High Fidelity Magazine June 1956

ify. I Ai 1. 1i Ijj AGAZINE FOR MUSIC LIST ENERS a 50 CENTS

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A DISCOGRAPHY BY HAROLD SCHONBERG

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2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com P High 3idelity

T H E M A G A Z I N E FOR M U S I C L I S T E N E R S

The Cover. To nearly every one of us, no Volume 5 Number 4 June 1955 doubt, has come the experience of dream- ing, while asleep, the solution of a great problem, or the creation of a splendid poem, or some kindred achievement. When AUTHORitatively Speaking 4 we awake, in most cases, if we recall the dream- accomplishment at all, it seems non- Noted With Interest sense by the light of day. But get this: 9 Art Director Roy Lindstrom, at home in Letters 22 bed, dreamt he was in his office, indulging in witty banwr with his associates. Turning As The Editors See It 33 from thorn (in his dream) he saw lying on his drawing -board a Chopin cover, which The Triple Life of Dr. Hermann Scherchen, he had just finished. In case you want to by Robert Charles Marsh 34 see exactly the same cover . .. well, your Why should a conductor- decorate left hand is touching ir. All he had do bis acreage with three recording to studios? was copy from memory. He swears this is true. The Day They Almost Got My Number, This Issue. If you want to get attention. by Herbert Kupferberg 37 beat a drum. This expression usually is A short (but heart -rending) story. used metaphorically, but in the case of Hermann Scherchen it applies almost "Baha, Betofen, and Bramsu," literally. Five years ago he passed out by George E. Posner and Robert Fink 38 scores, gave instructions to a pair of drum- The fi is high as Fujiya,ua in Old Nippon mers and conducted a recording session. The results were to give some thousands The Well- Adjusted Watt, by Irving M. Fried 40 of listeners a new view of "Papa" Haydn, A critical look at amplifiers and amplifier- standards. to put the naine Westminster ors all collectors' lips, and hugely to increase the fidel- Custom Installations ity- consciousness of the whole recording 42 industry. Scherchen became (perhaps along You Meet the Nicest People, But by Albert J. Franck with Ernest Ansermet) the musician most ..., 44 beloved of audio-enthusiasts, and his ver- A former record -dealer reveals some of the weirder aspects of the trade. sion of the "Military" Symphony a staple at all audio shows. It wasn't accident, as Music Makers, by Roland Gelatt 49 Robert Marsh makes clear in the lead article this time. Record Section 51 -89 Records in Review; Dialing Your Disks; Building Your Record Library; Frédéric Chopin: A Discography by Harold Schonberg CHARLES FOWLER, Publisher FM Antenna Installation, by L. B. F. Carini . 90 JOHN M. CONLY, Editor ROY H. HOOPES, JR., Managing Editor Tested in the Home 95 Associate Editors Scott are -C Amplifier; V -M Model 700 Tape Recorder; Sonotone IP ROY F. ALLISON FRANK R. WRIGHT Cartridges; Browning FM Tuner; Quiet; Lang 151V Speaker System; The Regency Radio; Collard RC -54 Changer; Pyramid Symphonette ROY LINDSTROM, Art Director Player. Editorial Assistants Miriam D Manning, Cora R. Hoopes The Listeners' Bookshelf, by R. D. Darrell ...... Io6 ROLAND GELATT, Nein York Editor Contributing Editors Audio Forum I18 C. G. BURKE I16 JAMES G. DEANE Traders' Marketplace JAMES HINTON, JR. Professional Directory 124 MANSFIELD E. PICKETT, Director of Advertising Sales Advertising Index 127 WARREN B. SYER, BUSU,ejS Manager CHRISTINE KORTE, Circulation Manager Iligh Fidelity Magazine is published monthly by Audiocom. Inc., at Great Barrington, Mass. Telephone: Groot Barrington 130o. Editorial, publication, and circulation e1lices t: The Publishing House, Great Branch Offices (Advertising only): New York: Barrington, Mass. Subscriptions: 36.00 per year in the United States rad Canada. Single copies: 50 cents will he Room 600, 6 East 39th Street. Telephone: each. Editorial contributions will he welcomed by the editor. Payment for articles accepted arranged Murray Hill 5-6332. Fred C. Michalove, Eastern prior to publication. Unsolicited manuscripts should be accompanied by return postage. Entered as Maas., under the act of 3, Manager.- Chicago: John R. Rutherford and Assoc - second -class matter April 27, 1951, at the post office at. Great Barrington, March ates, 230 East Ohio SI, Chicago, III Telephone: 1879. Additional entry at the post office, Pittsfield, Mass. Member Audit Bureau of Circulation. Printed Mass. Copyright 1955 by Audiocon,, Inc. The cover Whitehall 4 -6715: Loa Angeles: 1052 West 8th in the I1. S. A. by the Ben Franklin Press. Pittsfield, Street. Telephone: Madison 6 -1371. Edward Brand. design and contents of High Fidelity magazine arc fully protected by copyrights and must not be repro- West Coast Manager. duced in airy manner.

TUNE 1955 3

www.americanradiohistory.com THE SOUND OF GENIUS... AUTHORitatively Speaking This issue we begin a regular books column, by a man whose name nearly every record collector knows. He supplies it thus: Robert) D(onaldson) Darrell - acceat on the first syllable, as in "Roll out the Darrell." With pride, we roll out the Dar- rell column: 'Listener's Bookshelf," page ro6. Born in Newton, Mass., he studied

music at the New England Conservatory . and has been reviewing records and music - books since he was 23. He edited the first American record magazine (The Phono- graph Monthly Review) and compiled the first discographie volume, the 1936 Gram- ophone Shop Encyclopedia of Recorded Music, es well as Schirmer's Guide to Books on Music and Musicians. He is author of Good Listening (Knopf, 1953; Mentor, 1955) and of innumerable articles

Harold C. Schonberg, who contributes our Chopin discography, is a native of New York, which he calls "my city." Appropriately, be is a music and record critic on the New York Times. He is, also, almost certainly, the only music critic who has made nine parachute jumps (he was a paratroop officer during World War II) and has batted against (and been struck out by) a Major League pitcher. Schon- berg can remember, he says, when the Astaric B -xo arm and the Cinaudagrapb woofer-tweeter were the last word in hi -fi. He owned both. He seriously studied piano; a great help when he turns his type. writer on Chopin -interpreters. He is author of Chamber and Solo Instrument Music, one of the three volumes of Knopf's Guide to Long Playing Records (53.5o per volume), just published.

Two blocks south of Harold Schonberg works Herbert Kupferberg, who is record - reviewer, as well as editorial writer, for the New York Herald Tribune. He is likewise a New Yorker "by birth, upbringing, and inclination." He worked his way into musical writing while a reporter, covering such events as the Salzburg and Edinburgh festivals. Kupferberg is married and has a five- year -old son who, his father reports sadly, is "supremely indifferent to all forms of music except the modern music he emits himself." This pore of pathos is evident also in our first short story, Kupferberg's "The Day They Almost Got My Number."

Third native New Yorker of the month: Albert J. Franck, author of "You Meet The world's greatest living composer, Recent Columbia Masterworks the Nicest People, But ...," who was born "I.p" Records by Igor Stravinsky Igor Stravinsky, is known to millions for his in the Yorkville sector and never spoke include: English till he went to school - Yorkville breathtaking; compositions. But as brilliant as Stravinsky: I 'histoi re du Soldat- was strictly German then. He got his first Stravinsky the composer, is Stravinsky the ML 4964. $5.95 phonograph in 1902, and has been listen- conductor. To hear his music interpreted by the Stravinsky : Symphony in C -- ing to records ever since, not always ML 4899. $5.95 happily. He went to work in t921 for the master is hear to the sound of genius. This unique we will he pleased to send yam Edison Diamond Disc Shop in Brooklyn. experience is offered on many Columbia "Lp" a cop) nt the above phot oc raph. On the sly, he made amateur recordings Records whose quality has been carefully suitable for framing. \frite Colwn- after hours at the Polonia studios, and pro- bin Records, Room .1 -H, 799 7th jected a method of photographic tape re- Avenue, N. l'. C. approved by Stravinsky himself. Igor Stravinsky cording, never realized. In 1929 he has chosen to record exclusively for Columb'.a organized the International Records Agency, Masterworks Records. which he finally disbanded in 1953. IRA, he is pteuy sure, handled more labels than any other dealer in the United States, perhaps in the world. Now what he does COLTIIfIBIA RECO1tDt.S mostly, and enjoys best, is traveling, by -. ... rater, ..r _,,,.,rr, t.lr. rail and air.

4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Stephens Patio Enclosures let you enjoy your Music Out- of -Doors Seasoned to your taste by Stephens Tru -Sonic quality speakers, these patio enclosures serve up your high fidelity in grand style. Imagine relaxing amid the cool breezes of your terrace or fragrance of your garden -all this and your favorite music, too, faithfully brought to you by Stephens.

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The beautiful new McIntosh C -8 puts at your fingertips complete and precise audio control. The ultimate in playback performance is achieved with five Bass (turnover) and five Treble (de- emphasis) switches wihch operate independently and cumulatively. Innumerable compensation settings create fine degrees of sound shading. (Bass switches provide progressive turnover from 1200 to 280 cycles per second. Treble switches provide progressive roll -off from 0 to -25 db in 1 or 2 db steps!) Additional features: separate wide -range bass and treble FINE controls, a five -program- source selector, a rumble filter, an aural compensator to preserve correct tone balance at low listening levels. Hear the flawless reproduction possible with McIntosh uncompromising audio control at your dealer's.

for C -8 less cabinet; C -8M in cabinet illus. ,¡/ Q 50 traled, $96.50 (for use w th McIntosh ampli. fiers); self -powered model C -BP (tens cabinet) 0o $99.50; C-PM (with cabinet) $107.50. Here's o miracle in music - unbelievable realism and clarity without listening fatigue. The incomparable McIntosh MC -30 main power amplifier sets a new standard of performance - GUARANTEES full 30 watts (60 watts peok) of all frequencies 20 to 20,000 cycles. Full reproduction of the highest and lowest frequencies is assured with unparalleled low distortion. Hormonic distortion guoronteed below t/3 % of 30 watts, 1/10% at 15 watts; IM distortion below t/2 % even at full 60 watts! Inaudible hum level, highest efficiency, longest life - more plus volues from the exclusive patented McIntosh Circuit with Unity Coupling'. At your dealer's. $143.50. ,patented 1949.

6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com has Why litclittosh QUALITY LISTENING GREATER The McIntosh C -8 is the most flexible audio compensator ever devised. It is funda- mental to High Fidelity sound reproduction principles, which ore reviewed below.

compensation, or equalization, for recording process necessary? v4 is the The recording process requires that the loudness of the music over portions of the sound spectrum be artificially roised or lowered to get the most on the record. To obtain realism in ploybock results we must exactly reverse this curve, thus equalizing its effect.

`i/tt'y is so much flexibility necessary? There ore over 1000 recording companies using various and changing recording curves. The McIntosh can reproduce any recording curve, present or future. More important even, is its obility to adjust precisely to vorying room conditions, eor preferences and speaker characteristics. The vast tonal possibilities of the McIntosh let you be your own conductor. Weathers, or constant amplitude cartridges can be switched into the equalizer, if desired, for full compensotion control.

%d the McIntosh easy to operate? Your ear will quickly get you acquainted with the tonal effects of this flexible instrument. The switches are large and easily seen. Operation is surprisingly easy and sotisfying.

.q10(4.1 do ì know how to set the controls for a particular record? Recommended playback characteristics are often given on the record jacket. McIntosh supplies o convenient Record Compensation Chart covering 55 record manufacturers, and giving 32 progressive boss turnover and treble roll -off settings. elit control settings be relocated accurately? The finest degree con be relocated quickly and exactly. Your own preference, once selected, can be permanently indicated on a McIntosh label and applied to the record or locket for ready reference.

ea4t I connect the McIntosh to my present equipment? Any system con now be easily altered to professional standards with the self- powered C -8P. Separate power supply, 51/2" x 43/4" x 23/a ", allows smaller moin control unit and prevents any possible induced hum problem.

r1 t; ; MORE EASE IN INSTALLATION rJ Versatile back panel features five inputs (can include two phonograph cartridges), three outputs, equalization switch for magnetic or amplitude cartridges. Variable load resistor (1,000 to 100,000 ohms) adjusts for optimum Pioncer Specialists in High Fidelity Amplification magnetic cartridge performance. Three AC outlets for master system on-off feature. Great stability, adequate frequency response and typical McIntosh lowest distortion - less than .3% at full 4 volts, 20- 20,000 cycles. All controls silently operated. III4ntosh LABORATORY, INC. N. Y. Send today for details and McIntosh Master 322 Water Street Binghamton, New York 7, N. Y. Compensation Chart for fries? playback results. Export Division. 25 Warren St., Cable: SIMONTRICt N. Y.

JUNE 1955 7

www.americanradiohistory.com Especially... where

What can be said for the Axiette among high quality loudspeakers generally, is one thing. But, more SPACE significant is the fact that the Axiette has become the ideal solution to the limited space problem ... and who hasn't such a problem! ÍS Many would -be high fidelity enthusiasts have been discouraged by the lack of available space. While I I E there are smaller tuners and amplifiers, little has been L M T D done to relieve the speaker situation. Most smaller speakers and enclosures don't quite have `what it takes' for good high fidelity systems. The little Axiette has changed this. Used in a suitable enclosure and operating at normal living room volume, it is doubtful whether a group of critical listeners could consistently distinguish between the 8 -inch Axiette and a costlier, larger system. This listening quality has never before been achieved in a loudspeaker of such small proportions. If you are being denied the enjoyment of high fidelity because of space limitations, you have the answer in the Goodmans Axiette ... the good little speaker that was designed to be heard - not seen.

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8 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Imodtleit gee/á KNIGHT HIGH FIDELITY COMPONENTS designed and built to ALLIED'S specifications KNIGHT High Fidelity components give you the most for your money in perform- Knight "Bantam" Hi -Fi Amplifier ing quality, appearance and dependabil- Compect-no cabinet required. Full 12 ity. These units are designed and built watts output; response, . .5 db, 20- to ALLIED'S own high specifications by The Answer's in the Bristles 20,000 cps; 3- position record compensa- outstanding makers of hi -fi equipment. tion; loudness -volume control; tape Because these components are offered as We know that many of our readers are recorder input and output jacks; micro- ALLIED'S own phone input; separate bass- treble con- private -brand products, also interested in photography, but we trols; handsome black metal cabinet with large savings are passed onto you. KNIGHT is don't know how many of them read etched gold trim, 3% x 13 x 1014-. quality backed by an unconditional guarantee for one full year, and a 15 -day 93 SX 312. Net only . Modern Photography or of those who $59.50 trial offer with money-back guarantee. do how many saw the Nuclear Pro- KNIGHT gives you the best Hi -Fi for less. ducts ad in the February 1955 issue. One reader read both that ad and our TITH report on the Nuclear Products Knight System Value Staticmaster Record Brush and was puzzled over the difference in prices quoted in the two places: the ad in "Golden Knight" 24 Watt Hi -Fi Amplifier MP gave the price of $12.50 for the Brilliant performance: response, ± 0.75 db, 20- 40,000 cps; less than 1 %n harmonic 3 -inch brush (advertised for use in distortion at. 24 watts; 3 positions of record equalization; separate bass and treble cleaning negatives and slides), while controls; 4 inputs: 8 and 16 ohms speaker we said that it costs S 17.85. Our read- output impedance. Rich satin gold finish, 8 x 14 x 9'. Removable escutcheon for er was no more puzzled than we, so custom panel mount. we asked for and got what seems to be 93 SX 321. Net only $79.50 "Spero Saver II" Hi -Fi Phono System a most satisfactory explanation of the Here's authentic Hi -Fi performance discrepancy in prices: while the two that fits in the smallest available space. No cabinets required. System brushes look alike, the hair in the hi -fi includes: Knight 12 watt "Bantam" Amplifier, Webcor 3 -Speed Changer model is packed more tightly in the (in Russet and Beige or Burgundy ferrule and is trimmed shorter in order and Beige) with G.E. RPX -050 magnetic cartridge and dual -tip sapphire to reach the bottom of the micro - stylus; Electro -Voice "Baronet" en- grooves. Also, and more important, closure with SP8 -B speaker (in Ma- Knight FM -AM Hi -Fi Tuner hogany or Blonde). Ready to plug in; die radioactive element is four times The ideal "space- saver" tuner. 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Y., has announced "record some do- it- yourself instal- plates" little stickers reading "From Knight Self- Powered Preamp -Equalizer lation ideas. Offers you the world's largest - Efficient, versatile control unit for any selection of complete systems and indi- record of . . ." which the collection basic Hi -Fi amplifier. Response, ± 1 db, vidual units (amplifiers, tuners, speakers, can be attached in a jiffy to record 30- 30,000 cps; 3- position record compen- enclosures, changers, recorders, access- sator; 4 inputs; magnetic phono, tuner ories) from which to make your money- jackets. Size is 4 by r in.: cost, tape, microphone; out- 50 or crystal phono, saving choice. To understand Hi -Fi, to own for Si. Nice idea. we think. put., 2.5 volts; tape output. 1 volt; hum, - -65 db. In compact black and gold the best for less, write for this FREE book. metal cabinet, 3;6 x 11% x 5W ". Hi -Fi Openings 93 SX 315. Special Price Until r Sept. 1, 1955...... $32.95 ALLIED RADIO CORP., Dept. 49 -F -5 Ozarkians and their neighbors, please 100 N. Western Ave., Chicago 80, III. note: Frank Peters has opened a hi -fi RA//DIO_.,, Send FREE 68 -Poge HiH Catalog. store at It04 North Jefferson in ALLIED Ship the following Springfield, Mo., offering service as (/isNuúL! auz, well as sales. s enclosed In Pittsburgh, ar 633 Liberty Ave., Name Lomakin Music is the name of the new Send for FREE Address hi -fi shop. Hi -Fi Catalog City zone State Continued on page 12 ,

www.americanradiohistory.com Ask Your KANSAS NEW YORK (Continued) Authorized PHIL WOODBURY SOUND JULIUS WEIKERS & CO. Fleetwood Dealer 1 103 Com'I, Emporio 307 Audubon Ave., New York 33 Phone: 20 Phone: TOmpkins 7 -2971 for Free Booklet of MASSACHUSETTS JERRY FINK CO. .9 LAFAYETTE RADIO 644 Clinton Ave., Installation Ideas South, Rochester 20 110 Federal SE, Boston 10 Phone: BRowning 3503 or write Phone: HUbbard 2 -7850 SEGEN ELECTRONICS MICHIGAN CONRAC, INC., Glendora, California 118 Glen Cove Rd.. Roslyn Heights, L.I. MODERN SOUND Phone: ROslyn 3 -4950 ARIZONA 5151 Adams, Birmingham WESTLAB Phone: Midwest AUDIO SPECIALISTS 4 -8494 2475 Central Ave., Yonxers WEST 333 E. Camelback Rd., Phoenix MICHIGAN SOUND COMPANY Phone: SPencer 9 -6400 1932 Phone: AMherst 5 -0447 Peck St.. Muskegon OHIO Phone: 2 -5910 ELECTRICAL COMMUNICATION CO. NEW JERSEY AUDIO CRAFT CO. 202 E, Fillmore, Phoenix 2915 Prospect Ave.. Cleveland I S Phone: ALpine 2 -8248 INTERNATIONAL DISTR. Phone: CHerry I -5560 185 Central Ave., E. Orange CALIFORNIA CUSTOM ELECTRONICS, INC. Phone: ORange 5 -1927 TALK -O COMMUNICATION 1000 So. Main Street, Dayton 9 407 -J Commercial Center St., Beverly Hills FEDERATED PURCHASER Phone: ADams 3158 1021 U.S. Rt. Mountainside 1 #22, Phone: CRestview -4548 CUSTOM CLASSICS Phone: WEstfield 2 -0310 TURNTABLE HI -FI 13421 Euclid Ave., E. Cleveland 12 LAFAYETTE RADIO CORP. I I6 Wes+ Wilshire. Fullerton Phone: GL. 1 -4868 Phone: LAmbert S-0811 24 Central Ave., Newark COUNTERPOINT Phone: MArket 2 -1661 HOLLYWOOD ELECTRONICS 20971 Westgate Shopping Center, 7460 Melrose Ave., Hollywood 46 THE JABBERWOCK Fairview Pork 26 104 Somerset St., Brunswick Phone: WEbs+er 3 -8208 New Phone: ED. I -6448 Phone: CHorter 9 -1900 PACIFIC HI FI HOUSE R.S.T. LABS BREMY 1320 Cahuenga Blvd., Hollywood 28 ELECTRONICS 14511 Granger Rd.. Maple Heights Phone: HO 2 -6767 394 E. 18th St., Paterson Phone: MOntrose 2 -3213 Phone: LAmber +5 -1191 DACKNEY ELECTRONICS OREGON LAFAYETTE RADIO CORP. 343 E. Marke+ Street, Long Beach 5 L. D. HEATER MUSIC CO. Phone: 206 -491 139 West 2nd St., Plainfield 1001 S.W. Morrison, Portland 5 Phone: Plainfield 6-4718 FIGART'S SOUND UN -LTD. Phone: ATwater 8455 JOHN J. CASEY CO. 6320 Commodore Sleet Dr., Los Angeles 48 PENNSYLVANIA Phone: YO. 6218 856 Lincoln Place, Teaneck Phone: HI FIDELITY ELECTRONIC SOUND CORP. HENRY RADIO TE. 6-7761 NEW YORK 368 Montgomery Ave., Morion 11240 W. Olympic Blvd., Los Angeles 64 Phone: WE. 4- 3404 - GR. 3 -6767 Phone: BRadshow 2 -1440. ARisona 30518 COMMERCIAL SOUND SYSTEMS, INC. DANBY RADIO CORP. CUSTOM AUDIO I I N. Pearl St., Albany 7 19 South 2I st St., Philadelphia 3 413 29th St., Newport Beach BROOKLYN HI -Fl CENTER Phone: Rittenhouse 6 -5686 Phone: HArbor 1444 -W 2128 Caton Ave., Brooklyn RADIO ELECTRIC SERVICE CO. COAST ELECTRONIC SUPPLY CO. Phone: BUckminster 2 -5300 HIGH FIDELITY SOUND STUDIO TO "STAIRWAY SOUND" MILAU ELECTRONICS 709 Arch Street, Philadelphia 6 4166 Broadway, Oakland I I 7854 79t11 St., Glendale, L.I. Phone: LOmbord 3 -7390 Phone: OLympic 3 -7138 Phone: EVergreen 6 -1690 TEN CATE ASSOCIATES HIGH -FIDELITY HOUSE ISLAND RADIO DISTRIBUTORS, INC. 6128 Morton St., Philadelphia 44 536 S. Fair Oaks Ave., Pasadena I 412 Fulton Ave., Hempstead, L.I. Phone: GErmantown 8 -5448 Phone: RYan I -8171 Phone: IVanhoe 1 -8160 TENNESSEE SOUND SHOPPE ELECTRONIC SUPPLY CORP. BLUFF CITY DISTRIBUTING CO. 1910 16th St., Sacramento 14 41 -08 Greenpoint Ave., Long Island City 4 234 St., 2 Phone: Gllberi 3 -6660 Phone: Stillwell 6-2730 East Memphis Phone: 36 -4501 HOLLYWOOD HI -Fl SHOP ARROW AUDIO CENTER TEXAS 1839 E Street, San Bernardino 65 Cortland+ St., New York Phone: 83 -6101 Phone: Dlgby 9 -4714 CRABTREE'S CONNECTICUT FEDERATED PURCHASER 2608 Ross Avenue. Dallas Phone: STerling 5361 DAVID DEAN SMITH 66 Dey St., New York 262 Elm Street, New Haven Phone: Dlgby 9 -3050 TOWN NORTH MUSIC CORP. Phone: UNivesity 5 -1101 HARVEY RADIO COMPANY, INC. 5328 W. Lovers Lane, Dallas 9 Phone: ELmhurst6477 METTLER PIANO SHOWROOM 103 West 43rd St., New York 36 Wesifoir Center, Pos+ Rd., Westport Phone: JUdson 2 -1500 CLIFFORD HERRING SOUND EDUIPT. CO. Phone: Fairfield CLeorwater 9 -8391 LAFAYETTE RADIO CORP. W. Lancaster at Burnet Sis., Fart Worth 3 Phone: FO. 4877 GEORGIA 100 Sixth Ave., New York BAKER FIDELITY CORP. Phone: REctor 2-8600 GULF COAST ELECTRONICS 1140 Peachtree St., NE, Atlanta LEONARD RADIO, INC. 1 110 Winbern St., Houston 4 Phone: JUstin 1551 Phone: EMerson 2156 "AUDIO MART" ILLINOIS 69 Cortlandt St., New York 7 WASHINGTON ALLIED RADIO CORPORATION hone: CO. 7-0315 OLYMPIC ENGINEERING CO. 100 N. Western Ave.. Chicago 80 SUN RADIO & ELECTRONICS CORP. 2008 Westlake Ave., Seattle I Phone: HAymarket I -6800 650 Sixth Avenue, New York Phone: ELiot 4650 ELECTRONIC EXPEDITERS Phone: ORegon 5 -8600 UNIVERSITY HI -FI SHOP

THE -FI I HI CENTER SUTTON AUDIO SYSTEMS 41 I - University Way, Seattle 5 2909 W. Devon Ave., Chicago 30 970 First Avenue, New York 22 Phone: ME. 6000 Phone: RO. 4-8640 Phone: PL. 3-7224 WISCONSIN VOICE & VISION, INC. TERMINAL RADIO CORPORATION THE HI -Fl CENTER, INC.

53 E. Walton Place, I I Chicago 85 Cortlandt St.. New York 7 2630 No. Downer Ave., Milwaukee Phone: WHi+eholl 3-1166 II Phone: WOrth 4 -331 I Phone: WOodruff 4 -3344

IO HIGH FIDELITY MAGAZINE

www.americanradiohistory.com C U S T O M T E L E V I S I O N WITH . . .

easy installation tL

Whenever you want your television set built in - in Grandma's old breakfront, a room divider, the wall or custom installed in any manner - Fleetwood's the television system for you. It's designed for custom installation, designed for convenience, too. Full electronic remote tuning control lets you tune your set without ever leaving your chair.

The picture's extraordinary, too. It's the sharp. clear picture usually seen only on TV station monitors (also built by Fleetwood). Supplies audio power for your speaker and has high fidelity output to connect to your sound system.

Fleetwood readily adapts to U.H.F. Both remote (2 chassis) and non - remote Fleetwood units are available for 21 ", 24" and 27" picture tubes.

Fine Fleetwood performance is available in units starting at $199.50. Write for complete information and name of dealer nearest you.

,3 ,-.- 91E £LUTOOCL CUSTOM TELEVISION

Manufactured by CONRAC, INC., Dept. A, Glendora, California

aud;a -,dee

Export Division: Frazar & Hansen, Ltd., 301 Clay St., San Francisco 11, Calif. iuNE 1955 II

www.americanradiohistory.com NOTED WITH INTEREST Continued from page 9

Edisons At Work hitolila THE NEW As though in direct response to our "Edison" article, February issue, HIGH -QUALITY British Industries informs us that their Garrard changers are now equipped LOW -COST with a spring mounting assembly which allows the user easily co adjust FAIRCHILD 255 the level of the changer (each spring mounting) from the cop of the unit 25 WATT plate with an ordinary screwdriver. And Browning Laboratories has a new AM shortwave tuner ( See their POWER ad p. 115) which seems to be just AMPLIFIER what the doctor ordered. Columbia Records, 1954 Here's a mighty twin to Fairchild's wel: as lowest IM and harmonic dis- big -power 260 Professional Amplifier. tortion, resulting in exceptionally true We just received CBS's 1954 Annual The new 255 delivers a full 25 watts natural sound. Superbly engineered, Report, and in the 9 -page chapter de- of undistorted power for the finest the 255 has a controlled frequency voted to Columbia Records we ran sound, best reproduction! response of +0 to -IA db, from 20 across a few items which might inter- This is the ideal power amplifier for to 20,000 cps. est you. the average home or apartment. The You can always restore "new ampli- Their single LP "best- sellers" were Fairchild 255 gives you full power fier" performance to the Fairchild 255, orchestral, overwhelmingly: 1st place, from deepest bass to highest treble, even if tubes age unequally, by Fair- Kostelanetz' Carmen for Orchestra, and an instrument especially designed child's simple, exclusive distortion - and 4th place, his La Traviata for Or- for minimum transient distortion as cancelling balance control. chestra. Micropolous and the New York Philharmonic- Symphony took COMPACT: Only 6" x 9'h" base and 61/2" high znd place with Caucasian Sketches. IMPEDANCE: 100K INPUT 3rd, 6th, 7th, 8th, and loth places went POWER GAIN: 42db ro Ormandy and The Philadelphia Or- NIGH SENSITIVITY: Less than one volt input required for full output chestra for recordings of Capriccio and it's only so Espagnol, a Wagner program, Gaité teq Parisienne, Les Sylphides, Schehera- zade, and Ein Heldenleben, in that order. FAIRCHILD 260 E. Power Biggs' recording of works by Liszt and Reubke, recorded at 50 WATT Methuen, Mass., was the only solo work in the list and it rook 5th place. Ninth- ranking best- seller was the Prades Festival (1953) recording of the Schumann Concerto in A minor for Cello and Orchestra. Brubeck topped jazz record sales.

When you need full 50 watts of severe transients! And, thanks to power, get the Fairchild 260! Fairchild's exclusive distortion-cancel- News from Remington Records This high -power instrument offers ling balance control, you can always complete stability under all loading restore "new- amplifier" performance. As though $2.99 weren't a pretty conditions - won't ring with most darned decent price for a record, Rem- ington announces a reduction to $1.95 only $144.50 for their 12- inchers. In addition, all their records are now factory- sealed in polyethylene envelopes.

Apologia

Th'CHllß°EQV/PMENT The fine photograph of Wilhelm Furt- 10th AVENUE AND 154th STREET, WHITESTONE, NEW YORK wängler used in our April issue was by

Continued ont page 14

12 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com l// /V74?lZÇti mid dialtata div`! r .i i LL / !. "Which e - i -Kut urntabl e y

the RONDINE, the RONDINE Deluxe or the RONDINE Jr. ?"

ln previous years, the question was: "Shall I buy a turntable Select the Rek -O -Kut turntable suitable or a record changer ?" And about eight months ago we released for your particular needs. For, whether you choose the Rondine, the Rondine an advertised statement in answer to this question. Thus far, Deluxe or Rondine Jr., you can expect more than 40,000 people have requested reprint copies of rugged, reliable construction and pre- this statement.* cision performance. You can expect constant, steady motion - freedom from wow. This year, we presented the Rondine The RONDINE 13- speed) priced at and flutter - and you can be sure of smooth, quiet operation. line in Chicago. At the very first show- $69.95 is driven by a specially built ing we knew that we bad passed the 4 -pole induction motor. Vibration and So certain are we that the speeds, once severest test. The acclaim was over- noise have been effectively reduced set, are critically accurate that we make no whelming. It exceeded our wildest through the use of selected motor bear- provision for external adjustments by you except for occasional mainte- hopes and expectations. And the pat- ings, dynamically balanced rotors and - nance. And we include a built -in strobe tern has since been the same New perfectly concentric drive pulleys. Each ... disc capable of revealing as little as motor is individually tested for speed York ... Boston ... everywhere. Now 3iotli of 1% speed discrepancy. We under load conditions, and permanent the one question that stands out is: know of no manufacturer who places compensations arc introduced for accu- "Which shall I choose: the Rondine greater reliance upon the dependability at $69.95, the Rondine Deluxe at rate timing. Rumble content is so low of his product. that in a system capable of reproducing S119.95 or the Rondine Jr. at $49.95 ?" Basically, this is all the result of special- 40 cycles, it can be detected only with ized experience gained over many years appreciable bass boost. The Rondine The RONDINE Deluxe (3- speed) in the service of recording and broad- meets the requirements most high priced at $119.95 is powered by a hys- of cast studios. It is this store of engineer- quality teresis motor. The speed of a hysteresis home systems. ing 'know -how' which bas enabled us motor is synchronous with the fre- to develop a completely simplified The RONDINE Jr. f2- speed) priced at quency of the line current. Like the mechanics in turntable design; to $49.95 is driven by the same type of motor an (which it re- streamline every operation with no more of electric clock motor as the Rondine, and what has sembles in principle only) the speed is parts than are absolutely essential for been said for the Rondine is equally efficient, functional performance. These constant and accurate to the split applicable here. Where the user can dis- efforts have been repaid in enabling us second. It has the least vibration of any pense with the 78 rpm record speed, the to achieve greater noise reduction, easier motor, and therefore, the least rumble. Rondine Jr. represents true economy - maintenance and added years of useful The Rondine Deluxe represents the very without the slightest sacrifice in quality service. finest equipment available. It is the in- over the Rondine. It is the ideal home No matter what turntable or record dicated choice where the system and system turntable where there is no ac- changer you now use, a Rek -O -Kut speaker with which it is to be used are cumulated 78 rpm library, and where Rondine - any one of the three - will capable of reproducing low frequencies future record purchases will be limited make a marked improvement in the per- to below 40 cycles. to the modern 331/4 and 45 rpm types. formance of your high fidelity system.

:*You may obtain a reprini of: "Shall REK -O -KUT COMPANY I Buy a Turntable or Record Makers of Pine Recording and Playback E4yuipment Changer ? ", plus complete Rondine Engineered for the Studio Designed for the Home specifications, by VF -2 writing Dept, 38 -01 Queens Boulevard, Long Island City 1, N. Y.

JUNE r955 13

www.americanradiohistory.com NOTED WITH INTEREST THE EXCEPTION TO THE RULE Continued from page r2 Roger Hauert, of Paris. We deeply Weathers' regret chat credit to that artist was in- advertently omitted.

Tape (r) Three- year -old World Tape Pals is due a brisk pat on the back for their achievements in providing a means for people throughout the world to exchange rapes. They scarred with a form letter to newspapers in the main cities in every country which resulted in obtaining twenty members in six countries. Their roster now lists nearly one thousand members in forty -six countries. If you're interested in knowing more about chis club write ro them at Box 9211. Dallas, Tex.

Tape (a)

Ever have a hankering co sit back and N OT JL(S/ anther SPEAKER ! Il have music without having to listen to is an integrated acoustical system capa- it? . .. for hours on end without even ble of astounding performance. 25- minute plops and crashes as records A Decorator's delight and an Audiophile's drop? Background music on cape is the answer, and Electrosonic Special- come dream true. ties, 723o Clinton Road, Upper Darby Solid mahogany under all finished surfaces I, Pa., has it - in the form of Fideli- by master craftsmen. vox Tapes, which feature pipe organ music played by Robert Elmore. In 2, Full range natural reproduction of sound ; 4, 6, and 8 -hour sections, dual crack. "lows" which you feel. Drop them a line for more informa- All engineered to produce extraordinary tion. presence, clean dynamics and transients, (3) voice reproduction with startling real- Tape ism. Everyone heard about the Recorded Tape -of- the -Month Club? Half -hour, clone All by the same technical magic 7 -inch reel, recorded ac 71/2 ¡Ps single which produced the world's finest phono- track, for $5.95? You pay a $2.co graph pickup, the famous WEATHERS membership fee which brings you six FM 1 -gram pickup. monthly preview tapes; you have co order a minimum of two regular reels Try it in your home. It weighs only 45 lbs. and per six -month period; if you order this package of sound realism is packed into a three, you get a bonus reel free. Or, as space of 8 3/4" deep, 32" long and 26" high! an introduction, send Soc for one Pre- view tape; no obligation. Write them The price -Audiophile Net $135.00 Write for full information at Radio City Station Box 195, New York City.

Tape (4) Anyone interested in a rape-recorded "Story of Jujitsu "? It has just been made available by the Institute of Inte- gration (Pyramid, Nev.), which is something we don't understand since 66 E. Gloucester Pike, Barrington, N. J. we thought jujirsu was an orderly (sometimes disorderly) method of 401 Broadway, New York 13, N. Y. physical disintegration. Anyway, the Continued on page 16

14 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ISince 1935 the Garrard has been sold and serviced throughout the United States.

It is recognizod every where for superior performance, ruggedness and reliability.

. i I p11RÙll,,' CRpFZSMA C SERVICEEAZURES. III'fII ?RICE AND Ihts ` _, IIIIII II It J IIIi chan7t l ,`Ilt tcotdéNhY wá t on you ñgC1y h'a{ wod s No

"RIGHTS" and "WRONGS" of record changer design (Important In protectleg your records).

RIGHT: Garrard Precision Pusher Platform... be only record changing device that Insures positive, gentle handling of records with standard center toles.

WRONG:

"Overhead Bridges" (es on ordinary changers) which may damage or dislodge records a.ccidentally.

RIGHT: :Gafford removable and Interchangeable

spindles ... Emily Inserted, accommodate WWI records, *II sues, as they wore made to be played; pull out mstantty to facilitate removal or Records from turntable

WRONG: ged Spindles (as on ordinary changers)... ich require ripping records upwards over talc spindle aroleetior.s after playing

ther Garrard features include: 4 per water eo rumble, no Induced hum heavy drive daft ato wows, oo waves ',sighted turntable- eel action, constant spend meting switch silence between scolds silent eatowatk top -shuts off after last record; no disturbing plop" easy styles weight adJustssaot -pro- Kts Ion.Piaying records balanced-000atad tae arm -true tangent tracking universal shell fits all popular high fidelity cartridges Finest Record Chai ger

A Quality Endorsed Product of the BRITISH INDUSTRIES GROUP, which also includes WRITE FOR A COPY OF WHARFEDALE LOUDSPEAKERS ... designed and built under the personal super- I"SOUND CRAFTSMANSHIP" vision of G. A. Briggs...world renowned authority on sound. Whorfeaola Loudspeakers Mail coupon today for a complimentary offer the unique construction feature of cloth suspension -a felt buffer between speaker 16 Dome and cone -and cast chassis. copy of "Sound Craftsmanship" pages illustrating and detcribing all LEAK TL /10 -High fidelity AMPLIFIER complete with "Point One" REMOTE CON- products of the British Industries Group. TROL PREAMPLIFIER. Most economicalonom cal amplifier combination ever built by Look. INDUSTRIES CORP., Dept. HF6 -5 Harmonic distortion only one tenth 1 of ona percent. Insures flawless reproduction. BRITISH EXCLUSIVE FEATURE) Convenient rope recorder jacks (input and output) on front panel 164 Duane Street for instantaneous usel New York 13, N. Y. R -J LOUDSPEAKER ENCLOSURES- "Monimum Bass- Minimum Space" Hearing Please send "Sound Craftsmanship" te: "s believing) R -1 Speaker Enclosures have established an entirely new trend in audio design with thrilling performance from any loudspeoker. Bookshelf and Floor Models. Name THE R -J WHARFEDALE... First and only complete R 1 unit) Two great products - the R1 single shell ENCLOSURE and o 'ocelot WHARFEDALE SPEAKER have been Address brilliantly matched in this ... the definitive combination among compact high performance speaker,. City. Zane State__,

www.americanradiohistory.com NOTED WITH INTEREST Continued from page 14

Institute has put a whole bunch of lectures onto tape. If you get the one on jujitsu (No. 4), you'd better follow up with No. ro, "The Parts of Man," then No. 34, "The Four Degrees of Integration," thence quickly to No. 6, "The Fully Integrated Man," and wind up catching your breath with No. 37, "The Second Silence." Thais just five of the forty taped lectures available from the Institute. If you're interested, write for their list and price information.

CANADA'S FIRST HIGH- FIDELITY RADIO, Jazz from Belcourt PHONOGRAPH, RECORD AND TELEVISION CENTRE Once again the good word is in from ImmEComplete stock of Stromberg- Carlson, Fisher, Hatlicrafters, Newport, R. I., that plans are under- Concertone, Brociner, Scott, Freed -Eisemann, Sonotone, Electro- Voice, way for a summer jazz festival. RCA Victor and General Electric Hi -Fi equipment. Naturally, it will be bigger and better Prompt attention to mail orders - We ship from coast to coast than last year's wbich, according to in Canada, aircargo, express or freight. one of our men who attended, was pretty good. This year's festivities Custom Sound and Vision Ltd. will cake place July r5, t6, and 17, on 390 Eglinton West Telephone Hudson 9-21.17 Toronto, Ontario

HERE IS TELEVISION FOR YOUR Belcourt HIGH FIDELITY the grounds of "Be.'court," one of the largest of Newport's renowned man- SOUND SYSTEM sions, large enough, in fact, to accommodate io,000 people. Some 150 jazz- Designed and custom -built to operate men will be on hand including Louis through your high fidelity amplifier Armstrong, Count Basie, Duke Elling- and speaker system (or independently, ton, Woody Herman, The Modern if you wish). In this way, you enjoy Jazz Quartet, Chet Baker, Louis Bell - the VIDEO quality of Tech -Master's son, Errol Garner, Coleman Hawkins, advanced 630 -type design and the Gerry Mulligan, and Lester Young. AUDIO quality of your own high Tickets are being sold now for re- fidelity system. served seats only. If anyone wants more information, a letter addressed to The Newport Jazz Festiva], Bel- court, Newport, R. I., should bring the GOLD MEDAL answers. TV CHASSIS TECH.MASTER Hi -Fi Concert Designed for use with Home High Fidelity Systems If Emory Cook will kindly allow us the use of his trade name we would Illustrated Brothure Upon Request like ro report on what is definitely a TECH- MASTER CORPORATION "Sound of Our Time." Down in Ow- 75 Front Street, Brooklyn 1, N. Y. ing Mills, Md., the Chestnut Ridge Fire Protection Assn., in an attempt to raise funds for community fue fighting Continued cn page r8

16 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 4'' HARVEY the House of Audio The NEW REK -O MAGNECORD -KUT M81 Series

3- Speed, 12 -inch Portable PRECISION TURNTABLES TAPE RECORDER The basic lope Transport mechanism Represented to be the result of more thon 5 years study, these new record operates or 15 and 7y," /sec. A switch playback units a offered as the closest to perfection in approach turntable is used for speed selection. Other con- like Rek and performance. oll -O -Kul units, the turntable it cost Aluminum trols are push -button operated. Accom- arts no magnetic pull on corlridges. modoles reels up to 101/, ". Frequency The following new features have been included: single selector knob for response of 15" /sec. extends from ¿0- setting speed: 331/2, .15 and 78 rpm. built-in retractable hub for 45 rpm 15,000 cycles -2:24b. Employs 3 heads: erase, record and playback. In records-requires no external adopter permanently affixed 3 -speed strobe 'record' position ployback hood serves as monitor. discs for instantaneous speed checking neon pilot light at 'on /off' indicator Separate record and playback amplifiers are available thus permitting simul' special corkneoprene mot material to eliminate retard slippage re[ sandout monitoring from lope. Record amplifier has high impedance, unbol- tongulor deck to fil conventional record changer boards. ced microphone input and unbalanced bridge input. Balanced 50 ohm Iwo identical Rondine models are available which differ only in the type mike input and bolancod bridge input available through use of optional of motor employed. plug'in transformer. Meter is provided for bias, record and playback. Has cathode follower output. Optional plug -in transformer provides balanced Rondine Deluee Model 11.12H hysteresis synchronen motor_ $11 995 600 ohm output. Rondine Medal 8 -12 with ¿pole induction motor.... 79.95 M8 1 -A Recorder Mechanism in portable case 563500 M81 -AX Some os above but leu ran, for rack mounting_._..._... 575.00 New 91X1552 Cose only for recorder mechonism (with blower assembly...... -...... __ .._.... _... 62.50 M81 -C Record /Playback Amplifier in portable cote ...... 2465.00 M81 -CX Same os above but leu rose, for rack mounting .... 225.00 ELECTRO-SON IC 81050 Case only for Record /Playback Amplifies__... __.. 28.00 M81 -AC Recorder Mechanism and Amplifier combination In Concert Series portable parrying cos ¿. 870.00 Electro Dynamic New PHONO CARTRIDGE

Designed for use only in high quality pickup arms, the Concert Series Car- tridge provides performance in home systems equolled only by the Professional PILOT unit. As with other ESL cortridges, the Concert Series is built and D'Arsonvol moving coil. Dynamic moss has been kept to .001 grams , with AM -FM TUNER unusually high compliance. Frequency response extends from 16 to beyond 30,1000 cycles. Inrermodulption distortion is immeasurably small. Because of the low output voltage and impedance, a matching step -up transformer may be required. The output of this transformer feeds directly into the A newly designed broadcast tuner feo- magnetic phono input of any conventional preampequolizer. PILOTUNER ing the illuminated Micro -Meter for in tuning. FM ESL Concert Series diamond stylus only .53595 greater ease and accuracy Model AF -850 Section employs Armstrong dual cascade, Specify .007" or .003 ". limiter discriminator circuit. Sensitivity it Matching Transformer Assembly Model ESL 201M- consists of an ESl better than 1,5 us for 20db quieting. Micro -Meter tuning indicator o 201 transformer mounted on moll chassis with input jack end output ploys o laboratory-sensitive m meter, AFC h continuously variable shielded cable with pin plug 11.00 (torn(to complete cutoff to maximum. Section employs twostege IF amplifier with selector for either mAMsharp or broadband AM, plus a 1O1rc cutoff filler. Tuner hos dual cathode follower output permitting up to 100 Deluxe 3 -Way feet of interconnecting cable. Power supply is self -contained. n.: 1 Comploto with tubes_...... _...._._ .....___...__...... _..._..-.._. j _.. Speaker System r,ca<,r 2, WHARFEDALE Loudspeakers The New GRAY RIVEREDGE Viscous -Damped 'Briggs' Corner Enclosure High Fidelity ARM 108C An unusual reproducer system employ Model ing recognized high quality components. Consists of Wharfedale WI 5/CS Viscous fluid suspension provides outomatic regulation of both the verticol 15" 20 watt woofer, Wharfedale Super and lateral movements of the arm. Improves tracking and minimizeses groove 8 /CS /Al 8" mid -ronge loud,pooker, jumping and skidding. Protects records because arm will not drop suddenly. the Super 5 cone and Wharfedale Mechoncol resonance is virtually eliminated. Simple stidein feature per- by means o 3- tweeter, eleclricolly' isolated and balanced of Wharfedole mits inslont interchange of cartridges. Handles record, up to 16" diameter. speaker Crossover Network. Has adju,rments for viscosity and stylus pressure. is with specuficolionc of Briggs, The enclosure built in accordance acoustical Model 108C ...... __..-...... _...... ------lomous British designer. Entire front is sand filled for added stiffness and - °_..__..--- -..__.... ------$3995 to eliminate spurious resonances. The pettormonce of this system will be o distinct revelation. Efficient load- HARVEY SHIPS EVERYWHERE. Use this handy coupon ing gives clean fundamentals to below 35 cycles Use of similar material (cones) all three speakers provides smooth response up to the 20,000 cycle limlit of the tweeter. Finishes available: Mohogany, Walnut, Fruit HARVEY RADIO CO., Dep, HF -6, 103 W.43rd 5t., Now York 36, N.Y. Wood, Blonde on Birch and Maple veneers. Deluxe 3 -Way Speaker System complete with speakers, Please ship the following crossover, enclosure and soeciolly treated Bond 525950

I enclose check money order for ..... including estlmated N.Y.0 to without notice $--- ._._ NOTE: Prices Net, F.O.B.. Sublect change shipping charges. Unused surplus will be refunded. New FREE High Fidelity Catalog ESTABLISHED 1927 Send: Details of your TIME PAYMENT PLAN RADIO COMPANY, INC. HARVEY - _...... _. ....,...... ,.. _.. NAME. - -_.. '103 W. 43rd Street, New York 36 JU 2 -1500 ADDRESS L

JUNE 1955 17

www.americanradiohistory.com NOTED WITH INTEREST Continued from page 76 CORNER HORN SYSTEM equipment, sponsored a High Fidelity LOUDSPEAKER Symphony Concert. Tickets were sold (a dollar per) and programs were printed saine as for a live concert performance. They used no super -duper dozen- loud -speaker array wich profes- ... the finest creation of Paul W. Klipsch, sional rape machinery, but a simple. fabricated individually under conventional, home -type system -amplifier, turntable, and speaker-system. lais personal supervision. all housed in cabinets pleasing co the eye (so as to "show that hi -fi can have eye as well as ear appeal "). This seems to us to be a very practical, well -thought -out program and possibly a precedent for similar groups in

small communities faced with an age - old problem - raising money.

Hi -Fi Clubs

Some of you readers who have success - fully organized local audio clubs could do us a considerable favor if you would give a helping hand to others who want to starr clubs in their respective cities. Just recently we've received letters from three would -be club start- ers asking for such information as how to contact people who might be interested, what types of programs should be arranged so as to interest the greatest number, ecc. True, their problems would be of local nature co some degree, but if you could outline your original plans for getting started and how you overcame particular obstacles, it would be of great help to them. The three people we have in mind at present are: L. P. Resweber, 300 West Walnut, Bastrop, La. (wants to organize in Monroe, Li.); Joe Schwartz, 794o Temple Rd., Philadel- phia 33, Pa.; and C. H. Marino, 2299 Rochester Rd., Pittsburgh 37, Pa. As well as hearing from those who might have suggestions or workable outlines for scarring a new club (and we'd like co have a carbon copy), these gentlemen would also appreciate hearing from those in their respective com- Write for the trame of your munities, or from nearby, who would Klipschorn distributor arra our be interested in participating in an latest literature on the Klipscllorn audio club. and Shorthorn speaker systems. Schwann Has Moved

Those of you who get your Schwann KLIPSCH AND ASSOCIATES Long Playing Record Catalogues direct HOPE, ARKANSAS Continued on page 20

rEtEPttONCS PRospotl 7.3305 PRospect 7,53b PRo.pcct %i575 PRospect 7.55t4 www.americanradiohistory.com -.4

for greatest enjoyment... biggest dollar value! Let the thrill of true, life -like reproduction of your favorite records be the guide to selecting your high fidelity equipment. For supreme listening pleasure, your REGENCY dealer has assembled a special collection of finest individual components ... custom mounted in beautiful REGENCY cabinets. Ask to hear this ensemble. You'll understand better why true fidelity of tone depends upon these two important points: 1. High fidelity requires the finest possible components, suitably matched. 2. High fidelity must have the speaker separate. Any system with amplifier, changer and speaker in the same cabinet cannot produce true fidelity of tone over the full audible range, because of necessary compromise in amplifier design. At any price you wish to pay- beginning around $185.00 -you can get a REGENCY customized system. Compare any "all -in- one -cabinet" set with a comparably priced RECENCY customized system. You'll agree that- dollar- TYPICAL CUSTOMIZED SYSTEM for- dollar -REGENCY customized high fidelity is your best investment. Components Illustrated here, for example, can be se- i lected for installation in REGENCY -designed custom xobl Write for name of nearest dealer. net. Cost given is approximate retail price.

REGENCY -designed Cabinet $ 55.95 REGENCY Amplifier HFBO 69.95

High Fidelity 3 -Speed Record Changer . . 51.75 Two -way Speaker with Enclosure 62.50 REGENCY DIVISION, I.D.E.A., Inc. Approximate Retail price of complete 7900 PENDLETON PIKE. INDIANAPOLIS 26, INDIANA Customised High Fidelity System . . . . $240.15 Makers of World's Finf All.Tronsirlor Radio www.americanradiohistory.com HEATHKIT NOTED WITH INTEREST JI Continued from page t 8 -U,Q' _ " - "BUILD IT YOURSELF" from the publisher will be interested to know that they've moved co a new, and from the size of their catalogue amplifier we would guess larger, location: 137 Newbury St, Boston, Mass.

kits McIntosh's (same, old) Contest By now I suppose that any of you who 'featliiCt entered the "Name the McIntosh Cir- WILIIAMSON TYPE {A CROSOUND cuit" contest have either heard that TRANSFORMER) you won one of their six grand prizes, This dual -chassis high fidelity graphiter kit pro- or you've decided that the whole thing vides installation flexi- was a big hoax, you're bility. It features the or still waiting Acroeotntd "ultra-linear" very, very patiently for the list of win- output Ounsfortner, and has a frequency response ners to appear. To you in the last two within L db from l0 em in 100,000 cps. Harmonic di/tordnn and iutermodulatiott distortion are leas than .5.. nt 5 watts, pcaregories we now bring you the and maximum power output is well over 20 watts. A truly outstanding performer. SV -3M tvuùlts of main amtJifer -and (bad) word: power supply- Shim. Wt. 20 lbs.. Exprene$49.75 tsc Prize: A. B. Kilburn, Chicago; Gtr Model W -3 consists of W -3M plue WA-P2 Preamplifier liet- 2nd: John Barberie, Caldwell, N. J.; this page. Shpg. Wt. 37 lbs., F:xprets$69.50 YOURSELF enlonl 3rd: Frank Groeneveld, Jr., Lansing, leaelrl¢!.t Mich.; 4th: William C. Shultz, Mil- waukee, Wis.; Al- WILLIAMSON TYPE 5th: O. R. Seidner, ieettltteit Here is the complete (CHICAGO TRANSFORMER) hambra, Calif.; 6th: John F. Cummins, HIGH FIDELITY preamplifier. Designed Mass. 'specifically for use with This hi -fi amplifier is eun- Worcester, PREAMPLIFIER the Williamson Ty po cir- strneted on a single We still don't know what the win- cuit, it provides equalisa- ehuats, thereby affecting tion for 1.P. 1t1AA, Are, a redue :ion in cwt. Uses ning names for the circuit are! and early 79 records, 5 new Ch.eago high fidelity switch- selected inputs output transformer and witb individually preset provides the Name high performance as Model W -3 lifted above. level controls, separate An unbeatable dollar value. The lowest price ever quoted for a Back Copies Last and treble tone cnn- convicts. Williamson Type Amplifier circuit. MODEL WA- P2 froh. apecial hula control, Model W-1M consists of main amplifier and power supply on eta Outstanding in per- single chassis. Mpg. Wt. 2S ibn., Faprese$39.75 Pat Neels, 1722 Second Ave., New for mar a and most attractive in appearance. Fulfills every requirement for true high fidelity perfornnnte. Motel F-1 consists of W-1M plus WA -P2 Pm York 28, will sell his set, complete ro Snug. Wt. 716%. $19.75 amplifier. Shpg. IVt. 35 the., Express only dare, for $4o prepaid postage. ea.tl'iezt D. E. McVitrie, 647 Academy Rd., WILLIAMSON TYPE Winnipeg, Manitoba, Canada, has 25 WATT AMPLIFIER complete set for sale. (PEERLESS TRANSFORMER) COMBINATION W'SM and WA -P2 Charles Conrard, 418 Four Mile Rd., This latest and most advanced lieenhkit hi -ft amplifier has all the extras so imMKta t to the Racine, Wis., will trade copies Nos. 1 super-critical listener. Featuring ICT -66 tubes, special Peerless output transformer, unit new cir- through 23 for a magnetic LP cart- cuit desiggn, it offers brilliant performance by any standard. ridge. Bass response is extended more than a full S. octave below other Heelhkit Williamson circuits, F. Salerno, 2212 Hudson Blvd., along with higher power output. reduced inter- Jersey City, N. J., has complete mod elation and harmonic distortion. Mt ter phase set aloft characteristics and extended high frequency through February 1955 for sale. response. A new type !silencing circuit makes balancing easier, and at the some time permits a William A. Murphy, 1227 Cedar closer "dynamic" balance between tubes. Aside fom these outstanding engineering features, the \V -5 manifests new physical design as well A protective cover fits over Rd., Ambler, Pa., will ship his com- all above-chassis components, forminga moat attractive assembly -suitable for mounting m or out of a rsbùict, ,111 connectors are brought out to the front chassis apron for convenience of conncetion. plete sec express collect to highest Model W-551 consists of twin Amplifier and power supply on single chassis with prnhective cover. Shpg. Wt. 31 the $ bidder. Express only.., 59.75 Model W-5 consists of W -LM. plus WA-P2 Preamplifier shown ou this page. Shpg. Wt. 39 lbs. Ralph Libbey, 1222 33rd St., N. W., Express only $79.50 Washington 7, D. C., has a complete Set - minus "Records in Review" - P,QZGii t for highest bidder. HIGH FIDELITY Jack Katzen, rc3o E. Phil -Ellena 20 WATT AMPLIFIER Sr., Philadelphia 19, Pa., complete sec trade This pxuticuhr 20 watt Amplifier coin- to for a piece of hi -fi equipment Lines high fidelity with economy. Single of comparable value, preferably ampli- chassis construction provider preamplifier, °' main amplifier and tower supply function. MODEL A -96 A SUBSIDIARY OF MYSTR0IA, trlC. fier or speaker. True hi-fi performance ± 1 db, 20 cps to 24000 tie. Preamplifier affords .1 swmteb-selectel compensated inputs.l'ush- Robert Couchman, Jr., 8r Pesante pull 61.6 tubes used for'surpruingly clean output signal with excellent response characteristics and adequate power reserve. Full tone content actino. Canyon Rd., Salinas, Calif., copies 1 Extremely low cost for roil high fidelity performance. Shpg. We. 19 lfx. through 8, and to, for sale. Lloyd C. McGowan, Jr., Box 3732, 20114.H7FOR FREE CATALOG AND SCHEMATICS Route 1, Imperial, Mo., copies 1 -15.

20 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com One of a series on what makes one magnetic recording tape better than another

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PLUS 50 Magnetic Re- in all of its varied subtleties. And Soundcraft Plus 50 adds cording Tape- newest in the Plus 50's uniform output, this special bonus : Its "Mylar" famous Soundcraft line - inherently low signal -to -noise base assures virtually a lifetime brings you a combination of ratio, its 50% extra playing of smooth, trouble -free service superior qualities that no other time, added strength and flexi- at no more cost per foot than tape possesses. Qualities that bility ... its dimensional stabil- other quality tapes. Like all let you capture and hear the ity in any climate. These are Soundcraft products, Plus 50 true sense of violin strings, all the special qualities that make is engineered and made by the brilliance of brass, the col- it the choice of professionals tape recording specialists. Get or of wood winds ... that faith- and amateurs, alike, wherever some Soundcraft Plus 50 Tape fully record the human voice tape perfection is required. at your dealer's today. FOR EVERY SOUND REASON

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_JUNE 1955 21

www.americanradiohistory.com SIR: A correspondent of your magazine, Mr. G. Fred, scolds you for giving a forename to a pianist [April x955]. I do not think chat the magazine does this: as a contributor I have done it and am still awaiting Mr. Solomon's thanks for giving him status. This pianist has existed for some years in public as Solomon tout court. Since a surname alone, in Anglo- American tradition, distinguishes either the uniquely eminent (Wash- ington, Cromwell), a mountebank, or SYSTEMATIC a clown, I grieved for Mr. Solomon, who is none of those, and supplied him with identification among the five thousand musicians with the same last &POWTH name, who might have thought the pianist presumptuous, almost as if he called himself The Solomon. Start with Quality - Ar first I dubbed him Thersites, be- add Power and Realism as you wish. cause no one outside of Troilus and With Bozaks you will enjoy, at every step, Cressida seemed to use it, but after the greatest listening ease dollar can buy. your someone had told rte that Cumer was Build with Bozak. his surname I restored those syllables The three matched drivers CO him. I put them before the Solo- -Bass, Mid -Range and Treble - combine smoothly into two -way and three -way mon because no one has ever heard of speaker systems from the modest B -207A to the a pianist named Clutter. supreme B -310, each peerless in its class. Now Solomon is a tremendous name You can build Power and Realism with Bozak Quality, pre -erupted by history for a King who without the heartaches of scrapping "outgrown" wrote Proverbs and a fine erotic poem. speakers. the tedious matching and balancing of The name belongs to that king. I incompatible units, and the fruitless tuning a of should feel like a fool and a thief if I resonant enclosure to reduce bass deficiency. stole it from the unique king to hand The recommended infinite baffling of Bozak Speakers over to a piano player with a publicity preserves their vanishingly-low level of distortion, perfecticn of transient response and unequalled man. balance -over the widest usable frequency and In transactions involving legal paper dynamic ranges available today. the poor devil will need a specific Bozak Speaker Systems stand unchallenged for identity - if he marries, or inherits, or appears before a Bow Street magis- The Very Best in Sound, trace for speeding an automobile or an arpeggio. I have made his identity specific for such emergencies, and it n'iusc serve until he himself supplies THE R. T. BOZAK COMPANY something grander, and something BOZAK i appropriate. (fit el5(.4.:4 C. G. Burke PLANT AT: WEST POST. ROAD NORWALK, CONN. Sm: Export Office: Elctranics Monurocturre Export Co., Hid:1,6D, N.V. MAIL ADDRESS: P.O. BOX 966 DARIEN, CONN. I would like to reply to some of the letters and queries which have come to Continued on page 25

22 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com NOW supreme fidelity costs 1/9 as much

. : - ' 1 Ì. 46 N

AMPEX 600 PORTABLE MAGNETIC TAPE RECORDER

40 to 15,000 cycles response at 71/2 in /sec. Over 55 db. signal -to -noise rotio Flutter and wow under 0.25% rms. Today the Ampex 600 is a tape recorder in a class by itself. Separate record and playback heads to permit At $545 it provides a degree of fidelity that is beyond reproach monitoring while recording - and it is a modest machine that weighs only 28 pounds. Built -in mixing between microphone and line It is a professional recorder priced within reach of thousands Prices - $498 unmounted, $545 in portable case of critical music listeners and tape recording enthusiasts. AMPEX 620 PORTARLE AMPLIFIE ÍEAKEI this same class of fidelity could only be had by buying A unit that not only matches the 600 in an Ampex 200 for $5200. It was worth its price because it companion portability and appearance, but also in quality as was the only thing of its kind. It was the first commercial re- well. Price is 5149.50 in portable cose. corder that made radio transcriptions sound like live broadcasts. But the Ampex 200 weighed 250 pounds. Few, if any, were bought for home use.

The man who has seen it all has this to say:

When I bought the first Ampex Model 200, folks thought I was a goner, springing for $5200.00. But it was a bargain - transcribing my radio program without losing any of the freshness of a live appearance. Some of my records came off the

same tape. I could be three places at once. But now here's an

Ampex I can carry with one hand. Records and reproduces

perfectly, but costs little compared with the first one. So I hove

a commercial recording studio wherever I roam."

For full information, write today fo Dept. F -18

AMPEX dgnatu,e of ge,ectto,T ;n U' ou,id 934 CHARTER STREET REDWOOD CITY, CALIFORNIA CORPORATION Distributors in principal cities (see your local telephone directory under "Recording Equipment-). Canadian distribution by Canadian General Electric Company.

JUNI: 1955 23

www.americanradiohistory.com It Has Everythin g t.. Beauty - Operating Convenience - Quiet Performance

Quiet, constant -speed operation is obtained with a precision helical gear drive. This was developed for H. H. SCOTT by international authority Professor Earle Buckingham of M. I. T., designer of the drive mechanism for the Mt. Palomar 200 inch telescope.

