• June

.. Improve Your Own Stereo til ClassicS - Compose or Improvise '1

• New Stereo components THIS IS THE YEAR OF THE NEW HAROMAN-KARDON STEREO FESTIVAL

the new STEREO FESTIVAL, model TA230

Once again Harman-Kardon has made the creative leap which distinguishes engineering leadership. The new Stereo Festival represents the successful crystallization of all stereo know-how in a single superb instrument. Picture a complete stereophonic electronic center: dual preamplifiers with input facility and control for every stereo function including the awaited FM multiplex service. Separate sensitive AM and FM tuners for simulcast reception. A great new thirty watt power amplifier (60 watts peak). This is the new Stereo Festival. The many fine new Stereo Festival features include: new H-K Friction-Clutch tone controls to adjust bass and treble separately for each channel. Once used to correct system imbalance, they may be operated as conventionally ganged controls. Silicon power supply provides excellent regulation for improved transient response and stable tuner performance. D.C. heated preamplifier filaments insure freedom from hum. Speaker phasing switch corrects for improperly recorded program material. Four new 7408 output tubes deliver distortion-free power from two highly conservative power amplifier circuits. Additional Features: Separate electronic tuning bars for AM and FM; new swivel high Q ferrite loopstick for increased AM sensitivity; Automatic Frequency Control, Contour Selector, Rumble Filter, Scratch Filter, Mode Switch, Record-Tape Equalization Switch, two high gain magnetic inputs for each channel and dramatic new copper escutcheon. Ideal for limited space (only 151%6" wide, 678" high, 12%" deep-excluding enclosure) the TA230 is simplicity itself to operate. Five minutes with its exceptionally complete instruction booklet, and you will use the Festival to its full per­ formance potential. The Stereo Festival, Model TA230, price is $259.95. Copper and. black metal enclosure (Model AC30) price is $12.95. Handsome hardwood - walnut or fruitwood - enclosure, (Models WW30 and FW30) price is $29.95. For free attractive brochure on the complete H-K line, write to

Harman-Kardon, Inc., Dept.MR6, Westbury, New York. h ° (Prices slightly higher in the West) I I

1 !r

I Serving the owners of Garrard­ world's finest record playing equipment _and other discriminating listeners Stereo and monaural .. . most people ready to buy high fidelity com­ Interested In high fidelity. ponents seek advice from friends who own them. Generally you will find that these knowledgeable owners have a Garrard changer. And if you ask experienced dealers, they will invariably tell you that for any high fidelity system, stereo or monaural, the world's finest record changer is the ...

H ...... h .....o n.why --.... who will no. compPOml•• with qu.llty In.I•• upon a GARRARD CHANGER fOp pl.yln•••••• 0 records:

.... QUIET 2'he Garrard. i.t actually a superb turntable. No matter how "reci.tely you chec1c wow> flutter> atld ru,nble content-you will find GGrrard OOOngerlf comparable to r fAe belft profe8Biof1al turntable8 •

.... "CLEAN" 2'he fllllcllLlflve aluminum tone - on every Garrard. OOOnger i.t tlOlM'fleonant, non-di.ttorling ••• fhu """BriOI' to moet 8eparate tratlBcription arma.

W.CORRECT ~e~iJg(neerfld. to trac1c all oartridge8 at lfghte8t proper e'ght, the Garrard Ohanger tone a.N» insure8 minimum friction atld rflcord. wear.

It'. GENTLE Garrard'8 elllcllLlflvB, foolproof ."'lJer platform actually handle8 recorda more carefully than by your own OOncJ-far more oGre/Ully tOOn by any other cOOnger or turntable.

It'. C:ONV~II'Ct.NT t14rl'ard aOorde all the /,ea,lure8 0/11 manual tui'tltal/1e, with the mm6ftdqua llddB&4dtlantage 01 4utoma.tio playwhetl wanted! Pf'e-wired. lor 8tereo-and imtaUed. in minutes.

.... ECONOMICAL De8ptte its many advantagelf, a Garrard. OOOnger coata lea8 than a turntable with sepa"ate arm. Backed. by Garrard'a 36-year record. 0/ per/ect, tr01tble-free performance.

Garrard I•• quallty-.ndo ....d component of the -British IndustrIes Corporation (aIC) Group.

CifY ______Stote __

Mail to: Dept. GF-129 Garrard Sales Corporation n\VIslq'n of British Industries Corp • .port Washington, N. Y. Conadfcm Inquiries to ~Vl PalnlOll, lId., 6 A1dna Aft , 1<1ron'0. t~ 0.6., .han U.S.A. Gnd Conode '0 :Qo

FEATURE ARTICLES HiFiREVIEW lI Impulse Improvisation vs. Composition 33 Henry Pleasants June, 1959 J A re-birth of the art of improvisa- of Vol. :2 No.6 . ~ I~~~ha~: ~~sti~~s c~~~:~e h~;t~~~~g !The Mutated Audiophile 36 Martin Forrest Publish~r Although three ears might be beller, Oliver Read - your stereo gains improved depth from :1 a third speaker Editor Oliver P. Ferrell I,·. Tin Horns and Golden Voices 39 George lellinek ! Small labels playa big role in pre- serving pre-hi-fi voices from opera's Music Editor J Golden Age on modern LPs David Hall I~ Case for the Integrated Arm 42 Oliver p, Ferrell Art Editor . ~ Scott and Shure offer new stereo components Saul D. Weiner I with the cartridge mated to the tone arm

Associate Editors .. The "Electronic" Opera Glass 44 Hans H. Fantel Hans H. Fantel 1 Rodney H. Williams The 1/ Audio Baton" acts like a zoom lens for your acoustic perspective and puts 1 home recordings in professional focus Contributing Editors j . Marlin 800kspan Warren DeMotte l It Started with a "Lady" 47 Charles M, Weisenberg Ralph J. Gleason j Broadway shows have sparked a new Stanley Green trend in jazz LPs. Now it's spread- Nat Hentoff I George Jellinek I ing fast to include TV and films David Randolph John Thornton Louisville Harvest 50 David Hall The Kentucky Derby City has produced Advertising Director a fabulous modern music gallery on John A. Ronan. Jr. discs-a record-by-record survey

Advertising Manager Herb Olsow REVIEWS Stereo HiFi Concert 59 Martin Bookspa n, David Hall, ZIFF-DAVIS PUBLI SH ING COo, O ne Park George Je llinek, David Randolph, Ave., New York Ib, N_ Y. William B. Ziff, John Thornton C ha irman of the Board (1946- 1953); William Ziff, President ; W . Bradford Briggs, Execu­ tive Vice President; Michael Michaelson, Martin Bookspan, David Ha ll, Vice President and Circulation Director; Mono HiFi Concert 73 Hershel B. Sarbin , Secreta ry; Howard George Jellinek, David Randolph, Stoughton, J r., Treasurer; Albert Gruen, John Thornton Art Director. BRANCH OFFIC ES: Midwestern Office, 434 Stereo Entertainment 79 Ralph J. Gleason, Stanley Green, S. Wabash Ave., Chicago 5, III., Tom i Nat Hentoff Berry, Midwest Advertising Manager; Western Office, Room 412 , 215 West 7th I St., Los Angeles 17, Calif., James R. Pierce, Western Advertising Manager ; Foreign Ad­ Ralph Gleason, Stanley Green, ve rtising Representatives: D. A. Goodall I Mono Entertainment 85 J. Ltd., London; Albert Milhado & Co., Ltd ., Nat Hentoff Antwerp a nd Dusseldorf.

SU BSCRIPTI ON SERV ICE Forms 3579 and all subscription corre­ spondence should be addressed to Cir­ COLUMNS AND MISCELLANEOUS culation Department, 43 4 South Wabash I Avenue, Cnicago 5, Il linois. Please allow Sound and the Query 22 at least four weeks fo r change of address. 1HiFi Soundings 6 Include you r old address as well as new - enclosing if possible a n address label I from a recent issue. Musical Oddentities 30 1Just Looking 8 CO NT RI BUTORS ! Contributors are advised to retain a copy of their manuscript a nd illustrations. Con­ Advertisers Index 91 tributions shou ld be mailed to the Ne w York Editorial office and must be accom­ 1The Basic Repertoire 18 panied by return postage. Contributions Beethoven's "Emperor" Concerto The Flip Side 92 are handled with reasonable care, but this ! magazine assumes no responsibility for their safe ty. Any acceptable manuscript is sub­ ject to whatever adaptations and revisions are necessary to meet requirements of this Cover illustration by Chuck McVicker publication. Payment covers all author's rights, titles and interest in and to the material accepted and will be made at our I current rates upon acceptance. All photos a nd drawings will be considered as part of HiFi REVIEW is published monthly by Ziff-Davis Publishing C~mpany , William B. Ziff, material p urchased. Cha irman of the Board (1946-1953). at 434 South Wabash Ave., ChICago 5, III. Second ciass postage paid at Chicago, "linois. Authorized by the Post Office Department, Otta,:"a, Ont., Canada as second cl ass matter. SUBSCRIPTION RATES : One yea r U.S. a nd posseSSions, and Canada $4.00; Pa n-America n Union countries $4.50, all othe r foreign countries $5.00. Average Net Copyright 1959 by ZIFF·DAVIS PUBLISHING Company Paid C irculation All rights reserved 123 ,287 5 the HiFi Soundings

9 By DAVID HALL seconds A RECORD CRITICS' CIRCLE-NOW'S THE TIME Spring fever and award fever seem to go hand in hand, whether on the academic or the industry level. As we write this, filmdom's "Os cars" have had their big day-or night; and now the record industry has joined the parade by an­ nouncing through its National Academy of Recording Arts and Sciences (NARAS) the first in its annual series of "best of the year" awards. Like the Motion Picture Academy Awards, these are "by the industry for the industry," and it remains to be seen whether they will carry with them the prestige, pub­ licity value, and increased sale potential that has come to be associated with the coveted "Oscar."

Functioning in the way it does, as a branch of the entertainment field, the r recording industry has had little choice under the conditions of our free enter­ prise system but to regard the artistic and historic values of its product as that add being secondary to the imperatives of economic survival on a highly competi­ tive scene. Positive public response in the form of sales has been the important hours to your thing whether the product merchandised is Elvis Presley or Maria Callas, My Fair Lady or the string quartets of Bela Bartok.

listening Nevertheless, in its more than half-century of existence commercial recording has given us a fabulous wealth of cultural and historic documentation, cbiefly in the realm of concert music. This recorded literature of permanent music, to pleasure use R. D. Darrell's phrase, is pretty well documented, so far as the American ·9 seconds - that's all it takes to put scene goes, in the Schwann Long Playing R ecord Catalog. In short, there does the GS-77 through one complete change­ exist today a substantial body of recorded performances of permanent artistic cycle. 9 seconds - and see what happens value. What is more important-this body of recorded performances is increased in that brief space of time. year after year by record producers both in this country and overseas. That A record completes its play • • • the turntable pauses . . . the next record there ex ists in this country a mass buying public genuinely interested in "per­ drops, gently- more gently than if you manent music" on records, as opposed to pop hits and other ephemera, can be were handling it yourself ••. the tone proved easily enough by the success of the classical record clubs operated by arm lowers into the lead-in groove. Only three major American record producers. then does the turntable resume its mo­ tion. Thus, the original brilliance of your Curiously enough, while annual awards from juries of independent record records is preserved through hundreds critics have been the order of the day in a fair number of European countries, of additional playings by eliminating the the American record industry has yet to be honored under similar circumstances grinding action that occurs when records are dropped on a moving disc - a draw­ for its yearly contributions to the recorded music literature which may be said back in conventional changers. to have lasting artistic and historic value. We think the time has come to do Every GS-77 feature contributes to­ something about this and we think that the taste of the record buying public, wards your listening pleasure-inaudible the standards of the record industry, and the craft of record criticism itself will wow, rumble and flutter; uniform stylus be served thereby. pressure from first to top record on a stack; resonance-free arm with high We propose the establishment of a Record Critics' Circle, comparable to the compliance and minimum tracking error; Drama Critics' Circle and Music Critics' Circle in New York whose annual hum-free performance. The GS-77 combines traditional turn­ choices of the year's best in their respective fields have come to carry a powerful table quality with modern record changer aura of prestige and authority. If such a Record Critics' Circle were to be convenience. See it at your dealer, today. composed of the most experienced, authoritative and influential writers and In just 9 seconds, you'll gain a fresh, editors in the fi eld, we have no doubt that the choices made at the end of each new point-of-view on record changers. season would carry similar authority and prestige. It would 'seem, by the very $59.50 less base and cartridge. nature of the "permanent value" criterion, that award categories would be GLASER-STEERS CORPORATION limited to concert music, spoken word, and folklore of major consequence. It 155 Oraton Street. Newark 4. New Jersey would also seem wise to allow the option of withholding awards where a season's Dept. HFR-G GLASER-STEERS output proved lean in top quality recorded performance. We are curious to know how some of onr colleagues might feel about con­ stituting themselves as a "charter group" to put this Record Critics' Circle proposal into operation-now. Edward Tatnal! Canby of Audio and Harpers, John M. Conly of High Fidelity, Irving Kolodin of Saturday Review, James GS77 Lyons of American Record Guide, Harold Rogers of The Christian Science SUPERB FOR STEREO Monitor, Harold C. Schonberg of The New York Tim. es-these we should like better than ever to see in this charter gro up for a Record Critics' Circle. for monophonic records Gentlemen, are there any takers? 6 HIFI REvmw basic contributions to our culture

GHIJKl abcde OPQRS ABCDEFGHI]KL rstuv NOPQRSTUVWXYZ HIJKLM ABCDEFGHI

..

Johann Gutenberg of Mainz on the Rhine is credited with the invention of movable type, a contribution of immeasurable worth to the arts and sciences. Unmeasured surely, but of great significance, are the contributions to the art-science of high fidelity made by James B. Lansing Sound, Inc.: There is the four-inch voice coil with its attendant high efficiency ••. the acoustical lens ... the ring radiator , .. Now JBL brings you wide field stereo reproduction through radial refraction. This is the principle on which the magnificent JBL Ranger-Paragon and the more recent JBL Ranger-Metregon are based. Two highly efficient, full range, precision loudspeaker systems are integrated by a curved, refracting panel. You are not confined to one "best" listening spot, but can perceive all the realistic dimensions of stereophonic reproduction at its very best throughout the listening area. The JBL Ranger-Metregon comes within the reach of all true high fidelity enthusiasts. For, no less than seven different speaker systems may be installed within this exquisitely styled, meticulously finished acoustical dual enclosure. You may start with a basic system and progressively improve it. Perhaps some of the JBL loudspeakers you already own may be used. Write for a complete description of the JBL Ranger-Metregon and the name and address of the Authorized JBLSignature Audio Specialist in your community.

JAMES B. LANSING SOUND, INC., 3249 Casitas Ave., Los Angeles 39, Calif. THE SUPERB VALUE IN STEREO HI-FI j

knighl® • Ampex offers a new unusually versa­ created by ALLIED RADIO tile preamplifier capable of selecting any desired program so urce, either stereophonic advanced design, features, performance and styling or monophonic. Each of the two channels outstanding for superb musical quality has independent push-button controlled in­ each unit guaranteed 'for one full year puts which permit automatic matching, equalization and balancing. Two loudness ENSEMBLE controls, one for each channel, are mount­ ed on concentric shafts and friction·coupled. There are separate individual controls for

f

bass and trehle response with a maximum boost or cut of 16 db. Frequency response is reported to be ±1.0 db. from 20 to 20,- 000 cycles. Harmonic distortion is rated at less than 0.05% for one volt at nominal preamplifier output. Called the Model 402, the stereo control center/preamplifier is available uncased for built-in use, or wi th a walnut fini sh cabinet. List price $159.50. (Ampex Audio, 1020 Kifer Rd., Sunnyvale, Calif.)

• Bigg claims to have taken another step nearer to perfect speaker performance with the development of its new BOC 14-P Pres­ ~night KN734 deluxe 34-watt stereo amplifier surized Reproducer. A compact size, compare these features: measuring 251;2"h. x 12"d. x 13'''w., it may only Full stereophonic and monophonic controls. 17 watts per be operated in either a vertical or horizontal 50 stereo channel ... 34 watts monophonic. Separate bass and treble position. Frequency response is reported $129 controls for each channel. 5 pairs of stereo inputs ... input jack to be from 35 to 20,000 cycles, with virtual­ easy terms: for accessory remote control. DC on all preamp heaters. $12.95 down Wide range balance control. 3-step loudness contour. Variable ly no harmonic distortion. The BOC 14-P input loading control for any magnetic cartridge. May be used is non-resona nt, utilizing Fiberglas in all as 34 watt add-on with special preamp output. Mar-proof internal displaceable areas. The speaker vinyl-clad metal case ... solid aluminum anodized front panel. will handle 50 watts peak program material. Price not announced. (Bigg of California, knight KN120 deluxe stereo FM-AM tuner 2506 W. Washington Blvd., Los Angles 18, compare these features: Calif.) only Separate FM and AM sections for simUltaneous or separate 50 operation. Dynamic Sideband Regulation for minimum distortion • Connoisseur turntables are manu­ • $129 of FM • Dual limiters on FM • Tuned RF stage on FM and AM • factured in England under the most exact­ easy terms: 3-position AM bandwidtl'] switch. Cathode follower multiplex ing hand-crafted conditions. The wide $12.95 down output jack. Four cathode follower main outputs. Dual "Microbeam" tuning indicators. Illuminated 9X' tuning scale; acceptance of stereo records has resulted in inertia tuning with advanced flywheel design. High-sensitivity AM ferrite antenna. Handsome solid aluminum front panel, gold anodized, with beige leathertone case.

FREE 1959 ALLIED CATALOG Send for your complete, money-saving guide to the world's largest order from selection of hi-fi systems and components. See everything in thrilling stereo; all the new KNIGHT systems and components; every famous make line. For everything in hi-fi. for everything in Electronics. get ~ the 452.page 1959 ALLIED Catalog. FREE-write for it today. f}.f1i.,- ~ ALLIED RADIO the introduction of the Connoisseur 3-speed 100 N. Western Ave., Dept. 115-F9 turntable, type B. Rated with a rumble Chicago 80, Illinois factor of better than 50 db. and a wow HIFI REVIEW An exciting new offer from the ICOLUMBIA @ RECORD CLUB I to help you acquire, quickly and inexpensively, a fine STEREOPHONIC RECORD LIBRARY I~w.j !

ANY SIX OF THESE 32 SUPERB COLUMBIA AND EPIC 10. Be My Love, Where or When, etc. STEREOPHONIC RECORDS • FOR ONLY 98 RETAIL VALUE $ $3588 12. Nomad, Marble 5 Arch , 4 more if you join the Club now ... and agree to purchase only 5 selections during the coming 12 months * You .receive ANY 6 of these Columbia and that deserve a place In your stereophonic rec­ Epic stereophonic records for only $5.98 ord library. These selections are described in the Club Magazine, which you receive free * Your only obligation as a member is to each month purchase five selections from the more than 13. I Got It Bad, 75 Columbia and Epic stereo records to be * You may accept the selection for your 14. My Romance, Bodyand Soul, etc . offered in the coming 12 months Division, take any of the other records offered, Yesterdays, etc. or take NO record in any particular month • * After purchasing only five records you reo * You may discontinue membership at any ceive a 12" Columbia or Epic stereo Bonus time after purchasing five records record of your choice free for every two addi­ tional selections you buy * The records you want are mailed and billed to you at the regular list price of $5 .98, plus * You enroll in either one of the Club's two a small mailing charge Stereo Divisions - Classical or Popular * Mail the coupon today to receive your SIX * Each month the Club's staff of musical stereophonic records-a regular $35.88 retail 15. Great tunes experts selects outstanding stereo recordings value-for only $5.98 16. Two colorful, from this hit show exciting scores

d SEND NO MONEY - Mail coupon to receive 6 records for $5.98 b COLUMBIA @l RECORD CLUB, Dept. 222-6 CIRCLE 6 Stereophonic Section NUMBERS: Terre Haute, Indiana I accept your offer and have Indicated at the right the six 1 17 records I wish to receive for $5 .98. plus small mailing charge. Enroll me In the following Stereo Division or the Club: 2 18 (check one box only) 3 19 o Stereo Classical 0 Stereo Popular 4 20 I agree to purchase five selections from the more than 75 to be offered during the coming 12 months. at regular Ust price 5 21 plus small mailing charge. For every two additional selections I accept, I am to receive a 12" Columbia or Epic stereo 6 22 Bonus record of my choice FREE. 7 23 Name .•. •.••.•.•••.•••••••••••••••••••••••••••••••••••••••••• 8 24 (Please Print) 9 2S Address •••.••••••• .• •••• ••••••••••••••••••••••••••••• •• • ••• •• 10 26 City ••• • •• •••• ••• •••• • ••• • ••• • • •• .ZONE • ••• State ...... 11 27 FOR CANADIAN MEMBERSHIP: 12 28 address 11-13 Soho Street, Toronto 2B If you wish to have this membership credited to an estab­ 13 29 Ushed Columbia or Epic record dealer, authorized to accept NOTE: Stereophonic records must be played subscriptions, fill In below: 14 30 only on a stereophonic record player 15 31 Dealer's Name •••• .• •• ••• • •• ••••••••• • •• • ••••••••••••••••••••• 16 32 COLUMBIA @ RECORD CLUB Dealer's Address ••••••.•• • •• • • • ••••• • •••••• • • • ••.•••. ••. •.• 244 F-SS Terre Haute, Ind. ®oColumbla," ~. "Epic." ~ MOl"cas Rc g. e Columbia Records Salcs Corp •• 1959

JUNE 1959 9 'TRIMENSIONAL' TMS-2 CompO'IIents: C-12HC dual voice factor of less than 0.15%, the type B turn· coil woofe~. two 8" mid-range speakers. two wide-angle table has a controllable ±2% speed var· tweeters. two networks with "presence" and "brilliance" controls. iation to meet all special record playback ·DimenaiO'¥l.8: 30" wide. 25" high. 12%" deep. User net: mahogany,.. $258. blond or walnut - $263.00. conditions. The motor is of the hysteresis variety and all revolving shafts are preci· sion ground, lapped mirror finish and run in the newest type of nylon graphite bear· ings-permitting lifetime, trouble·free op· eration. The type B turntable measures 13%/1 x IS%,/1 and has a clearance of 31,i·/1 (bottom) and 3%," (top). Price $119.50. (Ercona Corp., 16 W. 46th St., New York 36, N. Y.)

• Duotone is importing the British Acos "Hi.g" turnover stereo cartridge. The claimed frequency response is ±1.5 db. from 40·15,OQO cycles with a gradual roll off of 10 db. at 18,000 cycles. Its compli· ance has been measured at 4.0 x 10-" cm/ dyne with a tracking force of 2·4 grams. r Channel·to·channel separation is better than 25 db. at 1,000 cycles. The Acos "Hi· g" is a 4·terminal cartridge available in two different models: the GPS 73·SS with New developments have proved that a single cabinet integrated speaker system 0.7 mil and 3 mil sapphire stylus (price can provide stereo sound equalling or surpassing the performance of two $8.70) or the GPS 73·SD with 0.7 mil separate units. Up to now, however, to achieve sufficient separation, such diamond and 3 mil sapphire (price $14.70). (Duotone Company, Attention Steve Nester, integrated systems have had to be large - and often expensive. Keyport, N. J.) Now, University, employing a new principle of obtaining stereo separation presents. the TMS-2 ... containing two complete multi-speaker systems in one handsome enclosure only 30" wide. • Dynaco now offers a semi· assembled The "Trimensional" TMS-2 projects frequencies of both channels to the kit containing two independ!lnt 35·watt rear and side walls of your room. Thus, one large wall area becomes channel power amplifiers-primarily for use in "A", another becomes channel ·"B" ... exactly as if you had a series of widely stereo reproduction. Called the "Stereo distributed speakers for each channel. This results in a new standard of stereo 70," it is based on the use of a new output performance ... excellent separation, real depth and broad sound distribution. transformer so that each channel is capable of 80·watt peak signals without interchan· IMPORTANT ADVANTAGES OF TMS-2 'TRIMENSIONAL' STEREO

TMS·2 STEREO CONVENTIONAL STEREO 1 Smooth, full-bodied, balanced stereo sound throughout the room (rather than the 'two point source' effect with critical listening area of conventional systems). nel interaction. Full rated power output is ft 'Hole-in-the­ Full com-I/.>-....Cl.. PI Stereo" c=J. ... obtained from 20 to 20,000 cycles at less III middle' effect 3 plement y 4 spread can ' ..:.,.:: •• than 1.0% total distortion. IM ranges from eliminated by of controls, be controlled ' " central position and adjustable doors allow easily by means of the adjust. 0.05% at normal listening levels to 0.5% of the dual voice you to place the compact able doors - according to pro­ at top rated power output. A dual printed coil woofer to­ TMS-fJ virtually anywhere gram material and personal circuit assembly, supplied factory wired, gether with the along a wall, or in a corner, preference (e.g. wider spread simplifies construction. Using this partially unique wall re­ irrespective of existing for full orchestral works, less assembled circuit, the complete amplifier flection system. furniture or furnishings. spread for small groups), may be assembled in less than five hours. Only one adjustment of the finished unit is required by the bnilder. Price $99.95. Hear TMS·2· stereo at your dealer ••• now. But (Dynaco, Inc., 617 N. 41st St., Philadel· don't be fooled by its small size. Close your eyes phia 4, Pa.) and let your ears judge the quality of its musical and stereo performance. • Electrophono is importing the Lesa For the complete TMS·2 story, write to Desk 0·6, Italian record changer Model CD·2/21. A University Loudspeakers, Inc., White Plains, N. Y. fully automatic, four.speed changer, it will 10 HIFI REVIEW ~@W PERFEa STEREO PERSPECTIVE

THE FISHER, Stereo Master Audio Control THE FISHER Remote Control Model RK-l It is well·established that, for maximum convenience and World's first high·quality stereo remote control unit! Now you can achieve per­ accuracy, stereo balance should be regulated from the actual fect stereo balance right from your lis· listener's seat. With the 400·C and the RK·l you can do exactly tening chair! The RK·l fits into the that! Because they were made for each other-and for you! The palm of your hand. Instantaneous plug. 400·C, finest of the stereo control centers, is now more versatile connection to THE FISHER 400·C­ all models. The 30·foot cable permits than ever. Remote Channel Balance and Volume Controls, .plus it to be located anywhere in your room. independent bass and treble controls for each channel-these have Complete assembly. $17.95 been added to an already phenomenal array of features. EIGHT pairs of stereo and mono inputs. Hum, noise and distortion com· pletely inaudible. Frequency response, 20 to 25,000 cycles, $169.50 Prices Slightly Higher in the Far West Cabinet, $17.95 WRITE TODAY FOR COMPLETE SPECIFICATIONS FISHER RADIO CORPORATION • 21·37 44th DRIVE • L.I.C. 1, NEW YORK Export: Morhan Exporting Corp., 458 Broadway, New York 13, N. Y. JUNE 1959 II handle up to eight records of any size with automatic inter-mixing. Provisions are made for manual operation with the tone Now ••• more than ever . •• arm automatically returning to its rest position at the end of the record. Plug-in "THE BEST BUY IN HI-FI" heads allow change of cartridge types in seconds, and regardless of how it is mis­ used, the manufacturer claims it to be 100% jam proof. A four-pole motor with

f

automatic click suppressor is also featured. Price $39.95, plus $3.75 for 45 rpm spindle, $5.25 for deluxe wood base. (Electrophono & Part-s Corp., 530 Canal St., New York, N. Y.)

• Fisher rounds out its stereo equip­ You turn a dial ... and something wonderful happens! You're ment picture with a new 60-watt stereo there ... reliving the original performance, hearing the songs you power amplifier, Model 300. The unit con­ love with a new brilliant clarity ... hearing the depth of life in sists of two identical 30-watt channels, each musical passage. Grommes Stereo is stereophonic reproduc­ especially engineered to match all types of tion at it's finest ... superb fidelity with a new realistic depth •• highly efficient, or very inefficient, speaker bringing you truly, music that lives. systems. In fact, a controlled frequency response can be arranged in either chan­ nel for use with electrostatic tweeters. Conservatively rated with a frequency response of ±0.5 db. from 20-20,000 cycles, the Model 300 i-s said to have a hum and noise level more than 100 db. below signal level. Harmonic distortion is less than Grommes Custom 24PG Grommes Custom 101GT 0.1% at full rated output. 1M distortion Stereo Amplifier FM Tuner (first-order difference tones) is below A complete 24 watt com­ New matching FM tuner 0.08% . The 300 consumes 300 watts from bined stereo preamplifier for. Grommes. amplifiers and power amplifier in one with' n'ew "Standard Coil" the 117 volt a.c. line at full rated power unit. All controls are tuner ·unit for outstanding output. It measures 16%"w.x 61S"h.x 71f4." ganged for ease of opera­ performance.· New elec­ d. Price $169.50. (Fisher Radio Corp., 21- tion. For use with records, tronic tuning eye and AFC 21 44th Drive, Long Island City 1, N. YJ tape or tuner. Two 12 watt simplify tuning. Advanced channels convert to 24 FM circuitry includes 2 watts of monaural power broad band IF stages, 2 • General Electric now offers a five when no stereo source is limiters and Foster-Seeley cubic foot distributed port 12-inch speaker available. Net 99.50 discriminator. Net 79.50 enclosure as the top quality unit in its hi-fi components line. The enclosure is propor­ Visit your Grommes Hi-Fi Dealer . you ewe it to yourself to ·see and tioned for minimum width, although its hear. the most exciting new series in high fidelity . .. Stereo by Grommes. height is comparable to the EQ-l Series equipment cabinets. With a quality 12-inch coaxial-type speaker, this new enclosure glle-Ht Hl eL Div. of Precision Electronics, Inc. Please send me Free Color (the EN-50) has more than double the low Brochure featuring the new Dept. MR-6, 9101 King St., Franklin Park, .111. frequency output capabilities of sealed en­ Grommes Hi-Fi Series. Name·______closures. Frequency response is claimed to go down to 35 cycles. There is an op· Street ______tional front panel tweeter mount opening for tweeters of four inch outside diameter

City ___~ ____ State _____ or less. The seven distributed port open­ ings are in the rear panel, thus eliminating grille cloth interference and improving the 12 HIFI REVIEW STEREeDeT, THE UNIQUE SYSTEM CREATED BY BERT BERLANT FeR STEPHENS TRuseNIC PReVIDES TRUE STEREePHeNIC LISTENING ANYWHERE IN THE ReeM. STEREeDeT, IS A THREE CHANNEL LeUDSPEAKER SYSTEM USING STANDARD Twe CHANNEL AMPLIFIERS. USE yeUR PRESENT SPEAKER SYSTEM AS A CENTER SYSTEM .AND JUST ADD Twe SMALL STEREeDeT EN­ CLeSURE SPEAKERS AND THE STEREeDeT ceNTReL ... eR FeR A ceMPLETE SYSTEM, SELECT A GeeD FREE ceNE TRuseNIC CENTER SPEAKER AND ADD STEREeDeT. THIS SYSTEM eVERceMES THE INHERENT DISADVANTAGES eF Twe CHANNEL STEREe AND ELIM­ INATES THE "HeLE IN THE MIDDLE" WHERE Ne seUND EMERGES. STEREeDeT GIVES yeu TRUE ReeM-WIDE REALISTIC STEREe LISTENING, AND AT A LeWER ceST THAN MeST ceNVENTleNAL Twe CHANNEL STEREe SPEAKERS.*STEREeDeT BY STEPHENS TRuseNIC PRe­

.. VIDES THE EXTRA CHANNEL FeR TRUE STEREe USING STANDARD Twe CHANNEL AMPLIFIERS. STEp·HENS TRuseNIC·, INC., 8538 WARNER DRIVE, CULVER CITY, CALIF. *TRADEMARK eF STEPHENS TRuseNIC, INC.

JUNE 1959 13 acoustic resistance function. The speaker connections are labeled for correct phasing. Available in various wood finishes, includ­ ing mahogany, oak, cherry and walnut. Price $69.95. (General Electric Co., W. Genesee St., Auburn, N. Y.)

• Goodmans speakers are sold through­ out the United States by the Rockbar Corp. A recent addition to its line is the "Te­ traxiom!' unitized 4-way Gystem. With a power handling capacity of 50 watts and a smooth response from 20-20,000 cycles (usable response to 35,000 cycles), the "Tetraxiom" is one of the most intricate systems ever offered to the public. It con­ sists of four independent, concentrically placed radiators; a 15·inch woofer, a mid-

range radiator, and two horn-loaded high frequency tweeters. The tweeter units are angled to the polar axis for wide dispersion of the highs. A somewhat smaller model known as the "Triaxiom" is a 3-way speaker, engineered and constructed along the same sturdy con­ cepts. Prices range from $232.50 (Model 575 "Tetraxiom") to $69.50 for the smallest "Triaxiom." (Rockbar Corp., Mamaroneck, N. Y.)

• Norelco has entered the bookshelf enclosure field with two new distributed port bass reflex enclosures. The "Model 2" enclosure is designed for use with the new Norelco T-7 twin cone 8-inch speaker. It .. measures 23%," w.x 13%," h.x 11 %," d. A "Model 3" enclosure may also be used with the Norelco T-7 Series speakers, but it only measures 18%"w.x 12"h.x 9"d. Prices range from $31.00 (mahogany Model 3) to $59.95 (walnut Model 2) . (Norelco, High Fidelity Productll Div., 230 Duffy Ave., Hicksville, L. I., N. Y.)

• Pilot now offers a 20-watt per channel integrated 'stereo amplifier called the Model 245-A. A radical departtHe from the pre­ vious Pilot models with ganged tone con­ trols, the 245-A uses a "TroLok" which HIFI REVIEW Ralp!J, Bellamy, starring in "Sunrise At Campobello", listens to stereo on his Collaro changer and Goodmans Triaxonal Speaker System. Collaro- your silent partner for Stereo

Silence is the requirement - and silent performance is New Collaro changers include all of the best features which what you get when you s~lect the new Collaro stereo have made Collaro the largest manufacturer of record changer for your stereo system. Collaro engineers have changers in the world - as well as important new features designed the high fidelity changer precision-engineered vital for superb stereo as well as monaural performance~ to meet stereo's rigid quality demands. Collaro's silent There are three Collaro changers: The Conquest, $38.50; operation assures flawless reproduction of the exciting new The Coronation, $42.50 and The Continental (illus· stereo records every time. Here is why Collaro is your trated), $49.50. best buy. For full information on the new Collaro stereo changers, Five-terminal pIng-in head: Exclusive with Collaro. write to Dept. MR·6, Rockbar Corp., Mamaroneck, N. Y. Provides two completely independent circuits thus guar­ anteeing the ultimate in noise-reduction circuitry. Transcription-type tone arm: Another Collaro exclu­ sive. As records pile up on a changer, tracking pressure tends to increase. Result may be damage to records or sensitive stereo cartridge. This can't happen with ColIaro's counter-balanced arm, which varies less than 1 gram in pressure between the top and bottom of a stack of records_ _ The arm accepts any standard stereo or monaural cartridge. Velocity trip mechanism: Unique design of this sensi. tive mechanism insures that the Collaro changer will trip at extraordinarily light tracking pressures - a require­ ment of many stereo cartridges. American sales representative for Coliaro Ltd. and other fine companies. Re·, JUNE 1959 15 LAFAYETTE permits adjustment of separate bass and STEREO TUNER KIT treble controls--either simultaneously or THE MOST FLEXIBLE TUNER EVER DESIGNED individually. Provisions are also made to • Multiplex ·OulpUI lor New SI.r.o FM use the turntable/record changer on·off • 11 Tubes (including 4 dual·purpo ••' + ' Tuning Eye + Selenium rectifier Pro· swi tch to activate the 245-A. Selector tide 17 Tube P.rformance switch functions (six in number, including !t 10KC Whisli. Filt.r • P' •. align.d IF's • T~n.d Ca"od. FM • 12 Tuned Cinuirs multiplex) are readily identified by small • Dual Calhod. Follower Oulpul neon lamps. A phono input switch (two • Sepa;al.l~ Tun~d FM and AM Seclions channels) provides automatic compensa· • Armslr.ng Cinuil wilh FM/AFC and AFC D.I•• , tion for record changer or professional· type • Dual Double .. Tunecl Transformer turntable cartridge combinations. Lastly, Coupled Limiters. More than a year of research# planning and engineering went into the making of the 245-A also has provisions to operate a tho Lafayette Stereo Tuner. Its unique flexibility permits the reception of binaural second pair of stereo speakers located in a V.e .t .. . B' ••• r.'­ broadcasting (simultaneous transmission on both fM and AM), the independent Stereop.o.'e operation of both the fM and AM sections at the same tfme, and the ordinary playroom. Price $199.50. (Pilot Radio FM:AM t_er reception of either FM or AM. The AM and fM sections oro separately tuned, each with a separate 3-go"g tuning condenser, seporate flywheel tuning and Corp., Long Island City 1, N. Y.) fl... It .... B ...• separate volume control for proper balancing when used for binaural programs. M ••••ral FM-AM t ••er Simplified accurate knife-edge tuning is provided by magic eye which operates fl... It .. • .tr.""t jndependently on FM and AM . Automatic frequenCY' control "Iocks in" ~M signal permanently. Aside from Us unique flexibility, this is, above all else, a quality Mo ....r •• FM or AM high.fidelity tuner incorporating features found exclusively in the highest priced t."er tuners. • Sargent-Rayment adds its new FM specifications Include grounded-grid triode low noise front end with triode mixer, double-tuned dual ItmUers 'with Foster·Seeley discriminator, I&ss than 1% SR-I000 AM·FM stereo tuner to its growing harmonic distortion, frequency r&sponse 20-20,000 cps ± 112 db, full' 200 kc line of stereophonic components. The tuner bandwidth and sensitivity of 2 microvolts for 30 db quieting with full limiting at one microvolt. AM specif1cations include 3 stages of AVe, 10 kc wh1stle filter, has particularly impressive AM perform· built.in ferrite loop antenna, less than 1"0/0 harmonic distortion, sensitivity of 5 microvolts, 8 kc bandwidth and frequency response 20·5000 cps ± 3 db. ance characteristics, using the S·R two· tube r The 5 controls of the KT·500 are FM Volume, AM Volume, FM Tuning, AM Tuning AM detector capable of reproducing dis· and 5.position Function Selector Switch. Tastefully styled with gold-brass escu· tcheon having dark maroon background plus matching maroon knobs wlth gold tortion·free AM. A two·position bandwidth .inserts. The lafayette Stereo Tuner was designed with the builder in mind. Two separate printed circuit boards make construction and wiring simple, even for control, T·notch filter for 10 kc. whistle KT-500 IN KIT such a complex unit. Complete kit includes all parts and metal cover, a step-by. step instruction manual, schematic and pictorial diagrams. Size Is 13'A" W x 74.50 FORM 103/," 0 x 4'12" H. Shp9. wt.,,2'2'lbs. ONLY 7.45 DOWN KT-500 ...... Nel 74.50 100 MONTHLY LT -50 Same as above, complelely faclory wired and lesled ... Ne! 124.50 NEW! LAFAYETTE PROFESSIONAL STEREO MASTER AUDiO CONTROL CENTER Solves Every Stereo/Monaural Control Problem!

• UNIQUE STEREO & MONAURAL CONTROL FEATURES • AMAZING NEW BRIDGE CIRCUITRY FOR VARIABLE 3d CHANNEL OUTPUT & CROSS·CHANNEl FEED • PRECISE "NULL" BALANCING SYSTEM

REVOLUTIONARY DEVEioPME,,!T IN STEREO HIGH FI­ DELITY. Provides such unusual features as a Bridge Control, rejection and a built·in ferrite rod anten­ for variable cross-channel signal feed for elimination of "ping­ pong" (exaggerated separation) effects and for 3d channel na complete the AM circuit. The FM tuner output volume control for 3-speaker stereo systems; 3d channel uses low voltage i.f. tubes, consecutive lim· output also serves for mixing stereo to produce excellent mono aural recordings. Also has full input mixing of monaural program iting and a broad·band ratio detector. Spe· sources, special "nuW' stereo balancing and calibrating system ONLY 7 . 95 DOWN (better than meters), 24 equalization positions, all-concentric cial provisions have been made for FM· 8.00 MONTHLY controls, rumble and scratch filters, loudness switch. Clutch type multiplex operation, including ,vired·in au· volume controls for balancing or as 1 Moster Volume Control. Has channel reverse, electronic phasing, input level controls.' tomatic switching and output jacks. Price Sensitivity 1.78 millivolts for 1 volt out. Dual low-impedance T outputs (plate followers), 1300 ohms. Response 10-25,000 cps $184.50. (L. W. Rayment, 4926 E. 12th • RESPONSE 10-25,000 CPS 0.5 DB ± ± 0 .5 db. Less than .03% 1M distortion. Uses 7 new 7025 low. St., Oakland, Calif.) • 6 CONCENTRIC FRONT PANEL CONTROLS noise duol triodes. Size 14" x 4tlt" x 10V.". Shpg. wt., 16 Ibs. • 4 CONCENTRIC REAR PANEl INPUT Complete with printed circuit boord, coge, profusely ilIustroted LEVEL CONTROLS instructions, all necessary ports. LAFAYETTE KT-600 - Stereo Preamplifier kil ...... Net 79.50 • 180' ElECTRONIC PHASE REVERSAL LAFAYETTE · LA-600-Slereo Preamplifier, Wired ·. .. Net 134.50 • Scott announces a low price AM·FM LAFAYETTE STEREO/MONAURAL BASIC POWER AMPLIFIER KIT tuner incorporating a number of features • 36-WATT STEREO AMPLIFIER· • 2 PRINTED CIRCUIT BOARDS FOR usually found only in top quality com· 18-WATTS EACH· CHANNEL NEAT, SIMPLIFIED WIRING • FOR OPTIONAL USE AS 36-WATT • RESPONSE BETTER THAN 35-30,000 ponents. Although somewhat similar in MONAURAL . AMPLI FIER CPS ± 'f, DB AT 18 WATTS appearance to an older model, the new • EMPLOYS 4 NEW PREMIUM·TYPE • LESS THAN 1% HARMONIC OR 1189 OUTPUT TUBES INTERMODULATION DISTORTION Model 320 combines both wide· band AM A superbly-performing basic ~fereo ompHt1er, in easy-to· build kit form to save you Jots of money ond let you get 'nto. stereo now at minimum expense' Dual and FM circuits and H. H. Scott's exclusive inputs are provided, each with. individual volume control, and the unit may be silver· plated FM "front end" for maximum used with a stereo preamplifier, for 2-18 watt stereo channels or, at the flick of a switch, as a fine 36,watt monaural amplifler - or, if desired, it may be used as sensitivity and reliability. A convenient 2 separate monaural lS,wa.tt amplifiers' CONTROLS, include 2 input volume con· trois, channe l Reverse switch (AS-SA), Monaural·Stereo switch. DUAL ' OUTPUT front panel level control permits continuo IMPEDANCES' are: 4, 8, 16 and 32 ohms (permitting parallel (monaural) opera· ·tion of 2 speaker systems of up to 16 ohms. INPUT SENSITIVITY is 0 ."'5 volts per ous adjustment of the tuner audio output. chonnel for full output. TUBES are 2-6AN8, 4-7189, GZ-34 r.ctifi.r. SIZE 9-3/1 6"d ONLY 4.75 DOWN- (10-9/16" with controts) x 5V,," h x 13V,,"w. Supplied complete with ~perforated There is also a monophonic/multiplex 5.00 MONTHLY metal cage, all necessary parts and detailed instructions. Shpg. wh, 22 Ibs. switch on the panel to permit instant con· T KT-310 St.reo Power Amplifi.r Kit ...... •...... •...... N.I 47.50 LA-310-Ster.o Power Amplifier, Wired ...... Net 69.50 version to multiplex as soon as standards r------~ are set by the FCC. An electronic eye in· I I dicator shows optimum tuning point on I I both AM and FM. FM sensitivity is 3 mi· I 0 Send FREE LAFAYETTE Catalog 590 I crovolts for 20 db. of quieting. The typical I CUT OUT I I Name •••••••.••••••••••••••...•••••.••..•••••••• AND I 2 mc. wide·band FM detector is used to I PASTE ON I provide absolutely drift·free FM reception I Address ••••••• • • • • . . . . . • . . • . • . • • • . • • • • • . • • . • •.• . • POSTCARD : Witllout resorting to a.f.c. Price $139.95. (H. H. Scott, Inc., 111 Powdermill Rd., J City ~ ..••... , ... -.... Zone ..•• State...... •.•••• I ------_._------Maynard, Mass.) 16 HIFI REVIEW NEW ALT EC 60SA DUPLEX® SPEAKER with Controlled Linear Excursion

In the 14 years since the development of the original new ALTEC 605A, one of the world's most precise instru­ ALTEC 604 Duplex, no other speaker has challenged its ments for the faithful reproduction of sound. It position as the finest in the world. It was the most car-e­ provides breathtaking purity from 20 to 22,000 cycles: fully engineered speaker in existence. That's why the unusually smooth r esponse in the highs, extremely high 604 Duplex is the professional listening standard for linearity and clean transient response in the lows. To most major recording and broadcast studios. complete this magnificent achievement, ALTEC engineers Now, ALTEC engineers have done it again. They have have designed this superb instrument so that it sells improved on the perfection of the 604D. The r esult is the for only $175.00!

