introduced in spots to lend 432 Park Ave. So. New York 16, N. Y. extra resonance -an addition which I Ilartinelli: a rare, no- nonsense tenor. find most disturbing. C.L.O. CIRCLE 85 ON READER- SERVICE CARD 1)4 HIGH FIDELITY MAGAZINE

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Bandwidth: 250 Other quality features 30 IF successors including the famous W -5 provided KC @'. 6 db down (full quieting.) Image rejection: db. local- distance switch to prevent overloading Rejection: 70 db. AM Suppression: 33. db. Harmonic dis- high fidelity listening pleasure to hundreds of in strong signal areas; a squelch control to tortion: Less than 1%. Multiplex: Bandpass: +/. db, 50 to thousands of music lovers across the nation. eliminate between -station noise; AFC for 53,000 cps. Channel separation: 30 db. 50 to 2.000 cps; 25 db Ever since, Heath's history has been one of (i 10 KC. 19 KC Suppression: 50 db dose. from output C 1 drift -free reception; heavy die -cast flywheel KC. 38 KC Suppression: 45 db down, horn output (a. KC. major advances in the hi -fi /stereo field. And for accurate, effortless tuning; pin -point tun- SCA Rejection: 30 db. AM: Tuning range: 535 to 1620 KC. now today, another first from Heathkit! ing meter; and external antenna terminals for IF Frequency:455 kc. Sensitivity: 1400 KC, 3.5 u.; 1000 KC, 5 Heath's newest ... an all- transistor Stereo Re- au; 600 KC, 10 au- standard IRE dummy antenna. Bandwidth: long- distance reception. For added conven- 8 KC (c 6 db down. Image rejection: 30 db (. 600 KC. IF Re- ceiver Kit, incorporating the latest in solid - ience the secondary controls are "out- of-the- jection: 45 db @: 600 KC. Harmonic distortion: Less than 1 %. state circuitry, at a price far below similar way" under the hinged lower front panel to Overall dimensions: 17" L x 5 %," H x 14X" D. units ... only $195.00! - prevent accidental system changes. The slide AR -13 POWER RESPONSE Now in one compact unit! ...two 20- rule AM and FM dial is fully lighted. uul watt power amplifiers, two separate pream- An exciting challenge for the more expe- NI 0 plifiers, plus wide -band AM, FM, FM stereo... rienced kit -builder. Takes approximately 35 all superbly engineered to give you the clean, hours to assemble. The "front -end" and AM- .0[OuF 0C uncompromising realism of "transistor FM I.F. strip are already preassembled and sound ". All with transistor circuitry a r ... prealigned to aid construction. FREE 1964 CATALOG total of 43 transistors and 18 diodes ... to Compare the new AR -13 Stereo Receiver See these and over 2511 other give you the coolest, fastest, most -reliable with similar units. You'll agree that for ad- exciting Heathkits available in operation possible! All handsomely housed vanced features, advanced solid -state engi- easy -to -build kit form. Save in a single, smart -looking walnut cabinet with 50% or more by doing the easy neering, advanced styling, and money- saving for a striking extruded gold -anodized aluminum AR -13. assembly yourself! Send price, no unit matches the Start enjoy- your free catalog today! front panel ... fashioned in Heathkit's mod- ing the "transistor sound" of tomorrow, to- is L J em low -silhouette styling! This the beautiful day, by ordering the AR -13 now! new AR -13. This is the first all- transistor, all - mode stereo receiver in kit form! Compact in Kit AR- 13...30 lbs. $195.00 r- -1 size, compact in price! SPECIFICATIONS - Amplifier: Power output per chan- nel (Heath Rating): 20 watts /8 ohm load, 13.5 watts /16 ohm HEATH COMPANY 8-2-2 Many advanced features have been load, 9 watts /4 ohm load. (IHFM Music Power Rating): 33 watts 8 , Benton Harbor, Mich. 49023 incorporated to make possible the advanced /8 ohm load, 18 watts /16 ohm load, 16 watts /4 ohm load @, Dept. 0.7% THD, 1 KC. Power response: 1 db from 15 cps to 30 t Enclosed is 5195.00, plus postage. Please send performance of the AR -13. You'll like the from 10 60 rated KC t( rated output; ±3 db cps to KC @ output. model no. AR -13. way this unit automatically switches to stereo, Harmonic distortion (at rated output): Less than 1% @, 20 cps; Please send my Free copy of the 1954 Heathklit Catalog. and the stereo indicator light silently verifies less than 0.3% @ 1 KC; less than 1% @ 20 KC. Intermodula- is lion distortion (at rated output): Less than 1 %, 60 & 6,000 cps that stereo being received. For all -around signal mixed 4:1. Hum L noise: Mag. phono, 50 db below rated Name versatility there are three stereo inputs (mag. output; Aux. inputs, 65 db below rated output. Channel sep- Address phono and two auxiliary) plus two filtered aration: 40 db @ 20 KC, 60 db @. 1 KC, 40 db @. 20 cps. Input sensitivity (for 20 watts output per channel, 8 ohm load): Mag. tape recorder outputs for direct "off- the -air" 7 City State Zip phono, 6 MV; Aux. 1, .25 v; Aux. 2. .25 v. Input Impedance: HF-155J beat -free recordings. Dual -tandem controls Mag. phono, 35 K ohm; Aux. 1, 100 K ohm; Aux. 2, 100 K ohm. CIRCLE 43 ON READER- SERVICE CARD FEBRUARY 1964 95

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"110 in the Shade." Original Cast Recording. for reality, refusing to go from the life of illusion RCA Victor LOP 1085, $4.98 (LP); LSP 1085, from which he has released her to the equally $4.98 (SD). illusory life that he offers her. The touch of fantasy weaving through this story IN ADAPTING The Rainmaker, his play of a few may well have suggested its potential as a musical. seasons ago, to the musical stage as 110 in the But Nash's libretto is unhappily earthbound. The Shade, N. Richard Nash has done himself consid- magic that should be there is conjured up almost erably less justice than have Harvey Schmidt and exclusively in some of the songs by Schmidt and Tom Jones, who wrote the music and lyrics. Jones. (This is their first Broadway show following Nash has retained the bare outlines of his original their off- Broadway success as composers of The plot and the bare outlines of his characters, but in I antasticks.) In the opening sections there are dis- the interests of song and dance much of the validity turbing echoes of the folksy Rodgers and Hammer- of both plot and characters has been pared away. stein of Oklahoma! and Carousel- disturbing in the He deals with a drought- parched Western town, sense that this sort of thing has become so common- driven to the verge of desperation by the continued place as to seem almost like parody. But once the lack of rain. A vagabond arrives who describes setting and the situation have been established, once himself as a rainmaker. He is, of course, a con man, the story has begun to develop, Schmidt and Jones a peddler of illusions. But in this town he finds a are on their own and have created a charming and girl who is a prisoner of her own illusion that she inventive score. is plain and undesirable. With his swindler's artistry The music and the plot are kept moving pri- he frees her of this handicap just as his past catches marily by inga Swenson, a girl with considerable up with him in the form of a warrant for his arrest. voice and an extremely winning personality. Her In the resolution, he is allowed to leave town, but vocal spiritedness makes You're Not Foolin' Me when he urges the girl to come with him she opts and Raunchy, both of which involve considerable action on stage, as effective on disc as they are visually. And her persuasively gentle lyricism turns Simple Little Things into a particularly winning song. Stephen Douglass, who (even though he ends up getting the girl) is cast in a stiff and limited role, contributes at least a sturdy voice to the pro- duction, while Robert Horton, whose singing voice is noticeably thin in the theatre, is far more effec- tive in the friendly surroundings of a studio. One misses, of course, the visual pleasures of the production. which are considerable -there is a backdrop depicting parched plains under a glowing sun that is so evocatively and overwhelmingly hot one wonders how the cast will survive if the show runs through the heat of summer. But, on the other hand, the recording spares us Horton's failure to project any sense of acting style in a role that calls for the bravura approach. 110 in the Shade is scarcely an epochal musical. But it has several pleasant songs and, in Inga Swen- inga Swenson: gentle, gay, and always winning. son, a performer of charm and distinction. J.S.W.

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www.americanradiohistory.com bodied lyricism of her singing are most choice of rhythms designed to keep impressive. She phrases knowingly, and everything moving within a certain moves through her melodic lines with metric pattern. (This limitation requires grace and fluency. The program estab- a drastic but permissible rhythmic re- lishes a nice balance between old stand- alignment of the calypso suggesting ards (I'll Be .Seeing You, How Deep Is "If you want to be happy and live a the Ocean, Please) and such new ma- king's life. always make an ugly woman terial as Moon River, What Kind of your wife. ") Lopez is remarkably skillful Fool Ant I, and This Is All I A.vk. And, in projecting a happy -go -lucky feeling. of course. there are God Bless America so that when he urges his listeners to and When the /loon Comes Over the join in, it seems the most natural thing Mountain. This disc leaves no doubt in the world to respond. It should be that Miss Smith is still an unusually added that whatever sing -along qualities talented singer, whether she moves into this disc possesses are subordinate to the a song soft and low or delivers the lyrics Might and persuasive qualities 6f Lopez's with a big- voiced wallop. But her folksy singing and playing. Backed by bass chat between numbers tends to dim tr,e and drums. he works his way through a professional polish of the rest of the foot -tapping, finger -snapping program program. that is quite irresistible.

Glenn Miller and His Orchestra: "On Richard Tucker: "Vienna, My City of the Air." RCA Victor LPM 6101, Dreams." Columbia ML 5937, $4.98 $11.98 (Two Kate Smith: more than perdurable. LP). (LP); MS 6537, $5.98 (SD). The seemingly limitless supply of Glenn The whipped -cream world of Viennese Miller air checks has provided three operetta is given a new perspective here. "Kurt Weil Cabaret." Martha Schlamme. more discs of previously unissued ma- For one thing. the choice of songs is Will Holt. M -G -M 4180. $3.98 (LP); terial. They should gladden the hearts more adventurous than usual. There are S 4180. $4.98 (SD). of all confirmed 1NIillerites, and also a few of the expected entries -Franz This brilliant sampling of Kurt Weill's those who may he finding more merit Lehar's Yours Is Al'' Heart Alone and theatre songs. directed by Will Holt, in Miller as it becomes increasingly Frrrsquita's Serenade, as well as Vienna, has been playing successfully in Green- evident that he developed the popular City of My Dreams. But there is also wich Village since last June. The ma- dance band to a height no other hand a freshet of material that does not often terial is drawn from Weill's work with is likely to approach. This set ranges reach records -songs taken from Franz Berthold Brecht in Germany. from his from 1938 to 1942 -in effect, the life von Suppé's Boccaccio, Richard Neuberg- collaborations with Jacques Deval during span of the Miller hand -and was re- er's The Opera Ball, Carl Zeller's Der a short stay in France. and from his corded at the Café Rouge of the Hotel Vogel /tündler, and three additional Lehar American scores. It is presented with Pennsylvania, the Paradise Restaurant, operettas: Paganini, Schiön ist die Welt, introductory comments by Holt and the Glen Island Casino. and the Meadow - and The Count of Luxembourg. All Martha Schlamme, who constitute the brook ( "in Cedar Grove. New Jersey, are sung in English, with new lyrics entire singing company. on the Newark -Pompton Turnpike," a written ( for all but three songs) by Describing the songs for Happy Lund, phrase that held untold visions of ro- Merl Puffer and Deena Cavalieri. They Holt calls them "a little hit smoky and mance when it was heard over the air, have succeeded admirably in capturing a little hit desperate." This could apply even to one who lived only a few the somewhat hyperbolic romanticism to most of the Weill- Brecht selections miles away). These discs offer a cross one expects of this genre. Richard heard here -T /,e Barbara .Song, Tango section of Miller material -the ballads Tucker has the warm, open voice one Ballade, Pirate Jenny, and .Surabaya elucidated with the Miller reed sound; also hopes for but does not always get. Johnny, for instance. Miss Schlamme the hectic though somehow appealing He handles the English lyrics with melo- brings to them an exquisitely understand- attempts at up -tempo performances that dious grace. although occasionally he ing touch. The mood- setting qualities of remind one again of this hand's strange seems to clip his phrases a bit shorter her summarizing translations of Sura- inability to take jazz really in its stride; than a properly expansive Viennese tenor baya and Johnny The Bilbao .Song, and the novelty tunes that Miller, more should. That, however, is a minor followed by her performances in Ger- than any other hand leader, was able to quibble. for the set has been produced man, are flawless. Holt's voice is a hit turn to palatable purpose. But more and performed with obvious affection. too light to convey the sardonic tough- than that, it sets all the performances ness of the Weill- Brecht selections and amid the rustle of dancers and talk - Ernestine Anderson: "The New Sound." his attempt to croon his way through the natural accompaniment to any Miller Sue 1015, $3.98 (LP). September Song seems a mistake. Even performance. whether it was heard on Miss Anderson is quite obviously one so, he manages to contribute successfully the air or attended in person. A point of the most skillful and rewarding to the over -all tone of the set. of special interest is the One inclusion in this popular singers around today. but she very valuable asset is the appropriately set of the band leader's all but forgotten has apparently been suffering from in- tinselly accompaniment directed by secondary signature theme. .Slumber effective management -at least so far Abraham Stokman. Song, a lovely. dark mood piece he as her recordings are concerned. Her un- wrote when ASCAP music was banned usual abilities first came to notice sev- Kate Smith: "At Carnegie the in 1940 Hall." RCA from air and 1941 and he eral years ago on a disc made while Victor LPM 2819. $3.98 (LP); LSP needed a substitute for his regular she was touring Sweden (Hot Cargo, 2819, $4.98 Moonlight (SD). Serenade. Mercury 20354). but once she got back After a thirty -year absence from the to native soil her Swedish -induced talent stage, Kate Smith made her first concert Trini Lopez: "By Popular Demand! ! seemed to diminish. This disc, her first appearance at Carnegie Hall last fall, More." Reprise 6103. $3.98 (LP); for a new label, restores her, to some and showed an enthusiastic capacity S 6103. $4.98 (SD). extent. to her earlier good form. Un- audience that her voice was as strong Trini Lopez is a master of simplicity fortunately. an unseemly portion of the and flexible as ever and that she had and directness. Working within what is program is devoted to tunes by one lost none of her skill in projecting a basically a community sing format. he S. Shaw (who also wrote the liner song effectively. The portions of that avoids all the pitfalls common not only notes). Miss Anderson does what she concert reproduced here must represent to sing-along leaders but to singers in can with them (and. to give S. Shaw some of Miss Smith's finest recordings. general. His air is casual as he plinks credit, they are not as bad as such She receives excellent backing from a his guitar and sings with unostentatious management -decreed songs often are). large orchestra conducted by Skitch informality. But beneath this deceptive But it is when she turns to more wisely Henderson, and the warmth and full- relaxation one can note a very careful chosen material- Antonio Carlos Jobim's