FREE TECHNICAL THE NEW BULLETIN HF 655

STROBOSCOPIC TURNTABLE The 710 -A incorporates major new contributions to turntable engineering. These include: dual-stage mechanical and torsional filtering. expanded -scale optical stroboscope. Dynacone vernier speed drive, integral connection of pickup mounting-board to turntable bearings. Revolutionary NEW design 1. Expanded scale optical stroboscope, with electronic peak pulsing for greatest clarity, is visible even with record in place for exact speed control at all times. 2. Precision helical drive gears, of hardened steel and nylon, fut smooth silent flow of power to turntable. Gears housed in an oil -filled transmission for quiet trouble -free operation. 3. High- compliance torsional filtering reduces annoying speed variations, such as wow and flutter, to less than 0.1 %, far below audibility. 4. Dual -stage mechanical filtering between motor and turn- b. " Dynacone" speed drive with special long -life neoprene table reduces motor rumble to more than 60 db below record- idlers permits separate adjustments of 331/2, 45, and 78 rpm ing ]cvcl, an outstanding engineering accomplishment. speeds by ±5% to match the pitch of accompanying musical instruments. Convenient push -button selection of each speed 5. Integral pickup -arm mounting board, accomodating all and OFF position. leading pickup arms. is rigidly connected to turntable bearings by a heavy aluminum casting. This eliminates acoustic feed- 7. Heavy -duty induction motor, with dynamically balanced - back and other undesirable vibration differences between pick- rotor and extremely low external hum field, designed specially up arm and turntable. for this turntable. steel Prices 710.A Turntable, finished in stainless with mahogany pickuparm mounting board. $702.00'Net `West Coast Prices: 710 -A $107.70 710 -X1 Hand- fnished modern mahogany base for convenient, attractive installation: $14.95' Nef 710 -X1 $75.70 H. H. SCOTT inc. 385 PUTNAM AVENUE, CAMBRIDGE 39, MASSACHUSETTS HIGH FIDELITY MAGAZINE

www.americanradiohistory.com LETTERS Continued from page 22 me after the publication of " Toscanini brim: on Records" [Dec. 1944, Jan., Feb. 1955). new features... ne e There was one (and I am happy to say only one) slip in the dates: the Rhine Journey recording on LM 1157 for 1955 is the 1949 version also found in LM Ier1911111Wei.v.,t,ur 7020, and the 1941 recording released in M 853 was never transferred. The reason for this faux pas is that on my earlier machine the I.M 1 157 recording sounded rather unpleasant and the "shire' reprinted the notes from the old M 853 album liner. I was thus prepared to succumb to the ambiguity in Victor's correspondence on the subject. (Usually I caught such slips in my cross -checking.) To top it off, LM 1157 and LM 6020, although the same recording, have different timings: LM CRESTWOOD new model 404 offers high fidelity response. t 157 being eight seconds slower than (30 to 15,000 cycles at 71/2" per second tape speed.) Gives LM 6020. This clinched the argument you crystal clear performance - free from wow. hum and distortion combined for me, and not until after publication, ... with model 402 power amplifier and speaker makes a two -case portable package ... fits nicely and exchanges of letters with Richard into your hi -fi system and your budget, too! Mohr of Victor and Igor Kipnis of New York (who pursued this issue in an admirable fashion) did I realize Exceptional fidelity (50 to 10,000 cycles at that the two recordings were the same. 71/2" per second tape speed) is featured in The mystery now is, how can the same the new CRESTWOOD 304. New tape transport mechanism and professional recording time out ar type re- to:59 (I.M cording heads make the 304 one of the best 1157) and 10:51 (LM 6020)? Mohr values ever offered in a tape recorder ... doesn't know. I attribute is to the includes internal speaker, microphone, ra- difference in grooving (but am uncon- dio and TV connection cable. vinced), and I trust you will award some handsome prize CO the chap who comes up with the answer. As for the other letters, nice and The new CRESTWOOD consoles otherwise, I can only repeat that the move tape recording enjoyment into dares given are correct, and in the a permanent and prominent position IValdteu f el (say, on LRY 9000 what in your living room. den or recreation room ready to record or you are hearing is 1945 sound miracu- ... instantly reproduce. Extended range dynamic lously updated. Similarly, excepting speakers - fully baffled 'for complete the 1939 version never released in the range reproduction - give you truly States, there is one and only one outstanding sound quality ... Choice in hand Leonore No. 3 and the differences be- of 300 or 400 Model Series tween the three versions (which are rubbed cabinets. not inconsiderable) are all due to fancy Victor laboratory work. Mr. Rosenthal [March 19551 asks for a coupling for an LCT 1939 Bee- B Y D A Y S T R O M thoven Fourth. Easily done. The Brahms Tragic Overture from the t- 1937 BBC series, the Rossini Silken Doyslrom Electric Corp. Ladder from 1938, and the thrilling Dept. F -20 Italian Woman in Algiers from the 753 Main Street, Poughkeepsie, N. Y. 1936 Philharmonic series. All are Please send me information and specification and as sheets on the new CRESTWOOD models. wonderful and unobtainable, Ask for, and insist upon, a far as f am concerned, Victor can go Crestwood demonstration at Name into production post haste. I agree your dealer's store write -or Street. with Mr. Miller that in every instance for the address of your near- the composer is more important than est Crestwood dealer. Town State Coruinued on next page L J

JUNr-. r955 25

www.americanradiohistory.com LETTERS YOU ASKED FOR IT Continued from preceding page P Q` the conductor, Toscanini agrees co that too, but Victor promotion is another We took a hint from the automobile people matter. I suggest he buy his Tosca- ninis on the "La Voix de Son Maitre' and based our new tuner design on the label, where NBC Symphony comes at results of a consumer survey. Here's what first, in large caps, and below, in rather you said you wanted, PDQ *. small type " direction: Arturo Tosca- nini.. Mr. J. H. Christiansen of Dominicana, has asked about my re- First, a fine tuner with a fully flexible preamp. marks on the Brahms Fourth. I confess it. We had the preamp, and built the Pageant around I was talking more of Toscanini's concept of the work as I have experienced Second, a compact attractive appearance. it in a series of performances than a We designed a 4 "x141/2" package, so good -looking specific disk, although I still feel that the recording is distinguished, even it begs to be left in the living room (in or though it preserves a performance that out of a cabinet). is now overrefined, and a little too brilliant and slick ro get to the heart Third, specifications? Look at the Pageant, of the matter. As for my remarks on then ask your dealer "Viennese" style, let me say that it was a style, nor a place, or an orchestra, or write to us or a given conductor that I was for full details talking about. I have heard good "Viennese" performances in Chicago ( under Fritz Busch) , and 1 am sure that Artur Rodzinski is capable of de- livering most un- Viennese readings in Vienna. My thanks go to all who wrote, and I am sorry that my obligations to the University of Cambridge prevented me from sending personal letters to everyone, but I have been hard pressed for time this term. Robert Charles Marsh, Trinity College Cambridge, England PAGEANT SIR: by PEDERSEN Very nice of you to print my letter soliciting cooperation with Francis F. Clough [Noted With Interest, April but I don't think I gave his Sensitivity: 3 microvolts 19551, for 30 db on FM -3 microvolts address as "England." Denbighshire on AM. is in \Vales and the proud people of Frequency Response: AM 2 db 20 cps to 7 KC. FM char wonderful country prefer "Great Britain" on mail addressed to them 1/2 db 20 cps to 20 KC. AM whistle filter. Tape, from abroad - not "England." multiplexing, cathode follower outputs. 17 tubes. Albert Franck Richmond Hill, N. Y. P.O. BOX 572 SIR: It seems to me that there is a place for L A F A Y E T T E someone [who can supply] technical CALIFORNIA information ro your readers for a fee -not the $roo per day kind but rather somebody who can answer questions on individual problems that are Pedersen Denotes Quality nor necessarily of general interest. The problem is this: the practice of Continued on page 28

26 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THE NEW PRESTO T -18 TURNTABLE

%ftiL introducing PRESTO's exclusive flick shift

one sideway flick of the single control lever... selects 3 speeds -33'6, 45, 78 rpm engages and disengages idler wheels turns motor off and on

PRESTO'S new streamlined T -18 surpasses even the famous the desired speed. T -18 eliminates trouble -making arms and PRESTO T -15 in ease of operation ... and fully matches it in shift cams -assures trouble -free operation indefinitely. quality of performance. More advantages! Extra heavy weight, wide-bevel, cast alumi- The heart of PRESTO'S T-18 is an exclusive 3 -speed shift with num turntable; precision deep -well bearing; center spindle 3 idlers mounted on a single movable plate. A sideway flick with built -in adapter for 45 rpm; smart telephone black and of the control lever automatically engages the proper idler for brushed chrome finish.

Your hest huy in hi -fi -only $53.50; with hysteresis motor $108.

Mail this coupon today rtummummimt I PRESTO RECORDING CORPORATION, HIGH FIDELITY SALES DIV I PARAMUS, NEW JERSEY Please send me illustrative data and specifications on the new PRESTO T-I8 turntable. gm RECORDING CORPORATION . NAME.. PARAMUS, NEW JERSEY ADDRESS

CITY Export Division: 25 Warren St., New York 7, N. Y. ZONESTATE...... _...... _..._...... _.._.._...... _...... _..._....._._.._ _... Canadian Division: Instantaneous Recording Service, 42 Lombard St., Toronto I I WOtLD'S LARGEST MANUFACTURER OF PRECISION RECORDING EQUIPMENT AND DISCS I www.americanradiohistory.com r LETTERS Continued from page 26

"planned obsolescence" brings our new features that we all wish we had. But "Superb Performance!" no one can afford to keep buying the stuff as fast as every new feature - high HIGH FIDELITY Magazine sensitivity, current feedback, etc. - is added. They're all interesting, and many of rltetn could be added to present equipment by the owner if he just knew how ro do it .... Now I wish my sec had better FM sensitivity so I could pick up some of Chicago's good music stations but I THE simply don't know if it can be done. I would welcome an opportunity to present my problem to some sharpie who could say, "For five dollars I'll tell you how to get 3 MV sensitivity," or even say, "Ir can't be done." Then at least I could stop wondering how to do it and make plans to get a new FISHER tuner. SERIES SEVENTY Wouldn't some college, for instance, be glad to direct this stork to some

"TICFI QUALITY results at an attractive price," says High deserving student? .. . Fidelity IWagazine. The. SERIES SEVENTY tuner and amplifier C. C. Fraser have established themselves firmly as the outstanding buy in Milwaukee, Wis the professional quality field. The performance of this equipment is limited only by the calibre of the phonograph pickup, turn- Snt: table and loudspeaker system used in conjunction with it. I rake great pleasure in pointing out to J. F. I. char be "goofed" in his recent THE FISHIER [April 1955] review of the London FM -AM Tuner Model 70 -RT recording of the four Mendelssohn Features txlremt xeuxilimily (1.5 Env for 211 dh of quieting); works where Overtures (LL 1048). others fail. Armstrong system, ndjuxiable AFC on :witch, ndjuslablt A \1 He erroneously stated that the Fair selectivity, separate FM and AM front ends. Shielded and shock -mounted main rl4elntina Overture, Op. 32, was not and subcharsis. Distortion below 0.04% previously for I volt output. Hum level: better recorded. on LP. It was than 90 db below 2 volts no radin, bet- recorded by both Vox (7440) and ter than db 62 below 10 ow input on Vanguard (425 ) under the name Die phono. 2 inputs. 2 cathode -follower outputs. Self- powered. Exceptional . Schöne lbfelusina Overture. phono preamplifier with full equali- Daniel Sue-hymn 2atiou facilities. IS tubes. Six control;: New York, N. Y. Bass, Treble, Volume, Channel/Phono Equalization, Tuning and Loudness Balance. Beautiful control panel. SIZE: "My eagle eye was blinking." - 144

28 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com (r2 -inch classicals) for one record of your choice, in guaranteed mint condition, cello sealed." - Ed.

SIR: I would like to announce the organiza- "Dream Set!" tion of the Recordist Society, a club with the purpose of exchanging tape LIFE Magazine recordings of things of music and national interest. We expect to contact members in Great Britain and France, so in time our catalogue should be of international interest. We are a group of hi -fi enthusiasts wishing to trade copies of our best quality capes for the same of others THE who have also been bitten by the recording bug. As our plans are now, the organization will have no membership fees, etc. The only requirement for membership and the receipt of items from our listing is the trade of tape recordings of interest to us. FISHER We will have a regular system of SF,RIES FIF'T'Y notifying each member from time to time as to which tapes are available THE FISHER for exchange and the methods used in FM -AM Tuner Model 50 -R recording them. For a copy of our "This tuner is among the most listing, inquiries can be addressed sensitive of all in 'fringe' areas ro mc. and conjoins beautifully with the Robert McHaffey FISHER Amplifier." -Life Maga- The truest index to the qual- 71 -19 Place zine. (7th ity of the Model 50 -R is its selec- Glendale 27, N. Y. tion even by FM stations, after competitive trials, for pickup of Sut: distant programs for rebroadcast to their own communities. In town. ... Why doesn't someone start a cam- or even in the extreme suburbs, the paign to get London Records to record 50 -R is unexcelled. S 1 61.50 at least one or two Gilbert and Sulli- van's complete with dialogue? They THE FISHER should be best sellers among G & S Master Audio Control Series 50 -C enthusiasts. With the present fine "The finest unit yet offered." - quality coming from "ffrr," it would Radio and 'I'l' A'ee:s 25 choices of be just fine to recapture the whole record equalization, outstanding phono preamplifier, separate bass spirit of these largely satirical oper- and treble tone controls, loudness ettas, rather than the spate of melodi- balance control, S inputs and 5 in- ous songs that are the present offering. put level controls, cathode follower outputs. Hum and noise inaudible. is There no sense of plot or continuity. Chassis S89.50 Surely they would sell as readily as H'ith rnbisr: S97.50 some of the other truly complete re- THE FISHER cordings that have been issued, many 50 -Watt Amplifier Model 50 -AZ with dialogue incomprehensible to "of the very best! " -Iligh Fidel- most of us Yankees. ity Magazine. Will handle 100 Leslie F. Garrett watts peak. \5'orld's finest all -tri- Derry, N. H. ode amplifier. Uniform response within t db from 5 to 100,000 cycles. Less than i% distortion at SIR: 50 watts. Hum and noise content I'd like to congratulate Paul Sampson 96 db below full output- virtually non -measurable! Oversize compo- on his article "Hi -Fi Oversimplified- nents and quality workmanship in ( April 1954). On glancing through every detail. Includes FISHER some back issues, I ventured to read Z- MATIC, at no additional cost. this masterpiece of expository writing. S159.50 Rockies Being that 1 am only fourteen years Prirc' Slightly lliaher nest of the

old, 1 have run up against the problem WRITE TODAY FOR CO>II'I.I'l'li SPECIFICATIONS of finding somebody of approximately FISHER RADIO CORP. 21 -25 44th DRIVE L. I. CITY 1, N. Y. Continued on next page

JUNE 1955 2 9

www.americanradiohistory.com LETTERS Continued from preceding page

my age and interests. If any of your irte ccPí.4o4le4 readers are in the same boar, I'd appreciate hearing from them via tape if FOR THE FULLEST ENJOYMENT they possibly could. I consider myself quite fortunate in YOUR HOME MUSIC SYSTEM having my system. I'm running a OF Bogen DB -i5, backed by a Pilot AF- g24, a Lenco (Bogen) turntable (B- 53X), etc. My latest pride and joy, a Pentron PMD -r, 'is receiving almost constant use by yours truly. It may not be super fidelity, but I call it mine. As I have stated, anybody interesred in hi -fi especially cape, not especially FISHER in California, that can be considered a teen ager (young-at-hearts excluded) ACCESSORIES please contact me via tape at 136 Ann- andale Road, Pasadena 2, Calif. David Berkut MIXER -FADER Model 50 -M NEW! Electronic mixing or fading of any two signal SIR: sources (such as microphone, phono, radio, etc.) No [Regarding Robert Kotlowitz's review insertion loss. Extremely low hum and noise level. High of Marlene Dietrich at the Café de impedance input; cathode follower output. 12AX7 tube. Self -powered. Beautiful plastic cabinet. Only $19.95 Paris, April 1955} . , . Miss Dietrich did record "Lola" (from the Blue PREAMPLIFIER -EQUALIZER 50 -PR Angel) earlier, I think around 1927- 8, 10 -inch, old speed. "Ich bin die Professional phono equalization. Separate switches for HF roll -off and LP turnover; 16 combinations. Handles Fesche Lola," HMV EG 18oz. any magnetic cartridge. Extremely low hum. Uniform Eric Larrabee response, 20 to 20,C00 cycles. Two triode stages. Fully New York, N. Y. shielded. Beautiful cabinet. Self- powered. $22.95 Sir: PREAMPLIFIER -EQUALIZER 50 -PR -C Reviewing Early Medieval Music (Feb- WITH VOLUME CONTROL ruary 1955), Mr. Grunfeld implies 50 -PR -C. This unit is identical to the 50-P1t but is this music was not created in a vacuum. equipped with a volume control to eliminate the need for a separate audio control chassis. h can be connected I disagree. directly to a basic power amplifier and is perfect for a Gregorian chant is related to the high quality phonograph at the lowest possible cost. rhythms the Latin language. As $23.95 of Latin became understood only by the priesthood, Gregorian became a music HI -LO FILTER SYSTEM Model -F 50 removed from everyday living. If the Electronic, sharp cut -of filter system for suppression of turntable rumble, record scratch and high frequency average man did not clearly understand distortion - with abrolure minimum loss of tonal range. Latin how could he perform a music Independent switches for high and low frequency cut -off. derived from Latin? Use with any tuner, amplifier, etc. $29.95 Perhaps, if the church had allowed its liturgy to be sung in the vulgar, we PREAMPLIFIER Model PR -5 would now have a European music A self -powered unit of excellent quality, yet moderate cost. Can be used with any low -level magnetic cartridge, homophonic like Gregorian deriving or as a microphone preamplifier. Two triode stages. its rhythms from the language of each I`_. r '- t High gain. Exclusive feedback circuir permits long out- European country. put leads. Fully shielded. Uniform response, 20 to 20,000 Since the content, style, and manner cycles. The best unit of its type available. $1 2.57 of performance could not change by Church edict there was only one other QUALITY IS NO ACCIDENT . . . modification possible, and it rook five At Fisher Radio Corporation we never take ehancee with quality. All materials go first centuries for this vacuum to spring a to the incoming inspection Department And any that du not meet our rigid requirements Are returned to their manufacturer. In addition. inspection occurs at ninny pnintx leak -until the interval of a 4th was during pradartion - from the original. blank anemia to the final. sasembled unit. naauring correct Assembly and wiring. Our Tesi Department la staffed with a highly - discovered. trained group of technicians Finally, equipment already packed far shipment is selected nl random and given a complete inspection and electrical test in nu But music still was in a vacuum of Enginecring7,aboralories io keep Quality Control at a constant, high level. laws and artificial devices until it received new vitality and meaning in WRITE TODAY FOR COMPLETE SPECIFICATIONS medieval songs. FISHER RADIO CORP. 21 -25 44th DRIVE L. I. CITY 1, N. Y. Art Faner ...... ,ttuturlunrttnlutuwuurtllulJlllltlUWlllllllllltllllll]Inllltll Denver, Colo.

30 HIGH FIDELITY MAGAZINE.

www.americanradiohistory.com SIR: I have been wondering how many other readers who have their TV sets integrated with high fidelity as I do (Craftsmen & Electro- Voice) have noted the vast differences in the audio fidelity of today's live TV programs. It would seem that CBS has a distinct lead in this department; two shows which I find outstanding as regards really high fidelity audio are the Perry Como and Jo Stafford shows received here over WBNS -TV, Colum- bus, Ohio. Other shows broadcasting quality audio to a lesser degree are "Toast of the Town" and "Studio One," all originating from CBS. Be- ing far from an expert in such matters, I can only guess that such superb America's TOP Tuner! sound is a result of using as nearly as possible acoustically perfect studios and careful attention CO microphone placement, among other things. By contrast, most other TV programs vary from just average down to poor in this respect. It would seem to THE, me that a worth -while project for all program producers would be co try to emulate the Como program in respect ro audio quality as a companion to their generally excellent video quality. James L. Campbell :FLK Lancaster, Ohio FISH

SIR: Nowadays the record companies are FM TUNER F°M very thoughtfully printing the name of the work, artists, etc., on the outer Best by Standards edge of the jacket so that a person can World's LAB find a record without pulling the almost two decades we have been producing audio equipment jacket out to look at the front - ... FORof outstanding quality for the connoisseur and professional However . . . why don't the corn- user. In the cavalcade of FISHER products, some have proved to panics offer new jackets to replace the be years ahead of the industry. THE FISHER FM -80 is just such older ones that are still in their cata- a product. Equipped with TWO meters, it will outperform any logues? They could offer these at cost existing FM Tuner regardless of price! The FM -80 combines ex- as a service to many who must be in treme sensitivity, flexibility and micro -accurate tuning. Despite its my position. It would be an invaluable full complement of tubes and components, the FM -80 features an service and one no one else could offer. unusually compact chassis of fine design. Only $139.50 Wouldn't there be a very interested response to such an offer? They could Outstanding Features of THE FISHER FM -80 offer this service through the dealers TWO meters: one to indicate sensitivity, one to indicate center -of-channel instead of direct to the consumer. for micro -accurate tuning. Armstrong system, with two IF stages, dual limiters and a cascode RF stage. Full limiting even on signals as weak R. M. Allen as one miuovolt. Dual antenna inputs: 72 ohms and 300 ohms bal- Indianola, Miss. anced (exclusive!) Sensitivity: 11/2 microvolts for 20 db of quieting on 72 -ohm input: 3 microvolts for 20 db of quieting on 300 -ohm input. Sm: Chassis completely shielded and shock -mounted, including tuning condenser, to eliminate microphones, and noise from otherwise accumulated Do you know of anyone who makes a dust. Three controls - Variable AFC /Line -Switch, Sensitivity, and record container - something like a Station Selector PLUS an exclusive Output Level Control. Two bridged suitcase, small enough ro be carried outputs. Low-impedance, cathode -follower type, permitting output leads up to 200 feu. 11 tubes. Dipole antenna supplied. Beautiful, a say, LPs and with capacity of, fifty brushed -brass front panel. Self- powered. we1GHr: 15 pounds. - which would help me transport my SIZE: 123/4" wide, 4" high, 5W' deep including control knobs. LPs personally and provide the neces- Price Slightly Higher Wort al the Rockte: sary protection they require? ... If not, WRITE TODAY FOR COMPLETE SPECIFICATIONS could you help me find one? Antonio Mortena, M.D. FISHER RADIO CORP. 21 -25 44th DRIVE L. I. CITY T, N. Y. Cincinnati, Ohio 111I1111W11111111111111111111111111111I111111111111111111111111111111111111111l111111Illllllllllllllll11111.

JUNE 1955

www.americanradiohistory.com NOW YOURS TO ENJOY THIS EASY

STEP 1 STEP 2 STEPS 1 AND 2

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Use !his simplified way to reach the Add this scaled -up "K" type low - All the flawless performance of the incomparable new ultimate in high fidelity reproduction. frequency driver horn to the Model Patrician IV is now available to music lovers in this Utility Permits you to build the interior horn 103C components and you have a 4 -way System. Every engineering advantage of multiple cross- assemblies yourself or add the Model complete new Patrician IV 4 -way overs. specialized driver components and intricate interior 115 "K" horn, for a complete 4 -way speaker System ready to operate. acoustic design is utilized to achieve the utmost in cleanliness. system. Model 103C includes: range and realism. Utilizes the Klipsch principle of 1 -18WK VLF Driver 590.00 folded- corner -horn loading with ex- Frequencies up to 200 cps are handled by the largest. most 2 LF Phenolic Hornsl rate -A8419 60.00 tended taper down to 35 cps for highly developed low -bass folded horn driving section ever 2 -828HF Drivers augmented bass reproduction. In- designed for a home audio system. Newly created separate 1 -T25A Treble Driver 57.00 cludes integral mid -bass exponential mid -bass section takes over to 600 cps. Specialized treble 1-6H0 Diffraction Horn 21.00 horn bell drilled to accept E -V Model driver and diffraction horn reproduces the "presence" range 1 VHF Driver 33.00 -T35 A8419 low -frequency horn sections. from 600 to 3500 cps. E -V Super -Sonar lakes over from 3500 cps 1 -X2635 4 -way Crossover 72.00 Black matte slain. Can be color to beyond the range of audibility. Level controls provide proper 1-8675 Harness Cable and 15.00 painted by user, but will not take balance to room acoustics. 3 -AT37 Level Controls furniture finish. Size 57'/, in. high, Total, Audiophile Net $348.00 37`/, in. wide, 26'/, in. deep. Shipping Includes Model 103C Driver Components and Model 115 "K" Shipping wt.: 103 lb. wt.: approx. 150 lb. Type Corner Folded Horn -ready to assemble and operate. Gives you all parts of the new Patrician IV 4 -way speaker Components also available individually Audiophile Net $180.00 system, except the outer decorative housing. Size 57% in. high, 37% in. wide, 26' in. deep. Shipping wt.: 256 Ib.

Audiophile Net: $528.00 Write for Bulletin No. 220

o iner Cl e«e 7htif1 gleerrokze ELECTRO- VOICE, INC. BUCHANAN, MICHIGAN Export: 13 East 40th St., New York 16, U.S.A. Cables: Arlab HIGH FIDELITY SPEAKER SYSTEMS. AMPLIFIERS, MICROPHONES, PHONO- CARTRIDGES, AND OTHER ELECTRO- ACOUSTIC PRODUCTS

www.americanradiohistory.com AS THE EDITORS SEE IT

SINCE APRIL we have been subjected to a gentle but in transduction may involve more than a pair of coaxial incessant shower of pages torn from Time, Life, and several cones in a small semi- enclosure. A precisely- machined, other large -circulation publications. These tearsheets all individually adjusted twelve -inch turntable sometimes have had the same content: a full -page advertisement en- rumbles a little less than an economy-priced record -changer. titled "Facts and Fiction About High Fidelity." Invariably Diamond styli have been known to outlast sapphires. And the copies of the advertisement have been accompanied by so forth. But you, blessed reader, can enumerate these letters from our readers, urging us to "answer" it, or at least points as well and readily as we, so why should we remind do something about it. you of them? The people who need to be apprised of The advertisement was put forth by the Magnavox Com- what's what are chose who do not subscribe to HIGH FIDEL- pany -a sometime advertiser in our own pages, incidental- ITY nor its worthy companion publications in the field. ly -and ir embodied, as promised, both fact and fiction. They can be reached, but it would cost money. Magnavox but a good deal inure of the latter than of the former. In can reach them, by spending money. We know of no single essence, it amounted to a tirade against custom home music maker or proponent of custom componentry likely co be components, the people who sell them, and the people who able to devote comparable sums of money to the task. buy them. The public was being gulled, the ad implied, by In 1812 the young United States undercook a naval war "pseudo experts" peddling the theory that custom compon- against Great Britain, employing as the main part of its sea - ents represented better dollar- values than ready -made forces private shipowners, authorized ro do battle by letters phonographs and that they delivered better sound. Behind of marque. There were some prodigies of valor, and some the sinister growth of this noxious notion, according to the privateers made money, but the sea -war was lost. Since Magnavox copywriter, were a clique of people not inter- then the nation has relied on a professional Navy, paid for ested ar all in music, but only in "creating sounds that are our of taxes levied on all citizens, with gratifying results. often mechanical - noises, incidental to music, which the It seems to us that an industry should prepare its defenses musical artist strives ro suppress." For true musical pleasure, in the same way. The staff of HIGH FIDELITY might feel it was made clear, the only proper recourse was to ready - very noble about buying a page in Life to argue with Mag- made, single -package phonographs. And, in case anyone navox on behalf of the components industry, but their couldn't think offhand of a manufacturer producing such Board of Directors ought properly to fire them if they tried treasurable items, there was a little recapitulation of Magna- ir. The same thing applies to most of the member busi- vox phonograph features, coyly listed under the heading: nesses of the industry, which in general are profitable but "The Facts." Among the facts relevant to Magnavox small. phonographs ($99.5o and $198.50) was this one, stated On the other hand, we would very willingly indeed pay wich winning modesty: "Nothing finer is ,made, regardless membership fees to an organization of businesses in the of price." field, so that it - the organization -might in a case of this We commend the loyal ire of the readers who clipped kind enter the publicity-arena to make the needed rebuttal. this sheet of nonsense and sent it in for our "answer" But In other words, an effective high fidelity trade association, how can we answer, to any practical effect, an advertisement of nationwide membership, is overdue. that ran two months earlier in several multi- million circulation magazines? It takes six weeks -from typewriter to newsstand -for a monthly like HIGH FIDELITY to deliver itself of an editorial comment. And when it has done so, IF THE high fidelity components industry is ill -organized the comment reaches -whom? No millions. Just the collectively, the American summer music festival business 55,E or so who buy and read us because they already be- is even worse organized, festival by festival. In April, intro- lieve the audio -doctrine we preach. It is probably signifi- ducing a roundup of European musical events, we prom- cant that Magnavox stopped advertising its 5198.50 phono- ised for June a kindred survey of summer music in Ameri- graph in our pages some months ago. There is ground for ca. We hired a capable young man CO compile it -but he the suspicion that our readers were not responding -a was not able to do so. At least four top -ranking summer claim that very few other advertisers can make. music series could not furnish programs and schedules by We could, of course, rebut the statements in the offend- mid- April, so we abandoned our plan. We do not complain ing advertisement point by point. A separate loudspeaker - out of editorial pique. Summer vacation plans, in many enclosure would perhaps lessen the likelihood of acoustic American homes, are fairly firm by May. If music festival feedback, especially if there is any bass reproduction be- managements cannot have publicity ready to be used then, neath Go cycles per second. Sundry engineering laboratories they deserve all the empty seats they will get when summer have worked their way to the conclusion that the ulthnate comes. The Old World does it better. J. M. C.

JUNE 1955 33

www.americanradiohistory.com HAYDN ON RECORDS The triple l if e of .. . Dr. Hermann Scherchen MODERNS IN CONCERT by Robert Charles Marsh

E LEC T R O ACO UST ICS IN SWITZERLAND

THE EUROPEAN concert -goer is likely to think of sort of thing happen again, and since he had little use for Hermann Scherchen primarily as the sponsor of new music, the Nazis he left Germany in 1932 and assumed direction recalling the many contemporary scores he has introduced of broadcast music for the Swiss radio. and the manner in which his programs are frequently built Scherchen's rehearsals are models of efficiency and quiet about an enthusiastic performance of one or more fine mastery of the situation. He is invariably polite nowadays: works of this century. ( "Would you gentlemen have the kindness ro play that The American record collector, on the other hand, may note louder? Ir must be heard. The music makes no sense regard him as the guiding hand behind some of the finer if it is not heard."); he knows the score thoroughly and is disks of the older classics in the catalogues. For him, Scher- absolutely certain of what he wants ( "Would you have the chen may suggest Handel, Haydn, and Beethoven more than kindness ro take the E string of the violin down to D, as is Prokofiev, Ravel, and Berg. required by Stravinsky? Please, all the time this is not I first encountered Scherchen in the role of the champion done, and it is necessary. You hear? That way it sounds of the contemporary composer. "Selbstverrtdndlich können different. "); although when required he can be forceful: Sie meinen Probers beiwohnen," he had written me.* The ( "Why do you make a crescendo there? A crescendo there concert he was preparing with the London Symphony con- makes no sense! Always it must be pianissimo nor creeping tained the first performance here of Humphrey Searle's up to mezzo- forte. "). The Riverrun, a lyric, atmospheric work set to the final He was not always so polite. Indeed, for many years he pages of James Joyce's Finnegan's Wake, in which Miss was considered one of the hardest conductors in Europe to Jean Sr. Clair delivered with a fine brogue the monologue get along with. His reformation seems to have been a of the river Liffey as it merged with the sea. The score in- family affair. Not long after the birch of the youngest cludes a thunder machine which the percussionist played Scherchen, his wife, Pia, was bathing the baby. The child with gusto and sound fanciers might well find irresistible. splashed her. Pia laughed. Hermann (who would have British orchestra players are friendly, matey types, accus- blown his cop) asked why she didn't get annoyed. Because tomed to sight- reading and under -rehearsed concerts, and the little girl didn't know what she was doing, explained generally equal to whatever comes along. Several members smiling Pia. The lesson percolated. A couple of days later, of the ISO had toured the United States with Sir Thomas at orchestra rehearsal, only three horn- players showed up. Beecham as members of the Royal Philharmonic. (There Nothing from Scherchen. Midway in movement one, in is a constant interchange of players among the five sym- tiptoed Horn No. 4, and sat down. At the first break, phony orchestras in London.) In the tea breaks I heard all Scherchen said to him: "I'm sorry you were detained." about it. "Do you know the Carnegie Hall bar? We had Nothing more. The orchestra didn't understand, but Scher- some jolly times in the Carnegie Hall bar. I'd like to go chen had it all worked our. If the man weren't stupid he'd back, I would." know he had co be there on rime, and would have made Like Hindemith, Scherchen is largely self- taught. His arrangements to get there. Since he didn't-why make fresh appearance and apparently unlimited vitality suggest him miserable because he was stupid? Scherchen has held a man many years younger than sixty-four. After rehearsing to this moderation ever since, with impressive results. the LSO six hours, until it was blue and puffing, he was Although nor one of those conductors who lectures to his equal to prolonged and vigorous conversation, and then men, Scherchen talks to them a great deal. Some of his re- went off to dinner with his wife with a smile and a sense marks are quite illuminating. "Let Ellis be, gentlemen, for of undiminished energy, as if the day had been spent quietly one time entirely right," he said as they began work on reading scores. He learned conducting the very best way, Stravinsky's 1919 suite (he does not like the 1945 version as a string player in the Berlin Philharmonic, and was as well) from the Firebird. "This is so often played, and launched on his career before the 1914 -18 war: indeed, he yet so often not right. It should be fresh, like the first day was director of the Riga Symphony Orchestra in 1914 at it was played .... " Again he returned to the point. "This the age of Twenty -three and spent the war interned in Rus- must not be so heavy. It must be light and fine, like cham- sia as an enemy alien. He took no chances of having that ber music." The contrabass solo in the second parr of Pro -

*As e matter of course you may attend my rehearsals. kofiev's Lieutenant Kije brought a laugh at first. Scherchen

34 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com broke off. "No," he said, it is not a joke. It is a simple feet thick was made habitable. Ir now echoes to the sounds man singing to his girl. He has not much of a voice, but produced by a trio of little Scherchens, ages one, two, and he is singing as best he can." three, all of whom were born in London. His oldest child, Always one is aware of Scherchen's concentration in the by a previous marriage, is 35. musk. He is no showman and is interested in guiding the Doing his best to ignore the flood of advice from those orchestra rather than emoting to impress an audience. As who thought he should construct a "classic" studio rather one would expect from the author of a celebrated treatise than experiment with the unconventional, he pur up, near on conducting, his beat is simple, clear, and functional ro the house, a building with five walls, no two of them the the exclusion of everything else. He uses no baton, but the same length. Construction was of solid stone blocks nearly point formed by the tips of his thumb and index finger is twenty inches thick ( "still the best sound insulating easy ro see and gives the men all they need. material of all "). There are no windows, and the interior Scherchen the conductor is able to ger orchestras to give space, which is shaped roughly like a small grand piano. him their best even in limited rehearsals, and Scherchen the amounts to 500 cubic meters. The ceiling slants downward musicologist knows exactly what points must be made. from six meters at one end to four at the other, and there (His analysis of the Beethoven symphonies in The Nature are no parallel surfaces. of M #[tik, London, 1950, is exceptionally interesting.) Thus The acoustical insulation was designed in cooperation in two rehearsals with the choir and orchestra of the Liver- with Dr. Hans Joachin von Braunmiihl and Professor Willy pool Philharmonic Society he was able ro achieve a per- Furrer of Bern, who are responsible for the 25o sound formance of the Beethoven Ninth that brought his series of absorbers which line the walls and ceiling. Of two sizes guest appearances in that city ro a brilliant conclusion. lc ( 12 and 20 cm. diameter), they are roughly the shape of an was the finest reading of the score I had heard in concert orchestral gong, the open side of which (made of Fiber- from a European orchestra, and others said that they had glas) faces the wall, while the flat side (made of pavatex) never heard their Philharmonic play so well before. faces our. Those on the ceiling are fixed, but those on the One would chink from this char afterward Scherchen walls can be removed co alter the characteristics of the would be pleased with his achievement, but he greeted me studio at will. Further variation is provided by an acousti- with: "The third mov'ement is so difficult. It never goes cal wall which can be erected in the studio to a maximum right." He knew how he wanted it to be. The next time length of nine feet. Built up of paravanes of a Swiss com- would be better. position board, it is designed to reinforce the lower fre- Normally a successful conductor is happy simply being quencies. a successful conductor, but Scherchen's primary interest The floors presented a problem. Scherchen wanted acous- now is audio -research, and he would rather be at work in tical treatment that could be altered as he wished. "I tried his studio than concertizing around Europe. Similarly it is a lot of things," he said, "and didn't like any of them. the technical side of recording that he finds more stimulat- Finally I tried the finest Persian carpets. They are perfect! ing than preparing the performance. When I am the Now people come into the studio and see the sound absorb- sound engineer," he remarks, "then it is interesting for me. ers and the fluorescent lights and all over the floor heavy 1 would rather make the tapes than direct the orchestra." carpets, and they say 'Is this a new art form?' but it is only His sound studios at his home at Gravesano in the south- sound insulation!" ern portion of Switzerland, not far from Toscanini's haunts The large studio was completed last July and served as near Lago Maggiore, are a symbol of his conviction that the scene of the International Congress on Music and only in doing those things which one feels to be important Electroacousrics reported in the "London Newsletter" in can the value of life be found. From the time he first began HIGH FIDELITY for November 1954. Since then Scherchen to direct radio concerts, some twenty-five years ago, Scher - has continued work with his architect, Hoeschule of nearby chen has thought that the traditional method of searing an Lugano, and put up a second studio of 250 cubic meters orchestra on a level within the six parallel surfaces formed "Always one is aware of Scherchen's concentration its she msic. walls, floor, and the room to a trans- by the ceiling of led He is no showman . his heal is simple, clear, ami functional." formation and deformation of the sound of their playing. n. C. MARSH A studio designed for the electronic reproduction of sound should add nothing which it itself produced. His first objective, then, was "liberation from the room," in ocher words, a studio that was acoustically dead and allowed the engineer to create with related equipment continuously variable acoustical conditions so that one could place a recording or broadcast in a setting appropriate ro the music ro be played. His first opportunity to work along these lines came in Palestine in 1938, but the major project in which he is now engaged had to wait until the end of the war. He moved to Gravesano in 1953, and his first construction there was a swimming pool. ( "The neighbors thought I was crazy! ") After chat the house, a remodeled monastery of impressive vintage with twelve large rooms and solid stone walls two

JUNE 1955 35

www.americanradiohistory.com which is acoustically identical with the larger one. A third, "About 8o96 of what is played on the air is light music, and with different characteristics, is under construction, and the it is not often well played or wisely selected," he says. Zurich radio has now built a "Scherchen studio" with six Scherchen's concept of light music is slightly unconven- walls, but without the acoustical treatment of the Gravesano tional. He means to include all music which is easily under- installation. stood, employing themes and forms which reveal their In addition to the studios there are four reverberation content at once. Thus, without suggesting that they are not chambers, each of which contains sound boxes which can serious and important, he would classify such works as be opened and closed to increase reverberation or supress Rossini overtures, the four Bach suites for orchestra, the it. The first of these (with a normal factor of o.8) is in- Mozart serenades and divertimentos, etc., as light music, and tended for chamber music, the second (1.5) for orchestral items such as Romberg operettas and "symphonic" treat- music, a third (2.2) for "cathedral effects," and a fourth ment of popular songs he would dismiss on the grounds reinforces only the high frequencies. Ac present, tests are that there was better light music to be heard. Radio music being made so that the characteristics of about 15o of the must pay attention to the listening conditions in most many possible acoustical combinations will be available in honkies, the hour at which a given work is to be played, and a convenient table form. the manner in which it is presented, he feels. For instance, Ironically, certain Toscanini recordings made in RCA's "The working man comes home at night. He is tired, and Studio 8 -H have been found the nearest thing available on when he gets into the house, before he can sic down with disks to the sound of an orchestra playing in a totally dead his paper his wife says the child has been bad, and he must room and are thus ideas for experimentation with the addi- smack him. He does that, and then sits down to eat and the tion of resonance. (It must be noted that 8 -H, like many soup is not good, so he turns on the radio and hopes to find American studios, did not have parallel walls and was some pleasure there. In such a mood what music does he heavily treated acoustically.) In a completely dead studio want to hear, a Serenata for Oboe and Harp or the Walkür- one may have as many musicians as one wishes, since there renritt? is no possibility of "saturation" with sound, and theoretical- "Obviously the ll!alkiirrenritt. Besides, it would dampen ly as many as fifty microphones can be used, each line add- the sound of the child's crying. ing a specific amount of resonance to the voice it picks up. "And when a symphony is announced, how is it done? Sdherchen's idea is combining music with the technical We shall now play Mozart's Symphony No. 36 in C major, skill of the engineer to produce something "finer than what the "Linz" Symphony, Köchel Verzeichnis 425, the four was played," music heard with a clarity and brilliance im- movements are Adagio e allegro, and so forth. What does possible in any concert hall. This summer Scherchen plans any of chis mean ro the ordinary man? The music he can to record chamber music experimentally with friends. "We understand, but this type of announcement is without will be under no pressure," he says. "If we feel like work- meaning. It frightens him and repels him needlessly from ing, we will work. If we feel like go- something he is able ro appreciate and ing swimming, we will go swimming. enjoy. Instead tell him that for Mozart If we want to record at night, then is his father was next to God, and then when \ve will record." Eventually he when he desired to marry Constanze will make orchestral recordings as they quarreled, so he took her to Salz- well. burg in hope that he could parch it up, "I pay for everything myself," he and, when it came rime to leave, the adds, "and then I can do as I wish." breach had only widened. On the way Those who buy Scherchen recordings back to Vienna they stopped in Linz, can have the satisfaction of knowing where Mozart was welcomed as if he that the royalties go to audio research were a prince and a concert was ar- rather than Cadillacs. There are three ranged. Since there was no symphony objectives in view: (r) to increase he wrote one with incredible speed. It our knowledge of acoustics, (2) to begins slowly, full of all the suffering gain mastery over the special electro- he felt, and then out bursts all the pure acoustical problems involved in sound spiritual joy that nothing could over- reproduction, (3) to carry the tech- come. Tell him that, and it is all crue, nique of recordings, radio, television, ERICA. LONDON it is nothing that has been made up, and film music beyond their present Photogenic Scherchens: Mama Pia with and he will be ready to listen and un- son Nerpi, daughters Manna and Piber levels into entirely new concepts of derstand. But Michel Verzeichnis, realism. The possibilities of the electrical reproduction adagio, these he does nor need. of sound have only recently been given the attention they "And after the concert, tell him, please come back at ten deserve, Scherchen feels. "This must all be explored. I o'clock and we shall play you some fine modern music write and study like the devil to keep up with it." which you will also enjoy. That too muse be something UNESCO is sponsoring two lecture conferences at which he can understand. If we hear Caruso's high B flac Gravesano in July. The first is on the structure of sound, we are thrilled whether the text is obscenity or the Missa while the second is on light music, another of Scherchen's Solemnis. On the radio we must see it is always something interests that goes back to his first broadcast concerts. good. Continued on page 128

36 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The day they atmott got my number

A tragic tale by HERBERT KUPFERBERG

BEFORE 1 tell you the soory of die great failure of my chat all the Van Goghs were included with the recording of life, I think you should know a little about me. My naine the Bartók Violin Concerto and the Dufys with the Brahms is Number Eighteen -or No. 18, as I am known most Violin Concerto, though what difference it would have commonly throughout the record industry. You have, I am made if the two had been reversed I am sure I don't know. sure, often seen my modest insignia stamped in the back of So when I was summoned ro the office of the Chief, record albums. "Inspected by No. c8," it says in a little Number One, I thought it was perhaps because he had ar circle, indicating that my stamp of approval has been given last decided ro move me up to Number Seventeen's old to the album and all its contents. spot, or even to shift me co the Cellophane Department, Those of us in the business are very proud of our little where I would pass on the sleekness of the outer envelopes stamps and what they signify. Number Sixteen, who works -a point upon which the Company had lately been putting at the next bench to me (Seventeen left some years ago for great stress. a job inscribing the day of the week on milk -bottle caps, But alas, is was to be neither of these things. The Chief and has never been replaced) says he would rather die than was courteous, but he had a slight edge in his voice as he lose his scamp. Poor Number Four actually took his with opened the conversation. him, for he had his tombstone decorated with a circle en- "Eighteen," he said, "how long have you been with us graved "Inspected by No. 4." now ?" Some of the newer inspectors, I am sorry to say, have not "Forty-three years, sir," I said respectfully. "I was here in yet developed this deep respect for their calling. Number die old hand- winder clays and can well remember when a Sixty -Four, a brash young fellow near the end of the line, stylus was called a needle." actually sneers at those of us who affix our insignia with "Quite so, quite so," said the Chief, and his face softened pride, and says he would just as soon be inspecting animal a bit as he, too, recalled the Old Days. But not for long. crackers as records. "Eighteen," he said, "serious charges have come up I mention these incidents nor co depress you but merely against you. They involve Biedrich -Dierrich's album of to show you that our business, too, has its vexations and its Phoenician songs. Biedrich -Dietrich himself was just up tragedies. As a matter of fact, it has become more difficult here raising the devil about it. Says he is the world's great- chan ever these last few years because of the advent of the est lieder singer and chat he's going to leave us if he's sub- long-playing record. I could weep when I think of those jected ro this kind of humiliation. Now, Eighteen, I want carefree, relaxed days of the 78 -rpm records, when all we you to think carefully and cry to remember just what it was had to do before affixing our sramp was to count the disks you put into that album." in the album. I was only a young inspector then, far back The Chief leaned back in his chair while I gathered my in the line-Fifty-Three was my number - but well I thoughts. remember what a joy is was to make certain there were "Actually, Chief," I said, trembling a little, "it's not so four records in Beethoven's Fifth, and that the album cover hard to remember as you might think. I know the great was the proper shade of brown, and call it a day. pride the Company takes in Biedrich -Dietrich and in the Nowadays, with the LP records, we have much more co Phoenician songs, so I was especially careful." contend wich. And lately our work has become even more The Chief nodded noncommittally. strenuous, for the newest records, as you know, include not "All right so far, Eighteen," he said. "Go on" only a disk and printed material, but also a reproduction of "Well, first of all, I put in the thirty-two page booklet a work of arc. Ah, my friends, if you only knew how many tracing the history of the Phoenicians and their music. I weary hours of my own rime I have been forced co spend knew it was the only brochure of its kind, representing the at arc museums reading about Vermeer, El Greco, Breughel, results of twelve years' scholarship and research and worth Crivelli, Miro, Dufy, and many others in order co prevent the price of the set by itself, so I made doubly certain it was any errors about them from appearing in albums bearing included. Then I saw co it that a strip of cardboard three - the stamp "Inspected by No. 1S" sixteenths of an inch chick was inserted as backing to pre- Yet in spice of my most strenuous efforts, it was the art vent the album sides from being crushed. I then rested the works that led co my catastrophe. I had no inkling of what gold lettering on the spine to make sure it was fourteen - was coming, because for several weeks my work had pro- carat. After that I checked on the translucent plastic en- gressed particularly smoothly. I had carefully made sure velope, scaled at the factory and Continued on page 124

JUNE 1955 37

www.americanradiohistory.com "Baha, Betofen, and Bramsu"

by Cant. George E. Posner and Robert Fink

MOSTLY as a result of reading American magazines and publications, high fidelity has swept over Japan like one of the country's seasonal typhoons. A very conservative Tokyo esti- mate indicates there are several dozen audiophiles in Nippon to every one in the United States. This may not be true at all, but it is certainly true that "Hi -Fi" long ago assumed the aspects of a very busy cult. Atelancholy, music- lowers (backed by Brubeck album) Reflections of the current enthusiasm in Japan can best be suffer soulfully in Tokyo bi -lii and coffee shop. seen in the numerous high fidelity coffee shops -a phenomenon unique to Tokyo. The names are colorful, such as "Ella Vaughan," (derived from Ella Fitzgerald and Sarah Vaughan, both of whom are popular vocalists in Japan) "Le Villon," "L'Erude," or "Confectionery West." In general the atmosphere is than of a warm living room. The coffee is rich and the music is played at the proper loudness. Volume is nor used for the purpose of drowning our idle chatter. It isn't necessary since the Japanese are very polite and wouldn't dream of disturbing the music while other listeners are lost in reverie. Japanese taste in music is broad and varied. The universally beloved three "B's'- "Baba, Betofen, and Bramsu" rank first in popularity. " Bramsu" can be stretched to include Mozart, Bartók, Mendelssohn, Debussy, Schubert, Haydn, Ravel, Proko- fiev, Verdi, Puccini, Berlioz, Bernstein, and the rest records put our by Capitol, RCA, Westminster, et alga, as well as nearly all the classics. Jazz is extremely popular. There is a trend toward Dixie- land, and Louis Armstrong is as well liked in Japan as he is in the United Starts. Brubeck, Parker, Gillespie, Braff, Thomp- son, Krupa, Kenton, and nearly all the modern jazzmen have their followings among the purple beret and pony -tail ser. Of the electronic equipment sold in shops, over half is bought by amateurs with only rudimentary electronic knowledge but possessing a profound appreciation for good music. The rest of the equipment goes into commercial installations or is bought as parrs by high- school and college students building installations for privare sale. Window displays along "electronics row" in Japan present the appearance of unkempt hock- shops. A .helter-skelter Nipponese enthusiasts crowd around new turntables jumble of equipment in a shop window to the true hobbyist and pickups, some of familiar American appearance. simply suggests good bargains to be obtained. In Japan this is important since all buying is on a strictly cash basis. There is no easy- payment system in Japan. However, in the end a Japanese buyer like his American counterpart spends just a little more than he feels he should have spent.

Pi- emporium is heucall, Ella Vaughan coffee -shop, Goth owned by audio wholesaler Maruyama Kinjiro.

www.americanradiohistory.com Refreshment and music counter in the Ella (Vaughan. .Serving girls, not completely flo li[ , , }lilt< "hai Jai' oriented, sometimes stealthily turn 1 T"'" down volume at crescendi. At right: No Tw reverential obeisance, just a close look .ui al u do-it-yourself television receiver kit.

IIII .. _.. ».

Photographs by CAPT. GEORGE E. POSNER U. S. Army Signal Corps.

In Kaada -ku shop, audio and video sets are piled up to form a veritable maze.

Sidewalk audio - radio - video viari seems lo extend very nearly a whole city block.

www.americanradiohistory.com No whistle while they work . . . The VtTell-Atici Watt, by IRVING M. FRIED

THE job of an amplifier probably is known to everyone. kof expensive, plush amplifiers) promises the "full dynamic By high fidelity neophyte or design engineer, more is range of the orchestra in your living room," if you get known and appreciated about is than about any other part 3'0 ... 40 . 6o ... 8o watts- (whatever that author of the high fidelity system. Speakers will be a terrible owns or sells). Who is right? mystery for a long time to come; cartridges are a precarious Unhappily, no one is quire sure just how enormous are subject, tuner "sensitivity" is variable. But as for amplifiers the power requirements in the home. Certain "facts" are - everyone knows that his amplifier's function is to make known As long ago as 1925, Bell Telephone Laboratories from a tiny, unequalized signal a large electrical jolt, enough conducted some basic research on the nature of sound and to drive a speaker to distraction, and himself into ecstasy its intensity. Certain common sounds were selected from (or despair ). And everyone knows that amplifier- ratings the myriads that infest the world. These were each investi- are generally concise, and more or less believable. Most gated and charted on a "profile." The "profile" is a graphi- people have at least a talking acquaintance with frequency cal representation of the power (in acoustical, or sound response, "power" response, output, stability, distortion, and watts) fluctuation during production of a single character- price. In other words, there are things one can say about an istic sound, from the lowest part to the "peak" (loudest amplifier (as opposed to the descriptive material concern- requirement) of the sound. It was found, for an example, ing speakers), which are good enough co be reported that during the production of the letter "h" by a male voice, honestly by most manufacturers, and which should rather there is a very rapid alternation from much sound to very reliably predict a given amplifier's performance. little sound, in a definite rhythmic pattern -up and down However, the interpretation of this information is not, several times. The "average" amount of power used was strictly speaking, an easy matter. The writer, who daily very Little, but in some cases the "peak" power was tremen- faces a public eager to buy amplifiers for home use, finds dous as compared co the average. A few of the ratios are terrible confusions the rule. For instance, he will be told given below: by one enthusiast that ro warts are more than enough for "Average" "Peak" any home, and be assured by the next enthusiast that one Male voice r 40 "must" have at least 3o watts. In each case, the writer feels Snare Drum r 27 that there is a basic misunderstanding of the "facts" con- Pipe Organ r 65o cerning amplifiers. These "facts" should be of interest to In other words, to reproduce the full dynamic range of a every home user of an amplifier, since they bear directly on pipe organ, the reproducer had to go from one level to one the question of what kind of amplifier will meet his needs; over 600 times as great, in a very short period of time! and since they may help him keep his treasured amplifier in Bell Laboratories concluded, on the basis of 1925 stand- a good scare of repair. ards, that a respectable reproducing system should have a How many watts of output power are sufficient for an dynamic range of 200 -to -I. Today, it is conceivable that amplifier in the typical home? Many articles in technical the range would be nearer the 600-to-x figure. journals have indicated that the "power" used in a living What does this mean to you as prospective amplifier pur- room for music reproduction is measured in thousandths or chaser? First, this is as good a rime as any to talk about hundredths of a watt The articles take their respective "peak" power ratings as given in amplifier advertisements. figure, talk about something mysterious called "to db," or You are familiar with the phrasing: "3o watts, 6o warts "20 db," or some such number, and arrive at the conclusion peak." The "peak" power of amplifier ratings is, strictly that the home listener will never need more than X number speaking, only a different method of racing the amplifier of warts. By some strange coincidence, the X watt value is (instead of using one kind of meter to measure the output always well below the maximum power output of that voltage, the manufacturer suddenly shifts to a meter that author's favorite circuit -which is invariably a low -output reads higher). If you have a 3o -watt amplifier, it stays tbat amplifier. Ocher literature (notably that from the makers - it will not suddenly become a 6o -watter on peaks -if

40 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com you keep talking about the sane kind of warts. Since the a manufacturer's power -curve on an amplifier should repre- writer is not advertising, but is trying to clarify, your 30- sent the power available all over the frequency range at a watt amplifier, for purposes of this discussion, is never given percent of distortion, say 10). It is no secret in the more than a 3o- wafter. profession that the typical "ro -watt amplifier" of moderate Therefore, if we accept the 200 -ro -I power ratio of 1925, price has no more than a very few watts of low -distortion your 3o -watt amplifier can average only 15o milliwarts (.15 power below loo cycles and over 5,000 cycles -the very watts) of amplifier power (30 divided by 2oo). And, on regions that require boost with most speakers. Many more the sanie scale, a to -watt amplifier will produce only .o5o expensive and higher powered amplifiers are almost as bad. warts' average of power into your speaker. Thus, when it was pointed out that a to -watt amplifier Since speakers are far from efficient, and since you are could just squeak through, the writer was discussing the interested in speaker efficiency over the entire audio band "perfect" to-watt amplifier, none of which has ever existed, of 20- 20,000 cycles, and since few speakers short of the so far as he knows. A great many 3o -wart amplifiers are S600 full horn -loaded varieties are actually more than 2Çí actually to -wart amplifiers at the edges of the audio spec - efficient over that range, you can, raking 2 of the above trum. ligures, find that your 3o -watt amplifier will give you 2. Most amplifiers tend to become erratic in behavior at 3í 1,000 of a watt in your living room; and your to- wafter or near their power limits. Some become generally un-

will actually deliver only 1 /I,000 watt of sound! stable; others can he "triggered" into "muddiness" on the These figures, beside being stupefying, show the truth in bass end. If you use a larger amplifier, you are generally both of the schools- the low power and the high power. assured of being farther away from the "ragged edge" For these small fractions of a watt are still tolerable in a region. living room -but you do need a high powered amplifier 3. Amplifier output measurements are made into "load" to get .003 warts! resistors, of fixed value. A loudspeaker, particularly one Conclusion: If your io -watt amplifier is perfect, giving with sharp crossover networks, is a constantly shifting load. to full watts of power over the entire audio spectrum, and Where the "load" varies, the power delivered must be less if it stays perfect, you will have just enough undistorted than the rated power (attempts to equalize the power with sound for a typical living (no longer than 15 or 20 feet) variable impedances, ahem, then, must lead to great distor- room. But even if your to -watt amplifier is perfect -if tion at certain frequencies). Therefore, your to-wart your living room is a trifle bigger, or if heavily furnished, amplifier may deliver substantially varying amounts of un- or if you have two people listening, or if you want more distorted power over the audio band. than- just a moderate volume level at some rime; your to- 4. Several laboratories have begun to suspect - though watt amplifier, frankly, just isn't enough, even by standards they don't as yet know the proper way to corroborate - of 1925! Certainly, under no conditions will you have that a higher powered amplifier accelerates the cones of a enough power to reproduce realistically, and without ampli- speaker system faster than a lower powered one, and deceler- fier distortion, "live" FM orchestra broadcasts; also, since ates them faster when the electrical impulse is finished - modern LP records have a dynamic range of just as a bigger engine gives a car more get- I,00o-to -I, you won't be able to play them away, and larger brakes faster stopping. If so, much above whisper volume, if you want high power is justified as a means of improv- realism without substantial distortion. ing what we call "transient response" to The writer pointed our in an earlier music- just as we know that larger magnets article ( "Time for a Check -up," July 1954) on the speaker do. that he had never heard a reproducing sys- Whichever of these arguments you believe tem in an average living room which had or disbelieve, the writer has on scores of what he called "listening ease," unless the occasions noted (along with fellow- listen- amplifier used was substantially larger than ers) chat, when the to- watrer is replaced by to warts actual (let us ignore that mislead- a 30 -watt amplifier, and when the 3o -watt ing "peak" power in the ads). For a to -watt amplifier is replaced by a well designed 50- amplifier cannot satisfy the "average" levels or 6o -wart amplifier, the total effect is ro that most audio enthusiasts want, and also clean up the sound, making it crisper, better properly reproduce the crescendos. Where an defined, smoother, more pleasant, and more amplifier ignores the "peak" requirements of natural. To be brutally clear and frank, the musical instruments, the whole sound be- pattern is invariable, even when the speaker comes strained; the timbre of musical instruments is involved is one of the highest quality, highest efficiency, changed. This is constantly being reiterated in the writer's true exponential horn design -the S600 kind. The con- for studio- novices characterize the sound of a high- powered clusion can only be -you "need" the amount of power amplifier as contrasted ro a to- watrer in perfect condition which you cat either afford or are willing to pay. response? All amplifiers as being "clearer" or "more natural." How important is frequency The other arguments for higher power in home ampli- claim 2o- ro -2,000 cycle response. Some calk about too,000 of this discussion let us fiers are summarized below. People interested in additional cycles, and 5 cycles. For purposes derails are invited to write to me: assume that all amplifiers are actually more or less flat from on page 3-24 r. This macrer of the "power" curve. Properly speaking, 20 -t0- 20,000 cycles. Why do Continued

JUNE 1955 41

www.americanradiohistory.com iTA STALLßTI:!U!'ll

Since they illustrate a Canadian approach to custom high fidelity, the installations shown on this page should be of particular interest to our neighbors north of the border. Pictured below is a complete system designed and installed by Electro -Voice Sound Systems, of Toronto, Ontario. Television chassis atop speaker enclosure is swivel -mounted for convenience of restless viewers.

_ ...'aR

The attractively horned turntable at the right is in the home of William. Doherty of North Vancouver, British Columbia. At upper right is Mr. Doherty's ampli-

fier remote control unit (under the 1 radio). Installation is by "Homecrafts." >

.`::. www.americanradiohistory.com .:.;4).. Shown above is part of an installation made recently in a Seattle, Washington, home by the Olympic Engineering Company. Seen at the left is the corner -table speaker en- II closure (speaker is aimed skyward) of Donald H. Perry of Kansas City, Missouri.

The installation at right is the work of Dr. 6. R. Loomis of Lexington, Kentucky. Cabinet is of cherry wood. The unit was home con- structed, as was a matching speaker enclosure.

www.americanradiohistory.com An ex -record dealer speaks . .