NEW FEATURES • dual-annular machined phasing plug BASS SECTION • mechano-acoustic loading cap provides proper back loading of • high·compliance suspension components for controlled 'Iinear the aluminum diaphragm excursion • professional-type true exponential multi-cellular horn for • stress·free assembly for ultimate linearity of the suspension smooth 40° vertical x 90 ° horizontal distribution. system DEFINITION • voice·coil which stays in a uniform magnetic field axially hold­ ing distortion to an absolute minimum Duplex speakers are made exclusively by AL TEC : "Duplexes" • high-flux density magnetic field for optimum damping are two mechanically and electrically independent loudspeakers mounted together on a single frame for compactne ss , po int • low cone resonance of only 25 cycles for clean reproduction of source relation, phasing and installation simplicity. They are the lowest bass notes supplied with a dividing network designed for the frequency • viscous anti-reflecting compliance damping crossover and power capacity of each of the high and low fre· • edge-wound, well-insulated copper ribbon 3" voice·coil for high quency units (power : 35 watts-50 peak ; crossover 1600 cycles efficiency per second). High frequency shelving is provided on the net­ TREBLE SECTION work to permit adjustment of balance between the high and • lighter voice coil low frequency speakers to the acoustic conditions of individ· • higher acoustic transformation ual rooms. The heavy cast construction, large bass voice-coi l • improved smooth response in the high end of edge-wound aluminum ribbon , deep gap and hi ghly efficient magnetic structure all combine to make the "Duplex " speaker • edge·wound 1.75" aluminum voice·coil for high efficiency the finest of its type in the world. • integral aluminum alloy diaphragm and tangential compliance for low mass W?'ite fo?' f?'ee catalogue

ALTEC LANSING CORPORATION, DEPT. 6MR-A 1515 S. MANCHESTER AVE., ANAHEIM, CALIF• • 161 SIXTH AVE., NEW YORK 13,

JUNE 1959 17 Martin Bookspan RATES THE BASIC REPERTOIRE I Item 8 of the "First Fifty"

Beethoven's "Emperorll Concerto

Lofty and exultant nobility:mark the top disc versions of this virtuoso favorite

N May, 1809, Austria was b eing invaded by the armies I of Napoleon. The vanguard of the approaching French forces reached the outskirts of Vienna early in the month and an ultimatum was delivered to the Archduke Maximilian. r When he refused to capitulate, the French set up a battery and, during the night of May 11, they opened fire on the city with twenty howitzers. The population of Vienna crowded into every available underground shelter as. houses burst into flames and the streets were strewn with the' wounded and the dead. Among those crouched In an underground cellar for protection against the all-night rain of shells was com· poser Ludwig van '-Beethoven, who half a dozen years earlier had inscribed a sytbphony to Napoleon and then had angrily wiJhdrawn the in.§~~jption when the fanatic personal ambition RUBINSTEIN-immensely secure tech~ -- - .of the Little Co'i:'tld:ral became evident in the proclamation of nique ___ visionary interpretation: -:.: - - himself as E~perb'j: : Beethoven huddled in the cellar of his brother's house OIl -the Rauhensteingasse, clutching a pillow to his deafened but still sensitive ears. The following after- noon Vienna surrendered and the forces of Napoleon began ~he ir occupation of the city. . In o~t 'own time occupation procedure has been refined to an exact 'science; but Napoleon, too, knew pretty well what to do in the circumstances. First, he set himself up in Schon­ brunn Palace. Then he had a deputy. issue a proclamation assuring the Vienna populace of the warm humanitarianism of the Emperor Napoleon. After that soldiers of the vic­ torious army were prom ptly billeted in every l~dging in Vienna and high taxes levied against the inhabitants. Vien­ na's glorious parks were closed to the citizenry an,d a state of stern military occupation became the order of the day. ISTOMIN-brings ardor and impet- If ever external circumstances should have inhibited the uosity __ _ and the best sound. creation of enduring works of art, the time was then. Yet it was against this very backdrop that Beethoven chiseled into a state of perfection three of his most ~ignificant com­ positions: The "Farewell" Piano Sonata ; the "Harp" String Quartet, Opus 74; and the "Emperor" Piano Concerto. Sig­ nificantly, all three works are in the tonality of E-flat major, a bold, noble, heroic key. Here, then, is another example­ and the history of the arts is full of them-of the artist tran­ scending his immediate environment 'and achieving his ca­ tharsis in the act of creation. The " Emperor" Concerto may be martial, imperious in its externals, but it is even more a ra­ diant, superbly self-confident work which boldly proclaims the invincibility of the individual human spirit. It was at the first performance of the work in Vienna, in February, 1812, that a French soldier in the audience is sup­ HOROWITZ-incendiary pianism _ . posed to have cried "C'est I'Empereur!" at an especially ma­ his disc still packs a mighty wallop. jestic passage. However the nickname "Emperor" hap- (Continued on page 21) 18 HIFI REVIEW What's New? The greatest stereo value ever!

This album is your preview of 12 brand-new Capitol albums by brillrian. t stars - complete selections in glittering stereo. .t.~ ~ * Worth $4.98, it's at your dealer's now for a fantastic JP ... ,

ALL THESE STARS' NEW A LBUMS represented in "What's New?" are available in both stereo and monophonic ve rsions:

NAT "KING" CO LE, GEORGE SHEARI NG, FOUR FRESHMEN, JONAH JONES, JUDY GARLAND, PAUL WESTON, LES BAXTER, RAY BAUDUC \\ NApPY LAMARE , HOLLYWOOD BOWL SYMPHONY ORCHESTRA, JACI< MARSHALL, GUY LOMBARDO, and exciting new singer MAVIS RIVERS. *Usual retail pri ce Model B_12GH . wHh h~ ~ l e!e~\ ~ mGIG! 3_speeds. $99 .95 IUrnloble only .

stereo T ables from $39.95 - bases also aoailable.

' Reg. 1.M. (Continued from page 18) chestra. His exuberance sometimes runs away with him, as pened to be tagged onto the music, the glamor of such a title shown by overly-percussive articulation of the slow move­ has heLped in no small measure to crystallize appreciative ment's middle section, but this is miscalculation of degree, audience awareness of the work. Today, 150 years after its not kind. As the most recent recording of the lot, this is creation, the "Emperor" Concerto remains a cornerstone of also the best sounding, with special kudos to the Columbia the repertoire, its lofty and exultant nobility a continuing and engineering team for the extraordinary clarity of the duet self-renewing phenomenon. between solo piano and kettle drums near the end. A singularly interesting aspect of the Emperor Concerto Curzon's recent London recording pursues an uncomplicat­ I is to be found in its combination of classical nobility of utter­ ed, straightforward approach from beginning to end. A con­ ance with its anticipation of virtuosic solo piano writing of a fident sense of security is perhaps his greatest asset. The type most fully exploited by Franz Liszt some forty years recorded sound is something of a disappointment, lacking later. Heretofore, the so-called virtuoso piano concerto had somewhat in fullness both in the monophonic and stereo· emphasized high-velocity running passagework, very much in phonic issues. There is also a curious lack of acoustic the harpsichord tradition, and with little attention to the brightness. potentiality of the pianoforte for rich chordal textures and The Horowitz recording issued by RCA Victor some six years ago is a remarkable example of the incendiary pianism of this artist; everything about the performance of the solo piano ,part here is big-tone, dynamics, concept. The sound of the recording is not as clear as it would be if Horowitz were to re·record the piece today, and the balance is too heavily weighted in favor of the piano, but this disc still packs a mighty, if unsubtle, wallop. And so to the redoubtable Artur Rubinstein. His record· ing of the complete set of all five Beethoven Piano Concer· tos has its ups, and downs, but the "Emperor"seems to me ·to be the up·est of the lot. Her,e is the quintessence of Rubin­ stein's art-immensely secure technique mated to a noble, visionary, penetrating interpretation. However, there are wide dynamics. Here in the "Emperor" Beethoven seems to things wrong with the recorded sound, having to do mostly have envisioned every possibility of the modern concert grand with the cavernous interior of New York's Manhattan Center in all its glorious brilliance. 'We say envisioned, because there where the recording was made. But all in' all, if I were is no reason to believe that any piano Beethoven himself pinned down to one "Emperor" among several majestic speci· played on-save perhaps the English Broadwood given to him mens of the breed, I think my choice would be Rubinstein in his last years-couldproduce anything like the sounds we for both monophonic and stereophonic categories. hear on today's high-fidelity recordings. "":""Milrtin Bookspan As of this writing, seventeen different mono recordings and four stereo versions are available. Choicest among the mono editions are those by Serkin (Columbia ML-4373), Basic Repertoire Choice To Date Istomin (Columbia ML-5318), Backhaus (London LL-879), I. Tchaikovsky's First Piano Cliburn; Kondrashin with Orch. Curzon (London LL-1757), Horowitz (RCA Victor LM-1718) Concerto RCA Victor LM 2252 (mono) Nov. '58, p. 48 and Rubinstein (RCA Victor LM-2124): The Curzon and Cliburn; Kondrashin with Orch. Rubinstein performances are also available stereophonically RCA Victor LSC 2252 (stereo) (London CS-60l9 and RCA Victor LSC-2124 respectively). 2. Beethoven's Fifth Sym- Toscanini-NBC Symphony Common to each of the, six performances enumerated above phony RCA Victor LM 1757 (mono) Dec. '58, p. 41 is strength-the one commodity indispensable to any note­ Ansermet-Suisse Romande Orch. London CS 6037 (stereo) worthy performance of this masterpiece. Strength, of course, comes in many different sizes and shapes and each of these 3. Beethoven's "Moonlight" Petri Sonata Westminster XWN 18255 pianists communicates his own particular kind of strength. Jan. '59, p. 37 (mono) Serkin is unabashedly overcome with the grandeur of the 4. Dvorak's "New World" Toscanini-NBCSymphony music and he throws himself into it shamelessly. The sten­ Syinphony RCA Victor LM 1778 (mono) torian heroics of the Concerto strike a particularly responsive Feb. '59, p. 54 Reiner-Chicago Symphony chord in his make-up and he luxuriates in their re-creation. RCA Victor LSC 22t4 (stereo) The recording is nearly half a'dozen years old, but save for 5. Beethoven's "Eroica" Klemperer-Philharmonia excessively clangorous solo piano reproduction, it still sounds Symphony Angel 35328 (mono) pretty well. March '59, p. 49 Szell~le¥elandOrchestra ' Backhaus is more detached than Serkin in his approach Epic BC 100 I (stereo) and he gives us a more objective statement of the music, but 6. Bach's Chaconne for Heifetz it is no less faithful to the spirit of Beethoven. The recording Solo Violin RCA Victor LM 6105 {mono} has now seen service since the early 1950's and it shows its April '59, p. 16 Segovia (guitar) age in distant sound and a less than Ilatural piano sonics by Decca DL 9751. (mono) 1959 standards. Perhaps London has a new Backhaus record~ 7. Schubert's "Unfinished;' Fricsay- ' ing of the "Emperor" up its stereo sleeve to go along with Symphony Berlin Radio Symphony May, '59, p. 14 Decca DL·9975 {mono} the recent re-recording by him of the Fourth Piano Concerto. Szell~leveland Orchestra Young Istomin, for his part, brings ardor and impetuosity Epic LC·l195 {mono} to his ,performance with Ormandy and the Philadelphia Or- JUNE 1959 21 SOUND AND THE QUERY

I enjoy good AM broadcast reception in my car. I drive around New York City and listen only to the top.quality station s at the low end of the dial to insure that I get the maximum in fidel­ ity. I am becoming increasingly an­ noyed by the signal fading in and out as the cal' goes under a bridge. Is thel'e any way I can cure this with a better receiver or diffel·ent antenna?

As far as optimum AM reception is con· cerned, you are probably getting the best possible results from your present automo· bile radio. The only solution would be to use an FM receiver or a different speaker system. The use of FM will "cure" the fade-outs you experience in driving under bridges and through short tunnels. The radio waves in the FM broadcast band are not canceled out by "over-the-highway" ob­ You've dreamed of "picture on the wall television". It's yours now with structions. We would suggest your investi­ the new Fleetwood da Vinci ... the set designed for custom installation gating the Gonset Model 3239 FM "Trans­ _ .. designed to be framed, as a picture, in a frame just right for your lator" described in detail on page 51 of our dec9r. Fleetwood's new slim design lets a bookcase give a perfect "built­ November, 1958 issue. in" appearance without actually building in. Revolutionary new 2I-inch* Fleetwood picture tube has non-glare I notice that just as many people speak very highly of printed circuits as safety glass laminated to tube face. Picture is brighter, viewing angle is those who are vehement in denouncing wider, reflections are virtually eliminated. Wide band pass and excellent them. Is there some inherent problem concerning printed circuits that is circuitry ... with no manufacturing shortcuts ... gives picture detail not being discussed openly before the that allows you to see an individual eyelash on a pretty girl. general public? The Fleetwood da Vinci is available in two models. Model900-a two chassis system that features the lazy luxury of full electronic remote The printed circuit is not a panacea to solve all of the possible wiring ills in hi-fi control, and Model 9I0-with self contained controls. equipment. It is successfully used by the *Diagonal measure. kit manufacturers who can thus cut wiring time by 50% or more. In addition, the use of a printed circuit means that all the wires will be in their proper places-an especial­ BUILT-IN BEAUTY ly important ingredient in AM-FM tuners. Printed circuits are fragile and should not THAT BELONGS be subjected to abusive handling. Repair­ ing burnt out components when mounted on a printed circuit hoard is a difficult See it at your problem-one which is quite simple in hi fi point-to-point wiring. If the individual -Ui/# . components operate within their safe rat­ dealer. ings, and if the apparatus is not being you'll mishandled, printed circuitry should last want it in as long as the best point-to-point wiring. your home.

Shouldn't there be some price-time < ,~ .~~ relationship on LP records so that we don't pay $9.00-$12.00 per hour for music. It was bad enough with mono ~~ records; now I understand that stereo records will create a worse problem.

There has always been a tendency for gPe;t'";~~l~~~e~~e~;st;;u~EV'S'ON some recording companies to sell around the amount of time they manage to cram Crafted by Conrac, Inc . • Dept. Z • Glendora, California on a microgroove record. At least one of 22 HIFI REVIEW New H.H. Stott Stereo Amplifie~ has features never before 4& 95*

"oW Until now: the .hign fidelity fan with a limited 'budget !lad to , .. " $;' . Introduction of the new H.H. Scott2'7!l: watt stereophonic within the reach efall. This new amplifier has many featu It is backed .by H ..

Equalization switch lets Special switch posi­ This position lets you Separate Bass and Effective scratch filter Channel balance can· Master VOlume control you choose between tion s for accurate bal­ play a monophonic Treble controls on Improves performance trol adjusts for dif­ adjusts volume of both RI AA compensation for ancing, for playing source such as an FM each channel let you on older worn record s ferent speaker effi­ channels simUltane­ monophonic and stereo stereo , reverse stereo tuner or a tape re­ adjust for differences and improves recep ­ ciencies and brings ously. Also functions as records; NARTB, for and for using mono­ corder through both In room · acoustics and tion on noisy rad io channel volumes into automatic loudness J~p_e h!ads. _ phonic records with power stages and different speaker sys· broadcasts. balan ce quickly and control whenever de­ your stereo pickup, speakers. tems. easily. sired. Insist on genuine H. H . Scott components

.. SPECIFICATIONS:,DuaI12 watt Exclusive center­ channels ; 0.3% I M distortion ; 0.8% harmonic channel output lets you distortion; frequency response 20 to 30,000 cps; use your present amp­ extremely low hum level (-80 db) ; DC operated lifier for 3-chann el preamplifiers heaters ; Inputs for stereo or mono­ stereo or for driving phonic recorders, tuners, phono cartridges and extension spea kers. tape heads. Phono sen sitivity 3 mv. Sub-sonic Separate stereo tape­ rumble filter prevents overload from noisy recorder outputs. .changers or turntables, Price $139.95* "Weat of Rockies $11.3 .25. Accessory case extra. ,

!!.H. SCOTT INC. DEPT. MR·6, III POWDERMILL ROAD, MAYNARD, MASS. EXPORT : TELESCO INTERNATIONAL CORP., 36 W. 40TH ST., N.Y.C ~~

SEND NOW FOR Rush me complete details on your new Model 222 and your complete 1959 Hi Fi Guide & Catalog. FREE HI-FI GUIDE Namei ______ANP CATALOG Address:______.....l City, ______AState '______.....;. ~ them makes a point of claiming 55-60 min­ utes of continuous music. Unfortunately, there is a point of dim­ ishing returns insofar as high fidelity is concerned_ These are the problems of "inner-diameter distortion" as well as dy­ namic range_ I.d.d. results from the in­ creasing number of groove modulations the stylus must trace per unit of linear dis­ tance. As the stylus nears the center spin­ dle, the groove diameter shrinks and the modulation problem increases alarmingly. It is also well-known that the more program material that is cut on a record, the more difficult it becomes to achieve a really wide and undistorted range of dynamics. It is possible to get top quality sound from a mono disc with 25 minutes of high pow­ ered symphonic music per side. On a stereo disc, at least for the present, the maximum figure is reduced to somewhere between 20 and 22 minutes-unless the 1 music is kept to an extremely low dynamic level throughout the record.

I want a JDonophonic system with two separate speaker systems_ In other words, I want to add a second amplifier and a second speaker systeJD that will b e driven b y that aJDplifier. How do I attach the single audio lead froJD my What is the difference between preamplifier to the two inputs of the two power aJDplifiers?

these CLEVlTE'WALCO' needles? Frankly, you're wasting your money in On the left - the Clevite "Walco" that Clevite "Walco" puts into its buying that second power amplifier. You W-33DS twin-point stylus. On the original equipment needles • . . the can easily achieve the same effect by wir­ right - the W-35DS model. Both needles that are specified and installed ing the two speakers in parallel and wiring needles can be used interchangeably, in cartridges by virtually every lead­ them across the power amplifier tap that but never should be! ing manufacturer. represents one-half the nominal imped­ Same size, same shape, same tip ance of one of the speakers. This assumes, materials ... but there's a crucial dif­ ••••••••••••••••••••••••••••••••••••• of course, that the two speaker systems are ference in the nature of the metal, in · of com para hIe efficiency and that one will the compliance of the shank, and in · not be much louder than the other. Should the frequency responses. The W -33 ~ COLLECTORS' ~;,olf ITEMS this occur, you will also find it necessary was designed specifically for one DisCleaner Kit to wire into the circuit an L-pad to attenu­ series of cartridges ... the W -35 for · The great Clevite "Walco" advance in ate the over-all signal fed to the louder a completely different series. record cleaning . • • contains the most speaker. H it is necessary to use the power effective, long-lasting anti-static clean­ ing solution ever developed, and uses amplifiers, we are given to understand that Don't be misled by look-alike nee­ special velvet-piled applicators that dles. Your Clevite "Walco" dealer has reach between groove walls to pluck out Y-neck, or "Siamese," connectors are be­ the needle that not only tits your tone microscopic dust. Leaves no residue. • ing made available by Switchcraft. arm cartridge •.. but that is right • DisCovers ·: for it, giving the compliance and fre­ : Clear plastic sleeves contoured to ac- : quency transmission characteristics • commodate your records. Prevent dust • : gathering, eliminate groove abrasion : the cartridge must have for proper • and fingermarking when slipping in • reproduction. • and out of record jacket. • ·: Microgram Stylus Pressure Gauge .: All Clevite "Walco" needles are ·• Foolproof. precisely accurate balance to .• fully guaranteed. When you buy a : measure stylus pressure up to 10 grams. : • An essential accessory for any hi ... fi or • Clevite "Walco" replacement needle, • stereo system. Never needs recalibration • you get the same quality and precision : or adjustment. : Write for FREE Sample DisCover - ·.••...... •...... • .• protective plastic record sleeve CLEVITE 'WALCD' Diamond Needles • Record Accessories FOR BEST SOUND •• • LONGER RECORD LIFE

REPLACEMENT PHONOGRAPH NEEDLES RECORD CARE ACCESSORIES 60 Franklin Street CLEVITE 'BRUSH' HI-FI HEADPHONES East Orange, New Jersey And what can interest you in?" 24 HIFI REVIEW MODEL SE-1 (center unit) $14995 Shpg. wt. 1621bs. (specify wood desired)

MODEL SC-1 (speaker enclosure) $3995 each Shpg. Wt. 42 Ibs.(specify R. or. L. also wood desired)

Superbly designed cabinetry to house Y0l* complete stereo system. Delivered with pre-cut panels to fit Heathkit AM-FM tuner (PT-!), stereo preamplifier (SP-l & 2) and record changer (RP-3). Blank panels also supplied to cut out for any other equipment you may now own. Adequate space is also provided for tape deck, speakers, record storage and am­ plifiers. Speaker wings will hold Heathkit SS-2 or other speaker units of similar size. Available in % " solid core Philippine mahogany or select birch plywood suitable for finish of your choice. Entire top features a shaped edge. Hard­ ware and trim are of brushed brass and gold finish. Rich tone grille cloth is flecked in gold and black. Maximum overall dimensions (all three pieces); 82%' W. x 36\12' H. x 20' D.

PROFESSIONAL STEREO-MONAURAL AM-FM TUNER KIT MODEL PT-1 $8995 The to-tube FM circuit features AFC as well as AGC. An accurate tuning meter operates on both AM and FM while a 3-position switch selects meter functions with­ out disturbing stereo or monaural listening. The 3-tube .front end is prewired and prealigned, and the entire AM circuit is on one printed circuit board for ease of con­ struction. Shpg. Wt. 20 Ibs.

MONAURAL-STEREO PREAMPLIFIER KIT (TWO CHANNEL MIXER) Complete control of your entire stereo system in one com­ pact package. Special "building block" design allows you to MODEL SP-1 \1l1onaural) purchase instrument in monaural version and add stereo or $3795 SHpg: Wt. . 131 bs. second channel later if desired. The Spot monaural pre­ amplifier features six separate inputs with four input level controls. A function selector switch on the SP-2 provides two channel mixing as well as single or dual channel monaural and dual channel stereo. A 20' remote balance control i$ provided.

JUNE 1959 25 HIGH FIDELITY RECORD CHANGER KIT MODEL RP-3 $6495 Every outstanding feature you could ask for in a record changer is provided in the Heathkit RP-3, the most advanced changer on the market today. A unique turntable pause dur­ ing the change cycle saves wear and tear on your records by eliminating grinding action caused by records dropping on a moving turntable or disc. Record groove and stylus wear are also practically eliminated through proper weight distribution and low pivot point friction of the tone arm, which minimizes arm resonance and tracking error. Clean mechanical sim­ plicity and precision parts give you turntable performance with the automatic convenience of a record changer. Flutter and wow, a major problem with automatic changers, is held to less than 0.18% RMS. An automatic speed selector posi­ tion allows intermixing 33\13 and 45 RPM records regardless of their sequence. Four speeds provided: 16, 33l!J, 45 and 78 RPM. Other features include RC filter across the power switch preventing pop when turned off and muting switch to prevent noise on automatic or manual change cycle. Changer is supplied complete with GE-VR-II cartridge with diamond LP and sapphire 78 stylus, changer base, stylus pressure gauge and 45 RPM spindle. Extremely easy to assemble. You simply mount a few mechanical components and connect the motor, switches and pickup leads. Shpg. Wt. 19 Ibs. Moslel RP-3-LP with MF-l Pickup Cartridge $14.95

HIGH FIDELITY TAPE RECORDER KIT HIGH FIDELITY AM TUNER KIT Includes tape deck MODEL TR-1A $ 9995 assembly, preamplifier MODEL BC-1A $2695 (TE·l) and roll of tape. 'The model 'TR-IA Tape Deck and Preamplifier, combination Designed especially for high fidelity applications this provides all the facilities you need for top quality monaural AM tuner will give you reception close to I'M. A record /playback with fast forward and rewind functions. special detector is incorporated and the IF circuits are '7 1/2 and 3'y.j IPS tape speeds are selected by changing belt "broad banded" for low signal distortion. Sensitivity drive. Flutter and wow are held to less than 0.35%. Fre­ and selectivity are excellent and quiet performance is quency response at 7Yz IPS ±2.0 db 50-10,000 CPS, at 3'y.j assured by high signal-Io-noise ratio. All tuna\;lle IPS ±2.0 db 50-6,500 CPS. Features include NARTB play­ components are prealigned. Your " best buy" in an back equalization-separate record and playback gain con­ AM tunet. Shp.g. Wt. 9 Ibs. trols-cathode follower output and provision for mike or 'line input. Signal-to-noise' ratio is better than 45 db below normal recording level with less than I % total harmonic dis­ tortion. Complete instructions provided for easy assembly. (rape mechanism not sold separately). Shpg. Wt. 24 lb. Model TE-l Tape Preamplifier sold separately if desired. Shpg. Wt. 10 Ibs. $39.95.

HIGH FIDELITY FM TUNER KIT .. IT'S EASY •.• IT'S FUN MODEL FM -3A $2695 And You Save Up To Y:z With Do-It-Yourself Heathkits For noise and :static,-free sound reception, this FM tuner is your least expensive source of high fidelity Pulling together your own Heathkit can be one of the most exciting material: Efficient 'circuit design features stablized hobbies you ever enjoyed. Simple step-by-step instructions and large oscillator circuit to eliminate drift after warm-up and, pictorial diagrams show you where every part goes. You can't possi­ bly go wrong. No previous electronic or kit building experience is re­ broadband IF circuits for fuil fidelity with high sensi­ quired. You'll learn a lot about your equipment as you build it, and, tivity. All t\lnable components are prealigned and of course, you will experience the pride and satisfaction of having front end is preassembled. Edge-illumin'ated slide rule done It yourself. dial is clearly marked and covers compl.ete FM bang from 8'8 to i08 mc. Shpg. WI. 8 Ibs. ,

26 HIFI REVIEW • No Woodworking Experience Require4 CHAIRSIDE ENCLOSURE KIT ,For Construction ' ODEb CE-1 $4396 (Specify model and wood M each desired when ordering.) .. All Parts Precut and Predrifled Your complete hi:fi,sys tem is r;ight at your fingertips with .For Ease of Assembly this handsomely styled chairside enclosure. 1naddiiion to its convenience and utility it will complement your living room f:urnishings with its strik.ing design in either tradi­ tional or contemporary models. Designed for maximum ftexibiUt.y and c ~ml? ~ tness consistent wil:h attractive appearance, t his enclosure is intended to hCluse the Heathkit AM and FM tuners (BC-IA and FM-3A) and the WA-P2 preamplifier, along with the RP-3 or majority of record changers which will fit in the space provided. Well ven­ tilated space is provid~d in the rear of the enclosure fot any or"the Heatfil:if amplifiers designed to operate with the W A-P2. The tilt-out shelf can be installed on either right or left side as desired during constf, uction, and a lift-top lid in front'can also be reversed. Both tuners may \ be ins~a'Jled in 'tilt-out shelf, ,with preamp mounted in front of changer .... or tuner li nd preamp combined with II other tuner in changer- area. Overall dimensions are IS' W. x 24' H. x 35~' D. Changer compartment measures 17~ ' L. x 16" W. x 9%' D. All parts are precut and pre­ drilled, for easy' assembly. Whe CanterqppI;arpr cabinet i,s ,. ..) available in either. mahogany or birch, and rhe Traditional cabinet is available in mahogany suitable for . the finish of your choice. All hardware supplied. Shpg. Wt. 46 Ibs.

TRADITIONAL Model CE-1T Mahogany

"BOOKSHELF" HI-FI 12 WATT AMP'L1FIE~ KIT MODEL EA-2 $2896 An amplifier and preamplifier in one compact unit, the EA-2 has more than enough power for the average home hi-fi system and provides full range frequency response from 20 to 20,000 CPS within ± I db, with less than 2% harmonic distorition at full power over the entire range. RIAA equalization, separate bass and treble controls and hum balance control are featured. An outstanding per­ former for the size and price. Shpg. WI. 151bs.

"UNIVERSAL" HI-FI 12 WATT AMPLIFIER KIT MODEL UA-1 $2196 Ideal for stereo or monaural applications. Teamed with the Heathkit WA-P2 preamplifier, the UA-I pro­ vides an economical starting point for a hi-fi system. This hi-fi amplifier represents a remarkable value' at less In stereo applications two UA-I's may be used along 1'han 'a dollar a watt, Ful! audio' output and maximum with the Heathkit SP-2, or your present system may damping is a t rue 55 watts from 20 to 20,000 CPS ,with be converted to stereo by adding the UA-I. Harmonic less than 2% total"harmonic' dlstortion throughout t~e distortion is less than 2% from 20 to 20,000 CPS at el'!tire audiO' range. Features include lev~l control and full 12 watt output. "On-off" switch located on chassis . "on-off" switch right on the chassis, plus provision for and an octal plug is also provided to connect pre­ remote cOl)trol. Rilotlight on chassis. Modern, functional amplifier for remote control operation. Shpg. Wt. ' design. S:hpg. Wt. ,,2~Jbs. 13 lbs.

"M~ST:ER CONTROL,~ ' PREAMPLIFIER KIT ' MODE I1l ~WA-P2 $4976

JUNE 1959 27 "ADVANCE DESIGN" 25 WATT HI·F. AMPLIFIER KIT MODEL W5-M $5975 Enjoy the distortion-free high fidelity sound reproduc. tion from this outstanding hi-fi ampli,fier. The W5-M incorporates advanced design features for the super critical Listener. Features include specially designed Peerless output transformer and KT66 tubes. The cir­ cuit is rated at 25 watts and will follow instantaneous power peaks of a full orchestra up to 42 watts. A I "tweeter saver" suppresses high frequency oscillation and a unique balancing circuit facilitates adjustment of output tubes. Frequency response is ± I db from 5 to 160,000 CPS at 1 watt and within ±2 db 20 to 20,000 CPS at full 25 watts output. Harmonic distor­ tion is less than 1% at 25 watts and 1M distortion is 1% at 20 watts (60 'and 3,000 CPS, 4: I). Hum and noise are 99 db below 25 watts for truly quiet per­ formance. Shpg. Wt. 31 Ibs.

r

YOU'RE NEVER OUT OF DATE WITH HEATH KITS

Heathkit hi-fi systems are designed for maximum flexibility. Simple conversion from basic to _complex systems or from monaural to stereo is easily accomplished by adding to already exisling units. Heathkit engineering skill is your guarantee against obsolescence. Expand your hi-,I as your budget permits .• • and, if you like, spread the payments over easy monthly installments with the Heath Time Payment Plan.

II

- 28 BIFI REVIEW "LEGATO" HI-FI SPEAKER SYSTEM KIT MODEL HH-1 $29995 Words cannot describe the true magnificence of the "Legato" ." speaker system ... it's simply the nearest thing to perfection in reproduced sound yet developed. Perfect balance, precise phasing, and adequate driver design all combine to produce startling real­ ism long sought after by the hi-fi perfectionist. Two 15' Altec Lansing low frequency drivers and a specially designed exponential horn with high frequency driver cover 25 to 20,000 CPS. A unique crossover network is built in. Impedance is l6 ohms, power rating 50 watts. Cabinet is constructed of %' veneer-surfaced plywood in either African mahogany or imported white birch suitable for the finish of your choice. All parts are precut and predrilled for easy assembly. Shpg. wt. 195 Ibs.

"RANGE EXTENDING" HI-FI DIAMOND SPEEQWINDER "KIT SPEAKER SYSTEM KIT STYLUS HI-FI 95 PICKUP MODEL SW-1 $24 MODEL SS-1B 95 $99 C~RT~IDGE ~ewind tape and film at'the rate of Not a complete speaker system in itself, the SS-IB MODEL MF-1 1200' in 40 seconds. Saves w~ar on is designed to extend the range of the basic SS-2 tape and recorder. Handles up to (or SS-I) speaker system. Employs a 15" woofer $"2695 1OY2' tape reels and 800' reels Gf and a super tweeter to ~eplace your present 80r 16 milli meter film. Incorporates extend overall response pickup with the MF-l " automatic shutoff and "braking de­ from 35 to 16,000 CPS and enjoy" the fullest ,{ice. Shpg. Wt. 12 Ibs. ± 5 db. Crossover circuit fidelity " your library is built-in with balance of LP's has to offer. control. Impedance is 16 Desfgned to Heath" ohms, power rating 35 specificat-ions to offer watts. Constructed of you one of the finest­ %" veneer-surfaced ply­ cartridges available wood suitable for light today. Nominally flat or dark finish. All parts response from 20 to precut and predrilled for 20,QOO CPS. Shpg. easy assembly. Shpg. Wt.llb. wt. 801bs.

COMPANY· BENTON HARBOR 40, MICH. U~bSidiary of Oaystrom, Inc. "do-it-yourself" . 0 Please send the Free Heathkit catalog. electronics o Enclose d is 25c for the Hi-Fi book.

En closed find $ ...... Pl ease enclose postage name for parcel post- express orders are shipped de­ livery charges collect. All prices F.O.B. Be nton address Harbor, Mich. A 20% de· posit is req uired on all C.O.D. orders. Prices sub ject to change with­ out notice. city & state

I I JUNE 1959 29 DVNAKITS Look Best - Test Best - Sound Best Jlusical Oddentities

NEW STEREO 70 KIT

The 1880 edition of the Encyclopedia Britannica contained the following paragraph in the article on Handel: "The system of wholesale plagiarism carried on by him is perhaps unprecedented in th e history of music. He pilfered not only single melodies but frequently entire movem ents from the works of other masters, with few or no alterations and without a word of acknowledgement."

Indeed, Handel freely borrowed many of his musical materials from contemporary German and Italian composers. But puzzlement and dismay at such methods must be qualified by th e realization that the 'Sense of musical property was not as sacred in the eighteenth century as it is now. That was the age of great music, but it was also th e age of pasticcio, a musical pastry in which the ingredients came in­ I *Dua135 watt super-quality amplifiers -70 watt continuous monophonic discriminately from any number of composel'S. Handel merely followed the prac· rating-I60 watt peak. tices of his time. However, he never reproduced borrowed materials in their precise form, but invariably rearranged the setting. Handel's rival, Bononcini, was *All critical parts on prefabricated printed circuit assembly reduces wir­ disgraced when he passed a madrigal by Lotti for his own, but his great mistake ing time to five hours. was that he copied the piece without any changes. *Premium quality parts conservative­ ly operated permit one year guar­ In much more recent times, Bizet incorporated (without credit) Sebastian Yradier's antee. Chanson havanaise in Carmen, preserving not only the key of D, and the rhythmic *Uncompromised design for finest pattern of the accompaniment, but also the dynamics, and making the song famous performance-usable with all speak­ under the title Habanera. ers. *Only $99.95* net including all parts, instructions, and protective cover. At a pel'fol'mance of Faust by a small opera company in Montreal, in the eal·ly 1900's, the managel' made the following announce­ ment during the intel'Jnission between the first and second acts: Step up to STEREO "In keeping with the progress of the new centuI'y, we have re­ Superb Dynakit Quality Is Fully Com­ placed the spinning wheel, which is an obsolete implement, by the patible with Stereo Requirements Singel' sewing machine. It is so smooth that you will not lose a single note in the King of Thule aria." Indeed, when Marguerite began to sing, she pedaled the machine continuously and noise­ lessly. At the end of the al'ia, she sang an exh'a recitative: "This sewing machine is an incomparable insh·ument. And it costs only sixty thalel's!" (The thalel', of course, was the progenitol' of the dollal', so the word was appropriate.)

*Famous Dynakit Preamplifiers-Dis­ tortionless and noise free - stack The greatest musical phenomenon of all time was probably the blind Negro, harmoniously for stereo. $34.95* each. Thomas Green Bethune, known as "Blind Tom." He was born a slave in Georgia in 1849. From early childhood he revealed an extraordinary ability to reproduce *Add DSC-I Adaptor unit for com­ on the piano tunes and complete pieces which he heard at his owner's plantation, plete flexibility. Includes blend, bal­ ance, dual volume controls plus loud­ performed by an amateur pianist. His astonishing facility attracted attention, and ness, tape monitor, and reversing after the Emancipation, he was sent to Europe, where he gave demonstrations of switches. Only $12.95':' net. his almost phonographic ability to repeat piano pieces after a single hearing. A book was published about him in Paris, under the title, Le merveilleux prodige *PM-2S Panel mount kit provides in­ tegrated handsome appearance plus musical Tom l'Aveugle, and celebrated European musicians expressed their amaze­ mounting facilitY-$5.95* net. ment at his performances. "Blind Tom" never showed an understanding of the music he played, and did not even seem to react to it emotionally. His was a pas­ *CM-2S Cabinet Set includes single front panel and walnut table top sive talent for perfect imitation, but his ability in this respect apparently exceeded cabinet. $17.95* net. the capacities of the greatest musicians of the past centuries. He died in Hoboken, New J ersey, in 1908, in his fiftieth year. Available from leading Hi·Fi dealers everywhere. Descriptive brochure available on request. * * * * * * Slightly higher in West In the Gay Nineties the targets of female adulation were highbrow pianists rather than crooners. When Paderewski played in New DYNACO INC. York in 1891, a New York newspaper reported: "The girls lUobbed him. If Mr. Paderewski should be ambitious to start a harem in 617 N. 41st St.. Philo. 4. Po •• U. S. A. New York, it would be necessary for him to secure a structure fully EXPORT DIVISION: as large as the Fifth Avenue Hotel to accommodate the women 25 Warren St.. New York 7. N. Y. who would clamor to be among its inmates." -Nicolas Slonimsky 30 A recording chaHenge!

the magnetic tape engineered to help you meet it best l8

Steam hisses, drive wheels grind, cou­ oxide dispersion for flawless fidelity; 2) plings clash, air roars through the fire controlled uniformity for perfect re­ box . . . a fascinating, overwhelming, sponse on every inch of every reel; 3.) multi-leveled mass of conflicting sound silicone lubrication to safeguard your spews forth as a locomotive starts to ;roll. recorder head. 3M quality control keeps these tapes that way, protects you from Try to capture this sound experience on drop outs and response variations. tape, with its living power, with all its mood. It's a challenge! - to your skill, The results you get can't be any better to your equipment, to the tape you use. than the tape you use. Whether you're recording a lad or a locomotive, use It takes tapes engineered for just such "SCOTCH" Brand Magnetic Tape, the exacting jobs - "SCOTCH" Brand Mag­ tape made by 3M Company. Only 3M netic Tapes available on acetate or poly­ has pioneered and leads in all three ester backings. 3M Research has de­ applications of magnetic tape - audio, "SCOTCH" Brand Magnetic Tape signed these tapes with: 1) precision video and instrumentation. -the memory of tomorrow

t?£~ ....~~~ !'SCOTCH" and the Plaid DeSign are Registered Tradem arks of 3M Co ., SI. Paul6, MINNESOTA MINING AND MANUFACTURING COMPANY ~\ Minn . Export: 99 Park Ave., New York. Canada : london, Ontario . © 1959 3M Co. ••• WHERE RESEARCH IS THE KEY TO TOMORROW ~ ~:::'>w<-<..4~ 31 NEW STEREOPHONIC EQUIPMENT. HF85: Stereo Dual Preamplifier is a complete stereo con­ trol syste m in "low si lhouette" des ign adaptable' to any type of insta llation. Selects, preamplifies, controls any stereo source-tape , di scs, broadcasts. Superb variable crossover, f eedbac k tone controls driven by feedback amplifier pairs in each channel. Distortion borders on unm eas urab le even at high output levels. Separate 10' leve l input in each channel for mag. phono, tape head, mi ke. Separate hi-leve l inputs fo r AM & FM tuners & FM Multiplex. One each auxiliary A & B input in each chann el. Indepe nd ent level. bass & treble control s in each channel may be operated together with built·in clutch. Switched· in loudness compensator. Fun ction Selector permits he ar· STEREO ing each stereo channel individually, and reversing them; also use of unit for stereo or mon ophonic play. Full-wave AND rec tifier tube power supply. S-12AX7/ECC83, 1-6X4. Works with any high·quality stereo power amplifier such as EICO HF86, or any 2 hi gh-quality mono powe r amplifiers MONAURAL such as EICO HFl4, HF22, HF30, HF3S, HFSO, HF60. "Extreme flexibility ••• a bargain" - HI-FI REVIEW. Kit $39.95. Wired $64.95. Includes cover • . HF86: Stereo Dual Power Amplifier for use with HF85 above or any good se lf-powered stereo preamp . Identical Williamson-type push-pull EL84 power amplifiers, can· servatively rated at 14W, may be operated in parallel to deliver 28W for non-stereo use. Either input can be made common for both amplifiers by Service Selector switch. Volta ge amplifier & spl it-load phase inverter circuitry feature EICO·developed 12DW7 audio tube for significantly belter performance. Kit $43.95. Wired $74.95. HF81: Stereo Dual Amplifier-Preamplifier selects, am?li· fies & controls any stere o source - tape, discs, broad· casts-& feeds it thru se lf-contained dual 14W amplifiers to a pair of .speakers. Monophonically: 28 walts for your speakers; complete stereo preamp. Ganged level co.ntrols, separate focus (balance) control, independent full-range ba ss & treble controls for each channel. Identical William· son-type, push·pull EL84 power amplifiers, excellent out· put transformer~. "Service Selector" switch permits one preamp·control section to drive the internal power ampli· fiers while other preamp-control section is left free to drive vo ur ex isting external amplifier. "Excellent" - SATURDAY REVIEW: HI-FI MUSIC AT HOME. "Outstand. ing quality ••• extremely versatile" - RADIO & TV NEWS LAB-TESTED. Kit $69.95. Wired $109.95.' Includes cov er. MONO PREAMPLIFIERS (stack Z for Stereo) HF-65: superb new de sign, Inputs for tape head, microphone, mag· phono cartridge & hi·level so urces. 1M distortion 0.04 % @ 2V out. Altractive "low silhouelte" design. HF65A Kit $29.95. Wired $44.95. HF65 (with power supply) Kit $33.95. Wired $49.95. . MONO POWER AMPLIFIERS . (use 2 for STEREO) HF60 (60W), HFSO (SOW), HF3S (3SW). HF30 (30W), HF22 (22W), HFl4 (14W): from Kit $23.50. Wired $41.50. MONO INTEGRATED AMPLIFIERS (use 2 for STEREO) HFS2 (SOW), HF32 (30W), HF20 (20W), HFl2 (12W): from Kit $34.95. Wired $57.95. SPEAKER SYSTEMS (use 2 for STEREO) HFS2: Natural bass 30-200 cp s via slot-loaded 12-ft. split conical bas s horn. Middles & lower highs: front radiation from 81h" 'edge-damped con e. Distortion less spike-shaped super-tweeter radiates omni-directionallv. Flat 4S-20 ,OOO cps, useful 30·40,000 cps. 16 ohms. HWD 36", lS1/4", lllh". "Eminently musical"-Holt, HIGH FIDELITY. "Fine for stereo"-MO\}£Rf'( HI -FI. Completely factory-built: Mahogany or Walnut, $139.95; Blonde, $144.95. HFS1: Bookshelf Speaker System, complete with factory. built cabinet. Jensen 8" woofer, matching Jensen com· pression·driver exponential horn tweeter. Smooth clean FM Tuner HFT90 ba ss : crisc extended highs. 70-12 ,000 cps range. AM Tuner HFT94 Capacity 2S W. 8 ohms. HWD: 11" X 23" X 9". Wiring time 15 min. Price $39,95. FM TUNER ' HFT90: For the first time, makes practical even for the novice the building of an FM tuner ki.t equal to really good factory-wired units. No instruments needed. Pre-wired, pre·aligned temperature-compensated Stereo "front end" is drift free-eliminates need for AFC. Pre· Amplifier-Preamp cision Heye-tronic" DM-70 traveling tuning ind icator, sup· HF8l plied pre-wired, contracts at exact center of each HA channel. Pre-aligned IF coils. Sensitivity 6X that of other kit tuners: 1.5 uv for 20 db qu ieting, 2.S uv for 30 db quieting, full limiting from 25 uv. IF bandwidth 260 kc at 6 db paints •. Frequency response uniform 20-20,000 cps ±1 db. Has 2 output- jacks: cathode follower output to amplifier, plus Multiplex output for FM Multiplex Stereo adapter; thus prevents ·obsolescence. Flywheel tuning, AGC, stabilized low limiting threshold for ·excel· lent performance from weaker Signals, broadband ratio detector for improved capture ratio & easier tuning, full· wave rectifier & heavy filtering, very low distortion. Bookshelf "One of the best buys you can get in high fidelity kits" Speaker System - AUDIOCRAFT. Kit $39.95*. Wired $65.95 *. Cover $3.95. HFSl -Less Cover, F.E.T. incl. NEW AM TUNER' HFT94: Matches HFT90. Selects "hi-fi" wide (20c - 9kc @ -3 db) or weak-station harrow Omni-dlrectional (20c - 5kc @ -3 db) bandpass. Tuned RF stage for high Monaural Preamplifiers. Speaker System HFS2 selectivity & sensitivitYi preCi si on Ueye-tronic" tuning. HF6S, HF6SA 36" H x lSW' W x lllk~ 0 Built-in ferrite loop, prealigned RF & IF coils. Sensitivity (stack 2 for Stereo) .3 uv @ 30% mod . for 1.0 V out, 20 db' SIN. Very tow no ise & di stortion . High-Q 10 kc whistle filter. Kit·$39.95. Wired $69.95, incl. Cover & F.E.T. EICO, 33·00 Northern Blvd., L.I.C. 1, N.Y. HR·6

SHOW ME HOW TO SAVE 50% on 65 Monaural Power Amplifiers: models of top·quality: 60, 50, 3S. 30 , 22 and 14-Watt o Hi-Fi 0 Test Instruments 0 "Ham" Gear (use 2 for Stereo) Send FREE catalog & name of neighbor­ Stereo Power Amplifier HF8G hood EICO dealer. N AME .•.•. •••••••••••••••• ••••••••••••••••••••••••••••••••••••• ••••••••••••••••• ADD RESS ••••• ••• •••• ••••• •••• .••••••••• •••••••••••• •••••• ••••••• •• .•••••. ••••• L ..:IT~.= . = . =.. =c:.: ..= .. ==T.::.=.. = .:.. J 32 HIFI REvmw r""'P~e. , ""'PlUWlAc:ilLofIt

discussion / HENRY PLEASANTS

Why must only jazzmen recognize the value of improvising while modern longhairs produce sterile composition?

