Boulez: Composer Into Conductor Budget Your Stereo Dollar Wisely

STEREO EQUIPMENT RECORDS MUSIC MARCH 1968 M HIS H Fl II E LITT/

Amplified Instruments, Music or Noise? How to Judge an Amplifier Boulez: Composer into Conductor Budget Your Stereo Dollar Wisely

www.americanradiohistory.com ,,,,,,,,,o, 00 90_ 92. 94 96 90 100 102 104 106 101 100

lE '10 00 i:-9 - 140 160

The new Fisher 550-T.

www.americanradiohistory.com The 550-T has both AM and FM.

The 550 -T AM/FM-stereo re- microvolts- weaksignalscansound Ir ceiver pulls in twice as many sta- like strong local stations. Mail this coupon as the 500 -T. Because it has A seventh IC is used for muting tions for your free copy Which means and for the d'Arsonval twice as many bands. controlling of The Fisher Hand- you can at last listen to your favor- tuning meter. And Fisher's pat- book 1968. This ite news, sports, or AM -music ented Stereo Beacon* signals the 80 -page reference station without distortion. presence of a stereo station and guide to hi -fi and The AM -tuner section of the a utcmatica I ly switches to the stereo stereoalso includes 550 -T is really special. Unlike most mode. detailed informa- commercial AM -tuner sections, this A word about the amplifier section on all Fisher components. new Fisher receiver has two (not tion, identical in both the 550 -T just one) transistors in both the RF and 500 -T receivers. With 90 watts Fisher Radio Corporation and mixer stages. These extra tran- music power (IHF), the 550 -T can 11 -35 45th Road sistors permit reception, without drive even the most inefficient Long Island City, N.Y. 11101 overload or distortion, of a wide speaker systems. Distortion, hum range of signal strengths. and noise are virtually unmeasur- Name We wouldn't want you to think able. And the receiver includes that in improving the AM section jacks, switches and controls for Address we've slighted the FM section. every imaginable function. Actually, the 550 -T has a more ad- So stop at any hi -fi shop or at City State Zip vanced FM -tuner section than any the audio department of your 010368 other receiver under$450. favorite store. Compare the Fisher To perform the functions of IF 550 -T ($449.95**) with the Fisher amplification and of limiting, the 500 -T ($399.50 * *). (Other Fisher 550 -T has 6 separate IC's and 2 receivers from $299.95 to FET's. IHF sensitivity on FM is 1.8 $499.50.) The Fisher

CIRCLE 31 ON READER -SERVICE CARD

U.S. PATENT NUNBES 324040 WALNUT CsiMET SSA 9, www.americanradiohistory.com The new Fisher 550-T and the famous Fisher 500-T are equally sensitive. So why does the 550-T pull in twice as many stations?

www.americanradiohistory.com The famous Fisher 500-T.

www.americanradiohistory.com The X factor in the new Pickering XV 15.

The X in the new Pickering XV -15 stands for the the egg, the end result can be presented quite simply. numerical solution for correct "Engineered Appli- So can the superior performance of the XV -15 series. cation." We call it the Dynamic Coupling Factor Its linear response assures 100% music power at all (DCF).'" frequencies. DCF is an index of maximum stylus performance Lab measurements aside, this means all your favor- when a cartridge is related to a particular type of ite records, not just test records, will sound much playback equipment. This resultant number is de- cleaner and more open than ever before. rived from a Dimensional Analysis of all the param- All five DCF -rated XV -15 models include the pat- eters involved. ented V -Guard stylus assembly and the Dustamatic For an ordinary record changer, the DCF is 100. brush. For a transcription quality tonearm the DCF is 400. For free literature, write to Pickering & Co., Plain. Like other complex engineering problems, such as view, L.I., N.Y. S" Dynamic Coupling Factor and DCF are service marks of Pickering á Co. CIRCLE 43 ON READER-SERVICE CARD 2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com HIGH FIDELITY VOL. 18 NO. 3 MARCH 1 9 6 8

MUSIC AND MUSICIANS

OUR CORRESPONDENTS REPORT FROM TORONTO, LONDON. BERLIN, AND TOKYO 22 TOM SWIFT AND HIS ELECTRIC EVERYTHING Morgan Anics Electronic musical instruments finally snake it big 46 BOULEZ, THE CONDUCTOR Claude Samuel Once an esoteric, avant -garde composer, he's now a box -office draw as a maestro 58 MUSIC FROM CANADA Alfred Frankenstein The best is yet to come 86 JUST ADD AMPS Gene Lees Electronics and musicianship have created the most original big band since Sauter- Finnegan 114

AUDIO AND VIDEO

NEWS & VIEWS Is FM replacing discs in the home? ... H -K adds tape recorders 38 EQUIPMENT IN THE NEWS The latest in quality components 40 VTR TOPICS Norman Eisenberg Among the new video machines: cartridges 44 HOW WE JUDGE AMPLIFIERS, PART I: POWER Edward J. Foster The beginning of a two -part article 52 BUDGET YOUR STEREO DOLLAR WISELY Robert Angus Some rules of thumb for all pocketbooks 63 EQUIPMENT REPORTS 67 Sherwood S -7800 A receiver with extra hook -up possibilities Jensen I200 -XLC The company's largest speaker system ADC I0E -Mk II An updated pickup Compass Triphonic 75 An unusually designed mod rig

RECORDINGS

REPEAT PERFORMANCE Everest reactivates the Ricordi opera catalogue 34 FEATURE REVIEWS 75 The delicious nonsense of Ponchielli's La Gioconda Busoni's gigantic Piano Concerto OTHER CLASSICAL REVIEWS 78

THE LIGHTER SIDE The Beatles . . . Frank and Nancy Sinatra . . Jani.s Ian I I7 111 JAZZ Duke Ellington . . . Intercollegiate Music Festival FOLK Judy Collins ... Flats and Scruggs 124

THEATRE AND FILM Michel Legrand . . . Hair . Hello Dolly 125 THE TAPE DECK R. D. Darrell The cassette repertoire expands Three -hour (open) reels 129

Published at Great Barrington, Mass. 01230 by Billboard Publications, Inc. Copyright O 1968 by Billboard Publications, Inc. The design and contents of Nigh Fidelity Magazine are fully protected by copyright and must not be reproduced in any manner. Second-class postage paid at Great Barrington and at additional mailing offices. Authorized as second -class mail by the Post Office Department, Ottawa and for payment of postage in cash. High Fidelity /Musical America Edition is published monthly. Subscription in the U.S.A. and its Possessions, $12; elsewhere, $13. Subscription including Concert Artiss Directory published in December, $17, in the U.S.A. and its Possessions; elsewhere, $18. Regular issues 755 a copy. National and other editions published monthly. Subscription (Farms M the U.S.A. and its Possessions, $7; elsewhere, 511. Regular issues 605 a copy. Indexed in the Reader's Guide to Periodical literature. Change of address eatkes and eedelieered copies 3371) should he addressed to Nigh Fidelity, Sebocriptiee Department. 2160 Pattersan S , Cincinnati, Ohio 45214. Please both old and new addresses when requesting a change.

MARCH 1968

www.americanradiohistory.com Coming Next Month In HIGH FIDELITY HsrGH FIDELITY

Cover by Milton Glaser look out, Mahler, here comes

FRANZ LISZT ROLAND GELATT Editor and Associate Publisher Is Liszt the next composer to be awakened by the kiss of performers and record companies? Is there anything to LEONARD MARCUS value in the output of the Old Charlatan, who could have Managing Editor shown Barnum a few tricks as a showman, who could JOAN GRIFFITHS have made Don Juan envious as a lover (yet lived in sin Senior Editor with one of Europe's ugliest women for thirteen years), who could have given Richelieu some hints as a high -living NORMAN EISENBERG cleric -yet whose music takes almost as much space to Audio Video Editor

list in Grove's Dictionary as that of Bach, Mozart, and PETER G. DAVIS Beethoven combined? Is there more than bombast behind Music Editor the bombast? Yes, writes pianist David Bar- Illan, who in- SHIRLEY FLEMING dicates that among his fellow concert artists a Liszt revival Editor is starting to boil. Yes, says Bernard Jacobson, who Musical America Section rates the available discs. No, argues Herbert Russcol, in the first psychoanalytic approach to Liszt in literature. You ROY LINDSTROM Art Director won't want to miss our big Liszt Issue coming next month. RUTH W. DUNTON Production Editor

R. D. DARRELL HOW WE JUDGE AMPLIFIERS ALFRED FRANKENSTEIN BERNARD JACOBSON Part II: Preamplification GENE LEES CONRAD L. OSBORNE The second half of Ed Foster's article, which begins this Contributing Editors month, will be presented in April. It tells you the scientific, CLAIRE N. EDDINGS no- holds- barred methods HIGH FIDELITY and CBS Labs Director of Advertising Sales employ in rating the control functions of all amplification units: preamplifiers, integrated amplifiers, and receivers. MILTON GORBULEW Circulation Director

WARREN B. SYER Publisher MEET SAM

Sam, the latest addition to our family, may be ugly, A D V E R T I S I N G but he proved indispensable in helping us to put out Main Office: Cloire N. Eddings, The Publishing the first equipment report on headphones we have i'.ousc, Great Barrington, Moss. 01230. Tele- phone:413- ever run. Invented by CBS Labs for NASA's space 528 -1300 program, this Simulated Acoustical Mannekin- hence, New York: 165 W. 46th St., New York, N. Y. 10036. Telephone: 212 -757 -2800. Seymour Sam -not only hears, but can speak. Read what Resnick, Carl Yanowitz he has to say about the Beyer DT 48 headphones. Chicago: Billboard Publications Inc., 188 W. Rondolph St., Chicago, Ill. 606ÓI. Telephone: 312- 236 -9818. Clossified Adv. Dept.: same address. Richard Wilson, Allan Nolon

Los Angeles: Billboord Publications, Inc., 9000 Sunset Blvd., Suite 710, Los Angeles, Calif. RECORDING WITHOUT MIKES 90069. Telephone: 213 -273 -1555. William Wardlow, Andrew Spanberger There is a record company that specializes in recording its Nashville: Billboard Publications, Inc., Baker sessions without using microphones. Instead, the instru- Building, Room 710, 110 21st Avenue S., Nash- ville, Tenn. 37203. Telephone: 615- 244 -1836. ments are wired and plugged directly into the console. Robert Kendall Both traditional and specially made instruments are London: 7 Welbeck St., London W.1. Telephone: used, and both classical and popular music is taped Hunter 5971. Andre de Vekey

in this manner. And see how they manage with voices! Tokyo: Japon Trade Service, Ltd., 2 -1 -408, 3 -Chome Otsuko, Bunkyo -ku, Tokyo, Japan. Telephone: 944 -0805. Kanji Suzuki

4 CIRCLE 103 ON READER -SERVICE CARD -*

www.americanradiohistory.com counterweight Sliding counterweight is infinitely adjustable, makes precise dynamic balancing practical; locks into place, solated in rubber from the arm.

skating force 'atented anti -skating control, of spring -free sliding we ght design, has ' /z gram calibration to nullify side pressure on stylus and groove walls. For any cartridge... first class transportation Insert trio. mcst critical, most sensíkive stylus cartridge in The Garrard SL 35, and be sure assu-ec :ravel the intricate corvo- tjreading s . 01 he grooves easily anc flaw- lu -ions amure gauge sc. lessly. The acvanced, ultra-low rrass, -racking force preci, gyrosccp cally gimballed torea-n Fy3- with audible; visible tem has just three controls, tc b =lance it click stops atv' gran exac -ly to t-le weight of the c rriog -3, rvals.

ad ust i precisely to the recorr mar ded stylas force. and counteract the ratural skating terdercy, providing Derfact rack ng, dtartion -free reprodcaior. The SL gives your reccrds a pe-- :ect r de, to:. The synchronous S /nc-ra- Lao fno-or' ". matched kinetically -o he oversized, :alarced turntable, gua -ar- tees absolutely constant speed, u1w3\- erilg pitci, freedom frorr runple. Simplified c..eirc and pause con --cl, and the a clusive safety record platform, p-c- tect your recores both in man_al and automatic pla,', making the SL Au :o- vatic Tress. ripdon Turntable the a ti- nate in :ertorrrance and depen :ability. Pri:e: $129 less base and ca-tricge. Other Garrard models as low as $37.50. For a complinertary Comparator Guile to all "rode s write Garrard. Dept. AC-1. Wes ±urv, N'! 11590.

cartridge HR:)- Lna New cartridge clip guarantees safe, convenient mounting. in perfect alignment. Tone -arm and "shell" are of rigic, resonance -free, one piece construction.

www.americanradiohistory.com Columbia Record Club's special offer to lovers of Classical Music- Enjoy the Classical Records You Want-at Savings of

BERG: LULU SUITE BRUCKNER BEETHOVEN ORFF SCHOENBERG. THEME Rossini CATUW CARMENA AND VARIATIONS Symphony No. 5 SPECIAL,,..r-- PERFIDO!' on the Death EUGENE ORMANDY WEBERN. IM Te Deum Overtures ""' Cantala / OFFER of Emperor II Conductor SOMMERWIND GEORGE SZELI EUGENE ORMANDY 5 (THREE PIECES) rena r. .rderle, IM PhArrOp1.e O.A This Deluxe MARTINAARROYO EUGENE THE PHILADELPHIA ORMANDY - CVHN 3- record set JUSTINO DIAZ Conductor ORCHESTRA 4.11 WOW SONITNIN Gnaw*, p E Deer counts as only a 5648 5898-5899 5569 2 selections! 5617 5407 BERLIOZ GOLDEN DEMUR, VIRTUOSO PIANORAMA OVERTURES warOU Er.E t.rut e.?MONIESen COe TRUMPET JOSEPH COLIN DAVIS COOPER LONDON PIANO reNewir SYMPHONY VOL. 3 ORCHESTRA ITtT:I::: ANTONIO JANIGRO atr c..a.e I SOUf11 p UGRH

5647 3864 BERNSTEIN CONDUCTS THE 3258 5411 PENDERECKI ROMANTIC BRAHMS GREAT SYMPHONIES OUARTETTO ITALIANO HANDEL ST. LUKE PASSION SYMPHONY No JrnF DEBUSSY TO THE VICTIMS 2911-2912. Leonard Bernstein conducts the New York Phil- In MESSIAH ACADEMIC FESTIVAL String Deanel L Minor er.etral OF HIROSHIMA harmonic in masterful recordings of Franck's Symphony in OVERTURE RAVEL COLIN DAVIS I 5 E ( BERNSTEIN SaleNO D Minor; Dvoták's Symphony Number in Minor "From Smog Deane in I LONDON LEONARD cher,.. the New World "); Mendelssohn's Symphony Number 4 in SYMPHONY THE NEW YORK and PHILHARMONIC A Major ( "Italian "); and Schubert's Symphony Number 8 7 RECORD TET Oi.r ^wry in B Minor ( "Unfinished "). ow s saria _ 3436 3137 5900-5901 5531 3343 -3344 LORD PRAYER JANACEK S /i ORMANDY: -.. GERSHWIN THE MORMON FROM HOUSE RHAPSODr THE DEAD TABERNCLE CHOIR PHILADELPHIA SPECIAL OF IN BLUE ORCHESTRA'S Spellbound TWO- RECORDS 1 GREATEST HITS Concerto COUNT AS ONE OFFER Warsaw ' SELECTION This Deluxe Claw de Lune Comerlo Sabre Dance 3 MORE fell' NOW 01 IMF EISES 7- record set . ILE Ní1)1 o Rom counts as only 4 selections! 5097 -5098 1090 3628 3527 THE SORCERER'S APPRENTICE X ESPANA VLADIMIR VIVALDI NNSTEiN 1 °OIí E WORnS Bt THE R HOROWITZ FOUR SEASONS SPANISH Chopin Liszt Leonard Ber.nlem FAVORITES Rachmaninoff SI FALLA h Inhn GariglianoReliano RAVEL Schumann vmI'N LEONARD BERNSTEIN CRASH IER Nee fern Phnharnennr 1067 3782 1325 2213 2214

BEETHOVEN'S NINE SYMPHONIES THE ROMEROS World of Flamenco 2203 -2204- 2205 -2206. All nine of Beethoven's Symphonies KOSTELAN 1 are included in this deluxe package of seven records (but r`_ n H TWO.RECORDS I Conducts l as 4 George Szell conducts the COUNT AS ONE which count only selections)! PROMENADE' in inspired interpretations of these im- SELECTION Cleveland Orchestra FAVORITES works which deserve a prominent position in your portant N E Philharmonic library of fine recordings. ilin". 7.RECOROSET 'BUR .._.__t!' 4647 -4648 5318 2509 2704

BERNSTEIN'S BRUCKNER VERDI, GREATEST HITS Symphony FALSTAFF LeonJrd No 3 MEW YON Bernstein PISNAORBK GEORGE vrenna rwpppsCOPC .4 STELL Pllehar ro,. dh CI eland FivTre Orchestra DRIL., 0LN' RECORD MT rar 5236 2955 -2956 3455 3595- 3596-3597

TCINAIKOVSEIT SPECIAL GRANADOS SAINT-SAINS A ESPIAL IF NAMES O.D STmpnonalNn JI 12 MALLETS: PN1laapnra 010 Drmmd, March Ioreads , SPANISH The fibapNla Beauty of Me OFFER American Salute DANCES I Swan Lake TWO -RECORDS These two records FOR Iii JOE IMMppwR - COUNT AS ONE Stars and Stripes Forever L as PIANO ! 41 [RIIQB[w SE Ef:T ION Meadowlands count only one Ahem SRIID11111 9 more selection! de Lar rocha. ,.. r E .0 WE áelccs j PNIIAD(LINIA °RCN ORMANDY 3889 3890 ` 1076 1083 THE MAGIC WORLD OF TWO FVOR"E BACH THE MAHLER - A Golden Treasury CUM. CONCERTOS WEIL- TEMPERED Reeur1ec11on' CLAVIER of Concert Favorites ANDRE KOSTELANETZ CASIEZ NUOVO I(D(5CO SYnMsT Re RODRIGO Bees 1- VERDI AND ROSSINI LEONARD 5965. VIENNA, CITY OF DREAMS and KALEIDOSCOPE. In- Preleee; ene OVERTURES JOHN BERNSTEIN from "The Merry Widow "; Schoen Rosmarin; B ELLNI cludes: Waltz WILLIAMS jeer K Y. PlldhaTlnanN - -ImIuRr The Blue Danube; Love's Sorrow; Perpetual Motion; Sabre Gunn. GLENN Twrd holm x GILBERT SULLIVAN Dance; June Barcarolle; Pas de Deux and Marche Miniature ORMANDYa'r r. ur' GOULD GlpOmt CMraN T OVERTURES ¡7 Record Seri from Nutcracker The Maid With The Flaxen Hair; 23 Phndelphr OrrlleSlra 1 2 RECORD SR "The "; melodic favorites in all! 2471 1264 2348 -2349 2285 V 1968 CBS Direct Marketing Services 567/S68 CIRCLE 13 ON READER -SERVICE CARD 6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Wine, Women BEETHOVEN BRAHMS B I BEETHOVEN SYMPHONY No.B NANO CONCERTO N. T SYNPNENIE FYRASREBE Moonlight and Song RUDOLF 5E1111 seul MENOELSSOHN Now OZAWA You are incited to take EUGENE Appassionata SYMPHONY GEORGE Cembessat Pathétique ORMANDY No. 4 WELL TORONTO Ceed..,er A S- /ITALIAN-) Condon.. SYMPHONY SONATAS NIE Glenn sSimat° CABALS THE PNILADEIrHIA AuxRwo CLEVELAND ^_Gould ORCH yNAemM ORf ORCHESTRA 5883 5437 4387 5372 \ 5532 ANY 6 Almost 50°/o STEREO OR REGULAR RECORDS 071 "`C FREE if you begin a short trial membership by buying just one record now, and agree to purchase an additional five records during the coming year (you will have up to 300 records a month to choose from)

this BROWSER PROKOFIEV PPS PUCCINI MO RACHMANINOFF BARTOK:r_ MUSIC OF JUBILE RACK Sp -..E,T 5e I in o nun. e.tn WON Conatos Nos. IA VERDI co., RECORD EUGENE ORMANDV S.nlen,.IM JANACEK: Zit's* Isaac Stern FAVORITES i GEORGE SZELL IIfor Oran FREE ULEEN Ormindy ro holds Cl. ana and brass-finished FARRELL www osLu.n Tho This convenient Orchestra h feI So o i RICHARD 0/1 Philadelphia i J tap ables yo the want ED seconds: DUCKER. war n ? E POWER Orche record In use: not eIGsBIGGS Fold ot when 2018 5234 2479 1605 1695 HOROWITZ MOZART WILLIAM IVES Symphony ND .1 IN CONCERT The Fourth FOR STRAVINSKY TELL FOUR SONATAS IAL M +I 1468 of July PIANO AND VIOLIN L'Histoire [,r .cn Nail Con. e.lL and Other du Soldat OFFER GEORGE SZELL. piano LEONARD LEOPOLD STOKOWSK1 This Deluxe 1 Ovenvres BERNSTEIN RAFAEL DRUTAN. violin PIIRHANYOMC LEONARD BERNSTEIN NEW YORK MAHOA0 see, 4- record set )wiuAAn! counts as NIT TOLL PMILPROMIC 5839 5320-5321 only 3767 -3768 2267 2881 3 selections! THE MORMON PHILIPPE ENTREMONT BLESS THIS HOUSE TABERNACLE CHOIR'S GROFF piano The Mormon GREATEST NHS GRANO RITUAL Tabernacle Choir CANTON EUGENE ORMANDT FIRE DANCE 's SUITE plus CRANTE lionganan The POMMINEhM OrcheMrs Bernstern NY \Rhapsody P1919armonM 2 God Bless Amence 1No EUGENE ORMANDY ; ,MORE Ne] MORE i1 Ph,ladelph,a Orch. 3780 1645 BEETHOVEN'S FIVE 3760 2640 2652 Holiday foe Vienna. My city Russian Sailors' DIM TCHAIKOVSKY: Harpsichord of Dreams PIANO CONCERTOS ORCHESTRAL LEONARD BERNSTEIN RICHARD SUITE RO. 3. SUITE NO. A E. POWER New York BIGGS TUCKER 2463.2464 -2465. A monumental collection of the TWO -RECORDS five Beethoven Piano Co'lcertos as performed by Philharmonic ,. COUNT AS ONE Fun SELECTION rt An'e world- renowned Rudolf Serkin backed by Leonard Filled of fro Vie.. Favorites Bernstein and the New York Philharmonic and 11 MORI Eugene Ormandy and the Philadelphia Orchestra. 2887 1606 2875 3773