You meek th nicest people, BUT.

by ALBERT J. FRANCK

WHEN I FIRST consented to write on the subject of matter is, the customer is not always right. lc must not be what a record dealer has to endure at the hands of his cus- assumed, from all this, that I am an extraordinarily bellicose tomers and his suppliers I thought I had the material for a or irascible character, but there is a limit, and when one good humorous discourse. As I went on with the writing, has had to contend with continually recurrent misf&acanres, however, the memory of a chonaand mischances experienced malfeasances, and nonfeasances and with perpetually recru- and impositions suffered reasserted itself, and to write about descent outbreaks of sabotage, the milk of human kindness only a few of them turned our co be reliving all the bitter- tends ro coagulate and turn acid. It is indeed a wonder that ness and disgust which attended the original incidents. So, a good many more record dealers have not gone screaming, I write this now for the instruction of those who think, gibbering mad or have availed themselves of the gas pipe. even for a moment, that they would enjoy participating in Some have. the record business. The young hopeful who has digested the contents of a It rakes a toughness of fiber with which very few of us few catalogues and has more nerve, and maybe money, than softies - essentially worshipers of musical beauty-are good sense, usually starts out to be a Record Dealer by im- endowed. One has to be able to adjust with equanimity to portuning a few wholesalers to provide him with token despoilment by those who axe stupid, incompetent, indiffer- stocks, a dash of credit, and, of course, "service." He doesn't ent, and dishonest, and ro unindernnifiable losses as, for in- know it, but char is, constructively, equivalent to soliciting stance, in my own experience, water damages. I have no permission to blow one's brains, if any, out! The truth of count of the number of times floods descended upon me the matter is that the prime requisites for participation in (torn floors above, never twice from the same point, and, the retail record business are (r) a capacity for unlimited once, a plumbing defect brought an inundation up through correspondence, (2) patience beyond anything ever re- the shop floor. It is possible to survive such exasperations, corded in Holy Writ, (3) limitless concurrence with the but the psychological beating one has to take in his daily opinions of all who harangue one interminably on the tele- dealings with cynically indifferent suppliers, with the screw- phone, over the counter, or in the sanctuary of one's private ball fringe of his customers, and with the hirelings of public office, and (q) a forty -hour day to ger things half -done and private agencies of all sorts, reduce all but the very in. That will get the prospective dealer off to a start, of toughest of us to the mental plasticity of beaten beasts of sorts. burden. So he is in business, and from there on he becomes a So, if you still think you want to go into the record busi- stranger to his friends. His wife, on those rare occasions ness, read this - and forged it! Believe me, if to err is when she gets to see hire by daylight, observes, "Dear, are human and co forgive divine, wholesalers are the humanest you lure you are quite well?" in that tone of voice which people and retailers the saintliest. suggests mare concern with one's mental soundness than Being a record dealer is like being the middle man of his physical health That ìs, at the beginning. later on, three in a bed. One has to keep his suppliers off his neck one's ever -loving just looks him over as he shuffles in, on one side and to put up wich customers who range down- bleary-eyed, haggard and bewhiskered, puts down the ward from passably normal all the way to plain wacky, on pamphlet on divorce law through which she has been the ocher. If I were still in business, I would have to keep thumbing, and observes, slighdy acidly, "I imagine you all this to myself, but I am nor, largely because I could not haven't eaten since you went out the night before last," and compete successfully against other concerns which, by adds, "or was that last week ?" means I can only suspect, were able to retail records profit- You chink, maybe, that I'm exaggerating? Ha! ably at prices less than what I had to pay my wholesale You think you can keep your business life and your home suppliers for the same lines. A babe in the woods! That's life insulated from each other? Do justice to both? Don't what I was, I guess. you wish it! The records follow you home. So does every- Now, in my rime as a record retailer I had cause, at one thing else connected with the business, including the cus- time or another, to cake up arms against the record manu- tomers who get in by telephone if not by the door. The facturers, the record distributors, the Post Office, the Cus- stuff is in your living room. It's in the dining room. It's toms Service, the Railway Express, truckmen, landlords, piled on the piano, on the buffet, in the closets, in cartons and, once in a while, the customers, too. The truth of the under your bed. Even the cellarecte is not immune to in-

44 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com vasion. But do you ever ger rime to play records for your- were available and not restricted, the foreign firm forwarded self? Hell, beh. them to the domestic manufacturer who broke bulk and Maybe, you think, if you hired yourself some help, you sent the records co your wholesaler who, finally, sent them might be able ro relax a little. Ah, me! Right about there on to you. In that way, everybody along the line made a is where you find out that Uncle Sam, your scare, and the few pennies and the customer had to pay $2.64 for a record local authorities have a few jobs for you. Now you have to he might have imported directly for himself from a foreign compile statistical data and fill in forms, all in accordance retailer at a total cost ro himself of only $1.55. What kept with gobbledygook instructions which have you tearing him from doing that, however, was Sec. 526 of the Tariff your hair out in handfuls. Oh, sure, your help relieve you Act of 1930. of some of your former burdens. Now you use the rime to But let's get back to that order for ten records of foreign do the paper work which comes from having help. So the manufacture. Four, five, maybe six months have gone by. help go home at closing time while you stay in the back ( Not unusual! ) Finally, you drop your supplier a card to room and scribble, far into the night. ask what's up. You get no answer. Another month or two. Sure, you're tired, but do you sleep? What's bed for? No records. You write once more. After all, the customers You lie awake while your poor brain surveys all the things are beginning to needle you. Again, no answer. Another you will have to get under way, come morning. In mind, month or two, and you are on the point of writing one last, you go over all the problems of short shipments, wrong pleading inquiry when you hit the jackpot. You get shipments, damaged shipments, no shipments, bad accounts, thirty copies of the record you wanted only ten of - missing stuff, wrong records in the right sleeves or albums, ten for the original order, ten for the first inquiry, and ten promotional ideas. Your biggest headaches are the orders more for the second follow -up. you gave this, chat, and the other distributor weeks, maybe Or like this: months ago. No action! Why? Like buying a pair of shoes in a box and when you open That worry over back orders, by the way, is one of the it at home you find both shoes are for the left foot, comes things which, in the long run, lay the groundwork for a two- record album. It should contain record No. 12345 apoplexy. Here is an example: and record No. 12346. You find two No. 123455; no No. The ABC Record Distributing Corporation, let's say. 12346. You negotiate for adjustment. You get, after a handles N records, O records, and P records. You need couple of weeks, a return authorization for one (1) No. some of each brand. You make up an order. You mail it 12345. Comes a replacement. It's another No. 12345! in. The N records come. The O records are there coo. No All right' Scream your head off about how they are P! Oh, well, you figure, they are on back order. So you spending your money for you. See what it gars you. Do wait. The weeks go by, on leaden feet. You drop ABC a they say send the extras back? Do they give you a credit? card to find out what gives. No answer. In the meantime, Do they say or do anything? You should live so long! A you see P records in other stores. You begin to check, successful record jobber is one who is totally deaf CO and the facts come to light. ABC Record Distribut- complaints, protests, expostulations, and remonstrances. ing Corporation had ceased to carry the P record line. One cost me the sale of perhaps 20,000 records by More exactly, the producer of P records had found ABC's failing to supply me while I objected for over a year representation less effective than he had expected. He had co the recurrent appearance on my statement of a made only half -a- million in the first two weeks; so he took substantial balance I did not owe. There is abso- the line back and put it into DEF Distributing Corpora- lutely no worse evil in America's distributive sys- tion's hands. DEF handles K records, L records, and M tems than the establishment of exclusive regional dis- records. Does ABC's sense of dealer- service transcend the tributorships. The arrangement confers on distribu- impulse to get even with the producer of P records? A likely tors thus established the power of economic life or death theory! As far as ABC is concerned no such records as P over the retail dealers, who are left without any alternative records ever existed. Interestingly, by the time you have but to submit to their coercive powers, and these arc abso- found out that DEF handles them, the impatient producer lutely enormous. In ever so many instances the dealer leas may have turned them over to GHI Records, Inc., and so on. only little freedom of choice. Often he is compelled to Now that is nor a special case. That sort of thing goes on accept the clucks along with the clicks, whether he likes all the time. It is just a specimen irritation. One of the the idea or nor. very largest distributors in this country Well, anyway - practically never replies to any dealer Few businesses have ever been so inquiries or complaints. He had a par- The reader is reminded that Mr. liberally booby- trapped as the imported Franck is writing a forme: ticularly cute routine with respect to as record business. In general, the leading record dealer, not as a dispassion- orders for imported records. Say you ate outside observer of the indus- foreign lines could be imported only wanted ten copies of a certain number. try. We have no reason to doubr through or with the consent of their order to the his word on abuses generated affiliated houses in this country. Sec. He had to pass your on within the industry, but call to domestic manufacturer who had the your attention that there may be 526, mentioned above, in effect, made contractual tie -in with the foreign pro- rational aspects to the exclusive. the U. S. Customs Service the guardian distributorship system, for in- you wanted. That of certain American monopolies. Who- ducer of the brand stance, that he does not discuss. domestic manufacturer, in turn, routed -The Editors. ever undertook to import records of the the order abroad. Then, if the records brands under protection of this statute

JUNE 1955 45

www.americanradiohistory.com ran the risk of having his shipment intercepted, impounded without any alternative but to obtain his supplies of any and possibly confiscated, and there was a risk of civil and given line from a single source. If his trade policies do nor criminal penalties. If such an importer managed to obtain happen to conform to the jobber's idea of his own business the consent of the firm whose privileges he had violated, he interests, he may lind himself subjected to myriad annoy- could obtain the release of his consignment, bur that was ances, impositions, deprivations, and delays. If he attempts always an embarrassment. There might have been ninety- to circumvent the situation by addressing his orders to a nine records in such a case against which no restriction distributor in another area, he is coldly referred back to the might have existed, but if the hundredth record was of one jobber who enjoys the regional monopoly to which he is of the makes under the protection of Sec - 526, the entire subservient. 1 have heard this referred to as "free enter- shipment was deemed to be contaminated by it and in dan- prise." ger of seizure. It did you no good to instruct the customs Even when a dealer is in good standing with his dis- to destroy it and release the remainder. Therefore, the im- tributor- supplier, this arrangement may operate co his porting dealer who wished to avoid distressing contingen- injury. For instance, if his own supplier is our of stock on cies was careful to do his importing of such brands strictly an urgently needed number, the jobber in another monopo- in accordance wich the prescribed routines. Rugged indi- ly area who may have a good stock of it cannot- or will not vidualism was not countenanced. And, naturally, costs ( and supply him. That would be "invasion." The dealer simply prices) were outlandish. has to wait until his own jobber has the item again. Obstacles to trade in imported records, erected by Amer- In parts of the Southwest, during the war years, record ican companies, were numerous. One such company argued retailers who hoped to obtain any records at all from their that the more imported records they had to obtain for their suppliers often were required to buy supplies of needles dealers, the fewer of their domestic records would be sold. guaranteed to last them to 1984. Had they been in any However, whatever the considerations that influenced their position to cell their regular jobbers ro go jump in the lake, attitudes, there were great numbers of foreign records they that they would ger their stuff elsewhere, the standards of absolutely would not obtain for their dealers and mould service to all concerned would surely have been at least not permit the dealers to import for themselves. Desirable slightly better. items from Australia, Argentina, Brazil, Japan, and Mexico As I view it, the wholesale distributor of records is an were made absolutely inaccessible ro American collectors excrescence. The correct and legitimate function of jobbing by reason of this dog -in- the -manger policy. Collectors could is to provide wide representation for manufacturers who not even buy them abroad and bring them home as personal are individually too small or too weak ro establish effective possessions. large -scale sales-organizations or to finance advertising pro- Nothing was spared to make life tough for the importing grams by themselves. Where such small producers can dealer. It was quire the usual thing, for years, for the realize a collective advantage through the use of a common domestic companies to accept and execute their dealers' distributor, the jobber's function is fully justified. orders for records from abroad while they were actually There is much more that might be said about relations engaged in preparing the identical recordings for release in within the trade, but much space has been devoted to that domestic pressings. Consequently, the dealers often just phase of record dealership already. Let us now turn our barely got the imported pressings into their stocks at a cost attention to the record customer. Without him, there would to them of $1.63 per record, when the American counter- be no record business. Therefore, it behooves the record parts were proclaimed available at $ I.25, retail.' The do- retailer to handle him with kid gloves, to cherish his good- mestic companies contended that CO have warned their deal- will and, now and then, ro submit to abuses for which (so ers would have disclosed to their competitors their plans for help him!) he would clip anybody else in the jaw. forthcoming releases. The almost quarter- century I spent as a dealer in my own right was a continual struggle to keep my clients informed YOU CAN START in the mail order department. Here about the devious ways of the record trade. I wanted them is a letter. It is on rough, blue -lined, grayish -white paper, CO comprehend in what ways selfish, stupid, greedy, or con- torn from a cheap notebook. The edges are yellowed and niving interests were placing impediments in the way of crumbly. The writing, made with a chick, soft pencil, is their ready access CO fine recordings of culturally valuable jerky, irregular, and difficult to decipher. Large and childish material from all over the earth. I endeavored co show at the very start, it quickly becomes tiny and even harder them how the effective cartelizacion of the industry inflated to read as it descends to the bottom of the page and finally costs needlessly. I undertook to enlist the aid of members trails off into microscopic illegibility up one side and of Congress and the appropriate Federal agencies towards upside -down across the top. There is no signature, no re- terminating some of the more objectionable practices, as turn- address on either the letter or the envelope. You put being "monopolistic and in restraint of trade." My appeals it into the "pending matters" file, figuring that sooner or might as well have been addressed to institutions for blind later the writer will follow up on ic. He does, with some deaf-mutes. trace of acerbity. He seems to think less well of you chan I alluded above to the "exclusive regional distributor" before, but again he leaves you in the dark as co his name racket. I tried - in vain also- to attract the attention of or place of residence. Now and then one comes in with a government agencies ro that utterly disreputable mechan- complete address but no hint of the writer's name, and you ism of monopoly. Under that arrangement the dealer is feel cheered: the world is Continued on page 113

46 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com music makers by ROLAND GELATT

NEW YORK'S MUSIC SEASON imagery. He sees subtleties in a piano expression of gratitude toward the ended this spring on a nore of high accompaniment that no one else, family, he offered his services as ac- artistic achievement with the recital seemingly, can; and, seeing them, he companist to cellist Boris at a fee of early in May of Dietrich Fischer - is able to realize their execution through S1.00 per concert. The offer was ac- Dieskau, baritone, and Gerald Moore, his extraordinary command of both cepted and the career of accompanist accompanist. Unlike most Town Hall tone and rhythm. In the few opening begun, though Moore still had his debutants, Fischer -Dieskau was greeted measures of Die Post he re- creates with sights set on a solo career. A few by a full house and the kind of rap- remarkable definition the cantering of years later he returned to England, turous applause that betokens an audi- horses and the fruity braying of a post- and to earn his keep continued to play ence composed of the already con- man's horn. And in Der Leiermann, as accompaniments. Sir Landon Ronald, verted. Phonograph records had ob- Alec Robertson points out in the April who heard him at this juncture, ad- viously accomplished some impressive Gramophone, he suggests by his astute vised him ro concentrare on accom- missionary work. Mr. F -D turned out timing of a rest and weighting of a panying. The world is overstocked to be call, baby- faced, and thirtyish, chord "the pathos of the old man, with with brilliant solo pianists," Sir Lan- with a dignified, fairly immobile plat- frozen fingers and worn out hurdy- don asserted, "but there are precious form manner, a well -controlled though gurdy, churning our his disregarded few good accompanists in the field." not especially distinctive voice, and a tune." Moore saw the light, and began then sober, refined sense of musical values. The day before the concert, I met and there to learn as much about ac- Ocher singers have come to New Mr. Moore and asked him the inevi- companying as he could. York preceded by wonderful record- table question: how did he decide to He has learned a great deal. And ings, and some of them - Suzanne become an accompanist? The shaping now he is putting some of that knowl- Danco and Ferruccio Tagliavini, to of his career, he told me, came about edge at the disposal of us all in an en- name two - did not quite live up to through the death of his piano reacher, gaging little book entitled Singer and expectations. Happily, no illusions Michael Hambourg, father of a well - Accompanist (Macmillan, $3.75). In were shattered by the appearance of known pianist (Mark) and cellist it Mr. Moore writes perceptively and Fischer -Dieskau in the flesh. If any- (Boris). Although English -born, Ger- wittily about fifty songs he is fond of. thing, his program (devoted entirely ald Moore was raised in Toronto, and I heartily recommend his book to to Schuberr's Whrterreise cycle) showed anyone with a love of songs and a him CO be a more interesting singer sense of fun. chan his recordings would have led one to suspect.,.. EVEN THE MOST LRUD,,ITE col- For me, however, the real musical lector of musical oddments may nor be stimulus of the evening carne from the able to name the famous composer playing of Gerald Moore, a squat, who met an untimely end because of beefy man in his mid -fifties, with a an invitation to the White House. Ir ruddy complexion and a twinkling was Enrique Granados. He came to mien. This was not his New York the United States in the midst of debut: he had played in Town Hall World War I to attend the world back in 1926 as accompanist for the premiere of his opera Goyescas at the English tenor John Coates and had Metropolitan Opera House and had returned in October 1954 to give a planned to return directly to Spain lecture- recital of his own; but for many thereafter. But an invitation to play of us in the audience this was the first at a White House reception given by opportunity to hear in person a musi- President Wilson made him postpone his departure and cancel his steamship cian whose work on records has be- DOUOLAS Guss passage CO Spain. Instead he chose to come practically legendary. Ir would GeraU Moore not be accurate to say that he sur- sail by way of England. Midway in passed bis records on this occasion, there he became a scholarship pupil of the English Channel his ship was since there comes a point when ex- Michael Hambourg's, with the un- torpedoed by a German submarine cellence cannot be surpassed; but it derstanding that he would repay his and Granados perished, in his fiftieth was as winning a demonstration as any teacher in part from the proceeds of year. Moore has given on records of his any forthcoming concerts. When At that time Granados was working rare ability to project through the Hambourg père died in 1916, Moore on a symphony. the unfinished manu- has piano the essence of a song's poetic had not repaid his debt; and as an script of which survived him and

JUNE 1955 49

www.americanradiohistory.com remained the property of his children BENNO MOISEIWITSCH, the Rus- quintessential embodiments of chose in Barcelona. Recently the Granados sian- British pianist, shares this nos - roles. Certainly I have heard no Italian family attended a concert in Barcelona's ralgia for the records of yesteryear, tenor of the younger generation whose Palada de la Mdsica to hear a young though for a different reason. He be- musical insights or dramatic address Spanish conductor and composer, lieves that Ehe conditions of record are of like stature: and the more I Rafael Ferrer, conduct his own orches- making in the days of 78 rpm were listen to his records, the more 1 am tration of a Granados piano suite. more likely to bring out the best in a prepared to agree with Desmond Ferrel s rapport with the idiom of this musical performer. "The nervous Shawe -Taylor's description of him as music so impressed the heirs and musi- strain," he concedes, "was terrible. "one of the great stylists of the cen- cal executors of Granados that they You waited in the studio until the tury." gave him the unfinished symphony sound of a buzzer and the blink of a By and large, Martinelli's records and authorized him to complete the red light gave you the signal to start. do him justice; however the votes fall, work interrupted so tragically in 1916. Then you had to begin without a I shall be happy with the Camden re- Doubtless the Granados- Ferrer sym- moment's delay and play right through issue. But I shall be particularly happy phony will be recorded in due course. for the duration of a side. If it didn't if vox popali singles out the 1927 re- go right, you made the side over and cording of "No, Pagliaccio non toll," over again. This kind of tension was which contains one of the most thrill- THE NAME OF GRANADOS keeps hard on the nerves of the performer, ing moments on records as Martinelli recurring in a recent French book but it produced excellent musical re- spins out a miraculously sustained entitled Conversations avec Pablo Casals, sults. Ir keyed you up ro a high pitch phrase to the words beginning "I3 fidate published by Editions Albin Michel, of musical concentration, and even- credeva" - -- a prime example of this in which an interlocutor draws out the tually you produced a four -minute side singer's ability to inflect music with cellist on his remembrances of things that was really good. Today, with dramatic impact and maintain at the past and his opinions on music and magnetic tape, the job of making same time a legato line. Commentators musicians. Casals considers Granados records is far easier on the performer, are continually remarking on morsels the most creative composer of the but I find it musically less satisfactory. like this from Martinelli's recorded modero Spanish school and believes There is much less tension in the re- legacy. For Shawe -Taylor, the Mar- that music sustained a severe loss be- cording studio now. You start and stop tinelli recording of "Di que /la pira" cause of his premature death. The when you want to. You make several would be worth buying if only for one news of the torpedoing reached Casals rakes. Some are good, some not so phrase of recitative: "Amor, sublime while he was on a concert tour in the good. The engineers tell you that they amore, in tale istantt Ii favelli al core." United Stares. Soon after, he joined will patch together a final recording "Martinelli," he writes, "invests this Paderewski and Kreisler in a joint con- using the best portions from each rake. simple line with such purity, such no- cert at the Metropolitan Opera House They do, and it sounds all right. But, bility and intensity of feeling, that it for the benefit of the Granados chil- frankly, I don't find the results as could well stand as a model for the dren. Among the works played ro a satisfactory as they used ro be, when vocal student." For another British capacity audience was the Beethoven record making was less relaxed and critic, J. B. Richards, the "cry of real Archduke Trio. Too bad no micro- easygoing." anguish" on the words "io non selaivo phone was on hand to capture this Ail Lao corpo divin the n'innamora," in the Martinelli- Tibbert- Jepson album of evening of music making for posterity, IN CELEBRATION of Giovanni Mar - or to immortalize some informal cham- tinelli's seventieth birthday this fall, Ocello excerpts, haunts the memory. ber music sessions at the home of RCA plans to reissue on LP a selection If all this has started opera lovers Eugène Ysaye when piano quintets of the many recordings he made for thinking about their favorite Martinelli were performed far into the night by Victor during the 192os and 193os. record, it will have served its purpose. Kreisler, Thibaud, Ysaye, Casals, and This birthday tribute will appear in At Camden they are waiting to hear Busoni! the $1.98 Camden catalogue, which from you. On the question of recordings, grows increasingly valuable as a re- Casals holds some rather startling pository of some inimitable musical THE FOLLOWING INDICATION opinions. He begins by acknowledg- performances. A few Martinelli items of Sir Leonard Bernstein's newly ac- ing the tremendous progress made in have already been tapped for the $3.98 quired baronetcy appears on the inner recording technique, but then goes Collectors series, but there are still jackets of all current Columbia rec- on co say: "Yet I still prefer the about forty uncommitted sides to ords: records that dare back thirty or forty choose from, and the Camden im- years. The sound is less brilliant but presarios have decided to put the more faithful." He further states: choice co a vote. Will those of you IN CONDUCTORS "In general. I derive greater pleasure who have been yearning for a Martinelli SIR THOMAS BEECHAM. Bart. LEONARD BERNSTEIN, Bart. from hearing recorded music when the recital please express your preferences AARON COPLAND LEHIMAN ENGEL. records are turning faster. As far as to Frank O'Donnell, Camden Records, MORTON GOULD my recordings of the Bach suites are HOWARD HANSON 630 Fifth Avenue, New York 20, N. Y. HERBERT VON KARA.1AN4 concerned, I feel the need of hearing This is to be a "By Request" recital, ANDRE KOSTELANS" F :FRF.M KURTZ them a tone and even a tone and a and your vote is needed. half higher. The changes of tonality On the subjecr of Martinelli I am do not dismay me at all." Casals is apt ro get delirious. I was brought up Doubtless this information will be indefinitely nor the man to endorse a his on Radames, Manrico, Ocello, and corporated in the next edition of Lie - hysteresis turntable. Canio, and they remain for me the herson ;r Peerage.

50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com RECORDS

Records in licHé

Reviewed by PAUL AFFELDER NATHAN BRODER C. G. BURKE JOHN M. CONLY RAY ERICSON ALFRED FRANKENSTEIN ROLAND GELATT

JAMES HINTON, JR. ROY H. HOOPES, JR. J. F. INDCOX ROBERT KOTLOWITZ HOWARD LAFAY GONZALO SEGURA, JR. JOHN S. WILSON

Classical Music Listed by Composer 51 Folk Music 72

Advertising Index 52 The Best of Jazz .. ..._ . . 73 Recitals and Miscellany 67 The Music Between ..76

Dialing Your Disks ...... 68 The Spoken Word 76 Building Your Record Library 71 Chopin: A Discography .. 78

Arno Babajanian, piano; State Radio Or- disks. Except for the late Kathleen Fer - chestra, Nathan Rachlin, cond. rier's warm singing of the wonderfully poignant alto aria in No. u (used by tTchaikovsky: Concert Fantasy, Op. 56 Bach later in the Agnus Dei of the B minor CLASSICAL Mass), the performances have little to Tatiana Nikolayeva, piano; State Orchestra recommend them. Elsewhere stodginess of the USSR, Kiril Kondrashin, cond. reigns. The chorus is weak and blurred. CLASSIC CE 3007. 12 -in. $5.95. the important woodwind parts are often ARNOLD, MALCOLM Babajanian's symphonic variations for barely audible. The ethereal character of English Dances piano and orchestra, entitled Heroic Ballad. the lovely soprano aria of No. 11 is spoiled constitute twenty -one minutes pf pleasant by the addition of an uncalled -for continuo, The London Philharmonic Orchestra, Sir but hardly distinguished musical interplay. played on the harpsichord; to complete the Adrian Boult, cond. The piece is most remarkable for the com- damage, the aria is cut, long before the LONDON LD 9178. ro -in. $2.98. poser's flair for writing in the style of his da capo. In the final movement of No. 67 any the sound of the chorus twice fades unac- A most cunningly contrived set of six great Russian predecessors than for part. countably. This is the sole recording of dances, which though sounding like a originality of musical thought on his No. 67, but Ferrier has only a few measures reworking of old folk tunes are all original Reminiscences of Tchaikovsky, Rimsky- of recitative in it. No texts are supplied, material from the pen of Malcolm Arnold, Korsakov, and particularly Rachmaninoff in with occasional possibly because the works are sung in a young English composer and onetime are well evidence, English. N. B. trumpet player with the London Philhar- whispers of Ravel and even Gershwin. The performance appears to be well managed monk. They get a lovely performance BACH from Boult and his men, and the sound is by soloist and orchestra alike, though the is not Concertos for Harpsichord and String faultless. J. F. 1. recorded sound overbright. Tatiana Nikolayeva gives a very fluent Orchestra, i,t F minor and D major and persuasive performance of the Concert Isabelle Nef, harpsichord; L'Ensemble Or- AUBER Fantasy, one of Tchaikovskys most slighted chestral de L'Oiseau -Lyre, Pierre Colombo. Masa,tiello (La Muette de Overtures: works, despite its undoubted challenge to cond. Portici); The Bronze Horse; Fra Di- the virtuoso pianist. Her playing is beau- L'OISEAU -LYRE OL 500.42. 12 -in. $4.98. avolo; The Crown Diamonds tifully relaxed in the quieter passages; how- Paris Conservatory Orchestra, Albert Wolff, ever. she does not dispose of the bravura Colombo conducts these works with a cond. sections with quite the brilliance of Noel rather heavy hand. Tutti chords ate LONDON LL 1157. 12 -in. $3.98. Mewton -Wood, whose recording (CON- punched out, there is a feeling of ponder- CERT HALL CIIS 1126) is still the pre- ousness in other tutti passages, and the A truly great conductor is needed ro lift ferred version. J. F. 1. slow movement of the F minor Concerto these overtures out of the routine groove ends with a retard from here to over into which they are too likely to fall. BACH yonder. The solo part is nicely played. Seventy- one- year-old Albert Wolff is such Cantata No. it, Praise Our God; Cantata The golden tone of Isabelle Nefs harpsi- a conductor. He revitalizes them as Tosca- No. 67, Hold in AJJection Jesus Christ; chord sounds particularly charming when nini has revitalized the Rossini overtures, Jest:, Joy of Man's Desiring, from Can- combined with the pizzicato strings in the and the results on this disk are spectacular. tata No. 147 Largo of the F minor. Recording is P. A. resonant and clear. N. B. Eva Mitchell, soprano; Kathleen Ferrier, William Herbert, tenor; William AUBERT contralto; BEETHOVEN Parsons, bass; Cantata Singers and Jacques La Hahn/,:era -Sec Carpentier: Impres- Concerto Piano and Orrhe.ctra, No. Reginald Jacques, cond. for sions d'Italie Suite. Orchestra, 3,intC minor, op. LONDON LL 845. 12 -in. $3.98. 57 Variations i,, C minor, G 19r BABAJANIAN, ARNO These works were previously listed in the tMozart: Sonata for Piano, No. r6, its Heroic Ballad London catalogue on two separate ten -inch B -flat. K. 570

JUNE 1955

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Emil Gilds, piano' Moscow Philharmonic where fifteen minutes of other Beethoven Orchestra, Alexander Gaul, coud. or Pleyel or Haydn or Boccherini would COLOSSEUM CRLP 177. 12-in. $3.98. Record Advertising have been germane. Decca asks an inordi- nate reward for her lazy editing, and dis- Swollen sides lasting three minutes beyond Index cophiles would be unfair to themselves an hour, with the Coocerto side vying with and to die industry to offer ir. The con- the Toscanini record of the Beethoven Angel Records 65 tainer is only half filled with music. Septet io an approach to thirty-five minutes. Beyland Engineering Ca 77 C. G. B. So much the longer ro endure the macabre Calex Co.. .. 89 sonic here, the emaciated bass and skeletal Columbia Records, Inc 61 BEETHOVEN treble of an orchestra made toneless by Cook Laboratories, Inc 77 Sonatas for Piano: No. 29, in B-flat, electronics. The solos are becter but far Dublin's 89 " Hammerklavier," Op. ro6; No. 30, in from good. There 'u some gold in the Gene Bruck Enterprises 89 E, Op. ro9 playing, and its transmutation into zinc is High Fidelity Recordings 87 István Midas. a realization in reverse of the old dream of Leslie Creations 89 PERIOD SPL 718. 12-in. $4.98. the alchemists. C. G. B. London International 81, 83, 85 London Records 59 The world can provide competent pianists BEETHOVEN Mercury Records Corp. 62, 63 in any quantity required, and Messrs. Minuets (6), G 167 Missouri National Corp. .89 Period have reached into Venezuela for this tDvolák: Gavotte Music Box 88 one in asylum from his native Hungary. Offering him the Hammerklavier as an London Baroque Ensemble, Karl Haas, Music Room 89 Nuclear Products Co. 84 instrument for debut was not an act of cond. recklessness but a testimony of confidence, Record Index . 86 DRCCA DL 4096. 10-ia. 13, 3 min. $2.98. Record Market.. 89 which a hearing reveals not to have been Competent playing, no more -and per- Telefunken Records 8r misdirected. In this huge sooam lavish haps no more is necessary for this kind of Vox Productions, Inc 73 with huge difficulties the player has thing -and pleasant recording, The Westminster Recording Co 75 achieved above all clarity and sense, fore- Dvofák, a good piece, does not belong here going the pianistic ecstasy of a hot bath in Chapi and the Musical Spirit of Madrid 1900

AMONG THE MANY successful zar- I have gone into some detail explaining first - rare -in particular, Socorro's aria is zaela composers of the lase hundred the plot because I feel that, in spite of its extraordinarily beautiful - but I' simply years, two stand out for the beauty and intensely Spanish atmosphere, this is work could not make out the plot, if any, and expressiveness of their music: Bretón and that may well appeal to that enormous mass that disturbed me somewhat- Furthermore, Chapi. Curiously enough, they were born of the American public that enjoys Strauss, the singing is barely acceptable, and the just a few months apart, in 185o and 185t Léhar, Rodgers and Hammerstein, etc. set lacks any artist of stature. respectively. Of the two, Chapl would Perhaps one of these days an enterprising None of the zarzuelar that I have seen probably have more of an immediate appeal Broadway producer, looking for something on records ever carry an English libretto. to American ears both because of his own decidedly different and yet highly likely to Montilla includes a Spanish libretto and a melodic style and because of the richness succeed, will investigate the Spanish cheater. brief summary of each scene in English. of his orchestrations. I would not be at all surprised if, when Columbia has dispensed with the Spanish Of the three Chapi zarzuelas listed below, the day comes, La Ravoltosa is chosen and, part and abbreviated the English summary. La Revoltosa is probably the most popular. with perhaps a few minor modifications, London includes Interesting analyses of Ir is a work that breathes of the Madrid of becomes the hit of the season. Incidentally, each work in both Languages -but often 1900 much as Fledermaus breaches of the the London translation of the tide, The not even a bare outline of the plot itself. Vienna of Franz Josef - except that we Lady Joker, is roost inept. Columbia did However, I understand that London is now Americans feel emotionally dose to the better with The Trouble- Maker, although intending to prepare some line -by -line Satter and know nothing ar all of the for- a more faithful version would be The Live translations. Maybe this will provide the mer. The story revolves about Mari Pepa, a Wire: Both of these versions are well per- impetus needed to popularize the zarzuela girl who simply can't resist indulging in a formed and recorded. The Columbia ver- in this country. GONZALO SEGURA, JR. bit of coquetry from time to cime. Not sion has been cut to fit one side (the other unreasonably -at least for a Spaniard - side is given to an abbreviated version of CHAPI hex fiancé objects strenuously, but our Mari another superb zarzuela, Gigantes y Cabe - La Revoltosa Pepa stands by her inalienable rights and zudos), while the London is presumably Ana proceeds to flirt openly on every occasion complete. It is this marrer of variety versus Marla Iriarte, Inés Rivadeneyra, Patro- with all the men in the neighborhood. completeness that must decide the choice. cinio Rico, Mari Carmen del Rio, López Roldán, Manuel Ausensi, Enrique Naturally enough, all the corresponding Altogether different is La Tempertad - Povedano, wives, sweethearts, etc, resent this violently. a deadly serious work for all of its includ- Julio Nadal, Antonio López, Joaquín Roda; Finally the women get together to pur ing several amusing scenes. The plot itself Cantores de Madrid, Orquesta de Cámara de Madrid, Atasílfo stop to all this. They send a child to tell is not very compelling, it moves toward a Argenta, cond. each man that Mari Pepa expects him in false accusation of murder that is finally LONDON IN-NL rW 910I4. 12 -in. $3.98, her room that night. Of course, Mari Pepa cleared up in a rather contrived fashion. never intended to go that far -her virtue However, there is a wealth of magnificent La Tempestad is indeed above reproach and she truly music and some very dramatic scenes. The Toffy Rosado, Pilar Lorengar, Manuel loves her Felipe. While she is most ably atmosphere of a fishing village, the storms Ausensi, Carlos Mungufa, Gregorio Gil, defending herself (words have sufficed so and the sea that take the lives of its men, Antonio Díaz Marcos; Cantores de Madrid, far), the women turn on the lights in the are all painted in vivid colors. To mention Orquesta de Cámara de Madrid, Atatilfo courtyard by Mari Pepa's room -and find just one specific item: the great baritone Argenta, cond. that every man in the neighborhood has aria at the end of the first side is almost LONDON INT'L rev accepted what he thought was an invitation worth the price of the entire two-record set., 91029/9103o. Two r2 -in. $7.96. from Mari Pepa- The resulting scandal can particularly when performed by an artist be imagined, for none of the revengeful of the caliber of Manuel Ausetal. El Barquillero women expected to find her man there. The third Chap; work, El Barquillero Mari Pepa manages to dear herself and is (The Wafer Seller or, completely translated Toy Rosado, Carlos Mungula, Juan de Andia; finally, if grudgingly, forgiven by all into American terms, The Ice -Cream Alan), Cantores de Madrid, Orquesta Sin- - fónica, Anrúlfo Argenta, .provided she and her Felipe get married is difficult ro judge. The music is still by cond. soon and move to another neighborhood. Chap(, which means that it is absolutely LONDON INT'L W 91025. 10in. 82.98.

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lug time of each version is reasonably close: phonic poem is well realized, the changes Ansermet 27 min., 34 sec.; Cluyrens 28 of pace in Tchaikovsky's fantasy- overture min., 5 r sec. Cluytens is faster in the first nicely controlled. In fact, this Romeo and and third movements, slower in the second Juliet is one of the best now in the cata- and fourth. Listening closely, I do not find logue. Orchestral playing throughout is his slow pacing of the second movement at alert and distinguished, and Angel's sound all objectionable; the lovely melody of the is exceptionally good, except for a moment oboe, indeed, seems to improve as the at the end of the Polortsian Dances, where conductor lingers over it, as if reluctant to some hazy notes in the bass are a little too let it pass. For this and other reasons 1 obvious. J. F. I. continue to prefer the Angel version. J. F. 1. BRUCKNER BORODIN Mass No. 2 in E minor Prince Igor: Polovision Dances Choir and Orchestra of the Hamburg State 1-Mussorgsky: A Night on Bald Moun- Opera, Max Thurn, cond. tain TELEFUNKEN LGX 66033. 12 -in. $4.98. .fTchaikovsky: Romeo and Juliet If one did not know that this Mass was by Orchestre National de la Radiodiffusion Bruckner, it is likely not a single Française, Igor Markevitch, cond. that Markevitch: Borodin moves along smartly listener would identify him as its composer. ANGEL 12 -in. S4.98 or S3.48. 35144. Both harmonically and thematically, it is billowing noise. The distinctness of the This conductor has a predilection for much simpler and more straightforward voices in the fugue is a triumph of smartly paced readings, directed with than any of his instrumental works; the abnegation. Op. sop, without the pitfalls energy and dynamic strength. Occasionally scoring, too, is very simple. But there is of its mighty predecessor, has been realized these qualities may have been misdirected, no denying the deep religious devotion in with the same modesty and with the addi- but they are surely apropos in these Russian its pages. tion of a becoming lyricism. scores. The Borodin is neat and well The present disk is a dubbing from 7S- Placing the two sonatas on one disk turned, the balance is good, the singing rpm masters (it was once available on with a duration of more than an hour has (the language used is French) appropriately both 78 and 331/4 from Capitol) and the been accomplished without apparent detri- lusty. The diablerie of Mussorgsky's sym- tone quality suffers from age and distortion; ment to the sound of the piano, close and natural throughout, like a piano played at home. C G. B. Moderns on Louisville BEETHOVEN the Label Symphony No. 6, in F ("Pastoral"), Op. 68 AS EVERYONE knows by now, the Louis- dynamic, exciting. and ingenious; they are Detroit Symphony Orchestra, Paul Patay, ville Orchestra has for some years been composed in the twelve-tone system. The cond. commissioning new works from composers Hovhaness Concerto for Orchestra No. 7 makes MERCURY 50045. 12-in. $3.98. all over the world, performing them for its a totally convincing amalgam of Oriental own audience and making them available effects and Western forms and ends with Beethoven gave subtitles to the movements. on records. For a season or two these a magnificent "Hymn to Louisville" that in We may alter the first two, this running records were issued by Columbia in its should give the blue grass country an alto - projection, to "Soccer at Heiligensrdt- and regular course of business; then these disks gether new picture of itself. The other pieces "Prix des Drags d Auteuil," the brook being began to appear singly under the Louisville - the Notturno, the Shakespearian comedy that which we would call the water -jump Orchestra's own label. Not long ago the overture, and the short symphony on rivière des tribunes. and the French call the Kentucky institution received a grant of Spanish folk material - sound exactly as This athleticism in contradiction of the mus- $400.000 from the Rockefeller Foundation their titles would lead one to expect: pleasing, devotional relaxation prescribed by the to step up its commissioning progrzm, ant and tuneful but not especially remarka- composing pantheist, testimony to the con- and as a result of this it has recently issued ble. Recordings throughout are very good. ductor's animal spirits, is unfortunately two boxed albums. each containing pockets Inquiries regarding these subscription uninteresting. Some good sound has been for six twelve -inch records. Only two of records should be sent to the Louisville wasted. This is the first time on LP that these pockets have been filled so far; obvi- Philharmonic Society, 83o South Fourth Mr. Patay has seen fit to show character in ously the others are to be used for forth- Street, Louisville 3, Kentucky. this way; his other Mercury records are coming releases in the series. ALFRED FRANKENSTEIN accomplishments of high order. C. G. B. Each of the two records provided to date BERLIOZ with the albums contains three compositions. Peter Men,ìin's Sixth Symphony, the Symphonie Fantastique, Op. 14 Variations for Pismo and Orchestra by Walling- Herbert von Philharmonia Orchestra, ford Riegger, and a Notturno by Ernst Toch Karajan, cond. can be found on one; Alan Hovhaness' ANGEL 35202. 12 -in. $4.98 of $3.48. Concerto for Or-chasm No. 7, Castelnuovo- The Fantastique is not Von Karajan's dish. Tedesco's Overture to Much Ado About Noth- He treats it far too broadly and too gently, ing, and Carlos Surinach's Sinfonieaa Fla- rounding off the intentionally rough edges netted are on the other. All the perform- and, in the last two movements, taking the ances, of course, are by the Louisville Or- music at far too slow a pace. This sym- chestra under its conductor and idea -man, phony requires lean, taut, brilliant treat- Robert Whitney; the piano soloist in the ment, none of which it receives here. In Ricgger work is Benjamin Owen, of the addition, the first side ends at a bad spot in University of Louisville. the middle of the third movement. My The most rewarding of these six pieces favorite Fantastique remains Ormandÿ s on are those by Mennin, Rieggcr, and Hovha- Columbia. P. A. ness. The Mennin is a beautiful example of the twentieth -century symphony -a work BIZET of great energy and propulsion in its two Symphony in C major; Patrie, Overture fast movements, with an exquisitely lyrical L'Orchestre de la Suisse Romande, Ernest slow movement between. Its orchestral Ansermet, cond. sonorities combine utmost clarity with the LONDON LL 1186. r2 -in. $3.98. big, heroic sound that defines the sym- MILLER. GRAPHIC ARTS is identical to the Angel issue phony and distinguishes it from other The coupling Whitney conducted by Cluytens. The over -all play- genres. Rieggei s Variations are immensely Robert

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neither the voices nor the instruments come that has continued to rule his life. In the cates so very personally across the spaces through clearly. P. A. first fifty years of this century he bas, it and the years. And Canteloube himself is seems safe to say, accomplished more than at the piano. The sound is actually that of CANTELOUBE (arr.) anyone before him in the work of noting a not -large room; but when the music be- Chants de la France down the songs that have been known to gins, the walls melt into field and hills, the Fourteen French traditional songs, harmon- his countrymen since the days of the trou- ceiling becomes sky. No texts, and sketchy ized by Joseph Canteloube: La belle est an badours. Yet, as he points out in his note notes, but very highly recommended. jardin d'amour (Picardy); Quon you n'ero to this recording, songs simply noted down J. H.. Jr. pitchounelo ( Rouergue- Spinning Song); might as well be dead. They are flowers CHARPENTIER Y a rien de si charmant (Savoy); La fermo pressed and dried. To be brought alive Impressions d'Italie- Suite diets paure orné (Languedoc); Ma douce they must be sung, and sung so that the -fAubert: La Habanera countryside, the air, even the time, will be amie (Brittany); Petite Claudinette (Sa- Paris Opera Orchestra, Louis Fourestier. evoked for the hearer. voy); Au perduré (Béarn); De bon matin cond. je me suis levé (Auvergne); Sont -ran To this end he made arrangements - ANGEL 351x0. 12-in. $4.98. (Languedoc); L'hiver sera bientót passé for piano and for instrumental groups and (Dauphiny); O ciucciarella! (Corsica); voice; and he found, in Madeleine Grey, a Italy has inspired several musical trave- Sé lo voy (Haut -Quercy); Bon mati me singer who seemed the perfect interpreter. logues; this particular one was composed llevi (Roussillon); Sur la montagne (Gas- Some day, scholars may niggle at the har- in 1887 by the now venerable Gustave cony). monizations. Meanwhile, what matters is Charpentier when he was in Italy as a that the songs are very lovely and that winner of the Prix de Rome. I found the Lucie Daullene, soprano; Joseph Cantel- - in this there are more of them first movement, with its numerous viola oube, piano. recording of comparable quality to the celebrated solos, and the last. a vivacious tarantella. L'OISEAU -LYRE OL 50047. Iz -i n. $4.98. Chants d'Auvergne. Lucie Daullene's voice especially appealing. Louis Aubert, another As a pupil of Vincent d'Indy s and a does not give the same impression of varied veteran French composer, has cast his little student at the Conservatoire when J. B. color that Miss Grey's does in the older, symphonic poem in the Spanish mold. It Weckerlin was improving his librarianship fainter recording of the Auvergne songs, turns out to be a pleasantly atmospheric by making the first significant modern but she sings with the same precision of piece of no great consequence- just a nice investigations of French folk music, Joseph style and with much the same kind of filler for the Charpentier suite. Canteloube was touched by the enthusiasm never -never impersonality that communi- Both of these works herewith make their

[ruin; Kolodin Explores RCA Victor's Old Masters .. By what appears to be common disagree- all odds the most serious and systematic gives - perhaps not altogether independ- ment, there is no such thing in the world and rewarding exploration to date of the ently of foreknowledge and imagination as a perfect anthology. One may be appre- art of singing as related to the art of - the illusion of a huge voice, and a very ciated, enjoyed, thought admirable -but recording, and the set will more than repay individual one, resonating freely in a room not ever without reservations. This is its cost - will repay it many times over, and recorded at a little distance. On I.P. implicit in the richness of materials that in fact - to anyone whose interest in opera the same performance gives the subjective are considered worthy of being gathered or singing or recordings, or all three, is feel of a voice no less individual but of and sifted and, finally, anthologized. The more than casual. indeterminate size, recorded rather close -to. most the compiler can do is look to his The quality of the sound, as well as However, the operative word here is "sub- criteria, make his choices. and go to rest inclusions and exclusions, is certain to stir jective.' and everyone will have to decide with an easy conscience. For even the most up controversy among collectors of vocal for himself whether character has been lost voluminous and best -planned of antholo- recordings-especially collectors of acous- or verisimilitude sacrificed to mere close- gies is open ro the question that can be tical disks. But some of the performances ness. No dubbing has been done so as to asked of them all: if Z is included, why reissued here are now so extremely hard to falsify essential quality, though, and from should X be left out? come by in any form that it is almost early to late the performances and the The answer, if there is one at all, may impossible to imagine even the most dedi- performers retain their integrity -and or may not remove the question. Even the cated fanciers of records that turn at (or that, after all, is the main thing. All told. most rigidly stated criteria can be budged about) 78 rpm snubbing them in LP form; these seem to be the best and most basically by taste; and tastes vary. The real point is and the average standard of the group is so honest transfers to LP of historic vocal that even though X may have a very valid astronomically high that to refuse to listen recordings. They may not be all equally claim to inclusion, may have been slighted, because the reproduction does not follow good, but all seem to have been done with Z may have at least as valid a claim, and, the New Orthophonie curve would be respect and, certainly, with much more at the very least. be worth attention on its perfectly ridiculous. taste than certain transfers and updatings of merits. To borrow a line from Tennessee As described by Roland Gelau, three the past. Williams, it all depends on who's driving issues ago, the transfer to LP has been done In an anthology of this scope and preten- the bus. with great care and skill, and the various sion, it is no wonder that there are at least And this applies to RCA Victor's Fifty arcane techniques of removing pops and some X- versus -Z question marks. But it Years of Great Operatic Singing, in which sputters have left most bands remarkably is, by the same token, a little surprising Irving Kolodin, Music Editor of The Satmr- free from any very obtrusive inherited that there should be so many, and so dis- day Review, has made a personal, some- surface noises. On direct comparison with posed. From Tamagno onward, each decade times arguable, but always interesting 78 rpm originals in good condition, the is allotted a twelve -inch disk, the perform- decade -by- decade selection of performances advantage gained is naturally not great; ances all together adding up to what Mr. from the master archives of both RCA and, in at least some cases, the perspective Kolodin describes in his introduction to the Victor and its European affiliates -begin- has been altered, not necessarily for the album as "as representative a range of fine ning early in the century, with Francesco better. The commonest change in this operatic performances as my taste can Tamagnós famous Di quella pira 0902.- regard is -as in Nellie Melba's Hamlet devise," that is. from the files of the issuing from Verdi's Il Trovatore. and just "Mad Scene" (191o) and Frieda Hempel's company and affiliates. He limits this by touching the present decade, with a 1951 "Qui la voce" (1914) , from Bellini's 1 explaining omissions of the "most well - recording by Risë Stevens of Non so più, Puritan - an apparent bringing forward worn" examples of the work of famous from Mozart's Le Nozze di Figaro. of the voice, so that brilliance and imme- singers, on grounds of their being suffi- Not everyone will agree with his selec- diacy seem increased, but the sense of a ciently available, mostly in earlier LCT- tions, to say nothing of his exclusions. particular voice heard in a particular space series releases; other omissions on other Disagreements of varying violence are is rather decreased. The Melba, in particu- grounds. quite possible, both on grounds of taste and lar, acquires a sharpness of edge that it It is the omissions that are likely to give on grounds of historical imbalances. Yet, does not have on the 78. Somewhat simi- the greatest cause for debate. In the first weighing all objections double, this is by larly, the 78 of Tamagn0's "Di que /la pira' decade, 1900 -io, there are many such

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initial appearance on microgroove. Re- DANZI Roux (b), Golaud; Xavier Depraz (bs), splendent orchestral coloring has been Q ' tets for flute, Oboe. Clarinet, Bas - Arkël; Elizabeth Brasseur Choir and Or- lavished on them by their respective com- soon, and Horn, Op. 56: No. r, in chestre des Concerts Lamoureux, Jean posers, as this brilliantly conducted and B -flat; No. 2, in G minor Fournet, cond. recorded disk well attests. P. A. Jean-Pierre Rampal, Pierre Pierlot, Jacques EPic se 6003. Three 12 -in. $11.94. Lancelot, Paul Hongne, Gilbert Coursier. Debussy's first and only opera has been CHUECA I.'OISEAU -LYRE DI. 53005. to -in. $2.95. eulogized and censured ever since its first Ague, Az,caril/as, y Aguardiente performances more than fifty years ago, Routine music of the late eighteenth cen- Torty Rosado, Ana Maria Iriarte, Maria when the Opéra -Comique reverberated to tury, animated clarity, the kind of thing the fervent cheering and booing of partisans Teresa Berganza, Maria Angeles Carchena, that Haydn, Mozart, and Boccherini trans- Antonio Pérez, Juan Encabo, Manuel Or- and detractors. Today the fever has sub- figured. Nevertheless, each of the four - Orquesta de sided, but Bellies remains controversial. tega; Cantores de Madrid, movement works has one movement truly Camara de Madrid, Ataúlfo Argenta, cond. Many people would agree with Louis inventive, while the others are lisrenable it is LONDON W 91016 io-in. $z.9S. Untermeyer that "a long and lugubri- if one does not listen hard. The French ous bore"; others become transfigured ar Bright tunes and sharp rhythms combine players are by now familiar to most disco- the mere mention of its name and hold the with a very clever libretto to give us this philes, and their casual skill in this pair of opera as an article of aesthetic faith. I find delightful little gem that has been tickling quintets seems right for the music. The myself teetering between the rwo camps. instruments have been recorded accurately audiences since it was first produced almost If 1 hear it in a properly crepuscular mood, but an effect five playing in sixty years ago. The plot itself is of the enough, of men I surrender completely to its mezzotinted slightest; it is more like a series of candid an empty room emanates from the disk, a magic and recognize it for the creative shots of Spanish life, and the results are little chilling to the beguilement expected masterpiece that it is; but 1er me hear it in from such a combination. C. G. B. irresistible. I did not have the opportunity another -more impatient- humor, and Pelléas can seem just as tiresome as un- to make a side-by -side comparison with the DEBUSSY recording which appeared some friendly critics depict ir. Montilla Pelléas et. Mélisande time ago, but if memory serves me correct- Pelléas has been recorded in its entirety ly, neither is noticeably superior to the Janine Micheal' (s), Mélisande; Rira Gorr three times. The eldest version-made in other - they are both better than just (s), Geneviève; Annik Simon (s), Yniold; Paris in 1942 under Roger Desormière's good. G. S., Jr. Camille Maurane (t), Pelléas; Michel direction -is superior interpretatively to ... to Illustrate a Half-Century of Operatic Singing omissions, and a correspondingly very full Fermi; Lauritz Melchior's Siegmund -and style and abominable French by Feodor dose of Sembrich and Enrico Caruso and so on down the years, the crop of great Chaliapin, when he made better recordings Melba, Pol Plançon and Antonio Scotti. names thinning out, still what seem some by far. Sigrid Onegin's "O don fatale" is Mattia Battistini - the fabulous Gloria odd omissions, yet the best no less good from a cold climate; Kirsten Flagstad was d'Italia, who did not sing here because the for being more familiar. hardly known here as a Weber specialist, sea made him sick - is represented by the Relative to this best, there are some nor Helen Traube! as a Gluck stylist. And Act I aria of Renato from Verdi's Un Bello disappointments, some matters of taste on where are Boni and De Luca? Where is Maschera; Adelina Patri by her sixtyish which it is not necessary to agree. Farrar's Friedrich Schorr? It is explained that Lotte Zerlina; Maurice Renaud by his Hérodiade Mann aria is not her best singing, and Lehmann is best represented elsewhere; but dream aria; Geraldine Farrar by her Emma Calvé's Carmen "Habanera" nor her so are others who are are here, and how Manor, "Gavotte," and so on. Bur no Vic- best performance of it. Surely Margarete can a survey of great singing afford to leave tor Maurel or Fernando de Lucia; no Marzenauer deserved better than a snippet - her out, especially when criteria are set Schumann- Heink; no Louise Homer; no in-duet from the same opera, and the main aside for a Nina Koshetz and a Tiana Gerville- Réache. The list could be ex- claim to inclusion of a very immature Lemnitz? tended, but the point is clear: This, like (19t t ) Claudia Muzio recording is that it The final disk, 1940.50, scrapes almost and wide in the RCA any other anthology at all, is inescapably a was made before she was signed by Colum- embarrassingly deep very personal choice, and some collectors bia. The historic Mary Garden Carmen barrel, with over half the performances for will not find their favorites represented. "Card Scene' only just balances Senta sung the microphone alone, so far as this coun- However, in this as in later decades, in not half -clear English by Florence try is concerned. Dorothy Maynor's Louise although there can still be disagreement Austral, and it seems a bit of a waste to aria has quality, but not that of any opera about the excerpts chosen to represent cer- have the whole last scene of Massenet's house, and Maggie Teytés Grétry ( "Vous is very much tain singers, there is so much fine singing sleazy Don Quichotte sung in aura -duet etiez ce que noas n'étes plus") a self In fact, the critical to be heard that the best answer to objec- like -reproach. in Mr. Kolodin's book come tions is simply another such anthology, and judgments inclusions another, and another, with all companies closer to cold truth than some that have such materials entering the com- here might indicare. petition with the best they have in their Yet however much an individual may regret the intrusion of un- favorites, the files -and doing as gored a job of engi- can hardly be blamed that the neering as RCA has done. anthologist years of the century had too many The five disks hold a total of 68 excerpts early in such a time- divided far too many to list in even the most fine singers to admit - that neither the world nor economical fashion. Among the real anthology -nor is as rich in vocal as it once was treasures are Plançon's Dort Carlo soliloquy, RCA art and may come to be again. The most in the French text that Verdi set; Caruso's really, is one of deepest tremendous "No! Pagliaccio non son"; apposite reaction, Kolndin. all, not every- Edmond Clément's exquisitely phrased "La envy of Mr. After is invited to take his pick of such a Rive"; Emmy Destinn's "O patria mia," one -trove as that of the RCA hoard. with an incredible pianissimo at the end; treasure and if some gold has been left, silver will Caruso's arias from Macbeth and L'Africana the next visit. All told, very, very (not the usual); John McCormick's aria do until highly recommended. JAMES HINTON, JR. from Méhul's Joseph; Frieda Hempel's aria I Puri :mtt; robbed of its cabaletta, from OPERATIC Goldmark aria; 5o YEARS OF GREAT Leo Slezak's fine -spun SINGING Beniamino Gigli's Andrea Chénier; Gio- Scene" vanni Marrinelli's Guillaume Tell; Tito Mary Garden sings in the "Card RCA VICTOR LCT 67O I .Five I z -in. $29.95. Schipa's Almaviva; Ezin Pinza's Dolt Gin- from Carmen. At left: Rnsario Bourdon.

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the others, but it has been deleted (tempo. of 78s conducted by the composer with rarily at least) from the RCA Victor fifteen- year-old Ychudi Menuhin as soloist catalogue. Between the Swiss recording was interpretatively on a higher plane than presided over by Ernest Ansermet (London either of these LPs. Victor should earmark LLA II) and the Fournet version noted it for reissue. R. G. above, there is little to choose. Both are eminently praiseworthy: both can be heard FALLA with satisfaction; neither projects the Nights in the Gardens of Spain -Sec fragile quality of Debussys score quite as Rodrigo: Concierte de Aranjuez. successfully as the earlier recording conducted by Désormiere. Ansermet s is a FAURE more refined interpretation than Fournet's; Nocturne No. a, in E mirror, Op. 107; he pays closer heed to umbre and balance, Barcarolle No. 4, in A -flat major, Op. and is helped by somewhat more luminous 44; Valse caprice No. 3, in G -lia! reproduction. The singers in the two sets major, Op. 59; Impromptu No. 3. in arc about equally capable. i could wish for A -flat major, Op. 34 a younger and more innocent conception of l-Ravel: Prelude; Minnie! on the Name Malisande than Janine Micheau gives, just of Haydn; Valses nobles et senti- as I would prefer an Arkël who is more mentales; Toccata from Le Tombeau believably an aged man than Xavier de Couperin Depraz, but these are both intelligent, Debussy: the problem is one of dryness. Jean -Michel Damase, piano. well- schooled vocalists whose shortcomings LONDON INTERNATIONAL TW 91035. 1 are not viral. Michel Roux is a dramatic, marred by faint anticipatory chords is in. $4.98. sympathetic Golaud, and Camille Maurane simply intolerable. Columbia has also seen a winningly ardent Pelleas; in fact, his is fit here to dispense with bands separating A newcomer to records, Mr. Damase brings the finest interpretation of this role on the sections of a long work, so chat it is a precise, delicate touch and an array of records. impossible -for instance-to pick out muted colors to the Ravel works, a slightly Although the artistic merits of the two any one of the twenty -four preludes or any richer tone to those of Fauré. He ap- sets are about evenly divided (with a slight one of the six Epigrapher antiques. This proaches the music romantically; the Ravel tipping of the scales in favor of Ansermet), may have been done in the interests of waltzes in particular have some excessive the cost of acquiring them is decidedly "economical editing;' but at 55.95 a record rubatos, though there are compensatingly unequal. The London.Ansermet, on four these are no bargains, however much has fine passages filled with nostalgia and wist- records, comes to $19.92 ( with libretto); been crammed onto them. Not recom- fulness. One senses a pervasive lack of the Epic- Fournet, on three records, to mended. R. G. vitality, but this could be an illusion 511.94 (without libretto). R. G. fostered by the extremely intimate, airless DUKAS recording. Still, Mr. Damase is a pianist DEBUSSY The Sorcerer's Apprentice-See Ravel: with provocative ideas. R. E. Piano Music Bolero; La Valse. Includes: Préludes, Books I and II; Deux DVORAK FURTWAENGLER Arabesques; Children's Corner; Images, Gavotte -See Beethoven: Minuets, G. Symphony No. 2, in E minor Books I and II; Estampes; Masquer; L'Isle 167. Berlin Philharmonic Orchestra, Wilhelm joyeuse; Six Épigraphes antiques; En blanc Furtwängler, ELGAR cond. et noir. DEUTSCHE GRAMMOPHON LPM 181 14-5. Concerto for Violin and Orchestra, in B Two 12 -in. t hr. 12 min. $16.80. Robert Casadesus, piano (with Gaby Casa- minor, Opus Gr desus in Six Épigraphes antiques and En Most conductors compose a symphony or blanc el Alfredo Campoli; London Philharmonic noir). two, and their creations are usually received COLUMBIA SL 222. Three 12 -in. $14.95. Orchestra, Sir Adrian Bouir, cond. with polite contempt: "Conductor's music (Records available singly at each.) LONDON LL 1168. 12 -in. $3.98 $5.95 - he knows how to score, but not what." As an accomplished, intelligent, thoroughly Elgar's was the last of the big Romantic This is a superior example of the creation, professional artist, Robert Casadesus must violin concertos -a work in the Brahm- but the mockery is at least half true. The have reasons for playing Debussy as be sian mold, conceived in symphonic terms, late Wilhelm Purtw'änglcr knew how to does in these records; but I must confess robust in utterance, and compounded of score, and parts of this Of course it is that I cannot fathom them. His interpreta- some meltingly beautiful themes. It is much too long) his Second Sympony are tions of this sumptuously evocative music probably a bit too long, but then so is a lot undeniably effective and unique in their are literal, painstaking, and severely dry. of other music that is still very much orchestration, the decisive and declarative Is he insensitive to its shifting, kaleido- worth our attention. Elgar was not remiss colors of Richard Strauss laid over the scopic coloration, its ebb and flow of in providing his soloist with difficult mottled shades that cup the character of rhythmic tension, its transmutation of acrobatics: the concerto is strewn with Johannes Brahms's peculiar genius. But the poetic imagery into subtle sonorities - all sequences of double stopping and rapid ideas are not pointed and are generally the qualities that Walter Gieseking has chromatic figurations, and in an earlier somber. The good ones recall someone taught us to appreciate and that arc cap- recording of is with the London Symphony else -Cesar Franck, amusingly; wistfully, tured so beautifully in his recent Angel under Sir Malcolm Sargent's direction Franz Schubert; inevitably Richard Wag- recordings? Or was Casadesus merely in a (RCA Victor LM ro9o) Jascha Heifetz ner, and Richard Strauss of course. prosaic frame of mind when he undertook cleared these hurdles with his cuscomary The formal pattern, two sonata move- to play Debussy in the recording studio? savoir faire. His was a brilliantly exciting ments enclosing an andante in the sequence Either way, the results are not memorable. interpretation- perhaps a trifle too assured of a three -part song and a scherzo, is very The listener has only to hear the opening and muscular, for some of the soft- spoken apparent, and it seems cruel, after listening measures of 'Les sons es !cis paitrnns tour- sweetness and intangible Englishry of the carefully thrice to the painstaking crafts- nent dans l'air de soir" as played by Giese- music seemed to escape his notice. Alfredo manship of a man dead after fifty years of king and Casadesus to recognize the Campoli, Italian -born but long resident in service in music, to praise his long, gloomy difference between imaginative and pedes- England, projects these subjective attributes tapestry as "well made." But that is what trian interpretation of Debussy. more persuasively though he does not flick it is, although happily it may be added that To make matters worse, Columbia's off the violinistic glitter with Hei(etì s cool the short central movements maintain engineering and packaging are poor. These abandon. You pays your money and takes enough interest to warrant performance. records are woefully afflicted with pre -echo. your choice. There is little ro choose Presumably the performance on these This is an annoying phenomenon at any between Boult and Sargent or their respec- records is definitive. Certainly the orchestra time, but in music of such diaphanous tive orchestras, and the superiority of Lon- is at its darkly glowing best; and if the nature it is catastrophic; ro hear the rests don's newer recording is nor decisive. conductor misinterpreted anywhere, the at the opening of Les Collines d'Anacapri If memory is to be trusted, the old set composer had no right to reproach him.