98 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com Quiet Nights, The Best Is Yet To Come, Amanda Ambrose: "The Amazing Aman- and often charming performances I Believe in by the You, Norman Mapp's Keep da Ambrose." RCA Victor LPM 2742, Oscar Castro Neves Quintet, an Eye on Love-that her true abilities Sergio $3.98 (LP); LSP 2742, $4.98 (SD). Ricardo, Luiz Bonfa, and Agostinho emerge. She has an effortless, expansive Miss Ambrose's forthright manner of Dos Santos. Bonfa, a guitarist, and Dos style, with a strong sense of flowing singing and playing the piano is star- Santos, a delightfully mellow- voiced rhythm and much of the casual, throw- tlingly effective in some situations. But singer. are particularly effective in away humor of Pearl Bailey in her weav- it can quickly turn to glibness unless ing a spell of quiet melancholy. But tone. With good material, she is excel- the handled with discrimination. She uses second side suggests that those lent (and she gets a helpful assist from in Carne- it to good effect in this set to give gie Hall who could not hear Bert Keves's arrangements). It is adequately to be Indian Lore Call a slinky, satirical treat- were not missing much. hoped that her next disc will give more ment, and to whoop some excitement consideration to Miss Anderson and into a clever educational song What Timi Yuro: "Make the World less to S. Shaw. Are the Parts of a Flower? Go Away." Liberty 3319, $3.98 (LP); 7319, $4.98 She also resuscitates the Harold Arlen - (SD). "Jennie ": Original Cast Recording. RCA Johnny Mercer Goose Never Be a Pea- Miss Yuro has an enormous Victor LOC 1083, $4.98 (LP); LSO cock, a song that seemed voice, plus likely to the full instincts of 1083, $4.98 (SD). disappear along with their an old -time belter disastrous combined with the intonation Mary Martin managed to get herself show .Saratoga, a few seasons of a con- back. temporary gospel singer. trapped in a real horror last fall, a show In her desire to put a fresh There are face on moments on this disc which lasted only two and a half months. a song, however. Miss when she prac- Ambrose is apt tically bowls the listener In a period when our musicals have chal- to twist it into form over. But un- a that is valid fortunately these lenged each other in witlessness, Jennie neither as straightforward moments rarely lead interpreta- anywhere, partly was in the forefront of those that make tion nor as satire. Hong because she has been Kong Blues given a tedious one wonder how rational human beings and C. set of songs -they are C. Rider suffer from this mis- all could have contrived such dismal idiocy. direction from the current country repertory of her energies. It must be and partly - The worst element, as usual, was the added. though, because she has a tendency that she is blazing her to overemote: book, based very casually on Marguerite own path, and miscalculations on one occasion she sobs are an her way through most of Courtney's Laurette, a biography of expected part of this kind of enterprise. a song, ending with a coda of sniffles. Yet Laurette Taylor. The record buyer is She has so much vitality and such in spite of a all the drawbacks one can point spared that burden, but even without it potent power of delivery that attempt- to in this this particular album, one cannot help recording has relatively little to ing to direct them must sometimes be recommend it. being awed by Miss Yuro's imposing like trying to harness a flood. vocal Its major asset is Miss Martin, throw- equipment. ing her very engaging talents into a "Ballad for Bimshire ": Original Cast Re- Marian forlorn cause with dauntless zeal. She cording. London 48002, $4.98 (LP); Montgomery: "Let There Be breathes some semblance of life into 78002. $5.98 (SD). Love, Let There Be Swing." Capitol a soft T 1982, -shoe routine, Waitin' for the The promise that seems inherent in the $3.98 (LP); ST 1982, $4.98 Evenin' Train, and engages in some opening passages of this musical, set in (SD). chancy harmonizing with It is hard the veteran Barbados (known as Bimshire), is to believe that this recording Ethel is the Shutta on a hymnlike The Night eventually dissipated on the disc as it work of the same girl who made May Be Dark. Jack de Lon, who has was in the off- Broadway production last such a happy debut on "Marian Mont- a big, gomery bouncy voice, comes on strong in fall. Irving Burgles (also known as Swings for Winners and Losers" his occasional numbers, but his vivacity Lord Burgess), who has written many (Capitol 1884). There was freshness and cannot make up for their emptiness. songs for Harry Belafonte- including joy in her singing on the earlier disc; Arthur Schwartz's tunes are capably Jamaica Farewell-has provided music this time she is glib and superficial. Here turned -that is, they are professional and lyrics that occasionally take wing, she is burdened with routine arrange- without being in any way remarkable - especially if they are in the calypso vein. ments and rather dull material, and in but Howard Dietz's lyrics run a dismal But the bulk of them are weighted down this context she falls into pat, flat man- range from the routine to the banal. with routine lyrics, and the cast, which nerisms. If the difference can be traced Without Miss Martin it seems doubtful is not strongly musical, can draw little to the fact that this set was done on the whether a show as bad as this could sustenance from them. Jimmy Randolph, West Coast while her first was recorded have survived even as long as it did. Cer- however. has a warm, easy baritone that in the East. we beseech Capitol to get tainly her presence is the only reason for make the romantic Silver Earring come Miss Montgomery back near the Atlantic considering this disc. alive. Otherwise only the joyous, lively Ocean. songs make an impression. notably a Henry Mancini and His Orchestra: wonderfully gay finale, We Gon' Jump Teri Thornton: "Sings 'Open Highway.'" "Charade." RCA Victor LPM 2755, Up. The disc includes a stiffly delivered Columbia CL 2094, $3.98 (LP); CS $3.98 (LP); LSP 2755, $4.98 (SD). narration that is more of a hindrance 8894, $4.98 (SD). If you are looking for another Moon than a help. On her last LP, a Dauntless release. Miss River or Days of Wine and Roses in Thornton impressed as a very promising Mancini's latest movie score, you may Oscar Castro Neves Quintet and Others: young singer. On this disc, her first for be disappointed. The title tune, ap- "Bossa Nova at Carnegie Hall." Audio Columbia, she is still promising -but she parently the contender for succession, is Fidelity 2101, $4.98 (LP); 6101, $4.98 has not advanced. has not realized any a pleasantly sinuous piece, but it does (SD). of the potentialities evident in her earlier not have the openly romantic appeal It is good to know that something has appearance. Her big, warm voice could of Mancini's two earlier hits. The score been salvaged from this 1962 Carnegie be exciting, but it is channeled along as a whole, however, is attractively Hall concert, which was. from the audi- routine paths here. While to some extent melodious, distinctly imaginative, and ence's point of view. a fiasco. For the this may be due to heavy -handed ar- free of fashionable clichés. It ranges occasion, an incredible number of bossa rangements, also at fault is the dogged, from an amusing waltz played by a nova musicians had been flown to New humorless determination with which Miss stately string quartet to a hurly -burly of York from Brazil, only to be presented Thornton seems to be attacking every brass and piccolos, with stops en route in hurried and haphazard fashion to an song. This is a particularly unhappy sit- for a dark, gypsylike ballad, a wistful audience that could not hear them prop- uation because relatively few singers bossa nova, some jazz touches, and a erly because the forest of microphones come along with such natural gifts. One joyous invocation of a carousel. Mancini cluttering the stage was adjusted pri- gets the feeling from this disc, as one did makes interesting use of a musette in marily for recording purposes and not from her previous one. that Miss Thorn- a number of different settings, lifting the for listeners in the hall. The first side ton is letting herself be guided towards instrument out of its customary role of of the present disc offers, after a pair the ordinary instead of capitalizing on Gallic atmosphere making. of uneven selections, six commendable her own individuality. JOHN S. WILSON

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www.americanradiohistory.com You could assemble an orchestra...

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And a lot less expensive! In fact, the Ten Voices Plus Repeat Percussion ! You A rewarding family project ! Building and exciting 1964 Heathkit version of the create the distinctive sounds of a trom- playing this beautiful instrument is a truly famous Thomas Transistor Organ saves bone, oboe, cornet, flute, reed, violin, rewarding project that provides a healthy you 50% and more over comparable saxophone, horn, viola and diapason . . . common interest for your family. Corn - organs! ten true voices in all, with the simple pare and see why you'll be wise to choose with the exciting And it's so easy to build ! No special skills touch of a tab. And now Heathkit! or knowledge required! Heathkit supplies new feature called Variable Repeat Per- Kit GD -232A, Organ 160 lbs., .... $349.95 simple step -by -step instructions and all cussion, you can add the rhythmical GDA-232 -1, matching walnut bench, 19 parts -even a pre -aligned tone generator strumming of a banjo, mandolin or bala- lbs. $24.95 of a marimba. so you can easily tune the organ yourself laika, or the staccato GDA- 232 -2, self- teacher recorded lessons, . no special "musical ear" needed! You 5 $50 value Onty $19.95 Professional Quality & Features ! In addi- lbs.... a pliers, soldering iron supply screwdriver, tion to the variety of voices available with GDA -232 -5, 7" 33% rpm demonstration and a few evenings of your leisure time. the Heathkit organ, you enjoy professional record 50e You actually "earn" about $4 an hour by features like the 13 -note heel & toe bass this beautiful organ yourself! building pedals; an adjustable expression pedal FREE CATALOG Thousands have built and acclaimed this which varies the volume from soft to full; Send for your Free copy to- organ. Comments like "functions perfect- two overhanging 37 -note keyboards, day! Fully describes over 250 ly" ... "far easier to build than I expected" exciting Heathkits at savings ranging C thru C; transistorized plug -in or more! Choose from . "tonal quality exceeds expectations" of 50% .. tone generators (with a 5 -year warranty!) selection typify the reception this organ has en- the world's largest which assure clear undistorted tone and of quality instruments in easy - people who've never joyed. Many from virtually eliminate service and tuning to- assemble kit form! built a kit before! problems; a 20 -watt peak power amplifier; But here's the best part! You enjoy and plus a factory assembled, handcrafted, create all the music of an orchestra on a handrubbed walnut cabinet that's ready 8 -2 -5 professional -performing instrument that's for the sub -assemblies as you complete HEATH COMPANY simple to play. Thomas's "Musical Fun" them. Benton Harbor, Michigan 49023 Book is included so you can play many of Enclosed is S plus freight. your favorites after only a few hours - Hear it yourself! Hear its beautiful voices, Please send model(s) even if you've never played before! And a rich mellow tone, and remarkable range separate 48 lesson self -teacher course on of expression. You'll be convinced that Please send Free copy of 1964 Heathkir Catalog. four 331/3 rpm records is available to give the Heathkit organ is for you. To get your Name rec- you a complete knowledge and under- copy of the 331/3 rpm demonstration Address standing of the organ, and provide a ord simply fill out the coupon at right, and City State Zip firm music background. enclose 50c for postage and handling. CL -169 CIRCLE 43 ON READER -SERVICE CARD FEBRUARY 1964 101