A GOLDEN TREASURY OF nINCERTFAYOIUTES.YM E L'ArNSrenne SuiHA SEND NO MONEY -JUST MAIL COUPON peer GTM Carmen r RECORD CLUB, Terre Haute, Indiana 47808 smle HERE'S HOW TO GET YOUR 6 RECORDS - FREE COLUMBIA your name and address in the spaces 'Printprovided at the right. in 6 free records the numbers of your - Name SABRE Beethoven: 2Writethen choose another record as your first selec- ,Please Print) First Name Initial Last Steam DANCE inn.. ~ROM Ne tion, for which you will be billed $4.98 (stereo or regular high -fidelity), plus postage and han- STELL. c1e.Rbnd o,11 EUGENE dling. You will also receive a record rack FREE! ORMANDY Address Ph. [ad.I ,, whether you want your 7 records (and o heslra `3Checkall future selections) in stereo or regular. vñJ HOW THE CLUB OPERATES. Each month you will receive, 3792 1172 free, the Club's music magazine - which describes all Eity forthcoming selections. You may accept the monthly BERNSTEIN Classical selection, or take any of the other records THE AGE SPECTACULARS,reh,Ln.ILL offered, or take NO record in any particular month. .101 ANXIETY L Or,. a Your only membership obligation is to purchase as few State Tip Code TP.. w n as five more records during the coming year. In short, Do You Have a Telephone? (Check One) YES NO within a year you'll have at least twelve brand -new al- PHILIPPE ENTREMONT have for only six. rum bums of your choice - but you'll paid SEND ME THESE SIX RECORDS SEND THIS LEONARD BERNSTEIN 1u0LaR ERRAND, MEW YpM PNIINARMDNK MLLADItreM 010NEf10 The records you want are mailed and billed to you at - FREE (fill in numbers below) RECORD AS MY the regular Club price of $5.98 (occasional Original Cast FIRST 2880 2244 recordings and other special albums somewhat higher; SELECTION Popular $4.98), plus a small mailing and handling charge. Ure: VIENNA CHOIR BOYS NATIIYAN ON MT. SCOPUS STRAUSS WALTZES ISAAC STEIN. P.M.. ANO POLKAS YOU CET MORE FREE RECORDS...as soon as you com- t1ONAe0111151111 plete your enrollment agreement, you continue to receive ONE RECORD FREE FOR EVERY RECORD YOU BUY! MY RECORDS AND FUTURE It's the best bonus plan in existence today, because you SEND ALL SELECTIONS IN (check one bea) Venn. Blood pay as little as $2.84 a record (including all shipping Stereo Regular High -Fidelity Ans UA, charges)... and you need buy only four records a year (l mee ,HooPs. remain a member in good to standing. -3/G2 5529 2245 L 234 J

CIRCLE 13 ON READER -SERVICE CARD MARCH 1968 7

www.americanradiohistory.com A Sound LETTERS Investment The 711B FM Receiver. For real music to your ears. Every touch of sound from FM, tape or record player, arrives with Success Has Rock distortion -free reproduction whether it's Spoiled the whisper of a muted guitar or SIR: softest Your so- called "Rock" issue [November the rolling crescendos of tympani. 1967] was purely pathetic. Might I suggest, in the future, that you leave such 100 watt power rating (IHF) with fre- articles to people who know what they're quency response of ±1dB, 15 to 30,000 Hz, writing about-preferably to individuals under fifty. the 711B is fully silicon transistorized, has Glenn Gould's professorial put -down of the Beatles in his article "The Search the latest FET front end, integrated circuits, for Petula Clark" serves only to show automatic reset circuit breakers. Between - his own severe limitations. He is clearly the kind who parses a Shakespearian son- station noise is completely eliminated by net and finds it lacking. Was his descrip- Altec's new muting circuit. tion of Strawberry Fields meant to be witty? Or does he suffer from the com- The professional look. Certainly the pro- mon dog -in- the -manger hang -up of the technician toward the creative? Too bad fessional touch. (Professional sound engi- Mr. Gould couldn't have done the article neers have installed Altec quality in on Simon and Garfunkel. Those old -hat English majors turned song-writers would broadcast and recording studios for over surely be his cup of tea. They are as three decades.) That's why it's the very much "today" as your beloved Cole Porter and Lorenz Hart: overly cute, sound buy at $399.50. See your Altec dealer. overly (tough guy) sentimental. and with such divinely clever rhyming dictionary Or send for our 1968 Hi -Fi Catalog. lyrics. In many ways, this lamentable issue topped itself in Gene Lees's article. With brilliant insight he compares Hart's Too Good for the Average Man to the Beatles' satire. This is truly a master stroke! That oh- so- witty, oh-so- well -and -neatly- rhymed, oh- so- metrical attack on the dead horses of the time has as much relation, say, to A Day in the Life as a Walt Disney drawing to a Marc Chagall. Well, what's the use? You'll clearly never get the point. Just don't put out any more issues under misleading titles like "rock." You draw readers, like me, who don't know whether to laugh or cry at your patronizing. dear -old -days ignorance. Dee Boyle Penny Lane. Wis. Mr. Lees replies: "Normally I can't be bothered answering idiotic letters. But I anticipated that this one would come. If Mr. Boyle hadn't written il, some other walking, conditioned reflex would have. So I think it requires a reply. "Nobody writing for that issue is even approaching fifty. 1'nt thirty -fire, Glenn is thirty -four. and though I have not asked Miss Ames her age (since she's a lady). I know it's under thirty. She grew up on rock -and -roll, in (act. "Í am becoming vastly bored with the current arrogance of the very young. who mistake ignorance for originality, lack A division of Ling Altec, Inc., 1515 S. Manchester Ave., Anaheim, Calif. 92803 Continued on page 10 CIRCLE 3 ON READER -SERVICE CARD 8 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com -111. oÌ mbia Stereo Tape Club now offers you `''` STEREO FOR WES MONTGOMERY: 97 A DAY IN THE LIFT NY 5 TAPES ONLY if you join the Club now, and agree to purchase as few as five additional selections during the coming year, from the more than 300 to be offered 5787. ANDY WILLIAMS - Love Andy. What Now, My Love, The More I See You,

If You an Believe ROGER Your Erres and Ears WILLIAMS AND TWIN - THE MAMAS GOLDEN WES MONTGOMER THE PAPAS HITS 5788. - PACK California A Day In The Life. Cali. Barn f ref tornia Nights, Windy, more. Counts As Dreamm' Soee.4m Only ONE Monday. M, Love Selection! Monday 9 MORE IO MORE FREE- If you login now REVOLUTIONARY SELF THREADING Pack tape are 2595. Also. Do You 5553. Plus: Maria, 5874. Here en one Twin TAKE -UP REEL all their greatest hits! Yet this counts Wanna dance, Span- Moon River, Yester- as only one selection! ish Harlem, etc. day, Dominique, etc. 5368. HERB ALPERT t THE Oro, ORMANDY: moi THE BUDDY RICH HOROWITZ TIJUANA BRASS - Sounds BIG BAND PHILADELPHIA IN CONCERT lust drop the end of the tape over this reel, start Like. 12 songs in all! At, hs lilt wolle Big Swing Face n.ded L,e al 1966 your ecorder, and watch it thread itself! Unique ') ORCHESTRA'S Concerts up tape of We knew elms Scotch *' process automatically threads Ions aM Oyer) n, GREATEST HITS TM Beat any thickness, releases freely on rewind. Clair de Lune Goes On SoiReMln' V (boa h Sab'e Dance i MORE DO YOU SEE on this page? Which E MORE HOW MANY OF YOUR FAVORITE ARTISTS 112 lei of these superb pre -recorded stereo tapes would you like to add to your 5486. Plus: This 3628. Also: Cancan. 5614. Also Love for 3767 -3768. Twin - own collection? The famous Columbia Stereo Tape Club, which sells Sale, Wick Wack, 9 Pack counts as two Town, Born Free, Cree nsle eves. Blue more 4 -track stereo tapes than any store in the country, now offers you This Is My Song, etc. Danube Waltz, etc. in all selections FIVE a remarkable opportunity to take any five of these tapes...ALL FOR ONLY $2.97! That's right, 5 STEREO TAPES FOR $2.97, and all you need do is agree to purchase as few as five more tapes during the TWIN - coming year. PACK HOW THE CLUB OPERATES: Each month you'll receive your free copy of Counts As the Club's magazine which describes and displays tapes for many dif- Only ONE manufacturers. You Selection! ferent listening interests and from many different may accept the regular selection for the field of music in which you are primarily interested, or take any of the scores of other tapes of- 5840. "An all.time 5593.5594. Twin 3335. This special Twin -Pack contains fered you, or take no tape at all that month. great screen nisi- Pack Counts as Two two fatulous Ray Conniff albums on one the Club will open a charge cal! " -Variety Selections tope...23 great songs in all TAPES SENT ON CREDIT. Upon enrollment, account in your name... and that means that you'll pay for the tapes you THE 4 SEASONS ERSHWIN want only after you've received them and are enjoying them. The tapes NEW GOLDHITS RHAPSODY Club price of TWIN - you want will be mailed and billed to you at the regular IN SLUE (occasional Original Cast recordings somewhat higher), plus a Spellbound PACK $7.95 Concerto and handling charge. Counts As small mailing Warsaw ONE Once you've completed your enrollment Concerto Only FREE TAPES GIVEN REGULARLY! Selection! a tape of your choice FREE for every two Tell It to the Ria 3 MORE agreement, you'll get stereo W,tPH HCeee Li o1 Beggin" e MDAL tapes you purchase! SEND NO MONEY NOW! Just fill in and mail the coupon today! Your free 3527. A bargain for lovers of I'ght clas. 5588. Also: Learn 5376. Plus: Le's soon be in your home for you to Ride Again, C'mon sits! This special TwinPick tape counts How To Fly, Poor take -up reel and your five tapes will Marianne, 6 more as only one selection! Side Of Town, etc. enjoy for years to come! PERCY FAITH BERNSTEIN'S muet be hark on 4 -track stereo equipment. : All tape= offered by lee Club played I GREATEST HITS Today's Themes For INote 41fp J Young Lovers APO. FPO addressees: Write for special offer NEW YB CABARET PIaIM is Can 'Take My starring , Eyes On You COLUMBIA STEREO TAPE CLUB Terre Haute, Indiana JAI lack Bert Haworth Word ® Windy MORE SEND NO MONEY -JUST MAIL COUPON 4785. Plus: Mame; 3675. "Stunning mu- 5236. EspaBa, On The 5420. Plus: Mary In COLUMBIA STEREO TAPE CLUB SEND ME THESE What Now My bore; - Trail, Of The The Morning, Re- sical. Brilliantly con Waltz Terre Haute, Indiana 47808 5 TAPES Sunrise, Sunset; etc. ceived. " -N.Y. Times Flowers, etc. lease Me, etc. (fill in numbers Please enroll me as a member of the Club. I've below) [KAPPI MARTY wish BEETHOVEN ANTONIO ROBBINS indicated at the right the five tapes I to CARLOS receive for $2.97 plus postage and handling. Moonlight an of Tonight Carmen JOBIM Include the self -threading take -up reel FREE. Appassionata Kandis -PLUS - Pathétique WAVE Bound for My main musical interest is (check one): Starring Old Mexico SONATAS - TR, SiE POPULAR Waning ln Reno CLASSICAL Glenn Gould H IGUo Yvt RICHARD -u'So KILEY E MORE regular piano 1 MORE I agree to purchase five selections at the O,, lino) Cast L "J Club price from the more than 300 to be offered in the coming year...and I may cancel member- 2639. "The best mu Also: Chapel 5883. A sensitive and 580e. Also: Mojave, 5489. ship at any time thereafter. If I continue, I am sical SEIre of '65." Chime, Don't illuminating per- Captain Bacardi. Bells to receive a stereo tape of my choice FREE for -An. Record Guide Away Senor, etc. formance. Look To The Sky, etc. Go every two additional selections I accept.

THE MORMON Barbra Streisand RA CLAUDINE People TABERNACLE CHOIR'S Nome GREATEST HITS IRE LOOK (Please Print) Initial Last Name Absent WU OF LOVE Minded Me EUGENE ORMANDY PLUS - Th. End of Fine Conductor fOm World Address And Dandy Tne Philadelphia Orchestra NOw IO MOIL God !Moss America 4 i Inssn00tera Zip ) sMORE State Code Icnr, Mniol is moat City 420 -6/08 1646. Also: Love Is 3780. Also: Bless 5805. Also: Man In 5515. Capturing mo- A Bore, My Lord And This House, The A Raincoat, Good meets of a fondly Master, Autumn, etc. Lord's Prayer, etc. Day Sunshine, etc. remembered film L J C)1968 CBS Direct Marketing Services T82/568 CIRCLE 15 ON READER -SERVICE CARD MARCH 1968

www.americanradiohistory.com VIKING MAKES THE BEST -SOUNDING LETTERS CARTRIDGE PLAYER Continued from page 8 of experience for perception, and a your money sullen, pointless intransigence for revolu- back if you don't tionary courage. My comparison between agree! the Beatles and Kart (1 did point out that the lyric in question was dated, pertinent to its time and not ours) was indeed apt. It is Mr. Boyle's lack of range that makes it impossible for him to see this. "Finally, anybody who can call Glenn Gould, one of the great revolutionaries in 'classical' music and one of the great creative minds of our time, a 'technician,' indicates nothing but the poverty of his MODEL 811W own aesthetic sensitivities. Mr. Boyle is, in other words, a square, and quite bloody assertive about it. "1 once had high hopes for this gen- Viking, first and largest tape cartridge eration of the young, but I am losing it quite quickly. I thought they might avoid equipment maker, introduces three new MODEL 811 Table top unit in walnut cabinet - the terrifying errors of the generation solid state 8 -track stereo tape players with built-in pre -amp for use with existing stereo

. . . ahead of nie, the generation I am still that rival the richness of a component equipment under $100 MODEL 811W Table top unit in walnut cab- fighting, the generation entrenched in hi -fi system. We're so proud of these - inet, with power amplifier; two speakers; volume, power. 1 at least have tried to under- new 811 models . . . so confident of balance á tone controls: 10 watts IHF music stand tetrai makes that generation tick. their superior sound ... that we'll give power; stereo headphone Jack . . . under $150 But the approach to history by the likes MODEL 811P Portable unit; all features of you your money back if you can find - of Mr. Boyle (and by all too many kids 811W, plus detachable speakers. attractive two - that sounds better! from generation) another tone vinyl covered case ... under $150 his is to ignore it. And, Features: Full fidelity playback of 8 -track as has been pointed out, he who ignores stereo cartridges; automatic and push- history is doomed tó repeat it. What the young want today is to be told button track selection; 45- 15,000 HZ how great, brilliant, humanitarian, and creative they frequency response; 0.3% rms flutter tape recorders VIKING are, when all too many of them are & wow; numerical track indicator. 9600 ALDRICH AVE., SOUKH, MINNEAPOLIS, MINN. 55420 merely phony. I ant increasingly main- pressed by the posturings of pipsqueaks. CIRCLE 62 ON READER -SERVICE CARD "Later, sonny."

Gold or Brass?

SIR: Bravo C.L.O.! His appraisal of "golden age" vocalism [ "A Plain Case for the Golden Age," October 19671 was quite accurate and fair. I would like to put in 19 Transistor 7 Band Shortwave /FM/ a good word for Giangiacomo AM 2 -in -1. Newest for the portable Guelfi- a very people! A solid state masterpiece impressive baritone in the theatre Grab an earful in genuine teak with chrome ac- even if he is not another Ruffo. cents. World wide coverage. LW, Ronald Kuenzel 150 -400 kc. SW1, 1.6 -4 mc. SW2, Milwaukee, Wis. of the world! 4.10 mc. SW3,' 10-20 mc. SW., 20-30 mc. Receives international SIR: shortwave plus FAA weather/ I read with interest Mr. Osborne's navigation reports, CAP, ship -to- article on "Golden Age" singers. He cites ship and ship -to -shore communi- the superiority cations. of that period by choosing a handful of baritones rather than ex- Toshiba Navigational MGC ploring all vocal (Manual ranges. As a result, Gain Control) allows re- Mr. Osborne's ceiver to operate as sensitive argument becomes as direction -finding / homing device. 4 absurd as if he had said romantic music world- scanning antennas plus 2 is better than baroque, and then pro- external antenna connections. ceeded to select a few works of Brahms 7 keyboard band selectors. as examples. Mr. Osborne Electronic tuning meter. Switch - ignores the fact that many able Automatic Frequency Con- of his colleagues feel the "Golden Age" trol. Pilot lamp. 1-8 watt output. to be a period of little more than con - 2 speakers. cert-in- costume. As a member of the Full 1 year parts and labor war- younger generation, i am grateful to live ranty. The Toshiba Global Model in an age where opera is often regarded 19L -825F. $180.00' as a theatrical experience rather than a mere concert. I am quite certain that a Zeffirelli Falstaff or a Wieland Wag- ner Parsi /al would not have been possible THE INTERNATIONAL ONE in the "Golden Age." Michael Mark Minneapolis, Minn.

To:n,ba llrnenca, Inc New York, N Y M1e. S led Pelee Vnce Continued on page 14 CIRCLE 58 ON READER -SERVICE CARD 10 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 1IrI.k1. AMIMIY CO \ FS Oh O al

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Just take $1.00 off the low mem- Read an ad in a magazine or newspaper ... no fuss, send us the ad and we'll bers price (and, we'll send you 10 in change if you select a 99C record album!). do the rest! If the record is available, you can own it for less than discount store prices. How little can it cost you? SEND NO MONEY NOW -LOOK OVER YOUR MEMBERSHIP KIT FIRST-FIGURE OUT A record album with a "list" price of $4.79 or $4.98, usually sells in dis- FOR YOURSELF HOW MUCH YOU CAN SAVE IN JUST ONE YEAR AS A LIFETIME count stores for $3.69 ... but your price from Citadel is just $3.09. Not just a MEMBER OF THE CITADEL RECORD CLUB! We'll bill you later for the LIFETIME limited choice of records, but every record album now in print! Never an extra membership fee of lust $5 (remember, that's a one -time enrollment fee, that rest your life. 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In fact, when your FREE membership kit arrives, you'll get a whole catalog of the latest ACT TODAY TO GET YOUR $1.00 FREE CERTIFICATE! Simply mail the card or "Super Bargains "! coupon right now. There is no obligation to buy any records, just the opportunity to save up to 55% on every record you want! YOUR FREE KIT ALSO INCLUDES THE FAMED "SCHWANN CATALOG " - 30,000 LONG -PLAY RECORDS LISTED FOR EASY REFERENCE! Every record in print tells you the artist, the list price, the label. You also get the confidential Citadel price list so you know instantly how much you save. This is the same book MAIL COUPON TODAY you've seen your local record store use ... and it is the "bible" of the record industry. It's yours FREE with membership! THE CITADEL RECORD CLUB DID YOU EVER WANT TO VOTE FOR YOUR FAVORITE ARTIST ... HELP GET AN AWARD FOR A BELOVED RECORDING? The Citadel Record Club, in cooperation SYMPHONETTE SQUARE LARCHMONT, N. Y. 10538 with The longines Symphonette Society, has been selected to help nominate 774 -00E and select the recordings and artist to receive the GOLD MEDAL AWARDS of Enroll me for a LIFETIME MEMBERSHIP and send the $1.00 FREE merit. This is the only group of awards granted as the direct result of record - certificate plus the complete membership kit. I am entitled to all the buying consumers' own preference. To make certain that you are completely privileges and benefits as described in the ad. Bill me later for $5.00, familiar with the nominations, you will be sent the particular record to play which covers my enrollment for the rest of my life! I understand I and to evaluate without obligation to buy. And, since once a record is played am not obligated to buy ary records. I order only those I want. Citadel will not resell it, you can own the record (if you wish) for a tiny fraction of the list price! 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CIRCLE 12 ON READER -SERVICE CARD MARcH 1968

www.americanradiohistory.com The way box speaker even lime music wouldn't Until the unlikely day that an orchestra divides it- This 'sonic arc' -the very essence of living per- self into two rectangular groups, one at either formance sound -can't be duplicated by connect- proscenium, a pair of boxes ing a pair of old- fashioned boxes to a two -channel isn't likely to duplicate live amplifier. concert sound in your liv- It can be duplicated by Grenadiers -the unique ing room. speaker systems expressly created for true stereo- The way the orchestra phonic sound reproduction. Because they were de- does sit is like this ... for signed for stereo -not merely adapted to it -each several sound reasons. element in Grenadiers provides a no- compromise, First, the deep tones of bass viols and tympani, true stereo function. tubas and trombones, are non -directional. Their The cylindrical shape, for instance, does two sound waves disperse in circles. Without the re- things. First, it permits the superb 15" woofer- flecting surface of an enclosed stage close behind with its unparalleled 18 -lb. magnetic structure -to them, half their sound would fade away. face downward. As it delivers full, faithful bass Violins, on the other hand, derive their characteris- tones, they reflect directly from the floor. You get tic sound from high, delicate overtones that 'beam' the same natural acoustic reinforcement that bass on a straight line. Spread completely across the notes receive in the concert hall. And this cylinder, front of the orchestral arc, they can project their with its superior strength and rigidity, gives Grena- narrow -axis tones into, across, and throughout the diers a freedom from vibration and extraneous auditorium. resonances that no box can duplicate. Bass or soprano, tenor or baritone, each instru- Next, there is the patented acoustic lens. As music mental voice has its place in the stage -wide arc moves into the upper reaches of the treble range, that gives the concert orchestra its full- bodied, per- where essential harmonics become inaudible ex- fectly- balanced sound. cept on the line of an ever -narrowing axis, this lens

CIRCLE 27 ON READER -SERVICE CARD 12 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com systems renroduce it, be stereoponic. restores the full musical dispersion of the orchestra If you would like to experience true stereophonic in the concert hall. The tight, 'beaming' highs of music -music reproduced with such life, depth conventional speakers let you hear the total har- and uncolored fidelity that you seem to listen monics of violins, oboes, flutes and violas in only through the speakers to a living concert -ask your dealer to demonstrate a pair of Grenadiers for you. Then decide for yourself whether you can ever again settle for Iess.TFIE GRENADIER 9000 Incomparable Stereo Speaker Systems, $599 90 the pair

one place-a kind of 'stereo spot' where these axes intersect. But a pair of Grenadiers, each distribut- ing even the highest frequencies through a 140° arc, spead this total sound throughout the room. Without 'aiming' or special placement, wherever you position your Grenadiers, you hear all the music, everywhere in the room. This total stereo design, with its floor -reflecting, full -circle woofer and broad -dispersal acoustic ®EMPIRE lens, recreates the sonic arc of the concert orches- Complete technical specifications on request from tra as no other system can. Empire Scientific Corp., 845 Stewart Ave., Garden City, N.Y., 11530

CIRCLE 27 ON READER -SERVICE CARD MARCH 1968

www.americanradiohistory.com LETTERS

Continued from page 10

Haggin Heard From

SIR: I had an opportunity to talk with the engineer who worked for the editor of the Toscanini Victrola reissues that I reviewed in the August issue; and I learned from him that he had, under the editor's instructions, put in treble boosts but not bass cuts. He suggested a possible explanation of the bass cuts that I had heard: the new playback head in the machine on which he had played the tapes probably had a characteristic different from that of the original head, and that the difference included the reduced bass 1 had heard. B. H. Haggin New York, N.Y.