N AN interview for the December 2, 1955, issue of U. S. with the decadence and disappearance of the art of improvi­ I News and World Report, Louis Armstrong was asked, sation, had produced a tyranny of plan over impulse. "Why do you prefer the six-piece to a big orchestra?" The balance of plan and impulse in the finest works of the "I don't prefer it," said Louis, "-the public does. They European repertoire, the masterpieces, that is, of the period feel with a small combination they will get every individual's 1700-1850, probably represents a just balance between im­ soul better than fifteen men sitting up there playing what one provisation and formal composition, even though nothing is guy wrote. -Proba-bly he didn't know anything about music­ improvised in the strictest sense of the word. The immediacy he just studied at college from a score--and you're playing of the musical expression suggests, in any case, a kind of what he thinks. But six men, they play what comes out of composition not too far removed from an improvisational base. each one of them personally." Few will deny, however, that the last century of European Which would seem to be as good a way as any to kick music, and particularly the last fifty years, has seen impulse off a discussion of the comparative advantages and disadvan­ sacrificed to plan and spontaneity to formality. tages of improvisation and formal composition. Some of my It is the ascetic, emotionally inhibited character of the previous remarks on this subject, sympathetic to improvisa­ classical music of the past fifty years that has so estranged tion, have led to the inference that I favor the return of the it from the classical music public. The calculated musical musician to the role and status of a wandering minstrel. And plan, as opposed to the emotional musical impulse, gained I should, indeed, have no objection to this if he were a good the ascendency, and the just balance was destroyed. Music minstrel, if what he improvised were better than what other is not and never has been an art of thought, however much people wrote, if good minstrels were in demand and he could thought, primarily critical thought, may enter into the ulti­ make a living from being one. mate organization of musical ideas. Certainly I never meant to imply that spur-of-the-moment Thus it is not really a question of improvisation vs. com­ improvisation is necessarily superior to written-out compo­ position. Any improvisation of expressive quality is a kind sition. Obviously, both can be either good or bad, depending of composition, despite the fact that it may never be written upon the quality of the invention. Nothing is good just be­ down. And all communicative composition proceeds from an cause it is improvised, nor bad just because it is the result improvisational beginning. It is rather a question of the of more formal composition. What I did mean to imply was quality of the musical invention. Whether this is superior in that classical music, in the ultimate phase of the European improvisation or in formal composition depends upon the cir­ tradition, had become a captive of the written note, both in cumstances and to some extent, apparently, upon the period. conception and performance. We all know that improvisation was a highly developed Spontaneity had been wrung out of it. It had lost that and highly respected art in the time of Bach and Handel. quality of immediacy essential to musical communication, Even Mozart and Beethoven were celebrated for their impro­ whether tossed off in performance at the prompting of an visations. We may guess from the ease and the speed with eXllIessive impulse, or written down as the record of a mu­ which these men composed that the distinction between im­ sical idea heard mentally. The exclusive respectability of provisation and composition in their music was much less formal composition as opposed to improvisation, combined marked than it was to become later on. In much of their JUNE 1959 33 As always, there was no gain without some loss. We can thank the European masters for a repertoire that gives us pleasure and inspiration to tltis day. But the quality of their music is such that it has deprived us of the pleasure other generations have found in less pretentious music of their own. The classical musician and the lover of classical music, ap­ preciative of quality, are dependent upon old music, since the contemporary classical composer offers nothing remotely as good. The jazzman and the jazz fan have their own music, but no one will claim for it a quality comparable to the best music of Bach, Handel, Haydn, Mozart and Beethoven. In sum, we pay for the masterpieces by taking them and the ph~momenon of composition that produced them too seri­ ously. Prior to Beethoven's time most musicians of distinc­ tion were also composers and most of the music that was played was contemporary music. It was the stature attained by Beethoven that tended to set the composer apart from other musicians and to establish the composition as something of possibly infinite durability. This gave to composition a sanc­ tity that made improvisation seem trivial and insignificant. Composition was associated with a profundity to which mere improvisation could not aspire. All this would be acceptable enough if composition had maintained Beethoven's high standards. The great composers of the nineteenth century, by almost super-human effort, came close to them. For later generations the effort required has LACKING THE GREATER SELF-EXPRESSIVENESS been too much. It is therefore time to reassess the phenomenon found in jazz, classical music has become a captive of composition in light of the new circumstances. If contem­ of the written note. porary classical composition fails to produce music as good as that produced in jazz improvisations and arrangements, we must ask ourselves if we are justified in continuing to accept music it is easy to imagine that composition is a written rec­ the restrictions upon the imaginative impulses of musicians ord of improvisation. Contemporary accounts suggest that that have been justified, heretofore, by the quality of the com­ their improvisations must have been of very high composi­ positions with which they were concerned. tional quality. From all of this we may suppose that many I am not suggesting, of course, that classical musicians an improvisation by Bach, Handel, Mozart and Beethoven should begin to improve upon Beethoven in accordance with was equal or superior to many of their written-out works, and their own imaginative impulses. They will continue to play that a good deal of improvisation crept into their perform­ as reverently as they have always played, just as the jazzman ance of their own formal compositions. And we know, of will continue to count improvisation and interpretative lati­ course, that the use of the figured bass accompaniment left tude among his most jealously treasured prerogatives. What much to the player's inventive discretion. One may suppose I am suggesting is that we begin to compare the respective that when Bach or Handel or Mozart accompanied a singer results, insofar as contemporary music is concerned, whether in an Italian aria the result must have borne about the same jazz or classical, with an eye toward adjusting our sense of relationship to the printed score as the jazz pianist's reading values accordingly if an adjustment seems appropriate on the of sheet music. Teddy Wilson accompanying Billie Holiday basis of our observations. would seem to be a legitimate contemporary parallel. It is not a question of comparing Brubeck with Bach. But Since Beethoven's time composition in classical music has contemporary classical music is not better than the best jazz, moved steadily further and further away from an improvisa­ or composition necessarily superior to improvisation, simply tional base. Chopin and Liszt were the last great improvisers. because Bach is superior to Brubeck. It is rather a question At the same time, formal composition left less and less to the of comparing Brubeck with, say, Copland. performer's inventive discretion. Several factors have been If the comparison favors Brubeck, if there is more vital responsible. The large forms perfected by Haydn, Mozart musical creativity in jazz generally than in contemporary and Beethoven required more planning than could be recon­ classical music generally, then it is time to think of rehabili­ ciled with improvisation. They also set standards of compo­ tating some of the more spontaneous sources of musical in­ sition with which succeeding generations of composers could vention that were quite correctly sacrificed to the genius of compete only by the application of greater intellectual effort Beethoven and his immediate successors and which appear than had been necessary to the men who set the standards. to be at work again in jazz. If jazz is producing a music from For the executive musician the situation was similarly in­ which we derive a sophisticated pleasure, it is because it has hibiting. The quality of the masterpieces of the inherited revived a point of view toward music that has been out of repertoire, and the reverence in which they were held, ruled favor in classical music for a hundred and fifty years. out any spontaneo us tampering. They co uld no longer be The present situation in jazz has many factors in common taken lightly or casually. At the same time, the growth of the with the situation in European music in the earlier part of symphony orchestra proceeded to a point where adherence the eighteenth century. Jazz is composed to satisJy demand, to an organizational and interpretive plan was mandatory. and it is being composed for today. In this sense jazz is a 34 HIFI REVIEW genuinely contemporary music. The jazz musician is thinking to the current Basie band a few nights ago 11 ere in New of his audience, not about the verdict of posterity. How much York and if that isn't jazz of the highest order I'll turn of what he plays or writes will survive, whether any of it will in my G- seventh button to the nearest Lombardo fan." survive, how long it will survive, what future generations will A similarly sobering commentary was offered by George think of it-none of these questions concern him, just as Shearing in Metronome's "Jazz 1955": such questions did not inhibit the eighteenth century musi­ "I won't accept the theory that jazz has to be a suc­ cian. The j azz musician, like the eighteenth century musician, cession of spontaneous ideas or else it's not pure jazz. Good music has to be preconceived in part. The end­ is uninhibited by self-consciousness, or has been, at least, less and meaningless repetition in so many solos is the until recently. r esult of placing too much responsibility on spur-of-the­ J azz at its best is not a good music, however, just because moment inspiration . ... The only insurance against it is improvised. A great deal of it is not improvised. Jazz this kind of sporadic performance is to keep the soloist compositions may consist of anything from the invention of or group within the confines of a legitimate musical a tune through participation in the working out of "head ar­ arrangement." rangements" or written arrangements to full-dress, completely It remains a fact, however, that the improvisational char­ written-out compositions. In this r espect the observations .. acter of jazz, both in compositional structure and in perform­ of Charlie Shirley in his "Arranging" column in the M etro­ ance, has a lot to do with its appeal to a large public. And nome issue of February 1956, are singularly pertinent: it is significant that so many laymen, and so many profes­ "There are those among us who are inclined to dis­ sional musicians from the classical field, assume that it is .. count as good jazz any rendition that has any hint of all improvised. This speaks for its quality. If we may accept the arranger's hand in its content. To these people as an axiom the old saying that the greatest art is that which 'true' jazz can only be produced by a group of musicians disguises art, then jazz comes off well. That which sounds that plays spontaneously, ad lib, on-the-spot, unre­ so natural, spontaneous and inevitable as to suggest that it hearsed and unplanned music. To this group of people springs full-blown from an immedi ate inventive impulse must I would like to point out some of the realities of mu­ be art, indeed. sical life that they may not have pondered. "First of all I'll point out that Webster says an ar­ rangement is an agreement or settlement. There are very few musical groups that don't hold r ehearsals be­ fore appearing in public. If a jazz group of any size rehearses it does so to agree on what notes, chords, phrases or phrasing to use at a designated time, and therefore the result is an arrangement. It doesn't have to be written down on manuscript to become an ar­ rangement. The soloists are free to express what they feel within the harmonic structure of the piece and, after all, isn't the jazz soloist the essence of creative jazz? "What I'm getting at is that when you'r e listening to a jazz group, the chances are that you're also listen­ ing to an arrangement in one form or another. The fact that a band isn't reading music is enough to convince some of our most r espected connoisseurs of jazz that they aren't hearing an arrangement but are listening to a spontaneous performance . ... These same people, seeing a band reading manuscript sense an annoying factor in the music, namely, an arranger. They feel that he is preventing the musicians from playing freely and they resent his intrusion. Let's face it! A band GOOD M US IC 'S FUTURE-improvisational COln­ of any size is going to sound pretty low without some position to reduce meaningless wandering. musical direction .. . "Of course, most of the people I'm complaining about This applies alike to soloists, combos and the better big are lovers of the small jazz combo and feel that there bands. When you hear one of the latter, playing from memory is no place for the arranger here. P erhaps they are and without a conductor, with such security, with such zest right to a certain extent. The modern group do es plan and with such apparent spontaneity, it is difficult to relate the its music, though, and must if it wants to employ the listening experience to arrangements, to note-reading and to current modern sounds and off-beat phrasing. The per­ r ehearsals. Everyone seems to be doing just what comes into son who is addicted to the Dixieland school is almost his head whenever he is moved to do so, and to be having a certain to be listening to arrangements that are tradi­ great experience doing it. That it all fit s together so wonder­ tional to the extent that most all musicians know them fully suggests a predestined order of things. by heart. A moment's reflection will persuade you that this sort of "There's very little to say about the large jazz band. ensemble achievement is no providential accident; that with­ It is almost completely dependent on the arranger. out careful planning, organization and rehearsal, it would There are those who refuse to recognize the large jazz he not possible. But even knowing this, you are likely to for- band as true jazz, but I had the privilege of listening (Continued on page 56) JUNE 1959 35 IHf MUIAlfD AUDIOPHllf

Or, will two do for three speaker stereo? Not many enthusiasts have three ears

stereo equipment / MARTIN FORREST

RANSMOGRIFYING audiophiles from monophonic to fairly evident; each ear heard both loudspeakers and since Tstereophonic often results in a fearsome reappraisal of the material on both channels was nearly identical, the de­ human physiology-with particular emphasis on the aural sired stereophonic effect could not be obtained. The solution appendages. If, indeed, two·channel stereo was intended for obviously involved a greater separation' of the microphones. two ears, then the three-channel stereo system portends a At first, the microphones were moved a few feet apart; then rather unsightly human race in the near future. The cynic they were moved to extremes of "stage left" and "stage visualizes a three-channel system as merely another ready­ right." made scheme to part him and his money. The believer knows Judging by the ping-pong effects in some stereophonic that the third, or phantom, channel is the stereo playback recordings, it appears likely that the microphones were in system of tomorrow. these instances finally isolated in two well-separated, sound­ The original concept of stereo was binaural reproduction, proof studios! Thus, many listeners may rightly wonder how the object being to place the listener's ears in the concert a single conductor manages to keep his two orchestras play­ hall, preferably in a choice orchestra seat. Microphones cor· ing together throughout the recording session. responding to the number of ears per listener were placed Almost before we could look back, stereo seemingly had approximately six inches apart over the orchestra, and the arrived at a point of no return. The stereo directionality ef­ listener, in turn, was electronically linked from the micro­ fect was much more pronounced than anyone had bargained phones to a pair of headphones. The resultant illusion of for. Audiophiles complained about the lack of cohesion, or spatial perception was magnificent. Because of the exclusion even normal "togetherness." There was sound issuing from of all other sounds and the avoidance of room acoustics, the the speaker at the left, sound from the speaker at the right, binaural effect could not begin to be duplicated with loud­ and a curtain of silence in between. Oddly enough, some speakers. In fact, many adherents of stereo prefer the bin­ recording companies remain undaunted and continue to re­ aural two·channel method of listening. cord with the utmost ping-pong effect, and the devil take the For a variety of reasons, not the least of which is the con­ "hole·in-the-middle." Some more knowledgeable companies finin g effect of headphones, engineers and all others involved have partially solved this problem by using a third, or cen­ in so und recording have been quick to realize that a better trally located, microphone. The program picked up by the method than either- headphones or two· loudspeaker stereo "third ear" is judiciously mixed in moderate proportions with reproduction would have to be developed. the primary left and right channel microphone signals. The First attempts at recording stereophonically retained the two stereo channels thus become "right plus some of the close spacing of the two microphones, a situation conditioned middle" and "left plus some of the middle." by the distance between a pair of ears. Regardless of the For most recorded material, the addition of this third loudspeaker spacing during playback of recordings made channel in the recording process proved decidedly beneficial. under those conditions, virtually no mental localization of The stereo effect assumed more realistic proportions, and if sound direction and depth could take place. The reason was the audiophile carefully set his amplifier controls, the center 36 HIFI REVIEW I CElN"'T]~~~.

I

RECESSING CENTER SPEAKER behind the line formed by the two side . speakers often adds to depth illusion gained from addition of third channel.

Illustration by Stuart Roberls

area between speakers became alive. The only drawback was The major improvement attained by means of the center a critical necessity for almost perfect control adjustment, and speaker, however, is not so much in the lateral effect of certain programs (particularly those involving centrally lo­ stereo. The most dramatic gain lies in an increased sense cated vocalists or soloists) would shift about if the listener of depth. The aural dimension which places the woodwinds "fidgeted" in his preferred listening chair. behind the strings, the percussion behind the brass, etc., be­ About this time, the idea occurred to several manufacture.r;s comes much more clearly defined. In terms of clarific.ation of that third channel provisions might be just as desirable in the tonal texture and resultant musical enjoyment, this is no home as in the recording studio. In fact, such a third chan­ doubt the most important contribution of the third channel. nel, if composed of elements of both left and right channels, There are several ways in which you can simulate a third would be a perfect replica of a three-microphone recording channel without resorting to another amplifier. One of the technique. Several amplifiers and preamplifiers now include simplest methods, while involving no extra amplification this third channel provision. * Such a signal is derived elec­ equipment, calls for two additional wide-range (preferably trically by adding the sum of the left and right channel sig­ matched) speakers to be used for the left and right channels nals, making the resultant available for amplification tluough respectively. These can be small, medium-quality speakers, a third integrated amplifier and loudspeaker. Details of this and they are mounted in a single enclosure. One speaker of method are shown in the accompanying box. this pair is connected to the left channel and the other is con­ One advantage of using a center channel is that the two nected to the right channel. In addition, a volume control (at­ side speakers may be placed farther apart without creating tenuator pad) is connected in series with each speaker. These the infamous "hole in the middle." With the third channel controls are used to reduce the center channel volume level providing ample "center fill," the lateral spread-and hence so that it will not override the desired stereophq,I..lic effect. the basic stereo effect-may be considerably increased. This The function of the extra center speakers is such that their is particularly fortunate for very large rooms where the stereo quality need not be a significant concern. Bass notes-espe­ effect might otherwise be partially lost. The wider separation cially those below 250 cycles-add little or nothing to the possible with the center channel permits listening at a greater localization stereo effect; hence, the lowest tones of the spec­ distance from the speakers. trum are adequately taken care of by the main speakers. Many audiophiles intent on converting existing monophonic systems to stereo have been disappointed to discover the low * T.hcse include ~he Lafayette KT-600 preamplifier, Madison Fielding Senes 340-preamphfier, and the H . H. Scott Model 130 preamplifier. trade-in value of their newly obsolescent mono amplifiers. JUNE 1959 37 They can turn this disappointment to good account by using The third channel offers an extra convenience to the audio such equipment as the basis for an idealized third channel fan who likes to string extension loudspeakers to bedroom, rather than trading it in. One additional small speaker system den, or other parts of the house. Since the center channel -not nearly as good in quality as your primary channel equally represents both sides of the stereo sound distribution, speakers-is all that is then needed insofar as extra equip­ it provides a balanced monophonic blend. Here, then, is an ment is concerned. Either an integrated monophonic ampli­ ideal takeo ff point from which a stereo system may feed fier or medium-wattage power amplifier (preferably with a monophonic extension speakers. built-in gain control) can be used to control the basic volume Whether you decide on third channel via speakers with no level of the third channel speakers. An excellent method of extra amplifier, or third channel via speaker and amplifier, incorporating this third channel into your stereo system, in your sound wall will be more uniform in quality and the the absence of third channel provisions on your stereo pre­ "hole in the middle" an unlamented relic of the past. amplifier/amplifier, is suggested in the accompanying box. -Mat·tin Fort'est

PREAMPLIFIER

A

, TO , RIGH T SPEAKER

" 3rd II WITH c LEFT RIGHT

IN PUT B @ ating simultaneously by walking parallel to your "sound stage." If all is well, the so und should be evenly and uni­ formly distributed with no gaps, breaks, or abrupt changes in volume level. Suggested Methods of Obtaining a Stereo preamplifi er/amplifiers without a built-in third Third Channel channel connection may be wired as shown in Diagram B. The potentiometer (lRC 100,000-ohm, No. QIl-128) is wired Mount two medium·quality speakers in a new enclosure. to "blend" the preamplifier output of the individual chan­ Situate this "third" enclosure approximately midway be­ nels. The center terminal of the potentiometer is fed through tween the primary left and right channel speaker enclosures. a shielded cable to the input of your discarded monophonic Bear in mind the necessity of impedance matching (see integrated or power amplifier whose output is connected to Diagram A). Two 8·ohm speakers per channel may be a single center speaker. The volume level of the center connected in parallel across the amplifier's 4·ohm tap. They speaker is regulated with gain control on center amplifier. may also be connected in series to the 16·ohm tap. Or, two Blend left and right stereo channels through newly wired 16·ohm speakers may be connected in parallel to the 8·ohm potentiometer. Such an arrangement is especially helpful tap, but not in series unless your amplifier has a 32·ohm tap. if th e center speaker is slightly off-center because of the Maintain proper phasing with respect to center speakers. physical contour of the listening room. Compensate in­ Play either left or right channel alone (plus the center versely-more right channel signal when center speaker is speaker) and move bodily from the side speaker toward nearer the left channel speaker. the center speaker. If during this movement you detect a The center·channel takeoff is already provided on some "dead spot" or d.iminution of sound, reverse the leads (hence preamps, such as the H. H. Scott 130, the Lafayette KT·600 th e phase) of the center speaker. Repeat this procedure for and the Madison Fielding 340. This makes hookup of the the other channel. Now check all four speakers when oper- third amplifier extremely simple, as shown in Diagram C.

38 HIFI REVIEW Tin Horns and Golden Voices '":

record roundup / GEORGE JELLINEK

• LP-transcribed'acoustic recordings live on-courtesy of a loophole in the Copyright Law

OMMENTING on RCA Victor's low-priced Camden reverence of all things past. This article continues a periodic Crecords in these pages some time ago\ with particular em­ survey of vocal re-issues, a sort of Lo-Fi Review, which will phasis on vocal re-issues, I called these discs the greatest endeavor to bring (I hope) sane guidance to the seasoned bargains of the industry_ It was therefore with some amaze­ veteran while at the same time attempt to steer the curiosity ment that I learned recently from Peter Dellheim, cO-Ol·dina­ of the "modern" breed toward a fascinating and rewarding tor of the Camden program, that public response to the se­ area of listening experience. With so much for introduction ries has been less than overwhelming. In fact, while sales let us investigate a variety of new samplings. of such items as the Ponselle, McCormack and Pinza discs Caruso Be/ore His American Conquest (Eterna 725) may have been impressive, several earlier releases including those seem like a longwinded title but it happens to be quite appro­ of Martinelli, Thomas, De Luca and Rethberg already have priate to a recital of 14 selections, all original G&T's (Gra­ been deleted. Whether this is due to RCA Victor's restrained mophone & Typewriter Co., Ltd.) including nine arias from promotion-the price structure cannot afford a more aggres­ Caruso's fiI'S t recording session of March, 1902 and five sive one-or the public's high-fidelity consciousness, the fact more recorded during November of the same year. There is remains that these milestones of vocal heritage have again abundant historical interest here since all this antedates been allowed to disappear into limbo. A great pity, for their the tenor's American debut and his subsequent ties with the absence not only robs fanciers of the singing art of unfor­ Victor Company. Cilea, composer of Adriana Lecouvreur, gettable interpretations but also deprives them of a tangible appears in the role of accompanist in his own composition. gold standard against which other efforts may be judged with It is also a matter of interest that the two arias from BOlto's a kind of a critical level-headedness that will draw the line Mefisto/ele, and the Serenade from Mascagni's Iris were between true art and mediocrity and will not confuse com­ never again recorded by the tenor during the 18 remaining petence with perfection. years of his career. Meantime two small labels, Eterna and Scala, not hamper­ History aside, these grooves capture a great deal of genuine ed by the relentless budgetary factors that govern the output artistic interest. At this early stage of his career Caruso did of major producers, continue serving the vocal collectors not yet sing the music of Canio, Turiddu and Rhadames with with LP re-issues of miscellaneous origin. Unlike Camden, the expressive power and convincing intensity inherent in his these companies have no access to original masters, most of later discs. On the other hand, E lucevan le stelle is more which belong to organizations now defunct, dormant or dis­ mellifluous and effective than the widely known 1909 or­ tant. Thus Eterna's and Scala's output consists of dubbings chestral version. Questa 0 quella is just about perfect from good quality 78 rpm 'pressings. A kindly loophole in but unfortunately plays back a semitone too low. The fine the U. S. Copyright Law leaves the release rights undis­ Cielo e mar will provide the best illustration of the con­ turhed, permitting these activities of considerable benefit to trast between the lyrical timbre of the early years and the the public for whom the half-forgo tten curios would other­ darker, more dramatic hues evident in the famous 1910 ver­ wise be available only at fancy collector prices, if at all. sion of the same aria. The Mefisto/ele arias are also beauti­ Understandably, the technical quality of these dubbings ful examples of effortless lyricism. The Adriana Lecou­ varies considerably-but then vocal collectors have always vreur excerpt suffers from excessive surface noise. Celeste been known for exceedingly high tolerance in matters of this Aida sounds unconvincingly casual by the known Caruso sort. Nor is the artistic quality perpetuated in these record­ standards and the Siciliana shows a lack of rapport with the ings always constant-the proverbial gold is frequently al­ accompanist. It is interesting, also, to discover occasional loyed with less precious metals. No age has a monopoly on lapses of intonation in the middle register-due to careless­ bad singing and the phonograph can be a cruel debunker ness rather than any inherent artistic weakness- a failing of legends if one's listening attitude is not obscured by blind the tenor was to overcome quite triumphantly in his maturer years. Caruso's first session, incidentally, lasted only a mat- * RIFI & M USIC REVIEW, July, '58, p . 27. J UNE 1959 39 vanni Zenatello's equally extensive recorded heritage has somehow never quite convinced me that his enormous repu­ tation was not a triBe exaggerated. Zenatello was, of course, a powerful Otello but, on the basis of recorded evidence, a rather unpredictable performer in other parts. Vocal subtle­ ties did not always elude him, a fact he eloquently proves in the arias from La Forza del Destino and Andrea Chenier on Eterna 726. But the impressive moments are offset by telling instances of roughshod vocalism (Aida), lack of elegance (Tosca) , capriciousness about tempi and just plain inferior singing (Mefisto/ele) . Quite good on the other hand, and in spite of the almost painful reproduction, is the "Cavalleria" duet with Ester Mazzoleni, a soprano endowed with rare dramatic temperament as well as a Supervia-styled rapid­ fire vibrato. While on the subject of sopranos, there are two LPs fea­ turing the voices of Claudia Muzio (Scala 836) and Rosa Ponselle (Scala 838), respectively. A generation ago Muzio was compared to Eleonora Duse; today's cognoscenti invoke the name of Anna Magnani when the conversation turns to Muzio's immense dramatic gifts. In the early acoustics we do not always perceive the supreme mastery of vocal char­ acterization that made her electric Columbias milestones in the recorded art. But vocally she is more opulent here, with less straining in the upper register. (Still, she omits the D­ flat in ButterBy's Entrance and 0 patria mia is transposed down a half tone) _ Muzio brings a luscious mezzo quality PONSELLE AS SANTUZZA-a quality of creamy smooth­ ness and velvety warmth was only part of her vocal riches. to Voi lo sapete, superb vocal assurance to the Ernani aria, tones of Boocling richness to Manon Lescaut's music and mo­ ments of true pathos to Mimi. L'altra notte (MefistoJele) is also touchingly realized, though not on the same heart­ ter of hours-with some of these arias tossed off only once rending level as her electric Columbia version. The Tosca and thus recorded for posterity. Eterna's r~production is and Louise excerpts suffer from the pitch eccentricities that reasonably good, and the disc can be recommended as a often mar transfers from the Pathe "hill and dale" (vertical handy annex to RCA Victor's extensive collection of the cut) originals_ Otherwise the Muzio disc is firmly recom­ tenor's later recordings. mended with the added thought that the artist's characteris­ Caruso was at the peak of his glory when Hermann J ad­ tic timbre finds truer reproduction here than in Angel's recent lowker made his Met debut. He remained here only briefly re-issue of the celebrated electrical series. (1910-1912) and attracted as much attention as was pos­ Rosa Ponselle was no match for Muzio's genius of tragedy sible for one operating under Caruso's shadow and, at the but as a vocalist her gifts were even more remarkable_ This same time, competing with other tenors of the caliber of is the second Ponselle collection on Scala and it must be Clement, Smirnoff and Slezak. In Europe, however, Jad­ admitted that in musical interest Volume I was far superior. lowker continued successfully for two more decades. Scala Half of the present collection is devoted to songs and duets 839 re-activates an interesting sampling of J adlowker's vo­ from the light repertory, charming but inconsequential. The luminous legacy. The tenor's versatility encompassed operatic operatic part of the program abounds in the familiar Pon­ roles from Donizetti to Wagner, with frequent visitations into selle riches-a scale of all strength and no weaknesses from esoteric a at both extremes and in between. a high C of stunning freedom and purity down to the luxuri­ Not all of the 14 selections of his recital are rendered on a ous chest notes that altos might envy; a vocal quality of consistently high level but if one sustains interest past his creamy smoothness and velvety warmth; coloratura facility routine Lenski's Aria and a sobby and unconvincing account one has no right to expect of such a voice. The reproduc­ of Othello's Death, the remainder of the disc will prove quite tion here is quite agreeable since the originals date from rewarding. As a Mozart singer Jadlowker shows considerable the early Twenties_ Taking into account the two-volume more musicianship and discipline than many a famous con­ Camden set and the two Scalas, a near-complete representa­ temporary, and a technical command that yields spectacular tion of Ponselle's vocal art is now at hand. results in Idomeneo's Fuori del mar. His justly famous Retirement ended Ponselle's active singing career at least trill is shown to good advantage in Ah si, ben mio which, 15 years prematurely. No such loss befell the many ad­ incidentally, reveals quite a similarity to Caruso's timbre. mirers of Helge Roswaenge, who, according to glowing Euro­ The William Tell excerpt displays vocal opulence of a rather pean reports, today at 62 is still going strong. I was for­ dispassionate sort, and the rarely heard Fra Diavolo offering tunate enough to witness a characteristic feat of this sturdy exhibits a goodly amount of falsetto crooning quite intriguing Dane some twenty years ago: not content with singing Turid­ in an offbeat sort of way. The total impression is of an artist du and Canio on the same evening, he also undertook the with many appealing qualities, though lacking perhaps in Prologue to Pagliacci in the original baritone key. How did distinctive individuality, and decidedly worth listening to. he sing it? With the same pealing richness he exhibits on In contrast to the relatively undervalued Jadlowker, Gio- Scala 840 where the Prologue is but one of many vocal 40 HIFI REVIEW treats. The two utterly fantastic high D's in the aria from Adam's Postillion from Longjumeau are also something to muse about, as is Lenski's Aria from Eugene Onegin, sung with passionate lyricism yet free of saccharine sentiment. Roswaenge is not my idea of a Mozart singer and, while he achieves the proper sound for "Cosi" and Don Giovanni, Dalla sua pace is spoiled by excessive portamento. Nor can he summon the requisite grace to be convincing as Des Grieux or Faust. All selections are sung in German and, although Roswaenge's explosive manner is sometimes reminiscent of a Prussian colonel shouting commands, this is a collection of more than usual interest and many thrilling moments. Since the material dates from the late Twenties and early Thirties, the sound is electrically reproduced and quite acceptable. Elegance and grace, Roswaenge's weaknesses, were present in Richard Tauber to an intoxicating degree. Now that this artist's Decca recordings are no longer available-a loss that should be remedied by whoever holds the right to the Parlo­ .. phone masters-Scala and Eterna remain sole suppliers of Tauber material, a fact the two companies did not leave un­ exploited, relying mainly on acoustic Odeons of pre-1925 vintage. Scala 837 offers a program of opera, operetta and Lieder. The operatic excerpts include three selections from Trovatore, a rather unusual bit of casting for the singer. As might be expected, Ah si, ben mio is for once rendered as an appealing love song and not as a gallery-storming tenor YOUNG CARUSO-as the Duke ill "Rigoletto." His pre­ display. Some of that exquisite legato overflows into Di American recordings hold abundant historical interest. quella pira, where it really doesn't belong, and Tauber just fails to convince as a raging, thundering warrior, even though he sings both verses of the stretta, ending on a powerful B. The two Mozart arias are, to no one's surprise, masterly, in GOLDEN VOICES ROUNDUP spite of an unusually slow pacing in Dalla sua pace. High­ CARUSO BEFORE HIS AMERICAN CONQUEST Eterna 725 ly welcome, too, are the two excerpts from Die tote Stadt, 14 arias from Manon, Fedora, Germania, Iris, Cavalleria Ru sticana, although for some strange reason the opera's finale precedes Pagliacci, Gioconda, Aida, Mefistofele, Rigoletto, Andriana Le­ the famous Lautenlied on this record. Words are superflu­ couvre ur. Tasca. ous to describe the singer's authority in Strauss and Lehar HERMANN JADLOWKER SINGS Scala 839 and, while his approach to Lieder may not please all tastes, 14 arias from Eugene Onegin, Otello, Lucia di Lamme rm oor, Hu­ gue nots, Queen of Sheba, William Tell, Trovatore, Tales of Hoff­ a heart of granite could not stand unmoved by his powerful mann, Tosca, Idomeneo, Fra Diavolo, Don Giova nni. projection of Schumann's Ich grolle nicht. JOHN McCORMACK SINGS SONGS Scala 843 Eterna 727 leans heavily on operetta and includes the same I Hear You Calling Me, Absent, Lovely Night, Snowy Breasted two excerpts from Lehar's Paganini that are offered on Scala. Pearl, Come Back to Erin & II others. Most interesting here are some previously unpublished elec­ CLAUDIA MUZIO SINGS Scala 836 trics uniting the voices of Tauber with his famous soprano 16 arias from Ernani, Tosca, Trovatore, Louise, Boheme, La Wa,lIy, partner, Vera Schwarz. Tauber's infectious exuberance in Cavalleria Rusticana, Pagliacci, William T~II, Masked Ball, Manon Lescaut, Aida, Otello, Madama Butterfly, Mefistofele. the Fledermaus duet bears out the oft-voiced observation that he was perhaps the most appreciative part of his au­ ROSA PONSELLE-VOLUME II Scala 838 Arias from La Juive, Cavalleria Rusticana, Aida, Ve spri Siciliani, dience. A rather liberal outlook on tempos and orchestral Lohengrin, Sadko; Duets from Trovatore (w. Riccardo Stracciari, co-existence explains the fact why this and the Butterfly duet baritone), Tales of Hoffman (w. Carmela Ponselle, mezzo-soprano) remained "officially" unpublished, but it is delightful to have al,o Th e Blue Danube, Good-Bye, Kiss Me Again & 3 others. them belatedly with faults that are as treasurable as their HELGE ROSWAENGE SINGS Scala 840 many virtues. Vera Schwarz, whether in duets with the ir­ 12 arias from Cosi fan tutte, Don Giovanni, Manon, Africana, Eu­ gene Onegin, Martha, Faust, Postillion from Longjumeau, Pagliacci repressible tenor or in solo exploits, exhibits a voice of soar­ and duet from Madama Butterfly (w. H. von Debicka, soprano). ing power and virtuoso facility. RICHARD TAUBER IN OPERA AND OPERETTA Scala 837 If there ever was a vocal recitalist who surpassed even Excerpts from Magic Fl ute, Don Giovanni, II Trovatore, Traviata, Tauber in keeping an audience spellbound, his name was Forza del Destino, Zigeunerbaron, Night in Venice, Paganini, Die John McCormack. Scala 843 presents an attractive collec­ tote Stadt; also 5 songs from Schumann's Dichterlie be (with Lotte Lehmann, Emmy Bettendorf, Carla Vanconti, sopranos, Benno Zieg­ tion from the great Irish tenor's huge legacy of concert ler, bar.). encores and Irish melodies. All 16 selections are acoustics RICHARD TAUBER-VERA SCHWARZ Eterna 727 and the recorded quality is not without intrusive blemishes. Arias and duets from Fledermaus, Madama Butterfly, Gypsy Baron, But the unique gift which could so often turn trivial mate­ Night in Venice, Wiener Blut, Paganini, Gypsy Love, etc.). rial into treasurable art is all there. Let us hope that more GIOVANNI ZENATELLO OPERATIC RECITAL No.2 Eterna 726 rewarding aspects of McCormack's repertory will also be 15 excerpts from Aida, Huguenots, Tosca, Madama Butterfly (with returned to circulation by Camden. Linda Cannetti, soprano), Gioconda, Andrea Chenier, Tosca, Me­ fistofele, Forza del Destino, Fanciulla del West, Cavalleria Rusti­ -George lellinek cana (with Ester Mazzoleni, soprano). JUNE 1959 41 MOUNTED ON MATCHED Rek-O-Kut N-33H single speed turntables were the Scott-London Type 1000 (left) and Shure Studio Dynetic (right) arms.

CASE FOR THE INTEGRATED ARM

First published report on matched stereo cartridges and tone arms

equipment / OLIVER P. FERRELL

HE selection of hi-fi equipment is in many ways similar tridge, permanently attached to a counter-balanced tone arm. Tto the personal choice of a 35-mm camera and its associat­ The tip mass is rated at less than 1 milligram and the ed lenses. The variety of hi-Ii components is not as awesome; stylus compliance in either direction is 3.5 x 10-6 cm/dyne. but the adherents to specific products are just as outspoken. Manufacturer recommends a termination in the amplifier of Stereo did nothing to ameliorate this situation. In fact, some 47,000 ohms per channel. Stylus pressure permanently fixed hi-fi enthusiasts say that it made it more complex. This view at the factory at 3.5 grams. The diamond stylus radius is 0.5 is partially correct. Stereo information is molded into a mil. Channel-to-channel separation is greater than 20 db. fragile record groove; to extract it requires a specialized phono cartridge-be it ceramic or magnetic-with a highly Shure: A moving magnet cartridge that plugs into an espe­ compliant stylus. And, among other things, the radius of the cially designed tone arm. The arm swivels laterally on a diamond stylus has been reduced (1 mil to 0.7 and 0.5 mil), ruby thrust bearing. Cartridge is raised and lowered by a simultaneously increasing the problems of stylus pressure push button and is counter-balanced at !lIz to 2% grams and needle mass. stylus pressure. Recommended amplifier input is 47,000- There are now some two dozen stereo cartridges available 50,000 ohms. Stylus radius is 0.7 mil (diamond) and the to the audiophile. These may be mounted and wired into any compliance is rated by the manufacturer as being approxi­ one of a dozen different tone arms. Then, the tone arm must mately 8.0 x 10-6 cm/dyne. Channel-to-channel separation is be carefully mounted on a turntable base so that the axis of greater than 20 db. at 1000 cycles. the pickup, the stylus overhang, and the spindle-to-pivot dis· tance are at their optimum relationship. Some audiophiles feel that this is just asking too much and voice their prefer· ence for a fully integrated cartridge and tone arm system. This would place the responsibility of establishing the off­ set angle, axis of the pickup, and tracking pressure upon the shoulders of the manufacturers-where they feel it belongs. Two fully integrated stereo cartridge and tone arm com. binations have been made available to the public. One of these is the Scott-London Type 1000, available in the United States from H. H. Scott, Inc., Maynard, Massachusetts. It sells for $89.95. The second is the Shure Brothers stereo Studio Dynetic Model M216, which sells for $89.50.

How Do They Operate? THROUGH AN ERROR in editorial judgment, we secllred a 16" Shure arm and a 12" turntable deck. This small Scott-London: This is a variable reluctance type stereo car. platform extension easily solved that dilemma. 42 HIFI REvmw Are They Easy To Install?

Scott-London: A template supplied with the arm fixes the necessary turntable spindle-to-tone arm pivot distance (8% /1) _ A %,/1 hole and three %2/1 diameter holes are re­ quired to bolt the tone arm pedestaL Approximately 36/1 of shielded cable is supplied permanently wired to the arm and cartridge_ The installer must attach and solder his own phono plugs_ The color-coded stereo cartridge connections are basically 3-terminals-plus a separate special lead for monophonic output from the cartridge. The "rest" for the SCOTT-LONDON STEREO ARM is permanently counter­ tone arm requires one hole (% /1). Total installation time is balanced at 301 grams stylus pressure. Leads feed less than 45 minutes-if proper tools are available. through arm and pedestal to underside at turntable.

Shure: No 12/1 arms were available in the new Stereo Studio series at the time of this write-up. A 16/1 arm was used What Are the Special Advantages-Disadvan­ instead. The spindle-to-pivot distance is 101%2/1 (template supplied) with a 31*6/1 overhang beyond the pivot (21 %6 /1 tages of the Arms? .. for the Scott). A %6/1 hole and three %6/1 holes are needed No effort is made here to compare the "electronic" to bolt or screw the arm base to the turntable mounting board performance of these two units. The Shure stereo (screws and bolts supplied). A separate V8/1 hole is used to cartridge has been established in the U.S.A. as one thread the cartridge leads through the mounting board. An­ of the two top quality magnetic stereo cartridges. other three holes are needed to mount the arm rest. The Across the Atlantic, the Scott-London (English installer must supply his own length of low capacity micro­ "Decca") has won approval as the top quality mag­ phone cable (readily available at radio-TV parts jobbers) to netic unit. Our tests reaffirmed the superlative per­ connect arm/cartridge to amplifier. Color-coded leads from formance of both - in fact, they are so closely cartridge are soldered to 4-terminal tie strip (supplied). The matched in performance characteristics as to be mike cable is skinned and soldered to appropriate tie points. almost indistinguishable one from the other. Phono plugs are then soldered to other end of cable (3- terminal connection). An additional lead from the tie strip Sc;ott-London: A somewhat delicate, though tried-and-proved, grounds the turntable motor to the preamplifier chassis. product. The familiar finger grip and arm that swings off Total installation time is about 75 minutes. and away from the record may be especially favored by audiophiles over the "push-and-swivel" method. It is easy to install, but we strongly feel that the cables should be What Adjustments Are Made at Home? terminated with phono plugs to vastly simplify installation (no soldering would then be required). The height of the Scott-London: The stylus pressure and offset angle of the arm rest should be made adjustable to compliment the cartridge are fixed at the factory and cannot be altered by appearance of the assembly. Stylus mounting is very delicate the installer. Thus, the only adjustment is the height of the and care must be exercised in cleaning dust accumulation cartridge above the record. The instruction sheet supplied so that the stylus is not subjected to a back and forth motion. does not cover this point adequately. The installer should Ability of this cartridge-arm combination to track high level arrange the height (using the set screw in the arm pedestal) recorded material is phenomenaL Monophonic performance so that the arm is perfectly parallel to the record. comparable to top quality "mono only" cartridges. Separate connection from cartridge permits user to install this com­ Shure: Here, too, the only critical adjustment after mounting bination and play only mono material-converting to stereo is the height of the cartridge/arm combination. The manu­ amplifiers and speakers at a later date. facturer specifies that the bottom edge of the forward part of the arm be set %2/1 from the turntable mat. A set screw Shure: This is written when only a few samples of the new permits the tone arm to be raised and lowered. Stereo Studio Dynetic cartridge are available. Performance is faultless, although the manufacturer informs us that even better production models will be available to the public when What About Stylus Replacement? this story appears. Cartridge operates on the same principle as its larger brothers-the M3D and M7D. Shure has stub­ Scott-London: Due to the extraordinarily low tip mass, high bornly clung to the "push-and-swivel" Studio Dynetic arm compliance, and low stylus pressure, replacement will prob­ and is steadily gaining converts-especially by dramatically ably not be necessary under 1500-2000 hours of playing time. proving that this combination cannot damage a stereo record. The complete arm and cartridge must be disconnected and Arm can be purchased either with a monophonic cartridge returned to the factory for stylus replacement. Cost has not or stereo cartridge. A unique plug-in system permits change­ been established at this writing. over in seconds. Stylus replacement is extraordinarily simple_ Needle talk cannot be distinguished at a distance of six Shure: Stylus replacement should not be necessary under inches from the cartridge. We feel that installation time 1500.2000 hours. Cartridge is removable from arm and the could be halved by supplying a wiring harness rather than stylus may be replaced in a matter of seconds. Stylus re­ asking the audiophile to construct his own Siamese shielded placement cost (diamond) is under $20.00. cable connection. -Oliver P. Ferrell JUNE 1959 43 Illustrations by Don Cornelius

I:

~ HE "ELECTRONIC" OPERA GLASS

Unique audio filter spotlights soloists, smoothes out resonant peaks, can be a boon for disc-to-disc dubbers- but it must be used with discretion

equipment / HANS H. FANTEL

HI-FI fans usually take their music the way the record com- brings him "out front." So graphic is the effect that he seems panies serve it up to them on their platters. True, treble to be stepping forward before the orchestra as you turn the and bass controls permit some personal flavoring of the over­ knob. At low volume, this suggests an odd feeling of intimacy, all balance-but the basic "makings" of the sound must as though Sinatra were crooning in yo ur ear. Turning the remain pretty much as the engineers cook them up. knob the other way keeps the vocalist at a distance-which This need no longer be so. A new type of component, for some singers mi ght be the better choice. dubbed "Audio Baton," lets the audio fan try some sonic The Audio Baton derives its mesmeric power from what is home-cooking and blend his own tonal melange. In effect, technically known as a nine-channel comb filter. It thus per­ he can second-guess not only the engineer but also the con­ mits separate control of the relative loudness for nine oc­ ductor in matters of balance, emphasis and "color." taves of the musical range, starting at 40 cycles (hence, 40, "Cellos hlUder-violins down!" A touch upon the Audio 80, 160, 320, 640, 1280, 2560, 5120 and 10,240 cycles). The Baton imposes your command and the orchestra's regular bandpass of each of the nine filters confines its effect essen­ conductor is temporarily pushed aside. tially to half an octave to either side of the resonance point. Singers appear especially dramatic in such shifts of aural In this respect, the Baton differs radically from standard perspective. Is Sinatra veiled in the mists of mood music? tone control circuits. The response curve created by ordinary The Baton pulls him from the tonal mush and quite literally treble and bass controls may he likened to the shape of a 44 HIFI REVIEW flexible steel measuring tape held rigidly at the center while cello or the flute) will make that particular instrument stand the ends are free to be swung up or down. In this analogy, the out in the composite sound. Obversely, de-emphasis of those fixed center represents the steady mid-range; the pivoting frequencies will cause the instrument to recede into the ends represent the variable highs and lows. Their upward orchestral fabric. or downward angle is the so-called slope of the response The principle, in part, is already familiar to many hi-fiers curve. The up or down position of any given point represents from the "presence control" featured on some pre-amplifiers. the amount of boost or cut at that particular frequency. . But the presence control is generally limited to the 3000-cycle This type of control is quite effective for regulating extreme region, often fixed in the amount of emphasis, and without treble and bass because the free ends of the imaginary steel provision for de-emphasis below the "flat" level. The effect tape swing over a wide arc. But what happens when you of the presence control may be compared to that of a fixed want to boost or cut a frequency nearer to the center pivot spotlight. In contrast, the selective filter action of the Audio point? Obviously, this can't be done without affecting the Baton is like the process of "dodging" in photography. It outlying frequencies to an even greater degree. The simple enables us to brighten or darken any area of the whole pic­ geometry of the matter is like ..swinging a leg from the knee: ture, to select an infinite range of intermediate shades, to the foot will invariably swing wider than the shin. sharpen or obscure detail at any point. Consequently, if you want to cut the SOOO-cycle region by, Most important to the serious audiophile is the possibility say 6 decibels, you can do it only by pushing down the 10,000- of correcting shortcomings in the program material or room cycle region by maybe twice as much at the same time. Or, acoustics. Peaks can be flattened and dips filled in. you can give moderate boost to the middle lows only if you Assume you're playing a recording made in a hall with will take a whopper of a bottom bass boost into the bargain. boomy echo in the lOO-cycle region. A touch on the Audio In short, standard tone controls are non-selective within Baton, taking the appropriate octave down a few decibels, their range of action. Extreme highs always swing along with will work wonders in improved clarity and balance. Or maybe the middle highs, and extreme lows with the middle lows. your record is deficient in bass because the recording engi­ There's no way of getting them apart. The implied principle neer tried to cram some extra playing time on one side. A is "Love me--Iove my dog." slight boost in the 40-cycle department immediately puts a The Audio Baton gets rid of this particular dog by a wholly solid bottom under the musical structure. Perhaps the violins different operating principle. Let us again imagine a steel screech because the microphone was placed too close or be­ measuring tape as reptesenting the frequency curve. Instead cause the record company introduced an artificial peak to of pivoting the ends, as does the ordinary tone control, the make their discs sound "hi-fi" on cheap, restricted-range Audio Baton slices the tape into small bits, each covering phonographs. A slight cutback around 3000-4000 cycles just one octave. Any single "octave bit" can be pushed up quickly turns sandpaper to silk. This effect is quite unlike or down independently of all the others. Each separate octave the usual turn-down of the treble control because it levels the is thus individually controlled for relative emphasis or spurious peak without impairing the good highs beyond it. suppression. Such "plastic surgery" in tone, the adding and subtracting This selective filter action is the key to the "orchestral of response in ,pinpoint areas, is of special value to fanciers control" afforded by the Audio Baton. Boosting the range of of vintage discs. In effect, the Audio Baton gives them the fundamental frequencies of a certain instrument (e.g. the equivalent of the type of professional equipment used for

000

TURNTABLE PRE-AMPLIFIER

1Dl¥"'ltyllllll"ltlllllU'tt'tII'tt'fII'"''''lI o

POWER AMPLIFIER AUDIO/BATON

THE AUDIO BATON is fitted into sound system between preamp and power amplifier. Input SPEAKER sensitivity is adjustable by rear panel control to SYSTEM match preamp. Output level is adjusted to pow­ er amp requirements by right front knob. Left front knob is bypass switch. Additional rear control adjusts brightness of panel illumination.