www.americanradiohistory.com "Home Movie Sound Effects." Audio mensely varied tonal resources of his of the lusty Schönherr Austrian Peasant Fidelity DFS 7018, $4.98 (SD). big Robert Morton instrument (4 man- Dunces and Press Wedding Dance from M..ny of these forty -two short bands of uals, 24 ranks, 2,000 pipes) are imagi- Hassanek, White's amusingly graphic human, animal, household, city, machine, natively exploited here. And, too, they Mosquito Dunce, Bodge's Song Fest and other sonic phenomena may be fa- are transparently captured in a pellucid, medley of old -time favorites, and -for miliar to collectors of earlier Audio not too closely miked recording which the only real contrast to the prevailing Fidelity demos and samplers, but they seems more sharply focused in mono high spirits-the grave Dutch Prover have surely never been processed with but sweeter and richer in stereo. of Thunks;iring, which traditionally con- crisper transient response or wider fre- cludes each Boston Pops season. Indeed, quency and dynamic ranges. Nearly all "Concert in the Park." Boston Pops such musical attractions almost succeed of them are extremely closely miked with Orchestra, Arthur Fiedler, cond. RCA in minimizing the recording blatancies. larger- than -life realism. Even so, the Victor LM 2677. $4.98 (LP); LSC But the latter brutally negate the promise best (a baby crying, sneezing, laughing, 2677, $5.98 (SD). of the program title. There is no sug- .,nd playing; a beehive in peak produc- "Spirituals for Strings." Morton gestion whatever of graciously open -air tion; the opening Gould and pouring of a bottle and His Orchestra. RCA Victor sound. We are transported neither to of pop, provide LM etc.) fascinating slants 2686, $4.98 (LP); LSC 2686, $5.98 the Esplanade nor to Symphony Hall, our everyday aural wonderland. Home n (SD). but to a claustrophobic labyrinth I can movie makers may well find them in- With these two discs RCA Victor pro- characterize (unjustly, if the trade- v:,,u..bie; they are great fun merely as vides (no doubt inadvertently!) pertinent marked technology is not specifically re- conversation pieces and sonic curios. evidence to bolster my personal convic- sponsible) only as the Dynagroove limbo. tion that miking locations and "Roman Accordion." acoustical Charles Magnante ambiences may color one's evaluations of "Zen, Goeika, and Shomyo Chants." and His Orchestra. Command RS 852, a recording's sonic qualities more po- Recorded in Buddhist Temple Services, $5.98 (SD). tently than any new precqualization and Kyoto, Japan. Lyrichord LL 116, $4.98 Like most Command popular recording disc- cutting techniques. Fiedler's latest (LP). e,sions, those represented here must program bears the Dynagroove label. These documentary recordings of Myo- have place taken under the banner proc- Gould's does clot, but it was recorded shinji and Enryaku Temple services are lamation: in "Transients Accommodated!" May 1961 when RCA Victor engineers sure to be welcomed by specialists in The high level, closely miked, acousti- apparently had already adopted the ultra - the sonic unusual, particularly those who cally dehydrated, razor -sharp recording close miking and deadened acoustics (like me ) never have heard the only is ultrabrilliant indeed. But except in practices characteristic of most of their other available examples in a pioneering the vivaciously puked Ciribirihia and specifically labeled Dynagroove produc- Folkways FE 4449 release of over a Ru.sc /la 'e Maggio, and a more relaxed tions. Yet in both of the present decade ago. I stress the sonic appeal, Dimenticar, pro- the strictly musical attrac- grams the sonic results strike me for to Occidental ears everything here is tions as of these Italian favorites are well - equally -and similarly -harsh and un- a far cry from what we can recognize r.cgh eclipsed by gimmicky scorings and natural. They are perhaps a hit easier as either art or religious music. stcreogenics. Magnante plays with im- to take in the mono editions than in Nevertheless, the Side B, Band 2 me:. c éclat, effectively exploiting the stereo, but of course only at the loss of Shomyo Chants by monks of the Tendu wed-v_ :vied registration qualities of the dimensional and antiphonal potentialities. sect represent a unison pentatonic plain Gret:,ch instrument of his own design, (I haven't yet heard the tape versions, song idiom which may seem rudimentary though relying too much on its penchant which well may be the preferred choice.) in comparison with the Gregorian Chant for vehement staccatos. Of his sidemen, My condemnation of Gould's disc on of the West but which does have an however (including three mandolinists such technical grounds is possibly super- odd expressiveness, especially in the cu- and the five -man rhythm section featured fluous- apart, that is, from the illumi- rious phrase -end inflections. Instruments in many earlier Command spectaculars), nation it offers regarding sonic sins gen- ( the rin or little bells; ctyo, apparently only guitarist Tony Mottola seems con- erally considered to be exclusively Dyna- a panlike drum or gong; and shakujo or cerned more with lyrical expressiveness groove stigmata. Not only his syn- soft rattle) are used sparingly here. More than with sheer sensationalism. thetically contrived scorings for strings prominent elsewhere are the rin and or double string choir, with harp and Jasegane (small metal drum struck with "Sound Showcase." Don Baker. organ. celesta frostings, but also his cynically a crystal hammer), which accompany the Capitol T 1908, $3.98 (LP); ST 1908, emotionalized interpretations of some of Side B, Band 1 chanting of Goeika Waka $4.98 (SD). by the finest Spiritual melodies are self- (short poems) women pilgrims from One of the ablest of pop pipe organists, damning. Even if the skilled perform- the lshikawa Prefecture; the kei (ham- Baker relies less on throbbing expressive- ances here had been ideally recorded, mered metal bowl), which introduces and ness than most of his colleagues; even only a wholly insensitive listener could punctuates; and the mokugyo ( "wood- his more sentimental performances (like fail to recognize the aesthetic gulf be- en- fish" drum), which on Side A patters Lover Come Back to Me) never fail to tween the eloquent simplicities of the constantly under the fast but completely provide welcome rhythmic animation. He musical materials and the perversities of unemotional monotone chanting of sev- is at his best, however, with the lighter, these present disarrangements and infla- eral Zen Sutras by monks of the Zen more zestful divertissements featured in tions. Rinzai sect. The apparently quite dis- this program-Shining Moon, Blow Ga- Fiedler's program, however, is a fine tantly miked mono recording is excellent briel Blow, Twilight in Turkey, Song of one in itself, for all the familiarity of its of its kind. Over -all, this release boasts India -many of which display the deft Pops specialities striking sonic fascinations, but its educa- from many earlier Bos- en- use of such quasi -exotic stops as the tonian tional value might have been much releases. The new performances hanced by the inclusions of English texts Krumet, Kinura, basset horn, and oriental are as fresh as -and even more zestful or at least paraphrases of the chants. flutes. For that matter, most of the im- than -any in the past: especially those R. D. DARRELL

102 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com What makes Heathkit your best bet for kit value'? Advanced Engineering Design and Features experience any difficulty with your kit or your own equipment and you'll learn more a line and about it as the assembly progresses. Heathkit products incorporate the latest its construction, just drop them they will be happy to assist you in every in design features for outstanding per- World's Biggest Kit Selectïon operating convenience. Each way. formance and Over 250 kits to choose from! Whatever is put through several new kit design Factory service facilities. Factory- trained your interest, whatever your need, Heath- stages of rigid, precision -demanding tests technicians in our modern, non -profit kit has a kit for you. Select from a com- you of finest quality for extra that assure service department will thoroughly test and plete line of Stereo Hi -Fi music com- service. years of reliable repair any Heathkit for a low minimum ponents and systems, Test and Laboratory in the kit. manual. Each Heath product group has its own service fee as outlined instruments, Amateur Radio equipment and technicians who are and accessories, Marine electronics gear, staff of engineers Factory authorized service centers. An ex- specialists in electronic kit design. This is Citizen's Band Radio, Educational kits, clusive chain of Heathkit authorized serv- your assurance that your Heathkit will Automotive, and General Hobby items, ice centers has been organized to provide assemble in the easiest possible manner including an Electronic Organ, Color TV, fast, convenient, local service and parts or exceed its published specifi- Garage Door Opener and many more! and meet replacement. cations. ... all at savings of up to 50';c,! You Enjoy Biggest Savings Complete, Easy -to- Follow Liberal Credit Plan but direct. Dealing direct with the Assembly Manuals You Heath's easy time -pay plan lets you order extra "middle- manufacturer eliminates and build the kits you reed now while Heathkit construction manuals are world - high distribution man" profit margins and you pay for them in easy, convenient famous for their clarity and attention to to bring you costs. This makes it possible monthly installments. You pay no money detail. Each step of assembly is so care- more real quality at minimum cost. fully detailed that its almost impossible to down on orders of S25 to S600 ... take as long as 18 months to pay. Liberal make a mistake. Large pictorial diagrams You cash in on quantity burying. The Heath credit terms are also aailable on orders guide you every step of the way ... show Company is the world's largest manu- S600. Simply drop us a line for de- where each part is connected. Heathkit facturer of electronic equipment in kit over manuals are complete! ... separate sec- form. This dominant position in the field tails. As an extra feature you can -'add -on" $25 or more after three tions include tips on the operation, use, with its tremendous purchasing power re- purchases of the order. maintenance and service of your kit to sults in extra savings through volume payments on original extra years of trouble -free service. assure buying that are passed on to you in the Export Models Available form of lower priced kits. Extra Service for You Export models are avail, ble on certain Free factory consultation service. An expert You save high labor costs. You do the easy popular Heathkit items for 1 15:230 volt staff of technician- correspondents is ready assembly yourself following simple di- 50 -60 cycle AC operation. Write for full to assist you in the selection, use and rections ... it's like paying yourself several details on the particular products in which fun to build you are interested. operation of your Heathkit. Should you dollars an hour! It's actually - ---1 I- 8 -2 -6 HEATH COMPANY Benton Harbor, Michigan 49023 Buy Now -Use this Order Blank

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www.americanradiohistory.com THE STEREOMATIC DYNATUNER INCOMPARABLE VALUE

Fully automatic electronic transition from mono to stereo. Just tune the station. LOOK OUTSIDE STEREO lights up to signal a stereo broadcast. No switches, relays, clicks or pops. Reference -grid tuning eye for precise tuning of every station, weak or strong. Positive indication of the tuning point which has lowest noise, minimum dis- tortion, and maximum separation. This eye is more costly, but far more precise than a meter. Front panel volume control with a push -pull switch to lock out the stereo circuitry if desired. Effortless enjoyment of FM with Dyna's advanced, automated design, which elim- inates old- fashioned stereo -mono switches, AFC controls, local- Assembled $169.95 Kit distant switches, $109.95 sub -channel filter controls and signal strength meters. Sophisticated modern styling blends with every decor. The Dynatuner readily mounts in a cabinet or stacks attractively with the Dyna PAS -3 preamplifier. And the cover is included at no extra cost.

Cathode coupled RF stage for lowest cross -modulation and high sensitivity. LOOK INSIDE Four IF stages, all of which act as limiters -so effective that they limit on noise alone, and reduce interstation noise by 10 db. Exclusive wide -band (900 KC) symmetrical discriminator for exceptional AM sup. pression, maximum pulse -noise rejection, and reduced multipath effects. Multiplex doubler, phase -locked to pilot signal, avoids free -running oscillators which cause beats or whistles, provides perfect synchronization, and maintains lower background noise. Unique gated- bridge synchronous multiplex detector for lower noise and full separation on all stereo signals-the key to the Dynatuner's superior stereo performance on weak signals. Feedback audio stage with unmeasurable distortion and low impedance outputs. Finest quality parts, plated rugged steel chassis, top -grade XXXP and fiberglass etched circuit boards. Precision planetary tuning -no backlash, no cords to break, no pointers to slip. MOST IMPORTANT OF ALL -every stage of the Dynatuner from the RF "front end" through to the multiplex integrator is alignable by YOU, with no test facilities, with the accuracy heretofore achievable only in the finest test laboratories.

Transparent, lucid sound-the best of FM- without hum, noise or distortion. Full THEN LISTEN separation on every stereo signal; complete freedom from beats when tape recording off the air.

It's fun because it's so easy to build; you learn by doing and save money too. IT'S FUN TO Three etched circuit boards speed assembly, accurately define parts placement, and provide exact reproducibility from unit to unit, lab model to production kit. Clean, uncluttered, easy -to- work -on chassis. BUILD THIS KIT! Clear, full -size pictorials show every connection at a glance, for faster, surer assembly and easy checking. - - if - _ , , Engineered specifically for accurate reproducibility of performance from unit to - unit. This makes .¡ - - the Dynatuner an ideal kit as well as an ideal tuner. i- Simplest by design. Complex assembly instructions are completely avoided. Packaged for protection and convenience. In conformance with the Dyna policy of supplying equipment of highest quality and appearance without the expense of useless trim, we use a simple, functional package rather than include the cost of a point -of -sale display in each unit. Dynakits build your confidence. Error -free, obsolescence -proof Dyna designs. backed by an unprecedented one year kit guarantee, and many thousands of satisfied Dynatuner customers (most of whom built their own) assure your success.

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CIRCLE 31 ON READER -SERVICE CARD I14 HIGH 1-IDI I II1 N1.w:viNr-

www.americanradiohistory.com Louis Armstrong and Duke Ellington: attack but never descends to elephantine appears here in the company of an ex- "The Great Reunion." Roulette 52103, lumbering. The only weak point in the cellent quartet: Jerome Richardson, $3.98 (LP); S 52103, $4.98 (SD). entire group, in fact, is a girl singer, but playing a spare -toned soprano saxophone This meeting between Ellington and Arm- she appears on only two selections. and a more full- voiced tenor; Bobby strong follows an earlier disc from Scott, alternately sketching little stabs of Roulette in the same vein and, pre- Duke Ellington: "Piano in the Fore- sound or boiling along furiously on sumably, was made at the same time. ground." Columbia CL 2029, $3.98 piano; and a strong rhythm duo con- The musicians made up Armstrong's (LP); CS 8829, $4.98 (SD). sisting of Art Davis on bass and Charlie group a couple of years ago, with Elling- Ellington the pianist is as much an in- Persip on drums. These are engaging ton at the piano in place of Billy Kyle. dividualist as is Ellington the composer and rhythmic performances, but scarcely The program consists of Ellington com- and Ellington the band leader. But the suggest a lively future in jazz for the positions, but the Duke himself stays first is much more shy than the other steel guitar. in the background much of the time, two. He is at ease when he can hide guiding the performances with the won- among the colorations of his orchestra. "Esquire's World of Jazz." Capitol TBO derfully apt choice of chords and rhythms But put him out front by himself and 1970, $7.98 (Two LP). that gives his own band such distinctive he will do his best to dissolve into the Capitol has dipped into its relatively direction. Armstrong sings and plays woodwork. Here, accompanied only by meager bag of jazz recordings to try with more fire and imagination than he Aaron Bell, bass, and Sam Woodyard, to piece out a representation of jazz achieves when going through the pat drums, he ducks and dodges by various styles from the early days to the present. routines with his regular group. This means -by playing a relatively straight Since this company was not formed until is fresh material for him and he takes role (I Can't Get Started), by letting 1943, its resources for the years before hold of it with obvious relish. This disc Bell carry the load (Cong -Go and Blues that date are generally somewhat faded is even more successful than the first for Jerry), or by letting Woodyard set attempts at recapturing styles when they Ellington- Armstrong meeting, for in ad- the pace (Summertime). Still, Duke no longer had their full vitality. Almost dition to Armstrong's enthusiasm. trom- himself emerges in full forni from time the only period when the label was really bonist Trummy Young contributes sev- to time, especially in his development of involved with jazz was in the late Forties eral perceptive solos and background Body and Soul and in two new and and early Fifties. and its representation colorations. worthy Ellington tunes, It's Bad To Be for that time -the Miles Davis nonet, Forgotten and So. But Ellington is com- Lennie Tristano's sextet, Woody Her- The Boll Weevil Jass Band: "Plays One pletely unique and, as time goes on, man's and Stan Kenton's big bands - More Time, Vol. 3." Liberty Music increasingly valuable; any characteristic really carries weight. For the rest. de- Shop, 417 E. Liberty St., Ann Arbor, performance is worth hearing and own- spite the presence of Duke Ellington, Mich., $4.98 (LP). ing. One can be grateful here for the Benny Goodman, Dizzy Gillespie, Jack Although this is the third disc issued portions that stand up as full- blooded Teagarden, Bob Crosby, Art Tatum, and by the Boll Weevils, it is the first to Ellington, even while one wishes that Red Nichols, the jazz steam runs pretty come my way and an extremely pleasant there were more of them. thin through this set. surprise. This apparently semipro band has a looseness and freedom rarely found Boddie Emmons: "Steel Guitar Jazz." Bill Evans: "Conversations with My- in revivalist bands. Although they use Mercury 20843, $3.98 (LP); 60843, self." Verve 8526, $4.98 (LP); 6 -8526, tunes that would normally turn out to $4.98 (SD). $5.98 (SD). be efforts at imitation (Kansas City Jazz on the steel guitar -an instrument This is a set of six -handed piano per- Stomp, Perdido Street Blues, Snake Rag, normally heard with Hawaiian and formances with all six hands operated Shine, and others), these men manage Nashville bands -is something of a curi- by Evans. It was done, of course, by to work within the established frame- osity. And even though Emmons achieves multiple taping and it is an extremely work without getting trapped in it. Trom- his aims quite skillfully here, it seems skillful job. The final effect is that of bonist Bob Shanahan has a hearty, open likely to remain one. The trick required a normal Evans piano solo filled out attack that could not be confined with- in this setting is to control and suppress (and filled in) with ideas which are in any preordained lines. Following the most characteristic quality of the more pertinent than those of anyone him out into the open are Dan Havens, steel guitar -its wavering whinny-in else could possibly be. The results are a positive cornettist who occasionally order to play viable jazz. With its tone various. On Round About Midnight, gets his fingers tangled, and Frank thus altered, the instrument, when played after developing the piece with some Powers, a clarinetist who favors the by an expert like Emmons, sounds very stop -time figures, he creates a strong woody tones of the lower register and much like a regular electric guitar with central core from which a number of reflects a strong Johnny Dodds influence. emphasis on the lower, darker tones. lines move out simultaneously, as though The powerhouse of the rhythm section There seems little point in using it, an octopus were at work. On Just Yon, is Dave Remington, an assertive but light - therefore, since it contributes nothing Just .Ile, the three tapes enable him to footed tuba player. He creates a strong that is not already available. Emmons approximate what Art Tatum did with