Where There's Life

Would you know a great new sound if you heard it? SIR: In addition to cheers, huzzahs. and gen- Test yourself: at your dealer's turn these new on Grundig solid state stereo components. eral congratulations, 1 should like to Peak 'em ... cool 'em to a whisper or listen anywhere in between. Plug in tape or phono extend my personal thanks to you and and put them through the most torturous tests your ear can conjure. Their unparalleled to David Hamilton for his article, "Time - distortion free performance might shatter any previous standards you may have set. Life's 'Story of Great Music' -A Cau- Grundig SV 80 U Stereo Amplifier, $289.95 tionary Tale" [December 1967]. I had Grundig RT 40 U Stereo Multiplex FM /AM /LW Tuner, $239.95 /SW nearly recovered from the music "appre- Grundig Speaker Systems from $80.00 to $165.00 ciation" farce of college days when the GRUNDIG ELECTRONIC SALES, INC. Time -Life series came along to remind C-GRUnDIG) me just how much ponderous drivel 355 Lexington Avenue, New York, New York 10017 about music is being distributed. WORLD FAMOUS IN RADIOS, TAPE RECORDERS, ANO ADLER TYPEWRITERS If no more, Mr. Hamilton deserves CIRCLE 29 ON READER -SERVICE CARD the Purple Heart for continuing to sub- mit to the kindly ministrations of Time - Life; I returned the first two albums, and People who built their own have since been spared further disap- pointments. Lest anyone berate Mr. Schober Organs wrote this ad Hamilton for being too critical of the Here's vi hat they say about the pleasure of assembling the Schober Electronic Organ from great service Time -Life is rendering to kits . .. and enjoying the magnificent sound of an instrument they've created in their spare time. the cause of serious music, let me assure him that there are many like me who Building was fun Most cherished possession' "Building it was at least as much "My spinet has become the welcome this well- administered blast at Jun as playing it!" most cherished possession in an all- too -common substitution of ver- Mr. Lester F. Schwartz, our home -fabulous, indeed." Somerset, N. J. Mr. Frank J. Marion, biage and decoration for enlightenment. North Bergen, N. J. So proud I could pop Allen Watson 111 "I've done over 90 per cent of the San Leandro, Calif. work on this organ myself -and ¡'m so proud I could about pop!" Tremendous sound Mrs. V. P. Allbert, "The sound is conservatively, Sir: Topeka, Kansas tremendous." For two months looked forward to Nothing as fine under $5,000 Mr. Paul DeForest Wren, I . I could not find any organ that Westbrook, Conn. David Hamilton's article on Time- Life's sounded as fine as the Schober "Story of Great Music." As a subscriber under $5,000." Mr. Jerome J. Fraenkel, Unbelievably easy to build to HIGH FIDELITY for several years, I Franklin Square, N. Y. "When we ran out of have been hoping for guidance in the instruction, the organ was Proud to own enjoyment of classical music without "l am proud to own such a valuable finished ... To me it was instrument." unbelievable!" success. In desperation, I subscribed to J. The NEW Schob., THEATRE ORGAN - Mr. Ted Sowinski, Mr. Jean Juteau, available the Montreal, Canada ono of four models Chicago, Illinois Time -Life series only to learn that I have not been listening to the history of of doing Thousands of music lovers in every walk of pleasure and enjoy the satisfaction music, but to arbitrary musical ages rep- from it yourself? life from teen -agers to grandmothers, resented who are to electronic by questionable selections. people "all thumbs" Free Information and Demonstration Recording engineers have enjoyed the pleasure of as- Mr. Hamilton claims that Time -Life sembling, playing and hearing the magnificent Send today for your free copy of Schober's 16- provides the untrained listener with very free recording. sound of the Schober organ. Whether you fa- page, full color booklet, plus 7" little help in getting closer to the music. a Schober organ vor Bach or Bop, there is 1 Since I prefer writers who build rather that gives you full range of expressional and The Schober Organ Corp., Dept. HF -28 tonal quality so like a fine pipe organ that 43 West 61st Street, New York, N. Y. 10023 than tear down, I have an assignment for many listeners can't tell the difference. You series in Please send me Schober Organ Catalog and Mr. Hamilton -a two -year can build a Schober organ for as little as $645. free 7 -inch "sample" record. HIGH FIDELITY entitled "How to Ap- And even if you've never played a note before Schober's self- teaching courses give you Q Enclosed please find $1.00 for I2 -inch L.P. preciate Good Music" with a limited list- immediate musical results. record of Schober Organ music. ing of suggested discs. Perhaps he will be Over 50% of Schober Organ owners never where NAME able to succeed others have failed. handled an electronic job before and didn't LeRoy W. Van Kleeck play a note, yet assembled some of the best ADDRESS organs ever designed and get a daily thrill from Avon, Conn. making their own music. Isn't it time for you CITY STATE /IP_ to take this cost -saving road to greater musical I_ J Continued on page 16 CIRCLE 49 ON READER -SERVICE CARD 14 CIRCLE 52 ON READER -SERVICE CARD -.

www.americanradiohistory.com This suggestion is made only to those who divides the audio- frequency spectrum into ment to discover the audible effects of vary- have top -flight integrated amplifiers with an three ranges, and sends each range to a ing crossover points. The points provided electrically separate preamp and power am- separate amplifier: your existing power am- are 150, 250, 400 or 600 Hz between woofer plifier, or individual preamp and power am- p'ifier, plus the two Sony TA- 3120's. Each and mid -range, and 3, 4, 5, or 6.5 kHz be- plifier components. It involves your present amplifier feeds a speaker expressly de- tween mid -range and tweeter. A bass turn- equipment and three Sony components: the signed to handle that particular part of the over cont-ol fits the system's response to TA -4300 electronic crossover and two TA- audio spectrum. By not forcing a s ngle am- the characteristics of the woofer, and a bass - 3120 stereo power amplifiers. It's for those plifier to handle the full range of fre- boost control lets you experiment with ex- venturesome enough to break away from quencies, IM distortion is reduced. By elimi- tending the woofer's bass response. conventional approaches reproduc- nating the inductor -capacitor- to sound resistor cross- The Sony TA -4300 solid -state electronic tion. If we've described you, over networks then these built into ordinary speaker crossover costs $199.50; the two TA -3120 Sony components can bring you just that systems, speaker damping is not distrubed. solid-state amplifiers $249.50 each. Sound one iota closer to realism in home music. The speakers' motions are always fully con - extravagart? Maybe just a bit. But so are Here's why. trolled by the amplifiers. Speaker impedance the results. Interested? Write for literature variations have less The electronic crossover goes between the effect on the amplifiers. on how to upgrade your system. Sony Cor- preamplifier and the power- amplifier por- Aiso, you can select crossover frequencies poration cf America, 47 -47 Van Dam St., tions of your present stereo amplifier. It to suit the speakers of your choice, or experi- Long Islard City, N.Y. 11101. Get drunk with power

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www.americanradiohistory.com LETTERS Continued from page 14

Sbolodaya

SIR: May I suggest that you stop lending your authority to bogus -foreign -language titles of Russian operas? I refer to Le Coq d'or and Pique Dame (which many suppose to be French: it is German, the French equivalent being La Dame de Pique). Why not The Golden Cockerel and The Queen of Spades, if you do not like Zolotoy Petushok and Pikovaya Donut Mr. Conrad L. Osborne gets into a terrible tangle with his recent review of the latter work [November 19671. mostly Limited offer: using the German form, but once in English shorn of its definite article. There being no definite or indefinite Buya Norelco portable article in Russian. it must he supplied in translation. As for "Ghermann," which Mr. Osborne supposes to be the tape recorder hero's name. there is only one "N" in the Russian form. and the "G" is only a $12.95 the Russian way of replacing the "H," get extension speaker nonexistent in Russian. May we expect to read Mr. Osborné s $3.95 review of some future Soviet political for opera on the subject of Adolf Ghitler- or of a Soviet musicological study of the Itfuzika Feierverka by Georg Fridrikh Ghendel? Arthur Jacobs London, England When you buy the Carry- Corder" '150' or Now you can take advantage of this ex- the Norelco '175', mail the warranty card tra power and signal quality. You'll get for either machine, with a check or money even greater sound along with the conven- China Devil order, to North American Philips Company, ience of a cassette machine. And with a Inc., Dept. T, 3010 Review Ave., Long cassette machine you don't have to thread SIR: Island City, New York 11101. And we'll the tape at all. Just snap in the cassette and I've been a subscriber to HIGH FIDULITY for years I was send you the extension speaker direct. you're ready to record or playback -for up -and about to resub- scribe until I read the article by Bengt Just plug it in. And you'll see that we to 90 minutes. Hager ["The Shackled Muse: Music in build more sound into our portables than a This offer lasts from now until March China Today," October 1967]. Sure, let's portable -sized speaker can do justice to. 15. So, see your Norelco dealer right away. be sophisticated and let's not "be beastly" to Mao Tse Tung: but comparing that butcher to India's holy men and talking about his "radiance," etc., is a bit too much. Christopher Serge' n.n.unn NH" nnnn..nnnn nnnnnf.nn.onnm. Fairfield, Conn. Inn nn..onn vixen n..u..rn annnnnnaunnnnn....nnnnnfcan ..... Lin .onnnnnnntu.onnnnrim.ru .u.n nnnn Mann nn..nn....0 High I'idelily, March 1968. Vol. 18. No. inn n 3. Published monthly by Billboard Publica- n.nnm.nnn.f.0 u..u.t. tions, Inc., publisher of Billboard. Vend, Amusement Business. Merchandising Week, nnnn.uur.nn.nru.nn.n r.. American Artist. and Modern Photography. n.rnn.aannnn.nufling High Fidelity /Musical America Edition nnt.n annau.nana published monthly. Member Audit Bureau n. uu.af.ataaafM.atnf.afa of Circulations. Rat...Mina uuuaaMMMUa Editorial correspondence should be ad- inn Inn Inn uuanf.aM.n dressed to The Editor. High Fidelity, Great Stan aual.Win U Barrington, Mass. 01230. Editorial con- Mnallgten tributions will be welcomed. Payment for MaaaaaaMuu MY a`uMÑsm articles accepted will be arranged prior to publication. Unsolicited manuscripts should 17.7-7 - be accompanied by return postage. Subscriptions should be addressed to High Fidelity, 2160 Patterson St., Cincinnati. O. 45214. Subscription rates: High Fidelity/ Musical America: in the U.S.A. and its

Possessions, I year $12; elsewhere, 1 year $13. National and other editions published monthly: In the U.S.A. and its Possessions, 1 year $7: elsewhere. I year $8. Change of address notices and undelivered /l'oPe/co' copies (Form 3579) should be addressed to the re- inventor of tape recording High Fidelity, Subscription Fulfillment North American Philips Company, Inc., High Fidelity Products Department, Dept., 2160 Patterson St., Cincinnati, O. 100 East 42nd Street, New York, N.Y. 10017 45214.

CIRCLE 41 ON READER -SERVICE CARD 16 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The more music system.

receptacle on the front The SC -2520 is a compact It would take a small for personal listen- stereo music system that novel to outline all of the panel does everything but fly. possible functions of the ing. nd a center of channel It plays monaural and SC -2520. So suffice it to meter so you can stereo records. say if it has anything to do tuning locate FM stations quickly It plays monaural and and accurately. stereo FM broadcasts. In short, here is a total And it will record and system that is really play back monaural and music tapes. total. stereo beautiful. Stated simply, it will pro- And to use. duce more music, in more And easy And sensibly priced. ways, than any compact music system ever made. The SC -2520 is at your For example: The New Harman -Kardon dealer York Philharmonic Orches- now. He will be happy to dem- tra is presenting a special give you a complete program on FM stereo onstration. radio. You not only want to with sound, you can cap- Visit him soon. hear it, but wish to record ture it and faithfully repro- it for posterity. Simply in- duce it with this amazing sert a tape cartridge (cas- music system. sette) into the SC -2520, The SC -2520 has solid- tune to the station, acti- state electronics through- vate the tape mechanism out, including newly and enjoy the program developed integrated while your music system micro -circuits. records it for future listen- It has a defeatable con- ing. tour switch that restores For example: Your bass frequencies at low We want you to hear friend has an extraordi- volume levels. more music. nary recording that is out It has a unique speaker For more information of print. You want to record selector switch that allows write to Harman -Kardon, it. All you do is start the you to connect stereo Inc., 55 Ames Court, Plain- tape cassette player and speaker systems in two view, N.Y., Box HF -32 play the record on the auto- rooms and select between matic turntable. In min- them. Or use them all utes, that rare recording simultaneously. harman kardon is part of your collection. It also has a headphone A subsidiary of Jervis Corporation CIRCLE 30 ON READER -SERVICE CARD MARCH 1968 19

www.americanradiohistory.com (Continuing KLH's Inquiry

A) (B)

Audio Systems Are Better than E

ACCORDING TO OLD advertisements, Now, twenty years later, advertisements audio has always been better than ever. They speak in terms of integrated circuits and field - were saying so even in the days before compo- effect transistors instead of "nice tone ", but nents, when everything came in the one big the message is the same: Everything is box called a console. ( See A.) Better than Ever. Yet some people couldn't see it. Or maybe Is there a lesson in all this? Let's see: they saw it all right but couldn't hear it. In 1) any event they stopped buying consoles and How do you feel about today's better- started buying public address equipment than-ever equipment? instead : Ugly stuff that looked as if it belonged 2) The latest components (see B) are cer- in a gym -which it did. tainly different from consoles. For that matter Soon, however, the bulkhead connectors and they are different from last year's components. battleship gray enamel of public address But do you think all the differences are impor- equipment began to give way to homier tant ones? touches, and the rest is history. The Compo- If not, name some changes that you consider nent Industry was born. trivial. (Also, any important ones you can

20 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com into the State-of-the-Bag)

(c)

r! Better than Ever! Better than Ev

think of which should have been made but take a fancy to, we will send you a Component haven't. ) Bag (see above) measuring 20" x 28" overall, and Old Brick on Plain, and suit- 3) A carefully selected component system in Cerulean we may use will sound better than an old console. It can able for putting things in. Also, sound better than another component system, your answers in these pages later on. up to a point. But selected how ? -by consider- Having any KLH equipment (such as our ing the manufacturers' reputations, reading all Models Five, Six, Nine, Twelve, Seventeen or their specifications, listening, or paying more Twenty -Two Loudspeakers, Model Eighteen money? Tuner, Model Twenty -Seven Receiver, Models 4) Finally, since we've mentioned paying Eleven, Twenty or Twenty -Four three -piece more, what are your thoughts on Price vs. systems) , or indeed even wanting any, will not Sound Quality, or the Cost -of- Hearing Index? affect the decision of the judges one way or Eh? the other. However, if you do want some, don't Please send your answers to us at the address hold back; ask and we'll send you all about it, below. If they are among the fifty the judges including who sells it in your neighborhood. KLH Research and Development Corp., 30 Cross Street, Cambridge, Mass. 02139

MARCH 1968 21

www.americanradiohistory.com 1 NOTES FROM OUR CORRESPONDENTS

At left, Seiji Ozawa of the Toronto Symphony and composer Messiaen; below, recording in progress- Yvonne Loriod (Mme. Messaien) at the piano.

RCA, Messiaen, and Ozawa Meet to Sing a Songof Love

"Don't worry. The naître is much more satisfied than he pretends to be!" As a French -speaking observer, I thus took the liberty of re- TORONTO assuring Seiji Ozawa, conductor of the Toronto Symphony, and Peter Dellheim, RCA Victor recording producer, after they'd finished the first day's taping of Olivier Messiaen's Turangalîla -Symphonie. The composer, who speaks no English, was himself on the scene, as were, as usual, the two Loriod sisters -Yvonne (his wife and most faithful interpreter) at the piano and Jeanne at the seraphic Ondes Martenot. In a strenuous four hours, the orchestra had recorded the first five of the ten movements of this monumental ninety-minute -long work. Turangalîla -which Messiaen describes as "a song of love, a hymn to joy " -is written for a very large orchestra that includes an unusual "Oriental" percussion section requiring seven performers. The recording sessions (there were three altogether) took place in Massey Hall, an old Victorian structure in downtown Toronto whose acoustical qualities had led Stravinsky to choose it for several of his recordings. In the same hall the Toronto Symphony had played the work in concert on the two evenings preceding the start of recording -a kind of "Messiaen week" (which, incidentally, coincided with the composer's fifty -ninth birthday, December 10). Concerts and recording were a joint TSO -RCA project sponsored by the Canadian Centennial Commission. The record is expected to be available in April, a two -disc album with the fourth side devoted to Toru Takemitsu's November Steps. The latter work, commissioned by the New York Philharmonic for its current 125th anniversary season, was also recently played Continued on page 24

22 CIRCLE 54 ON READER -SERVICE CARD -*

www.americanradiohistory.com When Stanton engineers get together,theydraw the line.

The frequency response curve of the new Stanton 681 erence to approve test pressings. They must hear exactly Calibration Standard is virtually a straight line From what has been cut into the grooves. No more. No less. to hear the 10. 20.000 Hz. But you don't have to be a professional will make, That's a guarantee. difference a Stanton 681 Calibration Standard In addition. channel separation must be 35 dB or especially with the "Longhair" brush which provides the im- greater at 1,000 Hz. Output must be 0.8 my /cm /sec mini- clean grooves so essential for clear reproduction. The even mum. provement in performance is immediately audible, If a 681 doesn't match these specifications when first to the unpracticed ear. config- tested, it's meticulously adjusted until it does. The 681 is completely new, from its slim-line Each 681 includes handenlered specifications that uration to the incredibly low -mass moving ss s- verify that your 681 matches the original laboratory stand- tem. The 681A with conical stylus is 555.00, the ard in every respect. 681EE with elliptical stylus, $60.00. Nothing less would meet the needs of the professional For free literature, write to Stanton Mag- studio engineers who use Stanton cartridges as their ref- netics. Inc.. Plainview, L. I., N. Y.

www.americanradiohistory.com Ini Ili re 11 I IIV NOTES FROM OUR CORRESPONDENTS

Continued from page 22

FABULOUS by the Toronto Symphony-the joke here is that since Seiji's arrival in the city the Japanese population has doubled. The RCA set will be the second re- HALF-PRICE cording of Turungallia. Written twenty On these years ago on commission from the Boston Symphony, it was first recorded in Paris SALE! outstanding books by the ORTF Orchestra under Maurice Le Roux, that time too with the Loriod for music collectors sisters and under Messiaen's supervision; the Véga album can be obtained on and stereo bugs special order. A Thousand Sounds and a Side Drum. The Toronto sessions involved fairly long takes, each followed by a playback at- tended by the conductor, the first -desk players, and a few visitors. Messiaen remained in the control room throughout, THE FIRST HIGH FIDELITY TREASURY seated between two large specially de- Designed for anyone who has ever thought of owning audio equip- signed RCA loudspeakers. his large score ment any anyone who wishes to get the greatest enjoyment from on his knees (though he told me he his present system, this book explains the principles of recording knows it almost by heart). Every other minute (including stereo) and shows you how to plan a new reproducing (or thirty seconds) during play- backs he would approach system to suit your needs - and your pocketbook. 31 contributions Dellheim and by experts cover everything, from techniques of recording to the Ozawa with comments and demands, more comments and more demands. art of listening. 128 pp. 6' 2 x 9'2. Soft Cover. Regularly, 52.50. Now, In spite S 1.25. of the language barrier, the composer made himself very clearly under- stood by gestures and by pointing out passages in the score. "Too much trumpet RECORDS IN REVIEW: 1963 Edition here ... not enough second violins there ... the oboe's breath is too anxious...." Hundreds of reviews of records - stereo and mono, classical and Slight details interested him enormous- semi -classical. Specialists such as Nathan Broder, Alfred Franken- ly, and sometimes it seemed that his stein, Paul Affelder, Robert C. Marsh, and Conrad L. Osborne dis- superprecision was carried a bit too far. cuss composition, performance. fidelity; compare new recordings For instance, he noticed that he could with earlier releases. Organized alphabetically by composer and not hear the side drum in the fourth subdivided by categories. Over 500 pages. 5;2 x 81/4. Hardbound movement. Dellheim checked the score Regularly, 55.95. Now, 52.97. (429 pages) and observed that the instrument was played during a very loud passage by the whole orchestra and furthermore that it was marked pianis- TAPES IN REVIEW: 1963 Edition, by R. D. Darrell simo. But Messiaen insisted. With what is called in French R. D. Darrell, author of two popular books on music appreciation une patience angé- lique, Dellheim and Contributing Editor to High Fidelity offers you sound advice and Ozawa consented to another take, as they had done all eve- on how to select prerecorded tapes to build a complete library of ning. fine music. Contains nearly 500 tape reviews which appeared in By the time the fifth movement was High Fidelity in 1961 and 1962. 84 pages. 61/2 x /z. 9' Soft Cover. completed Regularly, 52.50. Now, 51.25. (and twenty takes had been made) everybody was exhausted -except Messiaen and his wife, who remained in the room playing and singing Strauss waltzes on an upright piano. I asked the Dept. 1406 composer if he expected the listener Watson -Guptill Publications actually to hear all of the thousands of 2160 Patterson St., Cincinnati, Ohio 45214 sounds he had assembled in his Turang- alila. He answered, very solemnly: "It I wish to take advantage of your special, half -price sale. is to be hoped. Each detail has its im- Please send me the following book(s): portance. Take away one sound of maracas, and you will notice its absence." The First High Fidelity Treasury: $1.25 The composer had been nervous throughout the session always am Records in Review: 1963 Edition: $2.97 -"I every time one of my works is played, Tapes in Review: 1963 Edition: $1.25 especially when a recording is made" - but he told me that all in all he was I enclose S (check or M.O. only. Add sales tax where necessary). "very satisfied" with the recording, as he had been with two Name the concerts and with the performance by Ozawa in Japan five years ago. Of the conductor he spoke Street without reservations: "He is a real genius. Toronto people have a treasure!" City State Zip CLAUDE GINGRAS L - -. J Continued on page 26