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Sonically the disks are similar to many an obvious "effective' theater- piece, barely Boyd Ned String Orchestra, Boyd Necl, of the Berlin Philharmonic - smooth, well - worth listening to once. A. F. cond. adjusted mass with a feeling of expansive- LONDON LL 7128. 12 -in. $3.98. ness, no insistence on detail and no GRANADOS brio is dramatic timbre, but no excesses at the The of this fourth version inspirit- Spanish Dances no It may extremes of the frequency range either. ing, doubt of it: it never flags. Their four skins, on the samples received Alicia do Larrocha, piano. pall after a time, for the slow movements here, are almost encrely free of the blem- DECCA DL 9762. 12 -in. $3.98. have been infected by the urgency of the ishes we expect on LPs. if they are truly others, granting no relief from a din of Alicia de Larrocha is a pianist of nimble Aside from these representative of standard Deutsche Grarn- triumphant celebration. fingers, with a keen sense of rhythm and fast slow sections Dr. Neel has done well, mophon production, it would be good to refined musical sensitivity -in short, an insisting alone among the conductors who see and hear more of them. The well -made ideal interpreter for these compositions. Music limp jackets are lined with soft plastic, and have recorded the Water upon that Unfortunately, my copy of this record was predominance of the winds essential to its there are notes on the music and a brief not only a hit off -center, but also full of includes sketch of Furtwängler's career, in German. gusto. (This "string orchestra" hiss, clicks, and sometimes downright piccolos, flutes, oboes, bassoons, horns, and C. G. B. peculiar sound. I hope that mine was the trumpets.) The forward winds risk and only defective copy and that, mechanically obtain sonic coarsening of tone in the very GANNE, LOUIS speaking, the pressing as a whole is worthy bright recording, but this is preferable to Les Saltimbanques of the wonderful music and the exciting their repression. Perhaps it is fair to call Janine Micheau (s), Suzanne; Génévièvc performances of it. G. S., Jr. this the best version of what in the score Moizan (ms), Marion; Robert Massard is animated, and the worst of what is con- (t), André; Raymond Amade (t), Pail- HANDEL templative, the amalgam being of perplex- lasse; Michel Roux (b), Grand Pingouin; Concerti Grossi, Op. 6: No, r, in G; No. ing value. C. G. B. Marcel Carpentier (buffo), Malicorne; 2, in F; No. 6, in G minor; No. 7, in B Valli Valdy (buffo), Le Vicomte; Rivers -flat. HAYDN Cadet (bs), L'Aubergiste; Aray Symphony No 44, in E minor, "Mourn- Claude Vienna Symphony Orchestra, John Prit- ing" (speaking), Rigobert; "et les clowns Alex chard, cond. Symphony No 85, in B -flat, "La Reine" et Rhum." Orchestra and chorus, Pierre EPIC LC 3097. 12 -in, $3.98. Dervaux, cond. Vienna Symphony Orchestra, Paul Sachet, Granted that the presentation of an arbi- coot. LONDON INTERNATIONAL TV/ 91044.5. trary four out of twelve is faintly obnoxious, EPiC LC 3059. 12 -in. $3.98. Two 12 -in. $9.96. it must be granted too that these are lively and luminous statements in decided clarifi- The small handful of records made under Louis Ganne (1862 -1923) became, as a cation of the contrived oppositions of these the stick of this Swiss conductor are of a matter of choice, a popular composer rather grand Perhaps majesty, in the con- quality to excite surprise that he has not than a serious one composer of things. -a been used more The Queen here, marches (of which old -time 78 fanciers ductor's firm grip, is less compelling than often. legerity which in infinitely the best of four on records, moves may recall Le Père de la Victoire from the contrasting the same smartly with the a man versed Iíon Rothier's singing of it) and operettas grip bubbles convincingly; but in the con- conviction of test between the substantial body of strings and practiced in Haydn, whereas so many rather than of suites and operas- His Les to the and the four instru- of the master's interpreters play a mere Saltimbanques (read "tumblers, "acrobats," devoted ripieno ments of the concertino we have the nicest cautious apery of standard eighteenth -cen or something like), first given in 1899, is delineation yet on records of how the tury mannerisms. The harder stuff of the a sort of unsentimentalized Mignon- story, concerto grosso should be. Hearty record- Mourning Symphony is manipulated with minus the unpleasantness of Philine - all ing and a string tone bright and smooth an equivalent if different agility, and the about how Suzanne, a temporarily mislaid for the disk while we Vienna Symphony Orchestra, subjected to noble child, lives adventurously among earn commendation denounce the distribution of its contents. more conductors these last few years than circus people with hearts of gold, always The notes by Klaus George Roy are help- any orchestra that ever was, follow the being rescued from admirers who mean no ful, and the provision of one cardboard Swiss with alacrity and ability. Bright and good by the arrival of André, her tenor - jacket inside another is certainly the easiest broad registration of high class after the lieutenant-admirer. Edited down to four way vet, of a hundred ways, to protect treble has been attenuated. C. G. B. sides by Max de Rieux's réalisation, it is a dust. May gay, bouncy, uncomplicated score, with vinyl against disfigurement and HONEGGER the idea have imitators! C. G. B. tunes that are very ingratiating but not Pacific 231 -See Ravel: Bolero; La easy to remember an hour or so after Valse. hearing. Full spoken text is provided but HANDEL only partial text for the musical numbers, Vater: rllusic IRELAND, JOHN some of which are cut -and no English Minuet -See Warlock: Capriol .Suite. translation at all of text or notes. J. H., jr. KABALEVSKY GLAZUNOV Concerto for Piano and Orchestra, No. 2, in G minor Sonata for Piano, No. 2, in E minor - See Saint- Saëns: Concerto for Piano Gregory Ginsburg, piano; National Phil- and Orchestra, No. 2. harmonic Orchestra, Dmitri Kabalevsky, cond. GOULD, MORTON Dance Variations 1'Prokofiev: Concerto for Piano and Or- chestra, No. r, in D -flat major, Op. ro Arthur Whittemore and Jack Lowe, duo - pianists; Sao Francisco Symphony Orchestra, Sviatoslav Richter, piano; National Philhar- Leopold Stokowski, cond. monic Orchestra, Kiril Kondrashin, coud. tMenotti: Sebastian - Ballet Suite tProkofiev: Sonata for Piano, No. a, in D minor, Op. 14 Members of the NBC Symphony Orchestra, Leopold Stokowski, cond. Emil Gilds, piano. RCA VICTOR LM 1858. r2 -in. $3.98. COLOSSEUM CRLP t86. 72 -in. 53.98. As program editor for the San Francisco These three works are all relatively youthful Symphony, the writer of these lines ought efforts. Prokofiev was twenty when he to be enthusiastic about the reappearance of Gould's Dance Variations do not inspire of that orchestra on the LP lists. Unfortu- much enthusiasm from this typewriter. nately, however, the ingenious trivialities Hadyn's Queen's honors to Paul Sacber. Menotti's ballet score or. the other side is

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wrote his First Piano Concerto, twenty -one Yes. Elemental? 'That, roo. It can be included in this record provide the right when he completed the Second Sonata; figured as a kind of expanded contemporary amount of contrast and should appeal to Kabalevsky composed his Second Piano Russian verismo, built around familiar the enormous American public who enjoys Concerto - recorded here for the first rime motifs, and liberally spiced with chances to Latin American music for dancing or listen- - at the age of thirty-two. These works let all kinds of emotions come out in the ing. Jose Echiniz is a fine pianist of contain echoes of Rachmaninoff, but all of open. It may not be great art, but I fail to nimble fingers, a keen sense of rhythm, and this music is pleasing, generously melodic, see that it is either ridiculous or despicable a definire feel for this sort of music. In and soundly conceived. Certainly, Proko- - however strongly one may feel about the addition, the recording is quite good, so liev's professors at the St. Petersburg Con- totalitarian context in which it came into Westminster should have little trouble dis- servatory and the music critics of 1912 being. posing of a million or two copies of this would think much less harsh thoughts of Musically, it is extremely competent -a record. - G. S., Jr. this music were they to pass on it today. fabric of big, broad, sweeping tunes, always Altogether this might have been a most effectively (and sometimes quite strikingly) attractive disk had the performances been harmonized and scored, with everything LISZT decently reproduced. The word "decently" shaped and built up in unexceptionally Hungarian Fantasia for Piano and Or- is used advisedly here, for Colosseum has chestra; Hungarian Rhapsody No. 2 reached a new low in recorded quality. The Julian von Karolyi, piano; Munich Phil- sound is so dreadfully distorted that it harmonic. Edmund Nick, cond. would be unfair to attempt to pass judg- DrccA or. 4084. Io -in. $2.98. ment on the merits of the playing. P. A. These excellent, idiomatic performances can he safely recommended, even if they do not KA BALE VSKY possess the ultimate in nuance, such as can Taras' Family (excerpts) be found in Claudio Arrau's version of the Fantasia. The sound is presentable. though B. K. Kalyada (s); S. A. Kashevarova (s); again not the ultimate, as the orchestra is S. P. Preubazhcnskaya (ms), V. G. Ulianov mildly clouded by too much resonance and (t); I. A. Nechaev (t): I. Alexeyev (b); the solidly round piano tone is wanting in V. M. Luganin (bs -b); I. Yashugin (bs): brightness. R. E. Orchestra and Chorus of the Kirov Theatre of Opera and Ballet, Leningrad, B. E. Khalkin, cond. LUENING, OTTO CLASSIC CE 30004. Two 12 -in. St 1.90. USSACHEVSKY, VLADIMIR Tape Recorder Music So much has been written about the sad state of Soviet music, and the Babylonian INNOVATIONS GB I. to -in. S4.95.

captivity of Soviet creative artists in gen- HAROLD STEIN eral, that rather special interest attaches to Otto Luening and Vladimir Ussachevsky the first appearance on recordings easily Reel composers Ussachevsky and Luening are two members of the music faculty of obtainable in the \Vest of substantial ex- Columbia University who have been ex. perimenting extensively with the creative cerpts from a contemporary opera by a professional style. It is not at all a mere possibilities of the tape recorder. Soviet composer - and one of established string of easy -to -hum folk songs and dances, This disk status- in a very decently reproduced per- and though it certainly leaves no major is devoted to a group of their compositions. formance by the forces of one of the big points unempharically stated, neither does The potentialities of the medium are infinite: tape government theaters. it really condescend. Like Shostakovich's recording can extend the timbre of any instrument into any range, high Born in 1904, Dimitri Kabalevsky grew A Song of the Forests. it may be propagan- or low; it can alter timbres in to maturity after the revolution. His father distic, and it may not be Beethoven, but it countless ways; it can capture the audible was a government employee, and he had to is most certainly a sound, strong, expert overtones of inaudible overcome family objections before being piece of craftsmanship. fundamentals; it provides all manner of echoes, reverberations, allowed to rake up music as a field of study The performance is quite strong orches- and dimensional levels by means it, and then as a career. Brilliant as a conser- trally and the casting is good all the way of sound; of any melody, recorded, vatory student. he has had a very successful down to the smallest roles; by all the evi- once can be stepped up or down career in Soviet terms, and though (aside dence that can be heard, the Leningrad in pitch or speed or reversed on any of these from works like the ballet The Comedians, opera house is a theater with high standards planes; and, by means of montage. any or all from which the galop familiar to jukebox and all the means of implementing them. of these things (and many more) can be assembled a in players is taken) he has tended in instru- Helpful notes by James Lyons; but only a on single rape any desired mental music to work within limits that detailed synopsis -no text in any lang- order or to any desired extent. might possibly be called "formalistic." he uage. Engineering: better than the aver- Luening and Ussachevsky have entered is both a popular composer and an officially age for Soviet opera recordings. Very, this vast new realm with a sense of high ad- approved one. very special as a thing to buy. but worth venture but also with a sense of responsi. bility. His postwar opera Taras' Fami/y looks while and interesting to hear. 1. H., Jr. Their music. which goes into the in synopsis almost like a parodistic spoof microphone as the sounds of the flute, the of a "people's arr work." It deals with an piano, and human voices, is invariably fas. old man whose sons go off to join the army LALO cinating as aural experiment and is frequently and the partisans and help repel the Nazi Symphonie Espagtrole - See Prokofiev: very moving and meaningful from a strictly invasion, and the plot keeps jumping back Concerto for Violin and Orchestra, musical point of view. There are five corn. and forth from home to battleground. to No. 1. positions on the record - Sonic Contours, for the town factory in the midst of the Ger- piano and voices, by Ussachevsky; Fantasl man occupation, and back again. There arc LECUONA in Space, Invention, and Low Speed, all for all kinds of opportunities for the unleash- Andalucía, Danzas Afro- Cnlianas. Dan- flute and all by Luening; and Incantation. ing of patriotic sentiments. all kinds of zas Cubanas for voices and some unidentifiable instru. opportunities for spectacle -as in the big Jose Edhiniz, piano ment or instruments, by both composers. scene where the underground -youth boys The names of the performers are not given. WESTMINSTER WI- 5343. 12-in. $5.95. blow up the village schoolhouse with the but as Lucning is an excellent flutist one Germans (drunken, of course) inside ir - Nothing I could say could possibly add to suspects he is his own interpreter here, and and so on. In other words, it is the kind of nr subtract from Lecuona's tremendous Ussachevsky is probably the pianist. A. F. Soviet work that is very easy to make fun popularity - his Afalagnefia surely must be of. When you think, though, that many as well -known as The Star Spangled Banner, MAHLER members of its audience have actually lived and there is no reason why the rest of the .Symphony No. 8 in E minor through similar experiences, it may not Andalucia suite should not be just as popu- seem quite so funny any more. Naive? lar. The Cuban and the Afro -Cuban Dances Cartiruad on page 6o

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www.americanradiohistory.com .. ttie ft4fItt2 4L4t Co'tuvt.,. Full frequency rame recording ensures the faithful reproduction r eue?), of interpretive and tonal nuance of a performance, whether by soloist or full orchestra and chorus. Thus the reputations of the world's greatest artists are i» 1/se safest possible hands with LONDON. London can rely on the quality of their performances; they cou rely on the technical quality of the records. The "NAMES THAT COUNT" are on the LONDON label. There are many of these grec: names; a fera of the most illustrious are the artists whose new recordings are featured below. ERNEST ANSERMET DEBUSSY ROUSSEL Le Martyre de Saint Sebastien Le Festin de l'Araignée "The Spider's Feast" Incidental Music - Ballet Suzanne Danco (soprano); Nancy Waugh (con- Petite Suite pour Orchestre tralto); Lise de Gontmollin (contralto) with Union L'Orchestre de la Suisse Romande Chorale de la Tour -de -Peils and L'Orchestre de la Conductor: Ansermet Suisse Romande. Conductor: Ernest Ansermet Ernest LL -1061 S3.98 LL -1 179 S3.98 BORODIN RAVEL Symphony No. 2 in B Minor Shéhérazade -Song Cycle Symphony No. 3 in A Minor "Unfinished" Trois Poèmes de Stéphane Mallarmé Prince Igor -Overture Deux Mélodies Hébraïques L'Orchestre de la Suisse Romande Suzanne Danco (soprano) with L'Orchestre de la Conductor: Ernest Ansermet Suisse Romande. Conductor: Ernest Ansermet LL 1178 S3.98 LL -1196 S3.98

Suzanne Danco

SIR ADRIAN BOULT HOLST The Perfect Fool -Ballet Suite BAX Tintagel BUTTERWORTH A Shropshire Lad The Banks of Green Willow The London Philharmonic Orchestra Conductor: Sir Adrian Boult LL -1169 S3.98 CESARE SIEPI GOMES Salvator Rosa -Di sposo di padre le gioie serene VERDI Simon Boccanegra -II lacerato spirito MEYERBEER Les Huguenots- Seigneur, rampart et seul Soutien Les Huguenots -Piff, Paff Robert le Diable- Nonnes, qui reposez HALEVY La Juive -Si la rigeur Cesare Siepi (bass) with Orchestra of Accademia di Santa Cecilia, Rome. Conductor: Alberto Erede LD-916!) S2.98

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JUNE '1955 59

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Soloists, Combined Rotterdam Choirs, Rot- quasi-oratorio? The whole has to be stage - they deserve to be, for on the whole, their terdam Philharmonic Orchestra, Eduard managed as well as conducted, distributed voices are of remarkably high calibre - Flipse, cond. so that the tonal forces remain in equilib- and far more responsive than those of the EPIC SC 6004. Two 12 -in. $9.96. rium, and handled so that light can pene- old, fuzzy Scherchen version on Columbia. trate through successive layers of sound to Perfectionists will find spots to complain when Galileo proved years ago that size the deepest stratum. After that, problems about, particularly in the closing portion increases arithmetically, problems grow of interpretation can be considered: what of Parc Il, but there is little point in cavil- geometrically. The "Symphony a Thou - of were Mahler's dramatic and philosophical ing at the Eighth: tell it to city hall. The and" is a case in point. It be cannot dealt intentions? If you discount the emotional contributing forces are well placed in the with simply as a choral symphony on a and intellectual content of the score, there recording, and the sonics are spacious, as larger scale; a successful performance de- is nothing left, the thousand notwithstand- clear as a thousand can be when stuffed pends on such a concaotenation factors of ing. Lastly, a conductor has only to worry down the throat of a single loudspeaker. that it seems highly unlikely that conditions about keeping everybody together. The Philosophically, the Eighth calls for Re- would ever be altogether favorable. Mahler recording engineers can take it from there, demption; technically its only real salvation made it difficult for everybody. The size of but they, too, have their difficulties multi- lies in trinaural recording. All told, how- his apparatus puts the acoustics any hall of plied. ever, matters have come out far better than to the acid test (to say nothing of its Mr. Flipse copes with the Eighth in one has a right to expect. backstage facilities). Three choirs and admirable fashion. His reading has sweep, FRED GRUNFELD auxiliary bands and players have not merely meaning and sensuousness. to be drilled, but trained in an unfamiliar, He exploits the dramatic possibilities inherent MENDELSSOHN personal style; eight solo parts have to be in these Elijah filled with singers who have big voices and masses and their juxtaposition. He is inconsiderable cranial capacity - and where clined to be weighty, but never lapses into Jacqueline Delman (s), Norma Proctor can you find a well -matched cast of first -rare that laggard state which is the thief of (c), George Maran (t), Bruce Boyce (b); London Philharmonic Choir, Hampstead artists who will consent to take roles in a tempo. The soloists are not identified but Parish Church Boy's Choir, and London Philharmonic Orchestra, Josef Krips, cond. Rich Promise from the LONDON LLA 27. Three 12 -in. $11.94. Promised Land 11 Messiah may rightly be called the king of oratorios, then Mendelssohn's fine Elijah THE ISRAEL Philharmonic Orchestra is Mahler's Ninth Symphony always has may safely be cast in the role of heir appar- said to be embarrassed by a superfluity of seemed to me, heretofore. too long. It's ent. This bas beeo so since the work was concertmasters. Four string- players alter- still long, but this way I can take it, and first performed at Birmingham in 1846. In nate in assuming responsibility for this func- with pleasure, even if benumbed. The the intervening years much of Mendels- tion. Or so the printed publicity claims. interpretation closely resembles that by sohn's other music has been subject to To begin with, I was a little incredulous, but Bruno Walter, Mahler's acolyte, in an elderly fluctuating popular esteem, but Elijah has I am not, after hearing the orchestra's first RCA Victor transcription from 78s. (Kletzki always maintained its original popularity. records. A string -section like this is not might not like this comment, but its true.) Yet this acceptance is hardly reflected in met with frequently these days; its suavity, But the dynamics and tone -color furnished the representation accorded Elijah on rec- flexibility, and dynamic -range at once put by the Israelis give it a vitality hardly ords, for this is only the second version to the orchestra into the top rank of today's imaginable from the older recording. It appear in the LP catalogue, against the symphonic organizations. And the ensem- may be that Walter and his New Yorkers eight currently available recordings of ble's assets do not stop there. There is in its will come along later and dislodge this ver- Handel's masterpiece. playing, throughout, a disciplined verve sion from its top rating, but it will nor be The earlier Columbia set (SL 155), that perks the attention and repays intent- easy, and no one else in sight need even try. issued in 1947 (the centenary of the com- ness. This is an orchestra to keep an eye JOHN M. CONLY poser's death), offers a well -balanced, on - or an ear bent to. highly musical performance under the skill- EMI obviously was aware of this. When ful direction of Sir Malcolm Sargent. It Lawrence Collingwood was sent to make the boasts some superb oratorio singing by a initial Israel Philharmonic recordings, the quartet of soloists well schooled in the good offices of the British Ambassador were field, together with choral singing by the invoked, and Israeli officials respooded by Huddersfield Choral Society that is impres- detouring all traffic away from the recording sive but would have been more so had the auditorium. The results are felicitous. The technical facilities of that day been better recordings are beautiful. able to capture the impact of such a solid In only one - of three - initial issues mass of vocal sound. Even with this defi- are efforts possibly wasted (and this is rare ciency, the set is a considerable achievement in today's crowded LP field). The Mahler for all concerned. First Symphony from Klerzki and the IPO The new London issue is mainly notable I should have to give second raring on two HANS KAUFMAN for its exploitation of a wonderful, open, important scores. Bruno Walter interprets Collingwood and Kleizki go over a score and well -extended sound, remarkable for it better in a Columbia performance just the truth of its perspective. It is particular- barely inferior in recorded sound; Rafael ly imposing in the large dramatic choruses, Kubelik and the London engineers just MAHLER: Symphony No. r, "Titan." the strongest feature of this work, which barely ourpoint it sonically in a performance ANGEL 35180. 12 -in. Factory -sealed: $4.98; roll out with thunderous power, yet manage slightly less telling. This is, like losing to Standard -pack: $3.48. at the same rime to be clearly defined. It is the Yankees or the Dodgers, not bad at all. thrilling to hear the appeal of the pagans And from there on, all is triumph. MAHLER: Symphony No. 9, with Schön- to their god, "Baal, we cry to thee," emerge Kletzki has previously proved his powers berg: Verklärte Nacht. from the speaker in such spine -chilling in Mendelssohn with a splendid Midsummer sound. Equally remarkable, both for the ANGEL 3526B. Two 12 -in. Factory -sealed: Nights Dream Suite; he does it again here intensity of the singing and the beauty of $9.96; Standard -pack: $6.96. with a "Scotch" Symphony that brooks no the sound, is the famous passage for chorus, "Behold, current competition at all. His interpreta- MENDELSSOHN: Sympbomy No. 3, God the Lord passed by," for tion is broadly Romantic, but upon its com- "Scotch," with Overture: "Calm Sea and which Mendelssohn supplied such a won- pletion you do not want co try a competi- Prosperous Voyage." derfully pictorial orchestral accompaniment, tive record, you want to play his again. making it the dramatic high point of the ANGEL 35183. And the last portions of the "filler," 12-in. Factory- sealed: $4.98; scoreW. - Standard -pack: the overture "A Calm Sea and A Prosperous S3.48. hen we come to the soloists, it is Voyage," never have been recorded before All wich Israel Philharmonic Orchestra, Paul apparent that Krips has not been as (ortu- with such joyous thunder. Kletzki, cond. Continued on page 62

6o HIGH FIDELITY MAGAZINE

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A combined tribute to a master of keyboard composition and to one of the great artists of our time - on the occasion of his 20th concert season in America: Columbia Records proudly presents, on 3 "Lp" records, the major portion of Debussy's works for the piano, performed by his foremost interpreter, Robert Casadesus.

INCLUDES: Preludes, Books I & 11 Estampes .trbnunr o..4u Ir.,. Masques Lisle Joyeuse Images. Books 1 & II Deux r 2alA C

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JuNr: 1955 61

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nate as was Sargent. The powerful baritone MUSSORGSKY of Bruce Boyce is impressive enough, but fl Night on Bald Mountain - See Boro- there are times when he finds the tessitura din: Prince Igor: Polot'tsian Dances. of his part quite troublesome; his attacks are coo tentative to be satisfying. His con- PAISIELLO lw ception of the part, too, is on the earthy 11 Duello side, and as such less than convincing. In Eva dc Luca (s), Bettina; Angela Vercelli the few arias allotted to the tenor, George HIGH FIDELITY (s), Clarice; Tatiana Bulgaron (s), Vio- Maran sounds as if he might be more at letta; Vittoria Mascropaolo (ms), Fortu- home in a Sullivan operetta than in ora- nata; Alfredo Nobile Leandro; Iwo torio. The soprano voice of Jacqueline (t), Vinco (bs), Don Policronio; Teodoro Ru- Delman light, clear, but hardly weighty - vetto (bs), Topo; Gino Viziano (bs), Don enough for the music-is carefully used, Simone; Chamber Orchestra of L'lnscituto but her work never begins to approach the Fonografico Italiano, Ugo Rapalo, cond. artistic level of Isobel Baillie in the Colum- HAYDN SOCIETY I-15L 130. 12 -in. $5.95. bia set. Only Norma Proctor, the contralto, is completely satisfactory. Her rich, firm The jacket notes for the Haydn Society re- tones have the proper ring for oratorio, and cording Duello (more usually called, t". of Il - 1.1 her style is in the best British manner. in full, 1/ Duello Comico), put Giovanni _«.,._ Krips entertains a slightly brisker view of Paisiello forward as a kind of missing link ^n the score than Sargent, and the orchestra, between Mozart and Rossini. Since this is f responding to his incisive beat, gives a the first complete Paisiello opera to be handsome performance. equally handsomely made available on LP, this conceit -for it recorded. J. F. I. is little more -seems particularly unfortunate. It would have been more accurate. MENOTTI if perhaps less piquant, to note that, as an Sebastian-Ballet Suite-See Gould: opera composer, Paisiello was roughly con- Dance Variations temporary with Mozart. Born in 1740, he J was older than Mozart, and he lived on MILHAUD until 18r6 -the year in which Rossini's La Cheminée du Roi René; Suite d'apres It Barbiere di Siviglia made its start towards Correcte displacing his own charming opera on the same P04010 .ANSILI. French Wind Quintet text. But Paisiello began relatively LONDON DL 53002. lo -in. $2.98. late as a stage composer, and his really HOWARD HANSON significant work for the theater trailed off conducting the Milhaud at his most Frenchily classical. by 1794, only three years after the death Michel Correcte was an obscure eighteenth - of Mozart and only two years after the EASTMAN -ROCHESTER century Parisian composer some of whose birth of Rossini. tuneful dances are presented here in an As for 1/ Duello, it dates from 1774. ORCHESTRA artful, polytonal arrangement for oboe, when Mozart had advanced no further GRIFFES The Pleasure Dome of Kubla Khan; clarinet, and bassoon. The work on the operatically than the relatively conventional The White Peacock; Clouds; Bacchanale. other side has more substance. It is a suite La Pinta Giardiniera. It bridges no Moz- LOEFFLER Memories of My Childhood; Poem for wind quintet in seven movements de- art- Rossini gap whatever. It is simply, and for Orchestra. MG 40012 lightfully recalling the gallant, peaceful more or less purely, a good example of days of the fifteenth- century King René of -late PORTER Poem and Dance; DONOVAN New middling eighteenth -century opera buf- Provence, whose sun England Chronicle; HIVELY Tres Himnos habit of sitting in the fo, in which standard post- Pergolesi usages gave the French proverb, Se chao/Jer ( "Three Hymns "). MG 40013 their are modified only by the composer's char- d la cbenrinie du Roi René. As these re- acteristically mild, gracious musical per- other new releases views have often noted, woodwinds record sonality. Its closest affinities could very better than anything else. This record is likely be found in the musics of Piccinni or OSLO PHILHARMONIC no exception to that rule, A. F. Cimarosa. As a type and as a work, though, It Duello is most surely worth hearing for ORCHESTRA MOZART the grace and charm-occasionally sweet SVENDSEN Norwegian Rhapsodies Nos. 2 Sonata for Piano, No. 1b, i,1 B -flat, and wistful -and purity of its music. and 3; Symphony No. 2. Oivin Fjeldstad and K. 570-See Beethoven: Concerto though it does not have long stretches of Odd Gruner -Hegge conducting. MG 90004 for Piano and Orchestra. No. 3. recitative conversation that may seem tedious to listeners whose Italian and French GROVEN Ballad for Chorus and Orchestra; MOZART are not sturdy enough to allow them to dig EGGE Piano Concerto No. 2 (Robert Melling, Concerto for Violin and Orchestra, No. pianist). Hugo Kramm and Oivin Fjeldstad the fun out of the somewhat intricate bi- 5, in 4, K. 219 conducting. MG 90003 lingual farce of manners that is the libretto. Symphony No. 32, in G, K. 318 The supplied translation (apart from BRAEIN Concert Overture; OLSEN 2 Edda David Oistrakh, violin; National Saxon Or- occasional lapses into the "golly" school of Songs; JENSEN Partita Sinfonica; JOHAN- chestra. Dresden, Franz Konwitschny, cond. Englishing colloquially) is fair enough. SEN Pan, Symphonic Music; EGGEN Olav but it is really not much help, for the whole Liljekrans. Odd Gruner -Hegge conducting. (in the concerto). Bamberg Symphony story turns on the addiction of the charm- MG 90002 , Orchestra. Fritz Lehmann. cond. (in the symphony) . ing but witless heroine for everything HALVORSEN Suite Ancienne; Fossegrimen DECCA DL 9766. 12 -in. $4.98. French - including French phrases and an Suite: Oivin Fjeldstad conducting; Alfred even more witless admirer who is similarly Maurstad, hardanger fiddle. MG 90001 Foc the first rime to the knowledge of this addicted. This, quite naturally, exasperates reviewer the great Russian violinist utilizes the hero - who confines his excesses to TIVOLI CONCERT the prerogative of great celebrity to apply sorne moderately apocopated Italian - and extrinsic fanciness to the defacement of a duel is arranged. Through the machina- HALL ORCHESTRA music. This fattening-up and slowing -down tions (just as in French comedies of the of a concerto that needs only candor from period) of a reliably DANCES FROM TIVOLI by Hans Chris- venal servant, every- its exponent is not comely. The orchestra tian Lumbye. Tippe Lumbye conducting. thing comes out bloodlessly and as it should is large for this music, but MG 90000 the sound is - to the surprise of no one at all. thick and sluggish. The pleasant perform- The performance, under the direction of ance of little is Symphony No. 32 lifted Ugo Rapalo - who conducts opera at the from old Decca 4045: it is fair in sonics. Teatro San Carlo, in Naples, and apparent- C. G. B. ly makes a hobby of Paisiello -is well

62 HIGH FIDELITY MAGAZINE

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BARTOK Concerto fo Orchestra, MG 50030

BEETHOVEN Symphony No. 5 in C Minor - Egmont, Coriolan, Leonore No.3 OVERTURES, MG 50017

BERLIOZ Roman Carnival OVERTURE, MG 50005- Symphonie Fantastique, MG 50034

BORODIN Symphony No. 2 in B Minor, MG 50004

COPLAND Symphony No. 3, MG 50018

DEBUSSY Three Nocturnes, MG 50005-MG 50025

ANTAL DORATI GERSHWIN -BENNETT Porgy and Bess, MG 50016 GOULD Spirituals, MG 50016

MENDELSSOHN Symohony No. 4 in A Major 'ITALIAN", MG 50010

MOZART Symphony No. 40 in G Minor, MG 50010 RAVEL Pavane pour .me Infante defunte - Alborada del gracioso, MG 50005 MINNEAPOLIS RESPIGHI The Pines of Rome - The Fountains of Rome, MG 50011 RIMSKY- KORSAKOV Scheherazade, MG 50009

RICHARD STRAUSS Ein Heldenleben, MG 50012 JOHANN STRAUSS Wiener Blut - Tales from the Vienna Woods- Wine, Women and Song - The Emperor Waltz, MG 50019

SYMPHONY STRAVINSKY The Firebird, BAUET sum, MG 50004 -MG 50025 Le Sacre du Printemps, MG 50030

TCHAIKOVSKY Symphony No. 5 in E Minor, MG 50008 The Nutcracker BALLET (complete), OL-2-101 NEW RELEASES ORCHESTRA RESPIGHI Vetrate di Chiesa - Feste Romane, MG 50046

TCHAIKOVSKY Swan Lake BALLET (complete), OL -3102

BRITTEN The Young Person's Guide to the Orchestra, MG 50047; (with DEEMS TAYLOR, narrtor), MG 50055

GINASTERA Concertantes Variaciones, MG 50047

RAVEL Daphnis and Chloe (complete), MG 50048 ANTAL DORATI conducting the CHICAGO SYMPHONY ORCHESTRA

TCHAIKOVSKY Romeo and Juliet OVERTUREFANTASIA - SCHUBERT Symphony No. 8 °uNrrNisHEO , MG 5003?

BARTOK The Miraculous Mandarin SUITE - KODALY Peacock Variations, MG 50038

JUNE 1:955 63

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prepared and rather well sung by a cast formance no better than fair, no better than Conservatoire de Paris, Ernest Ansermet, that is competent and musicianly but hard- passably engineered. tond. ly virmosic enough to go very far in orna- As a totality, the work seems quite un- LONDON LL 1156. 12 -in. $3.98. menting- traditionally or otherwise -the characteristic and yet unmistakably Puccini Capable rather than inspired performances. duaste vocal outlines left by Paisiello. The - in the genetic sense, a sport. Just before a sound is quite full and resonant all the way the war of 19t4, an Austrian publisher The Honegger musical pictorialization of up and down, if without much theater urged on Puccini the idea of composing a locomotive trip, dedicated to Ansermet, is illusion. Off the beaten track, but recom- sort of Viennese operetta. He agreed. Long impressively recorded, but the performance mended freely. J. H., Jr. before he had finished, though, he decided lacks the galvanism of the Willis Page ver- La ap- that spoken lines and sec pieces were not sion on Cook ro68. Valse, which for him, and La Rondine was completed as pears to be the same performance found an opera, which had its premiere at Monte on LONDON LL 956, is rather erratic in PROKOFIEV tempo and too explosive in sound, while Concerto for Piano and Orchestra, No. Carlo in 1917. It went the usual rounds in Italy, and was done at Metropolitan the reverse applies to the Bolero, which is r, in D -flat major, Op. ro -See the in 1928 and 1936 both times for Lu- surprisingly mild, particularly in its final Kabalevsky: Concerto for Piano and - moments. The Dukas symphonic poem Orchestra, No. 2. cteria Bori, both times with mild success, and a mild, occasional success it has comes off quite well, being expertly played remained. and beautifully recorded; however, the Tos- VICTOR LM The plot revolves around Magda, a girl canini version on RCA 1118 PROKOFIEV of easy virtue who is kept in luxury by a is not easily displaced, even though its Concerto for Violin and Orchestra, No. r rich man in Paris but loves to theorize and sound lacks the luster provided by London's l-Lalo: Symphonie Espagnole grow nostalgic about real, true love. Prun- engineers. J. F. I. Nathan Milstein, violin; St. Louis Sym- ier, a part -time poet and full -time sophisti- phony Orchestra, Vladimir Golschmann, care, tells her that her talk is all very well, RAVEL cond. but that she doesn't mean it -that she Miscellaneous Piano Music-See Fauré: CAPITOL P 8303. 12 -in. $3.98. will always fly back, like the swallow (the Nocturne No. 2, etc. rondine of the title), to her true home. Magnificent performances and excellent Almost at once, she meets young Ruggero, RAVEL recordings of two standard violin concertos and they elope -like Violetta and Alfredo Tzigane - See Tchaikovsky: Concerto which scarcely demand discussion as such. -ro make a new life. As long as the for Violin and Orchestra, The omission of the third movement of the arrangement is irregular, all goes well Lalo, however, is inexcusable in a record- enough; but when Rugger() gets serious RODRIGO ing, even if it is sanctioned by one of the about making it legal, she parades her Concierto de Aranjuez idiotic "traditions" of the concert hall. scarlet past, proclaims her unworthiness, Narciso Yepes, guitar; Orquesta de Cámara, A_ F and with great nobility goes back to her Ataulfo Argenta, coud. jeweled nest and her rich lover, leaving the boy in tears. For Puccini's purpose, she tFalla: Nights in the Gardens of Spain PROKOFIEV would have done better to die in Ruggerós Gonzalo Soriano, piano; Orquesta de Cá- Sonata for Piano, No 2, in D minor, Op. arms. For, world -wise man though he was, mara, Ataulfo Argenta, cond. Puccini was not rq - See Kabalevsky: Concerto for one to sneer at true love. LONDON T\n 9t019. 12 -in. $4.98. Piano and Orchestra, No. 2. The music has a great deal of sparkle, and much of it is very lovely - most especially Falla's magical work is, of course, deserved- when Magda is in a sentimental vein, as in ly well known and needs no further men- her idealistic addition to Prunier's poem, tion here except to say that performance PUCCINI "Il bel sogno." the best -known excerption and recording are both flawless. The Rod- La Rondine from the score and one of the most grateful rigo guitar concerto, however, is practically Eva de Luca (s), Magda; Ornello Rover() soprano arias in the Puccini literature. But unknown in the United States, a situation (s), Lisette; Tatiana Bulgaron (s), Yvette; all the waltz tunes, all the banter, even the that this beautiful recording should remedy. Angiola Vercelli (s), Bianca; Vittoria Mas- sky -and -countryside music of the last act, It is a work written along traditional lines, tropaolo (ms), Suzy; Giacinto Prandelli cannot disguise the fact that in the end in three movements, for guitar and chamber (t), Ruggero; Luciano della Pergola (t), Magda is going back to live in sin with a orchestra. The first movement, fresh and Prunier; Alfredo Nobile (t), Gobin; baritone. charming, leads into a slow movement that Vladimiro Pagano (b), Rambaldo; Teo - The Entré set, unlike others in the list, can only be described as exquisitely evoca- doro Rovetta (bs), Pétichaud, Crebillon. which are reissues of prewar 78s, is a new tive, a movement that - for all of its Antonio Guarnieri Orchestra and Chorus recording, apparently taken from Italian impressionistic garb-is essentially and (Milan), Frederico del Cupolo, cond. tapes of recent date. While the earlier satisfying romantic. It is here in particular Entré operas are first-class productions of that the listener becomes aware of the COLUMBIA- F.NTRE EL 12. 12 -in. Two the past, good as far as they go, this is a amazing expressive powers of the guitar 55.96. - second or third -rate production of today, at least in the hands of a Narciso Yepes. and not good by any standards. The The last movement, graceful, light, and With the release by Columbia of La Ron - per- dine, on the budget Entrt label, the Est of formance, decently paced, has no positive billiant, provides a sitting close to a minor distinctions and not Puccini operas that can he heard on LP is many flaws. Eva do Luca, (or maybe so minor!) masterpiece. American as nearly complete as it seems likely ever co by background, sounds like any Careful engineering has provided a wel- be. The two very earliest Le Villi one of a hundred Italian sopranos and is come balance of sound between guitar and - none (1884) and Edgar ('889) - are still miss- too sure musically, while Giacinto orchestra. G. S., Jr. ing, but both of them have been so long Prandelli is colorless in his reading and so out of mind, and stand so low in repute, constricted above E that he hardly sounds SAINT -SA ENS that not even the coming Puccini centen- himself at all. The others are variable, at Concerto for Piano and Orchestra, \'o.. nial, which will be celebrated in 1958, best, and the ensemble is not good when it most 2, in G minor gives them much prospect of being re- needs to he. The sound is squeezed and tGlazunov: Sonata for Piano, No. corded commercially. In fact, few com- unpleasant, with an edge at the top and gumminess E minor, Op. 75 posers in any medium have less to offer at the bottom, and waver- ing perspective. in the way of surprise favors for rile guests Only the surfaces are good. Emil Gilels, piano; National Philharmonic, Alexander at their birthday parties. La Rondine is no J. H., Jr. Gauk, cond. rough, self-sustaining theater piece like La COLOSSEUM CR LP 178. 12 -in. $3.98. Bobèn,e. But it is an interesting and, need- RAVEL There are now three LP versions of the less to say, highly polished score. Puccini Bolero; La Valse Saint -Sacns Second Piano Concerto by Mr. admirers ought not to pass up it tHooegger: Pacific 23r hearing Gilels. This particular one is flawed, some- bur also ought not to judge it finally tDukas: The Sorcerer's Apprentice on the what nervous in style, with missed notes basis of this recording, which is of a per- L'Orchestre de la Société des Concerts du here and there. Could it have been made

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from a radio performance or a rejected die Ruh'; Geheimnis; Der Atlas; Das "Warwick Symphony Orchestra- (Emanuel rape? In any case, it is inferior to the Rosenband; Der Musensohn; Standchen; Feuermann, cello; Alexander Hilsberg, splendid Vanguard performance, which is Horch, horch, die Lerch; Litanei; Gruppe lin; Samuel Lifschey, viola; Philadelphia also superior sonically. Presumably the aus dem Tartarus; Seligkeit; Nachtviolen; Orchestra, Eugene Ormandy, cond.). best Gilds version is on Angel, which I Abschied. CAMDEN CAL 202. 12-in. 51.98. have not heard but which has been favor Gérard Souzay, baritone; Dalton Baldwin, C. G. B. This record- Again Camden is pretty persuasive with ably reported on by piano. ing of the Glazunov sonata sounds identical Richard Strauss, although as in the recently LONDON LI. 1148. 12 -in. S3.98. ro the version put out by Concert Hall issued Heldenleben the conductor has ex. pressed himself better as a mechanic of the Society. Again, Colosseum fails to qualify A sympathetic voice in a natural delivery, orchestra than as an exponent of the - acoustically. R. E. an assured understanding of text and music, corn poser. Perhaps the quality of this orchestra. and a disinclination to act the songs he with its SAINT -SAINS sings are the agreeable assimilable attri- glowing string tone, and the clo- qucnce of the soloists suffice. The resurrect Symphony No. 3, in C minor, Op. 78 butes of this Frenchman. He is neither don of the old 785 will not draw sneers. Arturo Tos- the man to overlook an implication nor NBC Symphony Orchestra, for though the solo cello is too close one ro brandish one. It is possible that this and canini, cond. some of the climaxes are weak, the new calculated restraint has militated against RCA VICTOR LM 1874. 12-in. $3.98. conics give good timbre to the Philaded the breadth of a repute he ought to have, phians, a grand soar to the strings beyond Hague Philharmonic Orchestra, Willem since it counters an influential tenet of hope, and a fair effect mass. By no van Otterloo, cond. criticism that declares that Germans alone of means the best Don Quixote, but worth EPIC LC 3077. 12 -In. $3.98. can sing a lied with the vocal signals more than the necessary to prove that they understand it, price requested. C. G. B Because it calls for a fairly large orchestra, a proof of subtlety established by its plus and piano, this massive but very organ absence. This department, which favors attractive symphony is not performed as poise perhaps too much, thinks the baritone STRAVINSKY often as it deserves. Fortunately, it has Suite from admirable in the regretful simplicity of the Pulcinella now been recorded three rimes on LP, Divertimento Le de Fée Litanei, the thudding horror of C;ruppe aus from Baiser la counting an earlier version by Charles dent Tartans, the lyric anthem to love Orchestre National de la Radiodiffusion Munch and the New York Philharmonic - called Du bust die Ruh', and most of the Française, Igor Markevitch, cond. Symphony on Columbia. Though the rest as well, in spite of the reliance on pure ANGEL $4.98. in 1947, it 35143. 12in. latter recording was made still and unaffected singing. The accompani- stands up extremely well against the new ment is competent, with some of the Pulcinella and Le Baiser de la Fée derive competition; in fact, Munch gives what is singer's ease of expression imitated on the their thematic material from the works of still the most dramatically exciting and older composers, Pergolesi keyboard. The reproduction is of a matter - and Tchaikov- incisive account of the music. My second of -fact realism highly commendable sky respectively. Pergolesi- Stravinsky is 2 choice is Van Otterlon, who makes the through a broad extent of volume. magnificent combination, and the resulting work move along in fine style and who C. G. B. score is one of the wittiest, deftest, and enjoys the warmest, fullest reproduction. liveliest in the literature. The combination Toscanini is somewhat more deliberate in SCHUMANN of Stravinsky and Tchaikovsky seems, to the opening movement, though he manages Symphony No. 3, in E -flat, "Rhenish," this writer at least. forced and artificial, and to work up quite a lot of steam in the OP. 97 Le Baiser must be accounted one of Stravin- Finale, and the recording (made an from Concertgebouw Orchestra, Amsterdam, sky's least convincing efforts. Markevitch's NBC broadcast of November 15, 1952) is Carlo Zecchi, cond. performances of both works are excellent more than acceptable, if not quite as rich in EPIC LC 3092. 12 -in. 53.93. and the recordings are superb. In no previ bass sonorities as Epic's. P. A. ous recording of the Pulcinella suite is the A solemnly uncertain performance by a chamherlike character of the orchestration SCHUBERT conductor with line forces at his disposal so well set forth. A. F. Sonata for Piano, in A minor. O. 42 but diffident about sending them off freely. The first two movements are held to a Webster Aitken. parade -step not enlivened by thickened TARTINI EMS 107. 12 -in. S5.95. harmonics, and the air pumped into the Violin Concertos in F major and A last A cameo has restricted uses. So coo has the three comes roo lace. 'Ilhe sound has a minor neat, small piano -sound on record. strong orchestral sweep, and with more this Walter Schneiderhan, violin; Vienna Or- Reduced like this, its polish would have been worth special purity becomes prim- chestra. F. Charles Adler, cond. ness, hardly beneficial to the constrasting praise. C. G. B. SPA 46. 12 -in- $5.95. substances of the sonata. The player's sym- SINDING pathy and love for Schubert are both Schneiderhan's technique is more than ade- Saite A applauded and apparent, but he can no in minor, Op. ro -Sec Tchai- quate for this music, including the rather kovsky: Concerto more transcend the limitations of weak for Violin and Or- fancy cadenzas. but whether his style is chestra. reproduction than could the Kempff of the suitable for Tartini is questionable- He in- Beethoven sonatas on Decca or the Giese- dulges in a type of vibrant "expression" king of the Mozart series for Angel. Ton STAMITZ, CARL that would be line for Glazunov, and in tht bad. C. G. B. Concertos for Flute and Orchestra in D first movement of the F major Concerto major and G major sometimes slides from one tone to another SCHUBERT on the same string,. The Kurt Redel, flute; L'Ensemble Orchestral de works themselves, Songs by L'Oiseau -Lyre, Kurt Redel, cond. edited Gilbert Ross of the University of Michigan from a manuscript collection in An die Leier; Der Schmeterling; DI! bist L'OISEAU -LYRE OL 50035. 12in. $4.98. n ^toa, contain much of interest- The main Two works by the son of the more im- theme of the finale of the F major has the portant and character a Perhaps surprisingly, during the late original Johann Stamitz. In of Slavic folk song, and the A the fast movements is period of record price shifts, we have the music jogs along minor full of good ideas expressed with pleasantly been called ro account for very few and unimpressively; the slow unwonted intensity. The balance between movements soloist erroneous price-listings: - In April and are rather bull. Nothing and orchestra is satisfactory but the happens May we listed certain Vox 12 -inch rec- ro disturb the eventenor of ele- basses sound rather tubby and there is gant mediocrity ords as selling for 53.98; their real in this mixture of Haydn some surface noise. N. B. price was (and still is, at the time of and water. Both performance and recording are this writing) 55.95. We hope that this unexceptionable. N. B. error has spoiled no beautiful friend- TCHAIKOVSKY STRAUSS ships between dealers and customers. Concert Fantasy. Op. 56-Sec Baba - Don Quixote janian: Heroic Ballad.

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TCHAIKOVSKY Boyd Neel String Orchestra, Boyd Neel, Concerto for Violin and Orchestra, in cond. D, Op. 35 LONDON LD 9170. ro -in. $2.98. Tzigane tRavel: Warlock's Capriol Suite has long been one Suite in A minor, Op. ro. tSinding: of the gems of recorded music and it is Jascha Heifetz, violin; Philharmonia Or- charmingly played by the Boyd Neel group. chestra, Walter Süsskind, cond. (in the The rich harmonies of Delius were studi- Tchaikovsky); Los Angeles Philharmonic ously copied in Warlock's serenade to the Orchestra, Alfred Wallenstein, cond. (in blind composer, a short work that must the Ravel and Sinding). have pleased Delius, as it will his admirers. RCA VICTOR LM 1832. 12 -in. $3.98. Ireland's minuet is light and innocuous. Excellent string cone throughout. J. F. I. A reissue of the polished, showy, and glacial Heifetz performance of the Tchai- kovsky, previously issued on VICTOR LM t r r r. The three movements have now RECITALS AND been compressed onto one side of this twelve -inch disk, and its 1991 sound has MISCELLANY received some ministration from Victor's engineers. The result is more tonally per- SONGS OF THE NORTH AND suasive, both as to orchestra and violin SOUTI -1 sound, and the record is much preferable SEnMANN ARCHIVE Frank Luther and Zora Layman, with to the original issue. Vivaldi: only the dog's bark lacked bite. the Century Quarter. The little Sinding suite, never before DtiCCA DL 8093. 12 -in. $3.98. recorded, is a real charmer, and is ideally ing does not prevent Vivaldi from achiev- suited to display the fabulous technique of ing solid, integrated form- here the This recording by Decca of the songs of artist. Heifetz plays it with great this pattern of a structure that is partly concerto the North and South in the War Between affection, and offers in the first movement grosso and partly violin concerto. It is only the States must be a pretty complete com- some of the most dazzling spiccaro playing in the fourth concerto, Winter, that the pilation. With eighteen songs representing to be heard on records. I am not much exigencies of the "program.' prove roo the North and seventeen the South - attracted to Ravel's Tzigane, though I hard- in all; many much for Vivaldi and result in a piece that thirty-five count them - too ly expect ro hear it better played than in does not hang together very well. couldn't have been left out. And this is my this expert performance. In the last two The performance is musical and sensitive. chief objection. The singing is straight. works, both newly recorded, the violin Soloist and ensemble play with agreeable forward and quite good, but the very fact sound is of extreme brilliance, but that of tone. The delicate balances of this carefully there are so many songs of unvarying makes I the orchestra inclines co muddiness. Both orchestrated work are faithfully reproduced length and style for monotony. would have benefited from a more equable most of the time. In the second movement feel this could have been a ten -incher. balance. J. F. I. of Spring the dog of the sleeping goatherd The recorded sound is excellent. ROY LiNDSTROM might bark a little louder, and in the finale TCHAIKOVSKY of Summer the violas are a bit too far back Romeo and Juliet -See Borodin: in spots. The performers seem to have used ELIZABETHAN AND JACOBEAN Prince Igor: Polovtsian Dances. an edition that differs in some respects MUSIC in This is from that the Collected Works. John Dowland: Can She Excuse My iVrongr ?; movement TCHAIKOVSKY especially noticeable in the last If My Complaints Could Passions More; My The Sleeping Beauty (excerpts) of Sumpter, where an important figure in Lady ilrnudon's Pine (for lute solo); From the second violins is omitted. The record- Andre Kostelanetz and his Orchestra Silent Night. Thomas Morley: Ai,- (for three ing is excellent, but the surfaces of the viols). John Bartlett: Of all the Birth That i COLUMBIA ML 496o. 12 -in. $3.98. were N. B review disk crackly. Do Know. Robert Johnson: Alma,' (set for Twenty excerpts are included on this rec- harpsichord by Giles Farnahyl. John Jen- ord, the most of the best, but not necessar- VIVES kins: Pavan (for four viols); Fantasia in C ily the best of the most, since it does not Bohemios (fur four viols). Robert Parsons: Pam/nip/Jo. displace, in my estimation, the fine Stokow- Toriy Rosado, Teresa Berganza, Ana Maria Giles Farnahy: Variations on Up Tails All VICTOR ski version on RCA LM iota, Fernández, Adela Cano, Manuel Ausensi, (for harpsichord). which it so closely approximates. Yet this Carlos Munguía, Arturo Diaz Martos, Alfred Deller, counter- tenor; Desmond recording must take a fairly high place Gregorio Gil; Coros Cantores de Madrid Duprs, lute; Gustav Leonhardt, harpsichord; among competitive versions, if only for the and Gran Orquesta Sinfónica, Ataulfa consort of viols. beauty of Columbia's recorded sound. Artis- Argenta, cond. VANGUARD BG 539, t2 -in- $4.98. tically, the performance bears less of the LONDON Tw 91038. 12 -in. S4.98. Kostelanetz imprint than did the earlier However discouraged a view may be taken Swan Lake. Here he exhibits fewer of his A prolific and successful zarzuela composer, of the creative state of English music since musical eccentricities and shows a closer Amadeo Vives belongs to the select com- Purcell, there was a time, from deep in the regard than is sometimes the case for the pany that includes Bretón, Chaps, Serrano, Middle Ages to the end of the Renaissance, composer's markings in matters of tempos and Moreno Tórroba. While perhaps not when the composers of England were as and rhythm. J. F. I. as popular as his unforgettable Maruxa, brilliant as any. So, when the first Elizabeth Bohemios has held the stage for fifty years, carne ro the throne, in 1998, and her reign should not VIVALDI and there is no reason why it turned out to be a golden age of poetry, doing so for another half century. The Four Seasons, Op. 8 continue there were other pens ready to set the The plot is a straightforward, romantic words most elegantly to music. It was a George Zazofsky, violin; Zimbler Sinfo- tale of a young composer and an opera - cosmopolitan time, and under Italian influ- nietta. singer -ro -be in the Pari, of a hundred years ence a school of English madrigalists grew BOSTON 13 40o. 12 -in. S4.98. ago. Naturally, it is a perfect match, lead- up. More significant, however, and cer- ing to an inevitable love duet at the end. tainly more definably English, were the Bird songs, a murmuring brook, thunder The music is delightful, the performance writers of gyres strophic songs in which and lightning, a sleeping drunk, hunters - satisfactory, the recording superb. the voice melody was supported by other cornering their quarry, chattering teeth, a G. S., Jr. or by instruments, the point of in- stroller slipping on the ice -all this and voices terest shifting more and more surely to more is depicted charmingly and in what WARLOCK marriage of words and music and away seems today quite naïve fashion in these Capriol Suite, Serenade for Frederick the from the complex interweavings of several fine works. Yet, as in Beethoven's Panora/ Delius Ar the same time, there was a grow- Symphony, the literalness of the tone paint- [Ireland: Minuet parrs. 67 JUNE 1955

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reduced and bass increased to restore the required Boo -cycle turnover; some foreign Dialing Your Disks original balance. Control positions on 78s are recorded with Soo -cycle turnover equalizers are identified in different ways, and zero or 5 -db treble boost. One -knob Records are made with the treble range but equivalent markings are listed at the equalizers should be ser for proper turnover, boosted to mask surface noise, and the bass top of each column in the table below. This and the treble tone control used for further range reduced in volume to conserve groove table covers most of the records sold in correction if required. In all cases, the pro- space and reduce distortion. 'When the America during the past few years, with the per settings of controls arc those that records are played, therefore, treble must be emphasis on LP. Some older LPs and 78s sound best.

TURNOVER ROLLOFF AT roKC. Continued from Page 67 400 500 500 (etoD.) ro.5 -13.5 db i6 eb RIAA AES ing interest in music for keyboard and for RCA NARTB combinations of instruments without voices, ORTHO LP RCA NAB(Old) and in the dance pieces and fantasias of NAB COL ORTHO COL Elizabethan days and on into die first decades NARTB ORIG. LP RIAA LP of the seventeenth century, England could RECORD LABEL ARS (old) AES (new) LON LON ORIG. LP claim a real chamber -music literature more Allied advanced than any on the Continent. Angel Historicity is one thing, however, and continuing worth another. It is only through Atlantic *' performances such as these that Dowland, Amer. Rec. Soc.* Farnaby, Morley, and Campian can become Bartok more than shadowy names; only through Blue Note Jazz* them that it is possible to know what the Boston* songs were like (fiat Elizabeth heard and applauded and sang to her lute. Until fairly Caedmon recently, there have been disadvantages to Canyon* seeking our music of this period on records. Capitol* First, most of the few recorded examples Capitol -Cetra have been bound up in one historical series or another. Second (with all respect to Cetra -Soria the pioneering of the Dolmetsch family), per- Colosseum* formances of musics involving obsolete Columbia* instruments have dankness and dedication Concert Hall* rather than freshness and re- creative élan. Contemporary* The performances here are not entirely free from ritual seriousness. but they are Cook (SOOT)' basically musical rather than simply musicologi- Decca* cal and have enough flow, enough light EMS* and shade, to keep them engaging as well Elektra as interesting. Epic* This is by no means the first appearance on records of the British counter -tenor (or, as Esoteric he would have been called before the low- Folkways (most) voiced ladies misappropriated the title, Good -Time Jazz* "alto ") Alfred Deller, who is one of the few Haydn Soc.* remaining exemplars of the falsettist art was L'Oiseau -Lyre* that until well into the iE8os the distinctive feature of English cathedral choirs. London* Falsettists are not supposed to last much Lyrichord, new*2 beyond middle age, but Mr. Deller, at Mercury* forty -three, has still the same even, pure MGM scale as ever, the same free high tones that float without effort past his cavalry Oceanic* mous- tache, the same scrupulous artistry. Des- Pacific Jazz mond Dupre s lute accompaniments are Philharmonia* very fine, and so is Gustav Leonhardt's Polymusic *I playing, both at the keyboard and in his RCA Victor consort of viols. The sound is clean, delicately balanced, and intimate, the Remington* surfaces excellent. Full texts, and helpful notes by Riverside Sydney Beck. Highly recommended. Romany J. H.. Jr. Savoy Tempo EVENINGS AT THE BALLET Urania, most* Tchaikovsky: Nutrrarker Suite; Aurora's Urania, some Wedding. Richard Strauss: Till Eslenspiegel's Merry Pranks. Ravel: Lu Valse; Daphnis and Vanguard* Chloe Suite No. 2. Grétry: Céphale es Proeris. Bach Guild* Delibes: Cappélia Ballet Suite. Verdi: Aida Vox* Ballet Suite. Bizet: Symphony in C. Walden Schumann- Glazunov: Carnaval. Rossini - Respighi: La Boutique Westminster Fantasque. Weber: Invitation to the Dante. SainrSaent: Rae - *Beginning sometime in 1954, records made from new mutera require RIAA equalization for both chanale from Samson and Delilah. Bernstein: bass and treble. (Binaural records produced on this label are recorded to WARTS standards on the outside band. On the Town. Prokofiev: Classical Symphony. On the inside band, WARTS is used for low frequencies but the treble is recorded Bat without pre. Khachaturian: Gays Ballet Suite. Stravin- emphasis 'Some older releases used the old Columbia curve, others old ARS. sky: Petronthka. Borodin: Prince Igor: Dances of the Polortsian Maidens.

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"Warwick;' "Centennial," "World Wide," Die Tänzerin Penny Elssler: Draussen in middle voice, quite undeveloped low tones, "Century," "Festival," "Stratford," "On the Sievering (arr. Stalla). Wiener Blur: introduc- and a top that floats at piano but sounds a Town,' "Schuyler" Symphony Orchestras, tion and title waltz (arr. Schönherr). shade anxious when used forte. Her sing- various conductors. ing is neat, well schooled, and sweet, but Hilde Gueden, soprano; Vienna State Opera CAMDEN CV L 102. Six 12 -in. $x0.98. rather lacking in substance and quite lack- Orchestra and chorus, Max Schönherr, cond. ing in any sort of strong conviction. All LONDON LD 9157/9x58. Two lo -in. In this Baedeker of the ballet, Camden offers $2.98 in all: nice but pale. Accompaniments: each. the listener a tour through the ballet reper- gentle and well suited to the singer. Re- toire from Grétry to Bernstein, using eight- Disposed potpourri -fashion, without spac- cording: good. J. H., Jr. een scores by sixteen different composers ing bands between excerpts (which some- (Ravel and Tchaikovsky are doubly repre- times take in the whole of a number, more sented). played by eight well -known or- INVITATION TO THE DANCE often stop short at one stanza, sometimes chestras. The exclusion of Les Sylphides Weber: to the Dance, give no more than a fragment) these records Invitation Enesco: may seem as surprising as the inclusion of may frustrate some people by jumping so Rumanian Rhapsody, No. 1, in A major. the operatic ballet excerpts from Aida and readily from tune to tune and by making Prokofiev: Wedding Suite, Op. 126 (from Samson and Delilah, but this is probably particular favorites so hard to find. Bu: even the ballet Stone Flower). due ro the exigencies of space. The record- more those whose fondness for ings date from the late Thirties and early people- New York Philharmonic. Symphony, Andre Viennese operetta is real but not hyperin- Forties; the sound has been, in general, suc- Kostelanetz, cond. tense will probably find themselves com- cessfully enhanced over that found on the - COLUMBIA ML 4957. 12 -in. $3.98. pletely beguiled by the lilting charm of original issues. Hilde Gueden's singing and the gensütlich Kostelanetz is completely at home in the The performantes are not all shining feel of the performances in sum. The re- Lisztian- inspired rhapsody by the late examples of conductorial arr, but it should production is very good. Georges Enesco, giving it an exceptionally be said that a few real gems appear on these The volume numbering given above cor- good reading, with its rhythms always firm disks: Koussevitzky's fine performance of responds with that on the record jackets; the and strong. The Weber is taken at a rather Ravel's Daphnis and Chloe Suite No. z and labels, however. show Vol. r as Vol. a and fast clip; dancers would surely have trouble a good Till from the same source; Mon - Vol. 2 as Vol. thus including following this tempo, and the performance teux's reading of La Valse; an excellent 3 - possibly them in a three -disk set with an earlier in general lacks the proper airiness. The Petronchka by Stokowski; and a charming (LS 68o) called "This is My pike de résistance of this record is the lovely performance of the ballet music from Gueden record may be, these are little five -movement suite of Prokofiev, Grérry's Céphale et Procris by Defauw. In Vienna." However that practically ideal casual- listening or party which Kostelanetz first introduced to Ameri- all, a most attractive offering of more than records for operetta enthusiasts. J. H., Jr. can audiences; frolicsome, gay music, with hours ballet music ar a most reason- three of an abundance of melodies and witty or- able price, but definitely nor for those be- chestration. The men of the Philharmonic dazzled by the latest in hi -fi. J. F. L MARGOT GUILLEAUME play all three works wirh wonderful verve, Operatic Recital and Columbia has obliged with luscious FLAMENCO AND CLASSIC SPANISH Mozart: Le Nozze di Figaro: O saüme sound. J. F. I. DANCES länger mich ( i. e., Deh vieni non tardar) ; Inesita, heels, fingers, and castanets; Juan Die Zauberflöte: Ach, ich fühlt. Flotow: THE KING OF INSTRUMENTS, Martinez, guitar; Pablo Miguel, piano. Martha: Die letzte Rose (i. e.. The Last VOL. IV of Summer). Thomas: Mignon: PERIOD RL r905. 12 -in. $4.98. Rose Hilliar at St. Mark's Kennst du das Land? (i. e., Connais -tu le This is undoubtedly one of the most ex- pays). Pachelbel: Chorale and Variations on Was Gott sir, das ist wohlgetan. Loeillet: Air citing records of popular Spanish music Margot Guilleaume, soprano; Orchestra of ever released. If the guitar and the piano Tendre. Bach: Trio Sonata, No. 4, m E the Berlin Städtische Oper, Walter Lutze, Prelude, O Mensch, beweis,' as recorded here seem a trifle on the dis- minor; Chorale cond. dein' Sintle gross. Couperin -le- Grand: Offer- creet side -well, it simply doesn't matter, TELEFUNKEN TM 68052. to -in. $2.98. for fiery Inesita overwhelms and takes the toire sur les Grande jeux. DuprE: Cortege el Litanie. Arne: Fluir Tune. breath away with the sharp, intricate There may just possibly be a big rumor- rhythms of her heels, her snapping fingers, stimulated market in this country for re- Edgar Hilliar, organ. and her castanets. Recommended unhesitat- cordings by Margot Guilleaume; if so, here AEOLIAN- SKINNER. 12 -in. $5.95. ingly to all interested, however slightly, in she is - not singing a great deal of music Spanish dancing. G. S., Jr. for the money, but singing what there is Edgar Hilliar plays the instrument of St. Kisco, on a. nice clean disk that comes in (a) an Mark's Episcopal Church, Mount inner envelope of soft paper, (b) a heavier N. Y., where he is organist. It is another HILDE GUEDEN envelope, (c) an album box, and (d) a example of Aeolian- Skinner's American Memories of the Vienna Theater cellophane outer wrapping. With all this, Classic Organ, and a particularly persuasive individual stops and a Vol r. - Johann Strauss, Jr.: Wiener Biut: she must surely be somebody very special. one, with some highly title waltz; Grüss dich Gott, du liebes Nester). But who? On the basis of this record, she transparent texture for the eighteenth -cen- Die Fledermaus: Entr'acte. Frirz Kreisler: seems to be a lyric soprano with a pretty tury scores, together with a massed tone of solidity for the contemporary Sioy: Ich wirr 50 gern einmal verliebt. Emerich considerable Kalman: Gräfin Maritza: introduction and French piece by Dupré. the Pachelbel variations chorus. Oskar Straus: Der Tapfere Soldat: This version of E. Power Biggs for Konen' Held meiner Tritume. Leo Fall: Ma- and the recent one by a study in op- dame Pompadour: Heal könnt' einer sei,, Columbia make fascinating interpretations. Hilliar's is more Glick bei mir mrtclsee. Die Dollarprinzessin: posing its effects Automobilmarsch. Franz Lehar: Zigeaner- varied and lively, depending for between astringently colored liebes: Hör ich Cymbalklinge. on contrasts stops; Biggs plays more soberly, using Vol. 2 - Leo Ascher: Hoheit Tanzt Walzer: massively brilliant registrations. The per- Man nennt mich nur dar Leeched von Neinar. formance here of the Bach sonata is almost Carl Ziehrer: Der Schatzmeister: waltz -mo- as good as Robert Noehren's on Allegro, tive. Franz Lehar: DerTsarewitsch: introduc- but the tempos in the Bich chorale prelude, tion and Kosende Wellen. Schön it die Welt: slower even than Schweitzer's, positively introduction and Ich bin verleibt. Oskar funereal, are really too slow to give the work Straus: Rend sun die Liebe. Franz Lehar: cohesion. That the organist keeps the work Die Lustige Witwe: Lippen schweigen; waltz - inching forward as well as he does amounts motive. Oskar Straus: Ein Wabzertra,,m: to a tour de force of phrasing. Superbly Leise, ganz leise. Johann Strauss, Jr.: Wiener recorded with lifelike tone and impeccable Blur: excerpt from overture (arr. Schönherr). Hilde Gueden: getniitlicbkeit galore clarity. R. E.