FEBRUARY 1964 105

www.americanradiohistory.com only two hands. On Blue Monk, the Morgan. Also included, however, are extra hands are used largely to increase pieces of the sort that have dragged the the rhythmic impulse by adding pro- band down before this: trite pop themes pulsive patterns to a two -handed line. played in routine fashion and leading to On other pieces. he simply sounds blatant high -note finales. This band is a awfully busy. Nevertheless, this is a pro- good one. and it is rewarding to hear it vocative and generally successful at- finally realizing its potentialities -at tempt by an unusually creative musician least part of the time. to explore new areas in jazz. Jimmy Forrest: "All the Gin Is Gone." Art Farmer Quartet: "Interaction." At- Delmark 404, $4.98 (LP). lantic 1412, $4.98 (LP); S 1412 Bob Koester's Delmark label (formerly $5.98 (SD). Delmar) usually produces recordings The slow am; sometimes painful effort somewhat off the beaten track. Here, of Art Farmer to articulate musically however, it offers a relatively conven- what he quite obviously wants to say tional modern mainstream blowing ses- continues to be evident in this first re- sion, better than most of its kind but cording by his current group (Jim Hall. rising to provocative heights on only one guitar; Steve Swallow, bass; Walter selection out of six. This exceptional Perkins, drums). In the earlier stages piece is Laura. played at an easy, swing- The TFM -116A FM /AM of his career Farmer's difficulty arose ing tempo rather than at the ponderous MARINE PORTABLE from the conflict between his naturally pace modern jazz soloists usually choose romantic tendencies and the cold, rela- for it. Forrest, whose freshness and flu- with "SNAP TUNING" tively static music he produced on his ency are evident throughout, makes this A new SONY tuning system lets you trumpet. His discovery of the flugelhorn piece glow, as he keeps it appropriately tune FM with pin -point precision. gave him a strong push in the right gentle but suggests a toe -tapping, dancing "Snap Tuning" pulls the station in direction, for its darker. warmer tone lilt that is surprisingly apt and extremely loud and clear, and it stays that way. is better suited to his emotions. Un- attractive. Guitarist Grant Green, pianist The 11- transistor 3 -band model also fortunately. although he adopts the Harold Mabern, and drummer Elvin includes pushbutton FM /AM /Marine flugelhorn for the present performances, Jones contribute very effectively to the band selection, tuning meter for pre- mood. Forrest's gracious, singing cise selection his playing is so understated that his attack and continuous tone comes to the control for bass and treble emphasis. power of communicating seems just as fore again on What's New, In bone white and silver, with batter- limited as it was before. The group as and his performances in general are ies and earphone. $99.95. Leather a whole tends to produce a monoto- readily communicative. But only Laura case op- SON-y® nously drab and fuzzy sound. Hall pene- is really out of the ordinary. tional. trates this murkiness occasionally, par- Gene Krupa: "Drummin' Man." Colum- ticularly on a charming waltz, Some- bia C2L 29, $9.98 (Two LP). SONY CORPORATION OF AMERICA time Ago, and there are occasional The latest release in Columbia's highly 580 Fifth Avenue, New York 36, N.Y. sparks of vitality from Farmer. But commendable reissue series is. rather sur- CIRCLE 65 ON READER -SERVICE CARD Swallow's flumpy. loose- stringed type of prisingly. a less impressive collection bass playing. combined with the intro- than some. One tends to remember verted habits of his colleagues, con- Krupa's band in its heyday, which was tributes to the monochromatic effect of its middle period of 1945 -46. This two - this disc. The selections include Days disc set, which surveys the band's work Why? of Wine and Roses, By Myself, Em- from its beginning in 1938 to the last braceable You, and Charlie Parker's days in 1949, reminds us that this center DO THOUSANDS OF HI -FI My Little Suede Shoes. peak was preceded by an early period of erratic development and followed by ENTHUSIASTS Maynard Ferguson's Band: "Come Blow BUY FROM a later fading out. But it also reminds Your Horn." Cameo 1066. $3.98 us that even in its lesser periods the (LP); S 1066. $3.98 (SD). AUDIO Krupa band had its merits. In the early UNLIMITED This disc, first with Ferguson's Cameo. days these merits were young Sam Dona- serves as a good omen for the future It's Obvious! hue on tenor saxophone and the generally of the group. The recorded sound is the overlooked Corky Cornelius on trumpet. LOWEST PRICES best vet accorded these players, and half As the group began to acquire character, FAST SERVICE of the program gives evidence of a long - it was spearheaded by the biting trumpet hoped -for maturing on their part. Fer- FACTORY SEALED UNITS of Roy Eldridge. At its peak. there were guson's style in the past has leaned Charlie Ventura, Charlie Kennedy, and FULLY INSURED SHIPMENTS towards furious tempos, blasting ensem- Buddy Wise in the saxophone section, UP TO 2 YEAR bles. and much high -register shrieking with arrangements by El Finckel, Budd MANUFACTURERS' WARRANTY from the leader's trumpet. The arrange- Johnson, and Gerry Mulligan. Later Roy ments here -by Oliver Nelson. Bill Hol- TIME PAYMENT PLAN Eldridge returned, and George Williams man, and Ferguson's long -time orches- contributed arrangements. All of this is only 10 % down trator and saxophonist Willie Maiden - heard in the course of these two discs. up to 36 months to pay break away from this stereotype. Nel- The set also places proper emphasis on FRANCHISED DISTRIBUTORS son's Groove has a big. solid sound, and the consistently high quality of Krupa's moves at a medium tempo that enables vocalists, who included Eldridge, the Write for FREE Catalog Today the band to swing loosely and offers pioneering scat team of Dave Lambert SEND US YOUR LIST Ferguson a solo opportunity to play in and Buddy Stewart, the justifiably highly FOR OUR AIR MAIL a light. dancing manner. Nelson also touted Anita O'Day, the less celebrated brings imagination and strength to an but extremely able Irene Daye, and QUOTE TODAY arrangement of a routine piece of movie Carolyn Gray, who sang capably and menace music by Eimer Bernstein. added great luster to the bandstand. Visit Our Showroom and Warehouse Holman's composition built around a unlimited, nu.. lazy. rocking riff provides a comfortable Robert McCoy: "Barrelhouse Blues and ®AI-TDIO setting for a valve trombone solo by Jook Piano." Vulcan 2501, $4.98 (LP). 715 -F, Second Ave. (Nr. 38), New York City, N. Y. Ferguson. while Maiden's contribution (Vulcan Record Co.. 314 Windsor 3 blocks from the U. N. is a fast and loose number featuring a Drive, Birmingham 9, Ala.) stirring alto saxophone solo by Lanny McCoy is a veteran blues singer and CIRCLE 12 ON READER -SERVICE CARD 106 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com pianist who has been working around D;ER Birmingham since 1927. He is a rugged, AND AUDiO CENTEÜ driving musician who attacks a key- -vernOn nL6 board with a steady determination remi- niscent of Big Maceo. As a singer, he is positive and open but somewhat super- ficial. He communicates through rhythm rather than through emotion, hut in his own way he makes a strong impact. 47 t-ansistors, Sonny Rollins and Coleman Hawkins: 2t: diodes "Sonny Meets Hawk." RCA Victor LPM 2712, $3.98 (LP); LSP 2712, a@- electronic $4.98 (SD). cc mputer-type switching Theoretically. this should be an exciting and stimulating confrontation. On this &al record/ disc the first of the great tenor saxophone playback stylists, Coleman Hawkins -whose play- amplifiers ing and creativity have not lagged during forty extremely active years in jazz and 1a watt ou:put whose influence has been felt by suc- per channel cessive generations of saxophonists ever since the late Twenties forces wide -range -joins with ia,nítoring Sonny Rollins. The latter shows some speakers of the Hawkins influence and is. as the disc's subtitle points out, the " 'boss' of the modern tenor sax." And there is excitement and stimulation here, but al- most all of it comes from Hawkins. He plays with deep warmth, a sure full Many Vernon 47/26 s are owned by iFose tone. and a flowing sense of develop- ment that lifts and carries all of his whose previous tape equibmert c=sf far more passages. Rollins can match Hawkins than the Vernon's $6C0. You'll

George Shearing Quintet: "Jazz Concert." Capitol 1992, $3.98 (LP); S 1992, $4.98 (SD). Shearing. after years of producing discs

rim No so 'ow som NEI umi WRITE FOR OUR PRICE NOW YOU'LL BE GLAD YOU DID. save Easy pay plan. Up to 24 mos. to pay. 15 -day money -back guar- antee. over Full 2 -yr. Warranty -Parts & Labor. Factory Franchised all lines. We ship from stock. 40% Trade -ins highest allow- ance -Send your list. Citizens Band, P.A. Sys- tems in stock. on 19th year of reliable serv- Twentieth Century Fox Records has selected ice -world -wide. We guarantee "WE WILL some of the key words uttered hi -fi L NOT BE UNDERSOLD." by President Kennedy and, humbly, present Call us. Best Buy. Hi -Fi List Free. them as a perpetual record of one of 4 1797 -A 1st Ave. the truly great men of all time. New York, N.Y., 10028

CIRCLE 44 ON READER -SERVICE CARD CIRCLE 71 ON READER- SERVICE CARD FEBRUARY 1964 1 Q17

www.americanradiohistory.com that have been either deliberately bland or distressingly feeble in their attempts build your own bozak to get back in the jazz groove, has at last made a record in which he plays easily, simply, and gracefully with a group not bogged down in the Shearing Quintet clichés. John Gray on guitar no and Gary Burton on vibraphone share the solo honors. There are some hints other of the old Shearing weaknesses, but the bulk of the disc consists of amiably phones ambling performances that are refresh- ingly informal. Even Shearing's humor in can the spoken introductions from this live give Santa Monica concert is less strained than usual. high and low frequency Stuff Smith and Herb Ellis: "Together!" Epic 16039, $3.98 (LP); 17039, $4.98 res I onse like SUPEREX (SD). Although he is now almost never heard the only stereo phones with built -in on records, Stuff Smith, the violinist who in phone hit his peak of popularity in the Thirties woofer and tweeter each

when he had a mad roughhouse little ORDINARY SINGLE SUPERE% WOOFER & TWEETER group at the Onyx Club on New York's ELEMENT PHONE RESPONSE RESPONSE 52nd Street (it included Jonah Jones on trumpet and Cozy Cole on drums), has