24 CIRCLE 8 ON READER -SERVICE CARD

www.americanradiohistory.com The International

Three countries helped engineer these stereo component systems

The Benjamin 1050 and 11110 compacts wire created pretty mach 50 automatic with 3ynamical_y- 1 aadance1, 12" die -cast turntable; as you would create your own stereo system: selecting the best dynarr-ically- balancai tone=_rm, 3 ac 244 mono- stereo cartridge, available components. cnd intermatching :hem for the best rbt :in- anti -skate compensaticn, ct_eing, sad 4 -pole indiction motor. Con- able results. trolled inputs for microph :ne ail musical instt.rmemt pickups, Benjamin drew upon the engineering cf three countries: West with facilities for m xir.g permit "p:ay- along" wi :h recaarded music. Germany, for the Miracord turntables with their "ligit- -ouch" Other, features: AIv/Fv1 mater toning, tape monitor ng, speaker push buttons, the easiest of all automat cs to use and operate, switching and stereo ieadpb.nr_e jack. equipped with gentle, smooth- tracking, Elac 244 magr.eti car- Two EMI 92 speal -ers are lurnishad in matching walnut cabinets, tridges, and Great Britn!r. for the EMI high- efficiency speaker employing elliptical woofers with alumdr_um cane centers, com- systems, known for their distinctive "nat iral- sound" quality. pliant PVC edge suspensior and ccne tweeters. U.S. engineering proviced the AM/FLf receiver electronics, The Benjamin 1030. at $339.50, spares most o: the attributes of exploiting the latest advances in solid-s:ate circuitry. A fokrth the model 1050. It »s an impressive power output of 50 watts country, the Netherlands contributed the add -on, optional extra (IHF: and is furnished with _wo matching EMI 81'. speaker systems. -a Philips -type cassette tape recorder /playback unit that n'ounts Has a Miracord 6211 clang =r with pressure -formed, non -ferrous 3n drawer slides under the compact to iorm a comple ely inte- turntable, 4 -pole motor anc Elac 1'44 cartridge. grated home music system. The Philips -type ccssette :ape recorder is $133.5). (optional) The Benjamin 1050, at $499.50, .s probably the finest compact See and hear the taw Benjamin Compacts at ycur high fidelity available today, certain y the most powerful with 85 watts (IHF) dealer. For further ceteils, trite direct to: Benjamin Sound Corp., audio output. Its features include: delude Miracord D enjamin Farmingcale, Ne. York 11735.

www.americanradiohistory.com NOTES FROM ing. "It's simple," he explained. "If I have an excess of everything. If you OUR CORRESPONDENTS were playing the cello, that's how I'd haven't an excess, what are you going do it myself!" And let it be remembered to pare off as the years go by ?" Continued from page 24 that Barbirolli, like Toscanini, was him- We in the recording studio, like televi- self originally a cellist. sion viewers, saw the emotion vividly The recording came as one of the enough during performances, but in both Jacqueline climaxes of what was something of a circumstances the astonishing thing was LONDON Du Pre week in England. Not only had the quick transmutation back and forth And Sir John she given a concert performance of the from great artist to lighthearted girl. The work with Sir John (a program identical very opening of the film showed her on to his very first one with the London a train, thrumming her Stradivarius 'How do you follow her ?" That was Symphony, forty years earlier to the like a jazz bass and singing a French the question put to Sir John Barbirolli day) but she had been the subject of a pop song, then cut dramatically to the during rehearsals for EMI's recording of televised hour -long BBC film entitled fierce -eyed queen of the cello grappling Haydn's D major Cello Concerto. Jac- Jacqueline. "You know," Sir John had majestically with the Saint -Saëns Con- queline Du Pré was the soloist, and said in the film, "she's sometimes now certo. Her husband Daniel Barenboim, Barbirolli had in fact done wonders in accused of excessive emotion, but I love before conducting a languorously beauti- following even her most expansive phras- it. Because when you're young you should ful account of the Elgar concerto with her, explained how they had met, most unromantically, in part through EMI's arrangements for recording them together (excellent matchmaking) and partly through sharing the after- effects of glandular fever. The actual meeting took place at the home of the Chinese DON'T pianist Fou JOIN CLUBS ! Ts'ong, at Christmas 1966, when in Barenboim's words "instead of saying good evening, we played Brahms. Now YOU can buy ANY This is how we got to know each other." Barenboim was in Los Angeles when the Haydn was recorded, but Jacqueline (the Christian name is almost obligatory. as the film makers acknowledged) was in RECORD OR TAPE characteristic form -jolly girl, great art- on ANY LABEL! ist, now one, now the other. After a 101 heart -searing take of the Haydn slow movement, she returned to the control \u WORLD'S LARGEST SELECTION room. "Can't you do something about .4R© those plastic chairs ?" she asked of Allen AT LOWEST DISCOUNT PRICES Stagg who was at the controls for these sessions. "They stick to you," she added, Ihru KING KAROL'S World Famous MAIL ORDER SERVICE! laughing: "All through that slow movement I had prickly heat in my bottom!" IMMEMBERSHIP! Stagg offered a new chair or, alternative- COLUMBIA FUTURE ly, talcum powder. to70o RECORDS PURCHASE 1COlOS Seating Plans and Special Effects. As in OBLIGATIONS! the recording of the Haydn C major SHIPPING OR Concerto (with Barenboim conducting the English Chamber Orchestra) Jacqueline HANDLING CHARGES was sitting, not apart, but in the center ANYWHERE IN THE U.S.A.! of the orchestra. As she had explained (APO L FPO addresses - positively no charge RECORDS 118EHIY on the film: "I don't really like recording for postage and handling ) ONLY SPEEDY SERVICE studios; they feel like lonely places. And AT LOWEST PRICES! stuck out in front of the players I just RCA ORDERS PROCESSED DAY RECEIVED didn't feel very happy, especially as there weren't any people in front to Schwann Catalog Your Discount play to. So we VICTOR L,st Priers Price suddenly thought it BI.Mta to 1.ON $1.35 would be nice for me if I 2.39 to 2.50 1.65 could sit in 2.70 to 2.98 1.85 the middle of 3.50 2.30 the players." :1.79 to 3.98 2.50 So it was again 1.79 to 0.98 3.20 for the Haydn D 5.711 to 0.98 3.90 major. Allen Stagg, 0.79 to ,S.!IN .40 long experienced in his own recording studios, has just re- TAPES ?á - OFF CATALOG PRICE! cently joined EMI and it looks as if he IT FOR YOU! may be bringing some new ideas with NAME IT -WE'LL GET (Add 15 YOU °.for Foreign Shipments-Minimum Charge $1.50) him. In the Haydn he was especially concerned Dept. HF -3 about conveying the right KING KAROL RECORDS scale of sound for something that is rWe have the most complete FREE P.O. Boo 629, Times Sq. Sta., New York, N.Y. 10036 virtually a chamber work. Suvi Raj selection of records and tapes SCHWANN Enclosed find S - -- -- for order below. - Grubb, the recording manager in charge on hand RIGHT NOW! You CATALOG CATALOG NO. TITLE OF ALBUM PRICE' order ano we ship immediate- with of the sessions, is also quite a technician, ly! No waiting! Our deal is Initial and preliminaries took very little time simple. The price of the item Orders. indeed. At the first session the whole rylde te is all you ever pay. Buy only comDle1t of the first movement and most lne arDI1 of the recors =N! what and when you want. We every second were completed. I noted a little have ready go. NAME everything to _ .5, Y. State scribble on Grubb's score here and there: Send your order now! ADDRESS residents please "Sir include local John sings," it said. Sir John's un- CITY_ _ -__. _ _ _STATE _ - Sales Tares. scripted vocal contributions sometimes Continued on page 28 CIRCLE 36 ON READER -SERVICE CARD 26 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com INC.' SPEAKERS ARE CHOSEN FOR CRITICAL PROFESSIONAL USE- BUT THEY WERE DESIGNED FOR THE HOME.

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AR be sent free on request. AR speakers are $51 to $250. A catalog of AR products - speakers, turntables, and the amplifier -will

ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge, Massachusetts 02141 CIRCLE 1 ON READER -SERVICE CARD \H( ii 1968 27

www.americanradiohistory.com Kinloch Anderson, NOTES FROM EMI's producer. for Television film of the work just a year OUR CORRESPONDENTS the Brahms. Barbirolli seems to be one before. That film has been universally those whom of the years have not at all recognized in Britain as the finest opera Continued from page 26 led to "pare off" the emotions. presentation yet seen on television here, and there was no doubt that the earlier have to be left on the finished tape, and Culshaw, Britten, and Billy Budd. Links preparation helped maybe to ensure a smooth some of Jacqueline's expressive between the recording world and televi- run during the Kingsway sniffs will be Hall sessions. too. sion also played their part in another For this, his Decca /London Sir John had come to London swan from major recording event. Signs of the times song, Culshaw decided to Vienna specifically the adopt a new for anniversary perhaps? John Culshaw, now, as every- technique. By design, the concert and recording session. was takes were He body knows, head of music programs longer than ever before, sometimes then going back to as immediately complete for BBC Television, returned to his old long as thirty -eight minutes. a whole series of with Culshaw Brahms sessions haunts by special arrangement to act had agreed on this policy with the Vienna Britten Philharmonic-all four sym- as Decca /London's recording manager beforehand, and so the phonies and sessions were the two overtures to be for Benjamin Britten's opera Billy Budd. divided specifically between issued as a four -disc album within the rehearsals The composer-who was also conducting and recordings. The first two were whol- year. "We enjoy his passion," explained -had chosen a cast almost identical ly taken up with rehearsing Act I, and one of the musicians in the orchestra to with that which took part in a BBC the next three for recording it. Then again, two rehearsal sessions were de. voted to Act II and three to recording it. The strain was considerable, Culshaw admits, but he feels the results came off. Britten has always hated being interrupted during performances in the re- uniCLUB cording studio, and the new conditions this time were a step towards the ideal saves you more for him. There was a crisis just before the tenth and final session, when he on more of what you want! sprained his back, but after a rest he manfully coped with the last session and the last twenty minutes of music. RECORDS TAPES STEREO GEAR BOOKS Culshaw's reactions at the end were bathed in his admiration for Billy Budd itself. "The IN I most powerful of all Brit- ten's operas," he pronounced, and the recorded version could go a long way to convincing music listeners generally. Here are 10 facts about uniCLUB. uniCLUB supplies hi- fidelity equ'pment of vir- The revised two-act version is used in- They are 10 reasons to clip the cou- tually every manufacturer at tremendous sav- stead of the original four -act scheme. pon and join now! ings. This month's "Hi-Fi Special ' is a Garrard As Culshaw says, some wonderful things Lab 80 turntable; List $100.00 to members only $59.95. are lost, but the drama is made tauter, 9. BOOKS OF ALL PUBLISHERS the thread more closely followed. In a LP recording, 1. Any or tape on every U.S. or foreign The Book Division -only uniCLUB has it -of- he points out, the emotions label available. Columbia - Capitol -RCA- fers members at least 25% off on any book in of central characters can be conveyed in London & 350 more. No exceptions. print.* You get only original publishers' edi- close -up, just as they can tions. uniGUIDE in television. 2. You save a minimum of 35% on LP's; 33% lists best -sellers, just -pub- Billy Budd has its large -scale effects, on tapes and 25`'4 on books. lished works and book "Specials." but *Texts are reduced 10 %. intimate emotions are also vital. 10. FOUR CLUBS On the question of stereo staging Cul- 1P's LIST UniCLUB IN ONE uniCLUB is really a time -saver. It makes join- shaw has again worked closely with 51.98 $1.23 ing many clubs unnecessary. Now you can buy Britten himself. Broadly, the layout 2.98 1 .85 all your records, tapes, auto -cartridges, books agreed and stereo -gear from on put the quarter -deck to the 3.79/98 2.39 one convenient source. right 4.79/98 2.99 We hope you'll join today! and the main deck to the left; most 5.79/98 3.69 SAVE MONEY EVEN ON YOUR of the production followed from that. MEMBERSHIP FEE But when the scene changed to Captain Give gift memberships with full lifetime privi- Starry 3. You can save even Vere's cabin, there was no ques- more by taking advan- leges for only $2.50 each. Splitting the cost with tion of limiting tage of the regular extra discount "Specials." one other person lowers cost to $3.75; enrolling the stereo spectrum. The Save up to 80% off list price. Right now, for five at a time brings cost down to only $3 each. whole "stage" was used from left to example, the entire RCA Red -Seal catalog is right. On the more controversial ques- $2.75 mono; $3.25 stereo. The Vox $4.98 series tion of sound is $1.75 [-Send my Free Schwann catalog, order, effects, Culshaw has de- mono and stereo. liberately 4. Never blanks & uniGUIDE by return mall. limited himself. You may get a requirement to buy. No monthly $5 enclosed guarantees me: the scampering "stop- order" forms to return. You receive just noises of powder- monkeys what you order. 1. LIFETIME MEMBERSHIP in uni- rushing to action- stations; but, as he 3. LIFETIME MEMBERSHIP CLUB says, there is no need for the sound of 2. 35 % -80% savings on LP albums, 1/2 off The club membership fee is $5. This is for life- on tapes, 25% on books. men marching about in the scene before time privileges which are increasing all the time. 3. No requirements ever to buy anything. Billy's execution because Britten's music 6. FREE CLUB MAGAZINE Nothing will ever be sent until I order it. tells the whole story. Members regularly receive " uniGUIDE" advis- I must be delighted with unICLUB or within The cast is, naturally, headed by Peter ing them of the latest releases, recommended 30 days I will let you know and receive a best -buys and extra discount "Specials." When tun refund. Pears as Starry Vere. As in the televi- you join you receive a free 300 -page Schwann sion film, Peter Glossop sings the name record catalog listing every available record part, and others include Michael Lang - and its price. uniCLllB /nc_ You receive a free Harrison tape 255 West 42nd Street don as Claggart; John Shirley-Quirk, catalog if you specify. DEPT. HF38 New York, N. Y. 10036 Bryan 7. FASTEST SERVICE ANYWHERE Drake, and David Kelly as the Your orders are not only processed but shipped principal officers; and Gregory Dempsey, the same day we receive them. This unique serv- NAME David Bowman, Owen Brannigan, and is ice possible because your orders are picked ADDRESS Robert Tear as members of the crew. from an inventory of over 250,000 LP's & tapes. The orchestra is the London Symphony. You get factory-new sealed albums and tapes CITY STATE ZIP only. Defects are fully returnable With any luck the album will be appear- at no charge. Send gift memberships 8. SAVE UP TO 50% ON at 52.50 each to names ing later this year. EDWARD GREENFIELD STEREO GEAR and addresses listed on attached sheet. LE I am also interested in prerecorded tapes. f Individual ronnlu nests or complete systems- Continued on page 30 CIRCLE 59 ON READER -SERVICE CARD 2 8 HIGH FIDELITY MAGAZINE

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CARD CIRCLE 1 ON READER -SERVICE 9 MARCH 1968

www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS Continued from page 28

as Fricka, Simone Mangelsdorff as Rheingold Freia, Oralia Domínguez as Erda, and BERLIN Helen Donath, Edda Moser, and Anna From Karajan Reynolds as the Rhine maidens. As in Walkiire, the Berlin Philharmonic backs them up. The evening I drove back from the Ruhr through snow, sleet, and heavy fog to Harps and Homework. At the risk of attend a final recording session here for causing the DGG authorities possibly to Deutsche Grammophon's new Rheingold, bar me from future sessions, I shall here I heard en route that the Düsseldorf air- reveal one trifling departure from Wag- port, along with several others, had been nerian purism. Last year in Salzburg, closed tight for three days. I speculated when I noticed four harps in the on what effect, in these jet -age days of Walkiire pit, it occurred to me to won- here today, Guam tomorrow, the wretched der whether Karajan had doubled the weather all through Germany had had number required by the score. When I on DGG's schedule, for Herbert von found four harps present for the Rhein - Karajan had assembled his stellar cast gold sessions, I sneaked a look at the from among singers of various nationali- conductor's score, and discovered Wag- ties whose multitudinous engagements in ner himself had called for six, plus a You fee? one place after another force them to rely seventh to accompany the Rhine maid- paya a membership ens. When I taxed Gerdes with Why Chesterfield on air travel. this, direct from Sure enough, he said wearily, "Just you try to round can buy ail - the morning I arrived at the Jesus -Christus up seven harpists all at one time who world's -Kirche in the Dahlem the d section of Berlin, meet the maestro's standards." Fair l eSfO recors the DGG representa- order distributor tives showed signs of having gone through enough (although London /Decca did ..and get something of an ordeal. Everyone had manage to produce the required seven TO eventually turned up on time, although harps for Georg Solti). When the Rhine maidens DISCOUNTS in some instances this had meant flying mounted the stairs to the choir GREATER to an unplanned intermediary destina- loft to record their trio, one of the harps and harpists hiked DELIVERY tion and then taking a train. This in it- along with them. IMMEDIATE self involves certain problems, for any Between now and Easter, the singers S RATE non -German traveling to isolated can literally memorize Karajan's inter- POSTAGE Berlin pretation, MINIMUM by surface routes has to get out at the thanks to little battery -pow- SELECTIOetc border and get himself an East Ger- ered tape recorders equipped with cas- show settes UNLIMITED tau, spoken, man transit visa. On of the DGG recording especially clasvcal. folk, top of the meteoro- (Pppular, logical harassment, Dietrich prepared for the purpose. When they Stereo) Fischer - (mono & Dieskau, the recording's Wotan, arrive in Salzburg, they will have the ALL LABELS had Karajan broken a bone in his foot and had to conception so thoroughly in their face the microphones with that memories that far fewer musical re- extremity hearsals in a cast. I must say the injury seemed to will be necessary. PAUL MOOR have no effect on his performance! STEREO Ten years ago, the London /Decca FREE Rheingold from Vienna, with Solti and Flagstad and a lot of other top names, New Lip-Tempo STARTER KIT became a sort of phonographic mile- TOKYO stone, thanks to John In Nippon including Culshaw's imaginative and at that time quite novel catalog Complete record employment of stereo possibilities. I had The sudden upsurge excerpts assumed that in the Japanese rec- LP record, the DGG team -Karajan ord business that began last greatest regulars Otto May flour- the world's Gerdes, Gunter Hermanns, ished unabated at the year's end -and from and Wolfgang Lohse-would have stud- masterpieces shows every sign of continuing through- ied that recording to the extent of com- out the current year. Record cleaner mitting it to memory. compiled Either I labored It all began when Kawade Shobo, a record gguide under a misapprehension, Basic of Schwann or the Deutsche Tokyo book publisher, brought out a publishers by the Grammophon people did an excellent biography of Beethoven accompanied by catalog. job of dissembling: I was told simply two five-inch e and LPs containing the Fifth to cover postage that they had gone about this recording Send $1.00 Symphony and Coriolan Overture and strictly according to the dictates of their priced at only 680 yen ($1.88). About own independent artistic consciences, with 400,000 sets were snapped up. In June, no extraneous influences or compari- Kawade followed up with a similar sons. Herr Gerdes, in fact, said that Schubert release. Although the price for with the exception of a few specific ef- the Schubert was raised to 980 yen Chesterfield fects, they had striven for a very direct, ($2.72), 310.000 sets were sold to avid forthright recording, MUSIC SHOPS, INC. with no particular purchasers. The Kawade Musical Library exploitation of stereophonic legerdemain. has now stabilized its monthly release at 12 Warren St., New York, N.Y. 10007 As in the case of last year's recording 200.000, with plans to continue the series Please send me at no obligation FREE of Walkiire, the singers will also form the until May 1969. cast at the premiere of Karajan's Stereo Starter Kit. I enclose $1.00 to stage cover postage and handling. production to be given at this year's The Commercial Front. For many years Easter Festival in Salzburg. Aside from record collecting in this country was an Name Fischer -Dieskau, the cast includes Rob- expensive hobby. When the first Japanese ert Kerns as Donner, Donald Grobe as full -size mono was in Address LP released 1951 Froh, Gerhard Stolze as Loge, Zoltán at an equivalent of $7.50, the man- in -the- City Keleman as Alberich, Erwin Wohlfahrt street who earned an average of $40 as Mime, Martti Talvela as Fasolt, Karl State Zip Ridderbusch as Fafner, Josephine Veasey Continued on page 32 C.RCLE 11 ON READER -SERVICE CARD 30 HIGH FIDELITY MAGAZINE

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CIRCLE 44 ON READER -SERVICE CARD MARCH 1968 31

www.americanradiohistory.com NOTES FROM Collectors here attach such value to their production of 100 million copies of some OUR CORRESPONDENTS hobby that they consider it almost a 10,000 releases. sacrilege to buy records at a discount, More than 90 per cent of the Occident- Continued from page 30 and to many people 'discounted' is al music released represented Japanese synonymous with 'defective.' " Again, a pressings of American and European a month had to skip a good many lunches representative of the Japan Phonograph recordings; of the some 700,000 imported to buy it. The price for 12 -inch mono Record Association says: "The cheaper discs (1966 figures), the vast majority discs has since fallen to $4.00 and that the record, the slower the sales -that were language- teaching sets. Japan ex- for stereo from the initial $7.88 to $5.00; has long been a maxim in the industry ports some domestic records, mainly of during the same period the average here. The success of Kawade is simply light and popular music, but it is known monthly income has risen to $100. Even the proverbial exception." Actually, that export figures fall considerably so, records are not items that most Kawade seems to have tapped a market short of the amounts paid out to foreign Japanese can afford to acquire casually. new to classical discs, although the Jap- firms for recording rights. (This imbal- Yet -oddly from an American point of anese record business in general has been ance, however, is more than offset by view- neither record clubs nor discount growing at a rapid pace for some time. the export of electronic equipment: in houses are part of the record scene. As There are now about five thousand rec- 1967, Japan exported, for example, about a spokesman for Japan Columbia put it: ord stores (more than 800 in Tokyo one million record players alone, worth "The mental climate is a curious one. alone), and figures for 1967 indicate a approximately $80,000,000.) About a century ago Japan imported German music teachers along with Euro- pean music, and these instructors continued to dominate Japanese conserva- tories and music academies for many years. Partly as a result, most Western music heard here is dominated by the German classics. Though the Japanese are often regarded as a particularly contemporary- minded people, Beethoven is always a best -seller. Last year Japan Columbia's two top items were the Bee- thoven Fifth and Sixth Symphonies, both by Bruno Walter and the CBS Orchestra. Of best- sellers released by Japan Gram - mophon and Toshiba (which presses Angel recordings) eight were Karajan discs, mainly of Beethoven. And Japan Columbia found a strong Furtwängler revival, even in spite of the outdated sonics of the latter's discs.