JUNE 1959 4S The Audio Baton thus acts as medicine for conditions of noise or non.linearity. Where no medicine is needed, a by· pass switch simply takes the whole unit out of the circuit. The by· pass switch, incidentally, is a vital feature. After all, good recordings played over a well·equalized hi·fi system ~_CL':::J need no assistance from the Baton. It cannot improve what .I. II D i e j I .. 11 A is good and contributes nothing to such happy situations . S _lO It Ofrc.IO ) 'Uf Besides-let's face it-improperly or clumsily used, the Audio Baton is capable of causing all the trouble it is sup· OCTAVE FILTER CONTROLS are spaced across the front posed to cure. Just like the conductor's baton, the Audio panel of the Audio Baton. Indicators in vertical coillmns Baton works best in hands guided by discretion, practice, mark each control setting. Piano keyboard scale on top and-above all-a knowing ear. instantly tells musical pitch equivalents. Like all complex circuitry, the Audio Baton has a certain amount of inherent distortion. (See special test report.) "cleanup" of old discs prior to LP transfer.* Collectors dub· This distortion may not be too high a price to pay for the bing their treasured 78's on tape can now edit their source corrective benefits bestowed by the Baton, especially if the material like a studio engineer. With a lit.tle experience and distortion in the program source is as great or greater than practice in the setting of the selective filters they will be able that contributed by the Baton. However, when playing high. to produce tape transfers tonally far superior to the original quality program material not needing frequency compensa· discs. tion or filtering, it is preferable to disconnect the Baton from Tonal cosmetics of this kind need not be confined to the the signal channel by means of the bypass switch. source. They may be equally well applied to your play·back In the hands of serious hi·fi experimenters and home reo situation. Faulty living room acoustics, peaks in your speaker cordists, the Audio Baton is a workable tool providing the or pickup are quickly cured by compensatory settings of the hobbyist with such versatility of tonal control as hitherto octave filters. was the sole prerogative of the studio technician. • See " Old Wine in New Bottles" - HiFi REVIEW, January '59, p. 35. - Hans H. Fantel

TEST REPORT

The unusual circuitry of the Audio Baton made the editors nitely measurable. The nine octave filters work wen in ac­ of HIFI REVIEW wonder about possible adverse effects on cordance with the manufacturer's claim, except for the un­ stringent high fidelity performance. An independent testing usual characteristics of the 10,240 cycle control. It would laboratory partially confirmed our doubts, although their appear quite likely that this effect was due to a "bug" in the magnitude should not be considered overly serious. Improp· particular unit tested, which has now been r eturned to the erly used, the Audio Baton can degrade hi·fi quality so und manufacturer with our comments. below the limits of good audio engineering practice. However, if properly used-as a corrective device for specific situations such as those cited in the accompanying article-the Audio Manufacturer's Data: Baton has definite utility for the experienced and adventure· i some audiophile. A 9·channel comb audio filter with variable gain con­ Frequency Response: Our analysis of laboratory measure· trols in each channel. ments indicates that the Audio Baton is within ± 2 db. of manufacturer's specifications (when all level controls are in Frequency Response : Flat from 20 to 20,000 cy cles the nominally "Flat" position) except around 20,000 cycles. ± 2db (with filter controls set flat) . The ranges of the nine channels are reasonably close to speci· With one filter control varied and all others set at fications except for the 1O,240·cycle filter which shows too zero reference level, the following responses will be high a boost and too sharp a cut-off characteristic. obtained : Hal'monic Distortion: This was measured at 0.5% level 160, 320, 1280, 2560 cycles: + 13 db or -13 db from 30 to 4000 cycles, but then rose rapidly in our test 80 and 5120 cycles : + 13 db or -11 db model to a peak of 1.4% at 7500 cycles, finally dropping w 40 and 10,240 cycles: + 13 db or -6 db less than 1.0% beyond 11,000 cycles. These figures do not satisfy truly exacting high fidelity standards. Insertion loss zero. Hum and noise : 66 db below rated Intermodulation Distortion: Measurements indicated that output. a value of 2% was exceeded for two volts output of the Audio Baton. This touches the border line of what may be consid­ Input impedance at 1000 cycles: 125,000 ohm minimum ered " unacceptable" for truly high fid elity performance. shunted by a capacitance of 80 ILlLfd. Maximum input Some power amplifiers may require two volts to drive them to voltage: 1.5 volts RMS. full output, but at normal listening levels and with a fairly sensitive power amplifier, one volt or less may suffice. At Tube co mplement: 5-12AX7, 1-6K4 rectifier. such levels 1M distortion drops to slightly less than 1 % . Summal'Y: The Audio Baton can and does introduce a Size: 17%,"w x 6"h x 7 3/16" d. Weight 11 Ibs. Price : nominal amount of distortion into a high fidelity system. The $119.95. value of the distortion is not too great, nor in ordinary low­ l level usa ge would it be annoying. Nevertheless, it is defi- 46 HIFI REVIEW jazz history / CHARLES M. WEISENBERG

AZZ as a serious art form has little need or even use for It J the Broadway musical as such. T heater music is only one of several elements contributing to the creation of a total Broadway show experience. The creative jazz musician owes ,small allegiance to the composer of any number because when his tune is subjected to expression, the rhythms, moods, and Started even original melodic lines are often drastically reconstructed. With a"Lady"

Illustration by Gabe Keith

Manne, Previn and Vinnegar unknowingly worked up a new idiom- light jazz

47 JUNE 1959 This is part of the way a jazzman thinks, and thereby pro­ Jr. (Jamaica, RCA Victor LPM-1589), Coleman Hawkins duces a new art work out of another person's music. It is (Oh Captain! M-G-M E-3650) and Jimmy Cleveland (Jazz just this "re-composing" that the jazzman is not free to do Goes Broadway, Vik LX-lII3). Among the critic-publicists when performing from a Broadway score. Since the jazzman writing liner notes for these light jazz albums have been is not interested in the original story, mood, lyrics or musical Leonard Feather (Oh Captain!), Ralph J. Gleason (The structure, the things that are left include the show's ti1]e, King and I, World Pacific 405), Nat Hentoff (Jazz Goes plus its popularity and familiarity with the public. If the Broadway) and Russ Wilson (Kismet, World Pacific 1243). association with the original show is lost, then the reason Jazz enthusiasts familiar with these names might for doing the album is also lost with it. justifiably be disappointed in the lightweight music Today, however, it is standard operating procedure for contained within these covers. True, all these albums producers of Broadway productions to try and sign up at contain entertazmng music but it takes more than least one jazz album at the same time they are setting up a mere label or well written claim to create jazz. original cast, instrumental, vocal, and other record packages. This is not to imply that the use of show tunes for jazz Jazz musicians are becoming ever more involved with Fred­ albums is an attempt to defraud the public or to make sales erick Loewe, Richard Rodgers, Harold Arlen, Frank Loesser on false pretenses. On the contrary, many of the musicians and other composers from New York's legitimate theaters. involved in these efforts are sincerely trying to expand their This introduction of a large number of jazz interpretations audience. We must also face the fact that some are not really based on music from Broadway instead of the hlues is bound jazzmen. A prime example can be found in the recording to raise a question among dyed-in-the-wool jazz lovers: Is that started the whole thing. this a valid approach that will still provide a worth-while musical experience as jazz? N April 17, 1957, Shelly Manne, Andre Previn and Leroy In order to answer this question properly it must be divided O Vinnegar entered Contemporary Records' Los Angeles into two parts-one for those who are unfamiliar or just be­ studio to record their second album together. Here is a trio of ginning to discover jazz and one for those who have already outstanding musicians, two of them firmly grounded in jazz become jazz aficionados. For the first group this new musical and one of them new to the jazz field. The newcomer, Andre package can be enjoyable and can even whet their appetite Previn, is a highly accomplished pianist, but he has not truly for more and "stronger" jazz. The bona fide jazz enthusi­ mastered the jazz idiom. Drummer Manne and bassist Vin­ ast, however, may find that Broadway interpretations tend negar are, however, among the most capable and inventive to be shallow and uninteresting, even though well-known and jazzmen in the country today. talented musicians are performing. It is important that a They had decided in advance to devote this new album difference be recognized between such quasi-jazz and the entirely to a "modern jazz interpretation" of music from the real thing. The creative beauty identified with the most power­ Broadway hit, My Fair Lady. Their success can be partially ful kind of jazz expression has little chance of developing measured by the fact that the album (Contemporary Records fully in these "Broadway show" albums. C 3527) perched on top of the best seller charts for over a The most accurate way· to describe this music is with the year to become one of the biggest all-time jazz sellers. This term light jazz which has a relationship to jazz almost iden­ recording did .something else. It opened up the eyes of jazz tical to the relationship between the light classics and the musicians with a brand new light to Broadway musicals, as a great masterpieces of classical music. In each case the glance at the accompanying discography will prove. lightness refers to a simplification and romanticizing proc­ Previn, whose scoring and conducting of Porgy and Bess ess. When jazz, like classical music, is lightened, its com­ was his 30th motion picture assignment, has an amazing mercial value expands because of a more obvious appeal to understanding of musical technique, but he has not been a larger segment of the population. To develop this mass able to use his vast talent along this line according to the appeal, composer and musician must work in terms of less requirements of jazz. Previn does remarkable things on his complex structures, variations and instrumentation. Greater recording but they cannot be judged in jazz terms, even dependence is placed upon easily recognizable melodies. Al­ though that was his intent. The music here always remains though this "light" approach contributes very little to the familiar as My Fair Lady, only with a touch of something development of its more penetrating and thought provoking different; With a Little Bit of Luck becomes a pensive ballad relative, it can serve an important function both by giving instead of the humorous parody on the London music hall, the artists a better income and by helping introduce more the romantic I Could Have Danced All Night turns into a people to the musical ideas of jazz. sparkling Latin number. The jazz flavor is unmistakable Certainly much of the music from Broadway in the name of enough, but hard core enthusiasts find the treatment quite jazz is pleasant and enjoyable but this does not qualify it as superficial. Those who have thought that jazz was some­ jazz in the true sense. One pitfall for modern jazz collec­ 'thing they could never tolerate are the ones who may find tors is that many albums are tagged as "jazz" for no other this music most palatable. reason than that somebody apparently thought it would be It was this very tasty "light jazz" presentation of My Fair nice. Even when highly talented jazz musicians appear there Lady that officially declared open season on Broadway shows. is seldom any assurance they are involved in the creation Those who followed Manne, Previn and Vinnegar created a of high quality jazz performance. Some record companies, similar kind of light jazz that always maintained its fa­ indeed, go so far as to hire "name" jazz critics to write liner miliarity with the original scores. Unfortunately, this has notes praising the music as jazz while the actual perform­ brought with it severe restrictions on jazz creativity. One of ances may turn out to be something quite different. the most unusual experiments after My Fair Lady was Leon­ Good jazzmen who have gone to Broadway for inspiration ard Feather's production of Oh Captain! Billed as the "first but who have failed to come back with creative results equal jazz show-tune album with vocals," it featured such musicians to their well-proved talents include Shelly Manne (Li'l as Dick Hyman on piano, Art Farmer on trumpet, Coleman Abner, Contemporary Records C 3533), Phineas Newborn, Hawkins on saxophone, Osie Johnson on drums and Jimmy 48 HIFI REVIEW Cleveland on trombone. The singing chores are shared by get much of a message from these melodies." So to correct Marilyn Moore and Jackie Paris with the exception of one this 'failing, Feather (the producer) gathered vocalists and tune sung by J ohnson that turned out to be unbelievably bad. instr umentalists for tllls album which, however, falls short of Feather explained his innovation by telling how he has, its avowed mark. Those who have not seen Oh Captain!, this in his role of critic, reviewed large numbers of jazz albums writer included, will stilI not get much of a message. AI- devoted to Broadway musicals and that " unless you had • though the lyrics are understandable as individual tunes, there seen the show and were familiar with its score, you couldn't (Continued on page 56)

,CQral 57207

Prestige 7140 ker":" The James Dean Story. , World Pad flc 2005 Warren Barker - 77 Sunset Strip. Worner Bros. 'its 1289 Mono - W 1289 Ruby Braff Goes "Girl Crazy." Warner Bros. WS 1273 Mono - ' W 1273 Ralph Burns - Porgy,and Bess. , Decco DL 79~ 1 5 Mono - DL 9215

Barbara Carroll - Flow~r Drum Song. , Kapp Stereo ]113 S, Mano-1113 Joe Castro -" Mood Jazz. , Atlantic Stereo SD 1264 Mono - 1264 Bob Crosby - South Pacific Blows Warm. , Dot 2'5136 Mono - 3136

, Phineas Newborn. - Jamaica. RCA Victor LPM 1589

Red Norvo -;- Windjamm,er.. Dot 25126 Mono - 3126

Andre Previn - Gigi. Don Elliott - Jamai,ca Jazz. Contemporary 5,7024 Mono - 3548 ABC-Paramount ABCS 228 Mono-ABC 228 Andre Previn ...;. ' Pal Joey. Don Elliott - Pal Joey. Contemporary 5 7004 Mono - 3543 Hallmark Stereo 317' Andre Previn Plays Vernon Duke. Jimmy Giuffre - The Music Man. Contemporary 3558 ' Allantic SD 1276 Mono - 1276 Shorty Rogers - Gigi in Jazz. Bobby Hammack - Solid! South Pacific. Allantic 1232 liberty 7007 Mono - 3037 Tony Scott - South Pacific Jazz. Chico Hamilton - South Pacific. ABC-Paramount ABCS 235 Mono - ASC 235 World ,Pacific 1003 Mono - 1238 Bud Shank - The Swing's to TV. Dick Hyman - Oh Captain! , World Pacific 1002 Mono - 411 MGM E 3613 Bobby Sherwood - Pal Joey. Dick Hyman - Whoop-Up. Jubilee Stereo SDJLP 1061 MGM SE 3747 Mono - E 3747 .I:-"....,..---:-~~ Johnny Smith- Flower Drum Song . Han.k Jones - Gigi. Roost 5 223 1 Mono - 2231 Golden Cresi 3042 Jiili Timmens -Gflbert & Sullivan Revisited. ] Hank Jones - Porgy' and Bess. , Worner Bros. WS 1278 Mono - W 1278 ' , Capitol ST 1175 Mono - T 1175' , Monty Kelly - Porgy and Bess. ' (The listings above represent the most interesting light jazz , ,,-Carlton 5111 Mono - 11 11 available at press time.)

49 JUNE 1959 Boundless Kentucky enthusiasm

bears fruit with 30 LP discs and

a bright page in ,our cultural history

contemporary music / D A V I D HAL L

HAT Charles R. P. Farnsley did when he took over as WMayor of Louisville, Kentucky, in 1948, stands today as a glowing chapter in the cultural annals of the U.S.A. Mayor Farnsley's hot-eyed enthusiasm for music was the starting point. After being in office a little over three months, he went into a huddle with the Louisville Orchestra's then-manager, John Woolford, and conductor Robert Whitney, who had come to Louisville from Chicago eleven years before. Heretofore, as director of the Louisville Philharmonic Orchestra, Whitney had been presenting concerts in the usual symphony orchestra subscription pattern-in a large hall, with programs based strongly on standard repertoire, with expensive "name" soloists to help box office receipts, and 'wltb a number of imported players to fill out the weak spots in the orchestra's first-chair complement. The result over the years was DEFICIT in large red letters, aided and abetted by the anti-climactic effect of a concert or two scheduled after some big-time ensemble like the Boston or Chicago Symphony had passed through on tour. The team of Farnsley, Whitney, and Woolford put their heads together and came up with a series of ideas that would take Louisville out of the "Museum of Musical Antiquities" business and get the orchestra started along a totally un­ precedented line of endeavor-as a musical "Museum of Modern Art"; but with this special twist-the Louisville Philharmonic Society would commission all the works for its gallery! On November 9, 1948, the first Louisville world premiere became a matter of history. By the fall of 1951, the Orchestra had recorded a Louisville-commissioned work-William Schu­ man's Judith- for Mercury. Five more commissioned works were taped during the next three years, this time for Colum­ bia, the composers being such top-rated figures as Heitor Villa-Lobos, Darius Milhaud, Bohuslav Martinu, Norman DelIo J oio, and Lukas Foss. That such names as these had been gathered to contribute new and original repertoire for a little-known orchestra in the American "backwoods" without a "glamour-boy" conductor to lend snob appeal to the pre­ mieres constitutes quite a tribute to the powers of persuasion and publicity wielded by Farnsley and company. But Charles Farnsley had not grown up in the tradition of Blue Grass politics for nothing. He was having the time of his life meeting the challenge of applying this special know-how to HARVEST a quite different field-that of selling the concept of a truly community-rooted, broadscaled cultural endeavor to his own constituents; and, to the world outside Louisville, the idea that a medium-sized American city could show the rest of the country a thing or two when it came to vital participation in the contemporary creative arts. Efforts by then had been expanded to include establishment of a Louisville Fund as a "community chest" for the arts, serving not only the orches­ tra, but opera, theater, art and the dance. However, Mayor 50 HIFI REVIEW Farnsley's powers of persuasion were yet to reach their from music publishers-and recording compan~es. Recording ultimate triumph and his program was due for some rough company interest was sporadic at best, but the Voice of going in the years between 1948 and 1953. America and Radio Free Europe did and have continued to As a first condition of carrying out his precedent-shattering avail themselves of tapes from the Louisville concerts for musical program, Farnsley saw to it that both the orchestra broadcast throughout the world. Let no one suppose, by the and its name were cut down in size. It would henceforth be way, that the Louisville Orchestra's subscription programs known as The Louisville Orchestra and cut in manpower to since 1948 have been made up exclusively of new music­ 50 players-that of the classical ensemble of pre-Wagnerian far from it. The pattern has been one world premiere for each days. The works commissioned from American and European program, flanked by sturdy stand·bys of the classic, romantic, composers for the Louisville Orchestra would therefore be and early 20th century repertoire. tailored accordingly. Furthermore, the Orchestra's concerts Chief among the Louisville prospectors seeking ways and would be given in the smaller and acoustically superior means of broadening the scope of and assuring permanence Columbia Auditorium-better to give the same concert twice to their commissioning project was Mayor Farnsley, and in to a pair of full houses than a single performance to a hall May· 1953 he struck gold. It took the form of a Rockefeller half empty. Last, but far from least, the Louisville Orchestra Foundation grant to the tune of $400,000, to which was would he composed wholly of local players. "Rob" Whitney added another $100,000 in the fall of 1955. This grant not might not be a glamour-style conductor, but he knew his only assured the recording of every major Louisville Commis· business and could be counted on to train the men and women sion from 1954 on, but also allowed for the granting of more of his orchestra into a crack outfit fully capable of playing commissions, for expanding the concept to cover student com­ the toughest new music any cern poser might hand them. A posers, and for giving extra concerts featuring public per­ hearing of Elliott Carter's Variations jar Orchestra as formances of the additional works commissioned, as well as recorded in Louisville will give some idea of what Robert repeat performances of earlier commissions. Whitney has accomplished with his players over the past Until the first of 1959, the Louisville Commissioning Series decade. A major milestone in the growth of the Louisville discs done under the auspices of the Rockefeller Grant were project came when it was decided to send the orchestra to available only by mail order subscription. Even so, by the show off its newly acquired wares at New York's Carnegie end of 1958-at which time the 30 Commissioning Series di scs Hall in late December of 1950. The program consisted wholly listed here had been released, close to 30,000 records had of Louisville commissions. The widespread and positive press been sold, most of them in complete 6-disc sets. Now these attention, both in the New York newspapers and in national Louisville Commissioning Series discs have finally been made magazines proved to be a real shot in the arm publicity·wise. available over the counter individually as First Edition Rec· Furthermore, it primed the situation for the Mercury and ords, so that prospective purchase is no longer a "sight-un­ Columbia discs that were to mark Louisville's initial recording heard" proposition. The price per disc-$7.95-is stiff, but activity. those interested enough to subscribe for a 6-disc series by Six commissions annually at $1000 apiece was the Louis­ writing directly to the Louisville Philharmonic Society, 830 ville quota to start with. Quite rightly, those responsible for South Fourth Street, Louisville 3, Ky., will obtain the records this scheme of things were concerned lest hearings of their at prices in line with normal "list price" for the monophonic new-minted works by Villa-Lobos, William Schuman, Carlos product, thanks to the institution of a "record club" plan. Chavez, Norman DelIo J oio, Paul Hiridemith, and othert; (See next page for details.) would begin and end right there in Louisville. Hence the Where do the Louisville Commissioning Series discs stand development of the Louisville Orchestra project was from the in relation to the seemingly potent competition from various very first accompanied by unceasing search for cooperation other foundations and record companies specializing in the

THE LOUISVILLE ORCHESTRA-from a big outfit lIsing "imported" first desk players, it was cut to 50 topnotch loca l m usicians.

James N . Keen

JUNE 1959 works of contemporary composers, so far as performance, has a few masterpieces and · near-masterpieces too--Peter recording, and variety of repertoire are concerned? The Mennin's Sixth Symphony and Wallingford Riegger's Piano Louisville commissions are now nearing 150, of which about Variations (545-3), Hovhaness's Concerto No.7 (545-4), half have been recorded. Luigi Dallapiccola's Variazioni per Orchestra (545-8), Chou The only comparable number of commissions from an Wen-Chung's And the Fallen Petals (56-1), Roger Sessions's American source within a comparable period of time has come Idyll 0/ Theocritus, Haieff's Ballet in E and Nabokov's Sym­ --£r~m-the- Koussevitzky Music Foundation, established in 1942 boli Chrestiani (58-1), Lou Harrison's Four Strict Songs by that great conductor of the Boston Symphony a few years (58-2), and Elliott Carter's remarkable Variations for Orches­ before his .death. While the Koussevitzky Foundation never tra (58-3). went directly into recording . amvit.y;j~ ~affiliated .Recording What is singularly interesting about the Louisville commis­ Guarantee Project ohhe Ameriean-.hternatiollii!P-Mu&ic,Fund sionsas ,a· whole is that they encompass just about every style has arranged for the commercial taping of four major works -of-music used in the 20th century, from the most conservative -by Easley Blackwood, Alexei Haieff, Edgard Varese, and .post-romantic-Borowski, Tcherepnin, Rubbra to the most Wayne Peterson-within the past two years. "far-out" 12-toneand - near-12"tone style~Krenek, Dalla­ The Fromm Music Foundation, established at Chicago in piccola, Riegger, Carter, as well as justabotit everything in 1942, has combined premieres, repeat concert performances, .hetween-'-'Mennin, Rosenberg, Jolivet, Vincent, Shapero. recording (with Epic) and publication as a complete package The one .maj,or"soft spot" in the project turns out to be the for deserving and heretofore insufficiently recognized com­ operas-4y,.P~ggyGlanville·Hicks, the late Richard Mo­ posers (Leon Kirchner, Ernst Krenek, Jerome Rosen, Benja­ haupt" the. .,r-eoemW--,deceased George Antheil, and by Rolf min Lees, Lou Harrison, Harry Partch, Hugo Kauder, and Liebermllmi,·,lllismrurilespeGts, it's hard to say just how much others) . is due to 'defreieBByrID\:jrnTformance. The grand-daddy of all recording subsidy activities has All told, the'Lc:misv.meFtfisosdo offer a remarkably vital been that of the Walter W. Naumburg Music Foundation, panorama of music aa-iHms,b'een created by living composers which began making its annual award in 1949, beginning in Europe, Latin-America, -and the U.S.A. over the past with Roger Sessions's Second Symphony (recorded by Colum­ decade. (It is interesting to note, by the way, that the bia) and is still going strong. The year 1951 saw the numerical distribution of commissions between Europe, Latin­ American Recording Society (now defunct) swing into action America, and the U.S.A. by both Louisville and the Kousse­ under the auspices of the Alice M. Ditson Fund of Columbia vitzky Music Foundation is almost identical!) University, building up an LP library of some 60 American The standard of performance by the Louisville Orchestra works from Stephen Foster to Ben Weber and Elliott Carter is surpassed, by and large, only by such major outfits as -mostly recorded in Europe and with widely variable results Boston, New York, and Chicago, and the recorded sound is from the interpretative standpoint. generally impressive:-tending to the brilliant and reverberant Mercury Records in 1952, in collaboration with Howard side in accordance with the acoustics of Louisville's Columbia Hanson and the Eastman School of Music undertook its Auditorium. ambitious American symphonic and band music series, which To say that every work and every record emanating from still flourishes in the form of a half-dozen records each year. Louisville is a timeless masterpiece would be to stray very Columbia, for its part, began a Modern American Music far from the truth; but there is an enormous, vital and in­ program in 1953 which produced close to two dozen super­ teresting collection here, well worth the attention of any music lative recorded performances, mostly of chamber works, by an lover or audiophile who wants to get off the tbo-well-beaten extremely wide range of composers. At about this time, both standard repertoire track. As our great pioneer modern mas­ the Koussevitzky Foundation and the American Composers ter, Charles Ives, used to say, there is material here "to stretch Alliance (ACA) began to offer partial recording subsidies the ears." And the courage that Charles Farnsley and his on behalf of contemporary American works. Mercury, RCA Kentucky cohorts have displayed in bringing to Louisville Victor, MGM, and Remington were among the labels which a type of fame other than that garnered by the Derby and came out with major American music recordings as a result fine old Bourbon whiskey is a credit to their personal daring of help from these sources. and imagination. With people such as these at large, we need In 1952 a new independent company by the name of SPA have no fear for the musical-future of America. (Society of Participating Artists) issued a few unusual -David Hall modern scores by Philip James, Werner Josten, Frederick Jacobi, Burrill Philipps, and others; but its function in the recording scene has since been assumed with greater effect, The Lonisville,RecBr~~taiIs: The Louisville Com­ beginning in 1956, by Composers Recordings Inc. (CRI), missioning , Senies:,~.'; m8;y:be purchased through retail which now has two dozen 20th century American music discs record dealel's,aS"'FirstEdition Records at $7.95 each. Those in its catalog-mostly by composers who have received rather willing to subscribe in advance to the complete 1959 release scant attention from foundations and major symphony orches­ of six records may do. so by mail to the Louisville Phil­ tras. Epic, the latest entrant in the subsidized modern music harmonic Society, -830 S. Fourth St., Louisville 3, Ky., and . creeomm,gfield, we have already cited -in connection -with the by so. doing get them for a total cost of $29.88 ($4.98 each). Fromm ~ic Foundation. . Such subscribers are then entitled to a choice 0/ any six back So far as varied repertoire goes, the Louisville series is issues for $4.98. Thus they can have a total of twelve Louis­ equaled by very few and surpassed by none. When it comes ville Commissioning Series LPs for $34.86 (or $2.90 each). to sheer creative quality, certain individual Koussevitzky Mail-order subscribers can have additional back issues at Foundation commissions, like Bela Bartok's Concerto for $6.95 each, and for each pair of these they order, a third Orchestra, Walter Piston's Third Symphony (Mercury) and "bonus" record is theirs gratis. Non-subscribers, however, Copland's Third (Everest and Mercury) are pretty hard to must pay $7.95 for all Louisville Commissioning Series discs, I beat in anybody's contemporary music league. But Louisville whether' they purchase through a retail dealer or by mail. 52 HIFI REVIEW I however. Musical Interest: Variable. Performance: Good. Recording: A trifle over-reverbera nt. Robert Whitney conducting unless otherwise noted. Moritz Bomhard conducting-545-6, 545-12, 56-4, 57-3, 594

Assisting soloists and organizations: 545-5 I bert, Jacque.s (Fr~nce, Here is a brilliant showpiece record. b. 1890): Louisville Conc~rto. The Ibert is sheer Gallic froth of no Harth, S,dney (violin)-57-6, 593 Read, Gardner (U. S. A., b. 1913): great consequence. Gardner Read's Muczynski, Robert (piano)-56-5 Toccata glocosa. Luening, 'Otto TOCCATA calls for just about every Nossaman, Audrey (soprano)-545-6, 57-3, 57-4 (U. S. A., b, 1900) and Ussathev. percussion trick in the book, and Owen, Benhamin (piano)-545-3, 56-5, 58-3 sky, Vladimir (China-U. S_ 1'1" b. likewise makes no pretenses at ex· 1911): Rhapsodic Variations for Tape pressive profundity. The "TAPE RE­ Pickett, William (baritone)-545-6, 545-12, 56-4, 57-3, 58-1 Recorder and Orchestra. (I bert CORDER" Variations by the team of Riesley, Charme (soprano)-545-12, 56-4, 57-3, 57-6 available on Columbia ML $039). Luen ing and Ussachevsky is some­ Stephens, Farrold (tenor)-56-4, Co.lumbia ML 4859 thing else again. What could be a Whitney, Grace (cello)-57-1 display of "space man" gimrtdcktry turns out to be a fine display of romantic coloration and lyrical expresJion. One could question the essential need for Zorina, Vera (narrator)-Columbia ML 4859 tape recorder effects as su~h. However, this disc does provide a useful Kentucky Opera Association-545-6, 545-12, 56-4, 57-3 layman's introduction to the' realm of "electronic music," The recording in Southern Baptist Theological Seminary Choir-56-3, 58-2, Ibert and Read is rather ovlr-bright and excessively reverberant, but excel­ Columbia ML 4859 lent in the "TAPE RECORDEk" VARIATIONS. Musical Interest: No and Yes. Performance: Good. Recording: Variable.

545.6 Glanville - Hicks, p1eg g y Thomas Mann's tale of an Indian (Australia-U, S. A., b. 191i): (3 love triangle which involves the head sides) The Transposed H~ads­ 545~lc. Creston·, hu~, (U, S. A" The "modern Mediterranean" style of the lover being placed on the Opera, b. 1906): Invocation and Dance, characteristic of Paul Creston (born husband's body and vice versa Op. 58. Villa-Lobos, Heitor, (Bra­ Joseph Guttoveggio) is heard in one would seem to make for some inter.. zil, b. 1887): Overture-Dawn in a of its most characteristic and hap­ esting stage business as well as music (we should like to see this one on TVI). Tropical Foresf. Stevens, Halsey, pily conceived manifestations on this For the first three of the six scenes of THE TRANSPOSED HEADS, Peggy (U. S. A., b. 1908): Triskelion. disc, However, this music is still no Glanville-Hicks fulfills our lexpectations; for her music is full of charm, (Creston available on Columbia match for his best work to date, the delectable instrumental, harh,onic, and rhythmic coloration; and she has an ML 5039), "Second Symphony" (1944). Brazil's excellent sense of prosody, c~mparable to that of Virgil Thomson in his "Four Villa-Lobos offers a skillful blend of Saints in Three Acts." The tragic elements of the drama, however, become impressionist and folkloristic dance elements, somewhat strung out in relation merely banal in her hands. This is not helped by the amateurish acting of those responsible for· fhe Vllice of Kali and for the role of th·e Guru. The to their substance_ Californian Halsey Stevens (author of a fine biography of other principals are excellent, however, and backed for the most part by Bela 8art6k). gives us in TRISKELION a tautly constructed but rather imper· good recording.i Musical Interest: Variable. Performance: Good to poor. sonal piece, linear in texture, and stylized "American" in idiom. Musical Recording: Good, In-terest: Moderate. Performance: Good. Recording: OK.

545.7 Persichetti, Vincent (U. S. Vincent Persichetti is one of our most Cowell, whose initial fame in the 545.2 Cowell, K~ry (U. S. A., A., b. 1915): Symphony No,S, for skillful composers (something of an b. 1897): Symphony No, II ("7 Rit· 1920's stemmed from bold experi­ strings, Blacher, 80ris (China-Ger­ American Prokofiev in his mature ments with piano tone clusters, has uals of Music"). icherepnin, Alex­ many, b. 1903): Study in ptanissi. style). but this string SYMPHONY since become an "elder statesman" ander (Russia-U. S. A., b. 1899): mo, Op. 45. Sanders, Robert L. seems rather cold music-an impres­ on the contemporary American music Suite, Op. 87. Netherlands-U. S. -A;" b. 1894): phony No. 2 in B-flat. little to dispel. The Philadelphia Concert Overture. (Cowell avail­ folk music, and biographer of pio· . Orchestra strings might make the able on Columbia ML 5039). neer American modern, Charles Ives. work seem entirely differe~t, who knows? Webern's "tone color melody" The SYMPHONY No. II reflects his seems to playa major influence on Blacher's fascinating "STUDY." Sander's wide-range folklo~stic interests and seems to cry for dancers to enhance its LITTLE SYMPHONY No.2 cbmes out as low-pressure but engaging Americana life-to-death pan.brama of mankind. As music per se, it seems rather thin in lyrical folk style. Musical Interest: Quite so. Performance: Good enough. and episodic. Jili-fi fans will delight in the impressive percussion effects. Recording: Variable. Tcherepnin, now living in Chicago, has written in his SUITE music openly romantic in expression and surprisingly vital in its impact. Wagenaar, for many years associated with New York's Juilliard School of Music, has turned 545.8 Dallapiccola, Luigi (Italy, The real substance here is provided out. colcily impersonal music in his CONCERT OVERTU RE in contemporary b. 1904): Variazloni per Orchestra by the intensely intellectualized Iyri· classic vein. Musical Interest: Considerable. Performance: Good. Record· ("Anna libera's Notebook"). Mon­ cism of Italy's 12-tone master, Luigi ing: Good. cayo, Jose Pablo (Mexico, b. 1912): Dallapiccola (when do we get a Cumbres ("Summits"), Kay, Ulys­ recording of his operatic masterpiece ses (U. S. A., b. 1917): Serenade ."The Prisoner"?). This music takes 545.3 Mennin, Peter (U. S. A., From a sheenly musical point of for Orchestra, Milhaud, Darius concentrated listening, but is worth b. 1923): Symphony No.6. Riegger, view, this is one of the most impos,. (France, b. 1892): Ouverture Medi. the effort. In the hands of a master, Wallingford, (U. S, A., b. 1885,: ing Louisville products. Mennin's terraneanne, 12-to~e music can be elegant and J Variations for Piano and Orchenra. SIXTH SYMPHONY is ruggedly hero. oddly poignant. Moncayo of Mexico Toch, Ernst (Austria-U. S. A., b, ic; Wallingford Riegger's VARIA· gives us in CUMBRES a light and pleasant piece, but perilously close to 1887): Notturno. TIONS are astoundingly vital and salon music. Ulysses Kay's SERENADE is surprisingly dour and gray for music humorous, their 12-tone frameword bearing such a title. The style is chromatic with strongly Hindemithian notwithstanding; and Toch's NOTTURNO is an elegant study in Viennese overtones. Milhaud's "OUVERTURE" is a gay and lightweight essay liberally chromaticism and otchestral coloration. Unhappily, Louisville's 50-piece spiced with Provencal harmonic and rhythmic flavor. Musical Interest: Polar orchestra lacks the string power to present Mennin's textures in proper bal­ extremes. Performance: Gobd. Recording: OK. ance and the Riegger could do with a far more taut performance. Musical Interest: Outstanding. Performance: Could be better, Recording: Fair. 545.9 Von Einem, Gottfried Another mixed kettle of musical fish (Switzerland-Austria, b.! 1918): -Gottfried von Einem's MEDITA­ 545.4 Hovhaness, Alan (U. S. A., Alan Hovhaness's CONCERTO No.7 Meditations-2 Movements for Or· TIONS seem to us cliche-ridden, not ..... b. 1911): Concerto No.7 for Or­ is the highpoint of this disc-an out· chestra, Op. 18. Rathaus, Karol only in terms of eclectic modernism chestra, Castelnuovo-Tedesco, Ma­ standing example of his hymnic-ori· (Poland-U_ S. K, b_ I895-d. 1954): but even in elements that stem from rio (Italy-U. S. A., b. 1895): Over­ ental style, free of the longeurs of Prelude for Orchestra. Perle, Wagner and Brahms_ Nothing really ture-Much Ado About Nothing, some of his later work such as George (U. S. A., b. 1915): Rhap· jells. The Karol Rathaus PRELUDE Op. 164. Surinach, Carlos (Spain­ "Mysterious Mountain" (RCA Vic­ sody for Or.chestra. has some fine, deeply felt lyrical U. S, A., b. 1915): Sinfonietta tor). The tenth of Castelnuovo­ pages. George Perle strikes us as Flamenca, Tedesco;s Shakespearean overtures one of the interesting and least doctrinaire of the younger American 12-toners, lives up to its title admirably in if his RHAPSODY can be said to provide a true indication of his style_ His more ways than one. As for Surinach's SINFONIETTA FLAMENCA (also musical language is essenti~lIy lyrical-recalling Berg, the later Schoenberg, recorded on -MGM by Arthur Winograd). it is stylistically indebted in about and the late Norwegian, Fartein Valen (1887-1952). Striking in Perle's usage equal measure to Manuel de Falla and to Mexico's Silvestre Revueltas, but of the 12-tone idiom here is his frequent. employment of triadic harmony, is Jund,arnentally lacking in expressive substance. It's a fine hi-fi showpiece, Musical Interest: Low to high. Performance: Fine, Recording: Good. JUNE i959 53 545-10 Ginastera, Alberto (Ar­ In the three movements of his PAM. Musical Interest: Questionable. Performance: Good to fair. Recording: gentina, b. 1916): Pampeana No.3 PEANA No.3, Alberto Ginastera Good to fair. -Pastoral Symphony. Sauguet, mainta ins his supremacy as the most Henri (France, b. 1901): Les Frois gifted and powerful of the middle 56-4 Antheil, George (U. S. A., The late Mr. Antheil's opera lor lys-Symphonic Movements. Ward, generation South American compos· b. 1900-d. 1959): The Wish-Opera. Louisville strikes us as a counter­ Robert (U. S. A., b. 1917): Euphony ers. To a greater degree than most part to a bad "Studio I" or "Play­ for Orchestra, Bergsma, William of his fellows south of the Rio Gran· house 90" TV drama-a not very well assimilated mixture of love triangle, (U. S. A., b. 1921): A Carol on de, he has struck a perfect balance murder, and dream hallucination in New York's Greenwich Village. Antheil's Twelfth Night. between nationalism and the major use of a deliberately "synthetic pop music" idiom is not altogether convinc· classical tradition. This music be· ing either. Despite all-out efforts on the part of the Kentucky Opera Associa. longs, with his "Variaciones Concertantes" (Mercury). among his best. French~ tion singers, the piece fails to stir. Musical Interest: Doubtful. Performance: man Henri Sauguet has writfen in his LES TROIS LYS a piece which seems to A·for·effort. Recording: Sufficient. tread a borderline between conventional French between·the-wars modernism and the more outre procedures of Messiaen and Boulez. Robert Ward's 56-5 Orrego·Salas, Juan (Chile, Elegance and high polish, rather EUPHONY lives up to its title well enough in a mildly Americanistic way, b. 1919): Serenata Concertaitte, than Latin -American exoticism, char­ while William Bergsma in his treatment of "The Twelve Days of Christmas" Op. 40. Shapero, Harold (U. S. A., acterize Sr. Orrego·Salas's "SERE­ adds quite a bit of harmonic acid to one's usual conception of the familiar b. 1920): Credo for Orchestra. NATA." Piston or Hindemith come carol. Musical Interest: Descent from a peak. Performance: Good. Record· Muczynski, Robert (U. S. A., b. to mind at first, but in the Leggiero ing: Brightish. 1929): Piano Concerto No. I. second movement, the composer is very much himself. The slow move· 545-11 Malipiero, Gian·Frances­ Malipiero's FANTASIE impresses one ment is uncomplicated and in the finale a Latin·American meter finally does co (Italy, b. 1882): Fantasie di as the work of a tired old man; yet manifest itself, but without fancy percussive trimmings. Harold Shapero's ogni giorno ('I Fantasies of Every there is a curious power in its dour­ Coplandesque CREPO is a splendid piece in its simplicity and strength of Day"). Rieti, Vitforio (Egypt­ ness. Rieti's piece is brightly eclec­ line, as well as in ·ils pages of exquisite two-part writing. Chicago born and ltaly·U. S. A., b. 1898): Introduc­ tic and of minor consequence. Ernst trained Robert Muczynski's PIANO CONCERTO strikes us as distinctly cliche­ tion and Game of the Hours. Ba· Bacon's music for Shakespeare's THE ridden, with only the musetfe·like episode in the slow movement possessing con, Ernst (U. S. A., b. 1898): TEMPEST may be of equally small any genuine personality or charm. Musical Interest: Chiefly Shapero. Per­ The Enchanted Island. consequence, but it is vastly enter­ formance: Good enough. Recording: OK. taining. The music seems a croSS between early Italian and early Appalachian, with strong jazz overtones. The 56-6 Badings, Henk (Java·The Like Hilding Rosenberg of Sweden, results, musically, are wholly charming. Musical Interest: From gray dawn to Netherlands, b. 1907): Symphony Henk Badings of Holland is thor­ broad daylight. Performance: Good enough. Recording: OK. No, 7 ("Louisville"). Weber, Ben oughly "pro" in his approach to (U. S. A., b. 1916): Prelude and composition, with a fine sense of 545-12 Mohaupt, Richard (Ger· Breslau·born Richard Moh.upt fin­ Passacaglia, Op. 42. Sowerby, Leo the dramatic. However, it's not al· many·U.S.A.·Austria, b. 1904 - d. ished DOUBLE TROUBLE shortly be· (U. S. A., b. 1895): All on a Sum- ways easy to separate the substance 1957): Double Trouble-Opera. fore his return to Europe after living mer's Day. from the note·spinning. By and more than fifteen years in this coun· large, everything goes along fine in try as composer and teacher. His Louisville opera is a tongue·in·cheek Bading's LOUISVILLE SYMPHONY, reaching an impressive peak of atmos­ domestic comedy of marital troubles and mixed identities and is set to the pheric evocation in the Adagio slow movement, but falling off badly in .. jazzy sophisticated, satirical musical language associated with much of his weak finale. American 12-toner Ben Weber rears over his seemingly severe earlier work. Musically, the whole thing is very clever; but whether one cares passacaglia substructure some powerfully romantic expression, aided and for the subject matfer is largely a matfer of taste. Fine singing·acting on abetfed by inherent ultra·chromatic implications of t",. tone·row composi­ the part of all the principals. Musical Interest: A matfer of taste. Perform. tional method. Chicago composer·organist Leo Sower~:s ALL ON A SUM· ance: Spirited. Recording: Good. MER'S DAY is heavily scored and moderately interesting, some would say turgidly academic. We fail to see much connection between the title and 56-1 Rosenberg, Hilding (Swe. Hilding Rosenberg, dean of Swe­ the music that goes with it. Musical Interest: Best for 12.,toners. Perform­ den, b. 1892): Louisville Concerto. den's modern composers, has ful· ance: Impressive. Recording: Full·bodied. Wen·chung, Chou (China· U.S.A., filled his Louisville commission with b. 1923): And the Fallen Petals-A a highly polished piece in modern 57-1 Nordoff, Paul (U. S. A., b. " Nordoff's WINTER SYMPHONY is rriolet for Orchestra. Guarnieri, classic style that lacks the personal 1909): Winter Symphony. Muller, restless, chromatic, close·textured Camargo (Brazil, b. 1907): Suite­ and often profoundly probing man· Paul (Switzerland, b. 1898): Cello music-wintry in more ways than one. IV Centenario. ner of his best string quartets (Nos. Concerto, Op. 55. Swiss composer, Paul Muller's CEL­ 5 and 6-Westminster). Chou Wen· LO CONCERTO is considerably chung left Asia for t:,o U. S. A. when in his early twenties and pursued his more grateful to the ear in its academic post-romantic way, but going con­ musical studies with Nicolas Sionimsky, Edgard Varese, and Otfo Luening. siderably beyond this in its fine slow movement. Musical Interest: Moderate. AND THE FALLEN PETALS is powerfully evocative stuff, influenced in part Performance: Fine. Recording: Bright and clear. from Chinese sources but chiefly by the bold experimental sonorities of Van'se. The result is a minor masterpiece of sorts which occupies a singular 57-2 Jolivet, And re (Fra nce, b. Jolivet's suite is nothing if not ex­ place in the whole Louisville commissioning series. Unfortunately, nothing 1905): Suite Transoceane. Vincent, uberant-a combination of rowdy of this kind can be said for Camargo Guarnieri's SUITE, which seems banal John, (U. S. A., b. 1902): Sym­ Milhaud, jazz, and Latin Americana in substance and unduly thick in its instrumentation. Musical Interest: The phony in D (original version). in the first movement; sheer high­ Chinese has it. Performance: Good. Recording: Good. speed uproar in the second; con­ trastingly somber in the third; and densely dissonant in the finale. The open 56-2 Tansman, Alexander " (Po· Polish·born Alexander Tansman has textures and frank simplicity of the Vincent SYMPHONY come as a shock land-France, b. I879-d. 1958): served up an effective musical cock­ immediately afterwards. One feels that had Dvo;~k been born American Capriccio. Borowski, Felix (Eng­ tail in his three-movement CAPRIC· instead of Czech, he might have written this way. It is all very straightfor­ land·U. S. A., b. 1872): The Mirror. CIO-a dash of Stravinsky·with.Mil­ ward and enjoyable. The Ormandy·Philadelphia p"erformance (with a some­ Dahl, Ingolf (Germany.U. S. A., b. haud, a slow movement with piquant what revised and re·orchestrated finale) makes for interested comparative 1912): The Tower of Saint Barbara secunda I harmonies, and a frothy listening. We rather prefer the leaner textures and rhythmic litheness of the -Symphonic Legend. Ibert·like finale, all superbly scored. smaller Louisville ensemble. Musical Interest: Considerable. Performance: "Chicago's eminent English·born crit­ Very good. Recording: AII·out. ic-composer has contributed as his bit to Louisville a post-impressionist lyrical piece, redolent of the works of Charles Martin Loeffler that enjoyed 57-3 Liebermann, Rolf (Switzer­ Brevity is presumably the soul of wit, such vogue in the early I920s. Ingolf Dahl in his TOWER OF SAl NT BARBARA land, b. 1910): School for Wives­ but Mr. Liebermann's setfing of pays a certain obeisance to his onetime close association with Stravinsky, but Opera. Moliere would seem to be disquali­ this is not enough to lend much interest to his four·part orchestral drama of fied on this account-perhaps be­ captivity and martyrdom. It's pretfy heavy going-and dull at that. Musical cause the excessive amount of recitative and parlando simply don't suit the Interest: So·so. Performance: Good. Recording: Bright. subject at hand, unless there is a Mozart or Rossini to do the job. Stylisti· cally the music leans toward Rouselian britfleness-all very workmanlike 56-3 Krenek, Ernst (Austria-U. S. Krenek's "atonal impressionism" here and not very interesting, save for one charmingly folklike aria on Side I. A., b. 1900): Eleven Transparencies. is enigmatic, effective, and some­ Musical Interest: Doubtful. Performance: Adequate. Recording: Good enough. Caamano, Roberto (Argentina, b, what nightmarish. Fine for those 1923): Magnificat for Chorus and whose tastes run to that sort of 57-4 Sessions, Roger (U, S. A., "Love hath no fury like a woman Orchestra, Op. 20. thing. Argentine Roberto Caamano's b. 1896): Idyll of Theocrifus for scorned," might well serve as the MAGNIFICAT oscillates between Soprano and Orchestra (Idyll li­ keynote for Roger Sessions' fero· neo·medieval and late romantic styles with a strong admixture of impression. The Sorceress). ciously expressionist yet rigorously ist harmonic trappings. The end effect is one of undue length, which is not controlled setfing of the great helped by a choru. decidedly deficient in rhythmic atfack and bass·power. "SORCERESS" IDYLL OF THEOCRITUS. For all intents and purposes it is 54 HIFI REVIEW a grandiose dramatic scene calling for a soprano with the ~ocal and romantic affair, calling to mind the later symphonies of Ernest Toch, but not dramatic gifts of a Maria Callas or Eileen Farrell (we should like to hear their subtlety or skill. Musical Interest: Not too much. Performance: Good farrell try this work some day; for she sings the lead in the Columbia album enough. Recording: Bright. ll of Alban Berg's "Wazzeck ). As it is, Louisville's own Audrey Nossaman does remarkably well with Sessions' terrifying complex music and fiercely -expressive vocal line, even if she is overpowered by the orchestra once or 58.5 Goeb, Roger (U. S. A., b. Goeb's music is endowed with a twice. Musical Interest: For special tastes. Performance: Remarkable. Re· 1914): Concertina No. 2 for Or· curiously austere power that finds a cording: Good. chestra. Kubik, Gail (U. S. A .. , b. certain release in rhythmic patterns 1914): Symphony No.2 in F. seemingly derived from Roussel and 57.5 Rorem, Ned (U. S. A., b. Ned Rorem's DESIGN is lyrical in Wallingford Riegger. The "black· (923) : Design for Orchestra. content, eclectic American in style, and·white" scoring serves to underline the effect of the whole. Kubik's Reichel, Bernard (Switzerland, b. and only moderately interesting. The SECOND SYMPHONY impresses as an aural counterpart of a series of Stuart 1901): Suite Symphonique. same goes for Reichel's SUITE, which Davis canvases-brilliant, hard·bitten, light·shot, with scoring most emphatic begins promisingly, then peters out. in the high registers of the instrumental palette. On the whole, the music is The orchestral scoring is impressive in its post-romantic excellence. Musical more nervously irritating than satisfying. Musical Interest: Yes-but. Per· Interest: Moderate. Performance: Good. Recording: Good. formance: Clean·cut. Recording: Bright and clean.