/iiÌMI)l'olaOt`1 quite obviously been around playing 20 cps 20.000 cps 20 cps 20.000 cps somewhere. One says "quite obviously" Obviously single ele- Superex delivers the because it ment phones must corn- full range because of seems unlikely that any mu- promise on high or low separate woofer and sician who had been laying off for frequency tweeter in each phone URBAN OR EARLY AMERICAN any length of time could play with the You deserve the most advanced phones ... ad INFINITE- BAFFLE SPEAKER CABINETS zest and command justable treble control in each phone...min- that Smith brings iaturized cross -over network in each phone Complete kits ready for assembly, and to this set. On a fast piece, Hillcres7, ...single lead with stereo plug! For true stereo finishing to your taste. For the Bozak or monaural listening (full 20-20,000 cps 2 -way B -300 and 3 -way B -302A Systems. he plays as hard -driving a violin solo as range; _8 -16 ohms impedance) get the most See your Bozak Dealer, or write Bozak. one could wish to hear. He still has remarkably engineered stereo- phones'ever built. Free Valuable Handbook ST -M $29.95 DARIEN/GONN. his delightfully acerbic sense of melody, Write for 06821 as he shows on Alone Together. And STTPER Eá etereo /phones SUPEREX ELECTRONICS, 1 RADFORD PLACE YONKERS,N.Y. CIRCLE 16 ON READER -SERVICE CARD that hoarse, ingenuous singing voice is just as infectiously gay as ever when CIRCLE 67 ON READER -SERVICE CARD he sings Holt' Conte You Do Me Like You Do. Herb Ellis, on guitar, swings GET right along with Smith, while an un- PURCHASING OUR usually sound and solid rhythm section A HI -FI QUOTE (Lou Levy, piano, Al McKibbon, bass, Shelly Manne, drums) buoys up the en- SYSTEM? tire set. Almost the only drawback to ROCK TRADE -INS OK -TIME PAYMENTS this disc is the judgment involved in Up to 2 years to pay! allowing a couple of selections to carry Jim Lansing* on too long. Altec Lansing Electrovoice Send Us JensenHallicrafter Joe Williams: "At Newport '63." RCA Hartley* Gonset Victor LPM 2762, $3.98 (LP); LSP USL Citizen Band Your List of Texas Crystals 0110M 2762, $4.98 (SD). Internat'I Crystals University STEREO HIGH FIDELITY Williams was one of those who gave a Acoustic Research great lift to last summer's Newport Jazz Janszen Viking Components Wharfedale Festival. He did it with the help of some Conc ertone I excellent accompaniment by Clark Terry, Bell G.E. Weathers Coleman Hawkins, and Junior Mance. For A Harman -Kardon In fact, these three contributed almost as Eico Pilot much to the success of Sherwood* the singer's stint Package Tandberg* P as did he himself. Williams has devel- ESL Frazier PLUS THESE'ICES RABSONS EXTRAS Superscope oped great Established 1905 58 Years of Reliability authority and assurance in Dual Changer* Franchised Protection Plus the past couple of years, and in addition, Quotation Bogen RCA Rabsons Special Two Year Guarantee his naturally big voice has loosened in Dynakit Fisher Easy Payment Plan Up to 24 Months to Pay AIREX WON'T H. H. Scott Leak* Each Component Double Packed to Insure projection. He now sings in an ex- ECI Roberts BE UNDERSOLD Safe Arrival ... At no extra charge tremely easy and casual manner, and De Wald National Rabsons Sells ONLY Factory Fresh Merchan- All merchandise Sony Challenger dise in Original Factory Sealed Cartons yet makes use of the full- bodied timbres. Browning SO is brand new, WRITE RABSONS He started conventionally at Garrard Whatever your Hl -FI requirements and receive enough factory fresh & Miracord Newport with only his regular trio, but guaranteed. General Radio Rek -O -Kut A $1.00 Miracle genuine Rec- once the fresh musicians arrived his pro- Visit our N. Y. Showroom. Polytronics ord Cleaning Cloth with Free cabinet brochure EVERY Quotation from gram rolled along in high spirits, as this Norelco Finco Rab- 8 Hi -Fi Catalog Fairchild sons on a component or sys- recording makes apparent. Terry proves tem of your choice. Pickering Sonar FR himself invaluable both as an obbligato AIREX Audio Tape player and as a witty soloist. This disc Magnecord* -57 ST. INC. Rockford Cabinets RABSONS conveys much of the excitement that was KSC Speaker RADIO Systems* 1 19 West 57th St., New York 1 9, N.Y stirred up by these performers at the CORPORATION Fair Traded Area Code 212 Circle 7 -0070 JOHN S. WILSON Newport sessions. 85-HF Cortlandt St., N.Y. 7, WO 4-1820 Diagonally opposite Carnegie Hall CIRCLE 56 ON READER -SERVICE CARD CIRCLE 4 ON READER -SERVICE CARD (18 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 4.1...,,1 1 ,"41.11, ,

1 1 « , 1 1 1 1 . 1 1 1 1 1 , 1 1 11 tVf\l,tt. RoLnn! Kirk -u itb stritch.

Breakthrough to a New World

ROLAND Kirk's career in jazz has been musical colors are complemented by the rather like that of a time bomb. When colors drawn from the full orchestra. In he first began to attract attention a cou- the process. a whole new world is opened ple of years ago. he was looked on as a to him. He is no longer driven to pro- curiosity. Not only did he play out- duce something in every measure of the landish instruments called the manzello piece but. carried by Golson's astute and the stritch (both members of the arrangements. is allowed time to develop saxophone family). but he blew two his ideas as he pleases. and even three wind instruments at once. He leads a fascinating exposition of Shades of Wilbur Sweatman and the nov- Charlie Mingus' EccIu.siastics which has elty bands of vaudeville days! Then it all the fierce cry of the original version free began to become apparent that he was with an added element of discipline. not simply an oddity. His combinations (Kirk is a graduate of the Mingus school of instruments created fascinating en- of self- expression.) On By Myself. he semble passages; he proved himself an does some seemingly impossible things outstanding performer on his main in- on the flute (managing to sound like a strument. the tenor saxophone: and no plucked string, for example). He turns matter what he played -manzello, stritch, richly romantic in a ballad played on the flute. nose flute. whistle. or a Ther- manzello, improvises some strong ideas aminic sort of device which he called on the same instrument inspired by "the evil box " -he produced strongly Hindemith, and soars and sings at a stated and extremely valid jazz. There breathtakingly fast tempo on stritch. new 1964 catalog have been a succession of LPs that have When one turns to Side 2 of this disc demonstrated Kirk's virtuosity and imag- and finds the conventional Kirk quartet. describes three great ination over and over again. the letdown is immediate. Actually, the Eico It became evident. however, that even quartet performances are full of adven- lines of Kirk could do only so much within a turous explorations, but after hearing the high quartet framework. Continual solo work soloist in the full orchestra context, the fidelity stereo and harmonizing with one's self can be- smaller setting seems somewhat tame. & mono components come repetitious even for the most ad- The comparison is really not invidious, venturous of practitioners. But Kirk but simply an indication of the potenti- New CLASSIC SERIES FM /MX Stereo breaks into new ground on one side of alities that lie ahead of Kirk once he gets receivers, stereo amplifiers, FM /MX tuner. this disc -and a brilliant breakthrough beyond the inherent restrictions of a New 4 -track stereo /mono tape deck. it is. Benny Golson has devised some small group. JOHN S. WILSON The audiophiles' favorite -ST SERIES big -band settings that are relatively loose of stereo amplifiers and FM -MX tuners. and unrestricting. They allow almost as Roland Kirk Quartet: "Meets the Benny Performance proved STANDARD much freedom as the quartet setting, Golson Orchestra." Mercury 20844, SERIES of stereo and Trono amplifiers, with the added benefit that Kirk's own $3.98 (LP); 60844. $4.98 (SD). preamps and tuners. Economically priced speaker systems. Use coupon below. WRITE FOR QUOTATION Hf ON ANY HI -Fl COMPONENTS Electronic Instrument Co., Inc. 131 -01 39th Avenue, Flushing, N.Y. 11352

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SOUND REPRODUCTION, INC. Zone State 34 New Street, Newark, N. J. (01102) Export: Roburn Agencies, 431 Greenwich St., New York 13, M.Y. (201) Mitchell 2 -6816 1. CIRCLE 66 ON READER -SERVICE CARD CIRCLE 32 ON READER -SERVICE CARD FEBRUARY 1964 109

www.americanradiohistory.com THE TAPE DECK adventures off the beaten path gives us piece, and the coupled Gould Sym- the first major representation of Gott- phonettc. though it is ingenious, seems Continued from preceding page schalk on tape. A Night in the Tropics synthetic. (Anyway, the best two move- is one of this fabulous American musical ments of the latter have been taped the music itself and of Miss Price's pioneer's most distinctive works. The so- earlier by the composer himself for superb vocalism. called symphony contains one of the RCA Victor.) The present program is most sensually supercharged romantic consistently well played and recorded in GOTTSCHALK: A Night in the movements in all music -one which does brightly warm and natural stereoism. Tropics; Grande Tarantelle, Op. much to explain Berlioz's enthusiasm for 67 (orch. Kay) Gottschalk's earlier student scores. The Allegro moderato Latin - PURCELL: Dido and Aeneas "[Gould: Latin -American Symphonette exploits zestful American rhythms and tunes even more Patricia Clark (s), Belinda; Janet Baker Tarantelle); Reid Nibley, piano (in the effectively than do the more familiar (ms), Dido; Monica Sinclair (c), Sor- Utah Symphony Orchestra, Maurice Gottschalk piano divertissements and ceress; Raimund Herincx (b), Aeneas. Hershey Kay's Cakewalk ballet Abravanel, cond. transcrip- et al.; St. Anthony Singers; English VANGUARD VTC 1673. 47 min. $7.95. tions. In comparison, the Grande Tar- Chamber Orchestra, Anthony Lewis, antelle seems -for all its dash -a rather cond. The latest of Abravanel's enterprising old- fashioned and formula- ridden show- OISEAU -LYRE EOL 96002. 52 min. $7.95.

Purcell's one opera may or may not be the earliest in English: what's generally Telex phones put individual Channel Control where it belongs... forgotten nowadays is that it was writ- ten specifically for performance at a girls' school. I once was lucky enough to hear it actually sung and played by schoolgirls, and until the present first AT tape edition came along no professional version has ever succeeded so well -for me, at least -in capturing the quintes- YOUR sence of the music's endearing charm and zest. The 1952 Mermaid Theatre pro- duction on monophonic discs with Flag - FINGERTIPS stad and Schwarzkopf, still available under the Electrola label, was a mag- nificent one in many ways; hut the pres- ent version is far more idiomatically English and more simply and tenderly sung, especially by Janet Baker, a truly ideal Dido, and a superb little chorus. The accompaniment by Lewis' spirited string orchestra is characterized by sensi- tive insight into the baroque style, and the renowned Thurston Dart gives us some of the finest harpsichord continuo playing of his career. The only perform- ance shortcomings are minor; Herincx's Aeneas is somewhat stilted; Sinclair's Sorceress and her two Witches caricature their parts in a way that may amuse some listeners while striking others as naïvely melodramatic. But there are no shortcomings in the exquisitely pure (AND ONLY TELEX HAS IT) stereo recording and immaculate tape processing -indeed there seem to he no mechanical Convenience ... Precision chan- CHANNEL CONTROL. You'll thrill or electronic intermediaries at all between the home listener and nel control for perfect stereo to the kind of pace setting per- the delectable music itself. A reel to treasure. balance ... Freedom from the formance you would expect from extra cost and encumbrance of 26 years of Telex acoustic engi- a separate headphone control neering leadership. Faithful, STRAUSS FAMILY: "Magic Vienna" center. flawless sound provides breath- Cleveland Orchestra, George Szell, cond. That's what you get in the new taking stereo realism for the EPIC EC 830. 42 min. $7.95. Telex ST -20 stereo -phones. Smoothly most exacting. 16- 15,000 cps. 4 -16 styled control knobs on each earpiece ohms. Super soft cushions for the ultimate provide separate sound level control for in noise abatement and comfort. $29.15 STRAUSS FAMILY: "Tales of Old each channel. Exclusive with Telex, this Vienna" superb fingertip convenience means you A Product of Sound Research Vienna Philharmonic Orchestra, Willi always listen at the ideal sound level ... Boskovsky. cond. the ideal stereo balance. TELEX /Acoustic Products LONDON LCL 80127. 46 min. $7.95. Insist on seeing ... and hearing ... the amazing new Telex ST -20 with INTEGRAL 3054 Excelsior Blvd. Minneapolis16, Minn. Here are two outstanding programs which richly warrant inclusion in every reel collection -not only individually, for the musical delights they offer, but as demonstrations of two very different yet equally authoritative approaches to Straussiana. The merits of Boskovsky's symphonic -dance approach are now TELCIRCLE 87 ON READER -SERVICE CARD 112 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com familiar, this being the fourth program could praise it even more warmly if only phony Orchestra. Erich Leinsdorf. cond. in a unanimously acclaimed series and it had made clearly audible the full series RCA VICTOR FTC 2148. 33 min. exceptional only in that it is marked of midnight chimes strokes at the begin- $8.95. by even more executant enthusiasm ning of The Night wanderer'sanderer's Song sec- (and by more robust recording) than tion (slighted in all other Zarathustra Except for the Horowitz /Toscanini ver- its predecessors. As for the Szell per- recordings I know of). The chimes be- sion. few readings of the Tchaikov- formances. the potentials of a more come apparent a bit earlier here than sky Piano Concerto have enjoyed longer formal symphonic -dance approach have, in the Reiner taping. but I'm still un- or wider favor than Rubinstein's. So the I believe. never been so successfully able to hear the very first stroke and pianist's matured re- recording. in stereo. exploited. Like all this conductor's read- I'm still looking forward to a recording is particularly welcome both to his old ings. these seem to have been prepared in which it is vividly spotlighted -as admirers and to younger listeners seek- with scrupulous care, yet he executes Strauss surely intended it to be. ing a more Olympian interpretation than them with such geniality and lilt that most recent ones. This is a truly magis- seem terial performance ,ts even the most familiar works TCHAIKOVSKY: Concerto for Pi- in nobility. firm freshly minted. The Clevelanders surely control. and unrushed drive. It is notable ano and Orchestra," No. 1, in B have sounded better than they do too for the breadth and warmth of its never flat minor, Op. 23 here in superbly rich. open, and vibrant orchestral accompaniment. which includes recordings; and this miraculous tape is Artur Rubinstein. piano; Boston Sym- Continued on nest page if anything even better processed than the admirable London one. Boskovsky's program features more relative novelties: notably the high - stepping Eingesendet and poetic Bren- nende Liebe polkas by Josef; Johann II's jaunty Derno/iren polka and glittering Spanish March: as well as the Radetzky Alarch. Eduard's Bahn frei polka. and three familiar Johann II waltzes -Roses from the South. Da and Du. and Tales from the Vienna Woods (the last featur- ing no less a zither soloist than Anton Karas). But while Szell's waltz choices are conventional enough (Johann II's Blue Danube and Voices of Spring, Josef's Village Swallows and Delirien), one has the feeling of hearing them for the first time in their full glory. And to his two jeux d'esprit (the often played Piz..: irato polka and Perpetual,' mobile). Szell brings a bravura and gusto that tend to make one forget entirely even the finest of other conductors' versions. And the casual manner with which he "throws away" the spoken "And so forth . . ." at the end of the Perpetual Motion reveals hitherto unsuspected acting talents!