The Creative Face. The Japanese recording of European music is not exactly new. From the late 1920s through the 30s quite a few such albums were made, including, in 1929, the first recording anywhere of Mahler's Fourth Symphony. However, neither the recordings nor the performances in those days were of high quality. After the war, the idea of recording performances of European music by Japanese artists was dropped, and it is only in the last few years that it is again gaining currency. The catalogue of Japan Columbia presently lists twenty- eight Japanese -made recordings by native performers; Toshiba, twenty -nine; King, fifteen; and Japan Victor, sixteen. These THE LEADER figures include some works by Japanese composers of serious music as well as The Tandberg Model 64X four. and two-track Western classics. A few records by visit- stereo tape deck is unsurpassed as the world's ing foreign artists are also being made, standard of tape recording excellence. It offers as Japan Columbia's discs with flutist new styling- improved frequency response at Jean -Pierre Rampal and King Records' recital all three speeds (for example: © 7/8 ips, by guitarist Narciso Yepes. At the it's 30.11,000 cps) - and improved moment, few Japanese recordings of signal-to noise ratio. serious music are exported (the complete Sibelius Symphonies by Akeo Watanabe The Model 64X also has playback equalization and the Japan Philharmonic released in conforming to the new IEC standards. For better America on Epic is one notable excep- clerarer, more natural sound - hear the new tion), but efforts in this direction are on Model 64X at your Tandberg dealer soon. the increase. For example. the Japanese affiliate of America Columbia has already taped the Juilliard Quartet in Schubert's Tod and OF AMERICA, INC. das Mädchen and the Venice Ensemble Tuudbcr in Vivaldi's Four Seasons. Japan, in other P.O. BOX 171, 8 THIRD AVENUE words, is on the way to becoming a PELHAM, NEW YORK 10803 competitor of some importance on the n4i HULDRA IS A REGISTERED TANDBERG TRADEMARK international recording scene. FRED SAITO CIRCLE 56 ON READER -SERVICE CARD

CIRCLE 24 ON READER -SERVICE CARD

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FREE! APPARENTLY feeling far from nonplused performance that has yet to be bettered. by its massive relaunching of the Cetra The scrupulous Fasano presides in both opera catalogue last spring, Everest has these recordings. The new McIntosh 36 page cat- now gained access to the operatic re- Medea is Maria Callas' show and she alog gives you all the details cordings produced by the Italian music brings to it her usual blend of highly publishing firm of Ricordi on the new McIntosh solid state in the late charged dramatic excitement and uneven Fifties. The five performances just re- vocalism. Scotto's touchingly sung Glauce equipment. In addition, you'll re- issued- Donizetti's Lucia di Lammer- excepted, the other singers are decidedly ceive absolutly free a complete moor (439/2), Paisiello's Barber of mediocre and Serafin's conducting is on Seville (443/2), Rossini's La Cambiale the stodgy up -to -date FM Station Directory. di side. Callas fans should not matrimonio (446/2), Cherubini's Medea be deterred, however; this is one of (327/3), and Pergolesi's La Serva her greatest roles. padrona (445/1) -were all originally All the Ricordi recordings were made taped by Mercury Records, and until in true stereo and Everest has done a quite recently they were available on decent enough job in transferring the that label (in fact the Mercury pressing tapes to new pressings. In comparison of Medea is still listed in Schwann). with the original Mercury discs, how- Each recording, now budget -priced at ever, there is a noticeable decline in $2.50 per disc, is worth serious consid- definition and clarity. eration by any collector who might have missed out the first time round. ENESCO: Sonata for Violin and Piano, The Lucia. of course, is the only No. 3, in A minor, Op. 25. JANACEK: standard work here, and must compete Sonata for Violin and Piano. Rafael with a number of rival versions. But Druian, violin; John Simms, piano. Renata Scotto's intense yet delightfully V/ World Series PHC 9084, $2.49 (stereo musical interpretation of the mad heroine only) [from Mercury MG 50090, 1954]. makes this set a very attractive con - Both these interesting sonatas are prod- tender-it is certainly far preferable to ucts of a well -assimilated national idiom. the other budget entry on Victrola. Un- Exactly what makes the Enesco peculiarly fortunately, all the usual cuts are taken "Rumanian" and the Janáéek unmis- (except for the central portion of the takably "Czech" is hard to pin down, so Mad Scene); and while Giuseppe di cleverly have the composers digested the Stefano (Edgardo) and Ettore Bastianini musical styles and turns of speech in- (Enrico) give forthright, idiomatic per- digenous to their native countries. While formances, they are not as consistently Enesco's impassioned statements do not satisfying as Miss Scotto. Still, a sound actually quote folk melodies, the rhythms, investment if you're in need of a Lucia. harmonic colorations, and general musi- Paisiello's Barber is something more cal phraseology are closely patterned after than a mere historical curio. Besides Rumanian folk music. affording interesting comparisons with Janácsek's Sonata lacks such immedi- Rossini's more familiar version, the op- ate melodic appeal and spicy local atmos- era's low -keyed comedy and lyrical mini- phere: like the vocal lines in his operas, atures have an appealing eighteenth - its epigrammatic terseness seems to be century charm that somehow seems distilled from the rise and fall of the FREE closer to Beaumarchais's world than does Czech language. But the music strikes a Rossini's broader treatment. The per- note of pathos which is, in its own la- formance is a superb one with stylish conic way, intensely moving. Druian and SEND TODAY singing from Graziella Sciutti, Nicola Simms bring formidable techniques and Monti, and Rolando Panerai and with sympathetic insights to both works, and precise, affectionate leadership from the reprocessing preserves the bright Renato Fasano. A pity so many cuts sonics of the original Mercury mono had to be made in order to fit the two - pressing. disc format. The Rossini and Pergolesi works are MASSENET: Scènes pittoresques; Scènes a bit more special. La Cambiale di alsaciennes. Orchestre de la Société des Ñ matrimonio was Rossini's first opera - Concerts du Conservatoire de Paris, actually not a bad job for an eighteen - Albert Wolff, cond. Stereo Treasury year -old tyro, and giving more than a STS 15033, $2.49 (stereo only) [from few hints of what was shortly to come London CS 6139, 1956]. from this composer's pen. It's fairly The seven orchestral suites Massenet thin stuff though, and the polished work wrote between 1865 and 1881 seem to of Scotto, Monti, Capecchi, and Panerai comprise practically all of his nonvocal does not wholly disguise the fact. Per - creative efforts (in 1903 he produced a golesi's La Serva padrona strikes me as piano concerto, a work about which I'm even thinner, and its false reputation as almost as curious as about Mascagni's á the first opera buffa seems to die hard. Symphony in C minor). Scènes pit- z v Scotto and Sesto Bruscantini do their level best by the material and give a Continued on page 36 CIRCLE 39 ON READER -SERVICE CARD 34 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com REPEAT PERFORMANCE Continued front page 34

toresques (Suite No. 4) is a tasteful if Valletti's stylish Don Ramiro) are grim, vapid compendium of four tone poemlets, but you do get about half the score plus but the .Sce'nes. alsaciennes (No. 7) de- Simionato as she sang the role fifteen serves an occasional hearing on pop pro- years ago: the voice has a beautifully grams. In the third movement, entitled rich. mellow sheen to it. warm and even LET' Sous les ti/leul.s. a solo cello sings a typi- over its full two -and -a -half octave com- ically long -lined melody in the compass. This is spectacular Rossini singing. poser's most graceful feminine vein -it BUYELBEWR[! could have come straight out of Wert /ter. STRAUSS, RICHARD: Elektra: Recog- Elsewhere we have flavorsome descrip- nition Scene; Die Fran (line Sehatten: tions of an Alsatian village on a Sunday Barak, ,rein Mann; Der Rosenktsralier: morn, celebrations in the local cabaret, Da lieg' ich. Christa Ludwig, mezzo; and a sprightly festival scene. all of it V1,:rt !3e: ry. hass- baritone: Orchestra CAVEAT EMPTOR attractively painted and fastidiously or- and Chorus of the Deutsche Oper (Ber- chestrated. I can imagine more evoca- lin), Heinrich Hollreiser. cond. RCA The Roman phrase "Caveat tive performances than Wolff gives us Victrola VIC 1269 or VICS 1269, Emptor" cautions the purchaser here. but they will do-as will the sub- $2.50 [from Eurodisc 71186/71187, to examine the article he is buy- dued albeit reasonably full- bodied sound. 19641. ing, and act on his own judg- The big item here is the Recognition ment, and at his own risk! We !11OZART: Quartets for Piano am! Scene from Elektra and it is sumptuous- Strings: print it here as a reminder to No. I, in G minor, K. 478: ly sung by the present artists. As with r No. 2. in E flat. K. 493. George Szell, Miss you, hopefully a happy owner of Ludwig's recent recording of piano: members of the Budapest Quar- Briinnhilde's a Shure Stereo Dynetic cart- Immolation Scene, one tet. Odyssey 32 16 0139. $2.49 (mono wonders ridge, that the superior per- if she is not pushing a good only) [from Columbia ML 4080, 1953; thing by subjecting formance of all Shure cartridges her luscious mezzo recorded in 19461. to the rigors of Elektra's high depends upon the Shure Stereo -lying "The intimacy of feeling expressible lines. Doubts also arise over Mr. Dynetic Stylus assembly -and Berry's through the subtleties of a team of com- Ochs: he presents a pleasurable portrait alas, there are indeed imita- bined solo players " -so writes scholar of the Baron in the Act 11 finale, but tions. H. C. Colles on the topic of chamber his voice really seems too light for the May we caution you that an in- music. and this highly prized collectors' part. Perhaps this gifted husband and is ferior replacement stylus can item that definition's aural corollary. wife team are extending themselves a audibly detract from and signif- The Budapesters weave patrician per- bit in their search for a repertoire mu- icantly reduce the cartridge's formances from sonic of Mozart's finest tually congenial for joint appearances. performance, and increase rec- thoughts on the subject and Sze11 collabo- The duet of Barak and his wife from ord wear. Obviously, if an imita- rates to perfection. Snap up this classic Fran ohne Scheu te'n, however, leaves

before 1 tion Stereo Dynetic stylus is it disappears again -definitely a no room for second thoughts -the warm, cornerstone used, we cannot guarantee that for any chamber music col- uncomplicated dyer and his intense, lection. The remastering the cartridge will perform to has been most slightly hysterical wife lie well within expertly handled. published specifications. Ac- the vocal and temperaméntal strengths of these two artists, cept no substitute. and the excerpt is ROSSINI: La Cenerentola (excerpts). a treasurable memento of their bril- Giulietta Simionato (ms), Ugo Ben - liant Met performances last season. elli (t), Sesto Bruscantini (b), et al.: Hollreiser's accompaniments sound rather Chorus and Orchestra of the Maggio turgid. but the sound is first -class; no LOOK FOR THIS Musicale Fiorentino, Oliviero de texts or translations. WORDING ON THE BACK Fabritiis, cond. London OM 36026 or OS 26026, $5.79 OF PACKAGE [from London A STRAVINSKY: Apollo; Renard. Soloists; 4376/OSA 1376, 1964]. Orchestre de la Suisse Romande. Er- Cenerentola is an especially difficult nest Ansermet. cond. Stereo Treasury opera to excerpt: there are very few arias STS 15028. $2.49 (stereo only) [from THIS DYNETIC and one delicious ensemble tumbles after London CM 9152/CS 6034. 1956]. STYLUS IS PRECISION the other in such profusion that any se- Ansermet's extensive recorded repertoire MANUFACTURED BY lection is likely to seem arbitrary. Lon- of Stravinsky serves as a useful foil to don has skimmed off the cream from the composer's SHURE BROTHERS, INC. own versions. even if its complete recording, wisely concen- the veteran Swiss conductor rarely trating on Giulietta Simionato, here near matches Stravinsky's authoritative vital- the end of her career. Her Cenerentola ity. The Apollo reading boasts rather It is your assurance that the positively radiates good nature and live- more expressive string playing than the stylus you buy will enable your ly spirits and. considering her basically recent official recording from Columbia. cartridge to perform up to dramatic mezzo equipment. she negotiates although Ansermet tends to let the Shure standards ... incompa- the florid music with amazing ease and rhythmic impetus become slack and the Occasionally rable Shure standards, that is. crispness. one has the im- textures are exceedingly bass -heavy (a pression that she is simply shaking her fault. perhaps. of the recording). INSIST ON voice lightly over a few really tricky The Renard. however. is quite marvel - gruppetti -the vocal quality suddenly be- ous-if Stravinsky's barnyard humor SI--IVRE ccmes breathy. and you have a suspicion strikes you as funny. This piece has al- that you're not hearing all the notes - ways left nie unamused for all its in- REPLACEMENT STYLI but one is mightily impressed by the genuity and droll instrumental touches. over -all expertise of her performance. Ansermet's soloists ( Michel Sénéchal. SHURE BROTHERS, INC. Before putting down $5.79 for this Hugues Cuenod, Heinz Rehfuss. and 222 Hartrey Ave., Evanston, Illinois 60204 disc. however. it might pay to investi- Xavier Depraz) are about the best I've Manufactured Under One or More of the Following gate Everest's reissue of the old Cetra ever heard and they extract a maximum U. S. Patents and Other Patents Pending. Cenerentola. two discs for substantially of wit from the peculiar tale. At its 2,983,516, 3.055,968, 3,077,521, 3.077,522, D 183,366. D 185,168, D 187,229, 0 187,230. the same price. The sound is considerably budget price. the disc makes sense for D 189,144, D 193,008, D 193,007, D 193,854, London's and the supporting anyone in search of two contrasting bits D 193.934. inferior to singers (ssith the exception of Cesare of key Stravinskyana. PETER G. DAVIS CIRCLE 51 ON READER -SERVICE CARD r, HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THE 1 1 4 1 1 1 k 100

loe loe we

104 >a 104

9io áo 96 96 9? 97 9e 9e 'IPA W1 i. \ ( 1 f! ( ( TAII) ** e e!

131" WIDE. Ely HIGH, 61' DEEP. The world's smallest hi-fi system, 1/2 actual size. Before the new Fisher 100, small radios weren't hi -fi systems.They were distortion machines that produced shrill, tinny treble and muddy bass.The kind of sound that serious music lovers find intolerable for extended listening. The Fisher 100, at $99.95, is different. It combines a sensitive FM tuner, a powerful amplifier with complete controls, and an acoustic suspension speaker with a huge magnet. The five tuning dials permit you to pretune your favorite stations and hear them at the touch of a button. ( Instant tuning is accomplished electronically and is extremely accurate.) And for an extra $29.95, you can have the S -30 extension speaker, which exactly matches the 100's speaker. Listen to the Fisher 100 at your hi -fi dealer or any store that seils Fisher products.Though it takes up less than half a cubic foot of space, the 100 sounds unmistakably like a Fisher. It may be the world's smallest hi -fi system, but it's also one of the best. (For more information and a free copy of The Fisher Handbook 1968, an authoritative 80 -page guide to hi -fi and stereo, use coupon on magazine's front cover flap.) Fisher Radio Corporation, 11 -35 45th Rcad, Long Island City, N.Y.1I 101 The Fisher CIRCLE 31 ON READER -SERVICE CARD \1 \i<< II I'16-; 37

www.americanradiohistory.com HIGH FIDELITY II EWS

EICO MOVES TO NEW HEADQUARTERS

WE RECENTLY WATCHED New York City officials take the pink ribbon off Eico's spanking new plant at Flat- lands Urban Industrial Park, a sparsely inhabited section of southeast Brooklyn. Although Eico has outgrown four New York area locations, its latest move was prompted by an unusual reason: the United States government requisitioned its Flushing factory for a post office, and stereo had to make way for stamps. Eico's new 100.000 -square -foot facility provides five times the space of its previous location. ensuring sufficient room for future expansion. One wing of the spacious. air- conditioned building houses executive, design, and engineering offices, and a formidable array of IBM 1311 magnetic disc computers used for inventory control. The main production area stretches for hundreds of feet: sunlight streams in from wall -length windows that reach up to a twenty -foot ceiling. Nearly Eico president Harry R. Ashley. three hundred workers sit at six assembly lines using the latest construction techniques. One large contraption, unit -wired versions now account for forty per cent for instance. solders the connections on the underside of the company's component sales. On other lines you of a printed circuit board in less than thirty seconds can see test. ham, and citizen's band equipment evolving. by skimming it over a molten solder bath. Appropriately. Also made here are Eico's new solid -state mini -kits for an elaborate assortment of Eico's own scopes and meters hobbyists and tinkerers. including such items as a voice - is used for testing and quality control. operated switch or an FM wireless microphone -all On one busy production line you can watch Eico's priced under $10. "Cortina" solid -state stereo receiver, amplifier, and tuner In all, the new factory presents quite a contrast to the kits being turned from a bag of parts into a completed ten -by- twenty -foot store in which Eico was born in 1945.

FM REPLACING DISCS AS MAIN HIGH FIDELITY PROGRAM SOURCE?

ARE DISCS TAKING SECOND place to FM as the main speakers. After high quality. brand -name transistor stereo source of reproduced music in the home? You might receivers first began to permeate the high fidelity market, think so from rumors currently bruited about the audio some unknown genius discovered that if you added two field, based mainly on the fact that this past Christmas inexpensive but good -looking speakers. you could sell an season sass the sales of FM receivers actually outrun awful lot of equipment. "As recently as 1960," recalls record players for the first time. To check the accuracy Lafayette Radio Electronics executive Harold Weinberg, of these reports and the meaning of this trend, we re- "FM could be found in perhaps only ten per cent of the cently polled a sampling of dealers in several key cities. new systems sold. If a man wanted to buy a receiver While eighty per cent of all complete systems sold instead of an amplifier. he knew it would cost him any- from September through December 1967 contained a where from $50 to $100 extra. and the receiver wouldn't turntable or record changer, the percentage that included be as good as his amplifier. So what he did was to buy tuners or receivers ranged from seventy (according to his record player. amplifier. and speakers. and add FM the smaller dealers) to ninety (according to the largest at a later date -just as people are doing with tape today." dealers). Separate amplifiers during this period appeared And just, we might repeat. as a few budget -minded cus- in ten to fifteen per cent of the sales of complete sys- tomers are doing with record -playing equipment. tems, and the even more separate power amplifiers plus The compactness of the receiver is only one reason preamplifiers accounted for only three to eight per cent. for its "easy sell." Today's FM stereo receiver frequently Five to ten per cent of the complete systems sold in- performs as well as comparably priced separate tuners cluded tape recorders or decks. Note that we are re- and amps: and. a one Washington. D.C. dealer observes, ferring here only to complete systems. That in itself ex- "it looks a lot like a radio"-which opens up a new plains a great deal. high fidelity market. For instance. those few who do not buy record - If FM has been able to step up from ten per cent to playing equipment as part of a system are primarily eighty per cent or more in less than a decade. what can purchasers of less expensive gear. They are on a budget be expected of tape? "Tape is now roughly where FM and generally plan to add a turntable -usually an auto - was ten years ago." a Boston dealer notes. "It comprises matic-at a later date. Also. "complete systems" would a very small part of total system sales, but many cus- include any high fidelity program source plus separate Continuecl Oil page 40

38 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The new Fisher XP -18 is a large speaker tweeters which reproduce the rest of the audio system. The kind that was in fashion years ago. spectrum. Before audiophiles even admitted that a bookshelf Of course, we're not saying that the new speaker could conceivably produce good bass. XP -18 is exactly like the old -fashioned large Times have changed. And bookshelf speak- speakers, good as they were. There are things ers now provide good, even great bass response. about the new system that took years to perfect. (We should know, we make some of the best.) But Like the 7- element crossover which provides an one thing hasn't changed -to achieve the ultimate extremely smooth transition at crossover points. in bass response you still need large bass speakers. And like mounting the speakers in separate cham- And that means large speaker systems. bers to avoid interacting resonances. The Fisher XP -18 is large (29%" x 301/2" But we are saying that the XP -18, at $349.95, x 161/4" deep). It has an 18 -inch woofer for fre- produces the kind of sound that has always been quencies below 150 Hz. It also has an 8 -inch lower identified with large speaker system,. mid -range for 150 -1500 Hz, a 51/4 -inch upper mid- And always will be. range for 1500 -3000 Hz, and two 2 -inch dome The Fisher

nouncing the great bass

FOR MORE INFORMATION, FLUS A FREE COPY OF THE FISHER HANDBOOK 1968, TO HI FI ANL STEREO, USE COUPON ON MAGAZINE'S FRONTrevival. COVER FLAP. AN AUTHORITATIVE 80.PAGE REFERENCE GUIDE LONG 1, NO CIT., N.. 11101. 115NE1,0 0001.(M ..,1NC., 111557010E0. OMG MAYO CIE. +. 11101. 0E05E500 NEVUENS.LFSF wI,E 1C ',ISM. ROIOI IOE.INC., CIRCLE 31 ON READER -SERVICE CARD MARCH 1968 39

www.americanradiohistory.com NEWS & VIEWS Continued from page 38

tomers who buy a system for Christmas can be expected EQUIPMENT to come back six months later for a tape deck." He be- NEWS lieves that if manufacturers can find a way to build tape into some other component as an integral part of the system, tape can experience the same kind of phenomenal growth. "Harman -Kardon has started in that direction by adding a cassette system to a stereo compact," this dealer points out. "The cassette player lends itself to inclusion in a receiver or with an automatic turntable because of its convenience and small size. You could never do the same thing with a conventional tape deck. and that's why I expect the cassette to be the instrument which will make tape competitive with records." FM has long meant Free Music to many audiophiles. Some dealers in our survey expressed concern that if the trend to receivers continues, they will lose sales of records, tapes, turntables, and replacement styli and pickups. We don't see it that way. First of all, most systems already in use are equipped to play records, whether they include an FM unit or not. Secondly, a significant proportion of receiver -only "complete system" sales comes from those with tight budgets. And thirdly -and this is the clincher -sales of automatic turntables, cartridges, tape decks and recorders, prerecorded tapes. BARGAIN RECORD PLAYER and records were by the end of 1967 all running well ahead of 1966 figures, with gains estimated at up to New from Allied Radio is the Model 919 four -speed ten per cent. automatic turntable which, together with a stereo pickup (choice of Empire, Pickering, or Shure -all with elliptical stylus), is going for only $49.96. An optional HARMAN -KARDON LAUNCHES TAPE RECORDER LINE wood base and dust cover cost an additional $4.95 each. The new turntable, made in England for the OPEN REEL TAPE RECORDERS are being added to the Allied line, permits single -play or automatic stacking, product line of Harman -Kardon, known up to now for and also will repeat a record continuously, if desired. its electronic components and speaker systems. Two It has a built -in cuing device, anti -skating, and a clip -on models have been announced so far: the TD3 and the head for quick cartridge changing. TD2, priced at $199.50 and $149.50 respectively. The former is a three -head deck (erase, record, playback) CIRCLE 145 ON READER -SERVICE CARD that runs at three speeds (71, 33/4 and l% ips), uses a hysteresis- synchronous motor, and offers multiple -track facilities in addition to regular stereo and mono record and playback. According to an H -K spokesman, the playback head in this unit "has the narrowest gap in the consumer field -only 1 micron." This narrow gap is designed to provide better frequency response and lower distortion in the highs; the unusual shape of the head - from the top it looks like a V instead of the customary U -is said to improve the "contour relationships" between head and tape, a factor that relates mainly to smoother bass response. The lower -priced model uses two heads -erase and combined record /playback -and an induction motor. It also runs at three speeds but lacks the direct -monitor and multi -track facilities of the TD3. Its head has a 2 micro gap, which is closer to what is customarily found in machines of this class. Both the TD3 and the LEAR JET OFFERS CARTRIDGE MODELS TD2 are decks -that is, they do not have power amplifiers or speakers but rather are intended for hooking Among the new endless loop eight -track cartridge tape up to an external sound system. models offered by Lear Jet is the $139.95 Model HA -20, a three -piece ensemble designed for home installation. CIRCLE 152 ON READER -SERVICE CARD One walnut- finished cabinet houses the player deck and its controls; two more cabinets contain the stereo speaker systems. The amplifier in the control unit, FIRST DETROIT SHOW DOUBLES says Lear Jet, also can accept signals from external EXHIBITION SPACE BEFORE OPENING sources, such as a tuner. Controls include volume, tone, stereo balance, and push- button program selector. ADVANCE RESPONSE by manufacturers planning to exhibit Similarly styled, but designed for mobile installation, at the first high fidelity show to be held in Detroit are three more Lear Jet cartridge players -one for (on March 15, 16, and 17) has been so good that it tape only, one with built -in AM radio, and one with will occupy twice as much space as originally planned, built -in FM radio. Prices, respectively, are $119.95, according to director Teresa Rogers. The Detroit show $144.95, and $169.50. now will occupy the thirteenth and fourteenth floors of that city's Statler Hilton hotel. Upwards of fifty organi- CIRCLE 146 ON READER -SERVICE CARD zations (including HIGH FIDELITY) will be exhibiting. Admission is $1.25. Continued on page 42

40 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com superb (soc- purb), adj. 1. PossessingI; or exhibiting nobility SUPof birth, mien, position or charac "er. 2. Of supreme excellence, goodness, value or beauty of the highest quality. You might feel "Superb" too strong a word to use in describing an FM /stereo receiver. But then you haven't heard the Studio Pro 120. It was born rich in a 30 -year tradition of excellence. It is equa] or euperior to receivers. costing up. to $600, yet it is priced at only $370.50k *. Its performance specifications have been certified by Nationwide Consumer Testing Institute, Inc., a subsidiary of United States Testing Company, Inc. - to give you proof positive that it will perform exactly, as we say it will. Is superb too strong a word to use in describing the Studio Pro 120? Listen to it and we think you'll agree "Superb" is the word. Your franchised University dealer is waiting to show it to you. UNIVERSITY ®SOUND A C I V I 5 / Q N O F L T V [ ' N G A [ r C C I N C 9500 W. Renn Oklahoma City, Oklahoma

(IL

The speaker s / s t e m s UNIVERSITY STUDIO PRO 120 shown are Uiversity's Mediterrane- ans, also su- pe-b.