JUNE 1955 69

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ERICA MORINI RECITAL creer and tasteful, and Angel's sound is Metropolitan premiere of La Forza del Des- superbly clear. J. F. I. tine: how triumph followed triumph; how Dances, Nos. r, 5, 6, 7, Brahms: Hungarian she sang chis role and that; and, finally, 8, and 17. Vivaldi: Violin Sonata in D ROSA PONSELLE SINGS TODAY how she suddenly married and as suddenly major (arr. Respighi). Wieniawski: Capric- Lully: Amadis: Bois épais. Persico: Rose- retired at the age of - well, birth statistics cio -Valse, Op. 7 (arr. Auer). Sarasare: Faust monde. Saint -Saëns: Guitares et Mandolines. in Meriden, Conn., would put it at forty. Fantaisie. Ravel: Pièce en forme de habanera. Chausson: Les Temps des Lilu. Brahms: Then speculations: Why did she retire? Erica Morini, violin; Artur Balsam and Von ewiger Liebe. Trunk: Mir treiunste von Because she got married? Because her top Max Lanner, piano. enter,: Königskind. Schubert: Erlkönig. Beetho- tones were becoming less and less sure? CAMDEN CAL 207. 12 -in. Sr.98. ven: In questa tomba osarra. Wolf-Ferrari: Because singing in opera was coo great a Rispetto. Donaudy: 0 del mio amino ben. strain on her nerves? Or all three? Then, Erica Morini is inclined to be a trifle too Tosti: Aprile. Sadero: Anuri, anuri; I again, the word char she will return. Dances, where mannered in the Hungarian battitori di gram. English, traditional: The fact seems ro be that all the rumors she uses too many slides from one note ro Drink to Me Only With Thine Eyes. Farley: down the years have had some basis, but the next. There is nice style and propor- The Night Wind. Del Riego: Homing. not enough to make them come true. Rosa Vivaldi and tion, however, in the Sonata Ponselle certainly never stopped singing particularly in the Wieniawski - Rosa Ponselle, soprano; Igor Chicagov, Capriccio completely, and she may very well have let The other two encore -type pieces piano (except in Antral, anneri, in which the Valse. the idea ar leasr of returning to opera pass are also ably handled, as are the piano ac- singer plays for herself). through her mind - she could hardly have Reproduction is adequate. RCA VICTOR LM 1889. 12 -in. $3.98. companiments. avoided it. But she never did return, and it P. A. From the very hour it began - actually seems absolutely certain now that she never even before it began - the career of Rosa wil I. NEW DIRECTIONS IN MUSIC AND Ponselle has had a legendary quality quite Until now, the closest she has come to SOUND unlike any ocher. it still has. Probably it making her at -home singing public has been Blacher: Orchestral Variations on a Theme of always will have. This has to do partly with a semi -privare affair co help raise funds for Paganini, Op. 26. Von Einem: Capriccio for its background, partly with its spectacular the Baltimore Symphony. But now, with Orchestra, Op. 2. Former: Symphony beginning, partly with the successes that the release of Rosa Powclle Sings Today, all (fourth movement only). Hartmann: Sym- made it up, but even more with the abrupt- who are interested can hear and draw their phony No. 4 (finale, Adagio Appassionata, ness of its end - still more with the ran - own conclusions. The recording, made at only). Liebermanr: Furioso for Orchestra. talizing emanations that have floated in the her home in October of 1954, is extremely air ever since. She has not sung in public, full in surrounding resonance almost as RIAS Symphony Orchestra, Ferenc Fricsay, - nor in the usual meaning, since 1937; but if the room in which it was made had echo- cond. she has sung freely enough in private, at chamber characteristics - and it is, of course, DECCA DL 9769. 12 -in. $3.98. home, to keep the operatic world well sup- impossible to tell the size of the voice. But An anthology of five short orchestral pieces plied with up -to -date status reports and the quality is basically the same as in re- by German composers who have come to with rumors, counter -rumors, and cross - cordings made thirty years ago, at the peak prominence since World War I1: Boris rumors of all kinds. Close onto twenty years of her career - the same rich, dark middle Blacher's enchantingly witty and ingenious have passed since her retirement, and scarce- voice, the same full low notes; and, though Variations on a Theme by Paganini; a tuneful, ly one - if one - has passed without the nothing is sung that goes beyond mezzo- vivacious Capriccio by Gottfried von Einem; news being passed breathlessly about, al- soprano capabilities, the attack on the high- the very vigorous; slightly Hindemirhian ways on the best authority, that Rosa Pon- est tones is characteristically precipitate - finale to a symphony by Wolfgang Fortner; selle is about to emerge from retirement and sounding. None of the songs requires a highly chromatic, rich, and broadly lyrical resume her place as the most splendid of really difficult skips, and none requires fast, Adagio Appassionato from a symphony for operatic sopranos. florid articulation; the point would seem to strings by Karl Amadeus Hartmann; and a She never has, of course. and she has al- be implied, but perhaps not. The singing is piece called Furiorn by Rolf Liebermann, ways denied any such intention. But the always interesting and communicative, the which is clamorous and noisy but not much rumors have never stopped. Let someone phrasing broad and sweeping, even when the more. Except for Liebermann's contribu- play a Ponselle recording in a group of style is questionable, even when the enunci- tion, rhis selection makes an extremely elo- more than two, and at least one is sure to scion, in languages other than Italian and quent case for the younger Germans. Per- bring the subject up. He knows someone English, is not for young singers to copy. formance and recording are both elegant. who knows someone who has just come Sack Even in the most trivial music, the effect is A. F. from her Baltimore home, where he heard that of a magnificent voice and a strong, the voice, glorious as ever. And next season individual personality given free play in re- PIAF OF PARIS . And so on. laxed circumstances. Excellent notes by In such circumstances, the Ponselle Francis Robinson. J.H., Jr. Sous le ciel de Paris; Avec le soleil; Retour; career has been cold over and over: how she Meo Culpa; Les croix; L'homme au piano; sang with her sister in cafés and in vaude- Enfin le printemps; Ca ira. ville; how she auditioned for Giulio Gatti - PORTS OF CALL Edith Piaf; M. Mercier Casazza and was given her debut in the Chorus; orchestra, Ravel: Bolero; La Valse, Pavane pour une E. Chauvigny, cond. infante dl/une, Ibert. Escales. Debussy - ANGEL 64015. ro -in. $2.98. Caille[: Clair de loue Chabrier: España. The most satisfying part of this very agree- Philadelphia Orchestra, Eugene Ormandy, able Piaf concert is the discovery that the cond. singer is just as much at home in light, COLUMBIA ML 4983. 12 -in. $4.95. lilting Parisian songs as in those melan- choly ditties of she frustration with which Ormandy and his Philadelphians are least is more usually associated. While only two engaging when they try to outdo Koste- of her numbers, Sous le ciel de Paris and lanerz, and that seems to be the direction in Enfin le printemps, are in this gayer mood, which they are striving here. It is true that she handles them both with rare artistry this kind of music rhrives well in the hot- and engaging verve. Five of the remainder house, but there comes a point when an ex- are typical Piaf plaints; one, L'homme au cess of refulgence and shimmer begins to piano, is given a rather piquant as touch, yield diminishing returns. My patience a tinny barroom piano is used as back- began to grow thin by the time I got to ground support. The climax of this recital Escales and it quite ran out in the Pavane is Piaf's electrifying and spine -tingling - a simple, muted piece of music made in- chanting of the French Revolution song finitely more poignant in the restrained in- Ca ira, a performance of demoniacal fury. The orchestral support throughout is dis- Lady of legend: Rosa Ponselle at honte. Continued on page 72

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building your record library

.,q_, number twenty -one

JOHN M. CONLY SUGGESTS TEN BASIC CONCERTO RECORDINGS

HISTORY is a great help, in a quest like this. If we do nur since. There are numerous good performances of his two con- choosing on a historical basis, you are assured of considerable certos. Perhaps strangely, my choice is made on grounds of variety, and there will be some significance to your concerto- shelf. reproduced sound; I pick the performances of the First and Sec- Within this framework, my choices will be aimed at making your ond Concertos by Edith Farnadi and the Vienna State Opera collection as nearly bombproof as possible. Orchestra, Hermann Scherchen conducting (Westminster WL Let us begin with Bach, and let us forget nonsensical notions to 3168 ) . The sonic perspective in this is engrossing, almost uncanny, the effect that he was unaware of the uses of virtuosity or the and the playing impressive too. possibilities of the concerto as a medium of emotional communica- Now back to the main line of classical tradition -drama within tion. To this end I'd like to recommend the Fifth Keyboard disciplined form, no effects wasted, a philosophical continuity from Concerto, but no current recording of it satisfies me. So try the movement to movement. Johannes Brahms's First Piano Concerto absolutely beautiful rendition of the two Concertos for Violin by has been treated in recording just a little better than his more Jascha Heifetz, Alfred Wallenstein and the Los Angeles Philhar- famous Second. So let us savor the loving firmness with which its monic (RCA Victor Lot ISIS.). eloquence is tempered in the performance by Wilhelm Backhaus Bach overshadows everyone who followed him in this field until and the Vienna Philharmonic conducted by Karl Böhm (London

we get ro Haydn and Mozart, and the former treated the concerto IL 91 1 ). This is purveyed in very fine "ffrr" reproduction. lightly (though his Trumpet Concerto, on Vanguard 454, is very Staying within the count of ten, we have skipped Schumann (a exciting listening). With Mozart we must cleave to his own pity, when Guiomar Novaes plays his piano concerto so beautifully instrument, the piano and, oddly, few Mozart piano -concerto on Vox Pt. 8540), and now we will do the same for Greig records are satisfactory. One that is, however, is the combination (another slight to Mme. Novaes, and to Vox PL 8520) and of Concertos No. 9 and No. 15, played by Wilhelm Kempff, Dvoiák, whose cello concerto (as played by Pierre Fournier on

with Karl Münchinger conducting the Stuttgart Chamber Orchestra London LL 1 to6, with Rafael Kubelik conducting the Vienna (London LL 998), in almost faultless performances and marvelous- Philharmonic) deserves Feuer treatment. This we come to the ly proportioned sound. These are middle -early Mozart, but there is turn of another century, and to the last of the virtuoso pianist - depth under the grace. composers, Sergei Rachmaninoff. His Second Piano Concerto is It is with Beethoven that the concerto achieves its highest one of his two or three greatest works, and faces us with a choice - dramatic content, and the voices of the solo instrument and the problem. His own performance of this work, with Leopold Sto- orchestra begin pleading, singing, shouting one against the other. kowski and the Philadelphia Orchestra, still exists in a reprint - And here the choice is easy: one of the best recorded performances record (RCA Victor LC7 1014). It steals the thunder from all I've ever heard is that of the Fourth Piano Concerto by Clifford others, but has none of its own -the sound is old and thin. The Curzon, with Hans Knappertsbusch leading the Vienna Philhar- next best performance, to my mind, is that of Julius Katchen, with monic (London LL 1045). The recording actually was made in Anatole Fistoulari conducting the New Symphony Orchestra (Lon- one continuous take, when the musicians played the work through don LL 184), and the sound of this is highly adequate. Even better for fun after two days of a routine, make- and -remake session. It's is that given Leonard Pennario, (Capitol P SO2),3 but the St. a spellbinder. Louis Symphony, despite Vladimir Golschmann, plays a little It is a pity to have had to pass up Luigi Boccherini in moving sloppily. I'd take the Katchen. (But I already have the Rach- from the eighteenth to the nineteenth century, his famous cello maninoff.) concerto is beautifully handled by Pierre Fournier and Müchinger's Not every great composer voluntarily concerned himself with Stuttgart men on London LL 1036. And now we must sin again, his times and their tensions. Beethoven did. Brahms did. Bela in skipping Niccolo Paganini and one of the great showpieces of Bartók did. He went back to folk- materials, he went forward into the violin literature, his Concerto No. I (splendidly played by experimentation; he tried to build a bridge. Its form stands forth Francescatti on Columbia 4ML 4315 ) . But we arrive at a greater, well in his Viola Concerto, which is accessible without being the ubiquitous Violin Concerto of Felix Mendelssohn, wherein mockingly accessible, as his Concerto for Orchestra seems to me flashing instrumental virtuosity is first put to full communicative to be. There is only one recording of the concerto, but it features use. Its sunny Romanticism is handsomely aired by Zino Frances- the wonderful William Primrose, with the New Symphony Orches- coni, with Dimitri Mitropoulos conducting the New York Philhar- tra led by Tibor Serly, and was produced by the composer's own monic- Symphony Orchestra ( Columbia MI. 1965;. And this son Peter (Rarrák Records 309), a noted snood -perfectionist. selection allows me to cheat, since on the reverse you get the same There arises now a temptation to include the second violin artists playing the Tchaikovsky Concerto in D, a later, Slavic, concerto of Prokofiev (tellingly performed on Columbia 3ML 4648 hair -down kind of Romanticism, much freer in form, darker by Francesconi) but I hold back. It is beautiful but it seems to me in hue. to aim nowhere in particular, by comparison with, say, the same Buc ler us get back to an earlier parr of the century, and the first composer's Fifth Symphony. And I never have been able to get major exponent of piano virtuosity for its own sake (but not its worked up about the Sibelius violin concerto. So I will offer as own sake alone) - Frédéric Chopin. For my taste, Artur Rubin- last entry another demonstration of the encouraging theme that stein is more truly Chopin's man than any of the other contenders the old forms still can enchant and compel, when they are in the two great concertos, and I like best his performance in the brightened with new content, and when the new content is musical Concerto No. r, assisted by Alfred Wallenstein and the Los idiom the composer really loves and wants to make yield up the Angeles Philharmonic (RCA Victor LM IS to). There is nothing folk-spirit that generated it. All this is embodied in the only ultimate about the recorded sound, but it isn't bad either. recording of Virgil Thomson's Cello Concerto, in which the cellist Franz Liszt is popularly thought of, rightly or wrongly, as is Luigi Silva and Werner Janssen conducts an orchestra designated having picked up where Chopin left off in the development of the simply as the "Janssen Symphony" (Columbia 3-L 4468). There piano concerto as a vehicle for virtuosity. Certainly he proceeded is not a dead spot from beginning to end. At one point you may to explore, probably mote fully than anyone else, the technical and recognize, as themes juxtaposed, "Yes, Jesus Loves Me' and a tonal possibilities of the instrument. And he established a sort of phrase from a Beethoven sonata, but they sound as if they were picture of the piano virtuoso which the public has accepted ever meant by nature to go together.

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Department of Anthropology Continued from page 7o FOLKWAYS PP 62. 12 -in. $6.45. Last year the of the University of Washington offered cerpretarion of André Cluytens and the Or- Tony Schwartz and his tape recorder are - as parr of a course in Non -Western chestre National (ANGEL 35102). R. G. familiar sights around New York as he Musics -a lecture-demonstration on Hin- unobstrusively goes about recording the dustani classical music by Nazir Ali (7TH AND 18TH CENTURY sonic life of the metropolis. His New York Jairazbboy. The present Folkways release ITALIAN MUSIC Y9 (PP 703), containing children's street is based upon that lecture-demonstration. games and songs taped entirely within Vivaldi: Concerto in E for Violin and Strings This record is intended for people who: Manhattan's 19th Postal Zone, was a minor (1/ Riposo); Corelli -Geminiani: La Follia, (1 ) have a working knowledge of musical masterpiece. Galuppi: Concerto a quattro, in D, No. 2; theory; (2) are interestd in having the Now he is back with two additional Bonporti: Concerto in D, Op. 11, No. 8. fundamentals of Hindustani music ex- Folkways releases, both more elaborate than plained in Western frames of reference. Socict3 Corelli. his earlier effort, but neither quite as Nazir's presentation is lucid and masterful. RCA VICTOR LM í880. 12 -in. $3.98. charming. In Millions of Afusiciars, Mr. His beautifully played demonstrations on Schwartz apparently aims to prove that the The concerto by Bonporti, the oldest of the the sitar offer ready insights into difficult world is filled with unwitting musicians. concepts. composers represented on this disk (except However, his results will breed no unrest for Corelli) and probably the least known, The sound, save for a sometimes surface in the headquarters of the ever-vigilant is better than average. The illustrated is an eye -opener. It consists of two vigorous hiss, James Caesar Petrillo. the record con- movements framing a Largo that is one booklet that accompanies A taxi driver, a pitchman, a shoe shine tains an introduction to Hindustani music long, expressive, and moving melody. Bon - boy, an Italian flower hawker cause the porti seems to have been fond of deceptive by Richard Waterman that is an invaluable record - and Schwartz's thesis - to flare aid ro understanding. cadences, which are rather rare in the music into brilliant but fleeting life. However, of his time. Corelli's interesting and too many of his examples never really get for violin THE FAULSE LADYE imaginative variations, written off the ground. Anyone who dotes on the and figured bass, are here presented in his sounds of New York will find ample Andrew Rowan Summers, with dulcimer. pupil's arrangement for string orchestra. The divertissement here; others will find only FOLKWAYS FP 44. to -in. $4.75. Vivaldi work is unusual in that there is no a bit of curiosa that wears none too well. All The Ballad of Mary Hamilton; The Faulte continuo and all the strings are muted. Exchange is the product of some long of these pieces are well played and cleanly Lady: Willie of Hazel Green; O Waly, distance tapeawapping between Schwartz Ilvaly: Billy Boy; The Two Sisters recorded. N. B. and amateur rape enthusiasts all over the world. This record has unity and warmth, Many a purist disapproves of Andrew plus some excellent off -beat folk music. Rowan Summers' delicate way with folk MUSIC The listener also shares vicariously in a songs. But his light voice surrounds these FOLK richly rewarding international camaraderie ballads with a fragile aura harking back to by Howard LaFay - something our empoisoned world could the days of the troubadors. His dulcimer do with more of. Exchange is interesting, accompaniments add to the illusion. unusual, satisfying. With the exception of the lovely Ballad SONGS OF THE HEBRIDES The accompanying booklet, while hand. of Mary Hamilton, none of Mr. Summers Mary MaKower, alto; Franz Jellinek; harp. selections is an exact stranger to the cata- SPA 65. 12 -in. $5.95. ROSALIND OPPENHEIM logue. In the final analysis, the desirability of this record probably hinges upon Cockle Gatherer; An Eriskay Love The whether or not one likes the Summers Dou'erless Maiden; Dance to Lilt; The approach. Your Shadow; A Fairy's Love Song; Water The engineers acquit themselves well and Kelpie's Song; The Fairy Loom; A Folkways supplies its usual excellent book- Wandering Shade; Milking Croon; Milking let containing texts and notes. Song; The Mull Fisher's Song; The Islay Reaper; The Land of Heart's Desire; The JACK OF DIAMONDS and other folk - Gulls; An Eriskay Lullaby; The Coolin Skua songs and blues of Rum; To People Who Have Gardens; The Sea Gull of the Land Under Waves; Brother John Sellers, folk singer; Sonny Caristone; An Island Shelling Song; To the Terry, harmonica; Johnny Johns, guitar. Cradle Lord of the Isles; The Old Crone's VANGUARD VRS 7022. to -in 53.95. Lilt; Bens of Jura; Kish,nul's Galley The Jack of Diamonds; I Love You. Baby; Sally Lonely, lovely songs of the far islands to Go Round the Sunshine; Nobody Knorvs the notch and west of Scotland. Love songs, the Trouble I've Seen; I've Been Lonesome, work songs, and lullabys -all as soft and l''ve Been Worried; Every Day I Hare the lyric as the summer clouds above the Isle Blues; IC"hen I've Been Drinking: Lonesome of Skye, all with the sparkling surface and Road; Let Us Run: Great Day hidden depths of the Sound of Barra. Brother John Sellers is out of the South by Miss MaKower's rich alto imparts a full Recordist Schwartz, friend to friendship. way of Chicago, where he came under the Gaelic flavor to the songs, although she influence of the great Mahalia Jackson. sings them in English. Franz Jellinek some and thick, devotes a lot of space to influence is more manifest in what he accompanies on the harp. Both artists This Schwartz's methods of exchanging tape but sings rather than in how he sings ir. For bring a high degree of sensitivity and precious little to the music contained on Sellers' way with a song is more relaxed intelligence to this which is undertaking, the record. than Mahalia's. fully reflected in the end product. SPA's In the case of both disks, the sound With this record, his debut on LP, sound is quite satisfactory. varies. Recommended. quality This is inevitable in field Sellers enter a field where the competition recording - particularly where tapes were is tough. But he is more than capable of MILLIONS OF MUSICIANS macle by different people, using different holding his own. Witness his touching machines, and under different conditions. version of Nobody Knows the Trouble I've A documentary of musical expression in Schwartz provides the narration for both Seen. everyday life conceived, recorded and nar- records. Perhaps the outstanding characteristic of rated by Tony Schwartz. this disk is the accompaniment - which is FOLKWAYS FP 6o. 12 -in. $6.45. CLASSICAL MUSIC OF INDIA really no accompaniment at all but rather EXCHANGE Nazir Ali Jairazbhoy; introduction by Rich a full -fledged collaboration by Sonny and Waterman. Terry's inspired harmonica and Johnny Friendship Around the World Thru Tape Johns' subtle guitar. Exchange by Tony Schwartz FOLKWAYS pP 66. 12 -in. $6.45. Engineering: excellent.

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MAHALIA JACKSON: The World's dancer who has been used by Barnet for Greatest Gospel Singer. years as a vocalist; and there is the aural With the Falls -Jones Ensemble. vaudeville that is apparently dear to Bar- net's heart the conversation between his i COLUMBIA CL 644. 12 -in. S3.95. - / soprano saxophone and the trumpet on Em Going to Live the Life 1 Sing About in Pompton Turnpike and the long instru- My Song; When I Wake Up in Glory; mental dialogue called Cornet Confab. It Jesus Met the Woman at the We Oh is swinging big band jazz, played with zest, Lord. is it I ?; I Will Move on Up a Little feeling, and some humor. The recording Higher; When the Saints Go Marching let suffers somewhat from that diffuseness and Jesus; Out of the Depths: Walk Over God's variance of levels which is common to Heaven; Keep Your Hand on the Plow; unplanned concert taping. Didn't it Rain. Mahalia Jackson's big, unfettered voice and CHARLIE CHRISTIAN --" emotional intensity make her just what this With the Benny Goodman Sextet and album title calls her -The World's Orchestra Greatest Gospel Singer. Gospel singing traces its origin back to Blues in B; Wholly Cats, Ti/I Tom the early negro spirituals, but structurally Special; Gone with "What" Wind; Break- it has been shaped into a near -jazz style. fast Feud; Air Mail Special; Waitin' for jcp Nothing can convey this more vividly than Benny; A Smo- o -o -oth One; Seven Conte (what ... no headline ?) Mahalia's rocking rendition of When The Eleven; Six Appeal; Gone with What Saints Go Marching 1n. Draft; Solo Flight. Like the old spirituals, today's Gospel COLUMBIA CL 652. 12 -in. $3.95. songs are religion felt rather than cere- Here are two Vox De Luxe brated; raw, naked religion crying our Although this disk is largely made up of albums rare in content, man's eternal desolation - and his eternal reissues, it is worth special attention both in We hope. because it contains at least two new selec- rare form. would no The emotion of these songs is communi- tions and because of the special nature of more try to tell their story cated immediately through Mahalia's free - Charlie Christian. Christian is a guitarist in some neat little headline swinging vocalization and burning sincerity whose total career on the bigtime jazz of purpose. In fact, there is a kind of scene covered less than two years (1939 -41) than we would define music incandescence about the way she sings yet in that time he established the electric or high fidelity in four words. them. guitar as a jazz instrument and laid the The accompaniments of the Falls -Jones groundwork on which post -swing jazz has These albums are not for Ensemble are superb. George Avakian's been built. Christian's two influential everybody... but they will be album notes are literate and informative years were spent with Benny Goodman's -a model of what record annotation orchestra and, though he had ample oppor- the most important addi- should be, but so rarely is. Columbia's tunity to show his ability in Goodman's tions to the collections of sound, equal to the best it has produced, small groups, he found them confining, an certain cognoscenti. is a worthy complement to the general inadequate means of expression for the excellence. music he wanted to play. His most typical This is an outstanding release. work was done in the relaxed atmosphere of after hours joints where he was heard VIVALDI: by other musicians but rarely by recording IL CIMENTO DELL' equipment. Some of this playing ar-as ARMONIA E DELL' THE BEST OF JAZZ taken clown on a portable machine and has been issued by Esoteric Records (Esoteric INVENZIONE, OP. 8 by John S. Wilson I and 4) but the recording is discouraging- (including the FOUR SEASONS) ly poor. 12 VIOLIN CONCERTOS. On chis disk, two more of these rare CHARLIE BARNET Illustrated booklet by Dr. J. Town Hall Jazz Concert instances of Christian unfettered are made available. They were made in a recording Braunstein, Music Div., N. Y. Rocki,' in Rhythm; Tell Me. Tell Me, studio while members of Goodman's sextet Public Library. Dream Face; My Old Flame; Caravan; were waiting for a session to start. The Reinhold Barchet, violin Pro Andy's Boogie; Pompton Turnpike: Chero- musicians were warming up and, fortunate- - kee; Redskin Rhumba; Skyliner; East Side, ly, the record of that warmup session was Musica String Orchestra, Stutt- (rest Side; Terry Tune; Things Ain't What kept. There is nothing that could be gart -Rolf Reinhardt, conductor They Used to Be: Hello Baby Blues: The formally called balance. Christian starts 3 -12" DL 173 Gal from Joe's; Barnetology; Cornet playing and as he develops ideas other Confab. musicians, who have been noodling around THIS IS HIGH COLUMBIA CL 639. r2 -in. S3.95. in the far background, move in. The section of this ad lib session which is called FIDELITY Charlie Barnet's bands have always had a Waitin' for Benny develops a theme which (A Guide To Sound Listening) kind of disheveled charm. They have fre- provided the basis for A o -o -otb Smo- One, Written and produced by Tyler quently been bands of some distinction but which follows on the succeeding band. The almost invariably they have had undisci- limitations against which Christian chafed Turner. Lucidly narrated by Art plined qualities. But even though the in the Goodman sextet arc illustrated Hannes. See HI -FI illustrated trumpets may have screamed at times and vividly by the comparison of the stiff, and diagrammed - read a de- the reeds (particularly those operated by formal, and rather flat performance of A tailed analysis - hear it dem- Barnet) may have squawked, the bands Srno- o -o -oth One with Christian's original onstrated with effects that will have always swung. In 1947, when this expression of the theme in the impromptu astonish you. DL 130 Town Hall concert was taped, Barnet had session. It must be assumed that this selec- one of his best bands and this is a reason- tion by the Goodman Sextet was included jor,,GawtdAtaeox.l ably comprehensive summary of its work. simply to make this point for it is the least There are numerous evidences of Barnet's interesting of the reissued selections. Most Fidelity fondness for Ellington; there are Barnet's of the rest are recognized small group '')Ultra High own best known specialties (Pompton classics. 236 WEST 55TH ST. Turnpike, Cherokee and Redskin Rhumba, This was -and still is- satisfying and Yfft 19, N. Y. NEW YORK Skyline.); there is Bunny Briggs, the exciting jazz, made none the less so by the

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current realization, that it is jazz of high bass; Ted Paskert, drums; Suzanne Lovell, historic significance. voice. Those That Live by the Swordfish Die by KENNY CLARKE the Swordfish; A Foggy Day; Ode to a Mode: When Your Lover Has Gone; Take Walter Benton. tenor saxophone; Frank Ale Out to the Ball Game; Newton the Morgan, alto saxophone; Gerald Wiggins, Fig; Song of the Bayou; Three Speeds For- piano; Milt Jackson, vibes; Percy Heath, ward; You're Just a Cucumber; Fagotte bass; Kenny Clarke, drums. Garotte: Aren't You Glad You Cante: Strollin'; Sonor; Blues Mood; Skoot. What a Way to Run a Railroad. SAVOY MG 15o51. to-in. $3.85. VICTOR LJM 1021. 12 -in. 53.98. be off by more unfortu- MILES DAVIS ALL STARS, VOL. t Don't thrown the nate titles in the listing above. These are Miles Davis. trumpet; Thelonious Monk, delightfully swinging performances by a piano; Milt Jackson, vibes; Percy Heath, woodwind group which has, in its small bass; Kenny Clarke. drums. group way, some of the characteristics of Bags' Groove; Swing Spring. the Saucer- Finegan band. There is a light PRESTIGE LP 196. to -in. $3.85. touch about everything McKay's group tackles and there is the constant promise These two disks are of interest largely of the unexpected in its approach. The because they are built around three- quarters voicing, of course, provides a fresh sound of the eminent Modern Jazz Quartet - WILLIAM CLAXTON but this sound is used in a variety of ways Jackson, Heath, and Clarke. The perform- - blended with Suzanne Lovell's wordless ances are, on the whole, pleasant and Gerry Mulligan: a case of quiet growth. voice on When Your Lover Has Gone and unpretentious but lacking in any corn- the wonderfully swampy Song of the pelting interest. The additional associates under which it was done, this is a very Bayou. in brisk ensemble work on Take brought along by the MJQ threesome for gocd job. The rather unbalanced accom- Me Out to the Ball Game (which achieves these recordings are of little help, except paniment sounds thin and there are occa- what must be the highest and driest ending is for Thelonious Monk whose curiously de- sional echoes, but Miss Holiday recorded ever recorded) and What a. Way to Run a tached manner of playing -as though he in general with depth and reasonable range Railroad and as background for McKay's were contemplatively flipping over the although now and then she is made un- virtuoso bassooning on Fagotte Gavotte piano keys to see if there were any bugs becomingly shrill. and Ode to o Mode. The ensembles are under them - has an amusing enchant- easy, graceful, and propulsive and the play- ment. What there is of interest here is LONDON BROIL ing is consistently clean and crisp. The provided by the three core men, with Johnny Dankworth and his orchestra; group has been retorted excellently, with Jackson in consistently good form on his 'S Wonderful; Younger Every Day. wide range and precise definition. solo appearances. The absence of John Lewis, fourth man in the MJQ, and the Jack Parnell and his orchestra: April in absence here of the kind of provocative Paris; Sure Thing. GERRY MULLIGAN California Concerts originality which is usually found in the Freddy Randall and his band: Carolina in Quartet's work, suggests that the connection the Morning: At the Jazz Band Ball. Gerry Mulligan, baritone saxophone and between that originality and Lewis is ex- piano; Jon Eardlcy, trumpet; Red Mitchell, tremely close. The recording on both disks Kenny Baker Quartet: Peg o' My Heart; bass; Chico Hamilton, drums. is good although there is some surface Siompin' at the Savoy. Blues Going Up: Little Girl Blue; Piano noise on the Savoy which is also atrociously ANGEL 60004. to-in. $2.98. Blues; Yardbird Suite. short: its overall total of seventeen minutes Add Zoot Sims, tenor saxophone; Bob might have been placed on a single ten - The subtitle on the liner is more apt than Brookmeyer, valve trombone and piano; inch LP side. the title: "Mixed Grill." In essence, this Larry Bunker, drums, in is a British sampler. Big bands, small place of Hamilton. Western Reunion; I Know, Don't You BILLIE HOLIDAY groups, dixie, swing, and modern are all Knott: The Red Door. At Jazz at the Philharmonic represented and adherents of none can have much ground for complaint. Capable is PACIFIC JAZZ Pi 1201. 12 -in. 54.85. Billie Holiday, vocals; Joe Guy, trumpet; the word in general with the higher Willie Smith, alto saxophone; Milt Raskin, reaches of capability being demonstrated Gerry Mulligan is continuing to grow as piano; Red bass; a jazz Callender, Dave Coleman, by Jack Parnell's April in Paris, a subdued musician. His playing at the two drums. recorded production number which achieves a par- concerts on this disk (Stockton, Body and Soul: Strange Fruit; Travelin' ticularly rich, lush tonal coloring and Calif., Nov. 12, 1954, and San Diego, Dec. Light; He's Funny That Way: The Man I Freddy Randall's Dixieland group which 15, 1954) has, on one hand, the assurance Love; Gee Baby Good Ain't I to You; All gets a lot of lighthearted spirit into Caro- and polish that one expects of a mature of Me; Billie's Bluer. lina in the Morning. This number, inci- musician plus the exciting creativity that is one of the hallmarks of the great jazz- CLEF MG C -169. Io -in. $3.98. dentally, contains one of the few really good tenor saxophone solos recorded by a man. In his quiet, insinuating way (and These numbers, recorded at a concert in girl - Betty Smith. Kenny Bakers rough using an instrument that is by nature 1946, are of special interest because you trumpet tone and Johnny Dankworth's neither quiet nor insinuating) he is far seldom get Billie Holiday records like this highly skilled alto are shown off to their and away the dominant figure in both the anymore. At that time she still had much own advantage but the material surround- Quartet and Sextet heard on this disk. of her youthful voice at her command along ing them is on another level. The record- Even when he takes ro the piano, on Piano with Blues, the knowing wiles which she picked ing is strikingly good and is quite consis- he doesn't fall into a stereotype of way a up along the in a decade of singing. tent, a remarkable feat in view of the fact either modern pianist or a blues pianist. It was, as one might judge from these per- that at least four different sessions are His piano blues style is rugged, leavened formances, the beginning of her transition involved. with a sprinkling of more highly developed period for she sings- really sings -on ideas than a blues pianist would be apt to most of the numbers but on the occasions McKAY undertake. when she voice doesn't quite STVART AND HIS WOODS The quartet he uses make it the Reap the Wild Winds on this occasion, one wiles come into play to carry her through, which has never been recorded before, as they do still. The tunes are from the Stuart McKay, Ernest Victor Mauro, Jerry produces the most consistently satisfying top drawer of her repertoire and her execu- Sanfine, Tom Mace, saxophones, bassoon, group of numbers that Mulligan has put tion of them, particularly the last four, are oboe, English horn. flute; Albert Richman, on a single disk, despite some uncertainty in her best tradition. Considering the date John Burrows, French horn, John Saunders, on the part of Jon Eardley, the trumpet of the recording and the circumstances piano; John Porcello, guitar; Bill Halfacre, man. When Zoot Sims and Bob Brook-

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meyer join the ensemble, they add solo highly effective help of Sam Prices piano. duets. Together, these two men have a variety but dispel much of the generic The last four numbers lack the impact of strong, brash, moving quality. Their in- Mulligan feeling. For a concert perform- the others and there are times on them dividual solos remain a matter of chacun à ance, this disk has a great deal of presence. when the accompanying band pushes son gout-as a rule, f find their mannered The balance indicates considerable care in Rushing's voice into the background. The puttering tedious. But when they are work- setting up for both audience and rape. disk stands, and stands firmly, on the first ing within the restraints required for a three numbers. joint effort, their playing takes on a TURK MURPHY'S JAZZ BAND completely different texture and they pro- Dancing Jazz duce a very basic and very genuine jazz 'PONY SCOTT SEPTET feeling. On these numbers they are helped Turk Murphy, trombone; Everett Farey, Scott's Fling by some especially fine piano spots by Dick cornet; Bob Helm, clarinet; Wally Rose, Tony Scott, clarinet; Jimmy Nottingham, Katz. Johnson arranged the selections on piano; Bob Short, tuba; Al Lyons, wash- trumpet; Eddie one side of this disk, Winding did those board; Bob Thompson, washboard. Wasserman, renor saxo- on other. Winding's ideas seem the South; Hard Hearted Hannah; Doctor Jazz; phone; Danny Bank, baritone saxophone; the Billy Bycrs, trombone; Milt bass; most varied. They include It's All Right Jazzin' Babies Bluet; Hula Loa; Sunset Hinton, Osie Johnson, drums. with Me, a ruggedly swinging thing, an Cafe Stomp; Charleston; Red Het Mama; Forty -Second Street; But Not for Me; Sun- inventive ballad approach to Mad About See See Rider; Oriental Strut; Sadie Green, day Scene; /or "Lips "; Lucky to the Boy, humor (no less) on Yes Sir, the Vamp of New Orleans; Coney Island Requiem That's My Baby and some amusing excur- Washboard, Be Me; Fingerpoppin' Blues; Abstraction No. r: Autumn Nocturne: Three Short sions on Gong Rock. COLUMBIA CL 65o. 12 -in. $3.95. Dances for Solo Clarinet; Glad to Be Un- happy; Our Love Is Here to Stay; Let My When Turk Murphy's band really gets Fingers Go! THE CREATIVE TEDDY WILSON rolling on a spirited tune, it is capable of Teddy Wilson, piano; Milt Hinton, bass; VICTOR t__IM 1022. -in, $3,98. producing delightful jazz. Murphy has t2 Jo Jones, drums. found the right material in several of the Blues Tony Scott, who has been on his way for for the Oldest Profession; It Had to numbers on this disk - Charleston, Red Be You; You Took Advantage of Me; many years, finally arrives on records Hot Mama and Sunset Cafe Stomp. But - - with this disk. During these years, Scott Three Little Words; If I Had You; Who's he's even better this time when he broods Sorry Note; The Birth of the Blues; When has been evolving a personal style which down into the blues-Jazzin' Babies Blues often eluded him, leaving him hung be- Your Lover Has Gone; Moonlight on the and especially See See Rider are moving tween safe, known ground for the clarinet Gauges; April in Paris; Hallelujah; Get performances. Unlike some of his recent and the higher reaches for which he was Our of Town. records, Murphy uses a cornet lead aiming. He has been recorded in the past MG throughout this disk (he had been doing NORGRAN N -1019. 12 -in. $4.98. during some of these in Limbo without cornet or trumpet quite often in moments and he has often sounded as though he Teddy Wilson's piano playing is one of the past). Everett Farey's well- played lead were squirming his way through some the most consistent elements in jazz; yet he provides a focal point which the Murphy vague torture chamber. can, as he has lately, go through fairly band has sometimes lacked on other occa- But here, one gathers, is what he was long periods without recording anything sions and fills our ensembles that are other- be after. It is, almost inevitably, a form of that seems to properly representative of wise too thin or too dependent on the fulfilled simplicity, a rich, firm tone which him. On this disk, for a change, he is grotesque tone of Murphy's trombone. The spreads so shapelessly in any direction that vocals by Murphy and Bob Helm are still it might be an arm without bones. His on the parlor performance level but when playing throughout this disk is utterly the blend of vocal and instrumental spirits engrossing and completely unique. A good is right, it all seems perfectly becoming. thing, too, for the other frontline men, The band has been admirably recorded with the exception of Danny Bank, are nor with a balance that is exceptional for a overly inspired and many of the arrange- group of this type. ments are slightly earthbound. Scott, how. .._... ever, is nor. He brightens an otherwise JIMMY RUSHING SINGS THE BLUES drab Forts' -Second Street, plays a touching Jimmy Rushing, vocals; Pat Jenkins, auto- and melodic Requiem for "Lips" (Hot ; recotded high per; Henderson Chambers, trombone; Bud- Lips Page) and creates a beautifully, soft r , dy Tate, tenor saxophone; Ben Richardson, and delicate conception of Autumn Noc- 1ulet1tY alto saxophone and clarinet; Sam Price, turne. He also allows himself two un- i piano; Walter Page, bass; Jo Jones, drums. accompanied and essentially, non -jazz solos Horn Long.- Boogie Woogie; Horn You - Abstraction No, r and Three Short Watt Your Levin' Done; Gain' to Chicago; Dances for Solo Clarinet-which are fas- I Want a Little Girl: Leave Ale; Sent for cinating little exercises. The recording is You Yesterday. polished but at times a little over bright.

VANGUARD VRS 801 1.. to -in. $3.95. KAI WINDING AND J. J. JOHNSON WHAT IS HI One side of this release, at least, is lust -FI? about the best display of vocal blues put Kai Winding, J. J. Johnson, trombones; A journey behind the on a disk since recording equipment got Dick Katz, piano; Milt Hinton, Wendell scenes with Kurt List, Westmin modern. Jimmy Rushing's parlay of How Marshall, bass; AI Harewood, drums. ster's musical director, describes Long. Boogie lvoogie and Hote YOB Want Out of This World; Thou Swell; Lover; high fidelity and the making of high fidelity records. Informa- Your Lovin' Done marks a peak in his Lope City; Stolen Bass: It's All Right with tive, interesting, of permanent recording career has scope and variety Me; AIad About the Boy; Yes Sir, Thai's -he value to every record buyer. For such as he was rarely permitted during his My Baby; That's How 1 Feel About You: your free copy. send a card to: many years with Count Basics band, he Gong Rock. has some remarkably WESTMINSTER RECORDS sensitive accompan- BErtILlauEM BCP t3. t 2-in. S4.85. iment and he is given better recording DEPT. HF 275 Seventh Ave.. New York 1. N.Y. than he has ever had before. Rushing's This is the third LP by Winding and voice is aging and it grows a little hoarse Johnson, all released within a couple of when he vies to push it too hard but it months, and their third label. Just as their still has that wonderful surge that has second disk showed improvement over their always characterized his reading of a blues first, this offering is still better. The lyric. On How Long he gives what might recording in this case is also the best they be considered a definitive performance of have received so far, giving depth and full- relaxed yet potent blues shouting with the ness to the rich sound of their swinging

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quite his usual ingratiating self. His play- Banana Tree; One Man Ain't Quite Enough; time to stand up very well in the times that ing is intelligent, well considered and I Never Has Seen Snow; What Is a Friend For?; followed, and it has actually been only in warm. He swings in that casual, effortless A Sleepier' Bee; Mardi Grat Waltz; Smellier the few years since Jean -Louis Barrault and way he has, skirting the edges of cocktail of Vanilla. his wife, Madeleine Rénaud, broke away piano yet always playing with strength from the Com/dir to form their own com- Percy Faith and His Orchestra. and perception. These tunes are well fitted pany that Marivaux has core back into the COLUMBIA CL 640. 12 -in. $3.95 to him and so is his accompaniment, par- best odor. it is not too hard to see why, ticularly bassist Hinton. The recording is There are lovely things in Harold Arlen's because, for all its charm, Les Parities Con- good. score for House of Flowers, among them fidences is not a play that would stand much several languid and nostalgic ballads. The inconsiderate treatment on either side of good things have an attractive musical the footlights. Not a commedia in spite of character of their own, as all of Arlen's its first auspices (although Arléquin is in THE MUSIC BETWEEN best creations have; the lesser will pass and about), it is a kind of play that has no muster if they're nor examined too closely. real parallel in English - an elaborately by Robert Kotlowitz Percy Faith has got them all together in and delicately contrived comedy of senti- this new Columbia album and given them ment and situation, with situation provid- CRAZY OTTO equal attention, regardless of quality. The ing the framework. and the excuse, for orchestrations are remarkably lush, even by everyone to analyse the sentiment in Rag Doll; Beautiful My Glad Ohio; Melan- Mr. Faith's celebrated standards, and they speeches as graceful and elegant and artifi- choly Baby; Red Sails in the Sunset; In the Mood; rend after a while to make almost all the cial as the age in which they were written. Smiles; Rose of Washington Square; S- b- i-n -e; tunes sound alike. Columbia has provided Samuel Richardson has been called, not Paddlin' Madelin' Home; Lights Out. big, resounding engineering. quite rightly, the English Marivaux; the DECCA DL 8113. 12 -in. $3.98. closest anyone has come to capturing Mari - LOMBARDOLAND, U. S. A. vaux himself and binding him to an Crazy Otto's real name is Fritz Schulz - analogy has been to speak of his writing Poor Little Rhode Reichel and under that impressive title he Deep in the Heart of Texas; in terms of the paintings of Watteau. The Island' Give Me the Moon Over Brooklyn; is known in Germany as a serious composer - world of Let Fatale Confidences is not a Start Fell on Alabama; Carolina Moon; Beau- pianist. As Crazy Otto, he made a few experi- real one, but the viewpoint is so consistent Ohio; Chicago; Tennessee Waltz; Some- ments with unusual sounds several years tiful that given a performance of great style Florida; 'Way Down - ago and came up with the "Tipsy Wire where in Old Wyoming; --' it can charm us into believing (almost) in New California, Here Box," the instrument he plays on this rec- Yonder Orlean; I that it is. The performance, "retlized" Moonlight on the ord. The T. W. B., which is not much of a Come; St. Ludt Blum; without too much damage from the acting Colorado. revelation, duplicates exactly the tinny, off- version given a couple of years ago in New pitch quality of an ill -kept player -piano; Guy Lombardo and his Royal Canadians. York by the same company, is magnificent it's been heard before under other names. DECCA DL 8097. t2 -in. $3.98. in all regards; there can be no more Crazy Otto's playing is pretty much beer - beautiful language than French when it is hall oom -pa at its least attractive and it Governments crumble, stock marken crash, spoken with such style. Engineering: Very doesn't vary a jot from one tune to the next. the whole world - as we all know - slowly good. No text at all, and notes that are His novelties, accompanied by a rhythm goes to pot, but Guy Lombardo and his appreciative rather than useful. However. group and occasional vocal horseplay, were Canadians continue to play, if not the sweet- very highly recommended. J. H., Jr. recorded by Deutsche Grammophon-Poly- est music this side of heaven, surely the dor. There are times when Crazy Otto squarest. The outfit opened at the Hotel VICTOR BORGE seems to be playing smack in the middle of Roosevelt back in 1929 and it's still there Caught in The Act your living -room. today, sounding exactly as it did at its debut. COLUMBIA Cr. 646. 12-in. Surely no popular musical organization with $3.95. CYMBALOM MELODIES less propensity for change has ever kept - On October 2, 1953, pianist, comedian and and kept right its audience for so long. fariner (he raises Rock Cornish pullets on Two Guitars; Romans and Kok; Two C.ardas; - Fcr that audience (which is enormous) Lom- his Connecticut farm) Victor Borge opened Two Dancer; Rakoczy March; Lavora Szerelme bardoland offers a rich treasure in the form at the John Golden Theater in New York Hatllamzo Balaton; Third Man Theme; - of a musical tour around the United States, for what he announced to be a "limited en- Doing; Rotes from the South; Levelem fort a and it's accompanied every step of the way gagement." As far as I know he is still Palubol. by big, well -balanced sound. there and it is beginning to look as if Lojzi Balogh, cymbalom. he will go right on until (t) someone PERIOD SPL 1014. I O -in. $3.98. (mentioning no names) drops an A -, H -, or C -bomb on Manhattan (a) the John to risk WORD The cymbalom - offering some ele- THE SPOKEN Golden burns down or (3) they carry Mr. mentary information you're probably famili- Borge off the stage in a stretcher prob- with MARIVAUX - ar already - is an active member of ably still spitting out commas and periods. dulcimer is Les Fausser Confidences the -string family, and it used According to a lengthy profile by Geof- mainly by Hungarian gypsies, who depend Madeleine Rénaud, Araminte; Simone frey Hellman in the New Yorker last upon it for a great deal their music and of Valère, Marthon; Marie- Hélène Dasté, month, Borges show, "Comedy in Music," play it with great expressiveness. Unlike the Mme. Argante; Jean -Louis Barrault, Du- has broken all records for one- man -stands. zither, which it resembles in many other bois; Pierre Bertin, M. Remi; J. P. Granval, lc has grossed over Si. S million. Along- respects, the cymbalom is struck when Arléquin; Jean Deshailly, Dorante; Régis side that kind of money, what Mr. Borge played. It produces far more satisfying and Outin, Le Comte; J. F. Calvé, Un Garçon; stands to make off this record is peanuts -- interesting sounds than most instruments in Jacques Galland, Un Domestique. Borge is as businesslike as he is funnylikc its family. Lojzi Balogh, who is a Hun- and he will certainly nor object. garian gypsy himself, plays the LONDON INTERNATIONAL 7CV 91042. cymbalom "Caught in the Act." like the preceding with amazing virtuosity and can be- Two 12 -in. 59.96. range but don't let that deter you from buying it. tween such disparate items as Two Guitars, Although he was born in 1688, Pierre Borge record. is made up of a series of the Rakoczy March, and Roses from the South Marivaux carne to full prominence relative- typical Borge skits such as A Mozart with admirable ease. His instrument, of ly well along in life; it was 1737, and Opera; Family Background; and the usual course, is limited both in range and appeal, Louis XV ( the one whose Pompadour gets indignant exchange with the audience over but Mr. Balogh gets everything out of it credit for having said, quite presciently, request numbers. Personally, I do not he can. "April Hour, le déluge") was well settled on believe it is quire as funny as the first the throne when the Comédiens Italien except for thing: HOUSE OF FLOWERS record - one his pho- gave the first performance of his most netic system of punctuation which is in- Houle of Flowers; I'm Gonna Leave Off Wear- famous comedy, Les Fausset Confulencet. cluded in "Caught in the Act." That, of ing My Shoe.; Waitin'; Slide, Boy, Slide; Don't Beth the comedy and the literary reputation course, is Borges classic - a system of Like Goodbyes; Two Ladies in De Shade of De of its author were too much of their own punctuation using phonetic sounds for

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181111ors-.... commas, periods, question marks, exclama- COLUMBIA -ENTRE RL 3107. I2 -in. $2.98. tion points, etc. it is worth the price of the It was in Hamlet and Richard II that record swisssh, puppt (vertically) - a phonetic exclamation point(!) R. H. H., Jr. Maurice Evans established himself in the eyes of many critics as the finest Shake- L'ESPRIT DE PARIS spearian actor since Edwin Booth. It is not Peusies de Sacha Guitry et des Mutres surprising that the dramatic mantles of the Prince Denmark and the Second King Sacha Guitry. Richard should fit well one man. They are LONDON LI. 899. 12-in. 53.98. both sensitive, poetic and tragic characters, noble but lacking the power of decisive On the jacket, this record is described as action. These essential qualities ate beauti- being "indispensible ro those interested in fully unfolded by Maurice Evans in nine the French Theater and to the collector in well recorded excerpts. search of a truly unique souvenir of this The excerpts are, from Hamlet: HEAR the actual sounds of amazing man." The statement is rather I, ii: soliloquy "O chat this too solid flesh misleading: the record, while certainly would melt." unique is not quire "indispensible "; its I, v: scene with father and soliloquy "O all EARTHOUAK E interest. on the other hand is not as limited you host of heaven." as is implied. More people than just stu- 11, ii: soliloquy, "O what a rogue and dents the French Theater and TREMORS' of collectors peasant slave am I." Guitryana should find it of of sufficient III, i: soliloquy, "To be, or not to be." A first recording on LP interest ro be in record - included their Ill, ii: Instructions to players, "Speak the libraries. speech I pray you." Shock waves of side On one, Sacha Guirry combines wit IV, iv: soliloquy, "How all occasions do with philosophy to give his impressions inform against me." major & minor quakes from (in French) of a number of things, among From Richard II: Madagascar, Hawaii, which are included the theater, Paris, III, i: "Landing Scene" women, and love. These impressions are III, iii: "In Wales" California, Mexico dispensed with such grace and charm, and V, v: "In Prison" R. H. H., Jr. in such a civilized manner, that the listener. as received by is not always in complete agreement with ROMEO AND JULIET tape -recording seismometer the sentiments expressed, is usually de- William Shakespeare lighted by them. Side two of the record is with cooperation of Dr. Hugo Benioff, Scenes From the J. Arthur Rank Film. not quite such an unalloyed success despite CalTech Seismology Laboratory a very convincing introduction by Guitry. Eric LC 3126. 12 -in. $3.98. Entitled "Potties des Attires," the second This is an altogether unsatisfactory and side is devoted to one -line quotations from annoying record. Most annoying is the fact the works of authors of such diverse talents IONOSPH ERIC that in order to reduce Romeo to one - as Montaigne, Oscar Wilde, la Rochefou- disk size, it has been horribly truncated. cauld, Goethe, Carlyle, Mark Twain, and Not only are many scenes omitted (included swishes, whistlers, Voltaire. Each these quotations taken of are: I, i; t, v; II, ii; II, v; II, vi; individually is a miniature gern of literary III, v; IV, iii; IV, iv; IV, v; V, i; V, iii) tweeks; the dawn chorus facility: taken all together, some of the but the scenes themselves have been effect is lost through one's not being able stripped to hare essentials. The result is a to for the forest. see the trees performance that is neither satisfactory as audio disturbances FRANK WRIGHT Unexplained a sense -making story (although it can be 50 to over 7,000 miles MAURICE EVANS READS SHAKE- followed by paying close attention to the SPEARE jacket notes) or valuable as a dramatic above the earth. study as are the customary "Excerpts Hamlet -six excerpts. From ..." From recorded data collected & narrated by Riehatd II - three excerpts. The sound is poor, even by film -track Prof, Millets Morgan, Dartmouth College standards. The individual performers are S2.00 Boner on Henry quite good, but restricted as they are here Last issue in our review of the new they do little more than act out "Coming First Recording Ever Available Riverside record, HERE'S MORGAN, Attractions" for the J. Arthur Rank film on which the record is based and which we gave the price as $5.95- The correct incidentally, won the 1954 Grand Prize a Provocative Listening from recent research price is $3.98. Venice Film Festival. R. H. H., the Jr 12" High Fidelity LP (#5012) 33-1/3 rpm only At your dealer or QUIET prevents static. QUIET lubricates and protects the send $4.80 to grooves. QUIET retards needle wear. CONTAINS NO SOLVENTS FOR COOK I Laboratories PHONOGRAPH QUIET is harmless to records, skin RECORDS and furniture. Y 101 Second St., Stamford, Conn. PREPARE NOW FOR SUMMER MILDEW QUIET provides complete record Please send free information on "OUT OF Prevent mildew on your records care. THIS WORLD" to:

during the Summer months by ap- .5 na. Massie container of liquid QUIET, sponge applicator, applicator case, in- plying QUIET to them now! stnsetinnII, information on record care, and complete laboratory test data - FOR COMPLETE RECORD CARE $2.00 p, Mpnid. QUIET is a special liquid prepara- Poe. panning tion for the complete care and pre- BEYLAND ENGINEERING CO. servation of phonograph records. YALESVIl1E CONNECTICUT

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HIGH FIDELITY DISCOGRAPHY No. 17

Frédéric Chopin by Harold Schonberg

AN ESSAY about Chopin and his place in music is not with accentuations, with varying finger weights, with con- needed. Some remarks about Chopin -playing are more in trasts of dynamics. It was all very personal; and yet what order. Chopin has nor slipped from his high position on came out was always (well, nearly always) implicit in the the concert stage; his music is very much with us and shows music, free for all to discover. no signs of fading. At the saine time, there is no doubt that Perhaps our present -day musical stringency is an inhibit- a certain tradition of Chopin -playing is disappearing. Our ing factor against the young pianist. He has been taught to younger virtuosos, a hardy breed with steel fingers (and, respect the wishes of the composer. Well and good; but one often suspects, souls), can spatter the notes of Proko- only too often that respect manifests itself in a cold, too- fiev's Third Concerto with the force and fluency of rain- literal exposition of the notes. Accuracy is a wonderful drops from an industrious tornado. When they come to a thing; but lei's make sure we are aiming at the right target simple Chopin mazurka they seem nonplused. In a way The only musical target worth shooting for is a recreation, their difficulty is understandable. It is hard to do precision not a blueprint. Anyway, there never was a composer who work when you wear boxing gloves. did not expect the performer ro add something of his own. Now, the older school of Romantic pianists, from Chopin What co add? That, of course, depends upon the caste of himself on to Artur Rubinstein and Guiomar Novaes of the performer and his identification with a specific style. our own day, was as pigged a group of individualists as (Listen to Landowska's Bach for a concrete example.) existed anywhere. There was De Pachmann, with his ex- Some have said that our younger pianists lack identification quisite traceries (and mannered eccentricity); and Anton with the Romantic school because they are children of a Rubinstein, with his thunderous volleys of tone; and in neurotic age and reflect that age. Perhaps there is some between there was every conceivable shade of musical truth in the statement, though it seems too easy and pat approach and philosophy. Anything, these days, can be explained away in psychiatric But at least three things all these pianists had in common jargon. I myself put most of the blame on the teaching. -a singing tone, a flowing legato, and a natural rubato. Young recitalists, many of them from some of the most Hofmann could rear up and smite the keyboard, sometimes respected conservatories in the world, come before the actually with the flat of his hand. Yer he never lost tone. public with appalling notions about music, and with an And he, like all the great pianists of his day, could take a equally appalling lack of intellectual curiosity about ir. And phrase and connect its individual noces so that they flowed how seldom does one come across a young pianist who together in a melting, logical sequence. Fingers, pedals, communicates any real joy in making music! heart, and brain - all worked together. It also is very rare that one hears a convincing rubato The deficiency in legato playing of many of today's from a young pianist; and rubato is the essence of Chopin. younger players strongly militates against their success as Much misleading nonsense has been written about the term. Chopinzees (so Huneker once described the species). Nor In some early editions of Grove's, Fuller- Mailand stated do they seem to be interested in experimenting with the that rubato "is allowed in the works of all the modern tonal resources of the piano, its potentialities for color. Romantic masters, from Weber downwards, with the single Some of them seem afraid of the pedals, touching them exception of Mendelssohn ... In the case of the older gingerly as if a healthy charge of electricity were surging masters it is entirely and unconditionally inadmissible, and through the appendages. One wonders how they practice. it may be doubted whether it should be introduced in It was evident, when a great Romantic pianist played Beethoven. Chopin, that he had spent hours upon endless hours study- Fuller -Maitland could not have been more in error. ing nor only the notes but -much more important -what Obviously he was unacquainted with the letter that Mozart was beyond the notes. He experimented with inner voices, wrote to his family, in which he describes the tempo rubato

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and how he employed it. Even before Mozart was born, of his age. He himself was a paradox -a weak, tubercular C. P. E. Bach was writing about rubato; and he aiso had the man, precious, something of a dandy, with a precise mind final word to say about it: "... Practice alone will nor be but a narrow frame of aesthetic reference. He knew next of help here, for without a fitting sensitivity, no amount of to nothing about the other arts and was mostly out of sym- pains will succeed in contriving a correct rubato ... Most pathy with the Romantic movement of his day ( he disliked keyboard works contain rubato passages." the music of Berlioz and Schumann; showed no liking for Rubato is a variation in tempo or rhythm that adds ten- the paintings of his good friend, Delacroix). Yet within sion to a melodic line without distorting it. It should not him was a seething rebellion chat often expressed itself in ever involve actual alteration of note values (though that is outbursts of explosive force and made him one of the great what so often happens when bad taste goes to work on Romantics, willy -nilly. "Cannon buried in flowers," said Chopin). Nor should it involve metrical shifts. The basic Schumann of the music of this composer. meter must always be present; it is the rhythm that may fluctuate. "Do you see those trees ?" said Liszt. "The wind THE FOLLOWING Chopin discography is the most com- plays in the leaves, life unfolds and develops beneath them, prehensive attempted since the introduction of the long - but the tree remains the same. That is the Chopin rubato." playing record. It is substantially, though not too- percent, No composer, from Bach to Poulenc, wants his music complete. Some disks are not worth consideration, such as played in a rigid, metronomic manner. He wants delicate the (you should pardon the expression) Liberace excursus shifts and adjustments, always expressed in proportional into Chopin, or the multi- digited work of the First Piano relationships. Thus, in a waltz, the second bear may be held Quartet. A few peripheral pianists of the peripheral com- a trifle longer, but the idea of waltz meter should never be panies have been omitted. lost. Or you can bend a measure so that it rakes off ac a For the most part the discography follows the form pre- slightly different rangent from the preceding ones, but the viously established in these pages. Some bibliographical individual notes in char measure continue to bear the same problems have come up. The two major catalogues - relationship ro each other. An eighth note will remain an Schwann and The Long Player -do not pretend co break eighth note, not turn into a dotted eighth. down the Chopin recordings. Schwann lists but two of the Old C. P. E. Bach was right. Rubato cannot be taught. six versions of the F minor Fantasy. The Long Player lists It musc be felt. A calculated rubato, one that proceeds from three versions of the Barcarolle; Schwann, two. Yet there superimposed instruction, will either be eccentric or will are at least seven. When it comes to individual études, develop into positive musical anarchy. waltzes, mazurkas, nocturnes, both catalogues give up. So Next comes the consideration of technique; and tech- does this discography -up to a point. It would be impos- nique is a sine qua Iron of Chopin playing. Name any great sible to attempt a breakdown, work by work, of every Chopin pianist, and you name a great technician. For, after individual Chopin recording; he composed too many short all, Chopin composed some of the most difficult music in pieces. The only feasible solution was to deal individually the repertoire, and you can no more play it without tech- with major Chopin recordings, and to lump together (in nique to burn than you can tear down the Empire State their respective categories) disks that contain Chopin ex- Building with a toothpick. You may have the greatest cerpts. Thus an LP containing, say, three waltzes, two musical instinct since Orpheus -but what good is it if you preludes, and a nocturne, will be mentioned under Waltzes can't play the notes? If I seem to be belaboring the point, (Individual), Preludes (Individual), and Nocturnes (Indi- it is because the old cliché that " technique is merely a vidual). Some disks contain a large number of mazurkas; means to an end, not the end itself" is a half truth that has for these, there is an entry named Mazurkas (Collections). done considerable harm. It would be a waste of space to list fifty -odd mazurkas Of course there are additional prerequisites to great individually. On the ocher hand, categories like the ballades Chopin-playing - poetry, color, flexibility, spontaneity, and scherzos (only four each in number) can be so force, and passion when needed. Chopin, though he may handled. have worked in small forms, was a major musical thinker Reference will be found below to a Columbia disk played and innovator -a revolutionary in his days; a seminal by Josef Hofmann. This disk is not yet available but it force of the nineteenth century from whom (as Gerald should be, in a few months. I have listened to the rest press- Abraham points out in Chopin's Musical Style) most of his ings and, since they contain magnificent examples of Chopin successors were not ashamed to borrow. Chopin, more than playing ( they were recorded at Hofmann's fiftieth anniver- Liszt, more than anybody, was the piano, and in addition sary concert, ar the Metropolitan Opera House, November he was a genius who altered the entire musical vocabulary 28, 1937), I have included them in the discography.

ANDANTE SPIANATO AND POLONAISE, Reinhardt performance, which bumbles gate it. Clear recording, perhaps a bit too FOR PIANO AND ORCHESTRA, OP. 22 along without style or sparkle. Frugoni's close -up. If it's the solo version of the (2 Editions) has more of an appropriate glitter, even if Andante Spianato and Polonaise in which A frequent concert -hall visitor in its solo the orchestra hovers so discreetly in the you are interested, consult the following piano form, this brilliant and effective background that it often hardly can be entry. work is seldom heard in its original scoring heard. Frugoni plays nimbly enough, but -Orazio Frugoni; Pro Musica Orchestra, as a composition for piano and orchestra. not very subtly; it's all pretty much one - Hans Swarowsky, cond. Vox PL 903o. The only version of the two available disks dimensional. His disk, however, includes 12 -in. $5.95 (with Krakoviak; Variations worth much consideration is the Frugoni. several rarely heard concerted pieces by on "L2 ci darem la mana "; Liszt: Toter. Vox never should have released the inept Chopin, and collectors will want to investi- ran).