STRAUSS, RICHARD: Also sprach Zarathustra, Op. 30 Philharmonia Orchestra, Lorin Maazel, cond. ANGEL ZS 35994. 33 min. $7.98. When Reiner's last word on Zarathustra RISE STEVENS appeared on an RCA Victor tape last January. it seemed unlikely that anyone else ever could surpass it -and for sheer Applauds the "Better, Clearer, drama and poetic mysticism his version is still sure to reign supreme. What More Natural Recording Maazel does here is less an effort to compete with Reiner on his own terms Quality" of Tandberg, than a hold attempt to offer an entirely different approach -less somber, more Model 74 4traeck vivacious. His reading is somewhat mannered in many details and certainly Complete Stereo Music System lacks the overwhelming impact of Rein - er's, yet it is surprisingly exhilarating, The sheer brilliance of recording quality ... from any source, one of and it too is superbly played. The sweet- many reasons sshy the celebrated Miss Stevens favors Tandberg. Add to er. more luminous and transparent tonal this the clean, crisp playback and such features as: FM Multiplex Filter, new pause control, "free" position tape threading, precision laminated qualities of the Philharmonia Orchestra heads, 4 pole asynchronous motor, lowest tape tension, and a virtual lack are also magnificently recorded (even of wow and flutter. You, too, will then discover why Tandberg is rated more than the Chicago's in attractively the number 1 quality choice by everyone. some respects, though never quite so YEAR GUARANTEE excitingly and forcefully), and the pres- ONE ent processing is admirable. So, while AT FRANCHISED DEALERS EVERYWHERE 119.50 I certainly can't recommend the new ver- sion as a first choice. it richly deserves RE1¡ndbeIg of America, Inc. P.O. Box 171, 8 Third Ave., Felham, N. Y. a hearing for its fresh illuminations. I CIRCLE 70 ON READER -SERVICE CARD

; FEBRUARY 1964 I I

www.americanradiohistory.com Who has THE TAPE DECK Sutherland, Continued from preceding page SAVE 50% a flute solo in the slow movement that Baez, well matches Rubinstein's own lyrical ENJOY 11 MONTHS OF eloquence. Except for a few slight pre - echoes, the tape processing is fine, too, MODERN The Duke, and while the recorded sonic qualities may not appeal equally to all ears (to mine they are slightly lacking in vivid- PHOTOGRAPHY Ansermet, ness), they are mightily impressive for their strength, excellent balances, and for only $2.50 the bold "ring" of piano tone. Over -all, Mantovani, I'd rank this reel as the generally pref- erable tape choice (displacing Cliburn's, and a thousand which in comparison now seems less DON'T MISS... vital and dramatically gripping). It is technically more satisfactory than per- UNVARNISHED FACTUAL ANALYSES other haps any of the Boston Dynagroove re- Field and lab tests of all equipment leases to date, although I still crave ... comparative analysis of all new stereo tape a more complete return to the natural reverberance of Symphony Hall. But film by MODERN's experts since this is the most recent Boston selections? recording session ( May 1963 ) repre- HARD TO GET PHOTO INFORMATION sented on tape. I'm hoping that it may Top ranking photographers reveal their forecast a change in the handling of The pick of 16 techniques ... experts forecast new major recording acoustical ambiences in Dynagroove.

companies- featuring materials . . . "Too Hot To Handle" Peter, Paul & Mary, Stan Getz, Stokowski, WAGNER: Arias dept. dares answers all questions Monteux, Sutherland, the D'Oyly Carte - Kirsten Flagstad, soprano, et al. Vienna in short just about MAGNIFICENT PHOTOGRAPHS everybody who is anybody Philharmonic Orchestra, Hans Knap- in the popular, jazz, folk, Portfolios by the classical, opera and pertsbusch and Georg Solti, conds. world's greatest oratorio fields. LONDON LOL 90068. 52 min. $7.95. photographers with information on This "Flagstad in Memoriam" program on how photos were taken ... spec- Your Ampex is a reel must for all tape collections, tacular color scenics in double -page for the great Norwegian soprano has foldouts been represented in this medium before Master Tape Center only by her Fricka in the complete Rheingold. The present tape includes an SPECIAL ISSUES and SECTIONS

excerpt from that work (the "Wotan, Single lens reflex . . . rangefinder ARIZONA ILLINOIS Gemahl!" scene with George London cameras . . . PHOENIX CHICAGO movie making . . Brutes World of Sound Allied Radio. 100 N. Western Ave. and Claire Watson) ; the other selections 2711 E. Indian School Rd. 214 x 21/4 cameras interchange- MASSACHUSETTS are Brünnhilde's "War es so sclunühlich ?" ... CALIFORNIA CAMBRIDGE 38 BEVERLY HILLS Minute Man Radio, 28 Boyleston St. able (with Otto Edelmann) from Solti's lens buying guide ... color . . , Discount Reward Center, Inc. WELLESLEY 8484 Wilshire Blvd. The Music Box, 58 Central Ave. Walküre, Act III; "Der Männer Sippe" exposure ... telephoto GARDENA MICHIGAN Stereo Hi n Center and "Du bist der Lenz" from Knapperts- DETROIT 24 13996 a. Crenshaw Blvd. Pecar Electronics. 11201 Morang busch's Walküre, Act I; and the two HOLLYWOOD ACT NOW and SAVE HALF the regular Wallachs Music City MINNESOTA Wesendonck songs, Im Treibhaus and Sunset and Vine MINNEAPOLIS 8 Audio King Co. . 913 West Lake St. subscription price. The LOS ANGELES Träume, also conducted by Knapperts- regular rate is California Music Co. MISSOURI 2933 W. Pico Blvd KANSAS CITY 6 busch. The operatic excerpts all have S5. for 12 months. By accepting this Crenshaw Hi Fi Burstein -Applebee Co. 107 rather disconcerting fade -out endings, Santa Barbara Plaza 1012 -1014 McGee St. offer now, you will receive 12 issues MENLO PARK NEW YORK and of course the recording qualities McDanlele Hi Fi. 935 El Camino Real BUFFALO 3 at half -price only $2.50. OAKLAND Purchase Radio Hi Fi. 747 Mein St. vary considerably. Yet the tape transfers ... Stairway to Music. 4150 Broadway NEW YORK REDONDO BEACH Heins and Bolet. 68 Cortlandt St. are admirably processed, and in any case Griffey Electric, 235 N. Pacific Coast K 8 K Records, 123 W. 42nd St. all other factors are completely over- SAN DIEGO Leonard Radio. 69 Cortlandt St. SEND NO MONEY NOW ! Wrlghts House of HI Fi Liberty Music Shop shadowed by the incomparable Flagstad 5140 El Cajon 450 Madison Ave. SAN FRANCISCO G. Schirmer, 609 5th Ave. voice and acting. MAIL THIS COUPON TODAY Lakeshore H. FI, 222 W Portal Willo -Peer, 114 W. 32nd St. Walter Willey, 691 Market St. OREGON WHITTIER PORTLAND Oxbow Electronics Oregon H. FI. 340 S. W 5th 15419 E. Whittier Blvd. Otts Radio & Hi Fi 3760 S E Hawthorne COLORADO Blvd. MODERN PHOTOGRAPHY, Dept. HF4 DENVER PENNSYLVANIA Empire Radio 81V, 1100 Broadway READING 165 West 46th St., New York, N. Y. 10036 M Buchert Ent DISTRICT OF COLUMBIA 155 W Greenwich St. Please send me 12 issues of MODERN WASHINGTON PHOTOGRAPHY at half -price . . only $2.50 Commissioned Electronics WASHINGTON EUGENE ORMANDY: "Ports of 1776 Columbia Rd. N W SEATTLE -with a guarantee of satisfaction or refund Electronic Wholesalers, Inc Electricreft. 1408 6th Avenue Call" for all issues not mailed. 2345 Sherman Ave . N W Weisfieids. Inc .800 So Michigan St Payment Enclosed Bill Me Philadelphia Orchestra, Eugene Orman - dy, cond. Name For a catalog of the complete selection of tapes, COLUMBIA MQ 581. 60 min. $7.95. write Ampex Corporation, Consumer Products Division, 2201 Landmeter Road, Elk Grove Village, Illinois. Address In Canada, Ampex of Canada Ltd., Rexdale, Ontario. Here's a clear case in which a good disc is outclassed by an even better tape. City The processing itself is perhaps only a shade superior, but the excessive intensi- State Zip Code fication of the highs on which I com- AMPEX Note: Add $1 per year for Pan -America mented in my disc review of last No- and $2 per year for Foreign vember seems to have been so tempered CIRCLE 7 ON READER -SERVICE CARD

I I4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com in the transfer that it no longer sounds "gimmicky." 7 his is achieved without NEW! any real loss of brilliance. Except for the rock- steady. admirably proportioned TRUE HIGH -FIDELITY Bolero and high -tensioned Chabrier STEREO AT 1%8 SPEED Esprit-its. the readings here (Ihert Escales, Ravel Valse and Pavane, and Debussy - Cailliet Clair de lane) are perhaps somewhat routine and occasionally man- nered. But the Philadelphia Orchestra's mellifluent playing is an aural delight.

"Ella and Basle!" Ella Fitzgerald. Count Basie and His Orchestra. Verve VSTC 300. 42 min.. $7.95. The inexplicably belated collaboration on records of the finest swinging talents in all jazz proves to be a happy event. Mutually inspired. and provided with well -nigh ideal Quincy Jones arrange- ments. the stars never sounded more lilting than in Then; There Eyes, Honeysuckle Rose, .1fisbehavin', and Shiny Stockings, among others. Best of all are Ella's superb scat vocalizations. Add vivid stereoism and flawless tape Roberts "770;' with its revolutionary processing, and you have a reel guar- CROSS FIELD HEAD provides incredi- A professional.solution to your anteed to chase the blues away. most rigorous recording prohlent.s bly magnificent, full -range, high - fidelity stereo at I?é i.p.s.... record Roberts "455" is a complete, self - "Full Nelson." Orchestra, Oliver Nelson, 12 hours of stereo or 24 hours of contained recording studio. Three cond. Verve VSTC 299, 41 min., monaural on one 7" reel (3600') at separate heads for faultless record, $ 7.95. an average tape cost of less than 330 erase and playback. Monitor both Nelson's not inconsiderable per album. The CROSS FIELD "770" input and output signal. Three talents as an alto saxophonist are overshadowed here has an exclusive patented "third motors; dynamically balanced fly- head" separating recording and bias- wheel for unwavering smoothness. by his more distinctive ones as arranger and composer, and by the virtuosity ing functions. You record a full Touch -button solenoid operation for of octave higher than ever before pos- such costarred soloists as instant response. Speeds, 3 3/4 ,7 1/2 i.p.s. Clark Terry, sible (at 71/2 i.p.s., trom 40 to Phil Woods. Joe Newman. and others in A COMPLETE RECORDING 22,000 c.p.s.), preserving the har- the variously constituted bands used here. monics that add brilliance to music STUDIO UNDER $600.00 This markedly stereoistic, if closely re- playback. Highest resolution head With Roberts "455" you get sound - corded, reel ( well processed. except for (gap -width of only 40 millionths of over- sound, 4 separate mixing in- some precchoes) would be notable if an inch) available, assures unde- puts and outputs. Multiple sound - only for its galvanic Hoe Donn, its stroyed full -range high frequency on -sound recording. Built -in "echo atmospheric bolero- rhythmed Afajorca playback -and is protected by wear - effect" circuit. Fast rewind -45 sec- (with Stan Webb's fine oboe solo). and a resistant nickel- chrome alloy onds for 1200 feet of tape -and NC -88. Other features: 2 -speed rhapsodically nostalgic Ballad for Benny. electrically switched hysteresis syn- instant braking. Self- contained 5" x But 7" stereo elliptical speakers. New almost everything is imaginative. chronous motor: minuscule wow solid state power amplifiers (12 tran- and flutter; automatic total shut -off: sistor). 101/2" Reel Adapters; touch "Hootenanny." Various artists. Mercury I 2-watt amplifier; self- contained 7" button Remote Control available. (via Bel Canto) STP I (twin -pack ), extended -range Alnicc V- magnet The Roberts Model "455 ;' $599.95 56 min.. $9.95. speakers; l7/s, 33/4. 71/2 i.p.s. speeds. 15 i.p.s. speed optional. $499.95 SEE AND HEAR ROBERTS TAPE "Hootenanny." Various artists. Kapp RECORDERS AT BETTER PHOTO AND KTL 41061, 39 min., $7.95. SEE AND HEAR ROBERTS TAPE SOUND CENTERS FROM $269.95. Both RECORDERS AT BETTER PHOTO AND -- of these reel versions of the cur- SOUND CENTERS FROM $269.95. rently popular on;niun; gatherun;.s - of highly miscellaneous folk singers sport in- genious gimmicks. Kapp splices in ap- plause between each selection. while Mer- cury employs a first -rate narrator ( Ray van Steen, if I've caught correctly his FREE BOOKLET! "40 and more modest self- identification at the very . FREE BOOKLET! ' 4C and more ways to a Roberts tape recorder." use end), who introduces the participants and ways to use a Roberts tape ecorder." I. Roberts Electronics, Inc. discusses briefly yet informatively the Roberts Electronics, Inc. 5978 Bowcrott, Dept. HF -217. varied folk styles represented. ( Inciden- 5978 Bowcrott, Dept. HF -218. Los Angeles 16, Calif. tally. this narration and grouping of se- Los Angeles 16, Calif. Please send free booklet lections from Mercury's disc catalogue Please send free booklet send details on Roberts '455' Li Please send details on Cross Field '770' IN information are strictly tape features -the program . , send me complete III Please send me complete in ormation Roberts Tape Recorders , . about as a whole has no disc equivalent.) Its . about Roberts Tape Record( rs Name - special merit, apart from the musical ma- . Name Address terials. is its attractiveness as an . introduc- Address - City State tion to current streams of folk music. City State Best known among the Mercury artists are the great Josh White (with a fine ,. ld LAr,'AU ;.: J. M. r,.rì s .. I,m*1 IN M. Nelson Elect, )rrr s i CANADA: J. Ltd., 2149 Commercial Drive, Vancouver Ltd., 2149 Commercial Drive, Vancouver 12, B.C. (Prices slightly higher in Canada) Continued on next page 12, B.C. (Prices slightly higher in Canada) CIRCLE 58 ON READER -SERVICE CARD CIRCLE 58 ON READER -SERVICE CARD FEBRUARY 1964 115