57.6 Rubbra, Edmund (England, Lengthy lyricism is the major char· 58.6 Piston, Walter (U.S.A., b. Piston's SERENATA is a small·scale b. 1901): Improvisation for Violin acteristic of Rubbra's IMPROVISA· 1894): Serenata. Vactor, David Van but singularly gracious example of and Orchestra, Op, 89. Fine, Irv· TION, as it is for Irving Fine's (U.S.A., b. 1906): Fantasia, Chao his art, comparable in its transpar­ ing (U . S. A., b. 1914): Serious SERIOUS SONG, the difference be· conne and Allegro. Bentzon, Niels ency to late Brahms, but with a Song-A Lament for String Orches· tween them lies in the impressive in· Viggo (Denmark, b. 1919): Pezzi distinctly American profile. Van Vac· tra. Norris, Harold (U. S. A., b. tegration which Fine has achieved Sinfonici, Op. 109. tor's score is a workmanlike quasi· 1890): Passacaglia. Adagio and between his Iyrica I content and har· tone-row piece, in general more finale. monje-contrapuntal device-essential­ viable than the Harold Morris "Passacaglia" recorded the previous year ly the difference between "noodling'" (57·6). Niels Viggo Bentzon, an extraordinarily gifted Danish composer, fails and purposeful creation. Fine's work is one of the best achievements of the to show up to best advantage in his PEZZI SINFONICI; for it has neither entire Louisville series. The Harold Morris opus is, unfortunately. one of the the long·lined lyricism of such scores as his "Fourth Symphony," nor the dullest-the word is "heavily academic." Musical Interest: Fine is finest. dynamism of the best piano works or the "Variazioni breve." Musical inter­ Performance: Good. Recording: Good. est: Variable. Performance: OK. Recording: Good.

58-1 Haieff, Alexei (Russia· Two Russian·born composers.,...both U. S. A., b. 19(4): Ballet in E. American citizens-are combined on Nabokov, Nicolas (Russia-U. S. A.· this disc to make up a really top· LPs outside the Commissioning Series france, b. 1903): Symboli Chres· notch Louisville package. Young tiani for Baritone and Orchestra. Haieff has been called a "Stravinsky This "out.of·print" disc was the first epigone" on occasion, and the Mercury MGI0088 Schuman. William (U.S.A., b. 1910): Judith commercial recording to be made Stravinsky neo·classic influence is very evident throughout much of his -Choreographic Poem; Undertow by the Louisville Orchestra. having BALLET IN E. Nevertheless, there is a wit and power present throughout -Choreographic Episodes. been done at Reeves Sound Studios much of the music th.at is distinctively Haieff and not also·Stravinsky, much in New York following its historic ()f it stemming from Haieff's felicitous use of pan-diatonic harmonic patterns. Carneg ie Hall concert of December 1950. The sound is antiquated by today's The Nabokov "cantata" for baritone, evocative of ancient Christian symbols standards, but the performances are full of vim and vitality (Schuman him­ -anchor, dove, and Phoenix-is a surprise. It is music of personality, power, self conducts UNDERTOW, which was not a Louisville Commission). JUDITH .and conviction, cast for the most part in a neo-Moussorgskian vein and was commissioned as a "dance concerto" for Martha Graham, and even superbly scored. William Pickett does full justice to expressive potentialities though it would seem to be a series of ch ips from the workshop that pro· of the Latin text. Musical Interest: Decidedly. Performance: First rate. duced Schuman's overwhelmingly powerful "Sixth Symphony" (Columbia). Recording: fine. it too has a power and life of its own and is deserving of an up-to·date recorded performance with no further delay. Musical Interest: Definitely! 58.2 Harrison, Lou (U. S. A., Californian Lou Harrison has created Performance: Vital. Recording: Loud but out·dated. b. 1917): Four Strict Songs for 8 a fascinating series of "sophisticated Baritones and Orchestra. Korn, primitive" ritual stylizations in his Peter Jona (Germany·U. S. A., b. FOUR STRICT SONGS, which are Columbia ML 4615 Villa·Lo· These 1952 recordings offer lengthy 1922): Variations on "Over the each sung to a different untempered bos, Heitor (Brazil, b. 1887): Era· and luxuriant scores that don't quite Hills and Far Away" from the scale. A variety of exotic percussion sian-Origin of the Amazon River. manage to live up· to their preten. Beggar's Opera, Op. 26. is used discretely after the manner Della Joio, Norman (U.S.A .• b. sions. Delio Joio's "SAINT JOAN" of the Balinese or the Indians of the 1913): Symphony-The Triumph of is quasi·Hindemithian in style, but American southwest. Peter Jona Korn's VARIATIONS seem hopelessly prosaic Saint Joan. is the more convincing of the pair; after such musical fare as this, and in truth they are nothing more nor less Villa,Lobos' is just plain over·ripe­ than a skillful exercise in mid-European eclecticism. Musical Interest: Lou period. Musical Interest: If you like it lush. Performance: Fine. Recording: Harrison. Performance: Vocally remarkable. Recording : Good. Brilliant.

58.3 Carter, Elliott (U. S. A.. Carter's VARIATIONS are for the b . 1908) : Variations for Orchestra. courageous; but those who have the Columbia ML 4859 Foss, Lu· The "melodrama" by Foss is aesthet· Helm, Everett (U. S: A., h. 1913): curiosity' to stay with them through kas (Ge'many·U.S.A., b. 1922): A ically and intellectually pretentious Piano Concerto No.2. a half·dozen hearings will have no Parable of Death for Narrator, in concept and' far from convincing choice but to acknowledge the com· Tenor and Orchestra.· Martinu, in ach ievement; but th is proba bly poser as one of the most powerful Americans to emerge into international Bohus lav (Czechoslovakia. France· is a matter of in~ividual taste. prominence since the War. As in the "Minotaur" ballet and the String U.S.A., b. 1890): Intermezzo. Mil· Martinu and Milhaud make no pre· Quartet, Carter's uncompromising intellectualism carries with it an almost haud, Darius (France. b. 1892): tensions whatever to any objective Beethovenate sense of power, purpose, and dignity. One never senses the Kentuckyiana-Divertissement on 20 other tha~ entertainment. Martinu's exploitation of intellectual gymnastics as an end in itself. This music is not Kentucky Airs. . "modern Smetana'i style succeeds grateful, but neither is Beethoven's "Grosse Fuge. n It's worth the effort for the better; for Milhaud does have those who don't mind stretching their musical ears and minds. Helm is pretty a tendency to overload his 'orchestral textures. · We challenge anyone to "small potatoes" after this-a piano concerto chromatic in texture and with name all twenty of the t.unes used by Milhaud without reference to the score I plenty of syricopiitedpatterns after the manner of Mortin Gould's "Interplay." Musical Interest: No and maybe. Performance: OK. Recording: OK. Lightweight and by no means unpleasant listening. Musical Interest: Carter for the courageous. Performance: Astonishing. Recording: Very good. The 1959 Louisville Releases announced to date 58.4 Berger, Arthur (U. S. A., Combine Stravinsky's "gesture mu­ b. 1912) : Polyphony for Orchestra. sic" with the technique of tone-row 591 Copland, Aaron (U.S.A., b. 1900): Variations for Orchestra. Letelier. Surinach, Carlos (Spain, b. 1915): composition, and you have a pretty Alfonso (Chile, b. 1912): Aculeo-Suite for Orchestra. Overture-Feria Magica. Kupfer. good idea of what to expect in 592 Bliss, Sir Arthur (England. b. 1891): Discourse for Orchestra. McPhee. man. Meyer (U. S. A .• b. 1926): Arthur Berger's POLYPHONY. The Colin (Canada-U.S.A., b. 1901): Symphony No.2 ("Pastoral"). Symphony No.4. result is considerably less vital than Haieff's "Ballet in E" (58·1). if more 593 Elwell. Herbert (U .S.A., b. 1898): Concert Suite for Violin and Orches- lntellectually rigorous. Surinach's OVERTURE is the same kind of music in tra. Stevens, Halsey (U.S.A., b .. (908): Sinf,:,"ia Breve. more concise vein than he has given us in his "Sinfonietta Flamenca" {545·4). Meyer Kupferman's FOURTH SYMPHONY is a dense-textured neo· 594 Nabokov, Nicolas (Russia·U.S.A., b. 1914): The Holy Devil-Opera. JUNE 1959 5S century. Pure improvisation exists, and is again a respected Impulse Improvisation art. A great many head arrangements and traditional rendi· (Continued from page 35) tions originated in improvisation. Most written arrangements allow the soloists some improvisational opportunity. The be not possible. But even knowing this, you are likely to for­ amount of composition, and the speed with which it is turned get it when the band gets under way. For despite all the out prevent too self-conscious a departure from an improvi­ organization and composition that have gone into what you sational base. are hearing, the improvisational character has not been lost. Thus we head toward the conclusion that composition and The musicians, with a flight plan clearly in their heads, can fly. improvisation are, indeed, inter-related and inter-dependent. As Charlie Shirley says, this is true of both combos and big If the quality of formal composition in the work of the great­ bands. Louis Armstrong's argument against the big band is est European masters tended to obscure the charms of im­ loaded, first by the implication that what his own group plays provisation, they have reappeared in another idiom at a time is unworked-out and unrehearsed, and secondly by his as­ when formal composition in classical music can offer nothing sumption that "what one guy wrote" is necessarily the work of comparable vitality. The experience should remind us that, of somebody "who didn't know anything about music-he whether in the jazz or classical idioms, improvisation must just studied it at college from a score-and you're playillg have a compositional plan and composition an improvisational what he thinks." What if it turns out that the "one guy" source. Improvisation without composition becomes meaning­ knows a lot about music, and that playing "what he thinks" less wandering. Composition, cut off from its improvisational can be fun for player and audience alike? What if he is an roots, dries up. Ellington, a Strayhorn, a Lunceford, a Henderson, a Hefti, a I turn at this point to Oscar Peterson, whose trio always Burns or a Rugolo? Then it becomes possible to play "what seems to represent such a fine balance between inventive im­ he thinks" and still play "what comes out of each one of them, pulse and administrative thought. Since his trio plays with­ personally." Real composition, music that fires the musician's out notes, Peterson was once asked whether their arrange­ imagination, will encourage him to participate and contribute ments were written out. Peterson replied that they were kind to it, contribute, indeed, something of himself, personally. of worked out and that sometimes they were written out, that The charm of jazz is that it urges him to do so. he and his colleagues were fully capable of both writing them The foregoing suggests that jazz _represents, not so much and reading them. a music of improvisation, as a music in which improvisation "Then why don't you play from notes?" he was asked. and composition have been restored to something like the "Because," replied Peterson, "we might get into the habit balance which existed in European music in the eighteenth of looking at them!" --Henry Pleasants

This current rash of quasi-jazz is nothing new, but because It Started with a "Lady" of an expanding record market and more effective mass com­ (Continued from page 49) munications it poses a decidedly greater danger to creative jazz than thirty years ago when "symphonic" jazz was the is no relationship established between the nUDlbers and the thing. Once more the danger is that jazz will be judged plot of characters. Both singers have well-developed, pleasant on the basis of music that is only like jazz and this is a great voices but have been hindered by mferior material. There is injustice. Publicity in the Twenties crowned Paul Whiteman very little attempt by either vocalist to create a valid jazz the "King of Jazz" although he never actually played this experience. type of music. Still another approach to Broad'way has been tried by the Today, quality jazz has gained respect and admiration now defunct Vik label (Jazz Goes Broadway). Selections throughout the world. Many who take a serious interest in from seven recent shows are offered, including The Most music may justifiably ignore jazz if they base their opinions Happy Fella, My Fair Lady, Bells Are Ringing, Happy Hunt­ on something that is only akin to jazz. There is an important ing and The Three Penny Opera. Musically, this albUDl fol­ distinction here that should be kept clear for the benefit of lows also the light jazz pattern and it's quite entertaining too. both musicians and listeners. However, it must be emphasized once again that the real jazz Light jazz, in addition to its entertamment value, can serve devotee will not find the musical stimulation he is accustomed a useful function by introducing people painlessly to some of to. Even so, the idea of being more selective was a good one, the rhythms and harmonies found in its more serious relative. since most musicals have one or two outstanding numbers. It is also a good buy for the people who simply don't care to Light jazz is by no means restricted to Broadway for its give the amount of attention required by true jazz. However, if inspiration. Following their great success with My Fair Lady, light jazz can lead more people to the discovery of quality Lerner and Loewe wrote their film musical-Gigi-for jazz as an expressive and creative art, then it can be termed M-G-M, Andre Previn arranged and conducted the soundtrack of genuine-if strictly ephemeral and utilitarian-value. and then joined forces with drummer Manne and bassist Red Mitchell to render that music in light jazz vein (Gigi, Con­ • Charles M. Weisenberg studies and reports on the South· temporary Records C 3548). Shorty Rogers, one of the most ern California jazz scene when not busy keeping up with active Hollywood jazzmen, also turned to this film for one Los Angeles City Hall doings as reporter for the City News of his sextet albUDls (Gigi, RCA Victor LPM-1696). Tele­ Service. Mr. Weisenberg, now a ripe old 28, currently authors vision has made its entry into the light jazz field with Bud a monthly jazz column for Frontier magazine. Most of his Shank and Bob Cooper playing theme songs from ten popu­ serious jazz studies were at UCLA. He is also a graduate of lar programs (The Swing's To TV, World Pacific 411). Los Angeles State College. 56 RIFI REvmw for Ultimate Fidelity SHERWOOD* · FM inter : . channel hush A new noise muting system without loss of sensitivity

OIT ON TU NING

~'''''''''~....

~" .-" !""",:" " " " • - '" --~"",,-.,- -'"' ~~~"'" -SHRill OD- -

Sherwood-the first tuner ever to achieve sensitivity below 1 microvolt for 20 db FM Quieting which increases station range to over 100 miles-and the only FM tuner selected for the Brussels World's Fair-Now gives you a noise muting system automatically eliminating noisy "hash" between channels, without affecting the tuner's sensitivity. FM tun­ ing is easier than ever with "Inter-Channel Hush."

Other Important Features: FM Multiplex Output Flywheel Tuning "Feather-Ray" Tuning Eye Output Level Control Automatic Frequency Control Cathode Follower Output

Model S-3000 II FM (only) Tuner $105.50 Net Model S-2000R FM-AM Tuner $145.50 Net

For Stereo FM Multiplex Reception - Model SMX Multiplex Adapter only $55.50 For complete Ipeeltleatlonl write Cep!. V·6 SHERWOOD·

ELECTRONIC LABORATORIES. INC. 4300 No. California Ave., Chicago 18, III .

The "complete high fidelity home music center"-monophonic or stereophonic ~~ ~~ ~ ~

· Outstanding honors bestowed by most recognized testing organizations.

JUNE 1959 57 !G, ST~INSTE~ '@ JI3{]

'~

condUctor r l\Iu~t Travel

GLOBE

;:,:-~ PHONX ..RELEASES ON WESTMINSTER: . nn ' HANDEL: Judas Maccabaeus-soloists; The Un iversity of Utah Chorus! GRIEG: Peer Gynt Suites Nos. 1 and 2; Piano Concerto in A Minor, ( XW~ 3310' 'monophon ic) (WST 301 stereo) i Op. 16-Reid Nibley, piano . (XWN 18825 monophonic) (WST 14057 ___ __ r '/'1 GROFE~ Grand Canyon Suite'? ST, 14065 stereo) I stereo) ._ _ -...-" .. - ---- GERSHWIN: {'orgy and riginal Suite by the Composer). ! GERSHWIN: Piano Concerto in F-Reid NibleY ,."piano,-·(XWN 18684 GROFE: Grand Cany uite. (XWN 18850 monophonic)' i monophonic) (WST 14038 stereo) ,.._" ... " .... '... IN:, pqrgy and Bess (Original Suite ,by the Composer). I GERSHWIN: Piano .9pncerto In F; Rhap sody in , Blue-Reid Nibley, P[ANDy EI Sal6n M'exico. (WST 14063 stereo) .' i piano. (XWN- 1'8685 monophoniC) ~" ~ C j :.iI!iIlY ·the Kid (Ballef Suite); Waltz from Billy the Kid ;' EI .", ,,'GERSIfWIN: Piano Concerto In ,F-Reld Nibley, piano; American in ¥.' " . Sal6n Mexico; Four Dancr Episodes ~from ,. "Rodeo." (XWN 188'10-- Paris . (XWN 1868,6 (11onophonic) • ~.- ?l"~ G<1SkmonophoniC) w.. . t ." "'1''', ,i GERSHWIN: RhapsodY~tn Blu e-Reid Nibley, piano; American in Paris, 1 ?\i'el> ' ," TCHAII\.0VSKY: Swan Lake. (XWN 18851 monophonic) (WST 1' r: O.t.! ti012 !th.o- .... IlOut it€- h,," e .'>tI'l.f1'j1> ! 1"\ kt\rar(1.TH~L (J.tl- '" v • ('~ ItCh the Go"" • " •. ~ '.. ,

Fluid smooth, whisper quiet. .. with feather­ mlXll1g controls on both channels for com­ ganged volume control. Head cover removes, light touch you control tape movement bining "mike" and "line:' The SM-310 re­ giving direct access to tape for easy editing. with the central joystick of your Newcomb cords and plays back half-track monaural The Newcomb SM-310 is a sleek, rugged, SM-310. This exciting new stereophonic also. So versatile is the machine that you compact machine, discreetly styled by an record-playback tape machine has been may record and playback on either or both eminent industrial designer in easy-to-live­ cybernetically engineered to fit you. channels in the same direction. with shades of warm gray and satin alumi~ Intuitively, you sense how to operate this The SM-310 is a truly portable unit which num ... a gratifying, precision instrument for handsome instrument. The natural move­ combines the features required by the pro­ the creative individual who is deep in the ment, you find, is the correct movement. fessional and desired by the amateur for on­ art of tape recording. Eight, tightly-spaced Loading is utterly simple. It is almost impos­ location making of master stereo tapes. For pages are required in a new brochure to sible to make a mistake. The transport han­ example, the SM-310 takes reels up to 10%", describe the SM-310 in detail; send for your dles tape with remarkable gentleness, avoids has two lighted recording level meters ar­ free copy. stretch and spilling. ranged pointer-to-pointer for ready compari­ Advance showings in New York and Los The Newcomb SM-310 records stereo­ son, has a 4 digit counter to pinpoint position Angeles proves an unprecedented demand phonically live from microphones or from without repeating on any size reel. For play­ for this instrument. We urge those who de­ broadcast or recorded material. There are back there are a "balance" control and a sire early delivery to place their orders now.

HF·6 I NEWCOMB AUDIO PRODUCTS CO., 6824 LEXINGTON AVENUE, HOLLYWOOD 38, CALIFORNIA ~ almost dry, with recorded sound to match­ Stereo Directionality: Sharp Epic BC-1015 $5.98. Mono-Epic LC-3532 but it's curiously fascinating as a different Stereo Depth: Fair $4.98 . insight into the music. So it is with Stra· In the fall of 1956, CBS staged a 26-part Musical Interest: A great and too often vinsky's recordings of his popular ballets series tracing the development of flight .. under-rated symphony as compared to say, Ansermet or Stokowski. This giant undertaking was produced from Performance: Marvelous The Statements for Orchestra date from 330 million feet of film, and followed the Recording: Excellent the middle 1930's when Copland was under­ course of events from Kittyhawk through Stereo Depth: Fine Stereo Directionality: Good going a stylistic transition from a coldly the end of the Second World War. Norman granite abstract style (viz. Piano Variations DelIo Joio was assigned the task of writing This is now the third superlative version -Walden 101) to the more lyrical manner the music for this huge project, and he of this wonderful score we've had in about represented by Billy the Kid and Appala­ worked in an office running and re-running a year. First there came Barbirolli's record­ chian Spring. Its six movements are titled the films through and timing his score to ing for Mercury with the Halle Orchestra; -Miliiant, Cryptic, Dogmatic, Subjective, coincide with each scene. What comes out then a few months ago came Silvestri's with Jingo, Prophetic. The Jingo movement is is what one would expect of such an ex­ the London Philharmonic for Angel. And a humorous gem with its quotation of a pert craftsman working under an unusual now Epic releasts a transcendent perform­ very familiar New York street tune, but the set of conditions. DelIo Joio has put to­ ance by Szell in simultaneous monophonic other episodes range in idiom from "far­ gether a suite from the show, and it is good, and stereo versions. out" abstract to awesomely powerful. Here even superior TV music. Descriptive. Pro­ As with everything he does, Szell's per­ the composer's "objective" conducting man­ grammatic. Not serious. Altogether' a formance is thoughtful and carefully pre­ ner is more apropos, and it is for this music splendid undertaking, for the composer was pared. His orchestra throbs with the power that we would especially recommend acqui­ (I hope) paid well, which will enable him and conviction of his music-making and the sition of this disc. (hope again) to spend more time writing Epic engineers have recorded the whole Nicely managed stereo sonics, but some the finely serious music he is capable of. in lustrous, vibrant sound with especially traces of inner groove distortion. Still, a The sound here is on the brittle side, but full richness and spaciousness in the stereo worthy document of both Copland and top­ then so is the writing, and the spatiality edition. The Barbirolli and Silvestri re­ drawer American music. D. H. reproduced on this disc tends toward sharp­ cordings both offer the extra dividend of ly divided, almost "binaural" sound. J. T. another Dvorak work along with the Sym­ • COPLAND: A Lincoln Portrait: SCHU· phony, the Scherzo Capriccioso in the for­ MAN: New England Triptych: BARBER: In­ D'INDY: Symphony on a French Mountain mer, the Carnaval Overture in Silvestri's termezzo from Vanessa-Act IV. New York Air (see RAVEL) recording, and so either of these two is Philharmonic, with Carl Sandburg (narrator), probably a better bet for most record buy­ Andre Kostelaneh condo Columbia MS 6040 • DONIZETTI: Lucia di Lammermoor ers, but Szell's is the best played and most $5.98: Mono-Columbia ML 5347 $3.98 (complete, with traditional cuts). Lucia­ vividly recorded edition of the Symphony. Roberta Peters (soprano); Jan Peerce (ten­ Musical Interest: Americana or)-Edgardo; Philip Maero (baritone)­ M.B. Performance: Good Enrico; Giorgio Tozzi (bass)-Raimondo; Recording: Good Piero di Palma (tenorl-Arturo; Mit! Truc­ • DVORAK: Symphony No. 5 in E Minor, Stereo Directionality: Sharply divided cato Pace (mezzo-soprano)-Alisa & others. Op. 95 ("From the New World"). Los An­ Stereo Depth: Shallow Rome Opera House Orchestra and Chorus, geles Philharmonic Orchestra, Erich Leins­ Erich Leinsdorf condo RCA Victor'lSC 6141 dorf condo Capitol SP-8454 $5.98 Copland's Lincoln Portrait is given its 3 12" $17.94 real importance on this disc by the elo­ MusiCal Interest: Standard symphonic classic quence of Carl Sandburg who fills the role Musical Ihterest;.Repertory standard of narrator magnificently. William Schu­ Performance: Rewarding Performance: Good··but unspectacular Recording: Good man's Triptych is musically superior, and Recording: Vivid and rich, but •.. Stereo Depth: Excellent an interesting study of what can be done Stereo Directionality: Well-distributed Stereo Directionality: Good orchestrally with the splendid tunes of Paul Stereo Depth: Good Revere's friend, William Billings (1746- The stereo re-issue of this performance 1800). The sound.is too sharply divided, "A commendably musical and well-engi­ adds an element of increased depth and with middle fill lacking somewhat. Kos­ neered 'Lucia' on a slightly better than spaciousness and brings the sound much telanetz proves himself a symphonic con­ average Metropolitan level," was my sum­ more immediately to the forefront than in ductor of real substance. J. T. mation of the monophonic edition (HIFI the monophonic version. REVIEW, February, 1959). Listening in The performance remains a virile and • COPLAND: Rodeo-Four Dance Epi­ stereo enhances my estimation for Leins­ ingratiating one, with solid and substantial sodes: EI Salon Mexico: Danzon Cuba no. dorf's command of the score, otherwise con­ merits. M. B. Minneapolis Symphony Orchestra, Antal firms my original appraisal of a solid but Dorati condo Mercury SR 90172 $5.95 not really outstanding performance. • GLJIiRE: Symphony No. 3 in B Minor, Musical Interest: High The stereo. sound is admirably full and Op. 42. ("lIya Mouromefz"). The Houston Performance: Very fine well-balanced, productive of some highly Symphony Orchestra, Leopold Stokowski Recording: Tops effective instances of channel separation condo Capitol SP 8402 $5.98 (the long harp introduction to Scene 2, Act Stereo Directionality: Just right M usica I I nterest: Cinematic Stereo Depth: Likewise I, and the· massive brass chords answering Performance: Good enough Edgardo's musings in the Tomb Scene, Dorati is a conductor keenly aware of the Recording: Generally OK among others). This is undeniably the importance of dyuamics, and with a Stereo Directionality: Well-balanced distin~t richest-sounding "Lucia" on records but sympathy a good strong percussion line. Stereo Depth: Warmly spacious f~r cannot surpass the Angel set, for my taste, -so much so that sometim:es he seems in­ in over-all performance values. The fact Stokowski has long had a special affinity sensitive to nuance. He disproves this latter also must be faced that three discs are re­ for this "Epic Symphony based on folk­ misgiving in Rodeo, for his tender treatment quired for the stereo edition, as opposed tales of pre-historic Russia." The colorful of Saturday Night Waltz is a revelation. . to the monophonic two, an extension which orchestral tricks up Gliere's Russian sleeve El Salon Mexico and the lesser known results in the mighty price boost of $8.00. are made-to-order for virtuoso conducting, Danzon Cubano are given excellent read­ A word of waruing: My review set con­ and in this department Stokowski is second ings, with recording and sound to match. sisted of three badly warped discs, all of to none. When he made "Mourometz" for J. T. which contained an excessive amount of RCA Victor on 78's, it was considered a masterpiece oj: engineering and conducting. • DELLO JOIO: Air Power-Symphonic surface noise as well as intrusive echoes in the silent grooves. Perhaps this was an un­ He set his standard then, but not now. He Suite from music from the CBS Television hasn't the instrument presently that he had Show. Columbia MS 6029 $5.98 fortunate run of pressings-but let the buy­ er beware! G. J. in the Philadelphia Orchestra; and although M usica I Interest: Superior soundtrack fare. the Houston ensemble plays very well in­ Performance: Excellent • DVORAK: Symphony No. 4 in G, Op. deed, it produces nothing like glowing, un­ Recording: Good 88. Cleveland Orchestra, George Szell condo earthly color heard on the old Philadelphia 62 HIFI REVIEW for $ By Subscribing NOW to Take Six Additional Louisville Orchestra FIRST EDITION RECORDS in Next Twelve Months, at $4.98 Each Can you imagi ne the thrill of owning a library of hi-fi records made at the original concerts of such composers as Bach, Beet­ hoven, Brahms? First Edition Records give you such an opportunity today - for these are the works of today's leading Contemporary composers, some of whom are famous today - may well he fabulous names tomorrow ( see list a t right). Until now, these matchless recordings Fine Columbia Hi-Fi Recordings of Award-winning Compositions, have been available either singly at $7.95 1- - Brilliantly Played by One of the Nation's Outstanding Orchestras • each, or by subscription at $4_98 each. Now LOU-S4S-1 LOU-S6-6 - Paul Creston InvocQtion and Dance -. our subscribers have increased so magnifi­ 1 Honk Badings The Louisville Symphony I cently that we can now offer 12 records fo r H_eitor Villa-Lobos Overture. uDawn in a Tropical Ben Weber Prelude and Passacaglia Fores'" Leo Sowerby All on a Summer's Day the price of 7 - saving you nearly 50% on 1 Holsey Stevens Triskelion LOU-57-1 1 your purchases. LOU-S4S-2 Paul Nordoff Winter Symphony Henry Cowell Symphony No. 11 P~ ul Muller-Zurich Concerto for Cello and Make no mistake about it - there are no 1 Alexander Tcherepnin Suite, Opus 87 Orchestra, Ope 55 I other records in the world that are like Bernard Wagenaar A Concert Overture (Grace Whitney. Cellist) LOU-S4S-3 LOU-S7-2 Louisville Orchestra First Edition Records. I Peter Mennin Symphony No. 6 Andre Jolivet Suite Transoceane I The music (commissioned by the Louisville Wallingford Riegger Variations for Piano and John Vincent Symphony in D Orchestra (Benjamin Owen, LOU-S7-3 Orchestra and written by outstanding con­ 1 Pianist) Rolf Liebermann Opera: "School for Wives" 1 temporary composers from almost every Ernst Toch Notturno Moritz Bomhard, Director LOU-S4S-4 LOU-S7-4 country of the free world) is recorded for I Alan Hovhaness Concerto No. 7 for Orchestra Roger Sessio!,!s "Idyll of Theocritus" for 1 you by Columbia transcriptions. It is played Mario (astelnuovo­ Overture to "Much Ado About Soprano and Orchestra and Tedesco Nothing" (Audrey Nossaman, Soprano) interpreted as the composer intended 1 Carlos Surinach Sinfonietta Flamenca LOU-S7-S I on 12" long-playing hi-fi records. LOU-S4S-S Ned Rorem Design for Orchestra Jacques Ibert Louisville Concerto Bernard Reichel Suite Symphonique 1 Critics have praised First Edition Record­ Gardner Read T ouata Giocoso LOU-S7-6 ings to the skies: Otto Luening-Vladimir Rhapsodic Variations for Tape Edmund Rubbra Improvisation for Violin and Ussachevsky Recorder and Orchestra Orchestra (Sidney Harth, I "Splendid sound". LOU-S4S-6 Violinist) Peggy Glanville-Hicks Opera: "The Transposed Heads" Irving Fin. Serious Song: A Lament Cleveland Plain Dealer MaritI Bomhard, Director for String Orchestra 1 " ••• a service to music unequalled". LOU-S4S-7 Harold Morris Passacaglia, Adagio and Finale Vincent Persichetti Symphony for Strings LOU-S8-1 Christian Science Monitor Robert Sanders Lillie Symphony No. 2 in Bb Alexei Haieff Ballet in E I Boris Blocher Studie im Pianissimo, Opus 45 Nicolas Nabokov Symboli Chrestian; for ". • • the reproduction is model of LOU-S4S-8 Baritone and Orchestra clarity". St_ Louis Globe-Democrat Lu igi Dallapiuola Variationi per Orchestra (William Pickell. Boritone) 1 Jose Pablo Moncayo (umbres LOU -S8-2 " ••• recording and performances, Ulysses Kay Serenade for Orchestra Lou Harrison "Four Strict Songs" for Eight Darius Milhaud Ouverture Mediterraneenne Baritones and Orchestra I excellent". Pittsburgh Post-Gazette LOU-S4S-9 Peter Jona Korn Variations on a Tune from " ••• quality higher than critics dared Gottfried Von Einem Mediations " The Beggar's Opero" Korol Rathaus Prelude for Orchestra, Opus 71 LOU-S8-3 1 hope". Time Magazine George Perle Rhapsody for Orchestra Elliott Carter Variations for Orchestra LOU·S4S-10 Everett Helm Second Piano Concerto 1 ". • • It would seem clear that the Alberto Ginastera Pampeana No.3, A Pastoral (Benjamin Owen, Pianist) Louisville commissions enrich European Symphony LOU-S8-4 William Bergsma A Carol on Twelfth Night Arthur Berger Polyphony for Orchestra I as well as American repertories. And Henri Sauguet Les Trois Lys Carlos Surinach Feria Magica Overture the value of recordings for the formu­ Robert Ward Euphony for Orchestra Meyer Kupferman Fourth Symphony LOU-S4S-11 LOU-S8-S 1 lation of second thoughts and longer Gian-Francesco Fantasie di Ogn; Giorno Roger Goeb Concertina fo r Orchestra II perspectives on contemporary works Malipiero Gai) Kubik Symphony No. 2 in F I would be hard to exaggerate". Vittorio Rieti Introduzione e Gioco Delle Ore LOU-S8-6 Ernst Bacon The Enchanted Island Wa lter Piston Serenata 1 New York Times LOU·S4S-12 David Van Vactor Fantasia, Chaconne and Allegro Richard Mohaupt Opera: "Double Trouble" Niels Viggo Bentzon Pezzi Sinfonici, Opus 109 ~ • The first 6 records '(all 6 for $4.98) will Moritl Bomhard, Director be mailed you upon receipt of the coupon LOU-S6-1 I at the right. Hilding, Rosenberg Louisville Concerto SEND NO MONEY - 6 RECORDS FOR $4.98 WilL BE Chou Wen-Chung And the Fallen Petals MAILED YOU UPON RECEIPT OF THIS COUPON • You may discontinue your subscription at Camargo Guarnieri Suite IV Centeno rio 1 LOU-S6-2 any time after purchasing 6 records at $4.98 Richard Wangerin. Manager 1 each, wi thin one year. Alexandre Tansman Capriccio LOUISVILLE PHILHARMONIC SOCIETY ~ • f:!i~f 8~~oh~ski ~~: ~~.;::: of St. Barbara Suite 6, 830 S. Fourth Street, Lou isville 3, Ky. ,. • The 6 additional records, for which you LOU-S6-3 Please enroll me as a subscriber for First Edition I pay $4.98 each, will be mailed you at in­ 1 Ernst Krenek Eleven Transparencies Records. and send me the 6 records whose num· Roberto Caamano Magnificat, Ope 20 hers have been circled above. You may hill me a 1 tervals of approximately two months during Chair of Southern Baptist total of 84.98 for these 6. the next 52 weeks, with bill enclosed (we 1 Theological Seminary I agree to purchase the next 6 releases during LOU·S6-4 the next twelve months, a t $4.98 each - a fter I pay the postage). After purchasing these 6 I George Antheil Opera: "The Wish" which I will receive a free bonus record for each records at $4,98 each, you receive a First Maritz Bomhard, Director additional two selections I buy. Edition Record of your choice, free, for Juan Orrego-Salas ~~Serena to Concertante, Op. 42 Name ______I every 2 additional selections you buy. I Harold Shapero Credo for Orchestra Rob ert Muczynski Concerto No. 1 for Piano Address______1 THE LOUISVILLE PHILHARMONIC SOCIETY 1 and Orchestra (A Non-Profit Organization) (Robert Muczynski, Pianist) City z one__ State __ _ Robert Whitney, Conductor 1- ___ ------__ I JUNE 1959 63 disc. Superior engineering by Capitol does LlSZT: Psalm XIII (see BRAHMS) Stereo Depth: Good produce crisper and cleaner sound, but even MENDELSSOHN: Violin Concerto (see Of the three excellent editions of Mozart's this cannot give the illusion of a compara· TCHAIKOVSKY) ble performance. Even with the advantage all-too·seldom played, delightful opera, this MOUSSORGSKY: A Night on Bald Moun· of stereo, Capitol's issue must be judged 1957 recording is the first to be beard in tain (see COLLECTIONS) as a good-just good-not excellent, reo stereo. The advantages of the new medium lease. The sound is well·balanced, a bit • MOZART: The Abduction from the are not easily discernible here. Angel's shrill in spots, and overloaded whenever Seraglio (complete). Lois Marshall (sopra­ sound was very good to begin with; it's the basses have a leading voice. All. told, no)-Constanze; ' 1l se Hol lweg (soprano)­ still very good in a homogeneous, unosten­ Blonde; Leopold Simoneau (tenor)-.Bel­ a reasonably satisfactory recording of a very tatious sort of way, in keeping with the monte' Gerhard Unger (tenor)-Pedrdlo; spirit of the performance. There are mo­ long·winded, and somewhat old·fashioned Gottlo'b Frick (bass) -Osmin; Hansge,?rg ments where efforts could have been made tone-poem going under the title of sym­ Laubenthal (speaki ng voice )-Pasha Sellm. phony. J. T. Roya l Philharmonic Orchestra and Beecham for sh01vier effects of separation-the Choral Society, Sir Thomas Beecham condo chorus of Janissaries, Pedrillo's serenade, GLINKA: Kamarinskaya (see COLLEC· Angel S 3555 2-12" $12.96 the very scene of the frustrated abduction. TlONS) Mu sical Interest: A complete delight All of these are left more or less unex­ HANDEL: Aria with Variations (see Performance: Excellent ploited, so this is hardly a '.let for "sterehi­ BRAHMS) Recording: Mellow sound bitionists." LALO: Namouma (see SCHMITI) Stereo Directionality: Centered It is an enchanting performance, however, suggesting infinite care on the part of a~l participants. The affectionate foreword Sir Is There a Maestro in the House? Thomas Beecham wrote for the accompany­ ing booklet establishes his fondness for this ings which follow; but they'll do as a start­ • MUSIC FOR FRUSTRATED CON· opera, and the kind of performance he con­ ing point; and-quite seriously-if t~is DUCTORS-Rodgers: Allies on the March ducts serves to confirm it. The vigorous from "Victory at Sea"; J. Strauss, Jr.: Du album stimulates several thousands of Its "Turkish" episodes are treated with evident und Du Waltz from "Die Fledermaus"; Parti­ buyers to go a step further and explore.the gusto, the many moments of reflective ten­ chela: Mexican Hat Dance; Bizet: Intermezzo art and science of orchestral score readlllg, derness are given their due repose, the from "Carmen"; Khachaturian: Sabre Dan.ce so much the better-for both the cause of from "Gayne"; Chabrier: Espana Rapsodle; tempi are always unhurried, always con­ active listening and for the music publish­ Vaughan Williams : Fantasia on ':Green­ siderate to the singers, and the nuances of ing fraternity. In this connection Hermann sleeves"; Kreisler: Liebesfreud; Tchalkovsky: orchestration are not allowed to be en­ Scherchen's Handbook of Conducting (Ox­ Symphony No. 4-3rd mvt. RCA Victor gulfed. ford University Press, New York, 1933) Symphony Orchestra, Robert R~ssell Bennett In the fine cast of singers Simoneau turns cond.; Morton Gould and H ,s Orchestra; might come in handy. 1£ such a result is in what may be his best recorded perform­ Bost on Pops Orchestra, Arthur Fiedler condo too much to hope for, then overweight hi-fi ance-smoothly vocalized, expressive, pure RCA Victor LSC 2325 $5.98. Mono-RCA and stereo bugs can still use this album for in intonation and effortless in phrasing. Victor LM 2325 $4.98 the double purpose of reducing exercise Lois Marshall manages the fi endish de­ Musical Interest: For would-be stick and to work off their musico·exhibitionistic mands of "Martern aZZer Arten" more than wavers impulses. This writer counts himself as one creditably, and does even better in the Pe rformance: Who could ask more? of the latter breed at the moment. lyrical moments of the aria "Traurigkeit Recording·: Crisp The choice of repertoire on RCA Victor's Stereo Directionality: Podium-perfect ward mir zum Lose" and the last duet (No. Stereo Depth: You are there 20 in the score). Gottlob Frick is, like all Chalk this one up as the cutest classical good Osmins, a lovable villain, and Hollweg disc packaging gimmick of the year-a and Unger make an engaging pair as special album complete with "your RCA Blonde and Pedrillo. The spoken passages Victor baton" for audiophiles seized with of Constanze, Belmonte and Osmin are as­ that irresistible itch to ge into competition signed to non-singing actors, but the with Toscanini or Beecham at the drop of changes are done expertly. a '.ltylus. In this particular instance, the To clear the picture, as they say, Abduc­ recorded competition is not quite in the tiomvise, if you own the monophonic ver­ Toscanini-Beecham class, but it's thor­ sion of the Angel or Decca set-congratu­ oughly "pro" and the recorded sound has lations. If you are on .the market for a new all the requisite brilliance-and spaciality set, this one will be a source of enduring in stereo-to ·give that "you are there" pleasure. G. J. feeling to the embryonic conductor-audio­ phile. • MOZART: Requiem in D Minor (K. For fullest realism, the stereo version 626). Sena Jurinac, (soprano); Lucretia West is an absolute necessity-combined, of (alto); Hans Loeffler (tenor) ; Frederick course with the best stereo outfit that the Guthrie (bass); Vienna Academy Chorus budget can afford. But of course, as com­ part is wholly felicitous for the purpose and Vienna State Opera Orchestra, Hermann poser-commentator Deems Taylor has so -being calculated for both maximum ap­ Scherchen condo Westminster WST-205 aptly pointed out in the "illustrated do-it­ $11.96. Mono-Westminster XWN-18766 peal and variety of conductorial gesture $4.98 yourself conducting booklet" that comes within the limits of the basic beat patterns with the album, "the orchestra is conduct­ illustrated by Mr. Taylor. His advice to ing you." The one thing that a recording conductor-audiophiles on the individual • MOZART: Requiem in D Minor (K. 626). Teresa Stich-Randall (soprano); Ira cannot do, once it's been played through selections is terse, pointed, and not lack­ half-a-dozen times, is to provide that ele­ Malaniuk (contralto); Waldemar Kmentt ing in wit. I wonder whether RCA Victor (tenor); Kurt Bohme (bass); Vienna Slate ment of the unexpected which happens all will proceed with a graded "frustrated con­ Opera Choir and Vienna Symphony Orches­ too often in an actual live conducting ductors" series. Vol. II could include the tra, Karl Bohm condo Mono-Epic LC-3507 situation, whether in rehearsal or actual famous 5/4 movement from Tchaikovsky's $4.98 concert. Also, I miss the familiar rehearsal Pathetique Symphony-Ein Gias Bier lur (or concert) sounds of dropping string mich was the legendary Theodore Thomas • MOZART: Requiem in D Minor (K. mutes, rustling of music on the half-a-hun­ formula for this when both the Chicago 626). Elisabeth Griimmer (soprano); Marga dred stands, and for that matter the open­ Symphony and the music was new. Vol. Hoffgen (contralto); Josef Traxel (tenor); ing orchestra "tune-up," but these are VIII might finish up with the Dance of Gottlob Frick (bass); Choir of St. Hedwig's minor points. the Chosen One from Stravinsky's "Sacre," Cathedral, Berlin and Berlin Philharmonic Mr. Taylor's ABC's 0/ Conducting, as while the final installment could challenge Orchestra, Rudolf Kempe condo Mono­ Capitol EMI G-7113 $4.99 set forth in the album booklet, are noth­ the "advanced" audiophilic batoneer with ing if not over-simplified, as are the draw- a bit of Ives, Webern, and Boulez. D. H. Musical Interest: Sovereign 64 HIFI REVIEW Performances: Scherchen - Uneven; Bohm-Steady; Kempe-Stodgy Recording: Bohm 's is the clearest Q How can Richmond Stereo Directionality: Clear Stereo Depth : A mite shallow The capsule comment pretty well tells the story as far as this reviewer is concerned. offer $3.98 - $5.98 Scherchen, not unexpectedly, has some strange ideas about some of the tempi in this piece and he indulges in some ques­ tionable ritards at the end of sections but quality LP's then there are other places, like the Lacry­ mosa, for example, where the intensity of the conductor's own feeling is most moving­ ly communicated. This is an uneven per­ formance, but a challenging one in its finest for only $1.98? moments. The solo vocal quar tet does well but the recorded sound especially in the stereo edition, is not as clear as it might have been. Allhougli not genemlly publicized up until now, the answer is Bohm's is a more devotional kind of ap­ actually not a "sea et" and we think our questioning f1-iends would proach, thoroughly secure on a musical level A. like to know the facts. and more consistent in its attitude than Scherchen's. The quality of the recorded The Richmond catalog is supplied with records that were best sellen in the sound is more vivid than the Westminster London catalog but which have been rejJlaced by newe1- versions on the and there is a greater clarity in the over-all reproduction. London Label. In O1'der to jJromote the sale of these recordings now on Kempe is strangely prosaic and antiseptic . the Richmond Label, the artists, copyright holders, and various manufa ctw'en in his a pproach, with the result that the great score just 'seems to lie there without involved in the production of the product have accepted much smaller carrying much life or conviction. And his royalties 01- Profits. These combined economies have enabled Richmond to soloists are none too distinguished, either. issue its rec01'ds at $1.98 without the slightest sacTifice in the quality Of the three new Mozart R equiem re­ cordings, then, I have no hesitation in pre­ of reproduction. felTing the Bohm for its consistent and logical justness. But if only all of the These Are But A Few Of The Richmond LP's Available For Every Taste: Scherchen were up to its best moments. M.B. Ravel: BOLERO MAMBO PARTY - Edmundo Ros and His Orchestra. Berlioz: BENVENUTO CELLINI & THE CORSAIR Mambo No. 5; More More Mambo; Chivi Rico; Anything • MOZART: Symphonies in G Minor­ OVERTURES Can Happen ; others. B 20022 Paris Conservatory Orch.-Charles Munch_ B 19001 No. 25 (K. 183); No. 40 (K. 950). Philhar­ BIG BAND BEAT- Ted Heath and His Music Grieg: PEER GYNT - Suites 1 and 2 Strike Up the Band ; Clair De Lune; Vanessa; La Mer; moni a Orches tra, Otto Klemp erer condo London Philharmonic Orch.-Basil Cameron. B 19019 Angel S 35407 $5.98 Hawaiian War Chant; others. B 20034 ERNA SACK RECITAL Mu si cal In terest: Most certainly Auf der Kirmes; Ouvre Ton Coeur; You Will Return to POLKA HITS - Will Glahe and His Orchestra Vi enna ; Estrellita; Serenata; others. B 19049 Auf und abo Tanzende Finger; Anhalter·liesel; Sprung­ Performance: Rich federn; others. B 20016 Recordin g : Very satisfying Tchaikovsky: 1812 OVERTURE; HAMLET - FANTASY OVERTURE MUSIC OF FRANZ LEHAR - Stereo De pth: Fine London Philharmonic Orch.- Sir Adrian Boult. B 19014 Tonhalle Orch ., Zurich- Franz lehar Stereo Directio na li ty: Just right Gold And Silver-Waltz, The Count Of luxembourg­ Stravinsky: PETRUSHKA Waltz, Waltz Intermezzo And Ballet; Eva- Waltz ; Gypsy This first major stereo recording of Mo­ Orch. de la Suisse Romande- Ernest Ansermet B 19015 love-Overture; The Merry Widow- Overture. B 20008 zart's celebrated "G Minor" offers orches­ Beethoven: SYMPHONY No. 7 Concertgebouw O. of Amsterdam-EriCh Kleiber. MUSIC FOR DREAM DANCING- tral realism that it has never had on mono­ B 19054 Cyril Stapleton and His Orchestra I 've Got You Under My Skin; Dancing In The Dark; phonic discs. Klemperer's reading presents Rimsky·Korsakov: LE COG D'OR- Suite; Stardust; others. B 20026 the music itself in a new light. Those lis­ CAPRICCIO ESPAGNOL L'Orch. de la, Suisse Romande-:.Ernest AnsermeJ'19055 Gershwin: RHAPSODY IN BLUE teners who have been inclined to view the Wini"fred Atwell with Ted Heath and His "Music. opening movement of this masterpiece as SOUTH OF THE BORDER-Stanley Black and His Orch. WINIFRED ATWELL PLAYS GERSHWIN merely agitated and nervous are invited to Gr.anada; Flamingo; Mexican Hat Dance; Siboney; Love Walked In; Summertime; 'S Wonderful ; Someone listen to Klemperer's approach, which im­ others. B 20003 To Watch Over Me. B 20037 parts to it a seriousness bordering on the tragic. This approach, in fact, characterizes New Release of Special Importance: the entire interpreta tion. The tempi are all Richmond's formula of lower profits and royalties also on the deliberate side, yet the music never enables us to bring forth at $1.98 a recording of major seems to drag. This is truly an interpreta­ importance not previously released on the London label: tion to live with, and the very striking Erich Kleiber's superb interpretation of Beethoven's Eroica earlier Symphony No. 25 is splendid bonus. Symphony with the Vienna Philharmonic Orchestra. This is D.R. one of the late maestro's last and greatest recordings. • PROKOFIEV: Cinderella-Ballet High­ B 19051 lights. Royal Philh armon ic Orchestra, Robert Irving condo Angel S 35229 $5.98 Mu sica l Interest : Exceptional music Performance : Splendid _ Visit Your Local Record Store Or Dept. Record ing : Mediocre RICHMOND 1. S elect the 1'eco1'ds you want Stereo Di rectional ity: Good HIGH FIDELITY 2. When YOlt want t hem Stereo Depth : Fine balance of sound 3 . F1'om' thousands available 4. At p1'ices ! 1'om $1.98 Angel is the most frustra ting label when A PRODUCT OF it comes to stereo! The company offers some THIS IS YOUR GUARANTEE of the most attractive repertoire in the Z°ytfJOJl(, ~. of hours of musical pleasure catalogue, with some great artists, line con­ RECORDS l I II III ductors and terrific orchestras. And then they turn around and spoil it all with in­ WRITE FO R FR EE CATALOG Dept. JX 140 West 22nd Street. New York 1. N. Y. JUNE 1959 65 ferior stereo accomplishment in the tech­ Dance of Lightning; and Dance of Fright. SCHUMAN: New England Triptych (see nical department_ Mostly it seems a matter Based on a poem of Robert d'Humieres, COPLAND) of low volume level plus a curious lack of Schmitt's score is brilliantly conceived, filled with page after page of writing for • SCHUMANN: Piano Concerto in A Mi­ brilliance in the upper registers_ Prokofiev's nor, Op. 54. Artur Rubinstein with the RCA score to Cinderella is a real prize, as witty the utmost effect, but without ever descend· Victor Symphony Orchestra, Josef Krips and interesting a ballet music as you would ing to trite or formalized patterns. Dance condo RCA Victor LSC 2256 $5.98. Mono­ want, and Irving brings out all of its beauty of Fright anticipated Rite 0/ Spring, and it RCA Victor LM 2256 $4.98 and character. is worth noting that Stravinsky was a great By all means look up and acquire the admirer of Schmitt's score. The work is • SCHUMANN: Piano Concerto i~ A Mi­ monophonic version of this music, which fascinating from beginning to end, well nor, Op. 54; Fantasiestiicke, Op. 12. Sviato· slav Richter with U.S.S.R. State Radio Or­ worth your investment as something both Angel released several months ago. A mag· chestra, Alexander Gauk condo Mono­ nificent disc in the single channel version. "new" and good. Monitor MC 2026 $4.98 Perhaps in good time Angel can re·issue Paray conducts the familiar Richard its stereo counterpart with better success. Strauss Salome excerpt with quite a roo Musical Interest: Concerto con amore J.T. mantic, even Hollywoodian, approach. Lalo's Performances: Neither quite gets off the Namouna ballet suite is beautifully per· ground • RAVEL: Concerto in G. D'INDY: Sym­ formed, and Paray's brisk tempi save the Recordings: Rubinstein's monophonic is richer but stereo more detailed; Rich­ phony on a French Mountain Air, Op. 25. music from becoming too sugary. Engi­ Nicole Henriot-Schweitzer (piano) with the ter's sound dull and unresonant Boston Symphony Orchestra. Charles Munch neering is superb throughout-one of the Stereo Depth: Good condo RCA Victor LSC 2271 $5.98. Mono­ best Mercurys, in either mono - or stereo Stereo Directionality: Good ., RCA Victor LM 2271- $4.98 format. J. T. When the Boston Symphony Orchestra Musical Interest: Considerable • SCHUBERT: Four Impromptus, Op. 90; returned from its tour of the Soviet Union Performance: Likewise Four Impromptus, Op. 142. Jorg Demus in October, 1956, its manager, T. D. Perry, Recording: Adequate (piano). Decca DL 710005 $5.98. Mono­ brought back with him a pile of Russian LP Stereo Directionality: Good Decca DL 10005 $3.98 discs. I took a few of them home to hear Stereo Depth: Good • SCHUBERT: Moments Musicaux, Op. what they sounded like. Among them was Nicole Henriot·Schweitzer, who has 94; 3 Klavierstiicke (Impromptus), Op. Posth. a performance of the Schumann Piano Con­ twice appeared with the Boston Symphony Jorg Demus (piano). Decca DL 7100.04 $5.98. certo played by Richter. I had never before Orchestra in recent seasons, is possessed of Mono-DL 10004 $3.98 heard Richter and so was extremely curious. a large and brilliant technique, and this, What I heard was dull recorded sound, a coupled with a delightful sense of humor Musical Interest: Intimate Schubert terrible orchestra and a mediocre conduc· Performances: Most sympathetic tor, and-most disappointing of all-a piano (displayed at rehearsals only) carries her Recording: See below through the Ravel Concerto in whirlwind Stereo Depth: Not very noticeable soloist who seemed pretty bored with the style. The swift arpeggi, darting glissandi, Stereo Directionality: Not appreciable whole thing. His playing was secure and sudden turns and dissonances in the first all that, but in no way extraordinary­ and third movements are carried off by None of this music attempts to be mon­ nothing like the never.to-be·forgotten re­ the soloist at a headlong tempo and never umental. This, however, in no way lessens cording by Lipatti, for example. Lo and is there even the slightest "smearing" of its charm. Demus seems to have genuine behold, here is what appears to be that too much pedal, so that the tone remains affinity for the:e masterpieces of Schubert­ same recording, issued now by Monitor for dry, acrid, brilliant and right. Munch has a ian lyricism, and very pleasant listening is the American market. My impression of deep admiration for this talented artist, and the result from a purely musical viewpoint. that performance is not at all changed by perhaps that is why the accompaniment is The recording as such seems to be some­ this issue; the sound seems to be a little so unusually good. Vincent d'lndy's "Folk­ what shallow in bass, nor this condition better, but that's all. ian·Franckian" Symphony on a French seemingly improved in the stereophonic ver­ Rubinstein's should have been a remark­ Mountain Air, is played with vigor, al­ sion. D. R, able performance-what other contempo­ though the reading is still no match to the rary pianist has his technical and tempera· fine one Monteux recorded many years ago • SCHUBERT: Quintet in A Major, Op. mental equipment for the Schumann? But 114, ("Trout"). Denis Matthews (piano) on RCA Victor 78s. The new release does he, too, disappoints. The first two move· with members of the Vienna Konzerthaus enjoy the advantage of improved sound Quartet. Vanguard VSD 2019 $5.98. Mono­ ments go well, if without quite the authori­ which generally is good, but tending to Vanguard VRS 1034 $4.98 ty and fire one had anticipated, but it is in brittleness in the strings at timp.$ and to the last movement that we are really let some lack of bass. J. T. Musical Interest: Unquestioned down with a stodgy, inhibited performance. Performance: Con amore Can it be that Rubinstein felt self-conscious • SCHMln: La Tragedie de Salome. Recording: Beautiful here? But whatever the cause, something STRAUSS: Salome-Dance of the Seven Stereo Depth: Nice gets in the way of free expression. As to Veils. LALO: Namouna-Suite No. I. De. Stereo Directionality: Fine the recorded sound, the monophonic edi­ troit Symphony Orchestra. Paul Paray condo Mercury SR 90177 $5.95; Mono-Mercury How beautifully stereo recording lends tion seems to have a bigger, more resonant MG 50177 $3.98 itself to chamber music! Which is to say quality, but the stereo edition more suc­ that this is a singularly satisfying disc. For cessfully delineates the detail of the scoring. Musical Interest: Schmitt is a winner that matter, so is the monophonic version, The other side of Richter's disc is given Performance: Mostly excellent over to a velvety, if somewhat abbreviated, Recording: Tops since it is so nicely balanced. For realism, though, it cannot compare with the stereo performance of the Op. 2 Fantasiestiicke Stereo Directionality: Well-divided for solo piano. Here the sound is much Stereo Depth: Warmly effective recording. The performance seems to have been better than on the side that contains the If ever a major composer has been done with a loving hand. There is a nice Concerto. M. B. slighted by the recording industry, the late spirit and lightness of touch in the scherzo French master Florent Schmitt (1870.1953) movement, as well as a fine-grained ap­ • SIBELlUS: Symphony No.2 in D Major, stands out as a prime example. Columbia Op. 43. Philharmonia Orchestra, Paul Klet­ proach to the other movements. My only zki condo Angel S 35314 $5.98 issued a delightful record of his piano reservation has to do with the performance music some months ago (ML5259), and of the slow movement, which seems to verge Musical Interest: Exceptional Angel has a fine issue of his Psalm XLVII on the superficial. Performance: Mediocre (35020). Now Mercury comes forth with A more satisfying reading of this second Recording: The same a dazzling disc of La Tragedie de Salome, movement is to be found on Vox's recent Stereo Directionality: Good Stereo Depth: Fair an orchestral masterpiece of descriptive release (VBX 6) with Rolf Reinhardt and writing, and easily the best piece on the members of the Endres Quartet, or on the Having been spoiled by live performances I'ecord. "La Tragedie" was composed in RCA Victor version (LM 2147) by the Fes· and recordings of this work under the baton 1907, and is divided into five parts: Pre­ tival Quartet, with pianist Victor Babin. of the late Serge Koussevitsky, I can only lude; Pearl Dance; The Magic of the Sea; D.R. say that Kletzski simply does not draw from 66 HIFI REVIEW Gray High Fidelity Division.- Hartford, Conn. Gehtlemen: Please send me, free, your 0 new fact sheet on the Gray 212 SX and 216 SX, world's finest engineered tone arms. o Complete descriptive literature on. turntables, turntable kits, tone arms, and tone arm kits. Name'______Street Address______City, Statee ____------'------this score the towering strength that lies London's wonderful Vienna Philharmonic within its pages. It is a brooding, at times "New Year Concert" series, none of them heroic thing, a music evocative of broad can touch this marvelous new Mercury! spaces, filled with sudden frantic urges, and Dorati is at his best in delivering these withal, genuine nobility. Kletzki conducts musical bon-bons. Witty, gay, nostalgic a fine orchestra, and he does have his mo­ and sentimental, theSe marvels of creation Sound ments, but they are too few and far be­ from the Strauss family are given superla­ tween. Angel's stereo continues to disap­ tively sensi tive performance. By all means point, although this issue is better than add it to your library. The stereo is one Tall( most, but not by any means up to the Co­ of Mercury's best efforts, lacking a trifle lumbia recording with Ormandy and The in bass line, a common complaint. J. T. by John K. Hilliard Philadelphia Orchestra (MS 6024). J. T. . Director of Advanced Engineering STRAUSS: Salome-Dance (see SCHMIIT) • SHOSTAKOVICH: Symphony No.5, • R. STRAUSS: Suite from Der Rosen­ Op. 47. National Symphony Orchestra, LOUDSPEAKER EFFICIENCY kavalier; Till Eulenspiegel's Merry Pranks, Howard Mitchell condo RCA Victor LSC- Op. 28. Minneapo lis Symphony O rchestra, Loudspeaker efficiency is an important 2261 $5_98_ Mono-RCA Victor LM 2261 Antal Dorati condo Mercury SR 90099 $5.98 design factor that is often overlooked or $4.98 misunderstood by those who enjoy high Musical Interest : Among his best Musi cal Interest: Staple Strauss fidelity. It is only logical to assume that Performance: Interesting Performance: First rate any device should be engineered to be as Recording: Not so interesting Recording : Sumptuous efficient as possible whether it is an auto Stereo Di rectiona lity: Good Stereo Directionality: Life-like engine, an amplifier or a loudspeaker. Stereo Depth : Lacking Stereo Depth: Likewise Comparing this new RCA Victor issue Speakers which have very low efficiency Dorati's arrangement of the Rosenkavalier with a brand new Everest release (SDBR were not designed with that feature in Suite includes the familiar episodes in their 3010) of the same symphony makes for in­ mind. Rather this low efficiency is a natural sequence, but in more detailed treat­ teresting comparisons. Everest, with Sto­ by-product of one of the simpler and less ment than is heard in other editions. The kowski, engineers the better and warmer expensive engineering methods used to performance is excellent save for a rather achieve bass response and low distortion. sound, but Mitchell gives the more satis­ hard-driven handling of the opening pages. factory performance. Neither version pos­ Such designs, in an effort to achieve greater The Minneapolis "Till Eulenspiegel," too, sesses the virility of the old WestnUnster bass and low distortion, utilize a heavy ranks with the best readings the work has disc (18001) with Rodzinski. Where Mitch­ cone which has inherently low resonance. had on records. This heavier mass provides greater bass ell concentrates on a carefully executed and direct account of the symphony, Stokowski The recordings, made in late 1956, offer but carries with it the high price of poor testimony to Mercury's excellent command reads the score with a broader imagination. transient response, loss of mid and high­ of the stereo medium at that early stage. Yet over-all, Mitchell's way seems the bet­ range efficiency and smoothness, and Orchestral details emerge with sharp clari­ ter, and certainly superior, version 50 far as heavier amplifier requirements. ty and, while there is an extremely vivid orchestral articulation is concerned. His Many speakers following this design sense of directionality, it never seems exag­ fine effort is marred, though, by a poor re­ approach require as much as 16 times the gerated. G. J. amplifier power to obtain the same listen­ cording job, and both are terribly over­ loaded in the final few bars of the last ing levels as more efficient units. Ten watts TCHAIKOVSKY: Capriccio Italien (see versus 160 watts seems like an extreme movement. J. T. COLLECTIONS) design compromise. Few, if any, of the stereo amplifiers will provide sufficient • J. STRAUSS: Waltzes-On the Beauti­ TCHAIKOVSKY: March Slav (see COL. power for full dynamic range at normal ful Blue Danube; Tales from the Vienna LECTIONS) listening levels with such low efficiency Woods; Artist's Life; Du und Du; The Em­ speakers. peror; Vienna Wiener Blut. Hollywood Bowl • TCHAIKOVSKY: Piano Concerto No. I in B-flat Minor, Op. 23. Leonard Penna rio With a more carefully integrated design Symphony Orchestra, Fel ix Slatkin condo Capitol SP 8421 $5.98 with the Los Angeles Philharmonic Orches­ approach, and the acoustical laboratories tra, Erich Leinsdorf condo Capitol SP 8417 necessary to truly evaluate results, it is not Musical Interest: Of coursel $5.98 necessary to make this compromise to Performance: Indifferent achieve bass. A properly designed mag­ Recording: Not so good • TCHAIKOVSKY: Piano Concerto No. I netic structure will provide a strong flux Stereo Directionality: Fine in B-flat Minor, Op. 23. Gyorgy Cziffra with throughout a long air gap. Cones, with Stereo Depth : Shallow the Frenc h Nation a I Radio Orchestra, their compliance and voice-coil designed Felix Slatkin, who has made some really Pi e rre Dervaux condo Mono-Angel 35612 for long linear excursion throughout the fine recordings for Capitol, turns out an $4.98 audio range, will operate in this high flux indifferent sounding reading of well known with great efficiency. Such a design has low Musical Interest: Solid Strauss waltzes. Sound is not up to par, Performances: Pennario - Perceptive; distortion and good bass without any com­ either-shallow and brittle. Better shop promise in efficiency or transient response. Cziffra-Empty bombast around and listen to London's stereo Recordings : Both full and vibrant All ALTEC speakers are the result of such Strauss waltzes (CS6007) while you are Stereo Directionality: Good integrated design principles. Their bass about it. J. T. Stereo Depth: Good reproduction is in proper balance with the rest of the audio spectrum. Their distor­ The Capitol is of course the stereo ver­ tion and transient response have received • STRAUSS FAMILY ALBUM-Johann sion of the previously much-admired mono­ Strauss, Sr.: Lorelei Rheinklange; Johann careful attention. Their efficiency is as high phonic release by these same artists. The as present engineering art permits. Strauss, Jr.: Night in Venice; Egyptian March; Magyar Polka; Josef Strauss: Aqua­ performance is basically a lyrical one but It should be remembered that a good loud­ rellen Waltz, Music of the Spheres; Eduard the strong virtuoso elements in the music speaker design need not sacrifice a part of Strauss: Doctrinen Waltz, Bahn Frei Polka. receive their just due also. The stereo the whole performance in order to provide Minn ea polis Symphony Orchestra, Antal sound is a big improvement over the mono­ a single outstanding feature. Dorati condo Mercury SR 90178 $5.95. Mono phonic, especially in depth and fullness. Listen cr-itically at all levels of loudness. -Mercury MG 50178 $3.98 Cziffra's is altogether a horse of another You will readily distinguish the sUl'eriority Musical Interest: Delightful! color. Here the intention obviously was to of ALTEC loudspeakers. . Performance: Also play this piece with every stop in the vir­ Recording: Super tuoso's bag of tricks pulled out. So we Write for free catalogue: ALTEC LANSING Stereo Directionality: Perfect get runs and octave passages played at CORPORATION, Dept. 6MR-B, 1515 S. Stereo Depth: Lacks a bit in bass Manchester Avenue, Anaheim, Calif., 161 breakneck speeds. I suppose this kind of There must be four zillion issues of approach can wield its own particular kind Sixth Avenue, New York 13, N. Y. 12.39 ( Advertisement) Strauss Waltzes, and with the exception of of spell-at least it did in 1940 when Horo- 68 HIFI REVIEW Audiotape"speaks for itself" in a spectacular recording -available in a money-saving offer you can't afford to miss! ...... HERE'S a reel of musical excitement that belongs on