"Manufacturer's suggested resale price. 91R1Á 1 r

AMPLIFIER SECTION: IHF Power Output: 120 watts total, IHF Standard at 0.8% THD, 4 ohms (60 watts per channel). RMS Power Output: 8 ohms: 30 watts per charnel at 0.3% THD. Frequercy Response: +0, -3 dB from 10 Hz to 100 kHz. Power Bandwidth: 10 Hz to 40 kHz, IHF Stan- dard. IntermodLIatuon Distortion: Less than 0.5% at any combination of frequencies up to rated output. Tone Control Range: ± 18 dB at 20 Hz and 20 kHz. Damping Factor: 50 to 1. Noise Level: (Below rated output) Tape monitor: -83 dB - Auxiliary: -80 dB - Phono: -60 dB - Tape Head: -63 dB. Input Sensitivity: (For rated output) Tape Monitor: 0.4 Volts - Auxiliary: 0.4 Volts - Tape Head: 1 mV at 500 Hz - Phono: 4 mV at 1 kHz. Input Impedance: Phono and Tape Head: 47,000 ohms - Tape Monitor: 250,000 ohms - Auxiliary: 10,000 ohms. Load Impedance: 4 to ':6 ohms. FM TUNER SECTION: Sensitivity: 1.6µV for 20 dB of quieting, 2.3 µV for 30 dB of quieting, IHF. Frequency Response: ± 1:2 dB from 20 to 20,000 Hz. Capture Ratio: Less than 1 dB. Image Rejection: Greater than 90 dB. IF Rejection: Greater than 90 dB. Separation - 40 dB at 1 kHz. Selectivity, Alternate Channel: 55 dB. Dr ft: .01 %. Distortion: Less than 0.5% at 100% modulatior -± 75 kHz deviation. Multiplex Switching: Fully automatic logic circuit. GENERAL: Dimensions: 41/2" H x 16343" W x 12" D (including knobs). Weight: 17 lbs. Amplifier Protection: Thee 1- ampere circuit breakers. Complement: 31 Silicon & IVOSFET transistors, 21 Diodes. 2 Inte- grated circuits (each containing 10 transistors, I diodes, 11 resistors). Desk C81 CIRCLE 60 ON READER -SERVICE CARD MARCH 1968 41

www.americanradiohistory.com EQUIPMENT IN THE NEWS

Continued from page 40

LOW COST BULK TAPE ERASER

From Robins Industries comes word of a compact, low - cost bulk tape eraser. The Model TM -88, weighing only two pounds, is claimed to be capable of erasing an entire reel of tape in seconds. The switch is in the handle. List price is $17.50. BENJAMIN DEBUTS NEW MIRACORDS CIRCLE 147 ON READER -SERVICE CARD Two more Miracord automatic turntables have been added to the line handled by Benjamin Electronic Sound. The Model 620, priced at $89.50, offers push -button control, anti- skating, and built -in cuing. It plays single records manually or up to ten in automatic sequence. It also plays one side of a record continuously, if desired. The Model 630, costing $119.50, has all the features of the 620 plus a pickup head adjustment for stylus overhang which may be set by reference to a retractable pointer on the turntable deck -plate. The higher- priced unit employs a dynamically balanced platter, lathe -turned from a nonferrous casting.

CIRCLE 150 ON READER -SERVICE CARD

PORTABLE CASSETTE RECORDER

Latest firm to join the Philips cassette tape trend is Optacord of New York, distributors for the Loewe Opta organization of West Germany. Its entry is the Optacord 451, a cassette tape recorder that runs on flashlight or rechargeable batteries as well as on 110 or 220 volts AC. In addition. a 12 -volt adapter permits using it hooked into an automobile's electrical system. The Model 451 features a VU meter, separate volume, tone, and recording level controls, and built -in five - r. inch speaker. Supplied with a remote -control mike, one blank 60- minute cassette, and a patch cable, the 451 is priced at $99.95.

CIRCLE 148 ON READER -SERVICE CARD H -K ANNOUNCES "TOTAL" SYSTEM

Harman -Kardon has taken the wraps off its Model SC -2520 which- offering stereo FM, four -speed record player, and stereo cassette tape recorder -is described as a "total" system. The control center is topped by a Garrard automatic fitted with a stereo pickup. The sloping front panel contains both the stereo receiver and the cassette tape machine. The latter may be used for recording any signals playing through the system; it also is a playback device for those programs as well as for prerecorded cassettes. The FM section of the SC-2520 is rated for 2.9 microvolts IHF sensitivity, and features a center -of- channel tuning indicator and ANOTHER TUNER FROM SCOTT a stereo broadcast indicator that works in conjunction with an automatic mono-to- stereo switching circuit. Scott's latest tuner is the solid -state Model 315B, which The amplifier is rated for 30 watts output (15 watts incorporates an integrated circuit IF strip that con- per channel) music power into 8 -ohm speaker systems. tains the equivalent of twenty transistors in ultra -com- Two matched speakers are supplied; each is an air- pact form under the chassis. The front end uses field - loaded, two -way reproducer with 8 -inch woofer, 3 -inch effect transistors. The set, retailing at $199.95, switches wide -dispersion tweeter, and dividing network. A stereo itself to stereo mode when tuned to a stereo broad- headphone jack also is provided. List price of the com- cast. A stereo indicator light comes on at the sane plete SC -2520 is $479. Without the speakers. the control time. Rated sensitivity is 2.2 microvolts. center alone -as Model SC -25 -lists for $399.50.

CIRCLE 149 ON READER -SERVICE CARD CIRCLE 151 ON READER- SERVIC CARD

42 CIRCLE 7 ON READER -SERVICE CARD )

www.americanradiohistory.com Take a poke at your favorite FM station

If you're a well -':erred music We've even added selector push buttons for lover there have probably two individual sets of speakers, for sound here, been times when you felt like there or everywhere. : strangling the dial on your There are full tape facilities including a tape -FM receiver. Tuning back to head input and, of course, a headphone socket Bach, forward to Beethoven, losing one sta- for your own private world of entertainment. tion while searching for an- Indicative of its solid performance is its other, is all behind you now. solid state modular construction including an ADC is introducing elec- FET front end and integrated circuits. tronic tuning in i :s new 100 (Suffice to say, it permits perfect watt FM stereo receiver. FM tuning, free from cross` This Dio -Matic push modulation, station drift button tuning section al- and any inherent noises... lows you to pre -set any five especially in urban FM stations and have mu- areas.) sic as you like it with All in all, the ADC 1000 is a one little poke or push powerful 100 watt (IHF) unit, of a finger. Instantly. Ef- carefully designed to perform fortlessly. (Naturally, 'e at an extremely low distor- there's a smooth glid- tion (less than 0.3 %). The ing manual tuner for result is a more superior dialing all the other sound. stations.) Crisp. Alive. Bril- And what's liant. Absolute! more, the ADC This week, drop in

1000 is all profes- ? I at your local ADC sional. It repre- dealer and take a poke sents the heart of at your favorite FM a total music center for J station. We'll bet you'll your home, enabling you to get max - want to lay both hands on :mum enjoyment from your entire music sys- the ADC 1000 after that. tem. And, the complete unit has teen engi- Oh yes, one mare thing. A two year neered with your comfort in mind. Ail function guarantee. That's so ' + j you won't controls are positive smooth- action push want to take a poke at us. buttons. Price: $379.95.Walnutcase , optional. T The ADC 1000 Push Button Stereo Receiver Audio I). n. unies Corp., New Milford, ('onnc(1¡Cut 0 77( www.americanradiohistory.com by Norman Eisenber- pretty clever New Models Bring those Video Tape Closer fellows at To Home and School Superei RECENT ANNOUNCEMENTS from several firms of new machines in the offing make it clearer than ever that video tape recording is being increasingly aimed towards the consumer and educational fields. Full details on all models are not yet available. but here's a quick roundup. Ampex offers several new models, expanding this company's total line

(UT AWAY VIEW of VTRs at both ends of the marketing spectrum. One eye- catcher is of SUPEREX the VR -5000, priced at $995 and weighing sixty -two pounds (which makes WOOFER- TWEETER it the lowest -cost and the lightest -weight Ampex VTR yet offered); a STEREO PHONE camera to use with it brings the price to just under $1,400. The VR -5000 MODEL ST -M -which can play through and record from any standard TV receiver - runs at 9.6 inches per second and uses 1 -inch wide tapes: it remains First they put a woofer/ compatible with previous Ampex VTRs. Also new is Ampex' VR -7800 in stereo head- tweeter their series, which ranges in cost from $9,500 to $16,500 depending on fea- phones to provide a full range tures. More than one hundred integrated circuits are included in its de- of response without distortion. sign; and it happens to be the first VTR marketed that allows instant They also added a complete crossover network right in the change to either of the two video scanning systems used here and abroad. earpiece ... for an authentic- From Arvin comes word of a color VTR employing the Newell prin- ally fine speaker system in ciple (see "VTR Topics," August 1967 and January 1968). Company miniature. Just what the true spokesmen emphasize the machine's use of a handy cartridge that stereo buff ordered! "enables all members of the family to operate the unit." At a private Then they extended their line preview held at the television studios of WFBM, Indianapolis last Decem- in depth for the Hi -Fi enthusi- ber, the Arvin unit was put through its paces of recording and playback ast and for Education, Broad- from live camera and from broadcast television, plus playback of a cast, Aviation, Marine and prerecorded video cartridge tape. Communications use. Video in cartridge form figures too in the VTR system expected from Now, they've developed a PlayTape "sometime" this year. Unless we guess wrong, this system- great new model, the STPROB if it is indeed tape rather than small film -will utilize either the Newell . . . just about the last word idea or something very much like it. in a professional quality head- Linear scan (similar to that used in ordinary audio tape machines) phone. for video also is in the news. All- American Engineering, a firm in Wil- Pretty clever, those fellows at mington, Delaware is readying itself for the manufacture and distribution Superex. All they do is give of the PAR Ltd. VTR. This machine is the four -year -old descendant of you the edge in quality, value a model we first saw demonstrated by its inventor, Stewart Hegeman, and forward- looking audio en- who used an ordinary audio deck modified and speeded up for video gineering. Ask your dealer for work. Potentially one of the most compact of VTRs, the AAE /PAR a demonstration. machine reportedly will enter the market this year at under $500. Write for complete catalog. The same general scanning principle appears in a new VTR announced SUPEREX ELECTRONICS by Akai Electric of Japan. Like the AAE /PAR, the Akai uses ordinary 1 Radford Place, Yonkers, N.Y. quarter- inch -wide tape. Weighing only fifty pounds and just a shade larger than a typical home audio deck, it is expected to cost about $400. Akai promises a color model to follow, priced not much higher. Finally, enter a brand new firm in VTRs- Diamond Power Specialty Corporation, a Babcock & Wilcox subsidiary, which has been manufac- turing closed -circuit cameras for some time. DPS recently demonstrated three VTRs that can record sight and sound simultaneously, or the video first and the audio later. The decks, said to be compatible with "all cameras and existing TV equipment," have the stop- action feature. Prices are about $1,000, $4,000, and $8,500, for models DP -1, DP -2, and DP -3 respectively. The DP -1 uses 1/2-inch tape and, with an adapter, will record

color. Both the other models boast higher video resolution and use 1 -inch wide tape on standard NAB reels. They too can be adapted for color. CIRCLE 55 ON READER -SERVICE CARD

4 -T CIRCLE 38 ON READER -SERVICE CARD

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NAME

ADDRESS

CITY STATE_ZIPCODE- Copyriqht 1968 D!ll:;aCXXl000XXXXX X X KX JlIßliXllayf'X Uher by Martel

Martel Electronics Inc. Sole U.S. Importers 2339 South Cotner Avenue, los Angeles, California 90064; New York:1199 Broadway Chicago: 5445 No. Lincoln www.americanradiohistory.com TOM harried mother, fresh out of aspirin, she can either run the child and his torture kit into the back yard SWIFT AND HIS or (on non -Spock days) take it away from him. But there's little that can be done about the teen -age son whose well -being depends excruciatingly upon ex- ELECTRIC perimenting with his shiny new amplified guitar at home- together with his friends and their amplified instruments. "But Mom, why can't you understand ?" EVERYTHING sighs the son with traditional contempt and delusions of originality. "This kind of sound is what's happen- BY MORGAN AMES ing today." The question is not whether or not Mom understands; the question is, can she endure? She had better, for the son is correct in one respect, despite the worn out Mad -Ave. phrase which still ARISTOTLE REMARKED in Ethics that "Youth sins sounds dewy fresh to his ears: amplified music is by excess." In today's ear- pretzeling, superamplified what's happening. There's no realistic possibility that world of rock music youth has outdone itself. But it will fade. It has barely begun. before one nods his ringing adult ears in self- right- Like most things, electronic amplification of music eous agreement, let it he remembered that children can be used for good or ill. Its very existence con- have always loved noise, from the clanking of spoons stitutes a development probably even more radical to the banging of screen doors, and adults have al- than the harpsichord's displacement by the piano. ways had to endure it. The sore spot today is that Amplification can change not only volume levels but technology and economics have made youth's tradi- whole harmonic overtone structures. Whether it will tional excesses difficult to escape. What's more, produce a great body of music, as the piano has social dynamics have lent the noise a pseudo- aesthetic done. remains to be seen, and is largely dependent form, a formal organization of disorganization. upon the skill and seriousness of the musicians who When a child's toy drum becomes too much for turn their attention to it. There is evidence that a

46 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Today's rockers have accomplished what yesterday's avant -garde couldn't: they have made electronic musical instruments both a big business and a widespread source of aesthetic experiment

billion dollar season this growing number of serious musicians-classical as are quoted as expecting a on amplified instru- well as pop --are interesting themselves in amplified year, with a definitive emphasis have proved willing to music, with exciting and intriguing results. On the ment systems. "Musicians equipment," says J. B. other hand, amplification has attracted hordes of spend the money for the Augspurger. "We have incompetent players, lured simply by the endless Lansing spokesman George market before. While most sonic gimmickry made possible by electronics. Their never thought of this have had some experience world is a sort of vast science- fiction kazoo. Between speaker manufacturers such companies the two extremes lie the thoughtful moderates, draw- with electronic organs, traditionally in terms of quality tone ing from both ends. have designed speakers While interest in amplified music had been de- generation, not peak volume capacity." instruments veloping for some years, it was the Beatles, in 1964, Equipment produced for amplified fidelity play- who really turned on the juice, launching what was should not be associated with home high are built to re- to become a gigantic industry: amplified instruments back systems. High fidelity systems sources, such and speaker systems. Youth reacted intensely to the produce faithfully sound from program entities. On fact that these four young nien came out on a stage as discs and tapes, that are final finished in and made as much noise as they wanted -an ecstatic, the other hand, the amplifier /speaker systems used them- undreamed of amount of noise, with no parent to conjunction with electronic instruments are stop them. Annual unit sales show that while 700,- selves part of the program source, emphasizing (or 000 guitars were sold in 1963, the figure pole - even contributing) distortion, hum, buzzing, gravel- vaulted to 1,065,000 during the Beatle year of 1964. ing, and an entire catalogue of dismaying effects. "Self -made music," states the American Music Con- Instrument amplification systems also act as public ference, "ranks behind only reading and card play- address systems for live performances. The equip- ing among the nations most popular participative ment is both transistorized and tubed, but it is leisure -time activities. Sales of new musical instru- primarily notable for its sophisticated circuitry, ments, sheet music, accessories, etc. in 1966 sur- capable of creating both dizzying effects and great passed the dollar volume of all records sold and the wattage outputs. Stan Cutler, director of engineering combined dollar volumes of all spectator sports. at Vox Musical Instruments, echoes the new wired, Sales also exceeded the hobby industry's estimate of rigged, and rumbled industry by saying: "We're all the decibel. The trend is towards 1966 . . . by approximately three million dollars." competing for The nation's twenty -four million teen -agers now louder and louder sound." It was Vox that outfitted hold between thirteen and eighteen billion dollars in the Beatles when they came to America with 240- their restless pockets, and if it is aural volume they watt peak power equipment -four 12 -inch speakers, want, they shall have it. An entire industry, many two high frequency exponential horns, and dual of its leaders parents whose hearing is being im- crossover networks. Vox, in turn, was launched by paired as their profits swell, has sprung up to ac- the success of the Beatles. commodate all that lovely money. The question of wattage is a nervous one at this point in the industry, and the last to know about it are the watt -happy young people who buy the TODAY ALMOST EVERY instrument can be amplified, systems. High wattage is not all it's cracked up to be, from drums to balalaikas, either through new instru- and the industry is squirming under the need to ment design or through the less expensive process of devise a method of standardization. Though youth adding an electronic pickup which hooks into a claims the amplified scene as their own special turf, speaker. One New Jersey instrument company, they are taken in with ease by manufacturers. The Danelectric, is promoting its new electric sitar while president of a major company told me: "I recently simultaneously waving an American flag: "You showed my son an amplifier that produced seventy - Don't Have To Be Hindu To Play the Coral Electric five watts. He tried it and was dissatisfied because Sitar." it didn't have enough power. Later I showed the Since amplified instruments equate into power same amp but told him it produced 100 watts. He packs and loudspeakers, a new marriage has taken loved it. So you see, we're all lying about the wattage place: component manufacturers and instrument our amps produce. Something has to be done about companies, both building equipment for the new it." There's more to the matter than dishonesty. power- hungry generation. Companies have a very real problem in calculating This fat field has lured such high quality sound just how much wattage their speakers can handle. firms as James B. Lansing, Jensen, and Rheem- Says Augspurger: "The speaker is by its very nature Roberts into the arena. Instrument manufacturers an extremely wasteful device. There's much loss

MARCH 1968 47

www.americanradiohistory.com TOM SWIFT AND HIS ELECTRIC EVERYTHING

of energy between what goes in and what comes D130F thirty -watt speaker with a quoted ability out. If we pump in a hundred electrical watts, we to withstand isolated peaks of seventy -five to 150 will produce something like five acoustical watts. watts. Faced with the demand for even more sound While these instrument speakers are designed to put power, JBL made further modifications in the out as much acoustic power as possible, we're never D130F: the speaker's mechanical suspension was really sure what their capacities are. Some meaning- strengthened; the voice coil assembly was redesigned ful method of rating wattage is desperately needed." to withstand higher temperatures; and the relation- While puzzling out the problem, JBL has outfitted ship of the voice coil to the magnetic structure was one popular group, Paul Revere and the Raiders, arranged so that there was less chance of the voice with a custom system which undergoes incredibly coil scraping against the pole pieces. Three years ago, rigorous workouts. At outdoor shows, with scream- JBL entered the market with a whole line of speakers ing young fans adding their own electrical energy, specifically designed for amplified instruments. the Raiders have experimented with four large drivers-each a theatre -type high frequency horn which, running near capacity, can produce up to As ELECTRONIC INSTRUMENT companies have in- ten acoustic watts. (In order to get your bearings, creased their maximum volume capacities and created note that a full symphony orchestra, playing loudly, an arsenal of sonic gimmicks (reverb, tremolo, fuzz normally produces only five or six acoustic watts.) tone, treble expand, and more), deformity of sound To please stridency seekers, such as lead guitar has become not a limitation but a lure. Young play- players, JBL makes a speaker that deliberately em- ers insist upon it. Companies boast that their equip- phasizes response in the presence range, virtually ment is "designed in distortion." An Oregon ampli- eliminating mellowness. However, for instruments fier company, Sunn Musical Equipment, proclaims producing deeper tones, such as bass guitars and that with one of its systems, the 100S, "you can portable organs, JBL recommends a different speak- actually feel" the sound ... "you get ear -splitting er, designed with a special woofer for the bass range. treble." Are you still with us, Mom? The trend The entry of J. B. Lansing Sound, one of the most in naming models is hardly a surprise. Rheem Manu- prestigious high fidelity manufacturers, into the field facturing Company has introduced two amplifiers of speakers for amplified instruments occurred four in the 100 -watt, $1,000 range: the Brute and Super or five years ago. JBL discovered that many West Brute. For the less brutal, prices slope downward. Coast musicians using electric guitars and basses Because speaker and amplifier companies are were feeding their output through conventional JBL painfully aware of their young customers' general speakers. So long as these JBL high fidelity speakers ignorance about maintenance of complex equipment, were used by professionals for studio recording they protect themselves as best they can. Fender work, the speakers were successful. But soon young Musical Instruments, a once small, now million - rock groups began using such speakers for in- dollar enterprise, makes no bones about its policy. person appearances. After some months of varying While its amplifiers come with a one -year "warranty," peak loads and bursts of intentionally elevated power, its tubes are underwritten for only a nervous ninety the regulation JBL speakers broke down from sheer days. Although this type of warranty is fairly stand- overload of power. "The young players are geared ard throughout the electronics industry, its terms are to loudness," says Augspurger. "If their speaker more likely to be acted upon by buyers of amplifier/ admits a fifty -watt maximum, they'll reach for speakers than by patrons with gentler fidelity needs. sixty -five. They will take the risk in order to play Lansing initiated a rather touching plea for gentle- one decibel louder than their competitors. When they ness in the form of a fourteen -step advice sheet en- were using our standard high fidelity speakers, the titled Ways To Play as Loud as Possible Without result was similar to what would happen if you Damaging the Speaker. Item II is particularly took a Rolls -Royce and put a Boeing jet engine in educational: "Do not use your amplifier /speaker for it." With speakers torn and damaged because of their a bar ... for beach parties ... an open back cabinet inability to hold up under these overpowering condi- does not contribute much toward keeping the water tions, JBL decided to research the new field. It and sand out...." JBL feels that in the past year, was already evident that players would pay gladly as young groups have realized that the only sensible to get the loudest sound. JBL's answer was the way to maintain gigantic volume levels is to use