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-Rolf Reinhardt; Pro Musica Orchestra, is close to a stall. His disk, like the West- brash and immature, and all on the surface. conducted by the pianist. Vox PL 7530. minster played by Doyen, is not very The Horowitz pressings I played had a 12-in. 55.95 (with Variations, Op. 2, 12). attractive economically, as the other ver- prominent scratch throughout. Otherwise sions give extra music in addition tc the the recorded sound is bell -like. This is a ANDANTE SPIANATO AND POLONAISE, Ballades. In any case, Doyen's playing is big performance that somehow fails to con- FOR Soco PIANO, Op. 22 (3 Editions) impossibly affected. This is a model of vince. Horowitz misses the grace and Two tremendous interpretations and one swooning adolescence. Arrau's perform- elegance of the music, and there are some transcendental one. Hofrnann's is the ance I find excessively mannered and un- odd sections involving detached linger latter. His ideas arc entirely original; and natural. He sounds calculated; his effects weights. Nearly everything sounds too big. yet the more one hears the performance, do not come off; he favors drawn -out ritards The Arrau disk is a transfer from a prewar the more it strikes 5re. Somehow he makes that start measures before Chopin indicated, shellac. Inferior recorded sound; heavy the competing versions sound thick. In the he consistently changes the metrical pulse, surfaces; occasional tonal shatter. But the Andante Spianato his tempo is considerably and his rubato creaks. Technique he has. playing has a more relaxed quality than the faster than that of Rubinstein or Horowitz, The recorded sound is full, clear, and not version in the integral set Arrau made for and the melodic line sings in almost a dis- very colorful. Decca two years ago. This is the best per- embodied manner. His treatment of the -Robert Casadesus. COLUMBIA ML 4.798. formance of the A -flat Ballade on LP - bass, too, gives a more solid underpinning r2 -in. $3.98 (with Sonata in B -/fat minor). and the worst recorded sound. than elsewhere can be heard. Curiously his -Cor de Groot. EPIC LC 3037. -Claudio Arrau. DECCA DL. 8517. 12 -in. tempo in the Polonaise is slower than in S3.98 (with Chopin miscellany). $3.98 (with Chopin miscellany). the other versions. Hofmann takes "polo- -Friedrich Guida. LONDON LD 9577. lo- -Vladimir Horowitz. RCA VICTOR LM naise" literally as a dance form. Details in. $2.98. £707. 12 -ìn. $3.98 (with Chopin miscel- come out in his playing chat are missing -Earl Wild. CONCERT HALL CHS r40t. lany). in the more orthodox work of Messrs. r2 -in. $4.98. -Julius Katchen. LONDON LS 554. to -in. Horowitz and Rubinstein. Hofmann is in- -Grimm Doyen. WESTMINSTER WL $2.98 (with F minor Fantasy and Scherzo comparably aristocratic. His recording is 5169. 12 -in. $5.95. No. 3). on a primitive level, but that should not -Claudio Arrau. DECCA DX 53o. Two deter lovers of good Chopin playing or 12 -in. $11.70 (with 4 Impromptus; 4 No. 4, IN P MINOR, OP. 52 (1 Edition) anybody who thinks that content is more Scherzos; Barcarolle). Horowitz starts with a beautiful, singing important than sound. Both of the Victor line. Then he becomes capricious. He recordings are excellent examples of high - No. a, IN G MINOR, OP. 23 (4 Editions) can't leave well enough alone: he adds little fidelity piano tone. Both, too, are splendid Hofmann, easily. Again the recording is crescendi and diminuendi that testify to his performances. Horowitz's is a little more inferior, but who cares? Hofmann is pianistic control rather than to his musical tense, exceptionally brilliant, sharply out- heroic, lyric, delicate by turns. He has instincts. Withal, some driving, energetic lined. Rubinstein's is broadly conceived, more color and authority than anybody who pianism, including a thrilling coda (one of massive in conception, colorful in attack. has attempted the work on disks, and there the most difficult in the repertoire). Superb You can't go wrong on either of these; but is a degree of imagination to the playing recorded sound. This identical performance don't miss the pleasure of hearing Hof- that vanished when Hofmann retired. In is also available on RCA VICTOR I.RAM mann. It remains to be noted that the the Barere recording the piano tone is not 7018. (to -in., $2.98). Rubinstein disk ends a half tone flat bad, but the recording is low -level and has -Vladimir Horowitz. RCA VICTOR LM (though it is correctly pitched in its transfer prominent surfaces. Barere brings a man- 1707. 12 -in. $3.98 (with Chopin miscel- as a filler in the three -disk Mazurkas sec). nered quality to his reading. He tinkers lany). Horowitz's performance also is available on around with the opening phrases, altering RCA VICTOR LRM 7051 (to -in.), with the the note values, and in general has some BARCAROLLE, OP. 6o (7 Editions) Scherzo in B minor and Nocturne in F arbitrary notions that do not always come Despite the presence of seven versions, a minor. Before the price curs it was a good off. Yet there never is any doubt that a choice is easy to make. Lipatti takes the bargain; now, no. The same applies to all grea: pianist is at work, and there are some phrases between his hands and carefully others in the LRM series. ravishing details, including a degree of shapes them. A masterful performance, one -Josef Hofmann. COLUMBIA ML 4929. nuance and suppleness that none but Hof- with nobility, passion, and tremendous 12-in. $5.95 (with Chopin miscellany). mann can suggest. The Horowitz is a control. The 1948 -ish recording has a -Vladimir Horowitz. RCA VICTOR LM transfer to LP of the /948 shellac disks: thick sound. Try the Columbia 78 equali- 1137. 12 -in. $3.98 (with Chopin miscel- dated sound, boomy bass. His performance zation with reduced bass. Balogh is delicate lany). is finicky, frequently tight and nervous, and small -scaled; Sandor is steely and color- -Artur Rubinstein. RCA VICTOR LM sometimes actually disconnected. One excit- less. Cortot's performance is technically 152. 10 -in. $2.98 (with Polonaise-Fan- ing and extremely effective moment: the sloppy; some of the slips are actually em- tasy). crash in the bass in the measure preceding barrassing. He never should have let them release this disk. The Yves Nat BALLADES interpretation is powerful but crude. Pennario's has 4 BALLADES (COMPLETE) (6 Editions) power, too, of a brittle sort. The Arrau is I am not happy about any of these. The impossible to recommend. Casadesus version. which was originally -Dinu Lipatti. COLUMBIA ML 4721. 12- released in 195o, is probably the best. But in. $4.98 (with Sonata is B minor, etc.). Casadesus, a superlative technician, stands -Erna Balogh. LYRICHoRD LL 20. 12 -in. a little away from the music, refusing to $5.95 (with Chopin miscellany). get involved too strongly. Fire and passion -Yves Nat. HAYDN SOCIETY HSL. 97. 12- are missing; and not all of Casadesus' ele- in. $5.95 (with Sonata in B flat mirror and gance can compensate. Clear, rather thin the beginning of the coda. Backhaus is un- Fantasy in F minor). recorded sound, but quite serviceable. Cor convincing and his playing is alien to the -Leonard Pennario. CAPITOL H 8246. de Groot plays steadily and methodically. improvisatory nature of the music. to -in. $2.98 (with Liszt: Mephisto Waltz). No errors of commission; but, then again, -Josef Hofmann. COLUMBIA ML Z.929. -Claudio Arrau. DECCA DX 130. Two not much in the way of imagination. His 12 -in. $5.95 (with Chopin miscellany). 12in. $17.70 (with 4 Ballades; 4 Im- recording has, like many Epics, a thudding -Simon Barere. REM7NGTON 599 -17. r2- promptus; 4 Scherzos). bass. Guida plays the notes with vigor; in. 51.95 (with Chopin -Liszt miscellany). -Alfred Cortot. RCA VICTOR LHMV nothing small- scaled here. But nothing -Vladimir Horowitz. RCA VICTOR LM 1032. 12ín. $4.98 (with Chopin miscel- very poetic either. Good recording, with 1235. 12 -in. $3.98 (with Sonata in B -fiat lany). an occasional pre -echo. On his Concert minor and Liszt miscellany). -Gyorgy Sandor. COLUMBIA ML 4193. Hall disk, Earl Wild often supplies a -Wilhelm Backhaus. LONDON LPS 317. 12 -in. $3.98 (with Chopin miscellany and degree of musical excitement not apparent to -in. $2.98 (with Chopin miscellany). Beethoven: Sonata No. IS in D). in the other versions. His playing does not have consistency, however. Sometimes he No. 3, IN A -FLAT, OP. 47 (3 Editions) BERCEUSE, OP. 57 (6 Editions) roars along, all jets out; at other times he None of these is successful. Katchen is "Berceuse" means "Cradle Song." To

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Novaes goes the honors for a shimmering, disk, like the Westminster, contains both poetic reading. Her technique is a little concertos, and the recorded sound is excel- rougher than one normally hears from her, lent, with an especially vibrant piano tone. but the quality of interpretation is lovely. Honest, not inspired, but musical perform - Hofmann's ideas are strange; this is the one ançes. Of all the versions, Rubinstein's piece on his disk that fails to convince. tops the list. For a cheaper version, in that The tempo is fast, and the accented A -flats both concertos are present on one disk, the toward the end sound arbitrary. De Groot Musulin is suggested. is as always, dependable, sensible, and not -Artur Rubinstein; Los Angeles Philhar- very imaginative. Cortot's disk, a very early monic, Alfred Wallenstein, cond RCA electric (1926), is not one of his best VICTOR LM 18ío. 12 -in. $3.98. THE records. It has its aristocratic moments, but -Branka Musulin; Suddeutsche Rundfunk also in evidence are some jerky hold- backs, Orchestra, Karl Mueller.Kray, cond. a capricious speed -up of some sections, and PERIOD 574. t2 -in. $4.98 (with Concerto THREE a lack of steady pulse. Jonas goes about it No. 2) . with much too slow a tempo, and the long -Alexander Uninsky; Hague Philhar- ritard at the end is painful. Balogh's per- monic, Willem van Otterloo, cond. Eric PENNY formance neither adds much ro the music LC 3012. 12 -in. $3.95. nor takes anything away. One could do -Paul Badura-Skoda; Orchestra of the much worse. Vienna State Opera, Artur Rodzinski, cond. OPERA -Guiomar Novaes. Vox PL 7810. 12 -in. WESTMINSTER \Y/L 53o8. 12 -in. $5.95 (Dreigroschenoper) $5.95 (with Chopin miscellany). (with Concerto No. 2). -Josef Hofmann. COLUMBIA ML 4929. -Alexander Brailowsky; Victor Symphony, Selections by 12 -in. $5.95 (with Chopin miscellany). William Steinberg, cond. RCA VICTOR -Cor de Groot. EPIC LC 3037. r2 -in. LM 1020. 12 -in. $3.98. original 1929 cast $3.98 (with 4 Ballades and 2 Waltzer). -Friedrich Guida; London Philharmonic, I0" 16M -6502e $2.98 -Erno Balogh. LYRICHORD LL 20. 12 -in. Sir Adrian Boult, cond. LONDON LL toot. $5.95 (with Chopin miscellany). 12 -in. $3.98. -Alfred Cortos RCA VICTOR LCT 1038. -Mieczyslaw Horszowski; Vienna State 12 -in. $3.98 (with Chopin miscellany). Philharmonia, Hans Swarowsky, cond. -Maryla Jonas. COLUMUTA ML 4476. 12- VOX PL 7870. 12 -in. $5.95 (with 4 1m- in. $3.98 (with Chopin miscellany). prowptru) . -Gyorgy Sandor; Philadelphia Orchestra, Our first shipload of this historic recording BOLERO, OP. 19 (I Edition) Eugene Ormandy, cond. COLUMBIA ML received such an overwhelming response that A fluffy, pianistic work that seldom turns 4651. 12in. $3.98. up in concert. Minor Chopin, energetically -Edward Kilenyi; Minneapolis Symphony, it was sold out immediately. played by Balogh. Fair recorded sound. Dmitri Mitropoulos, cond. COLUMBIA However ... new shipments are being made. -Erno Balogh. LYRICHORD LL 20. 12 -in. ENTRE 3028. 12-in. $ 2.98. Be sure to reserve your copy at your dealer 55.95 (with Chopin miscellany). -Noel Mewton -Wood; Netherlands Phil- now. harmonic, Walter Goehr, cond. CONCERT HALL CHS 1153. 12 -in. 54.98. CONCERTOS FOR PIANO THE CRITICS ACCLAIM

No. I, IN E MINOR, OP. t l (Io Editions) No. 2, IN F MINOR, OP. 21 (7 Editions) Brahms: SYMPHONY No. 1 IN C MINOR, op. 68. Rubinstein remains the old master here. Three excellent versions are available. The Berlin Philharmonic Orchestra conducted Despite the presence of a labored quality Rubinstein is a transfer of the 1947 shellac by Joseph Keilberth. normally associated with his playing, disks: a fine-sounding with Dot recording only 12" - LGX -66003 - $4.98 Rubinstein brings to the music more color, a slight surface to mark its source. Rubin - The mellow smoothness of Its melodic flow and strength, and flexibility than any of his stein's is the brightest, healthiest perform- the orchestra's response to the majestic grandeur of the last movement make a document of dis competitors. Beautiful recorded sound, ance, large -scaled and full of vitality. tinction and tonal vitality." though the balance between piano and or- Novaes is more personal, playing with her -Cleveland Plain Dealer chestra leaves something to be desired. usual poetry, freedom, and instinct for just Brief comments about the other versions: the right degree of shading. the 1951 Rossini: BARBER OF SEVILLE- Overture Uninsky - strong, forthright, vigorous recording is clear but rather thin. One has rather than poetic; tinny sound to the the feeling that Novaes and Klemperer do Rossini: TANCREDI- Overture recording. Brailowsky -originally record- not always see eye to eye on essential de- L'Orchestre Symphonique ed in 1949, but splendid recorded sound. tails. Nevertheless, by virtue of some ex- de la Radiodiffusion Nationale Belge Methodical, routine, dynamically monoto- quisite details, this is a performance to conducted by Franz André nous. Mewton -Wood - powerful; some in- treasure. Of the two Malcuzynski versions 10" - TM 68024 - $2.98 teresting ideas; often thick and over- delib- I prefer the Columbia, a transfer from The s p lays with an ap proach erare; misses the rhapsodic quality. Good 1948 shellacs (good sound, prominent perfection intonatorcheion -wtra ise rarely heard these daysto. The unanimity of opinion in the strings is a toy sound. I-Iorszowski slender, surfaces). This is a virtuoso treatment recorded - of to hear." -Dallas Times Herold tasteful, rather innocuous; more care than the score; and. with a conductor to pace spontaneity; not the strongest of techni- him, Malcuzynski is held to a steady pace. cians; fair recorded sound that is a little Ir is one of his best records, as good as Chabrier: ESPANA RHAPSODY thick in the bass. Kilenyi -over ten some of his other Chopin playing is bad. Massenet: PHEDRE- Overture years old, with consequent dated sound. His Angel disk contains a more mannered L'Orchestre Symphonique Not much character to the playing; even performance, and the eccentric interpreta- de la Radiodiffusion Nationale Belge F at the disk's low price it cannot compete tion of the minor Fantasy that accom- conducted by Franz André with the other versions. Sandor percus- panies it is no recommendation. Badura- - 10" TM 68016 $2.98 sive, rhythmic, lacking in charm and flexi- Skoda lacks Clan. Was there ever a Teu- - - .. excellent recording, full of colar and sumptu- bility. Good recorded sound. Guide - tonic pianist who achieved success with ous string tone, lithe in rhythms and generous in exact playing that sounds noncommiral. Chopin? Musulin is more convincing its evocation of mood and atmosphere." -The Gramophone This young man definitely is not a Chopin- stylistically. I have heard much worse ist - not here, anyway. Badura-Skoda - playing from pianists of much greater has the virtue of both concertos on one reputation. Her resources do not match disk. Frequently sensitive playing, but those of Rubinstein, Novaes, or Malcuzyn- without much authority. I would not ski; but if you insist on a version with both TELEFUNKEN recommend ir. Musulin - not a big tech- concertos on one disk, this is preferable to LONG PLAYING RECORDS nician (she has trouble with the nasty E the Badura. Skoda. As for the Ellen Ballon 539 W. 25th St. New York I, N. Y. major section of the first movement). This version, it is a disgrace. The Brailowsky-

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Munch collaboration features routine play- Novaes' great moments but is steadier all - clarity, and collectors looking for some- ing, with the pianist methodically hitting around. His tempos, a trifle deliberate, thing unusual should investigate the pair the notes and the conductor hurrying along suggest that he approached the music with containing the paraphrases. One of these as though he were eager to get it over wich. the determination not to take any chances. days they will be collectors' items. Everything is accurate enough, but the As a result, we get disciplined readings On LONDON LS 704 ( to -in.) Wilhelm flavor of the music scarcely comes through. that never let themselves go. Excitement is Backhaus presents a miscellany of études -Artur Rubinstein; NBC Symphony, Wil- lacking; but better this than anarchy. from Op. 10 and Op. 25. These are stiff, liam Steinberg, cond. RCA VICTOR LM Superb recorded sound. rhythmically monotonous performances, 1046. r2 -in. $3.98. However, the études as yet have to virtually devoid of color. Technical security -Guiomar Novaes; Vienna Symphony, achieve a really satisfactory LP performance. is always present, of course, but Chopin is Otto Klemperer, cond. Vox PL 7100. 12- Why doesn't Victor release the fine prewar not, and never was, Backhaus' cup of tea. in. $5.95. Cortot performances, instead of lesser efforts (Not long ago I went back to his early -Witold Malcuzynski; Philharmonia Or. that do little credit to his reputation as a electric set of the études; the playing is chestra, Paul Kleczki, cond. COLUMBIA great pianist? just as unconvincing.) Backhaus also has ML 4135. 12 -in. $3.98. -Robert Goldsand. CONCERT HALL CHS the E major Etude (Op. 1o, No. 3) on his -Branka Musulin; Stuttgart Suddeutscher 1132. 12 -in. $4.98 (with Trois Nouvelles Chopin Recital disk, LONDON LS 317 (r0- Rundfunk Orchestra, Karl Mueller -Kray, Etudes). in.). The same étude is played with more cond. PERIOD 574. 12 -in. $4.98 (with -Guiomar Novaes. VOX PL 9070. 12 -in. sensitivity by Novaes on her Chopin Recital Concerto No. r). $5.95 (with Chopin: Scherzo No. r). disk, Vox PL 78ío (12 -in.). Still another -Paul Badura -Skoda; Orchestra of Vienna version of this most popular of Chopin State Opera, Artur Rodzinski, cond. OP. 25, COMPLETE (2 Editions) études (the composer once said it was the WESTMINSTER WL 5308. 12 -in. $5.95 See remarks above. Novaes is below her loveliest melody he ever wrote) is con- (with Concerto No. r). usual form, and the steadier Goldsand is tributed by Vladimir Horowitz on RCA -Alexander Brailowsky; Boston Symphony, preferred. Keep on the watch for a new VICTOR LM 1707 (12 -in.). He handles it Charles Munch, cond. RCA VICTOR LM version of the études. None of the current in a rather mannered fashion and then 1871. 12 -In. $3.98 (with Saint- Saëns: ones is really satisfactory, and the catalogue whizzes through the following Etude in Concerto No. 4). can well stand a performance that more C -sharp minor (Op. to, No. 4) with grand -Witold Malcuzynski; Philharmonia Or- closely approximates the brilliance, color, virtuosity. Josef Hofmann's brilliant per- chestra, Paul Klerzki, cond. ANGEL 35030. subtlety, and bravura that Chopin poured formance of the Butterfly Etude (Op. 25, 12 41. $4.98 or S3.48 (with Fantasy in F into these little sketches. No. 9) can be heard on COLUMBIA ML Minor). -Robert Goldsand. CONCERT HALL CHS 4929 (12 -in.). The F minor Etude (Op. -Ellen Ballon; London Symphony, Ern- 1133. 12 -in. $4.98 (with Hérold Varia- 25, No. 2) is played by Alfred Cortot on est Ansermet, cond. LONDON LPS 275. 10- tions) . RCA VICTOR LHMV 1032 (12 -in.): in. $2.98. -Guiomar Novaes. Vox PL 7560. 12 -in. plenty of musical style, plenty of technical $5.95 (with Trois Nouvelle, Etudes). mishaps. James Maclnnes offers near and ECOSSA ISuS, OP. 72 (t Edition) unperceptive interpretations of the Trout

Lightweight music, through which Dorf - ETUDES (Collections and Individual) Nouvelles Etudes on MCINTOSH MM 104 mann prettily tinkles her way. The re- Two pianists have devoted complete disks (12 -in.). The recording is clear and a corded sound is as clear and resonant as to a miscellany of Chopin études. The little glassy in sound. On COLUMBIA ML one can get anywhere on I.P. largest noncomplete collection is played by 4476, Maryla Jonas plays the Etude in -Aria Dorfmann. RCA VICTOR LM David Saperton on COMMAND PERFORM- E -fiat minor (Op. ro, No. 6) with restraint 1758. 12 -in. $3.93 (with Ravel: Sonatine, ANCE 1023 (12 -in.). Fifteen études are and poetry; and then she plays the F minor etc.) . present. Saperton's performances are not (Op. 25, No. 2) in a leisurely way, with o very imaginative or colorful, and in several nonlegaro touch that does not sound ETUDES cases he is downright sentimental. An ex- natural. ample is the A -flat Etude Ito, with OP. Io AND OP. 25, COMPLETE (2 Edi- of Op. tions) its slow -ups, acceleranti, and constant "expression." Whatever the expressive defi- Uninsky is preferable; but neither he nor FANTASY IN F MINOR; OP. 49 (6 Edi- ciencies of the playing, it must be Brailowsky exactly throws himself into the said that tions) Saperton is no tyro, and he often turps a music. Nevertheless, Uninsky's regularity Many specialists call this Chopin's greatest neat phrase. In view of the lack of real is to be pteferred to Brailowsky's percussive work. It has everything spacious de- competition in the field of Chopin études, -a attack. The latter, on two disks, also plays sign, amazingly rich harmonies. melodic this disk can well be considered a legitimate the three Nouvelles Etudes and Schumann's content of a varied nature, variety in unity. entry. On COMMAND PERFORMANCE Symphonic Etudes. Uninsky does not play Heading the cop of the LP list are Cherkas- 1201/02 (nvo 12 -in.) Saperton plays the Nouvelles Etudes, which have no opus sky and Novaes. My preference is Novaes. Godowsky's paraphrases on the Chopin number and were composed separately from Despite a few awkward moments, she études. These arc perhaps the most fan - the two books of twelve each. There is brings to the music a typical combination tastically difficult things ever composed for something essentially earthbound in Unin- of personality, color, and poetry. Cherkas- solo piano. Saperton presents Chopin's sky's playing here. He has a competent sky, who presents an orthodox conception, original étude, in each case, followed by grasp of the notes but does little to vitalize does not convey equivalent personality, and Godowsky's paraphrase (on these two disks them. And in some cases his ideas are he drags the chorale -like B major section are contained the twelve études missing debatable, to say the least, especially the inexcusably. Novaes never lags. neither from COMMAND PERFORMANCE 1203). affectations he brings ro the more lyric of does she strain to achieve heroic flights. This is not the place to discuss the merits the etudes. His recording has a thin sound, She presents the music in a modest frame- and demerits of Godowsky's work. Some and the bass is tubby. work; but within that framework she is all circles deride the paraphrases. I have -Alexander Uninsky. EPIC LC 3065. t t- nuance. The recorded sound is faithful always found them among the most ingeni- in. $3.98. enough to convey the subtlety of her tone. ous piano pieces in the literature, and a -Alexander Brailowsky. RCA VICTOR Not much can be said of the other versions. legitimate extension of Liszt's pioneering LM 6000. Two 12 -in. $7.96 (with Schit- Sandor's recording has dry, unresonant work. The mere fact that Saperton gets niarat: Symphonic Etudes). sound. He plays the music in a methodical through without breaking down is in itself manner, an absence of poetry, and a literal - a remarkable feat. Each of these three OP. IO, COMPLETE (2 Editions) mindedness that would classify Helen disks has been recorded with exceptional of Here, and in Op. 25, Novaes is responsible Troy as just so many ounces of protoplasm, for some of her strangest playing on LP. calcium, and hemoglobin. Katchen's per- guess My is that she had not looked at formance is a glib collection of pianistic some of these études for many years before effects rather than a unified musical concep- Next issue, an Aaron Copland whipping them into shape for the record- tion. Yves Nat has a big style, but his ing session. In any case, her work is discography by Arthur Berger. technique is not commensurate with his erratic and often not up to par technically. ideas, and he has co work much too hard I prefer Goldsand, who does not rise to over certain sections. A clangorous type of

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recorded piano is present here. Malcuzyn- romantic playing in good technical order. ski's ideas I find merely eccentric. Right at All of her work on this disk is worth the opening measures he goes his own way, having, and it is a shame that Victor de- ignoring Chopin's indications; and his cided to couple her Chopin with an in- rubato is of a type never seen or heard different performance of Beethoven's Ap- before. passionara Sonata, played by Nicholas -Guinmar Nnvaes. Vox PL 781 n. 12 -in. Meirner. By comparicnn to Rnhinctein $5.95 (with Chopin miscellany). and Stefanska, Gyorgy Sandor sounds r --Shura Chcrkassky. RCA VrcroR LDC steely in his version of the Fantasy-Im- ro66. r2 -in. $2.98 (with Nocturne in E promptu on COLUMBIA ML 4193 (12 -in.). Spain's minor; Mazurka No. 23 in D; Rachmani- Robert Goldsand once recorded the Fan- foremost noff: Rhapsody on a Theme by Paganini). tasy- Impromptu on CONCERT HALL CH conductor -Yves Nat. HAYDN SOCIETY HSL 97. 12- SPEC 52, in that company's Limited Edition in. $5.95 (with Sonata in B -fiat minor; series, It probably is out of print. Gold - Barcarolle). sand played the work in a deliberate, AIiCEIVTA -Julius Katchen. LONDON LPS 554. 10- rather languishing manner. The A -flat Im- in. $2.98 (with Scherzo No. 3; Ballade promptu is played by Vladimir Horowitz conducts No.3). on RCA VICTOR LM 1707 (12 -in.) : a the best loved -Gyorgy Sandor. COLUMBIA ML 4193. carefully shaped performance, articulated r2 -in. $3.98 (with Chopin miscellany; with all of Horowitz's infernal magic. No- Beethoven: Sonata No. 1.5 in D). body before the public today has more -Witold Malcuzynski. ANGEL 35030. I2- accurate fingers. Maryla Jonas also has the ZABZIIEEAS in. $4.98 or $3.48 (with Concerto No. 2). A -liar Impromptu, on COLUMBIA ML 4476 (1z -in.). This is a pleasant example of Acclaimed by the critics! FANTASY -IMPROMPTU, OP. 66 (See Im- piano playing, but it is not in Horowitz's promptus) class. The most beautiful of all the Im- promptus, No. 2 in F-sharp major, receives the most lyric of interpretations from 3 IMPROMPTUS; FANTASY -IMPROMPTU (3 Editions) Guiomar Novaes on Vox PL 7810 (12- in.). is in Chopin composed four impromptus. The The great lady superb form here. Another version of the F -sharp is DOÑA FRANCISQUITA (Vives) first three are those in A -flat (Op. 29), played by Lili Kraus on DECCA DL 8517 2-12" TW 91005/6 -$9.96 F -sharp major (Op. 36) and G -flat major (12 -in.). Her playing is more straightfor- (Op. 51). The fourth, and most popular .. The London recording is a very plush job ward than that of Novaes, without the indeed, one of Chopin's all -time so far as sound, performance and atmosphere - latter's glints and shadings. The Kraus favorites, along with the Waltz in C.sharp first disk is a transfer from an old 78 -rpm re- are concerned. The singers are rate and, being minor and the Paneral March-is the so- cording, and it shows its age. Spanish, know their way around the music, lend- called Fantasy -Impromptu (Op. 66). ing a degree of authenticity to the proceedings Chopin called it an impromptu; the "fantasy" part was tacked on by a publisher. KRAKOVIAK, OP. 14 (I Edition) that is very convincing." - The New Records The popularity of the Fantasy -Impromptu Some of us, early in 195o, came to admire has obscured the others; but surely Chopin the Vox disk of the Krakoviak as played LAS GOLONDRINAS (Usandizaga) never composed a more lyrical work than by one Rosl Schmid and an orchestra con- 3-12" TW 91031/3 -$14.94 the F- sharp. And the seldom -played G-flat ducted by Alfons Dressel. It was a cut .. 'A Spanish Pagliacci' ... the performance has moments of extreme introspection and version, however, and not very lively in beauty. No really satisfactory LP version sound. For some time it has been discon- here is most convincing." - The Gramophone of the complete set exists. Balogh's is tinued from. the Vox catalogue. The "This album will no doubt restore Usandizaga to present replacement naturally probably the best of the three available. enjoys the his rightful place in opera's hall of fame." is neat, accurate, and tasteful. What it benefit of up-tn -dare recording technieres. It Pittsburgh Press lacks is any degree of musical personality. One wonders why this attractive score has - Yet surely it is preferable to Arrau's sigh - been so neglected. In general layout and AGUA, AZUCARILLOS Y ings and intellectualized emotionalism. feeling it resembles the finales of the two Arran pulls the F.sharp Impromptu to piano concertos- objective, glittering, AGUARDIENTE (Chueca) pieces. His recording is clear and a little strongly nationalistic (a krakoviak is a 10" W- 91016 -$2.98 glassy. Balogh's, though thin, is satisfac- Polish dance in duple time), immensely .. most captivating ... the Prelude is worthy tory. Horszowski is conscientious, and that effective. The orchestration is no better or of Johann Strauss." is not enough. These pieces are above all no worse than the orchestration in the - The Gramophone improvisatory. Horszowski's sober process concertos (which is not as inferior as many of presenting the notes without comment - would think). As a purist I blush to say it, MOLINOS DE VIENTO (Luna) ing on them leaves an important element but the two cuts that were adopted in the 12" TW 91036 -$4.98 His recording has fine sound in the earlier recording help the work. Schmid out. "The performance is a very good one all around treble, a soggy thump in the bass. excised two lengthy sections of empty dis- and boasts, besides, the services of Pilar -Erno Balogh. LYRICHORD LL 20. 12 -in. play passages. Frugoni presents the work $5.95 (with Chopin miscellany). in its entirety. He plays competently - Lorengar, the best Zarzuela soprano I have ever -Mieczyslaw Horszowski. VOX PL 787o. much better than in the "La ci darem" heard." - Dallas Times Herald 12 -in. $5.95 (with Concerto No. r). Variations on the same disk. The perform- -Claudio Arrau. DECCA DX 13o. Two ance sounds better rehearsed, for one thing. PRELUDES AND INTERMEZZI r2-in. $11.70 (with 4 Scherzos :. Ballades; But this is not my idea of aristocratic Barcarolle). Chopin playing. Frugoni seems too intent FROM ZARZUELAS -Vol. 1 on emphasizing the surface glitter, and his 12" TW 91020 -$4.98 IMPROMPTUS (Individual) tone does not seem capable of much shad. "Vivid, interesting music beautifully played ... ing. Nevertheless, as I say, the playing is Two mighty fine performances of the Fan- this is seductive music of Patrician line and are available. is competent, and those who investigate the tasy- Impromptu One detail." played by Artur Rubinstein on RCA VIC- disk will come up with an extremely - Chicago Tribune TOR LM 1153 (12 -in.), a disk devoted to charming novelty that may not be en- short encore pieces. Rubinstein turns in countered in a lifetime of concert ;going. the kind of singing, masculine, athletic (in -Orazio Frugoni; Pro Musica Orchestra. the best sense of the word) interpretation Hans Swarowsky, cond. VOx PL 9030. jONDOÁ( INTERNATIONAL that is expected of him. Halina Stefanska, 12 -in. $5.95 (with Andante Spianato and LONG PLAYING RECORDS VICTOR LDC 1031 -in.), a Polonaise; Variations on "Ld ci darem la on RCA (12 539 W. 250T St Ncr. York 1, N Y low -priced Bluebird disk, offers warm, mato "; Liszt: T ore ntanz).

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MAZURKA S COLLECTIONS OP MAZURKAS No. 3; C, Op. 33, No. 3) in an unyielding, Five pianists have contributed disks devoted Germanic manner on LONDON LPS 317 COMPLETE (1 Edition) entirely or in large part to Chopin mazur- (to -in.). The same three mazurkas are Chopin composed over fifty of these little kas. Here is a breakdown. Horowitz plays also on LD 9047 (to -in.). Same pianist, dances (little in size; sonic of them are seven: Nos. 20, 21, 26, 32, 38, 40, and 41. same performance. On COLUMBIA ML In days, epic in emotional scope). prewar Kapell plays nine: Nos. 9, 14, 24, 25, 35, 2004 ( I0 -in.), Maryla Jonas plays Nos. 19 only one pianist was brave enough -and, 44, 45, 48, and 49. Novaes is heard in (13 minor. Op. 30, No. 2), 43 (G minor. from Victor's standpoint, popular enough twelve: Nos. 13, 15, 17, 23, 24, 25, 26, Op. 67, No. 2), 49 (F minor, Op. 68, No. take That was Artur Rubin- -to them on. 34, 36, 37, 39, and 51. On to-in. COLUM- 4) and the posthumous 13-flat, handling issued stein; and his three -album set, BIA ML 2101, Jonas plays nine: Nos. 9, a1, them in typically mannered style, yet with was of the around 194o, one of the glories 12, 13, 14, 22, 36, 41, and 45. On ML a peculiar affinity for the music. One of prewar repertoire. The current three -disk 2036 she plays an additional trine: Nos. issue on LP is nor a transfer but a new 16, 18, 21, 27, 29, 35, 48, 5o, and the I of a pianist recording. can't think living posthumous G major. There is something to whom the mazurkas could be more to be said for each of these disks. Horowitz As plays safely entrusted. Rubinstein the plays with a carefully turned line, with music it emerges with all of its nostalgia, simplicity, sensitivity, and his usual remark- bouncing rhythm. No : 4A11'A/ essential health, and able control. He is heard to very good affectations, no gilding the lily, no calcu- advantage here, and the delicacy of his lated superimpositions mar the work. work, plus a thorough identification with 1VY C any ex- Uvuu More than pianist, Rubinstein the style, makes this disk one of his great de Here presses a joie vivre in his playing. ones (the Schumann Kinderscenen on the is for posterity. I could go on, it captured reverse is also beautifully delivered). in great detail. Suffice it to say that this is the curiosities of the catalogue is contained Novaes is more personal, more fragrant great Chopin, played by a great pianist at and scented. Many listeners do not like on RCA VICTOR LM 1186, where Wanda his The Victor plays the Mazurka in the height of resource. this disk. It has been described as way- Landowska C (Op. engineers were most co-operative in this 56, No. 2) on the harpsichord. A novel ward. All I can say is that I continue to release, giving Rubinstein clear, undis- idea and, in this case, an adorable one. The listen to it with delight. Kapell is a little results is a basic in C minor (Op. torted recording. What tight, but he too plays with taste and great Mazurka -sharp 5o, for any collection of Chopin. The No. is magnificently played by Dinu essential understanding. With Jonas, we come to a 3) mazurkas from the complete ML first twelve style that infuriates many specialists. She Lipatti on COLUMBIA 472 (12 -in), set have been placed on RCA VICTOR LRM and the Op. 5o set goes her own sweet way, changing rhythms entire (consisting of 7001 This little disk is a good mazurkas) is nicely performed by (ro -in.). and tempos to suit herself, simpering, act- three introduction for those who cannot afford Nikita Magaloff on LONDON LS 532 (lo- ing coy, using a wild rubato. And yet to invest in the three -disk set. in.). Ignace Jan Paderewski is heard in the through it all often comes something very Rubinstein. VICTOR LM -Artur RCA attractive gracious quality, considerable Mazurka in C -sharp minor (Op. 63, No. Three (with Andante -a VICTOR I.CT 6109. 12in. S11.94 feeling. If you like your mazurkas swaying 3) on RCA 1038 (12 -in.). Spianato and Polonaise; PolonairePantaty). This was recorded in 193o, when and sentimental, try these. The two Victor the pianist his recordings are clear and sparkling. Vox has was far past prime. Buoyant, given Novaes clear recording but high rhythmic performances of three mazurkas B -flat (Op. 7, No. r), C -sharp minor surfaces. The two Columbia disks are - transfers from shellac, with here and there (Op. 6, No. 2) , C (Op. 68, No. t) - come from Halina Stefanska on RCA Vic - Rid Your Records of Dust a trace of "wow" but with fairly realistic piano tone. TOR LIIC 1031 (12 -in.). Plenty of spirit is here, plus a subtle idiomatic always use Since the above paragraph was written, and turn of Victor has released another disk of mazur- Abrase. Stefanska sounds like a fine artist. kas played by William Kapell. Seventeen VrAliCmasters are presented- Nos. 2, 6, 11, 12, 20, 22, NOCTURNES 26, 27, 31, 32, 36, 37. 40, 41, 43, 47, and The Best ...The Dry Method 5o. These were recorded in 1952. The COMPLETE (1 Edition) performances are clear and direct, with a Not much can here be said that wasn't said NO SPRAYING singing line and considerable musical now. in reference to Rubinstein's performance As in his previous disk of mazurkas, there of the mazurkas (see above). In these NO WASHING is a suggestion that Kapell is holding him- nocturnes he brings an equivalent degree self back of strength, poetry, and technical fillabik'.. NO RUBBING just a shade roo strongly, but the 6nesse. playing is nevertheless that of an artist, and He achieves the sentiment of the music the disk is highly recommended. One flight without ever becoming sentimental, and defect: in the A -flat Mazurka (Op. 17, No. the way he sings out the melodic consent 3). there is a faulty tape snip. is an object lesson for all pianists. Rubin- -Seven Mazurkas. Vladimir Horowitz. stein remains the romantic pianist par RCA VICTOR LM 1109. 12 -in. $3.98 excellence. Superb recorded sound. (with Schanrana: Kiuderscenen). -Artur Rubinstein. RCA VICTOR LM 6005. Two 12 -in. The A few circular sweeps -Nine Mazurkas. William Kapell. RCA $7.70. Polonium VICTOR LM 1715. 12 -in. $3.98 (with Strip does with STATICMASTER on Sonata No. 3) . the trick each side of the record INDIVIDUAL NOCTURNES -Seventeen Mazurkas. William Kapell. Again let's rake an alphabetical look CLEAN. at ...IT'S RCA VICTOR LM 1365. 12 -in. 53.98. the pianists who have recorded individual -Twelve Mazurkas. Guiomar Novaes. nocturnes. Alfred Corrot, on RCA VICTOR Expensive compared Vox 7920. 12 -in. S5.95. LI-1MV /032 (12 -in.), is heard in the P with other products -Nine Mazurkas. Maryla Jonas. COLUM- major (Op. 15. No. 1 ), E -fiat (Op. 9, No. but inexpensive BIA ML -i11. when 2101. t0 $2.98. 2) and Csharp minor (Op. 27, No. r). $1785 Mazurkas. noise -free and longer ' -Nine Maryla Jonas. COLUM- All of these are lateviurage Cortot, which lasting records are con- BIA ML 2036. to -in. $2.98. will please his admirers and, unfortunately, sidered. make the younger generation ask upon INDIVIDUAL MAZURKAS what his reputation was Order Yovr STATICMASTER direct founded. Cor de - Many pianists have recorded individual Groot has recorded the popular F -sharp $17.85 sent postpaid-cash with order mazurkas on disks devoted to a miscellany Nocturne (Op. 15, No. 2) on EPIC LC of music. NUCLEAR PRODUCTS CO.. other Let's take them alphabeti- 3037 (t 2 -in.) , playing carefully and cally. Wilhelm Bad-haus plays three (B- steadily. Vladimir de Pachmann's curious, 10173 E. Rush St., El Monte, Calif. flat minor, Op. 24, No. 4; E -Flat, Op. 3o, wistful treatment of the E minor Nocturne

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is contained on RCA VICTOR L(T r038 Andante Spianato and Polonaise. Chopin, (12 -in.). He was nearly eighty when lie however, composed three early polonaises made this recording in 1927. Josef Hof - that were posthumously published as Op. IfND PaI7 mann's incomparable performances of the 71, and there are two more polonaises, also Nocturnes in E -flar (Op. 9, No 2) and F- posthumous, that have dropped from the DU sharp (Op. 15, No. z) can be heard on repertoire (not that they really were ever in COLUMBIA ML 4929 (12 -in.). Vladimir it). Johannesen plays all of these, though DISQUE Horowitz has scattered nocturnes through his two-disk set omits the Andante Spianato several of his disks. On RCA VICTOR LM and Polonaise. Thus his version is of real 1235 (12 -in.) he offers a handsome per- value. It also is played right well, with PURCELL formance of the Nocturne in F- sharp; on clear articulation and plenty of rhythmic LM 1707 (12 -in.) he is at his worst in spirit. Ir is unfortunate that such fine the F minor (Op. 55, No. 1) and E minor playing has to buck the gigantic playing of COME YE (Op. 72, No. 1); :he former is impossibly Rubinstein. For, expertly as Johannesen mannered. A better version of the E minor plays, he cannot measure up to the fire, is contained in his twenty -fifth Anniversary breadth, and virtuosity of King Arrur. I SONS Album, RCA VICTOR LM 6014 (two I2- have solved the dilemma by retaining both in.). The same E minor is also played by versions (which, incidentally, are very well Maryla Jonas on COLUMBIA ML 2004 ( ro- recorded). Rubinstein's must be called or ART in.), along with the posthumous Nocturne the preferable version, but don't sell in C -sharp minor. And on COLUMBIA ML Johannesen short; and if you want the 2743 (10 -in.), she plays five: B -flat minor minor polonaises, only he can give all of Counter -Tenors* and E -flat (Op. 9, Nos- r and 2), G minor them to you. (Op. t5, No. 3), B major (Op. 32, No. I -Artur Rubinstein. RCA Vieron LM ALFRED DELLER - mislabelled B minor), and F minor 1205 (Polonaises Nos. 1 -6). 12 -in. S3.98. JOHN WHITWORTH (Op. 55, No. t). All of these are plcycd RCA VICTOR LM 152 (Polonaise -Fantasy; in a drawing -room manner- inrimate, Andante Spianato and Polonaise). io -in. Soprano Baritone sentimental, full of holds and pauses, many $2.93. changes in the rhythmic pulse. The results -Grant Johannesen. Vox PL 684o. Two MARGARET RITCHIE BRUCE BOYCE are not without charm, though none bur 12 -in. $11.90. Jonas could get away with it. And even she with The St. Anthony Singers and cannot get away w:rh the dirge -like tempo L'Ensemble Orchestral De L'Oiseau i in the chorale section of the G minor; and No. t, IN C- StIARP MINOR, OP. 26, No. Lyre conducted by Anthony Lewis. Edition) the F minor is positively weird. Eileen (I 10 " -DL 53004 -$2.98 Joyce gives the E -flat (Op. 9, No. 2) and This transfer from a 78 -rpm disk has acceptable sound, though some bass boom *in the 17th mole B major (Op. 32, No. r) Nocturnes century voices some characteristics in the schoolgirlish performances on DECCA DL and xylophone (counter- tenors) often sang the high 8517 (12 -in.). A beautiful, spun -out per- upper treble betray its age. Jonas plays register ports nowadays assigned to formance of the popular D -flat Nocturne with considerable flavor. She is not as women. Over the years this delicate affected as she sometimes can be, and her (Op. 27, No. 2) is played by Dinu Lipatti ors has been unjustly neglected. Here work has a gracious flow, also a rubato on COLUMBIA ML 4721 (12 -in.). Guio- it is once again in all its original beauty. mar Novaes' poised interpretation of the that here "works." Unforced lyricism prevails. F -sharp Nocturne, on Vox PL 7810 (12- "There could be no better intro- -Maryla Jonas. COLUMBIA ML 4476. 12- in.) is very much worth owning. RCA duction to Purcell's music ... than $3 -98 (with Chopin miscellany). VICTOR LRM 7or5 (ro -in.) contains Artur in. this grand work." Rubinstein's mastery in the B major (Op. NO. 3, IN A, OP. 4o, No. I (r Edition) -The Gramophone 9, No. 3) and G major (Op. 37, No. 2) The so- called Polonaise Afiliiaíre. Magaloff Nocturnes. These were taken from the The critics acclaim . . . gives a neat, sure-handed performance that complete sec. A fine performance of the never becomes overemotional. Nor does it RUGGERO GERLIN Nocturne in C -sharp minor (Op. 27, No. ever become heroic. All of the notes are harpsichordist 2) is played by Halina Stefanska on RCA there, hut they could have added up ro a VICTOR LBC 1031 (12 -in.). in his firs/ two releases of authentic bit more. Mellow -sounding recording, with keyboard music of 17íh & 181h century some background noise. vol. 1 -Nikita Magaloff. LONDON LS 532. Lo- POLISH SONGS, OP. 74 (2 Editions) SPANISH AND PORTUGUESE MASTERS Both use the Polish words. in. $2.98 (with Chopin miscellany). singers original 12 " -OL 50032 -$4.98 There the resemblance stops. The Conrad "Gerlin is a performer of fine lightness and disk, with its wavery singing and lugubri- NO. 4, IN C MINOR, OP. 40, NO. 2 ( t style ...there are some charming discoveries ous tone, should never have been released. Edition) in the compositions." -Houston Kurenko uses her hard, clear voice with See remarks directly, above. Magalcff is Post consistent artistry, and she has received pianistically accurate, but the brooding Val. 2 sparkling recorded sound. The music is quality of the introduction goes along in a GERMAN AND ITALIAN MASTERS worth knowing. Chopin, who adored the metronomic way that scarcely conveys what 12 " -OL 50043 -$4.98 Chopin intended. voice and singing, composed some extra- "Here is an intelligently planned recital of LONDON LS 532. 10- ordinarily attractive songs here. One won- -Nikita Magaloff. early keyboard music which has enough ders why he didn't write more. The music in. $2.98 (with Chopin miscellany). contrast and variety to give pleasure to the is not only nationalistic; it is exotic, with beginner as well as to the connoisseur." modal turns of phrase and a permeating -The Gramophone NO. IN A -FLAT, OP. 53 (3 Editions) nostalgia. Liszt transcribed a couple of 6, is magnificent these songs. Also to be considered the Watch for future Gerlin releases to -Maria Kurenko, soprano; Hufsiader. performance by Artur Rubinstein, disc.lssed follow soon, including the complete above. Horowitz' performance is on a LYRICHORD LL 23. 12-ín. $5.95. harpsichord works of François level, suits mighty hammer -Dods Conrad, bass. VOX PL 8310. 12- comparable virtuosity, and incompar- Couperin-le- Grand. in. $5.95 strokes, unlimited able sweep. Recording to match. The Llicvinne is something you shouldn't miss. POLONAISES It was one of his big specialities; it was not for nothing that Lhcvinnés octaves were EDITIONS DE ,C"' L'OISEAULYRE COMPLETE (2 Editions ) admired wherever he played. He made this Pat. in 1936, and it illustrates his Rubinstein's "complete" version is not so recording 539 West 25 Street, New York, N. Y. complete. He plays the first seven and the combination of strength and delicacy.

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Pennario's impetuous performance has little Of course, the pianist being Artus Rubin- to commend it. stein, there are moments of magnificence. -Vladimir Horowitz. RCA VICTOR LM Cor de Groot is steady, as always, playing 1137. 12 -in. $3.98 (with Chopin miscel- with a maximum of musicianship and a is a fine lany) . minimum of poetry. Gulda's disk -Josef Lhcvinnc. RCA VICTOR Lur 1035. effort. His Chopin lacks flexibility, but t 2-in. $3.98 (with Chopin miscellany). everything is laid out in a competent man- -Leonard Pennario. CAPITOL H 8156. ner. Nevertheless he is a long way from to -in. $2.98 (with Chopin miscellany). the inspiration of Novaes. Both Arrau and Brailowsky bring a methodical approach RECORD No. 7, IN A- FLAT, OP. 61 (1 Edition) and a lack of emotional warmth. Of the This is the Polonaise- Fantasy, a low -keyed two, Arrau is the superior technician. work, not often played, that is a supreme Neither, however, even begins to suggest masterpiece. Madones is not the man for the romanticism of the music. it. His approach is immature. his technique -Guiomar Novaes. VOX PL 6170. 12 -in. INDEX not of the unlimited kind that would 5595 enable him ro deal freely with the prob- -Egon Petri. COLUMBIA ENTRE 3040. lems. Fortunately we have the Rubinstein I 2-in. $2.98 ( with Liszt- Busoni: Spanish version on LM 152 (te -in.), discussed Rhapsody) . above in the complete edition of the polo- -Artur Rubinstein. RCA VICTOR 1.51 of all naises. 1 163. 12 -in. 53.98. -James Madones. MCINTOSH MM 104. -Friedrich Gulda. LONDON LL 755. I2- 12 -in. 54.98 (with Trois Nouvelles Etudes; in. $3.98. pieces by Mozart). -Cor de Groot. EPIC LC 3017. 12 -in. High fidelity 53.98. No. 8, IN D MINOR, OP. 71, NO. I (r -Alexander Brailowsky. RCA VICTOR LM RECORD REVIEWS Edition) I 1 50. I 2-in. $3.98. Despite, the late opus number this is a very -Claudio Arrau. COLUMBIA ML 4420. early work - a little charmer, lightweight, I2 -in. $3.98. and aristocratic. Stefanska's performance is 1951 -1953 all that could be asked (or. She has the PRELUDES (Individual) notes well under control, phrases with deli- Over half the preludes are played by Benno cacy, builds a climax with authority. Fair Moiseiwitsch on RCA VICTOR LBC 1038 recording, clear on top, somewhat tubby in (I2 -in.). For some inexplicable reason, the bass. Victor chose to represent him on a Bluebird available -Halina Stefanska. RCA VICTOR LBC disk with Nos. tr -24 (taken from the 1031. 12-in. $2.98 (with Chopin miscel- complete set that Moiseiwitsch made in lany and Beethoven: Appassionata Sondra, England) and three of the scherzos. The played by Nicholas Medrner). Russian -English master plays beautifully. NOW He has slipped technically since prewar No. 9, IN B -FLAT, OP. 71, No. 2 (r days and a few slight errors are present, but Edition) these are unimportant in view of his secure A complete index, alphabetical An early, relatively unimportant Chopin tradition. Good recording. A delightful by composer or collection- title, piece, this polonaise can stand the salon memento of a great pianist is Moriz Rosen - tream)ent that Jonas gives it. It was orig- thal's performance of Nos. 3, 6, and 7 on of all the classical and semi- inally recorded on shellac. The transfer RCA VICTOR LC-1 1038 (12 -in.). These classical, jazz and spoken word poses a few problems. I had best results on were recorded in the Thirties. On MER- record reviews contained in the NAB equalization, at which point the CURY MG 10113, Constance Keene is heard in Nos. 3, 8, and 16 three most HIGH FIDELITY Magazine sound was nor bad at all. - of the -Maryla Jonas. COLUMBIA ML 2004- difficult in the series. She handles them from 1951 through 1953. Dis- to -in. $2.98. with apparently unlimited virtuosity, and cographies included. A "must" in the process also manages to extract the PRELUDES, OP. 28 (7 Editions) musical essence. reference. Although the Novaes is an early LP (1950) the sound is quite tolerable if the bass is SCHERZOS drastically reduced. To my taste this is the ONLY 50Ç best modern LP interpretation of the COMPLETE (3 Editions) evanescent, magical little sketches that Only one of the three available versions Send for your copy NOJV Chopin assembled under the title of Pre- neecl concern us. Rubinstein, whose preludes. Examined pedantically, some of war ser of the scherzos remained unique in Novaes' playing might not stand up too the catalogues, has re- recorded them with well, but through it all shine her flexibility, just as much insight and technical expertise. HIGH FIDELITY Magazine Dept. 114 her instinct for a telling phrase, and, _bove For large- scale, yet well- proportioned Publishing House all, a spontaneity that is exactly apposite Chopin, he leaves all competition far to the nature of the music. I have grown behind. Next to this kind of playing, Bolet Great Barrington, Mass. to think more of the Petri disk than I used is ineffectual. No mean technician himself, to. Agree with his ideas or not, they Bolet is line when his agile lingers are in Enclosed find Soo. Please send nevertheless arc the ideas of a master. motion. When lie has to pause for reflec- me a copy of the Record Index. What disturbs me is the lack of color and tion. he obviously is not certain what to do. an occasional flurried feeling (as in the G- Arrau is a masterly technician too, but he sharp minor Prelude). Perri is playing is excessively mannered. Take the B minor NAME more with his brain than with his heart. Scherzo, where he lets the middle section The harsh- sounding recording is typical of die on the vine while he strings out an ADDRESS .. 1 940 Columbia piano reproduction. No interminable ritard. This kind of thing distortion is present, however, and at its occurs too often. price it is a fine buy, all the more in that -Artur Rubinstein. RCA VICTOR LM

it is accompanied with Petri's stupendous 1 132. 1 2 -in. 53.98. performance of the Liszt- Busoni Spanish -Jorge Bolet. RI1MINGTON r99.16í. ra- Na C.O.D.'r, please Rhapsody. Rubinstein is not in his best in. ít.95. form here, and one hesitates to recommend -Claudio Arrau. DECCA DX 130. Two a disk with so many capricious moments. I2 -in. $11.70 (with Chopin miscellany).

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NO. 1, IN B MINOR, OP. 20 (5 Editions) 1038. 12 -ia. $2.98 (with Preludes rr -24; assume, and there are some remarkably Rubinstein's performance is a transfer to Scherzos r and 4) . imaginative touches to the writing. I have Victor's "Concert Cameo" series of two -Simon Barere. REMINGTON 199.17 12- found that the work stands up very well. scherzos taken from the complete set of in. $1.95 (with G minor Ballade and Liszt -Gregor Piatigorsky; Ralph Berkowitz. four. Since, for an extra dollar, the com- pieces). COLUMBIA ML 4215. r2 -in. $3.98 (with plete set can be purchased, this is not too -Mischa Levitzki. RCA VICTOR LCT Schumann, Schubert, Fauré). good a buy. Moiseiwitsch plays with sweep 1o38. 12 -in. $3.98 (with Chopin miscel- and assurance; a brilliant performance, lany) . SONATAS FOR PIANO stylistically secure, slightly muffled in -Claudio Arrau. DECCA DL 8517. 12 -in. sound. Novaes is quite different. She is $3.98 (with Chopin miscellany). NO. 1, IN C MINOR, OP. 4 (1 Edition) the deftest of the pianists who have under- -Juiius Karchen. LONDON LS 554. iD -in. So far as I know, no other pianist since taken the B minor Scherzo, and her per- $2.98 (with F minor Fantasy; Ballade the invention of the phonograph has made formance is light and sure -fingered. No. 3). a recording of the C minor Sonata. In all Unfortunately it is on a disk containing an truth, it is not a very interesting work, indifferent interpretation of the Op. ro NO. 4, IN E, OP. S4 (r Edition) though there are some novel touches in the Etudes. Of the two Horowitz attempts I I can imagine a different type of perform- live -four movement; and in several places prefer the one on LM 6014, which is some- ance than that which Moiseiwitsch brings in the first movement the Chopin -to -come what slower than its companion, but which to the Fourth Scherzo, but I cannot think almost takes wing. Goldsand's performance is also more carefully shaped and more of a better one. This is a model of con- is faithful and accurate. Excellent recorded natural -sounding. Rubinstein remains my trolled, glittering piano playing. The re- sound. first choice, in any event. corded sound is a little thick in the bass, -Robert Goldsand. CONCERT HALL CHS -Artur Rubinstein. RCA VICTOR LRM like that of so many piano recordings, but 1r 5o. 12 -in. $4.98 (with Variations on 7015. 10-4(1. $2.98 (with Scherzo No. 2; is otherwise clear and well detailed. "Ld ci darem la wane; Variations on a Nocturnes in B and G). -Benno Moiseiwitsch. RCA VICTOR LBC German Theme) . -Benno Moiseiwitsch. RCA VICTOR LBC ro38. r2 -in. $2.98 (with Preludes rr -24; (038. 12 -in. $2.98 (with Preludes Nos. Scherzos r and 3) . NO. 2, IN B -FLAT MINOR, OP. 35 (12 tr -24; Scherzos 3 and 4) Editions) -Guiomar Novaes. VOX PL 9070. 12 -in. SONATA FOR CELLO AND PIANO IN G Novaes, to this taste. She has the three $5.95 (with Btude,, Op. ro). MINOR, OP. 65 (1 Edition) T's- Technique, Tone, and Temperament. -Vladimir Horowitz. RCA VICTOR LM Now that the Kurtz -Balsam version has In the mysterious and ecigmatic last move- 6014. Two 12 -in. $7.96 (in 25th Anni- been discontinued, Piatigorsky and Berko- ment she finds things in the way of inner versary Album). witz have the field to themselves. They voices that I have not heard since Hofmann -Vladimir Horowitz. RCA VICTOR LM combine for a fluent reading, one that con- was in his prime. Altogether, a superb ¡707. 12 -in. $3.98 (with Chopin miscel- tains the necessary Romanticism. Originally achievement. Rubinstein's forceful state- lany). released in 1949 to commemorate the cen- ment of the music also is worth owning, tenary of Chopin's death, the recording though the recorded sound is beginning to features the cello over the piano, which is show its age. Novaes receives much better NO. 2, IN B -FLAT MINOR, OP. 31 (i Edition) too far in the background and poorly recorded quality. The Casadesus perform- reproduced to boot. The music is not as ance I find neat, polite, and small- scaled. Like the Scherzo No. r, this version is bad as its neglect would Uninsky plays the notes and little more. identical with the one Rubinstein plays in lead one to his integral ser. If, for some reasoo, you are interested only in the B -flat minor Scherzo, get this by all means. Otherwise the four scherzos on LM 1132 are the better GEORGE WRIGHT plays the MIGHTY WURLITZER PIPE ORGAN buy. -Artur Rubinstein. RCA VICTOR LRM NEW RELEASE 7015. 10 -in. $2.98 (with Scherzo No. r; available on both "HIFItape" pre -recorded tapes Nocturnes in B and G). and "HIFIrecord" long playing 12" records No. 3, IN C -SHARP MINOR, OP. 39 (6 George Wright is best known as Organist of the New York Paramount Theatre Editions) where for several years his artistry entertained throngs of New York theatre- Several excellent versions are available, goers. More recently he's doing Radio and TV work in Hollywood. The organ including of course Rubinsteins, which has recorded is among the largest theatre pipe organs ever built by Wurlitzer with already been discussed above. Barere's fleet five manuals. Has tremendous dynamic range to show off your own "Hi Fi" performance is tremendously effective. He equipment. An 8 -in. x 10 -in. photograph of both Mr. Wright and the Organ could be very elegant when he wanted ro. will be included with each order. Here the notes roll deliciously off his lingers, and in the coda he is sensational. MR. UPRIGHT PLAYS Low -level recording, prominent surfaces. Jalousie Angela Mia Stella by Starlight Novaes plays with her expected imagination Ebb Tide Roller Coaster Love for Sale and flair, and with utmost beauty of tone. Caminito The Boy Next Door Dancing Tambourine Moiseiwitsch is stronger and fuller, and Boogie Brazil Stars and Stripes Forever equally poetic. When in practice he is one of today's great Chopinists, and here he is SEE YOUR LOCAL DEALER, OR ORDER BY MAIL in admirable fettle. The Levirzki is a col- 1. on 12-in. long playing Hifirecord $ 4.95 lector's reissue, originally recorded in the 2. on 15 i.P.S. full track Hifitape $12.95 early 193os. The C -sharp minor Scherzo 3. on 15 I.P.S. half track Hifitapc $ 8.95 was one of this fine pianist's specialties; I 4. on 71-;_i I.P.S. full track Hifitape $ 8.95 must have heard him play it at least five 5. on 71/4 I.P.S. half track Hifitape $ 6.95 times. He presents a well -turned job that builds to an exciting climax. Arran's re- above album prices include all 12 selections in 40 minutes playing time. cording also was taken from shellac and is postpaid and tax free. Dealer prices upon request. inferior in sound. His strong playing is to order more convincing than in the recent Decca Simply enclose check or money order for correct amount with reference to above set. Even here, however, he refuses to let numbered High Fidelity Recording you want. the line flow naturally. Katchen does not belong in this company of giants. address -Guiomar Novaes. Vox PL 7810. 12 -i0. HIGH FIDELITY RECORDINGS, INC. $5.95 (with Chopin miscellany). 6087 Sunset Boulevard Hollywood 28, California -Benno Moiseiwitsch. RCA VICTOR LBC

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Horowitz strives for big effects but merely ment, and its only because its Lipatti that against manages to sound petulant. This is one of one automatically measures his disk The recording, his least successful records. The veteran the highest of standards. 1947, lacks Yves Nat also strives for a big frame but is British Columbia vintage THESE ARE THE a handicapped by lack of finger response. clarity. Try 7S -rpm equalization with Backhaus is miscast here, and misses the highly reduced bass. Firkusny's perform- REASONS passion of the music. His Teutonic muse ance is well- groomed, lacking excitement musical urgency. strokes a lyre of a sort other than Chopin and, indeed, a sense of too does not intended. I would avoid the Katcheo disk, Uninsky is disappointing. He why so many people which is glib, superficial, and in several seem ro be able to bring the music to life. spots actually annoying. Malcuzynski, both Everything is correct: nothing happens. Of and Karchen versions, see are switching to on Entré and Angel, I find incomprehen- the Malcuzynski sible. If this is good Chopin playing, then remarks in the discussion of the B -fiat THE MUSIC BOX'S the great exponents of the past, like Hof- minor Sonata. mann and Rosenthal, were off on the -Guiomar Novaes. Vox PL 7360. 12 -in. unique Long Playing wrong track. I find this paying spasmodic $5.95 (with Sonata No. 2). VICTOR LM 1715 and intellectually unsettling. And yet Mal - -William Kapell. RCA record mail order cuzynski has temperament :.nd the fingers r2-in. $3.93 (with 9 Mazurkas). 12- of a great pianist. Too Lai they don't fuse -Dinu Lipatti. COLUMBIA ML 4721. service: into something of greater artistic conse- in. $4.9S (with Chopin miscellany). quence. As for the Cortot version, one can -Rudolf Firkusny. COLUMBIA ML 2201 only blush. The playing is a combination to -in. $2.9S. record guaranteed to be Every of anachronism and anarchism. While one -Alexander Uninsky. EPIC LC 3056. 12- new, fresh and un- brand factory is willing to pay respects to the memory of in. $3.98 (with Sonata No, 2). played. a great artist, there comes a point where a -Witold Malcuzynski. ANGEL 35032. r 2-in. $4.98 or $3.48 (with Sonata No. 2). Every record carefully inspected line must firmly be drawn. The Goldsand -Julius Katchen. LONDON LL 1163. 12- for visible imperfections, before disk is mentioned here merely for the sake in. $3.98 (with Sonata No. 2). mailing. of completeness. It is one of Concert Ball's Limited Editions and probably will he hard Every record dusted, cleaned and to locate. The performance is not one that TARANTELLE, OP. 43 (t Edition) enclosed in a polyethelenc envelope should spur you on to great endeavor. A rather charming work, minor Chopin, ... to lessen possible damage from -Guiomar Novaes. Vox PL 736o. 12 -in. that here needs a slightly faster tempo and dust, while in transit. $5.95 (with Sonora No. 3). more sparkling finger work. Some of -Artur Rubinstein. RCA VICTOR LM Balogh's attack sounds flurried. Good re- rarefully parked to Every record 90G3. 12 -in. $3.93 (with Debussy piano corded sound. reach you in perfect condition. -Erno Balogh. LYRICHORD LL 20. 12 -in music) . S5.95 (with Chopin miscellany). Orders over $6.00 mailed to you -Robert Casadesus. COLUMBIA ML 4798. POSTAGE FREE, anywhere in the I2 -in. 53.93 (with 4 Balla.dcr). VICTOR LM TRIO FOR PIANO AND STRINGS, IN G U. S. A. -Vladimir Horowitz. RCA 1235. 12 -in. $3.98 MINOR, OP. 3 ( t Edition) On orders below $6.00, please add (with Liszt piano is a music) . In effect, this work baby piano concerto 400 for postage. -Alexander Uninsky. EPIC LC 3056. 1t- with the piano getting the lion's share of Any LP record on any label. No in. 53.98 (with Sonata No. 3). the work and the most interesting figura - substitutions made at any time ... -Yves Nat:. HAYDN SOCIETY HSL 97- rions. The last movement, in Chopins without your written approval. r2-in. S5.95 (with F minor Pallidly; nationalistic vein, is quite charming. The Barcarolle) . trio seldom turns up in concert, and one is Fast, prompt and courteous service. -Wilhelm Backhaus. LONDON LLP 266. glad to have it on records. At the same I2 -in. $3.98 (with Beethoven: Sonata No. time, one could wish for a superior per- The Music Box is not a regular re- 3o in E). formance. The polish of the writing tail store, but is devoted to mail Katchen. scarcely comes through the determined order business exclusively. From -Julius LONDON LL 1163. 12- in. $3.98 (with Sonata No. playing of the ')'rio di Bolzano, nor is the picking to packing, all orders are 3). -Witold Malcuzynski. ANGEL 35032. re- tone of the violinist an adornment to con. handled with the greatest care, by in. $4.98 or $3.43 (with Sondra No 3). temporary fiddle playing. Keep your eye one person only. -Witold Malcuzynski. COLUMBIA ENTRE out for an eventual replacement. Inquiries, questions or what have 3031. 12 -in. $2.98 (with Franck: Prelude, -Trio di Bolzano. Vox PL 8480. 52 -in you on any matter pertaining to Chorale and Fugue). $5.95 (with Schumann: Trio in F). records cordially invited. -Alfred Cortot. RCA VICTOR LI-IMV 18. I 2-in. $4.98 (with Schumann: Carnival). Ail records sold at the manufac- -Robert Goldsand. CONCERT HALL CI-I VARIATIONS FOR PIANO turers suggested list prices only. SPEC -52. to -in. (with Fantasy- Impromptu). ON "LA CI DAREM LA MANO," OP. 2 When ordering simply list records Limited Edition. wanted (to avoid delay, list sub- (3 Editions) stitutes also) with your check or This is the work which introduced Chopin money order to cover. We regret No. 3, IN B MINOR, OP. 58 (7 Editions) to the excited Robert Schumann, with the Three a we no longer will accept C.O.D. admirable versions are on the marker. resultant famous "Hats off, gentlemen, Novaes orders. makes the most personal thing of genius!" It was originally scored for piano the music, taking, in all truth, a good and orchestra, and is thus played by Fru- New record prices are in operation many liberties. But she has enough genius goni and Reinhardt. Goldsand plays the as quickly as they are announced to make her own rules. The fine recorded solo version, which orce in a while Turns by the Record companies. sound does justice to her tone. Kapell up in concert, and I find his playing prefer- here is represented by what I think is the able. He gets more nuance and flexibiliry greatest disk he ever made. This is a than Frugoni (the Reinhardt is an aberra- perfectly proportioned reading, brilliantly tion that never should have been released). executed, sharply defined. What a master Goldsand takes a sizable cur in the intro- he would have developed into! Lipatti is duction. Frugoni is complete, but his the most sober of the trio. He plays the pianism has little charm, while some of music "straight," with taste and polished the s'atiations, such as the third, are almost MAIN STREET execution. I find it a shade noncommital a scramble. The supporting orchestra and lacking in inner glow. The music sounds thin. There is room for a version GREAT BARRINGTON, MASS. would have grown on him had he lived. of the score in its concerted form, but this Nevertheless it is a tremendous achieve- does not fill the bill.