DETAILS OF THE PROGRAM every tape recorder. "Blood and Thunder Classics" is a program of great passages of fine music, spe­ The stirring "Blood and Thunder Classics" cially selected for their emotional impact. program includes these colorful selections: The makers of Audiotape have not gone into the Tschaikowski ... Russian Dance Sibelius ... from Finlandia music business. They are simply using this method de Falla • .. Dance of Terror, Rit ual to allow Audiotape to "speak for itself." This un­ Fire Dance (EI Amor Brujo) B rahms . . . from Symphony No. 4 in E Minor usual program shows you how vibrant and colorful Khatchaturian ... Saber Dance music can be when it is recorded on AucZiotape. Stravinski ... Infernal Dance of King Kastchei, Finale (Firebird Suite) "Blood and Thunder Classics" is available Beethoven . . . Ode to Joy (Symphony No.9 RIGHT NOW in D Minor) from Audiotape dealers everywhere. (And only from Audiotape dealers.) Ask to hear a por­ DETAILS OF THE OFFER tion of the program, if you This exciting recording is available in a spe­ like. Then, take your choice cial bonus package at all AUdiotape dealers. of a half-hour of rich stereo The package contains one 7-inch reel of or a full hour of dual-track Audiotape (Type 1251, on 1Y2-mil acetate monaural sound - both at base) and the valuable "Blood and Thunder Classics" program (professionally recorded 7Yz ips. Don't pass up this on standard Audiotape). For the entire unusual opportunity. package, you pay only the price of two boxes of Type 1251 Audiotape, plus $1. And you have your choice of the half-hour stereo pro­ gram or the full-hour monaural version. Don't wait. See your Audiotape dealer now. AUDIO DEVICES, INC., 444 Madison Ave., N. Y. 22, N. Y. In Hol lywood: 840 N. Fairfax Ave .• In Chicago: 5428 N. Milwaukee Ave. "JUNE 1959 69 witz and Toscanini recorded the score tn cury's best recordings. A natural, somewhat that same fashion. But Cziffra is no Horo· restrained stereo technique has been used. witz and he comes to grief every time he G.J. How can two' tries to make a·s though he is. The octa'Ve runs in both the first and last movements COLLECTIONS stereo speakers are positively embarrassing: Cziffra adopts tempi that are absolutely furious and then • CONCERT RUSSE-Moussorgsky: A he proceeds to spray the premises liberally Night on Bald Mountain; Tchaikovsky: with notes that Tchaikovsky never wrote Marche Slav; Glinka: Kamarinskaya; Boro­ cost so little? din : Prince Igor: Dances of the Polovetsian in to the score. This performance raises Maidens. Pittsburgh Symphony Orchestra, serious doubts about Cziffra's musical im· William Steinberg condo Capitol SP 8450 pulses. If he is to become an artist of $5.98 consequence, he must agonizingly re·ap· Musical Interest: Colorful nationalism praise his whole concept of pianism. Performance: Carefully moulded His monophonic disc is filled out with a Recording: Great motor·driven but musically dull perform· Stereo Depth: Superb ance of Balakirev's I slamey in its original Stereo Directionality: Good form for solo piano. For both, the Angel These performances are "gassers" in one engineers have contributed bold and force· of the best stereo recordings yet released. ful recorded sound. M. B. Steinberg has carefully studied each of these familiar war·horses and turns in per­ No mistaKe •.. you heard the price correctly! • TCHAIKOYSKY: Violin Concerto in D, formances of fresh vitality and cxcitement. It's unbelievable because you'd expect to Op. 35; MENDELSSOHN: Violin Concerto But perhaps it is the recording engineers pay so much more for just one superb high in E Minor, Op. 64. Christian Ferras with the 'fidelity speaker. How much does R&A cost? who are the real heroes of this disc, for Let your dealer ten you the price twice Phi lharmonia Orchestra, Constantin Silvestri (you'll raise your eyebrows the first time). condo Angel S 35606 $5.98 they have given us recorded sound of star­ But it's true! Compare R&A's "full-spec­ tling dynamism and reality. Details of the trum-of-sound" performance with higher­ Musical Interest: Concerto classics scoring emerge with a transparency hither­ priced speakers. Convince yourself that your Performa Ace: Varia ble stereo speaker investment can be minimized to unmatched in these works and the whole without sacrificing Quality. If stereo is in Recording: Good fairly throbs with an exciting, overwhelm· Stereo Depth: OK your future plans, single R&A speakers ing impact. Bravo, gentlemen! M. B. offer superb Hi-Fi enjoyment at a most Stereo Directionality: Good sensible price. Coaxial construction! 8", 10" and 12" models •.. Alcomax Encompassing the Tchaikovsky Concerto • MARCHE SLAY-Tchaikovsky: March III Aniso-tropic Magnet system of Slav; Moussorgsky: A Night on Bald Moun­ 12,000 Gauss Flux Densities. complete on one side of a stereo disc goes a long way toward disproving the theory tain; Tchaikovsky: Capriccio Italien; Skalkot­ At better Hi-Fi dealers. tas: Four Greek Dances. New York Philhar­ Buy it . .. try it .. . 'money back guarantee: that a stereo disc must necessarily con tain monic, Dimitri Mitropoulos condo Columbia £RCONA CORPORAI'ION less music than a monophonic one. Here MS 6044 (Omits Skalkottas Greek Dances) (Electronic Division) is a stereo disc which offers nearly 60 min­ $5.98. Mono-Columbia ML 5335 $4.98. 16 W. 46 Street, Dept. 35, N. Y. 36, N. Y. utes of music and there is remarkably little deterioration in sound quality toward the Musical Interest: Exotic and colorful center. Performance: Vibrant Recording: Good On the whole Ferras is more successful Stereo Depth : OK with the Mendelssohn than he is with the Stereo Directionality: Fine Tchaikovsky; in the latter there seems to Shame on Columbia for not including the -#~ be moments of less than perfect accord be­ Skalkottas Dances on the stereo disc. The ELECTRONIC tween soloist and conductor. The young four here on mono are lively and tune· French violinist has a big tone, as was evi­ ORGAN ful and very accessible. The orchestration dent from his debut appearances in this for your is brilliantly exuberant. All in all, the country in March, and he handles the in­ omission of these works from the stereo HOME! strument with ease and assurance. His will be a career to watch. disc is most unfortunate. For the rest, Mitropoulos turns in solid The stereo recording is clear and well­ readings and the engineers have reproduced BUlLD·1T balanced, with a natural left·of·center full orchestral sound. The stereo qualities placement of the solo instrument. M. B. YOURSELF are good, too, if without the breathtaking • WAGNER: Dawn and Siegfried's Rhine excitement of Steinberg's Concert Russe SAVEl Journey; Siegfried Idyll; Prelude to Parsifal; stereo disc on Capitol. M. B. Now you can own a professional electronic Prelude to Act III of Tristan and Isolde. organ and save up to 50% on an easy Detroit Symphony Orchestra, Paul Paray • POP CONCERT U.S.A.-Gould: Amer­ pay·as·you·build plan ... The world famous condo Mercury SR 90 I 07 $5.98 ican Salute; Anderson: Serenata; Copland: ARTISAN ORGAN-in 14 models from the Three Dance Episodes from Rodeo; Bern­ popular 2·manual Home entertainment style Musical Interest: Mellow Wagner stein: Overture to Candide; Piston: Ballet to the majestic 4·manual Theatre and Church Performance: Sensitive Suite from The Incredible Flutist. Cleveland style is now available in kit form. Simple step· Recording: Good-a bit distant Pops Orchestra, Louis Lane condo Epic BC by· step instructions, pictorial diagrams and Stereo Directionality: Well-balanced 1013 $5.98. Mono-Epic LC 3539 $3.98 schematics make this an ideal spare·time Stereo Depth: Acceptable project for anyone. Musical Interest: A fine variety A logical and well·planned program of Performa nee: Extremely good Wagner in a sustained mood of reBection, Recording: Ditto poignancy and tenderness. Paray draW's a Stereo Directionality: Fine and dandy warm and caressing tone from his players, Stereo Depth: Good and his reading is distinguished by his Louis Lane could develop into a conduc­ nicely molded phrases and clean articula­ tor of considerable reputation, if this Epic tion. It is particularly effective in the mys­ record is any accurate indication of his tic and majestic atmosphere of the Parsifal ability. He has taken an excellent variety and Tristan excerpts. The "Rhine Journey" of musical Americana and given to each is somewhat lacking in dynamic contrast selection distinctive character and sound. and dramatic excitement, and other inter­ So many "pops" records come out with all ORGAN ARTS, INC. preters have infused the Siegfried Idyll with the music managing to sound alike. But 4949 York Blvd. Dept. HR-6 more lyrical glow. Lane avoids this pitfall with considerable Los Angeles 42, California The sound is never less than good, but skill, and shows ru.s real talent in a beauti· lacks the presence that characterizes Mer- ful reading of Piston's The Incredible Flu- 70 HIFI REvmw IMPORTANT NOTICE: NO OTHER COMPANY has been authorized by Radio ( Shack or The Factory to sell or advertise the famous Electrostat-3, and no company other than

1 Radio Shack has delivered or can deliver this unit!

This is the unique electrostatic tweeter-the 011fy tweeter -that has been getting RAVE NOTICES from the hi-Ii test laboratories. This is the tweeter that makes any ~lJf]ltrf speaker system a better speaker system by its addition. 3 ELECTROSTATIC ELEMENTS ONL Y RADIO SHACK-in all the world-sells it, $ FOR 120 0 SOUND DISPERSION delivers it! When used with any good high compliance speaker system, Electrostat-3 adds a smooth and silky 50 response from 5,000 cycles to 25,000 cycles-beyond the range of human hearing. And its wide dispersion angle Mahogany carries its new world of acoustic brilliance to all corners * Blond of the room. Compact size: ll'l's" wide x 5'l's" high x * Walnut 41/ " deep. In mahogany, blond or walnut finish. ORDER BUILT-IN AC POWER SUPPLY 2 * TO PROVIDE EXACT VOLTAGE TODA Y and hear the "highs" that have brought the whole audio world to our door! ELECTROSTAT·3 CROSSOVER KIT Includes coils. condensers and L pad, complete ----OTHER REAL,sr,c HI·FI PRODUCTS --- with simplified assembly instructions. Available for either 8 ohms or 16 ohms ...... 4.95 .------, I RADIO SHACK CORPORATION, Dept. 6A I 730 Commonwealth Ave., Boston 17, Mass. , I Please send me the following: I REAL,sr,c REAL,sr,c REAL,sr,c REAL,sr,c 't. I Quan . REALISTIC Sh. Wt. Order No. Sale "SOLO" SPEAKER 16" STEREO ARM FM-3 TUNER 15 WATT AMP I ELECTROSTAT-3 7lbs. 36CX017Y $27 .50 I $1$.95 $15.90 $44.50 $49.95 a-ohm X-over 2 Ibs. 91L500 4.95 \ 16-ohm X-over 2 Ibs. 91L505 4.95 I 15-watt Amp 15 Ibs. 90LXOOOY 49 .95 I 16" Stereo Arm 3 Ibs. 91L050 15.90 FM -3 Tuner 11 Ibs. 90LX040 44 .50 I RADIO SHACK SOLO Speaker 12 Ibs. 90LX250 15.95 I Radio Shack 32-page Bargain Bulletin CORPORATION ~" .-<""~ ~ o• Check 0 Money Order o C.O.D. I 167 Washington St .• Boston 8. Mass. !I~ ; ~ • 730 Commonwealth Ave .• Boston 17. Mass. ,~ .. Address______I 230·234 Crown St .• New Hoven 10. Conn. ~ City Zone__ State' ___ _

JUNE 1959 ------~71 tist. Epic deserves a pot of blooming tulips for making up such an admirable selection of tunes. The sound is wonderful and the acoustic enhancement of Severance Hall (which has undergone considerable change to extend the reverberation time) must give all concerned-players, conductor, manage· ment and engineers-a great deal of satis· faction. Here is a record released without any fanfare, a "sleeper," if you like, and a cracking good item from any angle of criti· SHOPPING FOR STEREO? The cal approach. m~nufacture of stereo high­ fidelity components is an • ENCORE! SLENCZYNSKA- Bach­ extremely technical, highly Slenczynski: Preludio from Solo Violin Partita No. 3 in E Major; Mendelssohn: Spinning specialized phase of elec­ Song, Op. 67, No. 4; Schubert: Moment tronics. So before you buy Musical, Op. 94, No.3; Prokofiev: Sugges­ any stereo equipment, ask tion diabolique, Op. 4, No.4; Liszt: Hun­ yourself this question: "Is garian Rhapsody No. 12; Rachmaninoff: Pre­ lude in D-f1at, Op. 23, No.6; Moussorgsky­ the component I'm buying Rachmaninoff: Gopak; Schumann-Tausig: made by a manufacturer· who has a long history of Der Contrabandiste; Debussy: Clair de lune; brilliant successes in sound." Villa-Lobos: Little Paper Doll; Chopin: Po­ lonaise in A-fl at, Op. 53. Ruth Slenczynska Bogen is a name known, and 'respected for ov.er a (piano). Decca DL 79991 $5.98 ; Mono-Dec­ quarter century as the authoi'ity on all types of ca DL 9991 $3 .98 sound equipment. Your child m'ay listen to a Bogen central sound system in his classroom. ·:perhaps Musical Interest: For pianophiles . Performance: Cool, at times mannered you use a Bogen intercom. Wherever professiqnal Reco rding: Brilliant sound equipment is used, you'll find Bogen-the Stereo Depth: Adequate sound equipment made by professionals. Stereo Directionality: Necessary?

THE SAME FLAWLESS SOUND The stereo disc version has more pres­ QUALITY that engineers and ence, more bass, more "spread," but the musicians demand is yours mono disc played on stereo equipment to enjoy at home in Bogen sounds more natural in balance (not so stereo high-fidelity compo­ bass heavy) and sounds from dead center nents. Take the Bogen DB as a piano should. Performances are accu­ 230, for example. Here in rate and on the cool side--a decided asset for the often over-romanticized Clair de one chassis is all the versa­ tune. Prokofiev comes off splendidly, with tility ... all the sensitivity ... great brio and fire; but Chopin and Mous­ all the power you need for perfect stereo pleasure. sorgsky suffer from mannered TubalO. A You can't hear Bogen's engineering excellence ... variable offering at best. D. H. only its brilliant achievements! And this technical artistry, confirmed by leading testing organiza­ tions, is complemented by outstanding styling. See • HAYDN: Sonata No. 37 in D; COU­ PERIN: Les Baricades Misterieuses; Le Tic­ -and hear-the DB 230 today. Toc-Choc; RAMEAU; Gavotte and Varia­ tions; Tambourin; DAQUIN: Le Coucou; McPHEE: Lagu Delem; MOZART: Sonata in C Major (K.545); PURCELL: Ground in C Minor; BYRD: Lord Willobies Welcome ' lID Home; HANDEL: The Harmonious Black­ ~., ... " smith; HAIEFF: Three Bagatelles. Sylvia Marlowe (harpsichord) . Decca DL 710001 $5.98; Mono-Decca DL 10001 $3.98

Musical In terest: Delightful and varied Performance: Expert Recording: Faithful Stereo Depth: See below Stereo Directio nality: See below

DB 230. STEREO CONTROL CENTER AND DUAL 30·WATT AMPLIFIER. Miss Marlowe's performances are com­ pletely adept and technically secure. She The DB 230 controls all stereo sources (tape, displays fine insight into the varied inter­ FM-AM stereo broadcasts and stereo discs) and BOGEN pretative demands of each work. feeds them through self-contained dual 30-watt HIGH FIDELITY COMPONI'NTS It was a fine idea to include two contem­ amplifier to your two speaker systems. For mono­ porary American harpsichord works. HaieH's phonic program material, 60 watts of power is available. P1"ice : $189.50. Enclosu1'e and legs: $8.00. Bagatelles are delightful pieces, with their jaunty rhythms. McPhee's is all too brief, however well it does succeed in evoking the ILLUSTRATED BOOKLET: 64-page explanation of hi-fi and stereo, feeling of Balinese music. "Understanding High Fidel­ The recording itself is fine. The stereo ity - Stereo Edition." Enclose version is free from objectionable direc­ 25c please. BOGEN -PRESTO tionality or "spread" and it does provide COMPANY, Paramus, N. J. an increased sense of presence over the A Division of the Siegler Corporntioll monophonic veriion. D. R. 72 HIFI REVIEW Reviewed by BEST OF THE MONTH MARTIN BOOKSPAN DAVID HALL • Mercury's Antal Dorati rides a sure winner with the Siavon.ic Dances of Dvovrak as played by his Minneapolis Symphony Orchestra-/lSonically GEORGE JElLlNEK it is hair-raising .. . carried off superbly ... Mr. Dorati is the master to DAVID RANDOLPH serve the ingredients up on an orchestral platter that will raise goose­ JOHN THORNTON pimples./I (see p. 74) ( • Angel gives us a totally new view of the Shostakovich Eleventh Sym­ • ALBENIZ: Iberia-Suite (arr. Arbes); phony as recorded in Paris by Andre Cluytens with the composer on FALLA: The Three Cornered Hat-Suite I No.2. Orchestre du Theatre National de hand.- /lThe recorded sound is superb, resulting in one of the most sheerly L'Opera de Paris, Manuel Rosentha l condo Westminster XWN 18798 $4.98 dramatic Angel records in months./I (see p. 77) Musica l Interest: Iberia is super Performance: Taut, energetic • RCA Victor's new Bjoerling in Opera reveals the great Swedish tenor as Recording: Top drawer "winner and still champion ... From beginning to end this recital brings When Westminster's engineering is renewed testimony to the beauty of the voice ... a must, particularly for joined with some extra special music mak­ ing, the result is about as good as yo u can other tenors./I (see p . 78) realize in the present stage of the art. And it happens here. Rosenthal gives us an energetic reading, taut, vivid, and com­ The recording presents the three instru­ Performance: Old world lyrical pelling. Not so sensuous as Argenta's ments in nice balance and is of high Recording: Good on the whole earlier London monophonic LP, but a re­ quality. D. R. A definitive recording of the Chopin corded performance of great stature. Iberia Etudes? Almost but not qui te-only the is better performed than Three Cornered BERNSTEIN: Candide - Overture (see p. 70) last full measure of technical perfection is Hat, but the difference is slight. Magnifi­ lacking in Kentner's pianism. Stylistically, cent sound. J. T. • BONPORTI: Concerti a Quattro, Op. though, he comes through with the best II-Nos. 4, 5, 6 & 8. I Musici, with Roberto Chopin playing we have heard since Rubin­ Michelucci viol in) and Enzo Altobelli (ce l­ BARBER: Souvenirs (see SHOSTAKOVICH) I stein's pre-War English-made discs. Rich, Io ). Epic LC 3542 $3 .98 full-blooded piano sonics, occasionally trou­ BARBER: Vanessa-Intermezzo (see p. 62) Mu sical Interest: Little-known ea rly ital­ bled by traces of flutter (we checked this ian music BARTOK: Divertimento (see HINDEMITH) on two differen t tumtables). Kentner's Performance: Exemplary lyrical playing is absolutely tops, and so is BEETHOVEN: Piano Concerto No.3 (see Recording: Fine his running passage work; it is in the ir­ p. 59) While Francesco Antonio Bonporti was regular passagework that he tends to BEETHOVEN: Symphony No. 5; Consecra­ actuaJJy a musical "amateur," several of "smear" his articulation, thereby depriving tion of the House-Ove rture (see p. 59) his works were good enough to have been this set of the "definitive" rating. Still, it erroneously attributed to Bach. He was is a real pleasure to hear a pianist truly BEETHOVEN: Symphony No.6 (see p. 59) born in 1672, was ordained a priest at the at home in the romantic style; we should BEETHOVEN: Symphony No. 9 ; Egmont, age of twenty-three and lived until 1749. like to hear Kentner essay some of the Leonore No.3-Overtures (see p_ 60) . During intervals between his religious greater Schwnann one day, such as the Fan­ duties, he composed prolificaJJy. tasy in C Major or the Op. 12 Fantasies­ The outstanding example of his music, • BEETHOVEN: Trio in B-Flat, Op. 97 tuke. Of the available Chopin Etudes re­ ("Archduke"l. Da vicJ Oistrakh Trio (D avid as revealed on this disc, is the R ecitative cordings, only the Novaes interpretations Oistrakh- vio lin; Sviatosl av Knushevitzky­ of the Concerto No.5. The expressiveness for V)X offer appreciable competition. cell o ; Lev Oborin-piano ). Angel 35704 of the solo violin part in this movement is D.H. $4.98 nothing short of astounding. Its beauty would seem to corroborate the statement • C HOPIN: Fantaisie in F minor, Op. 49; Trois Nouvell es Etudes; Barcarolle in F-sharp Mu sica l Interest: Chamber music staple made on the anonymous jacket notes to the Performance: Expert minor, Op. 60; Berceuse in D-fl at, O p. 57; Recordin g: Suave effect that this movement "must be counted Im prompt u No. I in A-flat, Op. 29; Im­ one of the greatest pages of eighteenth promptu No. 2 in F-sha rp, Op. 36; Impromp­ One of the most popular works in the century music." tu No. 3 in G-fJat, Op. 51; Fantaisie-Im­ trio literature receives a mature treatment The performances leave nothing to be promptu in C-sharp minor, O p_ 66. Artur at the hands of these three Russian arti·sts. desired, and the recording is tonally faith­ Rubinstein (piano). RC A Victor LM 2277 The playing is technically secure and tonal­ ful. D. R . $4.98 ly satisfying. However, the outstanding Musical Interest: Choice Chopin quaJi ty of this performance is the broad, BRAHMS: Violin Concerto (see p. 60) Performance: Masterly Record ing: Good unrushed pacing of the opening movement • CHOPIN: Etudes, Op. 10 & Op_ 25; and the Scherzo. The music is allowed to Andante spianato and G rande Polonaise With this well-chosen program, Rubin­ unfold in its own good time; there is no brillante, Op_ 22; Bolero, Op_ 19 ; Berceuse stein will undoubtedly have accumulated a attempt at virtuosity for its own sake. While in D-flat, Op. 57. Louis Kentner (piano )_ more comprehensive recorded Chopin rep­ one can imagine a more lively performance, Capitol-EM I GBR 7162 $9_96 ertoire than any living pianist-to which, this is an eminently satisfying one. Mu sica l Interest: Yes, sir! considering his towering authority in the JUNE 1959 73 field-bolh he and his public are entitled. splendid under Sir TllOmas' baton. J. T. The mastery is evident everywhere-the GOULD: American Salute (see p. 70) VI-KING dreamy imagerie3 of the Berceuse, the soar­ ing eloquence of the F minor Fantaisie, • HINDEMITH: Mathis der Maler; BAR· . and the astonishing range of lyricism cov· TOK: Divertimento for String Orchestra. OF SWING ered by the four Impromptus get interpre­ Ph ilharmonia Orchestra, C onstantin Silvestri tations here that are the triumphs of tech­ condo Angel 35643 $4.98 tone and coloristic detail. nique, Musical Interest: Two modern master­ The piano sound is not particularly res­ pieces onant but better than average, and the sur­ Perfo rmance: Top drawer faces are exceptionally clean. G. J. Recording: Excellent

COPLAND: Lincoln Portrait (see p. 62) Constantin Silvestri, who conducted a strange and very uneven Tchaikovsky COPLAND: Rodeo (see p. 70) Fourth Symphony for Angel, a plodding kind of Fifth, a better Sixth, and a very • DVORAK: Slavonic Dances, Op. 46 & good Dvoi-popular music. old Unicorn LP makes for fascinating study. THE FIDDLING VIKING-Svend Asmussen and Where rhythm, sudden contrasts of pp and His Dancing Strings CL 1175 fJ are concerned, and where a strong per­ Lukas Foss and the Zimbler Sinfonietta in cussive line is needed, Mr. Dorati is the the acoustics of MIT's Kresge Auditorium GUARANTEED HIGH-FIDELITY AND make ·stunningly articulated sound together STEREO-FIDELITY RECORDS BY master to serve the ingredients up on an platter that will raise goose-pimples. with a reading that is exciting but not sen­ After a rather uneven Bartered Bride timental. On the other hand, Silvestri, with ICOLUl\IIBIAIl Overture, the Polka, Furiant, and final heavier tone and surrounded by a warmer acoustics, creates a kind of sonic glow that

• L1SZT: Transcendental Etudes-No.. 1 · C' No 2 in A minor; No.3 in F; No.5 on In , • • C .. N t?-\\at; No.7 in E-flat; No ..8 In minor ~ o. 9 in A-fl at; No. 10 in F minor; NO'.1 I In D­ fl a t_ J orge Bolet (piano). RCA Victor LM .229 1 $4_98 Mus ical Int e rest: Piano pyro\echnics Pe rfo rmance: Dazzling Recording: Clear and brilliant