www.americanradiohistory.com THE TAPE DECK ently not too closely miked), and the tape processing excellent. é of/ax Continued from preceding page "Mantovani /Manhattan." Mantovani and Evil- Hearted Man to the Dynamic and Key King- His Orchestra. London LPM 70071, dom) and the Bluegrass Boys. character- 35 min., $6.95. istically stimulating in lively Pike County As with most London spectaculars, the HEADPHONES and Foggy Mountain renditions. And tape version of this unusually interest- several of the less celebrated contributors ing and vigorous Mantovani program is are strikingly effective- notably Inman processed at a markedly lower level than and Ira in a fascinating quasi- canonic the stereo disc edition. The original Bulldog Roar; Sheldon and James in excessively sharp highs are softened to Turn Around and a very amusing When a more aurally acceptable brilliance and You Smoke Tobacco; the Smothers to more equable spectrum balance. Yet Brothers in a satirical Black Is the Color; even the reduced level doesn't prevent and Stu Ramsay's idiomatic country the obtrusion of some spill -overs in the banjo playing in Cripple Creek. quietest passages of the West Side Story The less extensively varied Kapp pro- excerpts. No great matter: it's a joy to gram tends to fall off a bit after the hear this fine orchestra in something Chad Mitchell Trio's Han, on the Bell, besides bland mood music, and the THE ONLY HEADPHONES THAT CARRY A Nellie, and Rum by Gum. Marais and players make the most of Roland Shaw's LIFETIME WARRANTY Miranda's Native Minstrel Song and The ingenious scorings of The Bowery, Belle Queen Bee hardly represent these celeb- Permoflux presents . . . Absolutely the finest of New York, Take the "A" Train, etc. sound in stereo high fidelity today. Professional rities at their best, and the more obscure Only the overambitious Tenement Sym- quality sound with exciting features that add artists are somewhat routine. But The phony fails to come off. up to the greatest value in stereo listening. Samplers have a couple of quite jaunty TONAL STABILITY songs, Terry Gilkyson sings Green Grote "The New Moon." Dorothy Kirsten, Gor- COMPARATIVE FREEDOM FROM the Lilacs attractively. and Jo March don MacRae, et al.; Roger Wagner HARMONIC DISTORTION brings a fresh personal animation to the Chorale; Orchestra, Van Alexander, WIDEST FREQUENCY RESPONSE usually sentimentalized country hit Kisses cond. Capitol ZW 1966, 43 min., POWER HANDLING Sweeter Than Wine. Both reels are excel- $7.98. LONGEST LIFE lently recorded and processed. "The Student Prince." Roberta Peters, Feature for feature your best headphone buy is Jan Peerce. Giorgio Tozzi, et al.: Permoflux -with a lifetime warranty. Write for "Li'l 01' Groovemaker." Count Bas- Merrill Staton Choir; Orchestra, Franz free details. te and His Orchestra. Verve VTC 297, Allers, cond. Columbia OQ 580, 42 Permoflux Corporation 35 min., $7.95. min., $9.95. Don't let the folksy title mislead you: The third reel in Capitol's Romberg P. 0. Box 1449 Glendale, Calif. this well -varied program of Quincy Jones series is musically more vital than the CIRCLE 54 ON READER -SERVICE CARD originals gives Basie (on "tack" as well Desert Song and Student Prince of July as normal piano) and his seventeen side- 1963. This is due primarily to the fresh- men plenty of chances to strut their ness of many of the airs in The Neto most characteristic individual improvisa- Moon and to the durability of even its a new recording! tory talents and the jumping drive of the familiar ones -Stout -Hearted Men, Lover full ensemble, too, is amply accounted Come Back to Me, etc. The pure, bright for. The formulas may all he familiar stereoism and the balances are first - (as John S. Wilson noted in his review rate, Miss Kirsten is charming (though of the disc edition), but for the Basie MacRae is more colorless than ever), band's purposes they could hardly be and the supporting cast, chorus, and or- bettered in the bravura Dlun Dltnt, the chestra are thoroughly competent. bluesy Kansas City Wrinkle, and a richly Columbia's star -studded revival of The sonorous Pleasingly Plump. Among the Student Prince is outstanding. It presents soloists, Al Aarons on trumpet and a somewhat more generous representa- Marshall Royal on clarinet and alto sax tion of the score than Capitol's (in- share honors with Basie himself; but I cluding some of the dialogue), and its was particularly intrigued by Don Rader's warmly robust stereo (well staged) is muted trumpet and Benny Powell's muted no less effective, although the soloists trombone in Count 'em. The stereoism is here are somewhat more closely miked. realistically panoramic, the recording The entire production endows the Rom- brilliantly clean if a bit dry (yet appar- berg warhorse with a dramatic convic-

o SNOOPYCAT LEARN =SLEEP FAST SHIPMENTS Headquarters The adventures of MARIAN - COMPONENTS KITS EXPERIMENT in this fasci- ANDERSON'S cat Snoopy. nating. educational new field. Use your phono- graph, recorder or amazing new Electronic Edu- Narrated and sung by this cator endless tape recorder. We carry a full RECORDERS TAPES line of endless repeating tape cartridges for all world- famous artist. A must makes of standard tape recorders plus automat- / - is timers. pillow speakers for Christmas. $4.98 and complete outfits. Also BEST -BY- COMPARISON PRICES over 400 strange, un- FACTORY SEALED CARTONS world's leading producer of authentic folk rnu,ic usual educational. self - on records help courses on tape and SEND FOR "QUOTES" ON PACKAGE el) record for sleep -learning DEALS AND SAVE MORE write for free catalog of over 1000 1p', °q and hypnosis experiment- ers. Includes Personality Improvement, Self -Con- fidence, & Memory courses, languages, sales, WRITE FOR MONTHLY SPECIALS speech, Sex, Yoga, Hynotism, business, health tr VISIT OUR STORE FOLKWAYS RECORDS improvement courses. etc. Write for free 500 165 West 46th St., New York 36, N. Y. items catalog and full details. CARSTON Sleep- Learning Research Association 1251 East 88 St., New York 28, N. Y. P.O. Box 24 -F, Olympia, Washington CIRCLE 25 ON READER -SERVICE CARD CIRCLE 64 ON READER -SERVICE CARD CIRCLE 19 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE I I ()

www.americanradiohistory.com tion I, for one, never expected it could achieve nowadays.

"She Loves Me." Original Cast Record- ing. Harold Hastings. cond. M -G -M STF 4118 (twin -pack). 75 min.. $9.95. "She Loves Me ": Selections. Frank Chacksfield and His Orchestra. Lon- don LPM 70070, 35 min.. $6.95. None of the high and wide praise for Jerry Bock's latest hit quite prepared me for its oddly "different" combination of sentiment and highly sophisticated musi- cal scoring (by Don Walker). Yet I'm rather baffled as to how to describe its unique flavor or to prophesy just who is likely to relish it. If you enjoyed No Strings, you're likely to enjoy this -dif- ferent and more romantic as it is. I must confess to having been bored a bit at times. but then enchanted by some num- bers (Perspective and A Trip to the Library in particular). And I was con- sistently fascinated by the ingenious ways in which quite conventional materials and CIPHER DENON 800 performances (starring the always ap- PROFESSIONAL 4 -TRACK STEREO /MONO TAPE RECORDER pealing Barbara Cook) are' enlivened THREE HYSTERESIS -SYNCHRONOUS MOTORS THREE 4 -TRACK HEADS` and spiced by adroit stylistic and scoring treatments. If you can be content with Professional in every standard, the Cipher Denon 800 is the first choice of audio the tunes themselves, they are gorgeously engineers in broadcasting and sound studios for superior high fidelity recording played and recorded by Chacksfield's or- and playback. The 800 has record and playback preamps for stereo multiplex chestra, but for the show's tantalizing recording, sound -on- sound, echo, etc. Plug -in head assembly. Solenoid push button blend of sweetness and pungency you'll controls and brakes. No pressure head pads. Instant reel size compensator. have to hear the work as a whole on Speeds: 71/2 ips and 33/4 ips. Frequency response: 30- 15,000 cps ±-2 db at 71/2 ips. Flutter and wow: less than M -G -M. is well 0.15% at 71/2 ips. Recording inputs: radio, television, phono, auxiliary; high impedance The latter if less sump- mike inputs. Other features: individual mike and line controls for input mixing; tuously recorded, with the soloists per- stereo/ mono transfer switch; 2 VU meters; 2 monitor jacks. $499.95 haps a bit too forward- and no special "2 -Track heads available. INTER MARK use of stereophony. The acoustical am- Please :write for complete specifications and name of franchised dealer. biences are, however, attractively live. INTER -MARK CORP., Dept. HF, 29 West 36th Street, New York 18, N. lf. CIRCLE 45 ON READER -SERVICE CARD "Take Ten." Paul Desmond. Jim Hall, Rhythm Section. RCA Victor FTP 1151, 37 min., $7.95. Eager to sell, buy or swap used Everything here adds up to aural be- How far wrong high fidelity speakers, amplifi- witchment. The music is consistently at- ers, cartridges, turntables., tun- tractive- perhaps especially the "bossa ers, records, etc.? Turn to our antigua" treatments of the Black Orpheus can you go monthly bulletin: The BUY - Theme, Samba de Orfeo, and an original SELL -or-SWAP NEWS- Embarcadero. Probably the magic stems LETTER. in large part from Hall's eloquent guitar for $1 a year? solos and commentaries; also from the If you want to SELL -classified distinction of Gene Cherico's solid yet listings of used equipment and $ resiliently stepping bass playing. Stereo records cost only I per ad- is clean (closely miked but with more limit 30 words including name warmth than most Dynagroove pop re- and address. No dealer ads cordings), while the tape processing is accepted. quiet and free from preëchoes and spill- over. If you want to BUY -lets of bargains offered in the 50 or "The Very Best of David Rose." David more ads that appear here every :: only Rose and His Orchestra. M -G -M month. Subscription price $1 STC 4155, 33 min., $7.95. a year! Rose's long popular jeux d'esprit are If you're audio-minded, how played better than ever before by the far wrong can you go for $I? present fifty -man orchestra, authentically Fill in and mail the form below recorded in the Hollywood Palladium today! with a generous measure of natural re- verberation. And in addition there are the brand -new, buoyantly imaginative and HIGH FIDELITY, Dept. CE Enclosed is my payment for $ antiphonal Meet the Orchestra and Great Barrington, Mass. Insert the following 30 -word adver- the hypnotically evocative 4:20 A.M. Start my annual subscription to your tisement (including name and address) in Add to the enticing musical appeals here BSS Newsletter with the next issue the next issue of the BSS Newsletter. the brightest, most panoramically open (Only $1). (Type or print plainly.) ($1) of stereo recording (the best, I'm sure, I've ever heard in M -G -M's "21- Channel- Name Console" series), to say nothing of first - Address rate processing-and you have a light City State symphonic reel that's surely destined for Zip best -sellerdom. Code