48 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com more speakers rather than to overuse few speakers, being born. Now it has begun to branch. In certain the manufacturers have received fewer calls for areas, where music serves basically as an adjunct to repairs. electricity, amplification grows daily more gross and For those who resist the law of supply and de- desensitizing -to accommodate a cross section of mand, prices of instrument amplifiers may appear players and listeners of all ages who were born and outrageous. The peasant can acquire a modest sys- trained to want it that way. In other areas, a ma- tem, primarily suitable for home use (if you happen ture study of the uses of amplification beyond the to live in an elevator or similar -sized quarters) in the production of mere volume is under way; electronics vicinity of $200 or $300. Prices do not include instru- is used to enhance the beauty of music. For all the ments. $500 will buy you something that will decently chin -up talk about rock as an art form, talk put forth fill a medium -sized saloon with sound. But if you mainly by a disoriented adult music world, the fact is want power, think in no less than $1,000 terms. And that the two branches of amplification are widely if you get a hit record, it's time to bequeath the disparate, with little to say to one another. With few $1,000 system to your little brother (and time for if any exceptions, the new pop player is content to Mom and Dad to reconsider the therapeutic aspects execute his craft at a subskilled level. He and his of an extended vacation in Peru). The Youngbloods, fans remain strangely untouched and disinterested in an upcoming group recording for RCA Victor, use music as such. Theirs is the world of sonics, a world custom -made electrical equipment worth $12,000 whose implications the parent generation is so loath and carry it everywhere. In California, the all - to face that it would rather live with the lie of amplified band of Bill Page uses $20,000 worth of calling it art. equipment. The more complex the setup, the wilder At the other end of the scale exists a world of the possibilities for getting weird effects. Put a bunch skilled and mature musicians and a sophisticated and of this equipment into a recording studio, then add inquisitive audience, both young and old, waiting and the incredible sound gadgetry which is a side skill watching to see what comes of the world that one of any good studio engineer, and you have the company refers to as Ampliphonics. weird world of new pop records. The Beatles While most professional musicians have reacted summed it up succinctly during a session for their slowly and shyly to amplified instruments, there are recent album "Sergeant Pepper's Lonely Hearts Club some notable exceptions. Don Elliott, a superb musi- Band," when after recording a song in the studio cian- singer as well as a leading composer- arranger they entered the recording booth and said to the of music for TV commercials, was one of the first to engineer, "Now let's see how we can screw it up." recognize the value of the electric bass when played Although the current appetite for rock seems by a skilled musician. "In our work, speed counts," lively, as reflected in the prices of sound equipment, he says, "so we have to use pros." the fact remains that the industry situation is quite In Long Beach, California a new method of sound different today from what it was three years ago. reproduction, known as the Barcus -Berry Recording The original hysteria to supply the overwhelming Process, is stirring what may he the most significant demand has calmed. Says Jerry Hershman, president of Goya Music, a major manufacturer of classical, folk, and electric guitars: "Until this year, we were two years behind in filling our orders. The number of kids buying guitars may seem endless but it's not. Enough of them have now purchased instruments and systems so that the tremendous pressure has cooled down. And don't forget, girls don't buy electric guitars. They have other things on their mind." While a million guitars are still sold annually, any industry dependent upon youth must suffer youth's whims. Hershman goes on: "At one time the solid body electric guitar was most fashionable. It suddenly lost popularity with the Beatles' use of the hollow body instrument. Many guitar companies got stuck with huge inventories of the passé solid body models. We did. Fender did too, but they survived the crisis, despite the small size of their company at that time, because they had already gotten into the production of amps. The best trend detectors are the retail stores, such as Manny's and Henry Adler in New York. We listen to them because they deal with the kids directly. And even now, what's happening musically in England affects the entire pop music world." Amplified music has survived the convulsions of Bill Page, leading his New A mpliphonic Orchestra.

MARCH 1968 49

www.americanradiohistory.com waves yet in the quality area of amplification. Created by audio engineer Les Barcus and violinist John "We should have an Berry, the system eschews microphones, utilizing musical instruments with a new transducing system which feeds directly to a recording console only the sound produced by the instrument. While no change is made in the method of playing, the appearance SONNY STITT of the instruments is strictly outer space. (After all, Jazz saxophonist sound box can he made of nearly anything; in the a Sonny Stitt was an Andes, Indians make a sort of banjo out of the shell early convert to armadillo.) But since the Barcus -Berry Process of the amplification -"the signals directly from the instrument to a BILL PAGE transfers best thing that's hap- recorder, the shape of the instrument means little A reed player and pened to the saxophone," except in terms of convenience to the musician. Any consultant to the Vox he calls it. Stitt "sound" that enters the air is extraneous to the re- instrument company, Bill is especially impressed cording process. The Barcus -Berry Process picks up Page heads a fourteen - by the ability it gives musical vibrations and ignores everything else, in- man hand, all- amplified. the player to add oc- cluding valve noise, bow noise on a violin, and so on. His system, a Vox in- taves above and below the Since ambient noise is no factor, the verbose musi- vention called Stereo one being played. cian may even talk while recording is in progress. Multivoice, enables The process--developed originally for recording - him to play eight is not limited to recording. and indeed is now branch- instruments at the ing out into sound- reinforcement and live perform- same time; as he de- ROLAND KIRK of all types of music. For instance, chamber ances scribes it, "There are often struggling to project as well as to blend music, eight tabs to work with Roland Kirk, diverse instruments. may now be presented before and I can play unison saxophonist and with perfect balancing. Rather than large audiences in four different devotee of unusual sound of an instrument, the process changing the octaves." He can also instruments, feels without artificial noise, still reflecting presents it switch to a popular Vox that it's important "to and talent of the individual player. world the personality accessory, the wah -wah know how to use the who have used the According to musicians pedal: attached to the of amplification to our music recorded has achieved ex- process, the clarinet, it gives advantage." For Kirk Frequency response traordinary performance realism. that instrument a himself, however, the range is greatly increased and is very wide; dynamic coarse, raspy sound. advantage is theoretical: under full control of the musician; and most im- he's blind; the jazz music portant, recordings are largely free of distortion. he plays is strictly non- It is probable that very few people -including musi- commercial; and when he cians ever heard the "true" sound of a musi- gets on the job he can't -have GABOR SZABO cal instrument, since there is always a large amount "be worrying whether of instru:::ent noise present. The one limitation of Hungarian jazz guitarist the equipment is the Barcus -Berry Process is that it demands superior Gabor Szabo specializes going to work." recording equipment and musicians to produce the in "controlled distortion," quality of music that it makes possible. To envision taking advantage of usu- a six -chord rocker let loose amid such refined equip- ally unwanted frequencies. ment as that of the Barcus -Berry Process is a horren- Szabo holds a certain BOOTS RANDOLPH dous thought. Equally horrendous is the thought of a note. turns towards his masterful n :usician fumbling his way through the amplifier /speaker, and Country and middle of an amplified rock -and -roll session. regulates the feedback western saxophon- It becomes obvious that there is no one direction with a special volume ist Boots Randolph for amplified music. It will get better and it will control on his in- is an advocate of the get worse and, as with all enterprises of man, most strument. "On a Varitone, which enables of it will fall unwittingly into the dead center of good night I can get the saxophone to com- mediocrity and boredom. The self -demanding young two or three notes going pete in volume with musician, a Martian in his own generation, will be at the same time." he says. other electrified instru- forced by his own inquisitiveness to pursue the Rock -and -roll players ments. "About time," significant side of electronics, and eventually be re- also are familiar Randolph says: "we've been membered for it. As for the parents of the proud with feedback effects, having to blow our brains owners of today's sanctified, glorified, proselytized, but some of Szabo 's out just to keep up." incorrigibly predictable and largely misused ampli- weird (and genuinely fied torture kits, may they look forward to the golden musical) improvisations age of senility when, with any luck, they will go would put many rock peacefully and gloriously deaf. players to shame.

50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com open mind about electronic instruments" ROLAND KIRk

JOHN BEAL

John Beal, a bass PA GE player with a degree from Juilliard, works with Stokowski's American Symphony Orchestra as well as with jazz groups. He has devised a way of amplifying his stand- up bass by using separate pickups on each string. While a regulation electric bass cannot be bowed, Beal's instrument can he either

bowed or plucked, ampli- STITT ELLIS fied or naturally. Photo: Sy Johnson

DON ELLIS

One of the few large groups seriously interested in exploring the aesthetic possibilities of amplification is the big band of trumpeter Don Ellis. Their instruments include the Fender electric piano, RANDCLPH BEAL KIRK an electric keyboard instrument called the Clavescion, and a whole sax section which can be amplified or not at will; drums are not amplified, hut four percussionists are sometimes employed at once. Ellis rises the tape echo delay on his own amplified trumpet for such sophisticated purposes as playing complex SZAlO canonic figures.

MARCH 1968

www.americanradiohistory.com Part I: Power HOW WE JUDGE AMPLIFIERS The performance criteria and test methods described here are those used by the author and his associates at CBS Laboratories in preparing data for HIGH FIDELITY's equipment reports

BY EDWARD J. FOSTER

AT THE HEART of every sound system, from a of measurement and specification techniques. We pocket transistor radio to the costliest stereo setup, endorse and use several. is an amplifier, or at least something that accepts signals from a program source and builds them up Power -The Watts that Drive the Speaker to the electrical level capable of driving speakers. In the present two -part article we will describe how The actual work an amplifier does is gauged by its we rate this critical function -this month considering power output, expressed in watts. Continuous or power amplification, next month, preamplification- RN1S power is the amount of wattage an amplifier control. The remarks that follow apply to all forms can deliver at its rated distortion for a substantial of amplifiers, whether preamp and power amp are period of time. "Substantial" here means thirty sec- offered as two separate components, or combined onds or more. Music power is the amount an ampli- in a single chassis and known as the integrated fier can deliver for very short periods of time, say amplifier, or further combined with a tuner to form 1/20 second. The argument for a music power rating a receiver. is that for normal speech or music use the ampli- Because amplifiers are complex instruments, and fier delivers a very small average power (a watt or because they are offered in different forms and so) but it is called upon to deliver from ten to one with varying capabilities and features, there is room hundred times that much power for short periods for both confusion and disagreement over terms, during transients. test methods, and the evaluation of test data. In our The difference in the power rating that can be view, reports of amplifiers and discussions of their derived by using the two methods on the same ampli- behavior are meaningful to the music listener only fier may be as much as 3 dB-or twice the amount to the extent that they permit a comparison of of power! What causes the difference? Generally, it's models on the basis of objectively conceived and the degree of regulation in the amplifier's power derived data (tests should be, as much as possible, supply, that section of the circuit which produces the same for all units) and can be related to listener - the "B plus" DC voltage for the amplifier's opera- significant factors. For reasons which will become tion. At the end of the power supply, there is nor- clearer later on in this discussion, we eschew, for mally a large capacitor which serves as a "storage instance, music power tests in favor of continuous tank" of electricity. As the amplifier draws more power data, and have made other deliberate choices power to supply the speaker, the "tank" starts to be as to what constitutes a meaningful test report. drained. It must be refilled by the power supply. Most of the choices, by the way, are based on the if the refilling can keep up with the draining, the standard for amplifiers, IHF -A -201, published in pressure (voltage) in the tank remains the same, and 1966 and available for $2.00 from the Institute of the amplifier can continue to supply the amount of High Fidelity, Inc., 516 Fifth Ave., New York, power being called for. However, if the tank is being N.Y. 10036. Though this standard goes a long way emptied faster than it is filled, the voltage drops - towards providing for uniform testing, as a com- and so does the amount of power being delivered. pendium of varying viewpoints it sanctions a variety In any amplifier, at some point the fill rate equals

52 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com An amplifier under test at CBS Labor- atories. Instruments used meet or exceed IHF requirements; for many tests some gear has been especially designed. Equipment is recalibrated f re- quently to specific standards. Distortion in signal sources is under 0.01 per cent, and meters can register as low as 0.05 per cent. Special pre -equalizers, accurate to within 0.2 dB, are used with automatic curve tracing equipment to plot a complete response pattern rather than an oversimplified curve drawn through a few isolated points. Line voltage (120 volts AC) is continually monitored and adjusted if necessary. Load resistors are noninductive and are mounted on massive heat -sinks which are force - cooled to maintain 1 per cent accuracy, even when dissipating 100 watts of power per channel.

the drain rate. The amount of power that the ampli- "aux." The tone controls are set in their indicated fier can continue delivering at that point is the flat positions, all filters are switched out, and the continuous power rating. By way of contrast, the level control is set at maximum. (These are, by the amount of power that can be drawn from a com- way. standard conditions for all tests.) We connect pletely filled tank for a small fraction of a second is an 8 -ohm load to each amplifier channel output the dynamic or music power rating. since the majority of loudspeakers are rated at this Aside from its being a less rigorous test, the music impedance. Occasionally, for special purpose ampli- power method lends itself to fairly subjective pro- fiers -such as packaged systems tailored to a spe- cedures with the result that comparison among dif- cific loudspeaker -a load other than 8 ohms is used. ferent amplifiers becomes meaningless. The IHF Driving only the left channel, we raise the input Standard lists two types of music power measure- signal level until the output signal just begins to ments. One way is to measure short term power at "clip" -that is to say, it cannot reach maximum the distortion which occurs shortly after a transient amplitude sinusoidally; the crests of the wave (as signal is fed to the amplifier. The second way is to observed on an oscilloscope) look a little crushed replace the built -in power supply of the amplifier instead of rounded. Clipping can be heard as high with a perfectly regulated external one ( that is. one harmonic distortion: a French horn at clipping capable of keeping the "tank" full regardless of the might sound like a kazoo, a flute like a factory amount of power drained) and then measure con- whistle. In most modern transistor amplifiers, clip- tinuous power. Music power is then defined as the ping occurs very sharply at a specific level, above lower of the two readings derived by these methods. which the distortion increases drastically. Actually. in the former test the exact time at which The input level is next reduced until the amplifier the distortion is measured, and the way it is meas- barely comes out of clipping. At this point the power ured. are both open to argument. The second output and the corresponding total harmonic dis- method introduces what is really a modification in tortion are measured and reported. The test is then the design of the amplifier in order to perform repeated on the right channel alone; and then on the test. although the actual consumer product will each channel in turn while both are driven simul- not incorporate that modification. The second taneously. By comparing the left- channel figures method thus turns out to be a test of a nonexistent with the right -channel figures. you can ascertain product. Moreover. inasmuch as the amplifier the degree of matching between them. If the cir- was not. by definition, designed to deliver con- cuitry has been designed to be independent of com- tinuous power at its music power rating, it can be ponent tolerances, the two channels should he able damaged by that very test. if testing is conducted to deliver substantially the same power. Further, conscientiously. Needless to say, both CBS Labora- by comparing the figures made while only one tories and HIGH FIDELITY Magazine long ago agreed channel was driven with those made when both that the most valid power test of an amplifier is channels were delivering power, you can evaluate the continuous power method. the merit of the amplifier's own power supply. We make and report six measurements of power that "tank" mentioned earlier. If the supply is well output, using a low distortion l -kHz signal which is regulated, each channel should deliver the same connected to a high level input such as "tuner" or amount of power whether the other is driven or not,

MARCH 1968 53

www.americanradiohistory.com 30 50 Same amplifier can produce two different +3 power bandwidth curves, depending on amount of POWER BANDWIDTHS, SAME AMPLIFIER, +2 distortion allowed. In this unit, for m DIFFERENT DISTORTION LEVELS instance, doubling the distortion results in z a curve from 20 Hz to 20 kHz. At the lower dis- For 1 % THD tortion level, the amplifier bandwidth spans -a a more limited range, from 50 Hz to 10 kHz. -1 Presumably, a manufacturer can rate his 0 FOR 0.5% THD amplifier for any distortion percentage he I I I chooses. In high fidelity units,

however, this rarely 1 ZERO dB = 50 WATTS exceeds per cent. 20 40 100 200 500 1K 2K 5K 10K 20K FREQUENCY IN Hz

Ha.monic distortion curves for same ó 2% i= amplifier. The rise in distortion at the _ HARMONIC ,ON VS, FREtUE CY extreme low and high ends of the audio 50 WATT HY AL AMPLIFI ' band is generally normal, but to c 1.5% the rise U above 1.5 per cent at 50 watts output -taken together with the power bandwidth curves - ó 1 '., indicates that this particular amplifier has ¢ D AT FULL POWER ( 0 WATTS) ,, been overrated by its manufacturer. That is, it is a "50 -watt amplifier" with ¢ 0.5% 0 respect to 1 per cent distortion only from 1 about 35 Hz to 7,500 Hz. For this amount 0 THD AT z POWER (25 WATTS) ' of distortion, however, it is a genuine 25 -watt 20 50 100 300 500 1K 3K 5K 10K 20K amplifier from 20 Hz to 20,000 Hz. FREQUENCY IN Hz

and with distortion that is not appreciably higher 4 -ohm load it is possible for it to deliver twice that than that measured for each channel driven alone. amount of power, that is, 40 watts per channel. Now, The final two power measurements are made at if you combine both channels, this becomes an "80- the manufacturer's specified distortion level. If the watt music power" amplifier. Finally, although it is manufacturer has not specified the distortion level, not recognized by the IHF and is not used by IHF we use a one per cent reference, which, as present - members, there is a rating called "peak power," and day amplifiers go, is a fair outside amount. Each our simple 10 watt- per -channel amplifier can grow channel is driven individually, and the level is raised to a "160 -watt peak music power" Goliath! until the measured distortion of the output signal equals the distortion level specified by the manu- Distortion -Unwanted But Inevitable facturer. The power level at this point is measured and reported. This power rating may be slightly Two types of distortion are measured and reported: higher or lower than the clipping power just meas- harmonic and intermodulation (IM). In general, ured- depending upon the characteristics of the distortion refers to any signals in the output which amplifier when driven at high levels and the dis- were not present in the input. Ideally, at every in- tortion claim of the manufacturer. stant in time the output signal should duplicate ex- In evaluating these test results and comparing actly the input signal, only more powerfully. Any them with manufacturer's ratings, some related points so- called "nonlinearity" in the amplification pro- should be considered. For one thing, the line voltage duces distortion. A dramatic example is the clipping level often plays a large part in power rating. Our mentioned earlier. measurements are made at a line level of 120 volts. We measure harmonic distortion by feeding a pure At 115 volts the maximum power may be 8 per cent sine wave, from a special oscillator, into a high level less and at 125 volts the power may be 8 per cent input of the amplifier which is driving an 8 -ohm more. Thus a 50 -watt amplifier may deliver from load. Then, by tuning a distortion analyzer-which 46 to 54 watts depending on line level. You might is monitoring the output -to the same frequency as say that if the manufacturer's specified power is no the signal, we effectively remove the true signal more than 5 per cent or 10 per cent greater than from the output. What remains in the output signal measured power, he has rated his product fairly. is the distortion, hum, and noise of the amplifier The load into which the amplifier works also itself. The level of these spurious signals, referred enters the picture. Consider a stereo amplifier ca- to the level of the true signal, we report as a per- pable of delivering 10 watts per channel into an centage of harmonic distortion. After taking meas- 8 -ohm load continuously. Its music power may be urements at about every octave from 20 Hz to 20 watts per channel into 8 ohms. When driving a 20 kHz, we plot a running curve of "per cent har-

54 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com monic distortion vs. frequency" from the data. The where the amplifier normally works, indicates "cross- measurement is made for the left channel and right over distortion," which can lend an annoying "hard- channel separately at the manufacturer's "full power" ness" to the sound. By noting the point at which rating and then repeated at "half power." the IM curve (at any impedance) breaks upward, Occasionally, the sample under test will clip be- you can gauge how much power is available to drive fore the manufacturer's power rating is reached. If any speaker system. Generally, but not necessarily, so, we will measure harmonic distortion at a power the power available from solid -state amplifiers is level just below clipping -a situation that bespeaks greatest at the lower impedance of 4 ohms, and least an overrated amplifier. Such a unit can deliver per- at 16 ohms. However, the amount of distortion is formance, but not at the power levels implied by also generally least for the higher impedance loads. its published specifications. And since 16 -ohm speaker systems generally are of Note that our harmonic distortion data, based on high efficiency, the relatively lower power available the IHF standard, often is abbreviated as THD, to drive them presents no real prcb'em. which stands for total harmonic distortion. This means that in addition to its actual harmonic con- Power Bandwidth -Determined by Distortion tents, the amplifier's hum and noise -which contribute to audible distortion -are being accounted The power measurements discussed so far are all for. The fact is, two amplifiers with the same "har- made at I kHz, which really tells us little more than monic distortion" will measure differently if one has what's happening at the mid -frequency area of re- more hum or noise (i.e., a poorer signal -to -noise sponse. A measurement that covers a broader re- ratio) than the other. For example, if the signal -to- sponse range of power output is the power band- noise ratio of an amplifier were 60 dB, the THD width curve, which tells you how much power the would have to measure at least 0.1 per cent even amplifier can deliver at its rated distortion at dif- if there were no harmonic components at all. For a ferent frequencies. For this measurement, we feed 50 dB S/N amplifier the basic level of THD would one of the amplifier's high level inputs from a low be about 0.3 per cent. Of course, a high quality distortion oscillator, raising the input signal strength amplifier usually will have both low distortion and a until the output reaches the manufacturer's rated high S/N ratio. distortion. We now measure the power level reached, Whereas harmonic distortion is measured with a and compare it with the manufacturer's rating. Any single test tone, intermodulation distortion is meas- difference in levels is expressed in dB. Thus, if the ured using a mixture of two tones -normally 60 Hz amplifier has been rated for 50 watts at 0.5 per cent and 7,000 Hz, with the lower frequency four times distortion but -at some frequency -it can deliver 55 stronger in level than the higher frequency. A com- watts at that distortion, then that point on the curve pletely distortion -free amplifier would pass only would be a bit higher, +0.4 dB. We repeat the meas- these two signals. However, if the amplification is urement at different frequencies until we reach the not linear, the two signals will "beat" or intermodu- lowest and the highest frequency at which the ampli- late, with the result that in addition to the original fier can deliver half its rated power at its rated dis- two frequencies new sum and difference frequencies tortion. The response range between these two points (7,060 Hz and 6,940 Hz) will appear in the output. -which are the 3 dB levels on the graph -is the Intermodulation -measured on an IM analyzer-is power bandwidth. Thus, a power bandwidth of, say, generally shown as a function of the output power 40 Hz to 8 kHz for that same 50 -watt amplifier

level. Our measurements are made from about 1 would mean that the amplifier could deliver 25 watts watt to the overload point of the amplifier, where or more at 0.5 per cent distortion at any frequency distortion characteristically rises very steeply. The between 40 Hz and 8 kHz. Remember, where the measurements are repeated for 4 -, 8 -, and 16 -ohm graph shows +dB, the amplifier is better than its loads, unless the manufacturer specifies that the rating, and where the graph shows dB the unit can't set is not recommended for use with all three loads. deliver full power at its rated distortion. Distortion curves are clues to amplifier perform- You must be careful, when judging amplifiers by ance. Normally, the curves of THD rise (showing the power bandwidth rating, to keep in mind that more distortion) at the very low and very high fre- power bandwidth is measured against the manufac- quencies, although in the very highest quality am- turer's ratings. The very same amplifier could have plifiers these curves remain flat (and very low in quite different power bandwidth ratings depending level) throughout the entire 20-Hz to 20 -kHz band- on how stringently the manufacturer chose to "spec" width. Again, normally, the harmonic distortion the unit. For instance, our hypothetical "50 watt at curve runs higher at full power than at half power. 0.5 per cent distortion" amplifier might have a power When the reverse occurs (rarely), you can be sure bandwidth of, say, 20 Hz to 20 kHz if the manufac- that hum and noise are being measured rather than turer had called it a "50 watt at 1 per cent distortion" distortion components. amplifier. Thus when interpreting this rating, refer The IM curve should be flat with increasing power to the specified distortion level at which the curve until near the clipping level, when it characteristically was taken. In comparing two amplifiers, be sure rises abruptly. A rise in IM at lower power levels, they are in the same power class and have the same