'>1 •.;1 Pianists seldom tackle these hair-raising .4(~ ..~.,-.-~ ... ( ..w ,=--. :1)11(; Etudes of Liszt-even individually. Bolet, FI..UX ...... l.V~ .NO. T.GUARD ARt TRADEMARKS USED TO DENOTE THE OUALITY OF' PICltERING a COM P ANY INVENTIONS, one of today's formidable technicians, has Truly the finest stereo pickup ever made ..• And ... because of this the STANTON chosen to present nine of the total twelve 'the STANTON Stereo FLUXVALVE is Stereo FLUXVALVE reproduces music for his RCA Victor debut. Far from be­ hernietically sealed in lifetime polystyrene with with magnificent sound quality ... from both ing limited in appeal to pianists, the Etudes .~II of the precision that has made Pickering stereophonic and monophonic records ... with a quality leader in the field of high fidelity negligible wear on record and stylus. are brilliant examples of the composer's for more than a dozen years. soaring and most fanciful-as well as most I n plain truth ... the STANTON inventive-romanticism. For instance .. . only the Stereo FLUXVALVE is by far the finest stereo With the possible exception of Cziffra STANTON Stereo FLUXVALVE has the . pickup made ... backed by a Lifetime Warranty·, "'T·GUARD" stylus assembly-so safe and easy assuring you a lifetime of uninterrupted, no other active pianist today could meet the to handle ... so obedient and responsive. trouble'·free performance-with a quality of technical challenges of this music with the to every musical nuance in the stereo groove. reproduction no other pickup can equal. enormous facility Bolet commands_ But, aside from the mandatory display of digital Only the STANTON Stereo FLUXVALVE has We suggest you visit your Pickering Dealer soon the parallel reproducing elemeni contained in the -drop in and ask for a personal demonstration: dexterity, he offers ample proof in the "T-GUARD" .. . assuring the proper angle of lyrical pages of the Second, Third and .correspondence between' recording and playback NEWLY REVISED-"IT TAKES T WO TO STEREO"- Ninth Etudes of a sweet and singing tone. styli for maximum Vertical Tracking Accuracy. ADDRESS DEPT. EGg FOR YOUR FREE COPY , The brilliance of the music is captured I~~ lor Mose wno con~ Me tftllerence -"., 0'''''' """ ""... " POo.,m ., in a recorded sound of clear and transpar­ ·ticlu4In,wurln4tur cllhtdllrnOn4 st,IuStlPln4P.f"lS Of Ihl frl,tr4 rnovln, slltern In the "H;UARD" .uern~11. ~ PICKERING & COMPANY, INC., Plainview, N. Y.; ent quality. G.-J. YOUR COPIES OF Now you can keep a year's copies of HiFi • MAHLER: Kindertotenlieder (Songs on REVIEW in a rich-looking leatherette file the Death of Children); Lieder eines fah­ that makes it easy to locate any issue for renden Gesellen (Songs of a Wayfarer). ready reference. Lucrezia West (contralto), with the Vienna Specially deSigned for HiFi REVIEW. State Opera Orchestra, Hermann Scherchen this handy file-with Its distinctive, wash­ HiFiCDIm able Kivar cover and 16-carat gold leaf cond_ Westminster XWN 18842 $4.98 lettering-not only looks good but keeps Musical Interest: Major Mahler every issue neat, clean and orderly. Performance: Satisfying So don't risk tearing and salling your cop­ Recording: Opulent Ies of HiFi REVIEW-always a ready source of valuable information. Order Both Mahler cycles were written for a several of these HIFi REVIEW volume low male voice, yet they seem to have at· files today. They are $2.50 each, postpaid tracted more contraltos than baritones. The -3 for $7.00, or 6 for $13.00. Satisfaction guaranteed, or your money back. Kindertotenlieder can, of course, be just as· effective either way, but even the most Order direct from: accomplished contralto will find it difficult Keep them neat ••• JESSE JONES BOX CORP. to be fully convincing in the four fervent­ ly romantic-yet ma·sculine-Songs oj a clean ••• ready for Dept. HF, Box 5120, Philadelphia 41, Pa. WayJarer . instant reference! I Established 1843) Lucrezia West is a highly gifted artist with a voice of flowing sumptuousness in the low register. Higher up, around E, it takes on a metallic edge which, while not ... tJi1e"MA§TERPKECE" really unpleasant, causes a slight but per­ luxury ceptible break in passages ranging over an equipment extended compass. She is a secure vocalist, console however, with admirable intonation, and a in beautiful mature and intelligent interpreter with genuine reasonably good diction and proper regard walnut ••• for the text_ Of the four LPs currently in for stereo the catalog which couple both Mahler and monophonic cycles this can be recommended as the hi-fi systems most satisfying_ My preference, however, still remains with Ferrier in the Kinder­ :sJ•. om :Jhe Con.cert totenlieder (Columbia) and Fischer-Dies­ kau in the Songs of the Waylarer (Angel). Cabinetrf/ (fro up Scherchen provides effective and sym­ pathetic support in the "W aylarer" songs. Chicago 26, Illinois Numbe r 234101 In the Kindertotenlieder, however, he tends Re.quest hi-fi furniture folio to exaggerated outbursts that place an un­ ~1«\\ JUNE 1959 75 due burden on the vocalist and at the same framework, the vocal authority of Boris -Mendelssohn, Rachmaninoff, Tchaikovsk y, time create a series of episodes that break Christoff would still assure the command­ Moussorgsky, Bizet, Schubert, Kreisler. Colin up the flowin g forward motion of the in­ ing lead. Here, to be sure, is ChaJiapin's Horsley (piano). Capitol-EMI G 7136 $4.98 dividual songs_ The engineering sometimes artistic heir. Lacking the tonal beauty and Musical Interest: For romantic pianophiles favors the orchestra excessively, but the arti stic grace that would make him an ideal Pe rfo rmance: Smooth as silk sound is live, resonant and very satisfyi ng. Philip II in Don Carlo or Mephisto in Recording: likewise G.J. Faust the Bulgarian basso brings penetrat­ New Zealand-born Colin Horsley 11 ing insight and unquestioned authority to brinl7 R h . , lay not o v his realiza tion of the tormented Czar. To o • ac mamnoff s own performance MARTINU: Les Fresques (see JANACEK) dynanllSm to this music but he d the lasting credit of his theatrical art he I h .. ' oes possess also /ills the parts of Pimen and Varlaam a wea t of ly1'1 c lmpulse a fill e . . MOUSSORGSKY: A Night on Bald Moun­ t I d I ' SInaloa without breaking th e spell of illusion, OUC 1, an la'S tile benefit o[ f1t t l b . b tain (see p. 70) corded so und cas 1 e- though at one point (Act IV) he is called . D. H. upon, as Boris, to interrupt himself as Pimen. • MOUSSORGSKY: Boris Godounov Assigning the parts of Marina and the RAVEL: Pia no C oncerto ; D ' /NOY: Sym­ (complete Rimsky-Korsa kov Version). Boris phony on a French Mountain Air (see p. young Czarevitch to th e same artist was a 66) Christoff (bass )-Bo ri s G odounov (a Iso Pi­ less successful venture. E ugenia Zareska is men and Varlaam ) ; Eu genia Zareska (mezzo­ quite adequate for the former task but her soprano )-Marina (also Feodor) ; Nicolai • SCARLATTI: Sonatas for Harpsichord - Volume 22 (L. 2, 178, 183, 199 , 278,299, Gedda (tenor)-Dimitri; Kim Borg ( bass )­ voice is far too ripe and unchild-like to 387, 393, 399, 400, 469, L. Supp/. 13). Fer­ Rango ni (also Tche lkal ov ); And re Bielecki do justice to the latter. Of the capable supporting cast IGn g Borg must be singled nando Vale nti. Werlmister XWN 18814 (tenor)- Shouisky (also Mi ssa il and Krous­ $4.98 tchov) & others. C hoeurs Russes d es Paris out for an effecti ve and excellently vocal­ a nd Orchestre National d e la Radiodiffu­ ized Rangoni. Gedda brings th e kind of M usica I Interest: Inexha ustible sio n Fran<;aise, Issay Do browen condo Capi­ to nal beauty and lyricism to the role of Performa nce: Excellent tol-EMI GDR 71644-12" $19.92 Dimitri that recent Metropolitan interpre­ Recordings: Full-bodied r Mu sical Interest: Commanding ters have co nsistently deni ed us. The choral This disc is No. 22 in Westminster's proj­ Performance : Outstanding-minor reser­ work is capabl y executed, if not 1vith all ect of recording all the sonatas, in perform­ vations the magnificence inherent in Mousso rgsky's ances by Valenti- which brings him to Recording: Vivid and resonant writing. G. J. about the halfway mark a t the rate of 12 sonatas-per-LP. He plays with insight, Careful consideration of all factors leaves verve, and technical address. And the re­ this Paris-m ade "Boris" without any rival MOZART: Requiem (see p. 64) cording achieves the fea t of presenting the among its competitors. Made about fiv e harpsichord 1vith no suggestion of its sur­ years ago and available previously on RCA PISTON: The Incredibl e Flut ist (see p. 70) roundings. D. R. Victor, its sonic qualities are still resplen­ dent. The cast on the whole performs with SCHMITT: Trag e die d e Salome; R. idiomatic authority. And, to dispel any lin­ • RACHMANINOFF: Preludes-Op. 23, STRAUSS: Salome-Dance; LALO: Na­ No.6 in E-f1at; Op. 32-No. I in C Major, mouna (see p. 66) gering doubts, the late Issay Dobrowen's No. 5 in G Major, No. 12 in G-sharp Minor, readin g leaves nothing to be desired. No. 3 in E Major, No. 10 in B Minor, No.4 SCHUBERT: Impromptus; Moments Musi­ But even 1vithout such an outstanding in E Minor, No. 13 in D-f1at; Transcriptions cals (see p. 66)

DIMENSIONS: (8" system without base): 13%" high, 18%" wide, 13K/' deep. STYLES AVAILABLE: Three matching decors: contemporary, traditional, provincial. FINISHES AVAILABLE:

76 HIFI REVIEW SCHUBERT: "Trout " Quintet (see p. 66) • SHOSTAKOVICH: Symphony No. II support for the Revolutionary Party. ("The Year 1905") . Orchestre National de In fo ur movements subtitled The Palace SCHUMANN: Piano Concerto; Fantasie· la Radiodiffusion F ran~a i se, Andre Cluytens stii cke (see p. 66) S quare ... January Ninth . .. Requiem condo Angel 3586 3/SL $ 10'.96 • .. The Tocsin, the Symphony No_ 11 in SCHUMAN: New England Triptych [see p. Musica l Interest: Powe rful work proper order of events describes the gather­ 62) Performance: Extra ordinary ing of the throngs, the Cossack destruction Recording: Exceptional • SHOSTAKOVICH: Age of Gold-Bal· of the mobs, funeral march, and the tri­ A first hearing of the Shostakovich "1905" umph of the revolution. Opponents to "pro­ let Suite; BA1l-BfR: Souve nirs-Ballet Suite. Symphony several months ago on a Capitol Philharmonia Orche'stra, Efre m Kurtz cond o gram music" would reject the very idea of Capitol-EM I C 7146 $4.98 album with Stokowski and the Dallas Sym­ Symphony No. 11, and despite any justifi­ phony revealed the Russian composer's lat­ Musica l Interest: D'ull going cation of that kind of an attitude, the fact est major orchestral work as a brooding and remains that Shostakovich, no matter what Performance: Med iocre very powerful utterance, certainly a score Recording: Mediocre too the influence, has written a very muscular, that could not be judged hastily. The new intense, and in places, extraordinary score. The coupling of Shostakovich's Age of Angel recording under Cluytens brings out Shostakovich himself was present when Gold and Barber's little known Souvenirs. different qualities and makes for a new Cluytens made the recording; and there is sounds at first like an interesting pairing, appraisal. One can argue eternally on an enormous difference between his read­ for the former is an early satirical effort whether or not any musical creation is ing and that of Stokowski. Cluytens is more of a brilliant Russian composer, and the handicapped by an event it attempts to du­ direct, his result more detailed in orchestral latter a fairly recent opus by a most gifted plicate through the medium of the art, and articulation, and his treatment much more talented American. However, the Shosta­ experience would seem to favor those who exciting. Where Stokowski's musical tex­ kovich is very dull, save for the well-known I believe that the only true and pure utter­ ture is diffused, Cluytens pulls away the Polka, and Barber's ballet, while more sen­ ance in music must come from so-called curtain. The recorded sound is superb, re­ • sitive and refined, still represents some­ "abstract" processes_ Shostakovich has been sulting in one of the most sheerly dramatic thing far below his usual high standard. Russia's musical problem child in the past, sounding Angel records in months. There Souvenirs concerns the activities of the and he has been in and out of political will be many a quarrel over the musical residents of a hotel in ·1914. There is at­ grace a half dozen times since his Sym­ worth of the Eleventh Symphony ; but it tempted half-hearted seduction, fl irtations, phony No. I made the musical world sit up is powerful, it i·s thoughtful, and it is a and a bathing scene, all in six sections. The and take no tice 30 years ago. Of all Rus­ very emotional work. Recommended over pas de deux is quite lovely, but everything sia's composers, he has been the most out­ the Stokowski version by a wide margin. else seems overwritten. Shostakovich in­ spoken foe of capitalism, the most vocal J.T. tended Age 0/ Gold as a protest against the where criticism of America is concerned, wickedness of our naughty capitalistic and the most energetic admirer of Com­ SHOSTAKOVICH: Symph~ny No.5 (see world. The work a J ~ounds with old-fash­ ·munism. He would be perfectly suited then, p.68) ioned satirical attacks along the same old to· write a dramatic ,symphony based on the SKALKOTTAS: Greek Dances fsee p. 70) weary lines. Almost none·of the vast talent terrible slaughter of the protesting populace that began to show itself in the First Sym­ gathered before the Czar's Winter Palace on SMETANA: Bartered Bride-Overture & phony can be found in Age 0/ Gold_ Save January 9, 1905-an event that Lenin be­ Dances (see DVORAK) your ·silver. • J. T . lieved turned the whole tide of popular STRAUSS FAMILY: (see p. 68)

IN ACOUSTICAL DESIGN BY STROMBERG-CARLSON

Announcing •• • a revolution in speaker and obvious superiority of response! system design! The phenomenal performance of these The world-famous Acoustical Labyrinth® new Stromberg-Carlson speaker systems -long -acclaimed for its peerless perform. is matched by their versatility. They are ance-is now available in small, compact available with or without base. You mount systems! You get the cleanest, identifiable them on shelf or table ••• on end or on bass response-in shelf-size systems, for the side-IN ANY WAY AND IN ANY 8" , 12" , 15" speakers_ LOCATION YOU CHOOSE! Identification of sound in all frequencies The new systems are available as (1) is directly related to transient response. complete, factory-wired system s with NOW STROMBERG-CARLSON HAS BRO· speakers mounted; (2) as assembled laby­ KEN THROUGH transient response limita· rinths; (3) as unassembled labyrinth kits . tions at low frequencies. How? WITH OUR Ask your dealer for a demonstration ACOU.STlCAL LABYRINTH ® QUARTER· now. He's in the Yellow Pages under " High WAVELENGTH DUCT. The result: new Fidelity."

i "There is nothing finer than a Stromberg-Carlson ! STROMBERG- CA RLSON A D IV I S IO N OF GE N ERAL D Y N AMIC S CO R PORATION 1446C N. GOODMAN STREET . ROCHESTER ~. N. Y.

J UNE 1959 77 TCHAIKOVSKY: Capriccio Italien (see p. NIZETTI: L'Elisir d'amore-"Una furtiva la· 70) grima;" TCHAIKOVSKY: Eugene Onegin­ Lenski' Aria; GIORDANO: Andrea Chenier TCHAIKOVSKY: Piano Concerto No. I (see -"Come un bel dl di maggio;" VERDI: p.68) Aida-"Celeste Aida ;" Rigoletto- "La don­ TCHAIKOVSKY: March Slav (see p. 70) na e mobile;" "Parmi veder Ie lagrime;" PUCCINI: Manon Lescaut-"Donna non • VERDI: Don Carlo (complete opera). vidi mai"; Tosca-" E lucevan Ie stelle'" Boris Christoff (bass )-Philip; Mario Filipp­ MASCAGNI : Cavalleria Rusticana-"Sidi­ eschi (tenor)-Don Carlo; Tito Gobbi (bari­ liana ;". J ussi Bjoerling (tenor), with orches­ tone) -Rodrigo; Antonietta Stella (soprano) tras conducted by Nils Grevi ll ius, J onel Per­ -Elisabeth; Elena Nicolai (mezzo-soprano) lea, Erich Leinsdorf and Renato Cellin i. RCA -Eboli; Giulio Neri (bass)-The Grand In- Victor LM 2269 $4.98 quisitor; & others. Orchestra and Chorus of The Opera House. Rome, Gabriele Santini Mus ica l Interest: Favorite arias con do Capitol-EM I GCR 7165 3-12" $14.94 Performance: The winner and still cham­ pion, , , Musical Interest: Mature and monumen­ Recording: Well-balanced tal Verdi Performance: Imposing More than twenty years have passed since Recording : Satisfactory Jussi Bjoerling first burst upon the operatic With the reappearance of this 1954 pro­ scene at the age of 26, like Pallas Athene, duction (formerly circulated by RCA Vic­ in the full armor of artistic strength and tor) this gloomy inspiration of Verdi's vocal brilliance. His career at the Metro­ middle period is again represented on rec­ politan during these years has been an un­ ords. Thanks to its recent Metropolitan predictable sequence of "off again-on • success it is no longer necessary to raise again" spasms, often carrying the implica­ arguments on behalf of this opera- it is a tion of periodic declines in his artistic masterpiece whose alleged "unevenness" powers. Fortunately, his association with Brilliant Performances lies in frequent lapses from the sublime into RCA Victor has remained practically un­ in Superlative Sound, in the merely remarkable. broken tluough these years, often providing Capitol-EMl's cast is impressive indeed the reassuring proof of continuing, and Living Stereo and Regular L.P. and the performance, though several shades deepening, mastery, such as is the case removed from greatness, is distinguished with Bjoerling in Opera. MARIO! ' Mario Lanza sings Funiculi' throughout. Christoff cuts an imperial fig­ What places Bjoerling at the head of the Funicula' and eleven other beloved and ure and portrays the King's power and class? The combination of a naturally beautiful Italian songs. LM/LSC-2331. ruthlessness convincingly without, however, beautiful voice, commendable artistic re­ straint that prefers the suspicion of "cold­ WALTZES OF FRANZ LEHAR. Gold delving too deeply into the complexities of this tormented personality. His dark, mas­ ness" to the risks of sentimental excesses and Silver, The Merry Widow and other sive voice is not sufficiently malleable to and vulgarity, and, finally, complete tech­ waltz gems of old Vienna. LM/LSC-2299. all demands of the part, which however nical mastery of the craft. From beginning to end this recital brings renewed testi­ BRAHMS: SYMPHONY No.4. Munch, does not keep him from exhibiting some beautiful mezza-voce singing in "Dormiro mony to the beauty of the voice. As to Boston Symphony. Masterful interpreta' specific instances to illuminate Bjoerling's tion of a supreme score. LM/LSC-2297. sol." Antonietta Stella was not the fully matured artist in 1954 that she is today, art, let the listener focus his attention on PROKOFIEFF: SYMPHONY No.7; but her Elisabeth is touchingly realized the supremely confident and accurate thrusts in the high register in "M'appari," RUSSIAN OVERTURE. Colorful, dy· and sung with lovely tonal quality. th~ full-throated pianissimo ending of the namic Russian music in finest high fidelity. Tito Gobbi's sensitive art tops the vocal Pnnce Igor air, the exquisite gradual swell Martinon, Paris Conservatoire Orch, honors and he self·effacingly sacrifices the showy aspects of his part to a determined on the phrase "che piil cercando io va' " in LM/ LSC-2288. emphasis on characterization. The Don "Una /urtiva lagrima," and on the conclu­ WALTZES BY THE STRAUSS FAMI· Carlo of Filippeschi is rather unsubtle and sion of "E lucevan le stelle" where Bjoer­ ling manages to convey Cavaradossi's des­ LY. Arthur Fiedler and the Boston Pops. impetuous, but has its convincing moments peration without breaking up the musical Johann Jr., J osef and Eduard Strauss when strong tonal projection is needed. Little musical joy can be found in Elena line by the explosive so b other tenors find lI).eet in this bountiful collection of waltzes. indispensable. One might also take "Len­ LM/LSC-2028. Nicolai's quavery, u.lcertain vocal quality, but a good dramatic temperament is cer­ ski's Air" as an object of study iI! unbroken RICHARD STRAUSS: TILL EULEN· tainly in her favor. No reservation need lyrical flow, free of unnatural climaxes and sustaining faithfully the character of Tchai­ SPIEGEL; DEATH AND TRANSFIG· be made about the late Giulio Neri-he is kovsky's "instrumental" approach to vocal URATION.Two celebrated modern works absolutely terrifying as tlle nonaO'enarian Inquisitor. " writing. in profound readings by Fritz Reiner and Gabriele Santini's direction never wavers The Eugene Onegin and Prince Igor arias the Vienna Philharmonic. LM/ LSC-2077. in its firmness of control, but he favors slow are sung in Swedish and if this is the only ROSSINI·RESPIGHI: L A BOUTIQUE and somewhat inflexible tempi and often way we can get Bjoerling to record un­ J hackneyed excerpts, more power to him. Ac­ FANTASQUE; IBERT: DIVERTISSE· seems reluctant to whip up much excite­ ment .. The recorded sound is adequate, tually, there are still unexplored areas MENT. Arthur Fiedler and the Boston where his art might be used with sinO'ul ar Pops Orchestra. Two stunning concert sometlIDes even more than tha t, but there's room for improvement, and an up-to-date felicity. The music of Offenbach is on"'e as "show-stoppers" in a recording of dazzling Don Carlo- which should be a stunninO' anyone familiar with Bjoerling's fam'ous high fidelity. LM/LSC-2084. stereo experience-is something to look Swedish recording of the La Belle Helene aria wiII gladly confirm. The tenor part of BRAHMS: CONCERTO IN D. Heifetz forward to. In fact, if my name were RCA Victor and if I had Bjoerling, Merrill, Tales of Hoffmann has not been done and the Chicago Symphony, Fritz Reiner phonographic justice since the Richard Tau­ conducting. Overwh elmingly beautiful per­ Rysanek and Tozzi under exclusive con­ tract, I would be doing something about it. ber recordings of yore and, while on the formance by the world's leading violin G.J. subject, who but Bjoerling could invade virtuoso. LM/LSC-1903. with similar authority the Tauber domain COLLECTIONS of Johann Strauss, Lehar and Kaman? THE WORLD'S GREATEST ARTISTS ARE ON The sound is excellent here and the or­ • BJOERLING IN OPERA- FLOTOW· chestral accompaniments are exemplary. Marth~-:~'appa."i; BORODIN: Pr ince Igo; "Bjoerling in Opera" is a must, particu­ -Vladimir s ReCitative and Cavatina; DO- larly for other tenors. G. J. HIFI REVIEW Stereo Entertainment

Jazz, Pops, Stage and Screen' BEST OF THE MONTH

Reviewed by • World Pacific comes forth in its new Gil Evans album, New Bottle Old RALPH J. GLEASON ~ with "one of the best jazz sessions of the yea'r ... arrqngements STANLEY GREEN are models of good taste and imagination, and the whole LP is a top­ notch job ... it should not be missed." (see below) NAT HENTOFF • • Columbia hits a bull's-eye with The Hi-Lo's and All that Jazz. "This crack JAZZ vocal group swings its way through a great selection of songs .. . fresh and novel singing that fits well with the modern jazz accompaniment." • IT COULD HAPPEN TO YOU-CHET (see below) BAKER SINGS-Chet Baker (vocals, trum­ pet) ; Kenny Drew (pia no); George Morrow or Sam Jones (bass); Philly Joe Jones or • Capitol's latest Keely Smith disc, Swingin' Pretty" "is her most satisfying Danny Richmond (drums). I'm Old Fash­ ion ed; The More I See You; Old Devil Moon album yet ... Keely is one of the very best pop singers to have emerged & 7 others. Riverside Stereophonic RLP 1120 $5.95 in several years. Capitol's engineers have done right by her in stereo." Musical Interest: Pallid (see p. 83) Perfo rmance: Amateurish singing Recording : Good Stereo Directionality: Competent Stereo Depth: Good Mu sical In terest: Broad • FLOWER DRUM SONG-A jazz inter­ Perfo rmance: Sparkling pretation by the Mastersounds. Overture; This collection unwisely emphasizes the Record ing: Excellent Love Look Away; Grant Aven ue & 5 others. singing of jazz trumpeter Chet Baker. His Stereo Directionality: Good World Pacific Stereo-IO 12 $5.98 Stereo Depth: Good vocalizing can most kindly be described as Mu sical Interest : limited winsome, and over a whole album, it takes With 'some really neat accompaniment by Pe rformance: Somewhat dispirited on a dying fall that becomes downright de­ the Marty Paich Dek-tette, this crack vocal Record ing: Generally good Ste reo Directionality: Good pressing. The rhythm sections are good, group swings its way through a great see Stereo Depth: Good and by contrast to his singing, Mr. Baker's lection of songs and only occasionally gets occasional trumpet solos are quite welcome. too far out, in search of effect, to lose the The trouble here is that the music is not N.H. listener. Most of the time, it's fresh and really the most fascinating to come from novel singi ng that fits well with the modern the pens of the composers, to begin with, • NEW BOTTLE OLD WINE featuring jazz accompaniment. The stereo LP is quite and the group obviously was not as inter­ GIL EVANS and His Orchestra. St. Louis good in all respects, making it a better ested in it as it has been in other scores. Blu es: King Porter Stomp; Lester Lea ps In & value than the mono. R. J. G. But the stereo sound is really quite good . 5 others. World Pacific Stereo-lOll $5.98 R.J.G. Mu sical Interest: Excellent modern jazz • MISS GLORIA LYNNE sings with ac­ Pe rforma nce: Outstanding • KISMET-A jazz interpretation by the Recording: Generally good companiment by Wild Bill Davis, Harry Edi­ Mastersounds. Overture: Baubles, Bangles Stereo Directionality: Sharp son and others. April In Paris; Squeeze Me; And Beads ; Stranger In Paradise & 6 others. They Did n't Believe Me & 9 others. Everest Stereo Depth : Slight World Pacific Stereo-IOIO $5.98 SDBR-1022 $5.98; Mono-Everest LPBR-5022 This is one of the best jazz sessions of the $3.98 Mu sical Interest: Broad year, with some remarkable alto saxophone Performance: Topnotch playing by one of the very best of the Musical Interest : Moderate Record ing: Excellent Performa nce: Uneven modern, or post-Parker, alto players, Julian Stereo Directionality: Good Recording: Excellent Stereo Depth: Good "Cannonball" Adderley. The arrangements Stereo Directionality: Fine are models of good taste and imagination Stereo Depth: Adequate This crack modern jazz group gives a and the whole LP is a topnotch job. How­ series of thoughtful, intelligent and warm ever, the 'stereo set-up seems inadequate. Miss Lynne often is reminiscent of Car­ renditions of the melodic music from Kis­ There is distortion in the brasses, the alto is men McRae, and when she stays within her met. Guitarist Wes Montgomery, added for isolated on the right, there is no middle range she is a pleasant, sometimes exciting, the occa'sion, is a real asset, with a warm, range and the bass is isolated on the left. singer. However, on several numbers such vibrant tone and a firm melodic sense. This Nevertheless, the music is so good, it should as Bye Bye Blackbird and Stormy Monday, is one of the most pleasant jazz versions of not be missed. R. J. G. she is over her head, and above her range, musicals available and should reach a wide and ,so unds strained and thin. She requires audience. R. J. G. careful grooming for tasks such as these • THE HI-LO'S AND ALL THAT JAZZ and Raymond Scott may have pushed her • THE STORY 'OF THE BLUES sung and with the Marty Paich Dek-tette. Fascinatin' too far. The accompaniment is fine (swing· Rhythm: Some Minor Changes; Mayforth; narrated by Della Reese. Good Morning ing all the way) and the mono version is ac· Moon-F aced , Starry-Eyed & 8 others. Co­ Blu es; Squeeze Me; Lover Man: Stormy lumbia CS 8077 $5.98; Mono-Columbia CL tually just as pleasing as the stereo. Weather & 7 others. Jubilee SDLP 1095 1259 $3.98 R.J.G. $4.98 JUNE 1959 79 Musical Perform- Stereo Stereo rrtle Interest ance Direction Depth Score SILK SATIN & STRINGS-Radiant Velvet Orchestra, Caesar Giovanni cond_ oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ 15 Jalousie; Falling In Love; Holiday For Strings; Sleepy Lagoon & 8 others. Concert-Disc CS-36 $6.95 MUSIC TAILORED TO YOUR TASTE-Everest Concert Orch., Derek Boulton condo oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ 13 Compositions by Antho~y Tamburello. Everest SDBR-I 01 8 $5.98 GERMAN UNIVERSITY SONGS-VOl. 3-Erich Kunz (vocalist) with Chorus and Orchestra of the Vienna State Opera, Anton Paulik condo oJ oJ oJ oJ oJ oJ oJoJi oJ oJ oJ 12 "' Vanguard VRS-2020 $5.95 TOMMY ALEXANDER PRESENTS HIS GOLDEN TROMBONES-Bob Manning (vocalist) oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ 11 Q- I Could Write A Book; Teo Time; All Of Me; Sunday Kind Of Love & 8 others. Everest SDBR-l 019 $5.98 JACKIE GLEASON PRESENTS THAT MOMENT oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ 11 The Sentimental Touch; The Song Is You; That's All & 12 others. Capitol SW 1147 $5.98 THE END-Earl Grant with combo oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ 11 Hello, Young Lovers; Volare; We Kiss In A Shadow; Come By Sunday & 8 others. Decca DL 78830 $5.98 THE NEW SOUNDS OF ORRIN TUCKER-His Saxophone and Orchestra oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ 11 Penguin In Pakistan; Nearness Of You; To Each His Own; Lauro & 8 others. Bel Canto SR 1012 $5.95 COUNTRY CLUB DANCING-Landerman Brothers Society Orchestra oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ 10 Just One Of Those Things; Fascination; Moritat and others. Stere-O-Craft RCS-506 $5.98 JET FLIGHT-Norrie Paramor and His Orchestra oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ 10 Holiday In London; Barcelona; Honolulu Honeymoon; Majorca & 8 others. Capitol ST 10190 $4.98 AT SEPARATE TABLES-LuAnn Simms (vocalist) with Dave Terry and Orchestra oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ 10 Separate Tables; No Love, No Nothin'; I Wish I Knew & 9 others. Jubilee SDJLP 1092 $4.98 DREAM-Orrin Tucker, His Saxophone and Sophisticated Strings oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ 10 Two Sleepy People; The Moon And I; Girl Of My Dreams; Dream & 8 others. Bel Canto SR 1013 $5.95 WE COULD HAVE DANCED ALL NIGHT-Griff Williams and His Orchestra_ oJ oJ oJ oJ oJ oJ oJ oJ oJ oJ 10 Let's Fly Away Medley; In Love In Vain; The Petite Woltz & 5 others. Mercury SR 60021 $5.95 MARTY NAPOLEON AND HIS MUSIC oJ oJ oJ oJ oJ 9 You Mode Me Love You; Apple Blossom Time; Girl Of My Dreams & 5 others. oJ oJ " Stere-O-Craft RCS-504 $5.98 EXOTIC DREAMS-Ethel Azama (vocalist) with orchestra oJ oJ oJ oJ oJ oJ oJ oJ 8 Two Ladies In De Shade; Shady Lady Bird; Lazy Afternoon & 9 others. liberty LST 71 04 $4.98 POLKA TIME-Dick Contino with band -I oJ oJ oJ oJ oJ oJ oJ 8 j Clarinet Polka; Hand Clop Polka; Woodpecker Song; Hot Pretzels & 8 others. Mercury SR 60055 $5.95 IN THE MOOD-Heinz Kretzschmar and His Orchestra oJ oJ oJ oJ oJ oJ oJ oJ 8 Colonel Bogey; Island In The Sun; In The Mood; Rififi & 8 others. j Vox STYX 25830 $4.98 PRIMITIVA-Martin Denny with orchestra oJ oJ oJ oJ oJ oJ -I 7 Burma Train; M'Gambo Mambo; Flamingo; Bangkok Cockfight & 8 others. Liberty LST 7023 $4.98

(Most items listed are also available on mono discs)

BIFJ REVIEW Musical Interes t : Intriguing is bland and the isolation of the trombone familiar and unfamiliar J erome Kern melo­ Perform anc e: Just sli ght ly off on the right and the rhythm on the left dies refers to the inclusion of three that Recordin g: Good gives an odd effect. R . J. G. have never been performed or published Stereo Directionality: G enerally OK Ste reo Depth : Sha llow before. Equipped with new and suitable POPS lyrics by Dorothy Fields, the songs are This is a collection of classic blues plus Nice to Be Near, April Fooled Me, and a couple of new tunes strung together with • P R E M I E RE P ERF O RM AN C E­ Introduce Me and they all turn out to be commentary by Miss Reese and including GEORGE BYRON-(Jerome Kern songs) rather typical Kern numbers of decided some of the greatest blues of all time. 5he with O rchestra, Andre Previn condo The melodic charm. George Byron's approach has a sturdy, earthy voice, but in the sing· Siren's Song; Two Hearts Together; The may be slightly rectangular, but he does ing of the older blues she lacks conviction Touch Of You r Hand & 9 others. Atlantic have a fine appreciation and understanding and the rhythmic feel is not right. The SD 1293 $4.98 of his material, and Andre Previn's arrange· voice is almost completely on one channel, Musical Interest: A Kernucopia ments, particularly in the smaller groups, the big band arrangements are slick and Performa nce: Sensitive is first rate. The stereo is handled with professional (5y Oliver's orchestra) and the Record ing: Realistic taste, although I find it unnecessary. S. G. performance by the musicians topnotch. It Stereo Directionality: Satisfactory just misses. R. J. G. Stereo Depth: OK, when needed • FINGERS AND THE FLAPPER featur­ ing Joe " Fingers" Carr. Crazy Rhythm; • MA! THEY'RE COMIN' DOWN THE The title of this attractive collection of C ha rleston; Ind iana; Baby Face & 8 others. STREET - RIVER BOAT FIVE DIXIELAND BAND-Ed Re ed (clarin et); G ene Thomas (trombone) ; Jim Lunsford (drums); Louis SANDY MOSSE Tedder (tuba, saxophone and trumpet) ; Ted LP639 Butterman (trumpet); Milt Finch (banjo) ; Ke ll er Merck (piano) . South Rampart Street Parade; Tiger Rag; Panama & 6 others. Mercury SR 60034 $5.95 0 Musical Interest: Very small (9 Perform a nce: Spirited Recording : Good Stereo Directionality: Very good n:: MARIAN Stereo Depth : Convincing CJ) <{ McPARTlAND This is apparently Mercury's attempt to LP640 emulate Audio Fidelity's Dukes of Dixie· land. The result is mostly carnival Dixie· 0 land that can probably attract large audio ences because of its show·biz bravura but a:: >- musically, it's of almost no value. The m Lem Winchester & stereo recording is good with no empty 0 spaces. Even stereo, however, can't make The Ram sey Lewis the plodding rhythm section swing or bring () Trio LP642 originality and individuality to the horn >-IJ..I players. The monophonic version was reo IJ..I ...J viewed in the April HIFI REVIEW. N. H . n:: CJ) • DEEDS, NOT WORDS feat uri ng the « MAX ROACH QUINTET. You Stepped Out CJ) O f A Dream; It's You Or No One; Conver­ a:: sation & 4 others. Riverside RLP 1122 $5.95 0 >- Musical Interest: Modern jazz ::J P'erformance: Good (9 0 Recording: G e nerally good Stereo Directionality: W eak « n:: 0 James Moody Stereo Depth : Shallow z LP637 " LAST This is the best sound this particular « TRAIN FROM group has achieved on record and the OVERBROOK" drums do not dominate except where they I 0 0 -·~""'~,;;in do so by design. Booker Little on trumpet A S'O"URNO I- - is less of a speed freak here and more of a ~ real soloist. The stereo setup has almost 0 0 nothing on the left channel but the bass, m o(S which gives a weird effect, but otherwise ::J the sound is fine. Roach, one of the most z musical drummers in jazz, has several fine « :\1-1;-- IAI) J.-\\li\ L solos and a featured number. R. J. G. UJ 0 RED RODNEY ...J IJ..I • SHADES OF NIGHT featuring JACK LP643 TEAGARDEN. Autumn Leaves; Alone To­ m AHMAD JAMAL gether; Junk Man; Cabin In The Sky & 8 ALBUM Ov

• LUCKY PIERRE-PIERRE DERIVES with Roger Bourdin and his Orchestra. T ro picana Pigalle; Julie la Rou sse; Bambino & 13 others. Monitor MPS 6001 $4.98 Musi cal In terest: Parisian potpourri Perform ance: Chanteur de charme Recording: A bit sharp Stereo Directionality: Too much Stereo Depth : Enough Pierre is not completely lucky-of the sixteen songs heard on this release, he is THE Ot S' STEREO SYSTEM featured on just nine, with the orchestra go· 1(0-8 1 ing it alone on the other seven. Derives' warm, nasal tones caress the melodies achieves the full, true potentia l of stereophonic sound. gently as they should, though s tereo has .Roberts superbly designed transport mechanism, with its hysteresis confined him strictly to the left speaker. synchronous drive motor, provides perfection in pitch - and timing S. G. accuracy of 0 .2%. This, with Roberts excl us ive Multirase Head, gives you professional recording quality found only in • LARRY ELGART AND HIS ORCHES· . far more expensive recording systems. TRA. Once In Love With Amy; Midnight Complete Stereo System $499 Sun; That Old Feeling; Heartaches & 8 others. RCA Victor LSP 1961 $5.98 ROBERTS ELECTRONICS Inc. 1028 N. LA BREA AVE., HOLLYWOOD 38, CAliF. Musical Interest: Limited to dancers Performance: Adequate Recording: Good Stereo Directionality: Uneven Stereo Depth: OK PURCHASING This is good dance music, a carbon copy SIEGFRIED, of the other Elgart who records for Colum­ bia. Brass and saxes are sharply separated, A HI-FI with the rhythm in the middle except on a DON AND DEATH couple of numbers. Maximum s tereo effect SYSTEM? is achieved in the ensemble passages. There PARTIAL LIST are few solos by individual musicians, OF BRANDS everything is in a medium, moderate tempo IN STOCK Send Us Altec Lansing and all the selections are quite short. Electrovoice R.J.G. Jensen Your Hartley University • PALM SPRINGS SUITE composed and Acoustic conducted by Jack Fascinato. Desert Dawn; Research Palm Canyon Drive; San Jacinto Sunset; List Of Janszen Wharfedale Desert Stars & 8 others. Capitol ST 1157 Karlson $5.98 Components Viking Concertone Musical Interest: Limited Bell. G.E. Performance: Slick For A Weathers Harman-Kardon Recording: Excellent Eico • Pilot Stereo Directionality: Adequate Package Sherwood Stereo Depth : Good Acrosound J A hi-Philharmonic spectacular! H ere is Fisher This is a curious LP; one wonders why Wagner in the gently intimate mood of his Bogen. Leak Quotation Dynakit it was done. It is like movie music to a story "Siegfried Idyll." And here is Strauss, as H. H. Scott about Palm Springs, and just about as un­ Neville Card us has described him, "throwing WE WON'T BE Ferrograph masses of tone about him like a lord of UNDERSOLD! Tanberg usual. It's full of cute, frothy little lTicks Pentron without any distinction. The sound is quite creation." This new album is an orchestral Ampro. VM feast and a splendid example of the inter­ A 11 merchandise good and the stereo separation is well done, is brand new, Revere • Chal· pretive powers of Dr. Bruno Walter. . factory fresh & lenger but the music itself is trivial. R. J. G. RICHARD STRAUSS: Don Juan; Death and guaranteed. Wollensak Transfiguration. WAGNER: Siegfried Idyll­ Garrard Miracord • MARCHING ALONG-Eastman Wind Bruno Walter conducting the New York Glaser·Steers Philharmonic ML 5338 Rek·O·Kut Ensemble, Frederick Fennell condo Th e Thun­ GUARANTEED HIGH-FIDELITY AND AIREX Components derer; lights Out; On The Mail & 9 othe rs. STEREO-FIDELITY RECORDS BY Norelco Mercury SR 9(}105 $5.95 Fairchild Pickering. Gray Musical Interest: Mostly warharses RADIO Audio Tape Full Line of Performance: Impeccable CORPORATION Cabinets Recording : Impressive @"Columbia" "MllSterwOI'k s " <"i> Marcas Ro:rr. 64-MR Cortlandt St., N.Y. 7, CO. 7-2131 Stereo Directionality: Just right A di"i!The Kingston Trio's first stereo album is a recording of a live concert at EI Paso, • SWINGIN' PRETTY-KEELY SMITH , Texas. All but one number have been in­ (vocals) with Nelson Riddle and His Or­ cluded in their two previous albums, but chestra. It's Magic; The Man I Love; Some­ particularly passionate admirers of this di­ one To Watch O ve r Me & 9 others. Capitol verting unit may want this one anyway. ST 1145 $4.98 For those who don't have the first two sets, Mu si cal Interest: Keely's best this is an enjoyable introduction to the Pe rformance: How pops should be sung group, all the more so because of the Recording: Excellent heightened presence and increased depth Stereo Directionality: Superior Stereo Depth: Fine made possible by 'stereo. The Trio has a wide range of folk material. They are not This is Keely Smith's most satisfying al­ serious interpreters of folk songs but treat bum yet. Nelson Riddle's arrangements their material as largely light-hearted en­ provide just the kind of springy, swinging tertainment. More showmen than dedicated backgrounds she needs. The scoring is also folk singers, they are not pompous and are assertive enough to complement her own often quite witty. N. H. strength without overpowering her. Keely has a naturally appealing, ungimmicked • THE SEASONS OF LOVE featuring vocal quality. Her phrasing is intelligent GORDON MacRAE. Indian Summer; I' ll and musical, and she has a sure beat. Keely Remember April; Autumn Leaves; Septe m­ is one of the very best pop singers to have ber Song & 7 othe rs. Capitol ST 1146 $5.98 emerged in several years. Capitol's engi­ Musical Interest: Pleasant ballads neers have done right well by her in stereo. Performance: Spotty It's convincing and tasteful. N. H. Recording: Excellent Stereo Directio nality: Adequate • SEA CHANTIES-ROGER WAGNER Stereo Depth: Adequate CHORALE. Eri e Cana l; Rio Gra nde; Low­ This is pleasant, bland and indistin­ lands & 13 others. Capitol SP 8462 $5.98 ONLY SOUNDCRAFT TAPES guished singing that is pretty and has the Musical Interest: Aye aye blessing of thoughtful accompaniment (Van Performance: Sufficiently robust ARE MICROPOLISHED SMOOTH Alexander conducting). The songs are quite Recording: Slight surface noise Unpolished tape surfaces contain micro· good and the over-all effect is somewhat Stereo Directionality: All around scopic irregularities which prevent in­ Ste reo Depth : Good enough romantic. Voice is almost isolated on the timate tape to head contact. It takes right, with the accompaniment split. It is always thrilling to hear a male about 10 plays before these irregularities R.J.G. chorus yo-ho-ho-ing its way through a re­ are smoothed out. During this period cital of sea chanties, and this new release is you lose high frequencies and force your • SLEEP WARM featuring DEAN MAR­ surely one of the best. With Earl Wright­ recorder head to do the job of polishing TIN with orchestra conducted by Frank son's well-ripened baritone leading many the tape surface. This results in excessive Sinatra. Dream; Hit Th e Road To Dream­ of the numbers, the lively and tender songs head wear. Only Soundcraft Tapes are land; All I Do Is Dream O f You; Goodnight, of the sea gain much from the surrounding MICRO POLISHED to assure a mirror-smooth My Love & B others. Capitol ST 1150 $5.98 effects of stereo. S. G. surface. The tape makes immediate in­ Musical Interest: Pleasant pops timate contact with your recorder head, Performance: Relaxed guaranteeing high frequency response Recording: Good Stereo Directionality: Good MISCELLANEOUS right from the first play! Only Sound­ Stereo Depth: Good craft Tapes are MICROPOLIsHED for your protection. Buy Soundcraft Tape-write Although my favorite singer is on this • AROUND THE WORLD IN 80 DAYS for free catalog RS58- IOR. LP, he is only the conductor and as a con­ eVidor Young-Harold Adamson). Jack ductor, he has only one rival: Jackie Glea­ Sa unders Orchestra and Chorus, Franz Al ­ Ask About Soundcraft's 2·Reel son. The music sounds like the Gleason lers condo Everest SDBR 1020 $5.98; Mono­ Everest LPBR 400 I $4.98 Premium Pack-at your dealer now! schmaltz and it fits admirably with the tortoni sweetness of the Martin voice, as Musical In terest: Negligible REEVES he wanders amiably through these good Pe rfo rmance: Worthy of better fare Recording: Ditto songs. R. J. G. Stereo Directionality: Most effective Stereo Depth : Just right SOUNDCRAFT • THE MAGIC TOUCH OF BUCK RAM CORP. AND HIS ORCHESTRA. Only You; Twi­ It seems that as part of all the hoopla light Time; The Great P'retender & 9 others. attending the numerous unveilings of the D ept . RT,' Great P asture Rd., Danbury. Conn. Mercury SR 60067 $5.95; Mono-Mercury film Around the World In 80 Days, a rather 342 N . La Brea. Los Angeles 36, Calif. ;: MG 20392 $3.98 unorthodox ballet was to have been offered Canada: 700 Weston Rd ., Toronto 9, Onto Ii:: JUNE 1959 83 depicting the story in dance with special lyrics written for the musical themes. For one reason or another it was never put on, MY FAIR LADY and Everest has done the next best thing by presenting an aural version. There is certainly no doubt that this com­ pany knows how to use stereo to achieve IN STEREO! the ultimate theatrical effectiveness. Solos and choruses are dramatically deployed at the extremities and in between, with a nota­ bly exciting sequence occurring when Fogg and Passepartout da'sh madly from left to right to catch a moving train. Unfortunate­ ly, however, it is the work itself that is lacking in any real distinction. The popular main theme (actually a rewrite of a pre­ vious Victor Young song called A "Miss You" Kiss) is rather ordinary, and the other music is largely a pasticcio of national melodies corresponding to the various coun­ tries visited. Mr. Adamson's lyrics are of no help. Apparently given little idea of what this was all about, he has merely con­ tributed a collection of trite verses with almost all of them singing the praises of each locale as being the ideal spot for love. Anyway, the production is fine, and I do wish Everest would try again with some­ thing more worthy of their efforts. S. G. In March of 1956 when we recorded "My Fair Lady" with its original Broadway cast • HOLLYWOOD SONG BOOK-NEAL (the album was subsequently purchased by HEFTI and His Orchestra. The Continental; two-and-a-half million people), stereo was The Way You Look Tonight; White Christ­ yet to come. It's here now and with it the mas; Buttons and Bows; All The Way & 19 stereo version of that magnificent show_ others. Coral 7CX-2 2 12" $8.98; Mono­ What about the original cast? Fortunately Coral CX-2 2 12" $7.98 for all of us, the performers who nightly stood New York audiences on their ears have been doing the same thing to Londoners Musical In terest: For idol worshippers Performance: Frequently imaginative since last April. So, a couple of months ago Goddard Lieberson, Columbia Records Recording: Grade-A release President and producer of the original album, Stereo Directionality: Wide screen Stereo Depth: 3-D Herman Levin presents , Almost as a tacit admission of the lack REX HARRISON ~ of competition in the field, Oscars are never JULIE ANDREWS~ awarded to a complete words-and-music MY FAIR LADY score for a musical film, but rather to the book and lyrics by: Alan lay Lerner "best song"-whether it be from a musical, music by: Frederick Loewe a drama, or merely warbled over tlle credits. production staged by: Moss Hart This two-record album contains all the ~9 cnoreography and music:al numbers by; IbayJ Holm Academy Award winners from The Conti­ productioo designed by: _Soiti nental in 1934 to All the Way in 1957, and, , >- cosIumtSdesigned by: C.d krtIII ."h STANLEV as might be expected, there are quite a , , number of great songs along with some aLLOWAY ~ Robert Coote pretty dreary choices. Many of the melo­ Leon~ l d Weir dies were mated to superior lyrics, but Sob ChiShOlm