FEBRUARY 1964 117

www.americanradiohistory.com THE HOUSE THAT SAVE MONEY ON WAGNER BUILT HI -FI COMPONENTS Continued from page 52 festival, and to pass both of them on In the field of stage lighting, particu- TAPE RECORDERS as firmly established institutions to her larly in the use of new Xenon -gas TAPES, ACCESSORIES son Siegfried in 1908. lamps, Bayreuth is in the frontier of After World War I, under Siegfried's technical as well as artistic experimenta- SLEEP LEARN KITS guidance a slight modernization of the tion. Otherwise, the Festspielhaus stage MERITAPE Bayreuth scenery meant that consider- and its mechanical equipment have re- ably more stage room was required for mained astonishingly simple: there is Low cost, high quality recording no more and more solid, three -dimensional revolving stage, no elevator stage be tape, in boxes or cans. to pieces. For this artistic development he raised out of the basement or lowered FREE CATALOG enlarged the 80- foot -deep stage by add- from the flies, no grand stage wagons ing a rear stage area of an additional on which entire sets can be rolled on j 1523 JERICHO TPKE. 40 feet. In 1926. he made further ex- in a matter of seconds from backstage DRE!;ISSNER tensive additions, bringing together in or side stages. The stage floor is cut into NEW HYDE PARK 19, N.Y. new quarters constructed on the left or tv parallel strips, some of which can be western flank of the Festspielhaus, the raised or lowered at will. But even these CIRCLE 29 ON READER -SERVICE CARD box office, dressing rooms, and various have been unused in recent years. It is administrative offices. He also added two as if the Wagner grandsons felt that a RACTABLEETR rehearsal stages to the rear of the Fest- heavily mechanized stage would only AtvicK-See spielhaus above the back -stage area. In GLIDES IN AND OUT OF CABINET OR WALL Album, get in their way. What they have re- FOR FRONT VIEW FLIP SELECTION File his will, Siegfried left the Festspielhaus quired for their revolution is first -rate and other Wagner property to his widow lighting equipment and imagination. Winifred in trust for their four children. Thus it is no surprise that among the In 1932 Winifred had an additional row chief objects of the current alterations of boxes (intended exclusively for the of the Festspielhaus are space for more press) constructed above the original versatile lighting equipment. According row of boxes in the rear wall of the to the present ingenious plans, new theatre. walls, over six feet further out to each Something of the revolutionary, ex- side of the house, are being constructed. perimental atmosphere of Wagner's time As these are it- completed and modern Storage cabinets available or do- yourself returned to the Festspielhaus it Eliminates visibility problem of edge- .tacked when dressing rooms with private showers etc. albums, stops jacket -bottoni wear. Installs reopened for its first post -World War II in five minutes with 4 screws. Sturdy 7 - begin to take shape, the old walls are welded steel construction, ball- bearing tracks, festival in 1951 under the direction of balanced suspension. 9 models for LP's & tape, torn down. Eventually, the stage to each hold to 125 albums; Brass Finish, $ 7.95 up. the composer's grandsons. Their innova- side of the proscenium will be expanded Write for brochure Deafer inquiries inifrd tions have been violently controversial and the roof of the stage house will be KERSTING MFG. CO., 504-M S. DATE, ALHAMBRA, CALIF. stage productions. raised. To do this. and not interrupt the CIRCLE 47 READER -SERVICE CARD ON yearly festival, a new roof will be con- structed over the old one, then the old one will be cleared away, and a higher, more strongly supported grid will be in- stalled. (Two and three seasons back, there was some anxiety as to whether the old grid was strong enough to support the bevy of seemingly naked beauties lowered from above to join the acrobatic frenzy of the Venusberg Bacchanal.) In the course of these changes much of the temporary wooden structure of 1876 will be replaced by fireproof ma- terials. At the start of the project about $700.000 towards the expenses were pledged jointly by German industry, the State of Bavaria, and the West German Federal Government. If all goes well the major changes may be finished by the AM E R I CAN PLAN summer of 1965. Lesser changes will in- clude such projects as relandscaping a Now -for the first time -enjoy a luxurious room and luscious meals in one of portion of the Festspielhaus park nearest New York's largest and best located hotels -for just about the cost of the room alone! the theatre to tempt intermission strollers You'll have the best of Continental Breakfast brought to walk further afield. For the once everything right at the center $12.00 to you ... Succulent Steaks, barren hillside is now a seductive gar- of everything ... Beautiful Per Person Chops and Sea Food...in our den. And the rows of dwarf trees which surroundings ... Sleepy -head beds .. celebrated Coral Room or offered no relief to the perspiring pil- Television ... Air -Conditioning ... Two in Room Supper Club ... WITH MEALS grims of 1876 have now grown into that "umbrageous avenue" of the critic's The Empire State Building is neighbor your ... Rockefeller Center ... the shops, dream. theatres, sights and thrills of the real New York are steps from your door. Travel dreams come true at a fabulousHotel saving in the comfort and convenience of GOVERNOR CLINTON ( Write Victor Giles- General Manager. Clip this ad to your reservation or bring it along to enjoy the best in the house at this phenomenal low rate.)

SEE YOUR LOCAL TRAVEL AGENT CIRCLE 78 ON READER -SERVICE CARD 118 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com MARCH in Dream a little . . . dream of exchanging winter's dreariest month for a relaxing vacation in balmy, romantic HAWAII . . .

Then open your eyes . . . for High Fidelity will convert this dream into a reality for its readers at most attractive rates! Board a giant Jet in New York* to be whisked to sun -drenched days in HAWAII - the entire 16-day trip, including meals while aloft and hotel accommodations in HAWAII, for only $569 (plus taxes).

In the shadow of Diamond Head along famed Waikiki Beach, Hilton's Act now to make sure you are in on this exclusive trip. The number of Hawaiian Village will be your "home" for this never- to -be- forgotten fort- accommodations is limited! Get the coupon and your deposit into the night on Oahu. Within a few miles of Honolulu, the Hawaiian Village mail immediately to insure your reservation. with its air -conditioned rooms, five swimming pools, shops, restaurants, floor shows, and dancing is the ideal place for an exciting mid -winter holiday. During the second week in Hawaii you will have the opportunity of taking the interesting Outer Island Tour to eight of the islands in- cluding Maui, Kauai and the Orchid Island - Hawaii. h1h fldllt And best of all, your entire vacation accommodations are included in the Great Barrington, Mass. Dept.: (E -2

$569 price of High Fidelity's special offer, arranged with Transport and I want in on your Hawaiian Vacation, enclosed find a check Travel Contractors, Inc. for the enjoyment of its readers, their families for $50 deposit (per person) to insure my reservation. Send more and friends. Start this high adventure in New York (or join up in details and descriptive literature on High Fidelity's Chicago Hawaiian Vacation. or San Francisco) on Thursday. March 5th, to be whisked, TWA style, across the country and across the Pacific to Hawaii by giant Pan Amer- NAME: ican or United Jet. Your holiday will end with arrival back in New York ADDRESS - sixteen glorious days later, on Friday, March 20th. CITY- STATE: PHONE: Because the readers of High Fidelity share common interests, you will I will join the Hawaiian Vacation group travel with congenial, interesting people. And by the way, don't forget in: New York Chicago San Francisco to take along your tape recorder. Just think of making your own tapes of authentic native and modern Hawaiian sounds to accompany your photos and films. Camera enthusiasts will be especially interested in the Kodak Show at Kapiolani Park where they will have the opportunity * Via Chicago $509, via San Francisco $349. Air connections from your home to see, hear and photograph Hawaiian and Tahitian performers in a town arranged on request. All travel arrangements and accommodations are beautiful tropical setting. being made by Transport and Travel Contractors, Inc., New York City.

FEBRUARY 1964 119

www.americanradiohistory.com nizifflammusimm ADVERTISING get a reliable INDEX Hi -Fi Key No. Page Key No. Page 2 .... Acoustic Research, Inc. 23 42 .... Harman -Kardon, Inc. ... 27

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price $Y STEREO: 1964 Edition -which, like its four predecessors, is published by HIGH FIDELITY Magazine -sparks ideas that help you achieve the best stereo reproducing system at the price you decide to pay. the most out of your present High Fidelity, Publishing House, Or it helps you get you are that far along. Great Barrington, Massachusetts, 01230 stereo system, if There's much more, of course, but this gives you Send me STEREO: 1964 Edition for the an idea of the scope of this annual of about the size dollar enclosed. of this issue of HIGH FIDELITY. FOR ONLY $1. Name AND IT'S YOURS If you're particularly interested in high fidelity Address reproduction of music, can you afford to be without City State STEREO: 1964 Edition? Want a copy conveniently delivered to your Zip Code ST 264 home? Just fill in and mail the order form with your r dollar. Do it now -while you're thinking about it! FEBRUARY 1964 C-1

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www.americanradiohistory.com "Can serve admirably to help you derive greater enjoyment from records or broadcasted programs. It covers almost every aspect of high fidelity reproduction with special emphasis on stereophonic equipment." HARVEST YEARS

PARTIAL CONTENTS The ABC's of Stereo Stereo for the Man Who Hates Stereo Music and Stereophony Stereo Recording Today Cabinets for Components The Music Wall Improvements in Cartridges and Arms From One Speaker to Many FM Stereo in the Marketplace Antennas for FM FM for Motorists Anyone Can be a Sound Engineer A Mike or Two Around the House High Fidelity Servicing Noise -the Uninvited Guest -and many more!

For more than a decade, readers tell us, the most literate and informative writing on sound reproduction in the home has appeared in HIGH FIDELITY. Wyeth Press, a division of Now, for those who may have missed some of HIGH FIDELITY's top audio High Fidelity Magazine articles (plus a few from sister publications) and for those who requested they be Great Barrington, Mass., 01230 preserved in a book, we have selected 31 of them for inclusion in the First High Fidelity Treasury. Please send me a postpaid copy of the It's not a "layman's guide" to high fidelity, but it tells you just about everything First High Fidelity Treasury for the $2.50 you need know for achieving good sound reproduction in your home. enclosed. Each piece was selected with these qualifications in mind: Will it help today's reader understand the principles of recording and reproduction, including stereo? Name Will it help the reader plan a new reproducing system to suit his needs at a price he is willing to pay? Will it help the reader get the most out of that system or his pres- ent system? Address This new, illustrated flexible cover book of 132 pages, measuring 61/2 x 91/2 inches, will stimulate and inform anyone who has ever thought about owning his own "rig': If audio perks up your interest -fill in and mail the coupon here -before we sell out. Payment with your order, please, to prevent bookkeeping expense. But satis- faction guaranteed or your money back! 264 C-4

www.americanradiohistory.com subjective response to reproduced sound is essential. E -V speakers must fully meet both engineering and artistic criteria for sound quality. Where we differ from earlier efforts is in greatly increasing the sample of expert listeners who judge the engi- neering efforts. To this end, experts in music and sound from coast to coast were invited to judge and criticize the E -V FOUR exhaustively before its design was frozen. Adjustments in response were made on the spot -in the field -to determine the exact charac- teristics that define superb performance. It was not enough to say that a unit needed "more bass ". What kind of bass? How much? At what frequencies? These are some of the more obvious questions that were completely settled by immediate ad- The Most Sweeping Change justment and direct comparison. The new E -V FOUR is the final result of this intensive inquiry into the character in Speaker System Design... of reproduced sound. According to wide- spread critical comment, the E -V FOUR Starts with the New E-V FOUR! sound is of unusually high calibre. And careful laboratory testing reveals that there are no illusions -the measurements Until now, there have been just two ways For instance, E -V has one of the in- confirm the critics' high opinion of this to determine the absolute quality of a dustry's largest, most completely- equipped new system. speaker system: the scientific method, and laboratories for the study of acoustical Of course, it is one thing to design an the artistic approach. But each, by itself, performance. Actually, the E -V engineer- outstanding prototype - and something has not proved good enough. ing staff alone is larger than the entire else to produce an acoustic suspension The scientist, with the help of imper- personnel complement of many other system in quantity at a fair price. It is here sonal equipment, charts and graphs, has speaker firms. In the E -V lab, measure- that extensive production facilities, com- bined with creative engineering strived to obtain the finest possible mea- ment of speaker performance can be made ap- proaches, guarantee the performance of sured results. If the figures were right, with uncommon precision. And the in- terpretation of this data is in the hands of each E -V FOUR. And these same facili- then it had to sound right, and anyone ties ensure reasonable value. instance, skilled engineers whose full time is de- For disagreeing was dismissed as "not objec- the E -V FOUR sells for voted to electro- acoustics. but $136.00 with tive". But often, two speakers measured oiled walnut or mahogany finish and just substantially the same, yet sounded quite But beyond the development of ad- $122.00 in unfinished birch. Yet, in judg- different. vanced scientific concepts, ing its sound qualities, it was successfully On the other hand, the artistic school of E -V embraces the idea compared with speaker systems loudspeaker design has depended on the that a thorough costing as much as $200.00. judgement of a handful of experts whose study of the We urge you to join in the "golden ears" were the final yardstick of analysis of E -V FOUR com- perfection. If you didn't agree with the pact speaker performance. experts, your ear was "uneducated" and Visit your E -V high fidelity not discriminating. But too often the mea- showroom and compare, sured response of the expert's system fell carefully, this new system. woefully short of reasonable performance We feel certain that you -proof that even trained listeners can will agree with the engi- delude themselves when listening to loud- neers and the critics that the new E -V FOUR offers speakers. a truly full measure of Now, with the introduction of the E -V high fidelity satisfaction. FOUR, Electro -Voice has pioneered a blend of the best features of both measure- ment methods to lift compact speaker E -V FOUR components include: 12" acoustic suspension woofer / Ring-diaphragm performance to a new level of quality. It mid-range driver / 5" dynamic cone wasn't easy. The use of both techniques tweeter / Etched circuit crossover required extensive facilities, something E -V enjoys in abundance. ELECTRO- VOICE, INC. Dept. 244H, Buchanan, Michigan

gke±p SETTING NEW STAND

E-V TWO E-V FOUR www.americanradiohistory.com should Sherwood increase its prices by 20%

the superlative new 5-800011 FM stereo r iver priced at $319.50

Years ago, Sherwood high -fidelity tuners and amplifiers were evaluated by highly- respected, totally -impartial research companies as either the finest designed or the best valued on the market. Although we were pleased by such endorsements of pure quality in design and per- formance, the really significant fact was that other leading components carried higher price tags. Subsequent Sherwood components have received ratings indicating features and performance equal or superior to brands carrying price tags at least 20% higher. A current example of Sherwood design superiority is our new S- 8000111 receiver. Sensitivity is rated at 1.8 microvolts. Capture effect is an outstanding 2.4 db. No other FM receiver can claim the 80 -watt music -power rating of the S- 8000111, and only one other (priced $50 higher) offers the professional D'Arsonval zero - center tuning meter that's standard with Sherwood. We still believe that our old- fashioned policy of superior engineering and realistic prices is best for both you and Sherwood.

SOME OF THE S- 8000111 FEATURES THAT MAKE THE DIFFERENCE

1. Zero -center tuning 2. 80 -watt music power 3. Complete stereo control center 4. 1.8 }Iv. (IHF) sensitivity 5. Wide -band 3 -mc. gated beam For your free copy of our complete limiter catalog, write Dept. H -2 6. 1 -mc. band pass balanced ratio SHERWOOD ELECTRONIC LABORATORIES, INC. detector 4300 North California Ave. Chicago 18, Illinois 7. 2.4db. capture effect 8. 1/3% distortion at 100% modulation 9. Interchannel hush 10. Long -life Novar output tubes 11. 8 -inch professional -type tuning scale 12. Silk- smooth flywheel tuning 13. Positive stereo broadcast HIGH FIDELITY identification

STEREO RECEIVERS TUNERS AMPLIFIERS STEREO INDICATOR LIGHTS SPEAKER SYSTEMS CONTEMPORARY CABINETRY CIRCLE 62 ON READER- SERVICE CARD

www.americanradiohistory.com