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-Robert Goldsand. CONCERT HALL CHS contained on RCA VICTOR LHMV 1032 rr50. t2-in. $4.9S (with Sonata No. r (12 -in.), played by Alfred Cortot -A Record Market and Variations on a German Theme). minor (Op. 34, No. 2), D -fiat (Minute, -Orazio Prugoni; Pro Musica Orchestra, Op. 64, No. 1) , C -sharp minor (Op. 64, Hans Swarowsky, cond. Vox PL 9030. 12 -in. No. 2), A -flat (Op. 69, No. r). G -flat $5.95 (with Krakoviak; Andante Spianalo (Op. 7o, No. I), and F minor (Op. 7o. and Polonaise; Liszt, Totentanz). No. 2). These are leisurely, scented per- -Rolf Reinhardt; Pro Musica Orchestra formances, with many mannerisms and conducted by the pians[. VOX PL 753o. false notes unique to pianists of Cortot's t2 -in. $5.95 (with Andante Spianato and generation. The recorded sound is not very Polonaise; Variations, Op. 72). good. The greatest single performance i have ever heard of a Chopin waltz is ON A GERMAN THEME (r Edition) played by Josef Hofmann on COLUMBIA Chopin composed this in 1824, at the age ML 4929 ( I 2-in.) - the A -flat Waltz of [4. No opus number attaches to this (Op. 42); and he also plays the Minute youthful effort, and the work is of mainly Waltz deliciously. Cor de Groot also has WROUGHT IRON RECORD RACK historical interest. The composer based his a ttlinute Waltz, soberly played, on EPIC Holds 700 12" u 10" Iong.playirge records. Also lawns/Ills 71 variations on a German song named Der LC 3037 (t2-in.), along with the popular RPM albums. Black finish with rubhir tips 10 protect saur %roans. Site 2154" high. 75" long, 914' deep. Sturdy construction, Ton Schweizerbub ("The Swiss Boy "), a naïve C -sharp minor. Still another Minnie is separate sections anon for ideal storage of music by style. composer, melody with yodel -like characteristics. played with obvious relish by Novaes on artist or label. Please remit with order. Silislaclion or Money Shipped Collet! , ea cm Goldsand plays conscientiously. Excellent Vox PL 7S to (12 -in.). And one more Guaranteed Relanded Express 4..J1 JOHN LESLIE JR., 2116 RobbIns St. Dept. 209 Phila. 41 P. recorded sound. ,lfiani.'e -that played by Nikita Magaloff -Robert Goldsand. CONCERT HALL CHS on LONDON LS 532 (to -in.) in a thorough- 1150. 12 -in. 54.98 (with Sonata No. r; ly competent manner. Magaloff, on this "Li ci darer»" Variations). disk, also is heard in the C -sharp minor and the A -flat (Op. 64, No. 3). In addition to ON AN AIR BY HEROLD, OP. 12 (2 Edi- the above C -sharp minors, there are the CHICAGO'S tions) following to consider: Horowitz on F.CA The air is Je vends des scapulaires from VICTOR LM 1137 (12 -in.), Rachmaninoff Hi- Fi Record Hérold's Ludovic. Hérold was a very suc- on RCA VICTOR LCT 1038 (12 -in.), and Headquarters cessful opera composer of the day. Gold - Jonas on COLUMBIA ML 4476 (12 -in.). sand plays neatly but with a singular lack Rachmaninoff is lyric, Horowitz severely of tension. Granted that the music is no lyric, Jonas sentimentally lyric. On her 101 labels -featuring heavyweight; but there is more to it than disk Jonas also plays the B minor Waltz Audiophile and Cook Goldsand conveys. Ar that his performance (Op. 69, No. 2). And on COLUMBIA ML takes precedence over Reinhardt's heavy 2004 ( io -in.) she plays the Waltzes in G- fumbling. flat (Op. 7o, No. t) and D -flat (Op. 7o, -Robert Goldsand. CONCERT HALL CI-IS No. 3). Plenty of style is present if you DUBLIN'S [x33. 12 -in. $4.98 (with Etudes, Op. can accept her eccentric ideas. 25) 203 W. Wacker Dr., Chicago 6, III. -Rolf Reinhardt. Vox PL 7530. [2 -in. $5.95 (with Andante Spianato and Polo- naise; "14 ci dorent" Variations). Breaking the Sound Barrier Protect in Music! Your HI -FI WA LTZES Records Tape COMPLETE (5 Editions) Recorder Music Against Several highly contrasting pianists, several by DIRT, highly contrasting views of the waltzes. Luening Ussachevsky DAMPNESS, Novaes achieves the most swinging and Sonic ronges extended by using DUST... gracious quality, using plenty of rubato, the tape recorder at a musical sounding entirely relaxed, bringing a highly instrument) First time on disc( with Polyethylene, Protective personal quality to her playing. Liparti is Illustrated Brochure Deluxe Package PLASTICOVERS much more strict. He takes very few liber- 1.10" longplay record $1.75 Keep your valuable records free from dust, ties, and, while his playing is to be admired wretches. finger marks. spilled liquids. etc. PLASTICOVERS are transparent, durable, for its clarity and straightforward rhythm, INNOVATIONS o slip over records and inside jackets he does not fully the sponuneity rapture gene hruck enterprises Twelve 12" sire OR Eighteen 10" size the music. Dorfmann receives admirable ONLY $1.00. 10% discount with 55 orders.d of B53 ninth ave., new york 19, n.y. recorded sound - the best of all the ver- Dealer rnquirir± fnoi Rd sions under consideration-and offers 4215 Trees, Ave., Dap!. C A E X CO No. Hollywood, Colifornio lyric, tasteful interpretations. Her low - l priced disk is hard to ignore. is the Novaes disk worth twice as much? I wouldn't think so, much as I admire the performance. To my taste, neither Brailowsky nor Pcnnario "THE STORY OF JAZZ" can compete. Both are stiff and uninterest- FOLKWAYS Records Release ing, and both hit the piano in a percussive A New manner. High -Fidelity Mag., PL 12 -Guiomar Novaes. VOX 8170. -in. I 4. "TOPS" Downbeat, N. Y. Times $5.95. Narrated by Langston Hughes -Ania Dorfmann. RCA VICTOR LOC 1050. 12 -in. $2.98. with Documentary Recordings, Text. -Dinu Lipatti. COLUMBIA ML 4522. I2- in. $3.98. 1 -10" longplay FP712 ($4.25 list) -Alexander Brailowsky. RCA VICTOR LM THE LP FILER write for complete catalog to82. 12 -in. $3.95. -Leonard Pennario. CAPITOL P 8r72. 12- Keeps 24 of your favorite LP's handy. Completely individuaay suspend and index. The MUSIC ROOM in. $4.9S. portable. Albums $2.50 plus 35c for postage. handling 129 West 44th St., New York 36, N.Y. MISSOURI NATIONAL CORPORATION Dept 1 -H iNDIVIDUAI. WALTZES P.O. Pox 1974, Mereo ae Station, St. Louis 18. Mo. A large grouping of Chopin waltzes is (Filer for '45'n' also available at $2.25 Post Paid)

JUNE 1955 89

www.americanradiohistory.com FM Antenna Installation Questions and Answers

byJ L. F. B. CARINI

Mr. Carini, Director of Research for LaPointe Electronics, Inc., is possibly the only antenna engineer extant having a Jaguar, a 16- speaker music system, and a wife who knows (and cares) as much about hi -fi sound as be does. As if all this weren't enough, he can write with clarity on technical subjects; he answers here several reader's questions concerning FM antenna installations.

Q. r: When listening to FM, I am conscious of an annoy- considerable distance, several methods may be used ing "frying" noise which is very aggravating be- to facilitate its distribution. The rigid line may be cause it is audible in the background. I am cold that terminated at the lightning arrestor mounted on the chis may be interference radiated by a power line window sill. A length of flat ribbon line is then that passes a short distance from my home. How- attached as the continuing lead -in into the house ever, the noise seems to be present only in dry and to the tuner. The most important requirement weather and disappears whenever it is wet or rain- is to make certain that correct impedance matching ing. Will stacking two Yagis sufficiently increase is maintained. the signal strength ro overcome the interference? Also, there are wall feed - through tubes available Ans.: Considering the observations noted, the interfer- that are made especially for the purpose of convey- ence is undoubtedly to be attributed to leakage in ing the line through a wall or partition. a high voltage power line. An electrostatic or Q. 3. What should I use for a mast for stacking BBFMs corona discharge would necessarily occur in dry and how high above the roof top should the lower weather only because it is effectively damped out antenna be located? whenever it is raining. Usually this kind of trouble Ans.: While aluminum, steel, and magnesium are all will be caused by a loose rie wire at the insulator used, the preferred mast is one made of drawn which supports the line in suspension. aluminum tubing. Magnesium is subject CO oxida- The problem is one that can only be corrected by tion and is especially vulnerable to rapid deteriora- the utility company and, of course, unless formal tion when employed in a saline atmosphere. Steel complaints are registered, the condition may other- tubing or conduit imposes an additional weight wise escape notice and continue to radiate interfer- factor and, because it is usually painted or plated, ence to the annoyance of many unsuspecting will eventually rust. listeners. Because it is possible for a high voltage Use a seamless aluminum tube having at least a line to radiate this noise for many miles, enquiries t /r6 -inch wall and a r 1/4-inch diameter and of made of others in the neighborhood will help to sufficient height ro provide support for the antennas establish such suspicions. Invariably, the power when spaced according to the manufacturer's direc- company when so informed will make a co-oper- rions. FM Yagis are usually spaced 5 -ft. apart when ative effort to track down the source of trouble and stacked. Allow 2 fr. at least, preferably more, be- rake necessary measures to correct the situation. tween the lower antenna and the roof top. Background noises that sound like "frying" may Q. 4: Some months ago I obtained a ten -element Yagi also be caused by the normal operation of heating for my FM. I notice that a number of stations come pads, fluorescent lights, electric blankets, and other in better on the side and the back than on the front. appliances. This annoyance can be suppressed by Could it be that irs efficiency is impaired because attaching small "interference eliminators" which the two driven elements are nor properly linked provide a ground return circuit ro bypass the noise together? component in the AC line. Ans.: The efficiency of an antenna is not necessarily de- Q. 2: 1 have found that both tubular and open wire line termined by the number of elements that arc em- are difficult CO work with in the home. Is there a ployed. A well- designed antenna utilizes only the special knack of handling it that will simplify in- minimum number of elements necessary to yield stallation indoors? optimum performance. For example, an eight -ele- Ans.: Where the lead -in is brought into the home for a Contjmred on /gage 92

90 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com FM ANTENNA INSTALLATION quire another antenna, can you suggest a solution that will not entail cluttering up my house roof Continued from page 90 with a maze of antennas? ment Yagi (such as the BBFM) may easily out- Ans.: There have recently become available very efficient VEE- perform a ten -element Yagi by virtue of its better all -channel VHF UHF antennas, such as the design. Because of the number of director elements D-X Super Chief, which was designed especially for used, a ten- element Yagi necessarily has but to situations of that sort. The antennas employ a percent spacing between them, whereas much better single lead -in, are compact enough ro give a neat gain is achieved in an antenna that has only eight appearance, and are actually capable of top per- elements but employs 20 percent spacing. Like- formance on all TV channels from 2 through 83. wise the number and placement of directors in For FM, the broadband Yagi is unsurpassed and relation to the overall design also influences the should be employed in addition to the TV antenna. front -co-back ratio (discrimination between station Both antennas may be mounted on one mast provided pick -up from the front ro that at the rear) so that that they are at least 24 inches apart (see Q. 5). a poorly designed antenna may not provide ade- Q. 8. My problem lies in the fact that I am getting much quate rejection effectively to eliminate station pick- local interference from the electrical apparatus of a up from the sides and the back. In other variations, nearby hospital. Do you think that a shielded cable an incorrectly linked coupling harness interconnect- would be of any value in reducing this interference? ing the two driven elements will introduce a phase Ans.: Most electro- medical hospital equipment causes error and reduce the overall efficiency of the antenna. serious interference to radio and TV reception, often worse than that produced by large industrial Q. 5: How far apart should an FM antenna be separated from a TV antenna when both are to be mounted plants. It is a form of interference that is noticed upon the same mast? throughout an entire neighborhood; it is particular- Ans.: It is generally safe to allow at least 2 fc. of space ly difficult to suppress because it can only be cor- between the antennas. Impaired reception would rected at the source. result from antennas char are operated roo close to- Unless is is possible to locate the antenna outside gether. Sufficient space should therefore be allowed the noise zone, no significant benefit is to be gained to prevent interaction between bays. Also, avoid from the use of a shielded lead -in. This type of running the lead -in lines close together, try to keep lead -in is commonly employed in cities for apart- them as far apart as possible when attaching stand- ment installations where the antenna is erected high off insulators to the mast. above the building, at which location there is rela- Q. 6: To what particular advantage may I use a rotator tively little or no noise. A shielded lead -in will then with my FM antenna? prevent noise inducements into the line (as gene- Ans.: A rotator is not recommended for use with either rated by electrical equipment within the building) an omni -directional antenna or one that is specifi- as it passes down to the tuner. A great disadvantage cally cut to the exact frequency of a given station. of chis type of line is the large insertion loss (due However, depending upon your receiving loca- to capacity effect) that results in an attenuation of tion, the FM stations within your range of recep- the signal strength. It is permissible in large cities tion, as well as the type of antenna that is employed, for apartment installations because the stations are a rotator may prove of indispensible aid in solving usually nearby and there exists a very strong signal difficult interference. The most prevalent form of which readily overcomes this loss. interference is that experienced when two stations Q. 9- If the antenna is already grounded, why should a cannot be separated despite careful tuning. It is lightning arrestor also be attached to the lead -in? essential in this case to use a uni- directional antenna. Ans.: The antenna is separately grounded as protection Such an antenna is the Yagi, whose narrow forward against lightning which may strike the antenna dur- lobe can selectively "spot" the desired station by a ing an electrical storm just as it does a lightning rod sense of direction and frequency. By analogy, this on a chimney stack. The lightning arrestor (this is selectivity may be compared ro a spotlight whose a misnomer ) is attached to the lead -in to dissipate narrow beam of light is easily focused and concen- the accumulating static charges that build up on trated upon one particular object to the complete the antenna. It serves as a high resistance path to exclusion of all others. By "searching," or moving ground and by- passes the potential by neutralization the beam, different objects may be brought into with the earth. This averts damage to the tuner focus. In like manner, a Yagi antenna operated and components but does not affect the passage of the made maneuverable by a rotator can be turned FM signals carrying the program. about to discriminate between one station and To protect the security of both lives and property another. (and your hi -fi equipment, too) make certain that Q. 7: I have a built -in cabinet housing both an FM tuner the antenna is properly grounded and that a good and TV, the latter capable of receiving UHF sta- lightning arrestor is attached to the lead -in line. tions as well. We now have a UHF station which The lightning arrestor, of course, musc also be pro- I would like to pick up. However, as this will re- vided with a ground connection.

92 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com Only he didn't buy a seat. He tan hear the same music anytime in its fullest quality MORE THAN EVER LIKE BEING 'THERE." from his easy chai-r at home with his new Concertone 20/20 Stereo -monaural Recorder, Model STW -4.

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Stereo -binaural recording ( "stacked" heads)

Recording on channel 1 only Recording on channel 2 only Recording two different signals simultaneously Dual track recording (one track in each direction) $695 IS THE USER'S NET FAIR TRADED PRICE. Single track recording (identical signals on bots channels) Playing back single, dual track or binaural recorded tapes "Sound -on- sound" recording (Previously recorded tracks are not erased when new signal is added, so mistakes do not necessitate starting over. 4917 West Jefferson Blvd., Los Angeles, California Particularly valuable for those who practice with recorded accompaniment) Audio division of American Electronics, Inc. Manufacturers of Berlant studio recorders Hear it at your nearest dealer or write for brochure 4MY. and accessories.

94 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com These reports may not be quoted or reproduced, in part or in whole, in anyJom whatsoever, without written permission from the publisher. Because of space limitations we normally attempt to report only on products of wide general interest. Thus, omission does not, per se, signify condemnation, although reports are seldom made on equipment that is obviously not reasonably high in fidelity. - Each report is sent to the manufacturer before publication; he is free to correct the specification paragraph, to acid a comment at the end, or to request that the repon be deferred (pending changes in his product) or mi published at all 1-le is not permitted, however, to amend or alter the report.

Scott 210 -C Amplifier and circuits described in the recent (November 1954, page 93) report on the Scott 121-A. Properly operated, SPECIFICATIONS (furnished by manufacturer): a compact 23- they can be used to good advantage in eliminating radio watt amplifier with preamp -equalizer and control sections in same case. Inputs: one equalized channel for pbono cartridges, interference and rape noises, as well as record pops and with input jacks for magnetic and constant -amplitude types; scratch. Bass and treble tone controls can be called normal three high -level inputs marked for tuner, tape, and TV. Monitor except that they provide for perfectly flat response in their input direct to power amplifier section. Controls: combined selector switch and variable record compensator, with eight zero settings; they are then effectively nor in the circuit at equalization positions for phono channel; Dynaural noise sup- all. Most standard tone controls balance the boost circuit pressor control; noise suppressor and filter switch (Range); against the attenuation circuit in the middle position, Bass (t 15 db, 50 cycles); Treble ( +15 to -17-' db, 10,000 cycles); Loudness (or volume); loudness compensation on -off switch; which often results in a response peak or dip. As in the AC power on -off switch. Hum and tube balance adjustment at I21-A, these controls do not cause ringing on transients. back of chassis; pickup level adjustment for Dynaural noise Loudness compensation, which can be switched in or suppressor under chassis. Outputs: 2, 4, 8, or 16 ohms to speaker; low -impedance output to tape recorder, unaffected by noise out by a front -panel control, is less drastic than called for suppressor, tone and volume controls; high- impedance output by Fletcher- Munson curves; to our ear, it is much more- to tape recorder, affected by noise suppressor and tone Controls pleasant than full compensation. but not volume control. Power output: 29 watts long -time continuous; 23 watts short -time continuous on music; 46 watts peak The 2Io -C is out in front in the matter of facilities for instantaneous. Distortion: less than 0.5% harmonic at full operation with a rape recorder. There are two signal power; less than 0.1% first -order difference tone IM. Noise; takeoffs for feed to a recorder; one, of low impedance, better than 80 db below full output. Tubes: 3- 12AU7, 3- I2AX7, is ahead noise suppressor, tone and volume 6AL5, 2 -6L6G, 5V4. Dimensions: 14.4 in. wide by 4 high by of controls. 13 deep. Price: $172.50. Manufacturer: H. H. Scott, Inc., 385 A flat signal can be fed the recorder in this way, while Putnam Avenue, Cambridge, Mass. the rest of the amplifier is used to drive a monitor speaker, and the settings of these controls will not disturb the The 210 -C Dynaural amplifier combines a good 23 -watt recorder's signal. But if you want to dub some old rec- amplifier with what is probably the most elaborate pre- ords to rape you'll want to use the noise suppressor and amplifier- control setup ever offered in this form. In many possibly the cone controls. Very well, there's another is versatile ways, the 210 -C's front end even more chan output jack that is connected just ahead of the volume Scott's super equalizer -preamp, the 121 -A, and is very lirrle control - the signal at that point is affected by the NS larger. and tone controls, and you can use that to feed a re- There is still only one phono channel, to be sure, and corder. Now, suppose you have a three -head recorder three high -level channels rather than five. These will be from which you can monitor instantaneously the signal for all enough but unusual installations. The selector that's going on the tape. Connect a lead from the monitor switch has eight positions for the phono channel; in three or output jack on the recorder to the pin -jack receptacle are furnished curves particularly suitable for 78 -rpm rec- on the 210 -C that is marked "Monitor" and you plug into ords, marked European, RCA -London, and Columbia. Five curves are furnished for microgroove records: Special The Scott pro- C - Jlexib /e and capable, powerful but compact. (has RIAA turnover and very little rolloff), London, Old AES, RIAA- NARTB -Orrho, and Original Columbia. This is certainly a wide and well -considered selection. Inci- dentally, there is a difference in gain between the 78 and microgroove positions so as to compensate for the difference in pickup output levels -- a clever idea, and a practical one. A comprehensive table of record labels and recommended equalization curves is given in the instruction book. Dynaural noise suppressor and filter circuits are effective on all input channels. These are the same controls

JUNE 1955 95

www.americanradiohistory.com the power amplifier section directly; the connection from Just to the left of the push -button bank is the record the 210 -C's preamp- control section to the power amplifier safety lever, which must be deflected before the Record section is broken automatically. Neat'. You are then push -button can be operated. This is to prevent uninten- using the front end to handle one signal and the ampli- tional erasure of recorded material, which might occur if it fier for another (you needn't plug the monitor signal from were possible to push the Record button accidentally. The the recorder into that connection if you don't want to - safety lever and the Record button can be operated simul- you could, of course, dub records while listening ro some- taneously, if necessary, with one hand. To the right of the thing eke, by plugging the audio from a tuner into the push -button bank is the recording indicator, consisting of Monitor jack). The instruction book shows several possi- two neon lights. One light goes on when the Record but- bilities for using these connections to keep a recorder ton is pushed down, serving as a warning that the erase permanently hooked into the system. oscillator is activated. The other light flashes whenever the With flexibility such as this, and a powerful, clean, and recording level is high enough to cause distortion. Next to capable amplifier to boot, the 210 -C is quite a package. the indicator, logically, is the volume level control. And Ir is designed so that it can be used our in the open; the just above that is a control which, when pushed up, stops metal case is perfectly presentable. A panel- mounting rape motion momentarily or permanently -it can be escutcheon is available too, if you want ro enclose the locked in the upper position by pushing it to the right also. unit. That $172.50 trice tag, which looms large when This permits proper setting of recording level before actu- you get a first glance at it, seems like a bargain after closer ally recording: you lock the Pause button in its upper posi- examination. Scott has reason to be proud of this ampli- tion, depress the Record button, and set the volume control fier. - R. A. to the point at which the distortion indicator just blinks on the loudest peaks of sound. Then, when you're ready to record, push the Pause button to the left and release it. The V -M Model 700 Tape Recorder tape starts and you're recording. You can skip anything you don't want CO record (such as a commercial in a radio SPECIFICATIONS (furnished by manufacturer): Tape -O -Matic broadcast) by pushing the Pause button again. A handy model 700 is a portable self -contained recorder with built -in playback amplifier and speakers. Twin track, 71/2 and 3% ips, button. handles up to 7 -in. reels. Inputs: one for microphone, radio, high - The speed change knob is on the head shield. It's rela- level phono and TV; one for magnetic phono. Outputs: normal tively hard to turn, so that you can't do it accidentally, but output goes to internal speaker system (5 by 7 -in. woofer and 3 % -in. tweeter); also two external speaker jacks, one of which is has a slot large enough so that you can use a coin to turn disconnects internal speakers. Noise level: better than 45 db it CO 33/ or 71/2 ups. below signal level. Accessories: one 7 -in. reel of tape; one empty There's a timer index to the left of the push- button 7 -in. reel; microphone (60 to 10,000 cycles, 5 db); adaptor plug for high -level inputs. Controls: described in text. Dimensions: group, and a chart is furnished to translate the timer read- 9 ¡¿ in. high by 16 wide by 11,/ deep. Weight: 30 lb. Tubes: ings to minutes of recording. Farther on the left are con- 5879, 12AX7, 2 -6V6, 5Y3GT. Price: $179.95, list. Manufacturer: centric bass and treble controls; they are in the circuit on V -M Corporation, Benton Harbor, Mich. playback only, and have maximum boosts (relative to their ar 5o cycles and db The V -M 700 recorder appears ro be well made and is de- counterclockwise positions) of to db 6 signed for easy, foolproof operation; it has several conveni- at 8,000 cycles. The AC power switch for the recorder is with ence features unusual at its price. Sound is fair co good, combined the treble control. Concealed controls, for use if you about what you'd expect in a competitive package recorder. know what you're about technically, are furnished It would appear, accordingly, to be an excellent buy for for hum null, bass boost limit, and distort -light sensitivity. anyone whose primary interest is not high fidelity sound as On the right side of the machine are two phone -jack in- such, but who wants a dependable portable unit for miscel- puts. One is for a magnetic phono cartridge, and is proper- laneous recording. ly equalized for that purpose. The other is for a micro- Main operational controls are of the mechanical push- Continued on page 98 button type. From left to right, below the head shield, they are labeled Rewind, Record, Stop, Play, and Forward. We found the Forward (fast wind) time on our test unit to be 2 min. for a r,2oo -ft- reel; Rewind time was r min. 45 sec. These push -buttons are not interlocked. You can go directly from Rewind to Forward or vice versa, and from Play or Record to Forward or Rewind without pushing the Stop buron first. On our unit we couldn't make the tape break by doing any of these things, which is good; we don't know whether or nor this is true of all production units. In any case, it's always safer to push the Stop button before changing tape motion or speed. In the Stop position, incidentally, the drive mechanism is disconnec_ed; the Stop button should be depressed whenever the machine is nor being used. The cover cannot be dosed unless the Stop button is down; good feature. The V -M 700 -not quite hi-fi, but a good bay nevertheless.

96 HIGH FIDELITY MAGAZINE

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THE exciting NEW Criterion AM-FM tuner advances the art of receiver design to a NEW frontier in radio reception. Its Criterion predecessor began a revolution in the design of AM -FM tuners which is now brought to a rich fulfillment of perfec- "Lurk -iii lining -broad & uon- critical. tion. Only a company with National's more than When you heat program the station is perfectly tinted meters, 40 years' reputation for technical excellence in -without eyes or other romplicatctl tuning indicators receiver design and performance could accomplish - the only non -critical tuning unit on the such rapid strides in bringing you an improvement market. on the best. Wide range -adjustable Mutamatic° For the cleanest sound and appearance, for the °An exclusive National feature that eliminates greatest in sensitivity, for the finest in performance, all hiss and noise when tuning between sta. !ions. Music leaps out of velvety silence and the NEW Criterion AM -FM tuner can be your only stays locked in. answer. Incomparable AM & FM selectivity - complete adjacent channel rejection. Compare these features combined in the NEW Criterion and found together in no other AM -FM tuner- Superb stability both long and short term. Flush mounting .8 capture ratio - Completely Hi -Fi AM reception -dis- Binaural or simultaneous makes sensitivity usable AM -FM tuning and for fringe area reception tortionless and burble free - reception ... areas formerly inaccessible to FM can now The greatest sensitivity of any AM -FM Drift free reception receive quality FM signals plus Mutamatic tuning tuner ... FM multiplex output Flexibility -the same unit .8 capture ratio- rejects all interfering is available with or with. Handsome styling and strong ais the out plug -in preamp cabinetry signals up to 80% as signals Greatest sensitivity of any Simple assembly of cum. desired signal-making "ghost" receiver pletcly integrated units or "reflection" free. tPietured with plat in pre amplifier boelG A Am'//GaoClit' NATIONAL COMPANY, INC. Nationa 61 SHERMAN ST., MALDEN 48, MASSACHUSETTS JUNE t955 97

www.americanradiohistory.com TESTED IN THE HOME Continued from page 96 phone; inserting a plug in this jack opens ncc magnetic phono channel automatically. An adaptor input plug (supplied) permits use of the microphone input for any high - level source such as a radio or TV tuner. There are two similar jacks on the left side of the recorder; these are for connection of external speakers. Plugging the lead from an external speaker into one of the jacks disconnects the internal speaker system and replaces it with the external one. This jack, therefore, is affected by the speaker on -off (Monitor) switch, above the treble and bass controls, just Sonotosre cartridge combines low distortion with high output. as the internal speakers are. The other jack is connected directly to the amplifier output, bypassing the switch, and crystals a few years ago were pretty poor (some were pretty when it is used the internal speakers are not disconnected. good, roo, although delicate). Magnetic cartridges in gen- Among ocher good points arc a pilot light on the front eral were obviously superior ro crystals, and this was one of of the case that can be seen across a room; an automatic the first things a hi -fi tyro learned. Even so, this superiority shutoff switch that operates if 'the tape should break or be- could then be demonstrated by laboratory tests, and it can't come fully wound on one reel; and the utility of the ampli- be now. Nonetheless, most critical listeners seem still to fier circuits and speaker system apart from the recorder prefer magnetic cartridges; we do also, but find it difficult mechanism (they can be used as a PA system, for ex- ro say exactly why. Perhaps that over- worked word "defi- ample). As we said at the beginning, we like the mechani- nition" is best suited ro describe the difference. Individual cal design and convenience features of this unit, and con- elements of a complex sound appear to us to stand our more sider the electrical performance adequate at the price. If cleanly with a good magnetic cartridge; this is so even better heads, an output jack for playback through a high though that property is supposed to be determined by the fidelity system, and more refined circuitry were used -add- amount oí inrermodulacion distortion present, and fine ing, say, another $5o to the price -V -M might lose its ceramic cartridges have no more IM than magnetics. -fi mass marker, but would make a lot of friends in the hi It should be made clear that the difference in sound is field. It would then be an excellent recorder, offering com- not great. The better ceramics should be ranked among petition to present units selling for 5o to t00% more. true high fidelity cartridges, and the Sonorone is as good as -fi V -M? A. How about a hi model, -R. ( possibly better than) any we've heard so far, on a sub - jecrive basis. It certainly seems logical ro recommend them as replacements for standard cartridges, as the first step in Sono tone 1P Cartridges bringing a lo-fi record- playing system up ro hi -fi status gradually. They cost very little more in themselves than SPECIFICATIONS (furnished by manufacturer): ceramic phono the original cartridge, and require no changes or additions pickup cartridges available with 1 or 3 -mil sapphire or diamond to existing circuits. And if you're considering the purchase stylus. No preamplifier needed; self-equalized to RIAA curve within t3 db, 30 to 15,000 cycles. Output: I volt on microgroove of a complete system, and don't own already a magnetic record. Load impedance: 1 to 10 megohms; 2 to 4 megohms cartridge with its preamplifier- equalizer, you may be able CO recommended. Compliance: 1 x 104 cm per dyne. Stylus force: save some money by listening comparatively to a magnetic 9 grams. List prices: 1P-IS and 1P -3S (1 and 3 -mil sapphire), $8.50; 1P -1D and 1P -3D (1 and 3 -mil diamond), $30.00. Manu- and the Sonorone ceramic. You may very well prefer the facturer: Sonotone Corporation, Elrnsford, N. Y. ceramic. -R. A.

Ceramic phono cartridges can be made so as to have even response over the useful audio range; they can be made with high compliance and low distortion. They are inher- Browning FM Tuner ently self-equalizing to a constant -amplitude record and can SPECIFICATIONS (furnished by manufacturer): A compact, be made to match just about any equalization curve, includ- FM -only tuner. Sensitivity: 3.5 my for 20 db quieting. Output: ing RIAA; they have relatively high electrical output, so cathode follower; extra output connection for tape recorder, etc. Controls: tuning and volume. Size: 9 in. 4 with wide by 7/8 high that a preamplifier is nor required them. They arc and 8 in. deep. Price: $87.50. Address: Browning Laboratories, substantially insensitive to abnormal heat and humidity. Inc.. Winchester, Mass. They are less expensive by far chan most magnetic cartridges that do require preamplifiers and equalizers, and are This tuner is excellent all around: compactly built, simple probably less delicate mechanically. In short, good ceramic to install, sensitivity comparable to that obtained with cartridges "measure" as well or better than magnetics and much more expensive units, no unnecessary accessories. have important economic advantages. Why aren't they used It is intended for use with control units which provide exclusively, then? tone and other controls, but it can be used with a straight The answer may be partly prejudice: they are similar in power amplifier for an utterly -simple installation since a appearance and operating principle co crystals, and most Continued on page zoo

98 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com rCCXMIarNI-Fl 111.11 fefAffe r[CXMIieA:

I r, ¡,14emifts. I[CXMICAL eeY1Cf felLfrlM

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12 Pictorial Assembly Plans for Better Listening...

Now -for every high fidelity enthusiast -12 "Do -it- cence, until what you have meets your listening tastes. yourself" booklets, called Technigrams, which cover every With vacations and long summer days upon us, the one of the 36 different speaker systems featured in the time is ideal for building that high fidelity system which original University PROGRESSIVE SPEAKER EX- will give so much listening enjoyment on the colder Fall PANSION chart. These Technigrams contain all of the and Winter evenings ahead. Take advantage now of extra essential information, in words and pictures, required to leisure hours ... and take pleasure in leisurely listening assemble and install the speaker system of your choice. later. See your UNIVERSITY HI -FI distributor today

Even baffle board layout diagrams are included. All of . . . and ask for the free Technigram that features the this is available to help you to plan your listening the University speaker system of your choice. If you haven't PSE way...to develop your speaker system in successive, seen the original University descriptive folder on the PSE Plan, relatively inexpensive stages... with no fear of obsoles- mail this coupon immediately for your copy.

Progressive Speaker Expansion * r -the plan that makes it possible to buy University Loudspeakers, Inc., Desk 83 a speaker today in terms of the 80 South Kensico Avenue, White Plains, N. Y. system you want tomorrow. Please send me my free copy of "Progressive Speaker Expansion."

Nome !lKbsrs7y Address City Stole South Kensico Ave., White Plains, New York 78N32

JUNE 1955 99

www.americanradiohistory.com TESTED IN THE HOME and then pressed on the case grilles until it (the sponge) is not excessively wer. Quiet has a fatty base, so that it does Continued from page 98 furnish lubrication while being played. But the record also front -of -panel volume control is provided. Automatic becomes tacky to the touch within a very short time after frequency control, which cannot be defeated, is incor- being sponged; you can visualize groove dirt being gripped porated. No tuning eye is provided; this is not a must by this tacky film. When the record is played this film when AFC is used. peels our of the groove, carrying dirt with it, and the mess is accumulated on the stylus. It brushes off readily, however; that's what the little brush is for. The effect is less noticeable the next time you play the record, and after three or four plays only an insignificant grayish deposit can be seen. How much stylus and record wear is reduced because of the lubrication may be debatable, but it is certainly true that clean records wear less, and wear the stylus less, because of the absence of dirt. Moreover, clean records are quiet. \Ve should say, then, that Quiet fulfills all its important claims. This is certainly worth while, and you get 5 ounces of Quiet for $2, enough to treat both sides of 15o twelve -inch records. - R. A. MANUFACTURE'S COMMENT: We advocate the application of Quiet to the record before each play because our experience and test work has shown us No expensive accessories on the Brownie basic FAI moor. that dirt and dry surfaces are the primary cause of record and stylus wear and surface noises . . The sponge is affixed to a plastic holder so that Quiet can be applied to the record without coming in contact with the fingers. Output is of cathode follower design, so the tuner can be separated from the amplifier or control unir by a considerable distance without loss of high frequencies. A Lang 15W Speaker System second output is furnished for connection ro a tape recorder; this output, as well as the regular one, is affected SPECIFICATIONS (furnished by manufacturer): a medium sized by the volume control. An AC outlet is on the back apron three -way speaker system. Size: 23 in. by 25 by 16 deep. Speakers: 12 -in. woofer, 8 -in. mid -range cone, single cone tweeter. Cross- of the chassis; it's controlled by the front -panel switch. overs: 200 and 5,000 cycles. Response: 25 to 17,000 cycles. Power Very nice job, all around - and at a good price, too. rating: 10 watts continuous; 15 watts integrated. Impedance: 4 (Incidentally, cabinets are available; our sample came in ohms. Finishes: mahogany or blonde. Price: $119.95. Manufac- turer: Lang 86 Taylor, Inc., 100 Felton Street, Waltham, Mass. an attractive mahogany case which measured 55/4 high,

I I wide, and 9 in. deep including knobs.) C. F. - As speaker systems go now, this would have to be pur in MANUFACTURER'S COMMENT: The Brownie is just the beginning of a whole series of new hi -6 products and accessories. Cabinets are of either blonde or the middle -size category; a few years ago it would have mahogany and, with the cathode follower output, can be remotely located at your favorite easy chair. From there you can control both tuning and been considered a small system. Even now it is in the volume. Clock -timer cabinets are available which can be preset so as not to miss your favorite program. low -price range. But its performance must be considered good against any standard, and for its size and price it is truly remarkable. Quiet

SPECIFICATIONS (furnished by manufacturer): a liquid prepara- tion for treatment of phonograph records. Includes 5 -oz. container of Quiet, sponge applicator and applicator case, stylus brush, instructions, and text data. Harmless to records, humans, and furniture. Price: $2.00 postpaid. Manufacturer: Beyland Engineering Company, Yalesville, Conn. This speaker system is good by any standards. In addition to the usual de- staticizing properties, which are important enough in themselves, a number of ocher virtues are claimed for Quiet. It is said to "clean the record surface and remove noise -producing groove debris," to lubricate the grooves, and to retard needle wear. We can affirm that it is a good de- sraticizer - that is, it Because it uses cone speakers throughout, the middles prevents build -up of static charges on the record while it is and highs are not of the brilliant type given by most being played, so that it doesn't attract dust from the air and horn -loaded tweeters for these ranges. They have a sweeter. from the turntable mat. The effect appears to be long -last- more transparent quality that I happen to like - though ing; we have records treated two months ago which retain many will not agree. There is no lack of highs: response the anti- staric condition. extends as far out as anyone can use and, in a small room. Prescribed method of treatment involves wiping the a level control might be useful to cur down the middles record before each play with a sponge dipped in the liquid and highs. Continued on page 102

Ioo HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Even the walls have ears ...for Bogen

NEW BOGEN DB110(6) 12 WATT AMPLIFIER. NEW ISO SERIES RECORD PLAYER. An un- An exclusive Bogen circuit makes usual value. Operates manually. to possible "luxury" performance in this play any disc up to 16 ", at any speed economy amplifier. 0.65% distortion from 29 to 86 rpm. (This includes, at full output; ± 0.5 db response Irani of course, 78, 45, and 33'41 rpm.) 15 to 50,000 cps; infinite damping. "Wow ", "Hum" and "Rumble" are Four separate controls for gain, bass, minimal. Stylus pressure is adjustable treble and 4 inputs and 3 record for minimum record wear. Arm is equalization positions. DB110 equipped with plug -in head for simple (chassis) ; $59.95. In gold- finished interchange. B50 -4LC (with one head, cage; $61.50. (See "Tested in the you -pick -your -cartridge) ; $40.40. At- Home ", April High Fidelity.) tractive wooden base; $4.80. Bogen HIGH IDELITY BECAUSE IT SOUNDS BETTER

Send 250 for 56 -page book, "Understanding High Fidelity ", to Dept.. 14'F David Bogen Co., Inc., 29 Ninth Avenue, New York City 14, New York www.americanradiohistory.com TESTED IN THE HOME control on turntable base; volume, treble, AC power on -off and bass control on aide of case; phono-external input switch (op- Continued from page zoo tional) on back of case. AMPLIFIER - Outputs: 4, 8, and 16 ohms to external speaker; switched AC power outlet. Response: *I The most impressive feature of this system, however, db, 20 to 20,000 cycles. Rated power 10 watts; 18 watts peak. Distortion! 2%harmonic, 3% IM at 10 watts. Noise: 80 db below is its low- frequency performance. Bass is very clean; not full output. Tubes, 12AX7, 2- 6V6GT, SY3GT. Prices: standard thumping or breath - taking, but quite even and (to my model, $89.95; with switched auxiliary input channel and in- speaker on -off switch., $94.95. Cone tweeter, $10.00 ear) fiat down to 55 or 6o cycles. Contrary to what might ternal extra. Manufacturer! Pyramid Enterprises, 3815 Trimble Road, be expected from the usual advertising claims, this is an Nashville, Term. accomplishment (in a system of such size) that deserves coagratulations for its designer. Furthermore - and per- This portable record player was designed specïfirrlly for haps mote important - it is resistant to doubling. If you school music departments, as a compact, inexpensive unit feed 40 cycles into the system, you get out 40 cycles. It that would furnish acceptable fidelity in itself and, with a is diminished in volume, to be sure, but that is a lot better good external speaker system, highly realistic sound. The than getting 8o cycles out. And you can use amplifier Symphonetce meets these requirements, and it is certainly bass boost which will compensate to a large extent for the desirable that such a unit be made available to schools. But volume diminution. we are so pleased with its performance and price that we There is a slightly larger version of this system, the think it should be brought to the attention of all HIGH 3oW, which bas twice the speaker complement of the 15W FIDELITY readers; it would make an ideal auxiliary record - and twice the power -handling ability. It sells for $r99.95. playing assembly, portable enough to bring along on vaca- We haven't heard it, but if its twice as good as this one tions, and merits serious consideration as the initial element it must be very good indeed. - R. A. of a low -cost, expandable primary system The turntable is a standard Collaro three-speed manual player, a hi -fi standard unit. Only visible controls are the Pyramid Symphanette Player speed -change lever, the cartridge turnover lever, and the weight adjustment lever on the tone arm (which increases SPECIFICATIONS (furnished by manufacturer): a portable table - stylus force slightly for playing 78s). A spring clip holds record player with built -in amplifier and speaker. Utilizes model the arm to its rest; release the dip, the Collaro model 3/544 three -speed record playa (manual) with lift arm and move Ronette TO- 284-0V turnover cartridge; modified Grommes L3-3 it to the right, and the turntable starts; sec the arm down on amplifier; 8 -in. speaker (with or without separate tweeter) - in the record, and when the record is finished the motor shuts case designed to act as enclosure. Dimensions! 13 3/8 in. deep by 15 1/8 wide by 123,4 high overall. Controlss turntable speed Continued on page 104

TESTED IN THE POCKET: local movie theatre - or most anyplace else, for that matter - where, with a confederate, the show could be The Regency Radio stopped in no time at all. Soft music (nor from the screen!) would be heard in one parr of the theater. When the usher, Not long ago we had a day at The Publishing House supported by the manager, was on the verge of evicting which was considerably more frantic than usual; everyone bodily a suspected but unproven culprit, the music would was under severe pressure. It was last- minute deadline . . . cease ... and soon whisper forth again from a different and printing schedules are made to be made, not broken! part of the theater, from a different culprit. You can let During the course of the afternoon, it seemed as if the your imagination carry this happy scene to its conclusion; strain had really become too great; several members of the you can also conjure up many another practical joke par staff reponed that they were hearing very soft music excellence: the Regency Radio slips into a man's trouser from time to time. Now, music is seldom if ever heard pocket with ease. Its tiny built-in antenna is (in fringe around the HIGH FIDELITY offices; we reserve that for areas, at least) moderately directional so that a twist of the our homes. So this was an unusual phenomenon. Roy body will silence a station, if the volume isn't turned up too Lindstrom left bis drawing board ro explore the office loud and, even io the daytime, you can get quite a selection next door; refreshed by this interruption to the grind, he of stations. beard no more music when he returned. Warren Syer, talk- You can also let your imagination wander over the prac- ing to an equipment salesman, was positive that he heard tical uses for this ultra -compact, transistor radio - the music (and not from the salesman, either); that it faded first one, as far as we know, to utilize transistors (four) for in and out, and was very faint; the salesman - ears attuned commercial, broadcast receivers. Since transistors are only to the jingling of a cash register - did not hear it still expensive, and the Regency quite a marvel of com- at all. Roy Allison suspected that the comings and goings pactness, the receiver is expensive - $49.95 - and of of the Publisher had some correlation but was uncertain course, it makes no claim to being hi -fi. It's a lot of fun, how the music could come and go when the Publisher was and also a useful accessory; it operates from a single 22/- in the room all the time. volt battery (which is said to last for zo hours) so you The Publisher, not able to keep his face straight any can take it with you wherever you go. Hats off to Regency! longer, told all ... and lec his imagination wander to the -- C. F.

102 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Now... record the whole performance... without a break

Got a favorite concert or opera program you'd like to preserve on tape? Symphony or dramatic production? Now, record ii all using new "Scotch" Brand Extra Play Magnetic Tape. With 50% more tape wound on each reel, Extra Play Tape gives you as much recording time as 1 'A reels of standard tape, plus strength to spare. This means annoying interruptions for reel change are sharply reduced to offer more perfect recording results. You'll notice a crisper tone and higher fidelity, too -the result of Electron Photo Microscope Shows the Difference! "Scotch" Brand's exclusive oxide dispersion process. By packing At left, artist's conception of magnified view of minute, fine oxide a old- fashioned oxide coating still used by most -grain particles into neater, thinner pattern, ordinary long play tapes. At right, "Scotch" "Scotch" Brand has been able to produce a super -sensitive, high - Brand's new dispersion method lays fine -grain potency magnetic recording surface. Hear the difference yourself. particles in an orderly pattern to give a super- "Scotch" sensitive recording surface that contains as much Try new Brand Extra Play Tape on your own machine. oxide as conventional tapes, yet is 5O% thinner.

RTC. U. S. PAT. OTT. COTCH w BRAND r Magnetic Tape 190 f' -. The term "SCOTCH° and the plaid design are registered trademarks for Magnetic. Tape made in U.S.A. by MINNESOTA MINING AND MFG. CO., St. Paul 6. Minn. t.. Export Sales Odic: 99 Park Avenue, Ness York 16, N.Y. In Canada: Minnesota Mining and Manufacturing Co. of Canada, Ltd.. P.O. Box 757. London. Ontario.

.JUNE 1955 T03

www.americanradiohistory.com TESTED IN THE HOME Collaro RC-54 Changer Continued on page roe SPECIFICATIONS (furnished by manufacturer): a three -speed off and the drive mechanism disengages. The cartridge is record changer that will play 7. 10, and 12 -in. records inter- mixed, Mater: 4 integral 3 the turnover Ronecte TO-284-0V, one of the best crystals of the same speed. -pole, with -speed drive mechanism. Change cycle: consumes 7 sec. regardless of - and very good it is, coo. record speed. Controls: two; speed selector and on -off reject Incorporated in the Symphonetre is a push -pull co-wart knob. Dimensions: 12 by 13,4 in. Price: $48.75. Distributor: Rockbar Corporation, 215 East 37th Street. New York 16, N. Y. amplifier of quite unusual quality for a portable. Ir is, essentially, the Grommes LJ -3 and is installed in a separate The new Collard model RC -54 is relatively simple in opera- aluminized and screened compartment at the back. Con- tion and is smaller than its predecessor, the 3 /532. Further- trols project through the side; there are three of them. Ar more, it is more versatile - it will intermix 7 -in. records the bottom is the AC power switch combined with the bass with los and 12s. Finally, the price has been reduced with- control, which gives a flat response in its counterclockwise out sacrificing performance one whit ( judging by our test unit). This adds up ro an important release for Ili- fiers, who know the Collard as one of the finer changers. Several of the noteworthy features have been retained. Plug-in cartridge shells arc supplied; the surprisingly quiet chan ever; the new changer The Symphonelie player motor and turntable are quieter offers exceptional perform- shuts itself off and disengages the drive mechanism after ance at au even more ex- the last record is played, as did the old one; a muting switch ceptional price. Very good. still silences the pickup during the change cycle; retained also is the lever on the tone arm that changes stylus pressure according to whether you're playing 78s or microgroove records. But now you can stack 7, lo, and 12 -in. records on the changer at the same time. The record "feeler" in the base position and increasing bass boost as it is turned clockwise post is more sensitive; a 7 -in. record misses it entirely and (up to 15 db). Above it is the treble control, with flat the arm sets down at the proper place. A to -in. record response when turned all the way to the left and high -fre- pushes the feeler down half -way, and the arm set -down quency cut increasing to 18 db when turned fully clockwise. radius changes accordingly. But a 12 -in. record pushes the At the top is the volume control. It should be explained, feeler all the way down as it drops, and again the arm ad- incidentally, that some treble rolloff will be needed when justs itself to hit the right spot. A record balancing arm playing records ( about 6 db at to,000 cycles for the RIAA keeps the stack from wobbling as records are dropped, and curve, according co our checks). signals the mechanism ro shut off after the last record. External speaker terminals ar 4, 8, and 16 ohms impedance are furnished on the amplifier chassis at the rear. An auxiliary high -level input and a phono- auxiliary switch, when these are supplied, are mounted also on the amplifier chassis. This option includes an internal speaker on -off switch, which is installed in the record player compartment. There is also a switched AC power outlet at the back. The standard speaker supplied is treated with Geon, which softens the cone suspension and lowers the cone resonance frequency. This is particularly important in a small enclosure. With the cover down the sound is full - bodied and quite liscenable, with better bass than might be expected. We believe that the optional tweeter would be well worth while if the built -in speaker were to be used a larger of extensively. With external speaker system, Smoothly working versatility in the Collas-o RC -54 changer. course, the sound is improved quire noticeably; it can be Everything seems to work smoothly in the RC -54, and labeled truthfully "high fidelity." very fast. No sooner do you push the on -off reject knob to The case is of plywood covered with a fiber -like paint; it Reject, for example, than the tone arm lifts and in five or can easily be repainted as desired. There is a sturdy, com- six seconds another record is being played. The speed - fortable carrying handle. Altogether, it appears to be well - change easily and clicks into place. Each speed designed and strongly built, offering exceptional perform- knob moves was very close to exactly right on our trial changer. We ance at an even more exceptional price. R. A. - like the rubber turntable mat better than flocking or composition mars; in fact, we like just about everything on this changer, including the price. Only complaint: there's a popping noise in the loudspeaker when the motor shuts off. It should really have a built -in condenser. -R. A.

104 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "Well worth careful consideration" -HIGH FIDELITY TITH REPORT

flthM .. STENTORIANS RtonxLACoz

The superb, British made Stentorian line of High Fidelity Loudspeakers provides types and 12" Duplex (twin concentric) sizes to fit $99.50 every audio purpose. Whether you select full range Response, 20 to 20,000 cps; boss resonance, 35 cps; built-in crossover; coaxial speakers or extended wide range direct radiat- 15 watts; gross weight, 16% lbs. Series Alcomax magnet system; net ors, tweeters or woofers you'll find a weight, Stentorian to suit 111/2 lbs.; 31,000 Gauss; two 11/4" voice coils. you perfectly. All models feature the revolutionary 12" Extended Range Direct Radiator $42.50 patented Stentorian cambric cones and suspension; Sizes 8 inches and up feature non- resonant die -cast Response, 25-14,000 cps; boss resonance, 39 cps; 15 watts; gross chassis. Stentorians are unmatched in performance, weight, 10 lbs.; Alcomox magnet, Sys lbs., 14,000 Gauss; 1'h " V /C. craftsmanship and value. Hear Beam Stentorians - the 10" Duplex (twin concentric) $44.50 Sound that "stands alone" - for yourself and be Response, 30 to 16,000 cps; 10 watts; gross weight, 614 lbs.; 3 lb. 9 oz. convinced. Alcomox series magnet system; 25,000 Gauss; two 1" V /C.

fijyJ 3 way variable impedance DIRECT RADIATORS i-8 -15 Ohms You select the perfect impedance match for your system! HF 1012 U-10" $15.95 Extended Range Response, 30 to 14,000 cps; bass resonance, 35 cps. 10 watts. HF 912 U-9" 12.55 These models also available with 15 ohms V/C only. All have 12,000 Gauss, 2 HF 812 U-8" 11.95 lb. 1 oz. Alcomox Magnets.

The Beans QUAD is a truly superior audio QUALITY without Compromise instrument, providing uncompromising qual- BEAM ity plus unparalleled flexibility of control. Its scarcely traceable distortion is inaudible at any volume. Acid high efficiency harmonic QUAD filtering, push -button equalization and chan- AMPLIFIERS nel selection, plug -in pickup matching, balanced feedback throughout, 13 section output "Should Satisfy the Most Critical" transformer, superb British craftsmanship, Response, 10- 60,000 cps; 0.5 db -Audio Equipment Report and the most functional styling in 20- 20,000 cps level at full 15 wafts high fidelity today and you can see why QUAD Total Distortion, at 700 cpt, less than 0.1% - Quad Il Amplifier $130.00 is the recognized world leader in high Max. Intermod. Distortion less than 0.4% quality Q.C. Il Control Uni $120.00 audio reproduction. Hear it at your earliest 3 position Filter Slope Control; Level to 50 db/ octave System Complete $237.50 opportunity.

Send for literature and detailed specifications on the Beam Products described above, and on Slenlorian BEAM INSTRUMENTS CORPORATION Speakers from 5" to 12" sizes,5 and 15 watt pressure horn tweeters, matching crossovers, the Stentorian 18" 350 Fifth Avenue, New York, N. Y. woofer and Beam enclosures. Charter Member: Institute el High iidenly Mmmtoclu.e,s. Inc

JUN1=. T955 Ios

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TEL The Telefunken products shown on the opposite page are sold at leading dealers throughout the country. Below is a partial list- OUT of my spectacularly rechni- among the faithful subscribers to this ing: colored, stenrorianly sterephonic, and other journals devoted ro music Walter Mitryish dream life, the and audio, how many boast collections Phoenix, Axis. Ashland, N. Y. Minthorne Music Co. Ashland Radio E wraith- recollections of one recurring of music books that compare even re- Supply Co. episode often my waking mind. motely in size, cost, and use with their Beverly Hills, Calif. haunt Minthorne Music Co. Bronxvitle, N. Y. In them I am transformed into an record libraries and magazine files? Ferris Radio omnipotent research- Nor long ago James Hinton. Jr., Bridgeport, Conn. and omnipresent made

Borneÿ s Rodio & TV Brooklyn, N. Y. er conducting a country -wide home -ro- an admirably cogent plea in these very Brooklyn Camera home canvass in search of data for a pages for the case of books on music Greenwich, Conn. Exchange Craig. Greenwich monumental Darrell Report on the and musicians, and succinctly surveyed Electric Co. Garden City, L.I., N.Y. Love -Life of Music Lovers. the outstanding general and reference Gorden City Music Hartford, Conn. II will shake the world when it ap- works (HIGH FIDELITY. October 1954) The Record Shop Glen Cove, L.1., N.Y. pears. And only one annoying minor and biographies and autobiographies N. Lowres TV New Haven, Conn. detail holds it up: although my noc- (December 1954 issue). I don't Loomis Temple of Great Neck, L.1., N.Y, Music turnal polls have covered thousands of imagine that many of you skipped his Vernon Shop listeners, each of whom responded articles or read them without a mental Stamford, Conn. Woodmere, L.I., N.Y. Atlantic Electric Co. freely and fully to my long lis: of resolution to look into at least some of Long Island Radio searching questions - I just can't re- the books he discussed. But how many Waterbury, Conn. Mottofock Music New York City, N.Y. member, awake, a single answer! ( if any ) volumes did you actually buy, Abercrombie 8 Filch Some bright morning, perhaps, VII or even draw our of your local public Wilmington, Del. G. Schirmer & Co. Gimbel, Deist. Store find all my dream memories miracu- library? Wilmington Electrical Harvey Rodio Specialty Co.. Inc. Haynes -Griffin lously preserved, or my imaginary From disheartening experience, I've Henry Mielke Washington, D. C. Liberty Music questionnaires actually piled up on my lost all optimistic illusions char any Campbell Music desk, filled out in other than invisible general music -book propaganda, how- Canton, Ohio Miami, Fla. Burroughs Radio ink. Meanwhile, the tantalizing lack ever persuasive, can bring about sub- Hagler Rodio Co. of this precious information remains permanent in Cleveland, Ohio stantial or changes the Atlanta, Ga. Edelmuth Co. not only the most grievous handicap currently pervading climate- if not Baker under which I and every other writer of opinion ar least of habitual in- Communications - Columbus, Ohio Thompson Rodio on music, audio, and records must action. I fully agree it's a lamentable Chicago, Ill labor, but a crippling burden on the state of affairs; indeed as a writer my- Voice & Vision Dayton, Ohio von Lengerke & whole sound art and industry. self I have the liveliest personal con- Antoine Stotts Freedman Co. Think what ir would mean if we cern (nor co say financial incentive) in New Orleans, La Lima, Ohio could know in what proportions musi- its betrerrnent. Bur while I'd love to A. B. Denny Lima Rodio Co. Radio Co. cal experience is derived from disks, think that my colleagues and I have an Allentown, Pa. rapes, broadcasts, "live" concerts, and incalculably valuable message which Boston, Mass. Baker Boston Music Co. Communications personal music- making ... the exact the public fails to appreciate out of The Listening Post Harrisburg, Po. number and nature of home sound sys- sheer, obtuseness, laziness, or niggard- Brookline, Mass. The Music Box tems (and their operating condition) liness, I reluctantly have ro assign such Smith & Hosen Philadelphia, Pa. . the contents of every home record wishful thinking ro my alter ego's Lexington, Mass. Bailey. Banks and collection (and the bases on which Mitryish dreams. The hard daylight Pate's Music & Biddle new additions are selected) . . . the fact is that, while many things well Appliances Co. Witte Radio TV Co. wich the potential read- Detroit, Mich. precise amount of technical knowledge may be wrong Pittsburgh, Po. every hi- ing public, lie else- Crandall Wholesale Superior Distributing commanded (or desired) by the basic troubles Co. Co. fi fan ... which pertinent magazines where. This is the age of a "new Kansas City, Mo. Reading, Po. and books are read, why they are illiteracy ": the climate of our times is David Beatty Rodar fosiq, Inc. chosen, and just what materials and unfavorable to all kinds of books and Englewood, N. J. Providence, R. t. authors are found to be most provoca- no one- writer, publisher, or non- Music Mona, Axelrod Music rive, instructive, and illuminating ... ! reader- knows what ro do about ir.

Haddonfield, N. .1. Greenville, S. C. Now I'm sure that the rewards, in I certainly haven't any solution to The Music Box Balk Simpson both entertainment and education, of this problem. My bes: guess (and ir is visual aids to aural experience are well only a guess) is that the right answer, enough realized - in rheory, if not in if it exists at all, will somehow involve practice -by most listeners. Bur Continued on page JôÑ

Toi) HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com LISTENER'S BOOKSHELF Continued from page toó the formation -or re- establishment - of reading habits, which less than a century ago were the rule among music lovers, bur which in the present generation of listeners are sadly exceptional.

1 doubt whether book costs are any great handicap: they're higher than e they once were, but they're still not N E NA/ prohibitive, nor far out of line with GOMB the prices of records and audio equip- MI RACORD ment -which do sell vigorously today. XA -100 cez., c 2500R The current demands on time and energy probably LABORATORY STANDARD are more to blame - REMOTE CONTROLLED but where do so many people find the hkaltt time and energy co pursue other, non- reading hobbies? Book distribution AMPLIFIER The superb craftsmanship of the Here is the product of perfec- and promotion methods surely bear a Miracord XA-100 permits only tionists, for the perfectionist in heavier load of responsibility-but, the recording, not the surface hi -fi. Designed as a laboratory even so, the whole high fidelity move- standard by one of America's noise of the record, to reach foremost amplifier specialists ment got its starr and made its most your ear! since 1937. Remote control unit sensational progress at a time when it less than four inches high and took an international spymaster's train- deep, only nine inches wide, can ing to track down wide -range com- AVAILABLE be placed up to 100 feet from ponents and when audio advertising at all leading distributors equipment center. Response in- and ( inside throughout the United herently excellent to 100,000 cy- criticism as well as outside cles ... distortion less than M00% professional technical circles) was piti- States. fully up to 10 watts ... less than :;¡o% skimpy in quantity and chaotical- If you are interested in high at 20 watts ... full 25 watt out- ly contradictory in quality. fidelity you owe it to yourself to put ... "Audi- Balance" distortion No. Any satisfactory explanations see and hear this remarkable control gives lifetime instrument. you free- must dom from distortion, and only be sought elsewhere: in some Newcomb has it... 6-position realm involving more strictly "human" bass crossover and treble rolloll' values. The characteristic psychology, controls give 36 recording curves. or psychologies, of listeners have yet Write for complete details. ro be explored in any depth, but even by the fragmentary insight we command so far it seems ro me that the significant reasons for the present failure of popular support for music and audio books will prove to include two viral deficiencies: 1) a lack of in- The Miracord XA -100 comes fectiously communicable enthusiasm equipped with the "Magic ( nor merely in writers' attitudes Wand" spindle that preserves the cowards their materials and their audi- life of your precious records. NEWGOMB ences, but also in reviewers' and read- SINCE 1937...THE FINEST ers' responses) : and 2) a lack of Pl44.4 ALL THESE FEATURES larger perspective (again both in No Wow, NEW! HI -FI Guidebook writers' and publishers' tactical com- No rumble. Intermixes 10" and 12" records. "Hi -Fi Is For Everybody" explains promises between specialization and Interchangeable plug -in heads. how to select and install comprehensiveness, and in reviewers' your system. Thoroughly and readers' capacities for distinguish- Ball- bearing- suspended turntable and illustrated. lone arm. Not a catalog. ing ephemeral and lasting values). Adjustments without tools. I Of course can't fairly expect that Push button operation. NEWCOMB, W-6 Dept. any such notions as these, still amor- Pausamatic the user's choice of time 6024 Lexington Ave., Hollywood 36, Calif. - phous, will impress you any more than lapse between records from 5 seconds Here's 25e for new book, "Hi -Fi Is For Everybody" they do me. But let us see how much to 5 minutes. Please Shipped complete with leads and send free information on the Newcomb they can help us in appraising Classic Series 2500 Amplifiers some plugs, ready to play. currently pertinent publications-al - ways remembering that the natural AUDIOGERSH CORPORATION first questions of any prospective read- Address 23 Park Place er are sure ro be: "Is this a book T'll State New York 7, N. Y. L ty Continued on pager ro

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_JUNG 19S5 139

www.americanradiohistory.com r LISTENER'S BOOKSHELF Tins encyclopedic volume by Hi -Fi experts shows 115%ÑWUK unprecedented Continued from page rot( you bow to get the best and most for your money. FM AM It tells and shows every- and enjoy ?" "Has it got information I thing you need lo know! need or can use and, if so, is ir pre- How to make equipment sound better. How to tat, reception the sented so I can grasp it without buy, install, and use Car- at a sensible price benefits of a bachelor's degree in music tridges, Turntables, Amplifiers, or engineering, or both ?" And finally, Changers, Compensators, Speakers. "If I do want to read ir, either for fun How to choose the com- or enlightenment, will it be enough Fi ponents that sound best together. How to avoid worth re- reading or frequent reference costly mistakes. How to to warrant the cost of owning a per- da:gn and build your own to manent home- bookshelf copy?" Ili -Fi cabinet. Where at place your set for best performance. Every new Eli - Audio- Baedeckers for the Layman Fi development- straight from the labs! Special sec. the guiland The problems of contemporary audio- Lions on Tape Recorders, Money. philes, anxious to get into the hi -fi low Hi -Fi TV, and Saving Home Hi -Fi Re. swim, but not as high as their necks, pairs! Over 300 photos and diagrams make every- still remain CO be sensationalized in thing dear - even to the book form (probably because so many most unscicntific music. magazine articles and audio -show cos!! lover. List of recommended dealen and manufac- demonstrations have taken care of that Guaranteed turers. There's no book job in other ways). But they continue to answer all your like it, and you can't lose questions -or with ro publishers and writers this no -risk, money- hypnotize your money back. back offer! custom quality in a with the golden delusion of mass sales 208 pages, 8" x I I", $4.95 to the most gullible market perfect package 4" high specialized NEW HIGH FIDELITY HANDBOOK available today. Or is it as gullible as By Irving Or d James Radcliffe Here is the tuner that offers you more it appears-at least to verbal rather sreo No SIONCV, unless this book proves Its for your money in every way: extraordinary value to you within 10 days. Order from Csoww P5.C11313M.. Dept. An. 419 4 h Ave.- N. Y. 16. high fidelity tone, exceptional than sonal titillation? Maybe. I'll sus- If not delighted, return book and pay nothing. Otherwise pay only 64.95 plus few cents Post- and pect so if many listeners actually fall age. Save postage by remitting now (Same selectivity sensitivity, more gain and refund privilege). high output, beautiful "space- saver" design. for all the enticing lures displayed in The KAULAND 'GULDEN GATE ' brings the ads for William R. Wellman's you a revelation in FM enjoyment, High Fidelity Home Music Systems a new experience in AM listening. ( Van Nostrand, 53.95 ) and William J. Kendall's Hi -Fi Handbook (Cro- with every desirable feature ... well. S2.95). FM response, ± .5 db, 20 to 20,000 That isn't to say that ( duly discount- oued cycles; AM, ± 3 db, 20 to 5,000 cycles. ing the blurbs) either book is impos- Sensitivity: FM -5 microvolts for 30 sibly bad, or nor worth its cost to a db of quieting; AM -5 microvolts for 1.5 completely naïve audio neophyte. But volts output. Separate RF stage on both FM and AM; nor only are the title -adjectives mis- EXCELLENCE discriminator with dual nomers ( unless you're willing to grant Always at the head of its limiters; Cathode follower a serious writer and publisher the saine class, with honors in profes- with 2 outputs; AFC; flywheel Lastex leeway you tacitly concede to sional studio service, this Stephens condenser tuning; FM di -pole antenna, etc. micro- the advertising copywriter for $29.95 phone is the natural choice "high fidelity" phonographs) : there's of the home user who knows the . nothing here that hasn't been written difference designed for the single microphone better and more fully elsewhere. Well- system, because it is engi- man is an instructor in a vocational neered to pick up not only high school and his elementary de- all the lows and highs you've come to expect in fine high scriptions of system principles and fidelity recording, but the components are laboriously scaled full dynamic range of sound as well, "space- saver" design down to the presumed mentalities of from a low throaty whisper to full Wagnerian Only 4- high -fits anywhere. his students. If you want derailed, brass. Beautiful charcoal black properly primerish instructions for Sensitive, of course, but marbleized finish with brass speaker enclosures rugged enough to withstand control escutcheons. Also constructing simple in your home workshop, or connecting shock. This is an expensive easily mountable behind any microphone, but the proven custom panel. Tuner may be used an RCA -type plug to a single- conduc- results indicate its value. up to 200 feet from amplifier. tor shielded cable, Wellman's your Hear the man -but build his suggested "wide- RAULAND ST S "Golden Gate" Tuner range" (no feedback) amplifier and at your Hi -Fi dealer, zero -bias pre -amps at your own risk! or write for details Stephens Manufacturing Corp. Kendall, apparently a pro engineer- 8538 Warner Drive RAULAND -BORG CORPORATION ing writer if not engineer, is animated Culver City, California 3515 W. Addison St.. Dept. F, Chicago 18, III. , by at least a modicum of enthusiasm,

CO HIGH FIDELITY MAGAZINE

www.americanradiohistory.com but he is neither persuasive enough to convert doubting audio Thomases «Irolher nor Now...easier authoritative enough ro impress the razier -may faithful. more versatile On a comparable ( the reader's operation for... classic probably a dope, anyway) level, there's far more useful information in the Fawcett paperback FIRST TRUE Hi -Fi THORFN5 CD -43 Adarsaal, which you can get at your newsstand or supermarket for 75 cents. THE ONLY HI -FI CHANGER EXPONENTIAL Bur, in larger perspective, if you're anxious to get a little easy -to -take HORN in a. technical grounding in sound- repro- duction principles, you still can't do better than with Weiler's High Fidel- CORNER ity Simplified (Rider, t952). Edward Tarnell Canby, the spryer - than -ever grandpappy (42) of all MODEL evangelist -mentors for the audio layman, has just brought out a revised SIMPLIFIED It's another first for Frazier- edition of his Home Music Systems May an amazingly SPEED CONTRO ... true ex- How to Build and Enjoy Them ponential corner horn utiliz- - Dial- selectio of (Harper's, $3.95 ), which retains all ing the same amazing and any of three s eeds the best features and eliminates most exclusive damping formula in plus a fine -tu ning of the poor ones in his original ver- the now- famous Twin 70. The knob to permit xact low end extends down to 32 sion. It still may be a bit too colloquial cycles; will reproduce with and "of-course-Fin-no-engineer-but" in pitch adjustm ants exciting brilliance all the style for some tastes (e. g., mine), but above and belo all notes of a pipe organ. In addi- it bubbles over with irresistibly infec- standard speed tion, it will handle sounds of tious gusto: here is a born tinkerer and percussive nature with amaz- musician who finds tremendous unpro- ing trueness. Two 90 in. 32 fessional delight in audio and knows cycle air columns. Tweeter just how to convince others that they 250 horn: cycle rate of taper. roo can lind and relish the same Cross over at 600 cycles. - - fun. He covers all the basic points of 1 I the orthodox system -manual "formula," but far transcends it by prodigally add- CONTROL FOR ing diverting extras, including perhaps MANUAL OPERATION most notably an invaluable layman's Allows you to dis- introduction to the notion of "geo- metric progression" and - in this edi- engage the automatic tion -a fine new chapter on current trip mechanism and prospective developments. to enjoy flexible As before, the most striking attrac- operation. tion of the book is Canby's uncanny ability to anticipate (and answer satis- factorily) almost every question the Plus an improved direct -drive motor with separate gear for each speed bewildered audiophile- novice is likely ... for absolute speed constancy UTILITY MODEL $297 to ask, plus many that probably won't and silence. occur ro him until he's emerging from FURNITURE MODEL $375 his apprenticeship. And while there Size: 33 inches high, 46 in. wide, still is cause for complaint that Canby 29 in. from corner. Mahogany, fails to set his hi -fi standards high honey brown mahogany, ebony, enough ro suit fanatical purists like tobacco finish birch, or limed myself, either I've become more tol- oak. Other finishes available on erant in the last couple of years (which special order. is unlikely), or he makes a more effective case for the practicable "relatively best for a moderate price" versus the See Your Dealer or... for more about new International costly absolute "best." Anyway, I'm improved Therens Record Changers, Players and Turntables write: now completely convinced that this is `. Electronics a well -nigh ideal, certainly an indis- lk,i: Dorm pensable, guidebook for the average WISs IIiFICnRr-,I, Corporation -mos sn,.n,,,,Iw<-m..n non -fanatical potential or actual audio- THORN -\ Ltnlm 159 HOWELL ST.. DALLAS, TEXAS phile. You can't afford ro pass this by.