Hefti has restricted his program only to PlodlJced for rKOnfsby GoddIldLolSOft instrumentals even when he uses a vocal rec:ordtd in London,ftbflWY 1, 1959 Unequalled perfection of tonal chorus, but he does manage to breathe new reproduction-and this new stereo life into many of the pieces. For the most and a: crew of technicians found themselves cartridge saves many times its cost part, he relies on polite jam sessions (The in Walthamstow Town Hall, just outside of Last Time I Saw Paris gets this rather un­ London, recording Rex Harrison, Julie Andrews, Stanley Holloway and the whole by greatly increasing the life of YOUT characteristic treatment), the interplay be­ valuable records and styli. wonderful cast in Guaranteed Stereo-Fidelity. tween piano and strings, and some novel The result must be heard to be believed! Insist on the ESL Gyro/;ewel­ instrumental effects. However, the breath­ You'll understand what we're so excited ing is a bit hard coming into the stretch, the ~ stereo cartridge approved by about when you hear "The Rain in Spain" most noticeably with the dull dance tempo with Rex Harrison saying " I think she's got the High Fidelity COHSumer's Bureau coupling of Three Coins In the Fountain it!" from one speaker and Julie Andrews of Standards. Only $69.95. and Love Is a Many-Splendored Thing. singing the tongue twister from the other. Stereo is unmistakably stereo, with the It'll stand you on your ear. Incidentally a FOR LISTENING AT ITS BEST four-page stereo catalog is included with piano prominent on the left and the strings each album_ Electro-Sonic on the right, with reeds and bass usually MY FAIR LADY-Original Cast Album OS 2015 heard from the left or from the center. (Monophonic-OL 5090) Laboratories, Inc. Incidentally, this collection is a refuta­ Also Available in Stereo Tape I TOB 43 tion of the belief that in order to win an GUARANTEED STEREO-FIDELITY RECORDS BY DeptR'35-H• 36th St· Long Island City6,NY Oscar a writer's name must be Sammy; it may also be Jay or Ray, though it helps if PS: YOII '1/ want the new ESL Gyro/balallce stereo arm his last name is either Livingston or Evans. ICOLUlV1BIAII that makes aI/ cartridges SO li lid better/ Ollly $ 3 4.95. S.G. Jelly Roll Morton, own solos, manages sometimes to project swing piano with rhythm accompaniment in King Oliver. Riverside RLP 12-120 $4.98 the illusion that the group as a whole is swinging. the styles of Teddy Wilson, Erroll Garner Musical Interest: Documentary There is solid if not especially brilliant and others, doing standards and jazz tunes Performance: Convincing bass playing by Joe Benjamin and con­ with elan, flash and lots of rhythm. The Recording: Good sistently accurate time-keeping by Joe Mo­ album was recorded during performances This is a forthright, frank and articulate rello who is besides a drummer of wit and at The Embers in New York. R. J. G. story of the early days in music of the for­ musical imagination. His drum solo in the mer wife of Louis Armstrong, herself a final number is nonetheless too long, and • ERROLL GARNER ENCORES IN HI Fl. Moonglow; Robbins' Nest; Creme De he would, in any case, be more in context jazz figure of no small importance. She Menthe & 6 others. Columbia CL 1141 $3.98 tells of her experiences before meeting in a group whose leader was less like gran­ Armstrong, her encounter with Jelly Roll ite rhythmically. Musical I nterest : Exceptional Morton, and makes a fair claim to being Except for Desmond's allusion to Johnny Performance: Sparkling responsible for Armstrong's early emer­ Hodges in Things Ain't What They Used to Recording: Brilliant gence as a leader on his own. At least, she Be, the profile of Brubeck's The Duke, and certainly encouraged him, once Oliver con­ a few fragments elsewhere, this "tribute" Although these tracks have all been pre­ vinced her Armstrong was the better mu­ to Ellington is more in intent than in prac- viously available on 10 inch LPs, this is a 85 JUNE 1959 'Entertainment Music Miscenany

MORE NEW ITEMS RATED AT A GLANCE

Musical Perform- Recorded Score Title Interest ance Sound BANJO-GREATEST OF THEM ALL-Perry Bechtel ,J,J,J ,J,J,J,J ,J,J,J,J 11 Donkey Serenade, Now Is The Hour, plus Gypsy Medley, Dixie Medley, etc. RCA Victor LPM 1770 $3.98 THE "GO" SOUND-Kirby Stone Four with Jimmy Carroll Orchestra ,J,J,J ,J,J,J,J ,J,J,J,J 11 Don't Cry Joe, Coffee Time, S'posin', You're My Thrill &.8 others. Columbia CL 1290 $3.98 HI-FI FIDDLER'S DELIGHT-Helmut Zacharias & Orchestra ,J,J,J,J ,J,J,J,J ,J,J,J 11 Around The World, Fascination, Tommy, Colonel Bogy March & 10 others. Decca DL 8822 $3.98 HYPNOTIQUE-Martin Denny ,J,J,J ,J,J,J,J ,J,J,J,J 11 We Kiss In A Shadow, Voodoo Dreams, Japanese Sandman & 8 others. Liberty 3102 $3.98 STRINGS IN HI-FI-Pierre Challet Orchestra ,J,J,J ,J,J,J,J ,J,J,J,J 11 Holiday For Strings, Con-Con, Claire de lune, Stardust & 8 others. Mercury MG 20385 $3.98 DANCE ALONG WITH LARRY CLINTON-&.Orchestra ,J,J ,J,J,J,J ,J,J,J,J 10 Volare, Tom Dooley, Non Dimenticar, Dimbombey & 8 others. Kapp 1124 $3.98 DANCING IN THE DARK-Carmen Cavallaro & Orchestra ,J,J,J ,J,J,J,J ,J,J,J 10 September Song, Cocktails For Two, lover, If I Hod You & 8 others. Decca DL 8813 $3.98 ESCAPE TO THE MAGIC MEDITERRANEAN-John Scott Trotter ,J,J,J ,J,J,J,J ,J,J,J 10 Three Coins In The Fountain, Caravan, Arrivederci Roma, Misirlou & 8 others. Warner Bros. W 1266 $3.98 THE KEYS AND I-Eddie Heywood (Piano) & Joe Reisman Orchestra ,J,J,J ,J,J,J,J ,J,J,J 10 Wi(chcraft, All The Way, St. louis Blues, Rendezvous & 8 others. RCA Victor LPM 1900 $3.98 LOVERS' LUAU-Les Paul & Mary Ford ,J,J ,J,J,J,J ,J,J,J,J 10 Blue Hawaii, Sweet leilani, Song Of The Islands & 9 others. Columbia CL 1276 $3.98 LURE OF TAHITI-Terorotua and his Tahitians ,J,J ,J,J,J,J ,J,J,J,J 10 Medley of 15 tunes incident to Tahiti native culture. ABC-Paramount ABC-271 $3.98 LAWRENCE WELK featuring THE LENNON SISTERS ,J,J,J ,J,J,J,J ,J,J,J 10 Allegheny Moon, Tonight You Belong To Me, Toy Tiger, He & 8 others. Coral CRL 57262 $3.98 ARGENTINE TANGOS-Jo Basile, Accordion & Orchestra ,J,J ,J,J,J ,J,J,J,J 9 Jalousie, Adios Pompa Mia, la Cumparsita, Adios Muchachos & 8 others. Audio Fidelity AFLP 1869 $5.95 BAVARIAN NIGHTS ,J,J,J ,J,J,J ,J,J,J 9 Medley of Munich tavern music recorded in Germany. Epic LN 3550 $3.98 JEWELS FROM ITALY-Walter Baracchi, Piano and Rhythm Accompaniment ,J,J,J ,J,J,J ,J,J,J 9 Volare, Domenico e sempre Domenico, Uno Notte a Malogo & 10 others. Vox 25850 $4.98 BLUE HAWAIIAN MOONLIGHT-Alfred Apaka Sings with Accompaniment ,J,J ,J,J,J ,J,J,J 8 To You Sw eetheart, Aloha, little Brown Girl, Song Of The Islands & 9 others. Decca DL 8820 $3.98 J MY KEEPSAKE ALBUM-"Red" Foley ,J,J ,J,J,J ,J,J,J 8 Old Doc Brown, The M o ther Watch, 'Cepting Old Shorty & 8 others. Decca Dl 8806 $3.98 .,., TWO BEERS AND EVERYBODY SINGS-On Location with the Strugglers ,J,J .. ,J,J,J,J 8 Ain't She Sweet, Side By Side, If You Knew Susie, You Are My Sunsoine & 12 others. Warner Bros. W 1257 $3.98

Musical Interest: Excellent .,., ., ., Pleasing Fair ., ., Disappointing # Performance: Superb .,.,.,., Good Adl'!luate .,., Dull ., Recorded Sound: Brilliant if.,.,., OK Fai, ., ., Poor .,

86 HIFI REVIEW valuable collection of 50me of the best per­ Musical Interest: Considerable the mugging shown in the numerous pic­ formances in recent years by one of the few Performance: Valuable tures of him. It carries sly digs at society contemporary musicians who has real sta­ Recording: Ancient (and the more banal the lyrics, the better ture. Gamer is legitimately a performer A mostly fascinating collection of rare suited it was for this) and asides to his in the first ranks of jazz; a stylist whose Jelly Roll Morton sides made between 1923 fellow musicians. Jazz always communi­ ideas and sound have earned him the flat­ and 1926. The first side titles were pre· cates directly and Waller's spirit came tery of countless imitations and the consis· viously released on a lO·inch Riverside; the through stronger than most. Any collection tency of whose performances is the wonder others have not previously been on LP. The of his music deserves a place on every jazz of jazz. He may be the last of the great majority are small band sides. There are shelf, for to miss him is to miss one of the solo pianists; he is certainly one of the best al,so two solo piano performances and two best things jazz has to offer. R. J. G. of all time and his performance on How with clarinetist Volly de Faut. As the notes High the Moon and Robbins' Nest alone point out, the recording is far from high • THEMES FOR AFRICAN DRUMS­ would make him immortal in jazz. R. J. G. fidelity, but the surface noise and limited THE GUY WARREN SOUNDS-Guy War­ range will hardly be a deterrent to the ren (various drums); James Hawthorne Bey, • THE OTHER SIDE OF BENNY GOL· serious jazz collector. There's little here Robert Whitney, Phillip Hepburn (drums); SON - Benny Golson (tenor saxophone): equal to the Red Hot Peppers sales for Vic­ Lawrence Brown (trombone); and on one, Curtis Fuller (trombone): Barry Harris tor that followed, but it's absorbing none­ James Styles (bass) and Earl Griffin (vibes). (Pianol: Jymie Merritt (bass): Philly Joe RCA Victor LPM 1864 $3.98 Jones drums). Strut Time; Jubilation; Symp­ theless to follow this part of Jelly Roll's i toms; Are You Real?; Cry A Blue Tear; This development. N. H. Musical Interest: High and rare Night. Riversi~e RLP 12-290 $4.98 Performance: Excellent THE MAGIC TOUCH OF BUCK RAM (see Recording: Very good Musical Interest: Benny carries it Performance: Golson is the key p.83) Guy Warren is a drummer from Ghana Recording: Good who is much interested in modem jazz. He • NEWK'S TIME-SONNY ROLLINS­ spent some time in America, working in The title is meant to indicate tha~ Golson, Sonny Rollins (tenor saxophone); Wynton the freely improvising tenor saxophonist, Kelly (piano); Doug Watkins (b~ss!; Philly various jazz and quasi-jazz groups, includ­ rather than Golson the writer is spotlighted Joe Jones (drums). Tune Up; ASiatiC Raes; ing one of his own that finally reflected his here. As it happens, there i5 also some at­ Wonderful! Wonderful!; The Surrey With desire to blend African and jazz idioms. tractive Golson writing (most notably, Cry The Fringe On Top; Blues For Philly Joe; This record, a stimulating polyrhythmic, Namely You. Blue Note 4001 $4.98 a Blue Tear). Golson is the most assertive, multi·colored essay, illustrates several of his musical beliefs. Although the music is stimulating improviser on the record. Al­ Musical Interest: Refreshing primarily West African in conception, he though a modernist, he prefers the big tone Performance: Rollins keeps searching does utilize jazz rhythms frequently and oc­ of older players like Don Byas. His style Recording: Very good casionally jazz melodies as well. He chants; is muscular, passionate, and he maintains a One of the more consistent Rollin5 al­ plays bongos and African drums, including logical skein of ideas. bums in recent months, this one underlines the talking drum on which he can play a Of the other soloists, trombonist Curtis the influential tenor saxophonist's extraor­ clear melodic line, and bamboo flute. His as· Fuller seems too reserved too much of the dinarily hot playing. The fire with which sociates were apparently well trained ac­ time. Pianist Barry Harris, the Detroit the man swings, together with the wholly cording to his concepts. Lawrence Brown's musician who has coached a number of the jazz nature of his timbre and phrasing point valuable Detroit·trained jazzmen of the past trombone is used sparingly and mainly to up his strong and deep influences in the provide a thread of color rather than as a few years, plays tran5lucent piano with a jazz language. He is well accompanied by "blowing" instrument. Several of Warren's fine touch, but he could project somewhat the steady Doug Watkins; the brightly in­ melodic themes are attractive. A unique more fire. Fine rhythm team work by Mer­ ventive Wynton Kelly, contributing some of and sometimes very moving album. N. H. ritt and Philly Joe. It's a worthwhile al­ his best recent recorded work here; and bum, mainly for Golson's blowing, but it's Philly Joe Jones, a drummer with as quick not an outstanding one. N. H. a musical mind as Rollins'. • ON THE ROAD JAZZ-Bix Beiderbecke, There's a challenging variety of material, Wingy Manone, Muggsy Spanier. Davenport HI·LOS & ALL THAT JAZZ (see p. 79) including more examples of Rollins' pen· Blues; Tin Roof Blues; Tar Paper Stomp; Sister Kate & 8 others. Riverside RLP 12-127 chant for the unexpected (for jazz) pop $4.98 • JONAH JONES AT THE EMBERS­ tunes such as W onder/ul! W onder/ut! Jonah Jones (trumpet): George Rhodes Whatever he does handle is transformed Musical Interest: Historic piano); John Browne (bass); Harold Austin into jazz and becomes renewed in surpris­ Performance: Good for its time Idrums). From This Moment On; High So­ Recording: Painful ciety; At Sundown & 8 others. RCA Victor ing ways. A basic point about Sonny­ LPM 2004 $3.98 beneath his various exploratory concerns This is a collection of work by some of with rhythm and thematic improvisation­ the first men to emulate the pioneer New Musical Interest: All for Jonah is that he communicates direct, intense emo­ Performance: Warm, swinging trumpet Orleans musicians and it is interesting to Recording: Good tion, as the best of jazz players have from note the lasting authenticity of both Wingy the beginning. N. H. Manone and Muggsy Spanier. They heard Although there is no indication of the the sound of jazz from the original sources fact anywhere on the record, this is a re­ • ONE NEVER KNOWS, DO ONE? fea­ and got frighteningly close to it. Beider­ issue of an album made a few years ago turing FATS WALLER and his Rhythm. Have becke, on the other hand, while more in­ for the then Victor subsidiary, Groove. It'5 A Little Dream On Me; Us On A Bus; Then teresting harmonically than either of the released now on Victor, of course, to try I'll Be Tired Of You; Georgia On My Mind others, was basically less gifted with the to capitalize on Jonah's strongly selling & 12 others. RCA Victor LPM-1503 $3.98 eloquent cry of jazz, bright though his im­ Capitol albums. Like the Capitols, this is provisations may be. A strictly historical easily assimilable, swinging jazz. The ar­ Musical Interest: Timeless LP, this, but well worth having. R. J. G. rangements and the piano solos are too Performance: Charming often bland, however, and only Jonah's Recording: Pre-hi-fi playing is really hot; but he is in fine form The music of Fats Waller, rollicking and POPS and to some extent is freer here than in loaded to the brim with effervescent good several of the later Capitols. N. H. cheer, is a sturdy survival of the pre-hi-fi • BROADWAY IN RHYTHM-RAY recording era and thi5 LP (with its com­ CONNIFF and His Orchestra and Chorus­ MISS GLORIA LYNNE SINGS (see p. 79) panion volume, RCA Camden 473) shows Oklahoma; Hello, Young Lovers; Bali Ha'i & off an excellent cross section. Waller de­ 10 others. Columbia CL 1252 $3.98 • THE INCOMPARABLE JELLY ROLL veloped the full piano sound in swing style Musical Interest: Broadway's best MORTON-HIS RAREST RECORDINGS­ to its utmost. He combined wit and a gift Jelly Roll Morton (piano) and various per­ Performance: A fast shuffle for entertaining with the ability to swing Recording: Could use bass sonnels. Muddy Water Blues; Wolverine Ray Conniff .has made quite a thing of Blues; Mr. Jelly Lord & 9 others. Riverside almost anything that could be played on RLP 12-128 $4.98 the piano. His voice is an aural parallel to interpreting standard tunes in a steady, al- JUNE 1959 87 RATE: 35¢ per word. Minimum 10 words. August Issuo closes June Srd. Send order and remittance to: HiFi REVIEW, One Park Ave .• New York 16. N. Y. SAVE $$$. Fresh 8mm, 16mm B&W and color film. Home Processing Equipment. Free Catalog. Supenor Bulk Film Co., 458 N. Wells, Chicago 10. EQUIPMENT and REPAIRS and SERV·ICING ACCESSORIES

PROFESSIONAL Hi-Fi repairs. New ~reclslon method MISCELLANEOUS · restores peak performance ine xpe nsively. laboratory DISGUSTED with "HI" Hi Fi Prices? Unusual Dis­ test report included. Bring or ship defective com­ counts On Your High Fidel ity Requirements. Write ponents to Bremy Electronics, 394 East 18th Street, Key Electronics, 120 Liberty St., New York 6, N. Y. Paterson 4, New Jersey. Tel. : LAmbert 5-119l. EVergreen 4-607l. OPTICAL Bargains-Request free Giant Catalog "CL" ALL Makes High Fidelity Speakers Repaired. Amprite, 96 pages-Astronomical Telescopes, Microscopes, SOUNDTASTIC-That's what our customers are saying 70 Vesey St., N. Y. 7, N. Y. BA 7-2580. Lenses, Binoculars, Kits, Parts. Amazing war surplus " upon receiving our price sheets on our latest High "SERVICING Record Changers" "Hi-Fi Simplified" bargains. Edmund Scientific Co., Barrington, New Fidelity Stereo and Monaural , amplifiers, tuners, turn­ Jersey. tables, speakers, tape recorders, kits. All brand new "Servicing Tape Recorders" $3.50 each postpaid. with factory guarantee. Prompt in-stock service. Free Books, P.O. Box 33 , Merriam, Kansas. BARBELLS , Courses , Apparatus . Catalogue lO C. Good selector and planning booklet # M, available on re­ Barbell Co., Dept. D, Siloam Springs, Arkansas. quest. Audio World, 2057 Coney Island Ave., Brooklyn ELECTRIC Pencil : Engraves all Metals, $2.00. Beyer 23, N. Y. Mfg., 10511-ZD Springfield, Chicago 43. AMPEX, Concertone, Crown , Ferrograph, Presto, Tand­ BIZARRE Fashions! Illustrated Catalogue, $l.00. berg, Pentron, Bell , Sherwood , Rek-O-K ut, Dynakit, RECORDS Renee ' , Box 2804-P, Hollywood 28, Calif. others. Trades . Boynton Studio, Dept. HM , 10 Pennsyl­ vania Ave ., Tu ckahoe , N. Y. WRITE for quotation on any Hi Fi components. Sound RECORDS & Tap es-Factory Fresh-All labels-Dis­ Reproduction Inc., 34 New St., Newark, N. J. Mitchell count Pri ces-Free Catalog. G.T.R.S. , Box A-102, ON SALE NOW AT NEWSSTANDS­ 2·6816. Wantagh:o"..:.N::,''':Y'':'' -",...-,.--c::---c::----::---;---:;­ JOIN-the club that offers fine recordings from all OR ORDER BY MAIL TODAY! HI-FI Haven , New Jersey's leading sound center. Write labels. Stereo & Monaural-Tape & Disc. Write: The for information on unique mail order plan that offers Definitive Re cordings Club. 11024 Magnolia Blvd ., professional advice and low. 28 Easton Avenue, New North Hollywood, Calif. Brunswick, N. J. POPULAR PHOTOGRAPHY'S UNUSUAL Values. Hi-Fi Components, tapes and tape recorders. Free Catalogue MR. Stereo Center, 51 1959 W. 35 St., N. Y. C. l. PRICES? The Best! Factory-sealed Hi-Fi components? MISCE~lANEOUS Yes! Send for Free Catalog. Audion, 25R Oxford Road, Massapequa, l. I., N. Y. SEll: Georgian deluxe speaker system. Thomas Abate, "MUSICAL Stationery" 50 sheets, 25 envelopes $l.50_ 2015 East 15 Street, Brooklyn, N. Y. Stationery, P.O. Box 33, Merriam, Kansas. SALE: 78 R.P.M . Recordings, 1902-1950. Many types. CUSTOM Made protective turntable covers of trans­ COLOR Free lists. Collections bought. Mr. Ellie Hirschmann, parent Plexiglas. Send inside dimensions to and P.O.B. 155 (HM), Verona, N. L • request price from Tolo Industries, 30 East 21st Street, New York 10, N. Y. UNWANTED LP's bought for cash. leonard Reder, 119 Elm Street, Pittsfield, Mass. I NDUCTORS for Crossover networks. 118 types in stock. Send for brochure. C & M Coils, 3016 Holmes Ave., N.W., Huntsville, Ala . SHOPPING GUIDE ANNUAL HI-FI lowest quotes: write for prices. R. Bruna, 162 E. Cook Ave ., Libertyville, Illinois. Classified ELECTROSONIC arm, transformer and cartridge. New. Here's the publication photogra­ In anginal carton. $75.00. I. E. Greenfield, Jr., P.O. Box 271, Miami, Fla. A HANDY GUIDE TO PRODUCTS AND SERVICES, NOT phers everywhere have awaited­ HIGH Fidelity-I-53. Highest offer. Express collect. NECESSARilY IN THE HIGH FIDELITY FIELD, BUT OF W. l. Hickling, RR-2 , Box 42 , Perkasie, Pa. WIDE GENERAL INTEREST, the 1959 COLOR ANNUAL! Com­ SELL: Viking FF75SU tape player, ten stereo tapes $95. ~~bi:i7~g~t, 655 Madison Avenue, New York 21, N. Y. piled by the editors of P OPULAR BUSINESS OPPORTUNITIES PHOTOGRAPHY, it's a handsome 172-page tour of the breath-tak­

MAKE $25-$50 Week, clipping newspaper items for ing world of color photography! publishers. Some clippings wo rth $5.00 each. Par­ ~ TAPEAND ~ ticulars free. National, 81-DG, Knickerbocker Station, New York. f . TAPE RECORDERS The 1959 COLOR ANNUAL is on sale now at newsstands or order TAPE recorders, Hi-Fi components, Sleep learning Equipment, tapes. Unusual values. Free Catalog. STAMPS & COINS by mail today-using the handy Dressner, 69-02HF 174 Street, Flushing 65, New York. RECORDERS, Tape Decks, Stereo Tapes , Accessories, coupon below_ Excellent Values, Catalogue, Etsco, 270 Concord, West J Hempstead, New York. 307 WORLDWIDE Different stamps only 35¢ , Approvals. Niagastamp, St. Catherines 690, Ontario, HI-FI, Recorders. Free Wholesale Catalogue. Carston j------215-L, East 88, N. Y. C. 28. ' I Ziff-Davis Publishing Company RECORDS, Masters, Pressings and Tapes (Stereo or I Department H6/9 Monaural, duplicated from your tapes or discs Quan ­ PHOTOGRAPHY -FILM, tity discounts, specialized serv ices. Write:""Merle ~ ~!~c~~~t~, ~~::i~h Avenue Enterpnses, Box 145, Lombard, Illinois. EQUIPMENT, SERVICES Please send me a copy of the 1959 COLOR LEARN . While Asleep with your recorder. Amazing ANNUAL. I enclose $1.25, the cost of the book gives full instructions. $2.00. Satisfaction guar­ ANNUAL, plus lOc to cover mailing and anteed. Sleep-learning Research Association, P.O. MESTON 'S the preferred 35mm color slides. Top qual­ handling charges. Box 24-MR, Olympia, Washington. Ity, biggest library, best package. Exciting Preview TAPE Buy Splice free. Professional Quality. 40/ 50,- Package four slides hermetica lly sealed in plastic NAME ______000 CPS. Permanently lubricated. Money back guar­ plus 80 page catalog only $l.00. Meston 's Travels, antee. 7" Boxed reels. Acetate 1'/2 mil 1200' 4/ $520' Dept. HI , 3801 N. Piedras , EI Paso , Te xas. ADDRESS ______1800'. 1 mil 4/ $6.75; Mylar 1800' 1 mil 4/ $9.60; 2400: BINOCULAR specialists, all makes repaired. Authorized '/2 mil 4/ $13.00. Postage 15¢ per reel. Hi-Sonic Box Bausch Lomb, Zeiss, Hensoldt, Bushnell dealer. Tele­ CITY______ZON L-STATE__ __ 86F, New York 63, N. Y. ' Optics, 5514 Lawrence, Chicago 30, Illinois. .------88 HIFI REVIEW most monotonous shuffie rhythm, abetted by a wordless vocal chorus employed in the manner of another instrumental section. Here he goes after some of the songs from HI'FI MARKET PL:ACE Oklahoma!, The King and J, My Fair Lady and South Pacific and does an excellent job in stripping them of the individuality and attractiveness they normally possess. S. G. "BUCK STRETCHER" HI-FI VALUES! STEREO "THEATER COVERAGE" • LOVE IS A SEASON-EYDIE GORME Expand the buying power -with Orchestra, Don Costa condo April of your Hi-Fi dollar at FOR THE HOME & Sun Radio with substantial Sh owers; September Song ; 'Ti s Autumn 9 savings on new and fully Developed by Hollywood Engineer, AES oth ers. ABC Paramount ABC-273 $3.98 guaranteed name brand Hi-Fi components! Get the full range of sound ANYWHERE IN THE Mu sica I Interest: High average ROOM by converting your present speakers or Send for our special price QUO­ Performance : Consistently good tations and our Hi-Fi package building new speakers from our plans! You 'll Recordi ng: Fair have no "dead spots," no "phantom channels"! special.! Depl. W9 You ' ll have balanced, full-range stereo ANY­ Eydie Gorme is always a dependable per­ SUN Radio & Electronics (0., Inc. PLACE IN THE ROOM ... just as in a theater!! former, and in this collection she has chosen 650 6th Ave., New York II, N. Y. This new principle has been scientifically de­ Phone: ORegon 5-8600 veloped, tested and proven in our own labora­ an appealing group of songs dealing mostly tories. Complete set of plans which include 14 ! with the effects of the solstice and the drawings and the facts "What is Stereo," equinox upon the heart. Along with the only $2.00 ppd. almost inevitable items usually heard in this STEREO DESIGNERS sort of thing are two fine Bart Howard 3377 Charleston Way, Hollywood 28, Calif. t pieces, the title song and On the First Warm Day, and a poetic, haunting plaint by Don Hunt called When the Wind Was UDou&le Green. S. G. THE FINEST OF ITS KIND ••• Get more FM stations with the world's most powerful FM Yogi Antenna systems. Decker'1 • WHY FIGHT THE FEELING? - ROY HAMILTON (vocals) with Music Arranged To be fully informed, and Conducted by Neal Hefti. I Could send 25~ for book RECORD Write A Boo k; Let's Do It; Love Me & 9 "Theme And Varia· tions" by L F 8. Carini RACK! others . Epic LN 3545 $3.98 The "Professional" will hold and containing FM 225 LP', nnd m. them nlpl,.­ Mu sic al In terest: One of his best betica lIy so you ca n plan your Perform ance: Improving Station Directory. own private ooncerts at home. Of sturdY black wrought iron, Recording: Very good it rolls QuietIy on 2" casters. APPARATUS DEVELOPMENT CO. Movable plastic guards hold Roy Hamilton has matured markedly records upright and allow col­ lection to grow . Measures since his return to -singing after an illness. Wethersfield 9, Connecticut 37"H . 15"W. 22"D. P Ie ns. remit $19.95 or cllg, D iners' His previous tendency was to be overstyl­ Acct. Expres s ehg. collected ized to the point of interpolating obvious on delivery, UncondItional 95 gimmicks like a hugely wobbling vibrato ~!~k ~1:;:a n t~~n ey $19 into nearly all his interpretations. Accord­ ingly, his phrasing often came close to HI-FI SALONS Heavy uuge black caricature. He is straining much less now, wroughl iron . Tefl nparate comparl .. and on several numbers, is notably relaxed. AND RECORD STORES! menh. desiRned by Hamilton -still has a strong voice, projects an ouhtandinR arti ~ sin 10 accommo~ much emotion, and could become one of the Someone "borrowing" your per­ d.te 110 Lip .t. bums; leaturn I better pop singers. N. H. sonal copy of HiFi REVIEW each top !Ihell for the ,jackeh 01 , records month? You ought to be taking in U!le , Menurn 'Ulh x 24 x 10". A • REUNION IN RHYTHM-FRANKIE advantage of HiFi REVIEW's 'must lor Ihe dedi· cated audiophile. LAINE (vocals) with Orchestra Conducted convenient re-sale plan. Sell copies Completely nnrn .. by Michel Legrand. I Forgot Th e Time; in your store .•• perform a good bledCh. :. "ominal (I:». Blu e Moon; Marie & 9 others. Columbia CL service for your customers _ .. 1277 $3.98 $ with no risk involved. For details, Musical Interest: Flashy write: Direct Sales Department, Performance : I:aine not wholly at ease Reco rd ing: Fine HiFi REVIEW, One Park Ave., ------! New York 16, N. Y. ------::-::-:- : It is true that Michel Legrand's back­ grounds for Frankie Laine in their second collaboration are more stimulating than the arrangements that are machine-made for SEND name most pop singers. There is also the liability '. - Legrand characteristically uses too many HiFi REVIEW devices ; and at medium and up tempos, address both Legrand'll orchestra and Laine sound rather strained. Except· for a few ballad EVERY MONTH city zone state passages, this album is neither relaxed nor Check one: 0 3 years for $10 spontaneously buoyant. But then the huf­ o 2 years for $ 7 fing and puffing Laine rarely is one or the o 1 year for $ 4 other_ Legrand, this listener is becoming In the U. S., its posse ssion s and Canada more and more convinced, has turned him­ Foreign rates: Pan American Union self into a slick craftsman rather than a countries, add $.50 really creative writer. The waole effort re­ per year; all other flects calculated showmanship, but little foreign countries, organic invention_ N. H. add $1.00 per year_ Mail to: HiFi REVIEW H.6·9 • FOR LP FANS ONLY-ELVIS PRESLEY 434 S. Wabash Ave., Chicago 5, Ill. (vocals) . Poor Boy; I Was The One; You're JUNE 1959 89 A Heartbreaker & 7 others. RCA Victor LPM obtrusive, and senSItIve. Her own singing 1990 $3.98 . is gentle, intelligent, in tune, and thorough· PLEASANT Musica l In terest : Mostly invigorating ly relaxing. And most of the material has Perfo rma nce: Some vintage Presley proved to be durable. N. H MEMORIES Record i n g: Spotty These are early Presley recordings that l(EN FFIN AT THE GAN have not been available on LP up to now. MISCELLANEOUS It Had to Bt You; St,tunbtr in tbe RaiD; 10 an Eigbtwllb·Century Drawing Room; Presley has acknowledged as his main in­ Swedburt; Danny Boy; Sleepy-Time Gal; Whtn Yoo W~ a Tulip; Auf Witdusch'lI, Indiana: Easle"r Parade: Dreame;of Drtams: Pooy-Soy: Rememh'rint fluences two Negro blues singers, Big Boy Crudup (country blues in his origins) and • AGES OF MAN (Shakespeare). Sir 10e Turner (city blues) . In Presley's earlier John Gielgud. Columbia OL 5390 $4.98 records, there was sometimes a raw, urgent Interest: U nquestiona ble and quite effective amalgam of Negro and Performance: Remarkable white southern blues and other folk·based Recording: Fine, except for slight echoes strains. With one exception-a banal ballad, I Sir 10hn Gielgud's readings from Shakes· Was The One-all of the eight sides here peare called Ages of Man was surely one that were recorded from December, 1955 to of the major theatrical events of the season, February, 1956, have at least a few arrest· and now in abridged form it becomes one ing passages. Among the best are his ver­ of the major recording even~s of the season. sions of Crudup's My Baby Lejt Me and As he uses little more than his yoice in his That's All Right; Lawdy Miss Clawdy; and stage performance, his ability to express Mystery Train. There are two songs from the emotions of a multitude of Shakespear­ September, 1956-Playing jor Keeps and ean characters comes through beautifully If you're one of those people who moan about on the record, aided by his own very brief how they don't write songs the way they used Poor Boy. By then, as his popularity had to, you need not suffer. Listen to the old ones. mounted, the sentimentality and exagger­ introductory remarks. And what better way to enjoy them is there ated phrasing that had previously been The recital conforms roughly to three of than listening to the organ wizardry of Ken subordinated to more earthy influences had the seven ages of man as enumerated by Griffin in an album that's just chock full of become dominant. His backgrounds had 1 acques in As You Like It, though I should songs like mother used to make. also become slicker. But those who auto· not advise paying too strict attention to REMEMBERING-Ken Griffin at the Organ what should or should not be placed under CL 1289 matically condemn Presley as a wriggling noisemaker should listen to the honestly ex· the headings of Youth, Manhood, or Old GUARANTEED HIGH-FIDELITY AND Age. It is enough merely to enjoy some STEREO-FIDELITY RECORDS BY pressive singing of some of these older per­ formances. N. H_ of the greatest poetic passages written in the English language and to hear them in­ ICOLUlMBIAIl • THE REMARKABLE MONSIEUR HEN. terpreted by a master. Complete text is en· closed in the jacket. S. G. "Columbi." 'l' Marcas R~ . Adivi$i .. 01 Columbia Broadcastin& System.tnc. RI SALVADOR with Orchestr~. Sarah; Ma­ zurka pour ma vie; La guerre en dentelles & 9 others. Kapp KL-1122 $3.98 AROUND THE WORLD IN 80 DAYS {see Musical Interest: Beaucoup p.83} HiFi REVIEW HAS A Performance: Extraordinaire Recording: Parfait BUYER FOR YOUR HOLLYWOOD SONG BOOK-HEFTI (see One of France's most gifted and versatile p.84) USED EQUIPMENT singers is M. Henri Salvador, a gentleman who writes most of his own material and • THE SICK HUMOR OF LENNY BRUCE If you have hi·fi equipment, acces­ who can do comic, rhythmic and romantic Lenny Bruce (comedian). Adolf Hitler And sories or records to sell, look to the numbers with equal ease. Apart from M.C.A.; Rel igions, Inc. & 4 other routines. classified columns of HiFi REVIEW Mazurka pour ma vie and Cecilia which Fantasy 7003 $4.98 for fast results. are almost melodically identical, the current In terest: Like sardonic jazz album contains an impressively assorted Perfo rmance: Therapeutic Your message, placed in our classi­ conglomerate including Colonel Bogey, in Recording : O.K. for location fied columns, will be read by more which M. Salvador tries to teach a chorus than 123,000 hi-fi fans. Best of all, how to whistle; the completely delightful In the past couple of years, a new, biting­ Le Gars de Rochechouart; and Blouse du ly irreverent species of night club come­ your classified ad costs you only 35c dian has arrived in Mort Sahl, Shelly Ber­ per word (including name and ad­ dentiste, growled out Ii la Louis Armstrong. In his whispery approach to the romantic man, and Mike Nichols' and Elaine May. dress) . For further in formation airs, listeners may detect a bit of Mathis Compared to Lenny Bruce, however, the write: in his method, but rest assured M. Salvador previously cited non·conformists seem like arch conservatives. Whereas Sahl, Berman Martin Lincoln has been around for quite some time. No translations on the jacket, however. S. J. and Nichols-May criticize our society, Bruce HiFi REVIEW comes close to annihilating sections of it. He is afraid of no subject nor of offending One Park Avenue • I'LL BE SEEING YOU-JO STAFFORD any group. Witness his slashing, largely New York 16, New York (vocals) with Paul Weston and His Orches­ tra. I' ll Walk Alone; I'll Be Seeing You; I hilarious Religions, Inc. Should Care & 9 others. Columbia CL 1262 Through a whole album, however, it be· $3.98 comes clear that Mr. Bruce could use a good J UNHAPPY editor. He was more effective on his few Musical Interest: Very high for pops appearances in Fantasy's Interviews oj Our WITH "HI" Perfo rmance: Superior musicianship Recordin<;J: Very good Times (7001) when he didn't have to carry HI-FI PRICES? the whole set. In all his routines here, tight­ Write us your hi-Ii needs This album is a skilful example of how ening would have been advisable. Bruce -you'lt be pleasantly sur­ consistently soothing and tasteful popular works in several voices, but the only time prised. Ask for our free singing can be. Miss Stafford has chosen audio catalog, too. on this album when he actually sounds like ballads that were popular during the last different people is R eligions, Inc. Despite KEY ELECTRONICS CO. war, most of them songs she broadcast and 120 Liberty St. its unevenness, the album is recommended N.Y. 6, N.Y. recorded to the continual pleasure of serv­ to anyone who doesn't vote straight tickets. EVergreen 4-6071 icemen overseas. The arrangements by her It was apparently recorded before a live husband, Paul Weston, are admirably un- audience. N. H. HIFI REvmw Hifi Review JUNE 1959 'nde-x. of Advertisers • Code Page No. Advertiser No I. REVIEW 69 Airex Radio Corporation ...... " 82 3 Allied Radio ...... 8 2 Altec Lansing Corporation ...... 17, 68 100 Apparatus Development Co...... 89 INFORMATION 156 Argo Record Corporation ...... 81 5 Audio Devices, Inc...... 69 83 Audio Fidelity, Inc...... 3 SERVICE 7 Bogen·Presto Company ...... •.... 72 9 British Industries Corp...... 4 Here's how you can get additional informa­ 114 Capitol Records ...... 19 tion, promptly and atno charge, concerning 37 Clevite Walco ...... 24 the products advertised in this issue of Hi 111 Columbia LP Record Club ...... 9 Fi REVIEW. This free infortnation will add I 151 Columbia ...... 74, 82 , 84, 90 to your understanding of high fidelity and 164 Concert Cabinetry ...... 75 the equipment, records and tape necessary 157 Conrac, Inc...... 22 for its fullest enjoyment. 126 Duotone Company, Inc...... 14 146 Dynaco Inc ...... 30 10 EICO ...... •• ... 32 Print or type your name and address on 165 Electronic Organ Arts, Inc...... 70 1 the coupon below. 115 Electro·Sonic Laboratories, Inc...... 84 11 Electro·Voice, Inc...... 4th Cover 62 Ercona Corporation ...... 70 Check in the alphabetical advertising index, 13 Fisher Radio Corporation...... 11 2 left, for the names of the advertisers in 9 Garrard Sales Corporation...... 4 whose products you are interested. 14 Glaser·Steers Corporation ...... 6 141 Gray High Fidelity Division ...... 67 In front of each advertiser's name is .a 27 Grommes-Division of Precision code number. Circle the appropriate num· Electronics Inc...... 12 3 ber on the coupon belo.w. You may circle 99 Harman·Kardon, Inc...... 2nd Cover 41 Heath Company ...... 25, 26, 27, 28, 29 as many numbers as you wish. Hi Fi Review Classified ...... 90 Hi Fi Review Subscriptions ...... 89 Add up the number of requests you have Jones Box Corp., Jesse...... 75 made and write the total in the total box. 86 Key Electronics Co ...... " 90 4 45 Lafayette Radio ...... 16 20 Lan sing Sound, Inc., James B...... 7 Cut out the coupon and mail it to: 88 Leslie Creations ...... 89 5 46 London Records ...... 65 47 Louisville Philharmonic Society ...... 63 Hi Fi REVIEW 132 Miller International Co ...... 3rd Cover P.O. Box 1778 50 Minnesota Mining and Manufacturing Company ...... 31 CHURCH STREET STATION New York 8, New York 162 Nagoya Associates Inc...... 89 51 Newcomb Audio Products Co ...... 61 52 Nuclear Products Co ...... " 74 Hi Fi REVIEW 25 Pickering & Company, Inc...... 75 Box 1778 TOTAL NUMBER r----I Popular Photography Color Annual. . . . . 88 CHURCH STREET STATION OF REQUESTS '---..J New York 8, New York 62 R & A Speakers...... 70 ( 54 RCA Victor ...... 78 Please send me additional information concerning the products of the advertisers whose code numbers I have circled. 109 Radio Shack Corporation. ... . • ...... 71 79 Reeves Sound craft Corp...... 83 2 3 5 7 9 10 11 13 14 20 25 27 29 66 Rek·O·Kut Co ., Inc ...... 20 30 34 37 41 45 46 47 50 51 52 54 62 66 91 Roberts Electronics Inc...... 82 105 Rockbar Corporation ...... 15 67 68 69 79 83 86 88 91 97 98 99 100 105 29 Scott In c., H. H...... 23 109 111 114 115 121 126 132 141 146 151 156 157 162 30 Sherwood Electronics Laboratories, Inc. '::7 97 Stephens Trusonic Inc...... 13 163 164 165 163 Stereo Designers ...... 89 98 Stromberg·Carlson ...... 76 , 77 NAME 121 Sun Radio & Electronics Co ., Inc .. . .. 89 34 University Loudspeaker, Inc...... 10 ADDRESS 67 Urania Records ...... 84 CITY ZONE __STATE; 68 Westminster ...... 58 JUNE 1959 91 Worried About Speaker Phasing? Stereo records and stereo cartridges are particularly susceptible to record· changer and turntable rumble. In • In many of our feature articles on stereo equipment, normal usage, the audiophile will find that rumble at the and particularly in the "Flipside" editorials, the decep­ same aural level as the .-:-20 db. tone would be excep­ tive problem of correct speaker phasing has been dis­ tionally annoying and distracting. Better quality record cussed. If stereo speakers are not properly phased, there changers and most.manual turntables will have little or is usually a loss of bass plus an annoying tendency for no rumble that can be :heard at the -30 db. level. The the system to continuously sound "unbalanced." best quality units will. have no audible rumble at the The day before this was written, I had the opportunity - 40 and -50 db. levels. to check stereo speaker phasing with the simplest and The unusual fa«~t a,bQut this record is that all the most foolp'roof method I have yet encountered. It was tests can be made. by the inexperienced audiophile or unnecessary to disconnect and reconnect the speaker novice hi-fi enthusiast. There is no complicated instruc· leads, and I did not have to wrestle one speaker across tion sheet to be deCiphered beforehand. The record it­ the floor to face the other; nor was it necessary to rely self is a 7-inch disc with a reinforced center plate to on guesswork as to whether the bass notes were as loud resist warping. As indicated above, the price is only as they should be. This simplified method was a small $1.00 and the record is available from ELECTRONICS part of a brand new stereo test record being offered to WORLD, P.O. Box 211, New York 46, New York. audiophiles for only $1.00. As many readers are aware, HiFi REVIEW is but one of three monthly magazines published by Ziff-Davis in Miniaturization-Do We Nee'd It? the eiectronics field. Our sister publications are ELEC­ TRONICS WORLD (recently RADIO & TV NEWS) • A few days ago a letter crossed my desk from Sam and POPULAR ELECTRONICS. The editors of ELEC­ Greenbaum, saying, "Let's get started on miniaturization TRONICS WORLD were long «oncerned with the rash of hi-fi equlpment now." In my reply I pointed out that of stereo test records that necessitated either expensive manufacturers have shrunk speaker systems to the limit test equipment or an engineering background. They of their ability and frequently at the sacrifice of true have come up with what I personally consider the best high fidelity sound. Amplifiers have just about reached te?t record for aural checking of a stereo system. This in­ the limit of compactness. The problem of heat dissipa­ cludes not only the speaker phasing idea mentioned tion from the tubes and where to put the output trans­ above, but speaker balancing, turntable rumble, chan­ former iron, remain with us. Some smaller size FM nel-to-channel separation and channel identification. tuners will be offered to the public in the fall, but most If the record is played at a moderately high volume manufacturers feel that the market for miniaturized level, the listener may also use the RIAA equalization hi-fi equipul.ent is still well around the corner. test tones to balance either a stereo or a mono system The pride of ownership, or "showcasing" hi-fi equip­ from 40 to 15,000 cycles. (A voltmeter can be used to ment continues to dominate the field. Possibly there is obtain a more accurate reading, or the May issue of an untappell market for miniaturized equipment-what ELECTRONICS WORLD suggests several alternative do you think? methods using flashlight batteries and flashlight bulbs.) The RIAA equalization test is especially useful when you suspect that the amplifier is not truly "flat." In other A Few Words on Equipment Editorial Matters words, with the record compensation switch in the RIAA position and the tone controls nominally-but mechan­ • Last month HIFI REVIEW introduced a new technique ically-flat, the low or high end response is either too in reporting our findings on hi-fi components. The article great or too little. Because this information is cut into in question concerned "mail-order" stereo AM/FM the record on a lateral groove basis, this test can be used tuners. At the bottom of page 46 we asked for opinions monophonically as well as stereophonically. on the particular type of editorial treatment we had The speaker phasing test consists of consecutive 100 published. As this is .being written, comments are being cycle test tones. The first test tone should be louder­ received and in general they have been very favorable. aurally-than the second. It is cut into the record on a In this issue, on page 42, we have presented our second lateral groove basis. The second 100 cycle test tone, article using this new side-by-side editorial ·treatment. produced by opposite phas.e sigl).als, produces a vertical If you read this article, I would like to hear your re­ cut, sometimes referred to' as a "hill-and-dale" cut. If action on whether or not we should pursue this partic­ the listener situates himself midway between the two ular editorial treatment, or possibly render extensive speakers and on a line equidistant from both speakers, editorial treatment to a specific item, such as the Audio the first tone should be noticeably louder than the sec­ Baton appearing on page 44. ond tone-assuming that the speakers are in phase. We have tempor!lrily suspended our "HiFindings" Turntable rumble may also be measured with this new column in order to test these new editorial treatments. test record. Four different 100 cycle signal levels are Your letters and cards will act as an invaluable guide cut (45-45) into one of the bands. These four levels are in laying out our editorial plans for this coming fall II referenced at -20 db., -30 db., -40 db., and -50 db. and winter. 92 PRINTED IN U.S.A. HIFI REVIEW 11 the World's Best Stereo Records in any program category 2.98 each Stereo 12" L.P.

Stereo-Fidelity is Manufactured by Miller International Co . Write for complete catalogue to Dept. 101 D.M .-Box #45, Swarthmore, Pa. Electro-Voice, Inc. Dept. 69-F I Buchanan, Michigan

Gentlemen: Please send me free illustrated litera­ ture on E-V kits, enclosures and speakers.

NAME~ ______

AD DR ESS, ______

CITY ___.,.-- __--L.ZONL-STATL..E ____ - --... ------~