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Beautiful Paragrid -styled cabinet fits 6.8 plastic gives high sensitivity and handles 12 watts of audio con. anywhere and in any decor Just plug in play. to tinuously. Clear tone frequency. Response is exceedingly In ebony -only ;3995 flat and smooth from 40 to 12,000 cps and is down only 5 DB at 15,000 cps. Many customers, visiting our Audio Dept., thought they were listening to a $50.00 unit when Model T 160 FM TUNER they heard this amazing speaker. Buy now at $9.95. Including built-in antenna. Installation is nothing Use them in pairs 2 for Only $17.95 more than connecting this tuner with any ampli Beautiful 6 tube chassis for Fier and speaker whether separate units or in. Special quantity prices available for ItiPi and PA Dealers Model 610 high sensitivity and drift - eluded in existing radio, TV or phonograph. Can Write for quotations. free performance. Only table be attached to above Pilot TV for FM reception. 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1I2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THE NICEST PEOPLE Continued from page 46

getting better and bcuer all the time. The number of people who will break the news to a dealer char they are interested in all the records ever made by, say, Mischa Q. McMonagle, the dean of tin -whistle virtuosos, and will the dealer please send a complete list of all the records ever made by char nonpareil artist, is very much larger chan one might suspect. That Hi -Fi Accessories particular problem child is quite un- with Your concerned that McMonagle did his Tape Recorder snuff for umpteen companies here and abroad over a space of thirry-three years, eight months, and two days. He THE WORLD wants that complete list! So the dealer, Diminuette Speaker System FAMOUS being a compassionate soul and some- Popular 2 -way Royal what soft in the head, accedes to this Hi -Fi Speaker System. For demand. I-Ie works through stacks of The popular Royal 8- wide-ronge tope your best value in o catalogues and circulars for a couple playback. Ultra hi-fi speaker. Outper- of days, and compiles it. Whac fol- compact. Uses 2 Royal 6 inch speakers, 32KTR Super tweeter forms many larger lows? Does he get an order? Does speakers. Features o he and hiposs filter. Response: 50 to 16,- slotted, treated, blue get thanks or any acknowledgment at 000 cycles. Size: 23W' W x 111/2" H x 12" D. In Korino Blonde er Mahogany cone; highflux, slug - all As a rule, he gets nothing or, at veneers. type magnet; clean re- best, word that the production of audio collector already NETch $49.50 ro nge. has all of those listed, and merely Royal 8, Model wanted to be certain he had missed High- Fidelity Headphones 8T -8 -1 8" Speaker. none. Well, such is the sucker's rec- Ideal for monitoring NET .. $ 1 3.50 ompense. tape recordings . . . Again, one encounters collectors of assure professional re- ROYAL 12, MODEL 12UP -8 12" -1. -cut-outs," who harbor the notion that sults. Perfect for every version of Royal 8, above. Use with hifi listening applica- 32KTR -C Ki:, below, for coaxial perform- asking the record merchant to run tion . use with the ance at low cost. NET $21.00 down a particular discontinued disk is Permoflux Maestro. (See below.) im- equivalent almost to having it in their pedance: 8 ohms. (Plug -in transformers for other impedances available.) '7¿ew 32KTR -C Coaxial hoc little hands. Actually, the serious HD -1. Tweeter Mounting Kit tracking -down of cut -ours is a major Model $27.90 project, time- consuming and costly. Deluxe Model. HD -100. $45.00 NOW -mount the The percentage of success is small. NET 32KTR Tweeter cooxi- Frequently, when a desired cut -out ally on your present 12" speaker, or the has been located, the party who had Maestro Speaker- Headset Royal 12 described wanted it has lost interest, obtained it Control Box above. Consists of elsewhere, cries murder at the price, For connecting Hi-Fi headphones (or ex- 32KTR Tweeter, arms, to recorder disclaims ever asked for it. tension speaker) tape or hi -pass filter, hdwe., or having amplifier. With volume control. Distinc- instructions. Easy to In ever so many ways the conscien- tive styling. Mahoçony -finish cabinet; instoll -no soldering. tious dealer is at a perpetual disad- gold -finish raised front panel. Sire: 5" 10' /." W x 63:" D. NET ...$1t 2.60 vantage. Not only is he the victim of NET $10.50 32KTR SUPER TWEETER ONLY. Pro- countless impositions, but he feels vides true -to -life highs; uses paper cone obliged to guard the interests of his -same cone material used in woofers. customers against unscrupulous pro- M -53A Telephone Pickup Crossover range, 20006000 cps. ducers and distributors, too, even when For recording both sides of NET $9.45 telephone conversation on the customers seem to be hell -bent tape with crisp, clean re- NK -60 6000 -CYCLE CROSSOVER upon getting themselves fleeced. One sponse. Fits any type of phone. Plugs into mike jock NETWORK. Ideal for use with 32KTR -C thing is certain, and that is that if any- Kit, Tweeter and any of recorder. Complete with Coax or 3íKTR thing is advertised with sufficient good woofer. Provides complete separa. 6 feet of shielded cable. tion of lows and highs. NET $9.00 flamboyance and the copy is liberally NET Oe507 larded with pseudo- scientific poppy- the public cock, the job of guiding CORPORATION fall/YYLC4 CORPORATION back to the paths of common sense is so formidable as ro verge upon utter Dept. C, 4916 Grand Ave., Chicago 39, III, Dept. F, 4916 Grand Ave., Chicago 39, III. impossibility. One record producer of 4101 Son Fernando Rd. Glendale 4, Calif. Campbell Mfg. Co., Ltd. 4101 Son Fernando Rd. Glendale 4, Calif. put it thus: Canadian Licensee: Canadian Licensee: Campbell Mfg. Co., Ltd. unimpeachable integrity Continued on next page

JUNE 1955 113

www.americanradiohistory.com THE NICEST PEOPLE Exciting High Fidelity Firsts! Continued from preceding page In these superb motched instruments-enjoy the foremost advances in High- Fidelity- startling realism - lowest distortion - precision "Sometimes is is difficult to give the craftsmanship- gleoming polished chromium Novelty public an improved piece of merchan- chassis. dise far in advance of the field, We shall now conform to the regular com- in Speakers mercial patterns." The concern had begun offering records made of darn - Coronation 400 age- resistant, vinyl- styrene compound, but could not get acceptance of them AALTIFIER ideas one because the surfaces were slightly less 40 Among the ill- founded encounters so often from High silent than those of the easily damaged Fidelity enthusiasts with little and less durable saponified vinyls. It is know -how is that results are my understanding that the Czecho- directly proportionate to complexity slovak record trust had to withdraw its of equipment. entire original catalogue of LPs for Yet the finest audio amplifiers this reason. in the world are remarkable for Every record dealer is victimized their lack of complexity! Their regularly by thieves who are ingenious excellence springs from careful in the extreme. The balinacaan type of design and the use of top grade overcoat with a huge pocket sewn in- components. side the lower back panel has served When one comes to the Loud- ro spirit even 12 -inch albums our and Greatest amplifier buy today! COMPLETELY the weakest NEW, NON- RINGING NEGATIVE FEEDBACK speaker - inevitably into the night! The side pockets take CIRCUITRY -over 50 DB feedback. CUSTOM link in the chain - the idea that 7 -inch records beautifully. In the CRAFTED - sealed transformers, encapsulated networks, finest molded components on Bake- a complex unit is necessarily acoustic days the soundboxes or re- lite terminal board. DISTORTION -FREE - less the best, is even less logical. For producers had to be wired or soldered than 0.05% at 30 watts. POWER RESPONSE ±0.1 DB 16 to 35,000 cycles at 30 watts. Sur- it must be remembered that the on to the machines in the listening passes FCC requirements for FM broadcasting. responso. 40 WATT WIDE - object of the Loudspeaker de- whereby a 5 to 200,000 cycle booths. The switch -racket, RANGE OUTPUT TRANSFORMER, sealed multi- signer is to achieve accuracy beat -up record was left with the dealer ple section windings, thin strip coro.. FOOL- of reproduction and naturalness, not PROOF DAMPING CONTROL for startling in place of his factory-fresh stock speaker performance. BUILT -IN POWER for novelty. This is work for the ex- number, is as old as die disk record preamplifiers and newest electrostatic tweeters. perienced engineer who concerns business itself. Bad credit and bad himself with precision. checks occur as in any other commer- in the world The finest Speakers cial area, but it is a real thrill when a like the finest Amplifiers are check for one dollar bounces back, in conception but built to the simple ragged "Insufficient funds"! Coronation 90 precision standards of fine instru- For a brief period in the earliest CONSOLETTE PREAMPLIFIER - ments. days of wire and rape recording there EQUALIZER Such a Speaker is the Tannoy was a rash of rejections of records Dual Concentric, which looks like based upon the most tenuous of con- many other speakers (outside the siderations. There was good reason to novelty class) but is so often believe that some of the early birds described by High Fidelity en- were making their own wire or tape oël thusiasts with 'know -how' as the Rolls - dubbings and then returning the rec- Royce of them all. ords they had ordered for the purpose to the dealers. $8950 SPECIFICATION The nut fringe, distinguished for Incomparable companion to the "CORONA- Frequency response 30- 20.000 c.p.s. t or -3d13 vehemence, intemperance, and intoler- TION 400 ". EXCLUSIVE NEGATIVE FEEDBACK Polar Distribution for 60. inc. angle -4dt1 CIRCUITRY. Over 50 DB- virtually eliminates et 10,000 c.p.e. ance, arc perennially on hand. Satu- distortion. Surpasses FCC requirements for FM Inter-modulation ProdueM less Than 2 %. rated with opinions, they not only can Broadcasting. 5 to 200,000 cycle response. CUSTOM CRAFTED -polished chromium chassis, tell the dealer how to run his business, satin gold front panel. Encapsulated precision networks, molded components on Bakelite but they are red -hot for or against this panel. EXCLUSIVE PRESENCE and LOUDNESS or tbs.: composer, this or that artist, CONTROL, continuously variable. Rumble and \TANNOY/ Scratch Filter positions. FIVE INPUT SELEC- this or that record company, and this TIONS, 25 PRECISION PLAYBACK CURVES. or that apparatus for sound reproduc- FULL 20 DB DISTORTION -FREE Bass and Treble compensation. Phenomenal lowest noise Z -729 TANNOY TANNOY don. There are the lads ro whom input tube HUM INAUDIBLE with all controls (America) Ltd.. (Canada) Ltd., anything antedating the day after on full. Highest gain. Built -in power for motion FM phono cartridges, con- 36, Wellington St. East, picture photocells, 38 Pearl Street, tomorrow is obsolete, disreputable, and denser ms rophones. Ultra compact, easy front Toronto I, utterly unworthy of notice or mention. mounting New York 1, Ontario, Now at your focal dealer! It stuns them to learn that amplifica- N. Y., U. S. A. Canada. tion and reproduction of the full range INTERELECTRONICS of audible sound, today's `hi -fi,' was 2432 Grand Concourse "old hat" circa 1930; that good electro- New York 58, New York

114 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com stoic speakers were in limited use almost as long ago, and that the low - Do you know speed, long- playing record goes back the world three decades. Featherweight pickups and records playing up to an hour on is you can own a side were laboratory items nearly twenty years ago, too. That does not mean, of course, that the years since your oyster have been barren of progress, but that progress has been mostly in the direction of achieving the results desired SPEAKER with greater certainty, with much more compact facilities, and at prices not so fantastically our of reach as in for only $49.50 those early days. The eight- hundred- pound amplifier, for instance, has passed into history along with the high- wheeled bicycle. But what was called "auditory perspective" in those long -gone decades now goes by the name of "binaural" or "stereophonic" sound! A more recent gag, born in this Here's a new delicacy to satisfy the era of if -you- don't -like -it- for -any-rea- taste of the audiophile the entire return -it, is the widespread prac- - son- world. Famous European music tice of unloading LPs on dealers, ocher festivals, outstanding foreign symphony Jepemeitj than the concerns from which they orchestras, quaint folk music or news were obtained, for credit or exchange. "the little speaker with the big voice" from the capitols of the world are To return to the nut fringe -we yours at the flip of a switch. have to consider the numerous ecstati- cally impatient souls who, upon receiv- THE `BROWNIE" You won't believe it, but ing parcels of records, do not rake the AM- Shortwave tuner (Model L -500) rime to ascertain how they may be adds a new dimension to your hi -fi Audio Response -55 to 16,000 cps. effort, but, system. The shortwave reception is Speaker Components -8 inch bass opened with a minimum of driver in 36 inch exponential horn. instead, tear at them in maniac frenzy equal to that of a professional 3'.2 inch tweeter and specially de- or virtually blast them open, and then communications receiver, and the AM signed crossover network. Impedance: denounce the mails and the dealers for is of the highest quality. It's the first 8 ohms. tuner of its kind - designed principally Construction veneers fin- the debris they uncover. In passing, - Korina for your hi -fi system. ished in Blonde, Walnut, Mahogany breakages almost always seemed to Price $8750 or Ebony hand rubbed lacquer. occur among the records comprised in Wrought iron legs. Unique Features -Curled, not fold. sers; rarely among singles. Replacing ed, exponential horn (1% of formulo). parts of secs has always been cne of Multiple flore formula (patent applied the most frustrating, frequently futile for). Passive phasing chambers. 24db/ octave acoustical crossover. Distributed obligations of record dealership. The throat characteristic (not found else- gradual disappearance of shellac is the where). happiest development of the era, from Sise -19 x 12 x 9 inches. the retailer's standpoint. The record merchant who has never Other Stan White Cabinet Speakers had ro serve a Johnny -one -note char- LeSabre -24" x 15" x 12 ", Frequency acter does not exist. He drops in and Sensitivity 1 to 2 microvolts. IF amplifier for broad and sharp bandwidth Response: 40 to 16,000 cycles 79.50 - - - reccud - proclaims, "I wanna getta 10 Mc whistle filter. Esquire -30" x 24" x 16 ", Frequency it - goes - like - this - but - I - don't - High gain RF stage. Response: 30 to 16,000 cycles..194.00 Covers complete broadcast band. Hi -Fi -4' x 30" x 20 ", Frequency Re- know - the - name - of - it ", and then Tape recorder output. sponse: 20 to 16,000 cycles 645.00 begins to whistle, "tweet -a- tweet -tweet- International shortwave band - 17 meters through 4-D -5' x 3' x 2', Frequency Re- 49 meters. all on practically sponse: 15 to 16,000 cycles 994.00 tweet, tweet -a- tweet," Built -in high gain ferrite antenna. note. Once in a while, the Three controls - outr ut level control with ON-OFF the same switch; 3- position selector switch, AM broad, AM rhythm supplies the clue. Or one ex- sharp, shortwave control: and velvet tuning control. See your high fidelity distributor or sad Sell contained power supply. periences a visitation from the Cathode follower output for remote location. soul who wants a record of the "tune that goes like 'Mickey'," which turns out to be "The Sweetest Story Ever INC. rownr n St. Told." Again, he "heard it on the 727 S. LaSalle LABORATORIES, INC. Dept- 4.b, radio and the composer's name was 9 Illinois Chicago 5, 750 Main Street, Winchester, Mass. Bracken Enrerpnrer 'Josef Waldo'." Ir took time, bat the of Eddie Export Div., 25 Warren St., New York, N.Y., U.S. A. ¡I Division selection was by Gesualdo, the uxori- CABLE: SIMONTRICE Continued nn next page

JUNE 1955 T15

www.americanradiohistory.com THE NICEST PEOPLE

Hi . . . Mr. Hi Fi Continued from preceding page

This is it . . . tide. Always, too, there are the em- The BRADFORD bryo Carusos who take records into the listening booths, practice singing Perfect BAFFLE' in unison with them for an hour, more or less, and then walk out. No sale and no thanks. Among the most disastrous of the innumerable mistakes a dealer can make is CO lend our a catalogue of which he has only a solitary copy for his own use. The would -be borrower of catalogues is the most earnest and persuasive pleader and the most effu- sive promisor the world has ever known, and for tenacity the leech is a Radically new idea In loudspeaker en- weakling in comparison. His promises closures. Not a bass reflex or folded horn. are worthless. Compared ro the cara- a loudspeaker enclos- The primary purpose of logue- Ananias was a paragon ure is to prevent destructive sound cancellation borrower, that Jokes place at low frequencies, when the of punctilious rectitude. Catalogues front and rear waves, emanating from both sides of the speaker cone, merge. never come back! It is obvious that no rear waves con escape There are other kinds of borrowers. through a totally enclosed cabinet, and it would be the perfect baffle. except for one reason. The One besieged me for months. He air pressure within the cabinet acts as a cushion upon, and therefore restricts. cone movement. wanted to borrow a rare Telefunken This causes loss of life and color. record from my private collection to The BRADFORD Perfect BAFFLE Is totally enclosed, yet it relieves cone pressure by have it dubbed. He was big stuff in an ingenious device that operates in unison resi- with cone movement. the silk business; had a gaudy Since this ochon conforms fa on ultimate dence on Long Island, too. I capitu- scientific principle, the BRADFORD Perfect when promised me enough BAFFLE is the only enclosure that con give you lated he the utmost in sound reproduction. fine silk for a fancy gown for my wife. Great dykes And that, specifically, Is . ALL THE BASS, full, rich, clean boss. clearly that you great music distinguishing each contributing instrument, down bring to the lowest speaker frequency. NO BOOM. Absolutely no boom. Boom, or TRADER'S skills one note" boss, is not high fidelity. MARKETPLACE From the land where engineering NO FALSE PEAKS. Does not "augment" boss by equal the force of the mighty seo, the false peaks that are really distortions. Duotone Cornpony brings you Norelco ANY SPEAKER. Accommodates any speaker ... Sound Equipment. High fidelity equip- any size, weight, shape or make. Here's the place to buy, swap, or sel ment that holds bock the mighty force of turning or speaker match- audio equipment. Rates are only 30¢ a NO TUNING. No port interference in your listening ing. word (including address) and your ad- mechanical as the greol dykes of Holland stand slob ANY POSITION. Operates in any room position. vertisement will reach 50,000 to 100.000 music listeners. Remittance must accom- wort against every destructive trickle of NO RESONANCES. No false cabinet or air resonances. pany copy and insertion instructions. the seo, A this COMPACT. 20" w z 20" h z 15" d for 12s & 15s genius peculiarly Dutch, meticu @ 69.50. Unfinished birch ... @ $49.50. 12" WANTED: USED HOLT'S Italian Language sot. Erskine lout otlenlion to every minute detail, w r 12" h s 10" d for 8s, 91/2s & IOs ... @ $39.50. Carter, Box 1500, Albany, Georgia. Thot allows no weakness onywhere. Thai Unfinished birch . @ $34.50. insists on orderliness in everything they REAL HARDWOODS. In all popular finishes .. . mahogany, blond, ebony, walnut, red. HIGH FIDELITY SPEAKERS REPAIRED. Amprlte Speaker do. That trusts nothing less thon perlec INCOMPARABLE CONSTRUCTION. Hand mode, Service, 70 Vosey St., New York 7, N. Y, lion. The kind of perfection in sound hand finished ... by master craftsmen. All walls equipment, monufoctured in Holland by sk thick. Philips and brought to you by the GUARANTEED. Unconditionally guaranteed to HAVE GOOD RECORD with tracking defects? Can outperform any other enclosure now available repair, $1.75. Moll to Willord Brinegar, 1200 W. Duotone Company. Consummate perler. Cedar, Chemise., Iowa. regardless of size, weight or price. lion in high fidelity. Great dykes that If you want the very best speaker hold bock every trickle of interference in enclosure, and will not be misled as to real performance by deceptive size or SALES - SWAP - SERVICE your listening. Great dykes that bring price, see your audio dealer at once. ON ALL TYPES OF NEW AND USED AUDIO EQUIPMENT. you great music! A demonstration wit convince you. Or ARGUS SERVICE COMPANY write for literature. 235 LYONS AVENUE NEWARK, N. J. WAVERLY 3 -3025 Model ß9750M -8" Prices slightly higher \Vest of Rockies. Audio response 35 to 20,000 Patent pending. cycler. 6 Watts, Flu. density TAPE RECORDERS, Tape, Accessories, unusual values. 1 3,000. Magnetic flu. 58.300. Dresaner, Box 66K, Peter Sluyvesanl Mallon, N. Y. 9- 10% efficiency m 4000 tit. Inpedance at 1000 c/s - 8 ohms_ Resonance frequency 60 cycle,, List 536.95 sub. BRADFORD 6 ELEMENT broad band FM antennas. All seamless ject to regular audiophile aluminum, $10.95 ppd. Wholesale Supply Co., discount, Lunenburg, Mass. Inlormotion on other Noteleo models from Pmt BAFFLE THE DUOTONE COMPANY, INC. TAPE RECORDER SPECIALISTS! Ask for queletiens on KEYPORT, N. J. BRADFORD & COMPANY HI -FI Components also. Bottom Prices! Got details, Supplier 6 Manufacturer of Destano Needles 315 East 6th Street NEW YORK, N. Boynton Studio, 10H Pennsylvania, Tuckahoo, N. Y.

I16 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Mirabile diem! I got the record back, but, after all these years, no silk.' GOLDEN Well, those are types. The unrea- l.iJ sonable ones include chose who, having bought a certain record any length of time back, order the same number a second time and then berate the dealer for duplicating! They also include those who order the same num- \\11j0° ber from half a dozen dealers at the same time, accept it from the first one who manages co deliver it, and do not notify the ocher dealers from whom they ordered it that it has arrived. They just let them send and, upon COMPONENTS arrival, refuse it. The experienced Vi ap li1Mt2j TURNTABLE dealer soon learns to beware of the Big Rumble -70 db. Speed, 0.25% Order Brotherhood. So often the Choose from the line 25 lb. Cast Steel Turntable dealer stocks up on their account, only Wow and Flutter less than 0.05% to find our that all they ever acquire is that's most complete Users coast to coast acclaim the beautiful a catalogue -collection. They are the and most versatile . . . silence of the Components Professional Turn. who table. Flawlessly smooth, unerringly stable, "you breed denounce the recording think you're hearing tape," owners say. The companies because of the "shameful reasons are few and simple: Superior design; neglect" of some virtually unheard -of STROMBERG -CARLSON superior engineering. The Components sets an so el entirely new standard of turntable performance, composer or opus, make a great noise regardless of price. Hear it and be convinced! over the matter, and when the thing User's net $99.50. Slight additional charge for finally shows up on disks and they are matching skirt. 100 apprised of the fact, become singularly WRITE FOR VITAL TURNTABLE FACTS Matched High Fidelity silent. They don't buy it! COMPONENTS The fact is, the dealer who special- izes in records of culturally respectable CSC D E N V I L L E N E W J E R S E Y material renders a peculiarly personal, When your dealer suggests "Custom 400" almost intimate service to those who equipment, lies hacking his recommen- patronize him. With the exception of dation with knowledge that no other Hi- the eccentric characters described Fi line so completely meets your needs. above, chis is a distinctly above -aver- Stromberg- Carlson launched this age public. Because of that fact, the equipment in 1952, but our experience in communications which pass between audio goes back more than 60 years! Our such a dealer and his customers are record is star -studded with many "firsts" a frank usually on plane of friendli- which have become industry standards ness quite outside the experience of -like the coaxial speaker, the Acoustical most ocher businesses. In any number Labyrinth® and the first FM receivers. of instances a lively and exceptionally "Custom 400" is instructive exchange of views ensues, complete -and every and the narration of personal experi- component is perfectly matched to every versatile ences is particularly free. Sometimes other. "Custom 400" is -your the letters which come in impose upon installation can be as tailored as your the dealer the responsibility of becom- clothes! And whatever standard of "How ing confidante, counsellor, comforter, high is Hi -Fi" you use, we'll guarantee to Now! For Ni -Fi and Phonograph Systems and guide to those who wrote them. meet and exceed it! Automatic Shnt-Off of ENTIRE If he accepts this as a privilege and Test that claim! See your Stromberg- SYSTEM at End of Last Record., gives of himself accordingly, he may Carlson "Custom 4(10" specialist for a not become the world's largest record demonstration -or send the coupon be- "SLUMBER SWITCH" dealer, but he will attach to himself a low for literature and his name. No more worry or bother about "remembering" host of the finest friends anyone ever to shut off power after Isst record plays. SLUMBER SWITCH remembers for you! could hope for. And that is the pay -off Shuts off entire system automatically! which alone makes it all worth while. -Carlson' USE IT with any phonograph that shuts Stromberg off itself at end of last record To restore Because, I must admit, it is. ordinary operation at any time. simply Sound Equipment Division flick defeat switch Foolproof! No mov- 1222 Clifford Avenue. Rorbr,trr 21, N. Y. ing parts. nothing to wear or burn out Easy installation. Just 3 simple connec- Please send Inc your lli -Pi literature tions. 3' Cables to permit convenient place- and the name of ray nearest dealer. ment Pop -filter lessens speaker -pop, when motor shuts off No hum or magnetic fields. Use with ANY cartridge! NANIr. Money -beck Guarantee. Sent Postpaid (No C.O.D.) $7.95 ADDRESS The HI -FI CENTER, Inc. Dept. H6 2630 N. [owner Ave., Milwaukee Il, WIs.

JUNE 1955 I 17

www.americanradiohistory.com COMPARE this performance! FAIRCHILD Itt, 220

-) DIAMOND SIR: I$37S0 CARTRIDGE I am presently in the process of ex- between speakers and yet keep the tending my music system ro encompass overall volume at a proper level when Fairchild's 220 Series cartridge guaran- binaural recordings and die binaural you are fiddling with two volume con- tees this distortion -free reproduction in the entire audible range! broadcasts of WQXR. I am trying to trols. And suppose you find that Just look at these frequency response do this as economically as possible, you've got the orchestra backwards! curves of the Fairchild 220 and two other which eliminates the outlay of $t 50 It is a nuisance to pull the leads out leading cartridges. See how Fairchild or more for a binaural amplifier. Ac- from behind borh amplifiers and re. alone gives smooth, even reproduction tually, this shouldn't be necessary, for verse them by hand. But even mort completely uniform to 17,000 cycles - I already possess two excellent ampli- important than both is that switch with only slow roll .off beyond. This a means no unnatural harshness, no distorted fiers in good working condition. As that permits single source to be fed sound! With Fairchild, you have only each has a complete sec of conuols, I ro both circuits. Obviously, one does the sound you were meant to hear! cannot see any justification for buying a great deal more monaural listening +,e a binaural preamp, either, because this than binaural at the present time, and FREQUENCY IN CYCLES PER SECOND too would duplicate most of the con- it takes a strong man to be able to sit trols I already have. there with two speaker systems and I.._>..-....-. r For playing binaural records I have two amplifiers and actually use only all that is necessary, almost! It is one of each. Besides, I've heard many that "almost" that spoils the whole monaural sources made to sound thing. No true audiophile can ever binaural by leaning one amplifier to Oe find real happiness knowing that his toward the treble and the other towards FAIRCHILD 220 rig is deficient, even if only in a minor the bass. There are many more reasons derail. The minor detail is the controls why ir would be advantageous to feed llllt.,.. which are available on all binaural am- a single source into both systems. The 11111 plifiers and preamps, but not obtain- point is, how do we do ir? able elsewhere, that do 11u11':i1 three things: On the enclosed sheet is my visual. I1Iri>s focus, reverse, and feed monaural sig- ization of what this might look like IIo111m. nals to both circuits. These are all very For some reason, no manufacturer pre. 11111111111 handy little items to have if you plan sently features such an item. There. to do much binaural listening. fore, I would have to make it myself. CARTRIDGE A CARTRIDGE B I can assure you that ir isn't as easy I know how to use a soldering iron and as it seems ro get a perfect balance Continued on page 120

FROM 13-BINAURAL BALANCE PHONO A' STANDARD M- MONAURAL CONTROL And, a PHONO R-REV. BIN.. IRC PIN B 25K P011.í33 perfect mate... JACK OR SIM.

TO PHONO FROM IN PUT. AMRI rM TUNER OR TAPE A

MI 4 POLE TO TUNER Serles 3 POS.WAFER OR TAPE 280 SWITCH J N P U T, AM P.1 Transcription I MALLORY I RC Arm ORS M. M11-133 OR SIM. FROM Match your cartridge to the finest arm! Low - PHO NO B' TO PHONO mass and resonance -free, Fairchild's 280 I NPUTAMP.2 Transcription Arm allows the cartridge alone to lift all the none color from your recordings. Superb precision balance IRC and M11 -120 engineering assure perfect mid- groove track- OR SIM. ing, always. And, any standard cartridge FROM plugs in easily- performs better this AM TUNER TO TUNER -with OR TAPE B versatile Fairchild 280! OR TAPE $2150 I NPUT. AM P.2 NOTE MAKE GROUND CONNECTIONS TO CHASSIS AT ONLY ONE POINT Suggested binaural control unit for use with two external phe:erup- egtmlizer- amplifier,

IIó HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Photograph Is by Irvin Kershner of 17th or 18th century Colascione In the Erich Lachmann Collection of Historical Stringed Musical Instruments reproduced through the courtesy of the Allan Hancock Foundation and the University of Southern California. Printed reproductions of four of the photographs used in this series are available for one dollar. Send remittance to lames B. Lansing Sound. Inc. Be sure to print your name and address clearly.

labor of love

?he skilled 7talian hands which fashioned this seventeenth century colascione were alive with delight. The elegance with which they inlaid the engraved mother-of- ers and Einclosures. Ile works to please, pearl in the straight -grained spruce table through his meticulous labors, the finely suggests a vision of courtly singers and attuned ear which is able to perceive and noble ladies. The Jim Lansing craftsman appreciate today's closest approach to carries in his mind another vision while perfection - the verbatim reproduction of he forms and assembles Signature Speak- loudspeakers by Jim Lansing.

voice Only Jim Lansing 15" and 12" General Purpose Speakers are made with four -inch coils...for crisp, clean bass ... for smooth, extended highs.

JAMES R. LANSING SOUND, INC. 2439 Ilelcher Drive, Los Angeles 19, California

www.americanradiohistory.com AUDIO FORUM from page 118 Continued ORDER NOW! I am sure I can follow simple instruc- LOWEST PRICES! tions if they are complete enough. I am hoping char you can figure our DIAM PERSPECTIVES what parts should be used in this gad- P FOR get and how it should be wired. NEEDLEONDS 1 0* Martin L. Borirh, O.D. ELECTRONIC 81 East Main Street ENGINEERS Freehold, N. J.

One possible reason why no manufacturer *Our skilled diamond offers a binaural switching and control craftsmen convert your present as desire may have to do needle to a genuine, system such you unconditionally guaranteed with the fact that it would have to accom- diamond- tipped needle! Send or modate provisions for phonograph binaural bring your replaceable needle, check or money order reproduction. tubes were used, it is for Sto. Unless Specify either 33 Or 78 rpm. quite possible that the hum problem would If desired, new shaft supplied, be very difficult to overcome. Nevertheless, Sa.75 additional. if you would like to try it, we have attached a schematic diagram of as simple a switching system as seems practical. As , ti thy you can see, we have combined the monaural-binaural and reverse binaural twit- ches. The single switch now has three positions: monaural, binaural, and reverse binaural. In the monaural position, DIAMOND STYLUS CO. either the radio or phono input from DEPT. HFM channel A is split and goes to both 31 WEST 47 STREET Westinghouse channel outputs. This switch can be a N. Y.36, N. Y. simple 4 -pole triple -throw wafer type. AIR ARM * ELECTRONICS DIVISION FOR t'. FUTURE * INCOME f/, PROFESSIONAL j, r `>> RECOGNITION S ar s - control preamplifier -equalizer

OPENINGS EXIST IN THE FIELDS OF:

* COMMUNICATIONS * FIRE CONTROL * RADAR Quality I)csldned by * TECHNICAL WRITING marantz * COMPUTERS * BOMBER DEFENSE Owners of the Marantz Audio Consolette invariably * MISSILE GUIDANCE comment on the immediate improvement in sound * FIELD ENGINEERING quality of their systems. Such a fine instrument cannot he produced by the thousands, hut only through careful assembly and thorough testing of each unit. TO APPLY Naturally, its components are uncompromisingly send letter outlining education chosen for superior quality. This and the character of and experience fo: its workmanship makes it the obvious choice for those who wish to improve their present installations. Chassis Employment Supervisor suitable for installation S142.50, with cabinet $155.00. Dept. 154 Westinghouse Electric Corp. 2519 Wilkens Avenue C.,,,,t,lrl, s. b. marantz 44 -15 Vernon Blvd., L.I.C., New York Baltimore 3, Maryland

I20 HIGH FIDELITY D1,AGAZINE

www.americanradiohistory.com The JOcus control varies the output on r _.wtt, Sae . . . when you both sets of channels, increasing that of Wit one pair of channels as it decreases that of select Hi -Fi's Best the other group. You would still need to LOOK use the selector switches in both amplifiers craftsmen to switch between radio and phono FOR THE channels, and you'd have to set the LARGE amplifiers' equalization controls prop- The. NEW erly for binaural phono sources. Low - SILVER noise resistors should be used in the phono channels of your switching box. CENTER The entire circuit should be well á shielded. As was explained, this is ow,.a®.-.ì offered with no guarantee; we haven't actually built One of these. /i , watt power amplifier, a preamplifier d on exclusive not e filter Il in one restive cobinet. Sirnply add record In the March 1955 issue, on pages 120 anger and speaker for a professional 1%11 Porno and 122, there is a letter by Paul A. Price was S113.50. NOW ONLY .._._...._...... 8 Ó5 Ó Alter regarding "play- through" or F.O.B. Chicago. Send check or M.O. "pre -echo." I would like to suggest that Mr. Send box New Brochure Alter's analysis of his problem is more See the new low prices on Tuners, accurate than he realizes, and also that Amplifiers, Preamplifiers. he was not referring to needle talk. One year factory warrantee. Pre and post -echo on microgroove rec- 15 Day Home Trial -you must be ords can be caused by a combination In your audio dealer's demonstration room where satisfied if not, return equipment loudspeakers are lined up all in a military row - of a worn stylus whose assembly has for refund of purchase price. ...look for the speaker with the large, silvery poor or low compliance (stiffness) ducal dome in the center. Ear -test it with special mounted in a tone arm with either care. This is the Jim Lansing Signature 0130 - The Radio Craftsmen Inc. with 4" voice tracking error or too high a pressure. the 15" Extended Range Speaker Dept. R5, 4403 N. Ravenswood Ave. coil of edge -wound aluminum ribbon. The coil is Chicago 40, Illinois Continued on page 122 attached directly to the 4" dural dome. Together they give the piston assembly exceptional rigid- ity. This is one reason why bass Iones sound so crisp and clean ... why the highs so smooth ... the mid -range so well -defined. You will find the D130 to be as distinguished to your ear as it is to your eye.

C2 -100 THE SIGNATURE D130 (shown above) Net price. $4.50 IS YOUR BASIC SPEAKER Use it alone when you first begin your high The highest fidelity system. Perfectly balanced with other overtones of Signature units, it later serves as a low fre- the piccolo quency unit in your divided network system. Additional Signature Precision Transducers wills large domes and volte coils:

SIGNATURE 0131... the finest 12" speaker made 0.0.- 12W' 4" voice coil of edge -wound aluminum ribbon Depth -5" Power input -20 watts Impedance- 16 ohms

SIGNATURE 0123... an Innovation in speaker design lets you hear Depth -only 35Ae" O.D.- 124 the 3" voice coil of edge -wound full range aluminum ribbon Power input - 20 watts Impedance - 16 ohms The deepest tones SIGNATURE 0208... of the bass tuba an 8" precision transducer 0.D.- 81/a" Senior Compentrol -with special 2" voice coil of edge -wound Printed Electronic Circuit*- aluminum ribbon is no Power input - 12 watts ordinary compensated Impedance - D208-8 ohms control. There's nothing else D216 -16 ohms the tone like it, for improving for complete catalog performance of hi -fi amplifiers or See your aucio dealer pre -amplifiers! Level -set lets you control compensation to prtti.ion that epcake for itself Ask your Centralab suit yourself. JIM L ANSI NG /rJt0Za,u/GV distributor - or service man. Write Centralab, Dept. 928F, O Milwaukee 1, Wisconsin for JAMES B. LANSING SOUND, INC. Compentrol booklet. ....,, 2439 Fletcher Drive Los Angeles 39, Calif.

JUNE 1955 121

www.americanradiohistory.com AUDIO FORUM Continued from page 121 In earlier LPs the recording levels were often too high to be retained within groove walls. Wich a worn and stiff stylus combination these walls H could be broken down sufficiently ro carry modulation over into either the previous or subsequent groove. The walls were literally pushed over by the stylus into the next groove. The condition was particularly noticeable in sudden changes of dynamic range - Z for instance, from a solo instrument to full orchestral sound. Since the advent of "variable margin technique' in record making, it is now possible to widen the margin be- rween grooves a couple of revolutions bi before high modulation occurs, thus eliminating any possibility of pre or post -echo. Unfortunately, variable Docwrs margin technique is neither industry- wide nor consistent on a given disk: cf., Columbia ML 4467, Berlioz' Sym- Physicians are increasingly enthusiastic D phonie Fantastique, one side of which about the faithful reproduction of music. is fixed margin technique and the ocher side variable margin. The doctor's dilemma is often whether to purchase I venture to guess that Mr. Alter is an ordinary tuner, with its fanciful claims, using a record changer with inade- or insist upon the pace -setting PRECEDENT. quate tone arm, cartridge, and stylus Therefore, the echo can be due co his bi 1 This problem, which may be also system, and his question, "Can it be a yours, source of damage ro the records ?" can be resolved by: 1) writing to REL for a free should be answered, "Yes." The rec- copy of the interesting, informative brochure, ords on which he hears the pre -echo are already damaged. He can prove FM AT ITS FINEST; 2) speaking to a PRECEDENT this fact by playing them on a friend's U owner; or best yet, 3) actual listening to a transcription turntable and arm combination in comparison wich new PRECEDENT preferably - on high quality, live FM. copies of the same records. I would be interested in hearing the 1 That's why more and more doctors' opinions of your "experts" on all of orders are for PRECEDENT: a prescription the above. William C. Bohn W without equal for every music lover. Bohn Music Systems Co 55o Fifth Ave. New York 36, N. Y. RADIO ENGINEERING LABORATORIES INC. From the complete text of the letters 36 -40 Thirty- seventh Street Long Island City 1, N.Y. referred to by Mr. Bohn, and from CC. previous correspondence with Mr. Alter, we knew that he had excellent record -playing equipment (Rek -O -Knt turntable, Audax cartridge and arm) and, more important, that he kept it in good condition. Our reply wat, there. fore, the only reasonable one we could o- give under the circumstances. We have done some more careful listening since receiving Mr. Bohn's letter. We find that it is a rare record indeed that having a wide dynamic

range, does not also have pre or post - echo to some extent. The amount r22 HIGH FIDELITY MAGAZINF

www.americanradiohistory.com /hi varies widely; on some records it is so apparent as to be startling, and on many it is easily audible if you listen Ci11iNG for it. On most, of course, it is low enough in level as to be insignificant but detectable. This is corroborated by other staff members. VRoTCTt ow Nevertheless, Mr. Bohn has made a good point - one that all seriously in- / for your terested in records should take to heart. PRECISION For a comprehensive discussion of xI.sI DISCS! compliance and its effect on records, that speaks for itself ! see the article beginning on page 38 of \ / HIGH FIDELITY for April 1955. /'pIu/ar SIR: Precision construction throughout! This Is the reason WALCO why Jim Lansing Signature Hlgh Frequency Units When you home -tested the "speak" with unequaled fidelity. Diaphragms are FM -AM tuner, you mentioned the fact made of aluminum, hydraulically-formed for complete uniformity and homogeneity of grain structure. Phas- that it would accommodate 72 -ohm ing plugs are machined to micrometric dimensions coaxial cable, and that you liked coax. from solid billets of absolutely pure iron. Exponential horns are machined from aluminum castings. Kous- However, you did not state why. You tfcai Lenses are cut, formed and assembled to optical PROTECTIVE POLYETHYLENE did refer ro an article one issue earlier tolerances. The greatly superior reproduction... the ease with which transients are handled... which re- SLEEVES FOR RECORDS which mentioned coax, it is true, but sult from this detailed precision are Immediately dismissed it quickly. apparent to your ear. You hear a complete, flat, smooth high end free from disturbing dips and star- Now the interesting thing about tling peaks. with coax to me is that claims EXCLUSIVE/ twice SIGNATURE 1750111 the sensitivity for 72 ohms that PRECISION NIGH FREQUENCY TRANSDUCER CONTOURED they do for Soo! Pictured above, the 1750111 Is the first assembly ever So, will you please tell me if chis placed on the high fidelity market to incorporate a BOTTOM! true acoustic lens. With 14 separate elements, the sensitivity can be put ro use; what lens distributes sound smoothly over a 90' solid antenna to use; and what the disadvan- angle. Index of refraction 1.3. Designed for 1200 cycle crossover. 16 ohms impedance. 25 watts power tages of coax may be. The lead for the input above 1200 c.o.s. antenna will not be over forty feet. Protects Records from Charles V. Thayer Dust, Scratches, Finger SIGNATURE 375 Marks Slips Inside Original Jaskol Breezy Hill Road PRECISION HIGH FREQUENCY TRANSDUCER "Dresses Up" Discs Springfield, Vt. This driver, alone, weighs 31 pounds! With a 4" voice coil and Because good hi -fi sound begins with a diaphragm it is unquestionably the clean record \Nalco- famous for phono- and most capable high fre- Coaxial cable's only advantages for a largest graph needles and STATI -CLEAN quency unit manufactured. De- Anti- Static Record Spray -has devel- home system are that it sometimes does signed for theater systems; used in The Hartsfield. Low crossover - oped the new DISCOVER protective help to reduce ignition interference, 500 c.o.s.- is the secret of the sleeve for records. Made of soft, War- and it may be more durable than 300 - impressive illusion of presence It resistant, pliable polyethylene with an creates. Power input -60 watts ohm twin lead. However, it has a far above 300 c.o.s. Impedance-16 exclusive, neat contoured bottom, DIS- greater attenuation than standard twin ohms. Flux density -over 20,000 COVERS are 'fitting protection" gauss. in lead. and therefore more ways than onel Thousands of it should not be r^ users agree, all your hi -fi records de- used on long runs between the antenna serve this deluxe, low -cost protection. and the receiver if it is possible to "SIGNATURE 537 -500 HORN -LENS ASSEMBLY avoid doing so. Furthermore, most FM This is a round exponential horn AY THE MAKERS OF THESE OTHER tuners and antennas are now set up for I 1 and lens for use with the 375 Sig- FAMOUS RECORD PRODUCTS a Soo -ohm impedance, corresponding nature Driver. Lens composed of 19 L separate elements for smooth dis- to the twin lead. If the antenna is of tribution of highs. Diameter, 13'/2-. WALCO WALCO 300 ohms impedance you should use STATI - REPLACEMENT a matching transformer between it and SIGNATURE 537.509 NEEDLES CLEAN the 72 -ohm cable; another transformer HORN -LENS ASSEMBLY Anti.Stotic l should be used if the tuner has only a Consisting of a rectangular 4 exponential horn and serpentine P1' RECORD Soo -ohm input. Lens used In The :` Keustical (as SPRAY A 72 -ohm antenna will deliver to Hartsfield), this assembly provides !1 for all wide horizontal and narrow vertical cartridges the tuner, if all impedances are coverage In order to minimize cell. and players matched, exactly half the voltage that Ing and floor reflections. Use with the 375 Driver, Lens is 20" wide. a 3oo-ohm antenna will. So it makes precision transducers Write for Free sample DISCOVER, no practical difference, insofar as sen- for verbatim reproduction plus free $1 book on record care, sitivity is concerned, whether you use indexing, etc. Enclose 25c to cower a 30o-ohm antenna and 300 -ohm twin JIM LANSING /O,{/ 1(iZr.a-e.- postage and handling. lead connected to the 3Oo -ohm termin- e At Leading Dealers als of the tuner, or whether an all 72- JAMES B. LANSING SOUND, INC. O 60 -F Franklin St., East Orange, N. J. ohm setup is used. 2439 Fletcher Drive Los Angeles 39, Calif.

JUNG 1955 I2j

www.americanradiohistory.com PROFESSIONAL DIRECTORY WELL -ADJUSTED WATT CALIFORNIA NEW YORK Continued from page 4r WHY EXPERIMENT? others actually intimate that too,000 cycles is a desirable reproducing area CONSULT A SPECIALIST IN HIGH -FIDELITY HOUSE The writer has summarized the argu- Most complete stock of CUSTOM HIGH FIDELITY ments: audio components in the West IN THE NEW YORK CITY AREA. 1. Unless the amplifier is substan- Phone RY 1.8171 tially flat beyond supposedly audible Hear a typical home inslallation- 536 S. Fair Oaks, Pasadena 1, Calif. limits, the response will start to roll off BOHN MUSIC SYSTEMS CO. within the audible limits, with detri- PL 7 -8569 550 Fifth Ave., N. Y. 36 ment co the sound. 2. A properly designed, stable am- no finer choice than ... In Il'estchester it's plifier with a good "power- curve" (cf. the explanation above) must be flat in gZe.e. OO1CG r frequency far outside audio limits. high -fidelity components 3. For laboratory use, the response E TLAB IN LOS ANGELES must be extremely wide. for high fidelity Between complete amplifiers and CONSULTATIONS COMPONENTS preamplifiers which are actually "flat" OftllllL (.fiG7uL. SERVICE CUSTOM INSTALLATIONS 6230 COMMODORE over extreme ranges, and those which STOAT DRIVE 2475 Centro! Avenue Yonkers, N. Y. (opprlta csrthsy cads thmtrs) Spencer 9 -6400 are nor, there is an interesting listen- LOS ANGELES 48. CALIF. Phone WE 6.6718 ing difference. The proponents of PENNSYLVANIA limited response argue that a home HI FI DO IT. YOURSELF amplifier, intended for playing records, In spare time, Mon., Wed., and Fri. INC on turntables, with cartridges, and _ eves. Ample parking. Use our with loudspeakers -all of which LECTRARTEONNIC workshop, tools, expert supervision. \2_,BORATORIES Assemble and compare leading are not laboratory- perfect devices - e. makes; tuners, amplifiers, changers, sounds better on most material if it is Tape Recorders, speakers, Cab- 7556 Melrose Avenue, Las Angeles 46, Calllornio all inets, kits, etc. at low net prices. limited in response. Filters of sorts WEbster 55405 YOrk 3872 Trade -in., Records Topes are obviously designed by this school. The ultimate in High Fidelity CU Frankly, the writer, an admitted per- at net prices. SHRYOCK TELEVISION 1946 1I! W. LANCASTER AVE, ARDMORE PA, Midway 2-1990 fectionist, prefers the "flat" amplifier, ILLINOIS with suitable controls to limit the response when necessary ( it is ever ALLIED RADIO PHILADELPHIANS: less necessary as program -material and Amerha', Hi-FI Center associated equipment improve). Preview the advanced prodoet.s- WORLD'S LARGEST STOCKS OF electrostatic speakers, exclusive The interested purchaser should HI -Fl SYSTEMS AND COMPONENTS British and European components. listen carefully to at least one amplifier Consult nationally recognized from each "school" of design, using VISIT OUR SOUND STUDIOS authorities. Why buy last year's the kind of program -material he will 100 N. WESTERN AVE., CHICAGO BO high fidelity? Visit its.

HAymorkel 1 -6800 use at home, with the projected asso- LECTRONI CS ciated equipment, before he decides. SEND FOR FREE Hl -FI CATALOG City Line Center GReenwood 7 -9535 (Editor's Note -A :ypographical error on page 41 described 20 40-2,000 cps as a common frequency -range THE HI -FI CENTER In PITTSBURGH and the claim. Ir should, of course, have been complete demonstration facilities TRI -STATE AREA 20-00-20,000.) components custom installation nn An article next issue will discuss the DISTRIBUTORS OF EVERYTHING IN ELECTRONICS LLyBufaii.9. relationship between power and distor. PreRecorded Tape and Records tion in audio -amplifier performance. Rogen Pork 4 -8640 WOLK'S HIGH FIDELITY CENTER WEST DEVON AVE. CHICAGO 45 right next to IVolk's Kamera Exchange ALMOST GOT MY NUMBER 306 Diamond Street Pittsburgh (22), Pa. LIec(w# h LAG1E ld page Express 1 -0220 Continued from 37

MASSACHUSETTS CANADA openable only by main force, to demonstrate that the record had not CUSTOM INSTALLATIONS CANADA'S FIRST been touched or even breathed upon HIGH -FIDELITY High Fidelity Center since leaving the stamper. Finally, I RADIO, PHONOGRAPH, RECORD AND inserted the specially -executed paint- Components Professional Servicing TELEVISION CENTRE ing, suitable for framing, by Tequila, Acoustic Consultants Stromberg- Carlson "Custom 400" Brociner - FreedEisemann - Bogen the celebrated Mexican artist." Cabinet Design Fisher Radio - Coocertone Tape Recorders An Makes of HighFidelity Records "You remember the painting'" in- LOWE ASSOCIATES eUSIOns ,gone d a,rd Valass t.ra. terrupted the Chief. nt o Piue .andine 390 EGLINTON WEST TORONTO, ONT. "Indeed I do, sir," I replied. "Ir was 65 Kent r St., Brookline 46, Mass. Phone HUdson 9 -2117 of a jellyfish, symbolizing the basic, r24 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com elemental nature of the Phoenician songs. The brochure carried an explanation of it on the back page." TANGENTIAL TRACKING The Chief sighed. "Eighteen," he said softly, "can't 'MAKES Alt OTHERS OBSOLETE: you remember anything else you put into that album before you stamped it

Works on any turntable except 'Inspected by No. x8 ?'" automatics. Accommodates most "No, sir, I can't," I said, paling. "I'm standard pick up cartridges. sure that with the painting, the brochure, the plastic envelope, the card- $2250 board backing, the picture window and WHAT A the outer wrapping, there wasn't room DIFFERENCE! for anything else." "That's just it," thundered the Chief. "Eighteen, you left out the record!" I must have fainted then, for when I opened my eyes my face was moist and the Chief was standing over me with an empty flower vase. After making sure that I had recovered, he The hood of the LW is All conventional ALWAYS TANGENTIAL tone arms hove returned to his side of the desk and to record groove. tracking error. gloomily resumed his seat. "Eighteen," he said, "we don't mind Now 8 -J is the ONLY tone arm shot holds the noodle TANGENTIAL TO THE GROOVE from the beginning to she it so much when you fellows slip the end of rho record. NO TRACKING DISTORTION. LESS wrong record into an envelope, or when RECORD WEAR -LESS STYLUS WEAR -LESS SURFACE NOISE you ger the labels switched, or when World Patent Applications you omit the translation of the original II unobtainable from your loco) dealer order direct from text. That's all part of the luck of the DEPT. "HF" 420 HI- FIDELITY INC., Madison Ave., N. Y. I game, and record- buyers have to take DEALERS CONTACT: HI -FI AUDIO DIV. OF BRITISH their chances same as anybody else. ELECTRONICS SALES CO., 23-03 45th Rd., L. I. City But to leave out the record altogether isn't quite cricket." "But, Chief," I cried hoarsely, "I swear there wasn't room for ir." TRUE HI -FI... "I know, I know," said the Chief. ANNOUNCING... "It's not really your fault. The Corn - THE O &R pany operates on the principle that the an automatic switch reco :d proper is only a minor com- 1)11-12A ponent of the record album. Just be- to protect your TURN TABLE tween us, Eighteen, you might well have got away with it, if Biedrich- High Fidelity Dietrich himself hadn't been in town and wanted to hear the thing. Imagine! investment Not to look at the art masterpiece, not to read the brochure just co play - J , the record. These singers are simply FFOaO 1tMt tome. incredible." R r Check these D8. R features: He paused while I awaited his pro- As S Outside Idler Drive. nouncement. $6.45 net Floating Idler -Assuring utmost "Eighteen," he said at last, "you've freedom of mechanical vibration. been with us a long time, but now AUTOMATICALLY . Signal -to -Noise Ratio 60 DB. that a fuss has been raised over this Non -Magnetic Turntable. will turn your equipment thing I'm afraid I shall have to make Mercury Switch. off after last record plays you Dynamically Balanced Motor. an example of you. I'm not asking to turn in your scamp. But you won't will protect your High Constant Speeds- 33.33, 45, from 78.26 with high starting torque. Fidelity equipment have much use for it any more. I am running all night when THE DR -12A 587.00* transferring you ro the Zipper Depart- you forget Turntable only, with Mahogany ment." standard panel box mount- See your Hi Pi or mounting Dealer ing extra "The Zipper Department ?" write for further information Sec your dealer "Yes, Eighteen. From now on. all or write CO,.. A Product of AUDIO EQUIPMENT our records are going co be encased in DIVISION D&R LTD. plastic cases fastened with a zipper. HARWIL ELECTRONICS CO. 402 E. Gutierrez Street 8413 Beverly Blvd. Santa Barbara, Calif. Do you know why we are doing this ?" Los Angeles 48, Cal. Continued on page 128

JUNE 1955 125

www.americanradiohistory.com (Advertisement) PICK-UP FACTS by Maximilian Weil ... There is universal agreement on the superiority of a well LISTENING QUALITY designed magnetic (moving -iron) pickup over other types. No one, however, has ever come forth with the reasons for this.... " (from a is everything! letter) The functions of the microphone and the phono pickup are have wide frequency range, yet the same - both have to deliver a Today, all pickups, good, bad or indifferent, modulated signal to the amplifier. one will perform smoothly, the other harsh, shrill, etc. The NEW high out- The task of the pickup, however, put - HI -Q7 has BALANCE, SMOOTHNESS, LISTENING QUALITY, not is immensely more difficult. The equalled by any other pickup. ... BUT - pickup stylus must actually con- all the flowery specifications in the world, cannot nect (mechanically) with the record- groove and the contact must change the fact that ONLY you can tell what be solid and unbroken, throughout sounds best to you. Hear and compare the H1 -Q7 its zig -zag course. Obviously, so with any other pickup known and - you be the long as the generating element - judge... . the part that transforms the re- Plays all speeds. Equipped with Chromatic DIA. corded vibrations to electrical MOND and a sapphire both replaceable at waves is located within the cart- - - home. (available for use on Record Changers.) ridge, at a distance from the stylus, ... some form of linkage (metal shafts, etc.) between the two must be used. Unfortunately, a mechanical NEW COMPASS -PIVOTED -ARM transmission line (linkage) with none No its own mode of vibrations, always Universally acknowledged as the most efficient arm - barring produces intermodulation and restraint No frontal oscillations No springs No fatigue Highest other forms of distortion. tracing efficiency Equipped for stylus- pressure adjustment. In all pickups, regardless of This superb AUDAX arm is now also available for use with other cartridges. type, the generating element is still located inside the cartridge, at a distance from the stylus.... Re- STYLUS- BALANCE cently, however, the quarter -century dream of those skilled in this 75% of the cartridges in use, work with incorrect stylus -pressure. This means art has, at last, been realized in stylus and record destruction. With the scales and gauges available heretofore. the POLYPHASE type cartridge. it has been impossible to check stylus - In this magnetic cartridge the pressure closer than 2 or 3 grams one transformation of the mechanical - way or the other. That is 50% off - vibrations to electrical pulses takes correct. This means deformation of place directly at the stylus. This groove -walls, and explains much of the entirely eliminates the transmission line and explains the total echoes, ghosts and other distortion. freedom of this cartridge from -Stroboscope-like, STYLUS -BALANCE phase -lag and intermodulation dis- accurately indicates correctness or in- tortion. correctness of stylus -pressure. This is one of the major factors STYLUS -BALANCE works with any cartridge and arm NET $4.80 Plus 25¢ il shipped Irons N. Y- that spell the great difference "It's easy to use and without doubt is potentially the most accurate for the well designed magnetic gauge available for home use...." Hiok Fidelity Magazine. cartridge. At better dealers, or write us FREE - "Electronic -Phono- Facts", a $1.00, 18 -page re /erence guide has been prepared to answer your many questions. It is highly interesting and in- AUDAK COMPANY tonnative. You may have one FREE 500 Fifth Avenue Dept. H New York 36, N. Y. by writing me at S00 - Sre AVENUE. NEW YORK. Creators of Fine Audio- Electronic Apparatus for over 30 years

126 HiGH FIDELITY MAGAZINE.

www.americanradiohistory.com ADVERTISING INDEX

Allied Radio Corp. 9 124 Klipsch Associates 18 Aleec Lansing Corp 125 American Elite, Inc. 106, 107 TRADE IN Ampex Corp. 23 Lansing, James B., Sound, Inc. 119, 121, 123 YOUR PRESENT AMPLIFIER Angel Records Indexed on 52 Lectronics 124 Audak Company 126 Leslie Creations Indexed on 52 AND PRE -AMP FOR THE NEWEST Audio Devices Inside Front Cover London International Indexed on 52 Audio Exchange 127 London Records Indexed on 52 Audiogersh Corp. 108 Lowe Associatos 124 IDC" lILD

B 120 Beam Instrument Corp. 105 Marontz, S. 6, 7 Bell Sound Systems, Inc. 48 McIntosh Laboratory, Inc. Mercury Records Corp. Indexed on 52 Beyland Engineering Co... -Indexed on 52 8 Mfg. Co. 103 Bogen, David, Co., Inc. 101 Minnesota Mining Indexed on 52 Bohn Music Systems Co, 124 Missouri National Corp. Box Indexed on 52 Book -of- the -Month Club, Inc.... Back Cover Music Music Room, The Indexed on 52 Bozak, R. T., Co. 22 No. 240 Bradford 8, Company 116 British Industries Corp. 15 Balanced Bar Pre -Amp National Company 97 Browning Laboratories, Inc. 115 Newcomb Audio Products Co. 108 $98.50 Nuclear Products Co. Indexed on 52 UNCOMPLICATED CONTROL... Coles Co. Indexed on 52 WITH FINEST RESULTS Centrolab 121 Pedersen Electronics 26 Collaro Inside Bock Cover Pentron Corp. 109 Collins Audio Products Co 47 Permoflux Corp. 113 Columbia Records, Inc...4, Indexed on 52 Pickering 8 Co., Inc. 2 Components Corp. 117 Pilot Radio Corp 128 Contortone Recorders, Bodoni Presto Recording Corp. 27 Associates 94 Professional Directory 124 Conroe, Inc. 10, 11 Cook Laboratories, Inc. Indexed on 52 Crestwood Recorder Division 25 Radio Craftsmen, Inc. 121 Crown Publishers. 110 Radio Engineering Labs., Inc. 122 Custom Sound 8. Vision, Ltd 16, 124 Rauland -Borg Corp. 110 Record Index Indexed on 52 Record Market Indexed on 52 No.260 Reeves Soundcraft Corp. 21 O 8 R, Ltd. 125 Regency 19 Amplifier -$)49.50 Daystrom Electric Corp. 25 Rek -o -Kut Co. 13 Diamond Stylus Co. 120 Co. 91 PERFORMANCE Dublin's Indexed on 52 Revere Camera UNSURPASSED Rockbar Corp. B, Inside Back Cover Duotone, Inc 116 UNSURPASSED STABILITY

Scott, Hormon Hosmer, Inc 24 KNOWN AS THE MANUFACTURER Electra- Voice, Inc. 32 Shryock Radio and TV Co 124 OF HIGHEST QUALITY Electronic Expediters 124 Sound Unlimited 124 Stephens Mfg. Corp 5, 110 PROFESSIONAL Stromberg- Carlson 117 EQUIPMENT FM Station Directory 128 Foirchild Recording 8, Eqpt. Corp... 12, 118 Write Dept. HF6 For Trading Information Federal Mfg. 8 Engineering Corp. 128 Tannoy, Ltd. 114 Fisher Radio Corp. 28, 29, 30, 31 Tech -Master Corp. 16 Fleetwood Television (Conroe, Inc.)... 10, 11 Telefunken 106, 107 the Terminal Radio Corp. 112 Thorens Co 111 audio Gene Bruck Enterprises Indexed on 52 Trader's Marketplace 116 Goodmans Loudspeakers 8 exchange University Loudspeakers, Inc. 99 Harvey Radio Co., Inc. 17 THE TRADING ORGANIZATION Electronics Co. 125 OF THE HI -FI FIELD Harwil V -M Corp. 93 20 Heath Co. Vox Productions, Inc. Indexed on 52 159 -19 Hillside Avenue Hi -Fi Center, Inc. 117 Jamaica 32, N.Y. High-Fidelity House 124 Phone: Olympia 8 -0445 Hi- Fidelity, Inc. 125 WWRL 126 High Fidelity Recordings....lndexed on 52 Wolco (Electrovox Co., Inc.) 123 WRITE DEPT. 116 FOR Weathers Industries 14 FREE CATALOG OF Weingarten Electronic Laboratories 124 USED EQUIPMENT Interelectronics Corp. 114 Westinghouse Electric Corp 120 FREE PARKING Electronics Corp. 111 124 International Westlab NEAR SUBWAY Westminster Recording Co...Indexed on 52 White, Stan, Inc. 115 the exchange exchanges audio 124 audio Jensen Mfg. Co 1 Wolk's Kamera Exchange

JUNE 1955 I27

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