MARCH 1968 55

www.americanradiohistory.com BY CLAUDE SAVUEL BOULEZ THE CONDUCTOR A controversial composer becomes a celebrity maestro

11NIEW -71II d

UNTIL 1956, Pierre Boulez had never conducted a composer. Many music lovers, allergic to Boulez' symphony orchestra. Five years later, he was invited own works, salved their consciences by discovering by Karajan to conduct in Salzburg, and Wieland behind this mysterious and somewhat suspect name a Wagner had already proposed that he take over the musician whom they could finally understand. Then podium of the Bayreuth Festspielhaus. Today, his success grew, the repertoire expanded, and Pierre pursuing one of the most brilliant careers of our Boulez commanded attention in places where new time. he conducts what he wishes, when he wishes, music had never penetrated. The conductor no where he wishes. With a repertoire carefully self - longer Ieeded to rest on his reputation as a composer defined to include the most modern works with the to fill concert halls. And, curiously enough, his detrac- great classics, Pierre Boulez draws capacity audi- tors of yesterday, who had completely demolished ences in London as in Berlin, in New York as well as the Marteau sans Maître, began to complain that Tokyo -a success usually reserved for specialists in Boulez was now lost to music -that he accepted flashy concertos and warhorse symphonies. too many concert engagements and that he no longer When Boulez first began to attract interest as had time to compose. an orchestral conductor, one leaped to the con- No one knows better than Boulez himself that clusion that his growing reputation could be ex- there exists a real problem in balancing the activity plained by his fame (or, perhaps, notoriety) as a of a composer with that of an orchestral con-

58 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ductor. But in order to understand his problem, lished shortly) Boulez was in a state of extreme which involves his particular conception of the or- nervousness before the performance. Apparently, chestral conductor's job, one must go back in time however, the young conductor's tension was of the and trace the history of this extraordinary career. kind that generates an all -out effort on the part There was. to begin with, a preparatory phase: of orchestral players. De Nussac quotes Boulez as Boulez' sojourn in the Jean -Louis Barrault- saying that the Bartók "was one of the best per- Madeleine Renaud Company. For ten years, beginning formances I've ever given." in 1946, Boulez was music director for this group and consequently conducted the music for a variety CONCERT completed the of productions. At the time Boulez himself con- THE DONAUESCHINGEN to re- sidered his work at the Théâtre Marigny as of little period of apprenticeship. Boulez continued ill man, importance, merely the direction of rather modest place Hans Rosbaud (by this time a very notably with the Amsterdam " musique de scène," played by smallish ensembles. in and out of hospitals), of the The young musician of those years had neither the Concertgebouw and thereafter for the concerts himself in- training nor the desire to make conducting his chief Domaine Musical. Eventually, he found them profession. He had simply accepted a job, to earn undated with invitations to conduct, many of indifferent to modern a living, among people of the theatre whom he loved. from organizations completely Pierre In retrospect, one sees now the importance of music but suddenly aware that to engage the association between Boulez and Jean -Louis Boulez was both to demonstrate their good will Barrault, for from it grew the famous series of towards contemporary art and to assure the commer- concerts of the Domaine Musical. From 1954 on- cial success of their enterprises. Boulez turned down wards these concerts permitted audiences to be- a good number of these offers; with a scorn for come acquainted, perhaps even familiar, with the compromises which he has never lost, he either gave music of Schoenberg, Berg, and Webern -most of a flat refusal or demanded working conditions and whose work (particularly that of Webern) had not a program unacceptable to the organizers. yet been played in France, and to hear the latest Other invitations struck him as of major im- efforts of the younger composers. portance. It was, for example, of great interest to During the first two seasons, Boulez delegated him to conduct the Rite of Spring at the Salzburg the task of conducting the concerts of the Domaine Festival, with the Vienna Philharmonic -all the Musical to others, and in fact it was only by chance more so in that this Rite was given with the impres- that his own debut on the podium came about. On sive ballet choreographed by Maurice Béjart. It was March 21, 1956 Hans Rosbaud had been scheduled equally of interest to accept the invitation of the to conduct at the Domaine concert the French Paris Opéra to conduct Wozzeck. premiere of Boulez' Marteau sans Maître, of which The latter invitation had a very special signifi- he had given the world premiere on the preceding cance. The Opéra had never performed Wozzeck, June 18 at Baden -Baden. When, at the last moment, an omission that Georges Auric, on taking over as Rosbaud was forced to cancel his appearance, Boulez Administrator of the National Opera in the spring took over for him. of 1962, felt should be immediately rectified. A There was another unexpected experience the next production of Berg's opera thus became the symbol year and it too was a decisive one. In preparation of the renascence of a house famous for its con- for the world premiere of his Visage Nuptial at servatism. In other quarters Wozzeck was of course Cologne in December 1957 Boulez had coached the viewed quite differently. and Boulez as its conduc- chorus. He had also discovered himself in consid- tor was the subject of daily diatribes from "the erable disagreement with the conductor engaged for righteous defenders" of French musical life. the performance. The upshot was that, again at In fact, all conditions conspired to make a the last moment, the composer took on the role of success of the ten performances of Wozzeck, which conductor. took place in November and December 1963 -the Shortly after this event Heinrich Strobel, a friend scenery designed by André Masson, the production of Boulez and music director of both the Baden - directed by Jean -Louis Barrault, and an excellent Baden Radio and the Donaueschingen Festival, ar- cast headed by Helga Pilarczyk in the role of Marie ranged a number of conducting engagements for him. and Heiner Horn as Wozzeck. To deal properly with The next year he made his first festival appearance, this large -scale undertaking, completely new for substituting for an ailing Rosbaud with the Orches- him (he had never conducted an opera before), tra of the Belgian Radio at Aix -en- Provence. A few Boulez asked for forty rehearsals-a very modest months later, he again replaced Rosbaud, this time request compared with the 130 rehearsals that Erich at the Donaueschingen Festival. Even a much more Kleiber obtained in 1925 for the world premiere in experienced conductor might have regarded this as Berlin but an incredible demand in relation to the a particularly risky task. The program consisted of working procedures of opera houses in general and five works, including Bartók's Miraculous Mandarin the Paris Opéra in particular. But Georges Auric which Boulez had never conducted and for which he wished to make his point with distinction; he ac- was allowed only an hour of rehearsal time. Accord- cepted Boulez' conditions. (Actually, Auric confided ing to the Paris music critic Sylvie de Nussac (whose to me on the night before the opening: "You should book Entretiens avec Pierre Boulez will be pub- realize that the musicians weren't really obliged

MARCH 1968 59

www.americanradiohistory.com BOULEZ

Auerbach

to comply. As far as union regulations are con- take up residence abroad. Only recently, however, cerned, they could have refused. But they recog- Malraux has asked Boulez to join Jean Vilar and nized the importance of this production and Boulez Maurice Béjart in a triumvirate to run the Opéra. excited them. ") If Boulez accepts, that would surely lead to a renova- It is completely true that Boulez "excited" the tion of the institution. somewhat blasé members of the Opéra orchestra. He As soon as he had left Paris, Boulez found himself excited them because these musicians -who are much in demand as a conductor. His explanation for excellent players. though too often compelled to plod this is revealing: "I have not exerted myself to make through routine work under the direction of run - a conducting career ... except for my own music. of-the -mill bureaucrats-found in this opera a But throughout the world there is such a lack of task in proportion to their talent and to their decent conductors that if you are just a little better ambitions. Thanks to Boulez, they came to a full- than the majority, if you work hard, if you have a er understanding of the music itself -this com- sense of responsibility, you are in demand. That plex language of Berg, far removed from their reg- shows you what a sad state the profession is in." ular preoccupations -and they knew too that He was shortly conducting major orchestras in their smallest lapses would be noticed immediately Berlin, Amsterdam, and London. In Frankfurt he by a musician whose sharpness of ear had become took up Wieland Wagner's production of Wozzeck, proverbial. They also knew that besides the often and in 1965 he made a resounding debut in the ruthless demands he made of them, Boulez always United States as conductor of the touring BBC took their side in dealing with the Administration. Symphony. However, the major event in Boulez' Moreover, Boulez' intransigence could be justified international career was undoubtedly his arrival on artistic grounds; he imposed on himself a similar at Bayreuth. rigorous discipline, based upon a deep knowledge Wieland Wagner had nourished the project for of the score, and he considered himself less a pater- several years. Boulez' original interpretative ap- nalistic "maestro" than a comrade engaged with the proach seemed to fit logically into the plans for a orchestra in a common endeavor. renovation of Wagner. Wieland had already taken Since the beginning of his career, Boulez has the purists by surprise with his concepts of always maintained this attitude towards the men staging; he had shocked them by calling upon he conducts. He knows exactly what he can de- Béjart to do the choreography in Tannhäuser. Con- mand of the players and forgives no weakness, but vinced that a Wagner festival, more than any other, he treats them as colleagues, he understands their should fight against sclerosis by taking risks and problems, and he is always ready to defend their by betting upon new values, Wieland was unmoved possible claims. Musicians are not readily deceived by indignant reactions. At the outset of Boulez' in such things -and it is for both human and career, Wagner therefore chose to place a new bet. artistic reasons that Boulez has become one of the The Frenchman at first refused, but Wieland sus- most popular conductors among orchestra per- pected that his resistance would weaken with time. formers. On the death of Knappertsbusch in 1965, he asked Boulez to take over the direction of Parsifal. After much deliberation, Boulez accepted for To RETURN TO Wozzeck, the Paris performances the following season. Consternation broke out among had a public acclaim that went far beyond expecta- the old -guard Wagnerians -followed by an anxious, tions, and they served to propel Boulez from clan- somewhat quizzical anticipation. When Pierre destine success to public approval. All the doors of Boulez took his place for the first rehearsal, in a Parisian institutions opened to him: the Opéra once hall already filled with critics, the atmosphere was again for a second series of Wozzeck and for an heavily expectant. However, the game was won, evening of Stravinsky ballet choreographed by Béjart just as it was in Paris with Wozzeck, as soon as the and including Noces, Renard, and the Rite of Spring orchestra men realized that the Festival director had .. . radio and television . . . the Société des Con- not invited an avant -gardist intent on creating a certs du Conservatoire. . . . This state of affairs sensation, but an extraordinarily gifted conductor would have continued if certain policy changes within who knew exactly where he wanted to lead them. the Ministry of Cultural Affairs had not brought Once having dissipated the orchestra's reservations about a disagreement between Boulez and André --as well as those of the singers, which were con- Malraux, and if Boulez had not then decided to siderable- Boulez knew how to convince the Fes-

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www.americanradiohistory.com tival public. It must be acknowledged, however, went along -especially to reveal to Russian audi- that along with the approval came a definite sense ences an unfamiliar modern repertory. of surprise. This production of Parsifal-an opera All these engagements, some sixty to seventy always entrusted, at Bayreuth and elsewhere, to concerts yearly, naturally were to lead Boulez to Wagnerians of the most impeccable antecedents - the recording studio. He made several records, gradually took on a new quality. The somber sonori- principally of contemporary music. for the French ties of Knappertsbusch were lightened. the heavy firm Véga, but it was his version of the Sacre du orchestral textures gained a new clarity, and the Printemps that almost overnight revealed to the sound shimmered in a less restrained ambience. general public the measure of a conductor whose As for the tempos, they were slower than one would interpretations could still disturb, even disquiet. In have supposed from Boulez, but even so a good fact. this Sacre (issued in America on the Nonesuch ten minutes were cut from each act. Here again. label) demonstrated with particular clarity the there was less lofty repose, more liveliness. The special nature of Boulez' artistic temperament, the Parsifal of Knappertsbusch was the celebration of mingling of a rigorous sense of structure with a religious ceremony; that of Boulez strove rather flashes of penetrating forcefulness. After so many to illuminate the nature of human passions. correct but arid Sacres, or fervid but inchoate read- Finally, even purists admired, if not the over -all ings, this was the Sacre of an inspired builder - conception, the sheer sound of the orchestra, and a Sacre biting. cruel, struck through with savage the critics evidenced an enthusiasm almost unprece- blows and feline clawings -and sustained, from dented in the annals of Bayreuth. Unfortunately. the first note to the last, by a rhythmic control of the instigator of the event was no longer around to impressive vigor and sureness. The recording of enjoy its climax; Wieland Wagner had just entered this Sacie marked the first great milestone in a a Munich clinic. where he died a few weeks later. discographic career that is today being followed His death canceled a number of projects on on an entirely different scale. Last year his CBS which he and Boulez had been expected to col- recording of Wozzeck was widely acclaimed, and laborate. in particular Berg's Lulu at the Vienna Boulez has now signed an exclusive contract with Opera. Pellra.s et Mfeli.sande at Covent Garden, and that company. He has already recorded Debussy, Don Giovanni in a German opera house. Never- Berlioz, and Webern- tomorrow perhaps Beethoven theless, Boulez' career as a Wagner conductor was and Wagner? not interrupted: in April 1967 he conducted Tristan in Japan with tha Bayreuth company, then Parsifal again at the following Bayreuth Festival. Everyone IN SHORT, Pierre Boulez has embarked upon a path is anxious for him to take on the Ring, and the to fame that is the secret ambition of any musician. present directors of the Bayreuth Festival hope that But this success also includes a certain bondage, this will happen as soon as possible. Boulez, how- and it cannot be ignored that the production of ever. has said: "Not before 1970." Boulez' own works has dangerously slackened over Needless to say, Boulez' presence at Bayreuth several years. excited international interest. On this occasion it One is given to ask if this is a deliberate choice was pointed out that before Parsifal, Boulez had by the composer-if he has opted, quite consciously, not conducted a single Wagner opera, nor even for conducting as against composition. I feel that I expressed the desire to do so. Neither had he shown can say no to this question. Boulez has abandoned any particular predilection for Wagner. Still, if he nothing at all; moreover lie is trying at present to approached Parsifal more as a questioner than as arrange his conducting engagements over five. months an initiate, he was soon deeply involved in an in- of the year in order to devote more than half his tense study of a music which could enable him to time to composing. Boulez is aware that his own place in perspective the post-Wagnerian composers creative work is marking time, but he is also firm who up to this time had most interested him -that in his insistence that having undertaken a conduct- is, the three great Viennese. Moreover, in his whole ing career he will be a true conductor and not tenure as a conductor Boulez has always sought to merely a skillful baton waver. To know Boulez is to build bridges -to come to a fuller understanding know that he hates amateurism, that he scorns the of the present by virtue of knowing the traditions well -intentioned but ignorant, and that he believes of the past. to shed light on the past through the in the value of hard work. He feels that the vocation insights of an artist himself immersed in the crea- of a conductor cannot be a sideline; it has either to tive activity of today's world. be fully assumed, at the risk of accepting certain After Parsifal, the pace of Boulez' career con- sacrifices, or it should be abandoned. tinued. if anything, to accelerate. When Otto Finally, Boulez understands how enriching his Klemperer fell sick on the eve of a series of Bee- experience as a composer can be to his experience thoven symphonies he was to conduct in London, as a conductor, and vice versa. He seems to share it was Pierre Boulez who was invited to replace the opinion of Stravinsky, who said to me one day: him; when George Szell learned that Boulez was "The best conductors are composers -Mahler, unexpectedly free for a month, he had him brought Strauss, Boulez." (Did he add: "And myself ?" I to Cleveland. And when the BBC orchestra made could not swear that he didn't.) Boulez conceives an important tour in Russia, it was Boulez who of conducting as the bringing out of a series of

MARCH 1968 61

www.americanradiohistory.com structures. And who is better able to understand the fortable. All the details of execution are explained sense of these structures than one whose profession during rehearsals, which Boulez protracts as long it is to arrange them? as necessary, and which he sometimes breaks up into Boulez has said: "I try to give importance not to rehearsals with the individual orchestral choirs. rhetorical sentiment, but to a musical structure - During the performance itself, each conductorial especially in conducting Mozart. Mozart's music, signal corresponds to a perfectly identified sound for me, is not a kind of pleasing salonlike gentility, event. If the musician catches the semaphore message, or even a deeper emotional expressiveness, but, no accident can happen! And from the proper trans- above all, especially in his later works, which I lation of signals arises the exact reconstruction of prefer, a marvelous musical structure." structures -that is, the explosion of the music into The example of Mozart, intentionally chosen, is its poetic and expressive form. particularly striking, for no one will deny the im- It is evident that this represents a profound trans- portance of "structures" in the works of Berg or formation of the profession of conductor, raising Stockhausen. But who will dare to affirm that the questions of the conductor's intellectual attitude reading of "structures" is the essential element in an towards the score as well as his physical gestures on interpretation of Mozart? And who would accept the the podium. This change has interested enormously primacy of structure over expressive meaning? the musicians willing to study it, and especially the Boulez answers this objection by explaining that the numerous young composers who, also feeling a structure is linked to expressive content -and that necessity to conduct, have asked Boulez' advice. In if "such- and -such a musical structure was chosen, June 1965 Boulez gave them an answer by organiz- it was because it best responded to the feelings one ing, in Basel, a course in the conducting of con- wanted to transmit." He continues: "One cannot be temporary music- marvelously rich sessions during content to 'be expressive' without knowing where which Boulez exposed each step in the conductor's the musical phrase is going. For myself, I like expres- function. analyzing scores and commenting on sion to be reflected precisely by the way in which the effectiveness of this or that gesture (supported the phrase is cut, by proper accents placed at the by a live ensemble). It is obvious that modern scores right moments, etc." His attitude is summarized in necessitate such explanations and, for this purpose, this formula: "To interpret is to describe a structure Boulez has devised what he calls a "signaling code," as a function of its expressive power." which allows one to conduct safely a score including In speaking of structure, Boulez is thinking not simultaneously fixed and free tempos. It is with only of a certain rhythmic cell or melodic phrasing, aleatory music that the conductor's intervention is but also of the over -all structure of the score. And doubtless the most interesting, where "the instru- one of the essential merits of his interpretations is mentalist depends entirely on a gesture -that is, he the insertion of each musical instant into a con- becomes like the key of a keyboard." This is where sciously reflected development. While so many con- Boulez' signaling code is truly the modern method ductors highlight a forte in order to move or aston- for conducting orchestras. ish, without giving any suggestion that they know For Boulez, however, there is no watertight dis- what is to happen three measures later, Boulez makes tinction between the way to conduct a Beethoven clear at each moment his understanding of the score symphony and a score of Stockhausen. To solve the as a whole; it is in this way that his readings convey technical problems inherent in the performance of a sense of exceptional rigor and depth. modern music can considerably aid a conductor who This approach also corresponds, in Boulez, with turns to the classic repertory. This is exactly what an original technique of conducting. The `original- happened to Boulez, who had completely established ity" is hardly surprising, as Boulez never formally the bases of his conducting technique when he took studied conducting. Therefore he had to solve each up the classics and the romantics. It was surely technical problem (particularly that of gesture) for thanks to this technique that he acquired such rare himself; even more difficult, in the contemporary precision, clarity, and faithfulness to the score in music in which he specialized there was no tradition his interpretations of the standard repertoire. whatsoever. The new pieces, given their complex Is it necessary to specify the ingredients of Pierre notation, require rhythmic clarity and independent Boulez' standard repertoire? It includes, without arm movement to an extreme degree. For this rea- limitation, the symphonies of Haydn as well as those son Boulez' gestures are extremely precise and give of Beethoven, the concertos of Mozart, and the the impression of describing constantly the succes- Brandenburg Concertos of Bach; but it excludes, sion of musical structures -a fascinating spectacle, without regret, music judged by Boulez to be "doubt- which has been compared (not maliciously) to a ful": Verdi, Tchaikovsky, Bruckner . . . and this semaphore. Boulez does not overplay the dramatic list is also without limitations. side of conducting, although his movements can be This means that in the choice of his repertory brutal, and he abstains from trying to simulate Boulez draws his self -portrait, in the same way that nuances with clownlike mimicry. He does not, how- he reveals in his attitude as a conductor -in his ever, neglect the intensive look, for he believes in lucidity, his rigorous organization, his ruthless exact- the power of communication by the eye. ingness, his profound sense of human relations, and For an orchestral player, this is the clearest and his love for his work -the true driving forces of his most stimulating method, as well as the most com- personality.

62 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com BUDGET YOUR STEREO DOLLAR 4W1 SELY

BY ROBERT ANGUS

SHOULD you use a $75 cartridge with a $60 turn- single chassis. Obviousl. then, a new formula is table? Will a pair of speakers that cost $150 sound needed. right with a $250 amplifier? What about speakers The change has certainly not simplified matters: priced at $500 each used with an amplifier costing you can't, for instance, solve the problem merely by half that amount? Isn't there any rule of thumb for inserting a new number or two into your addition the uninitiated? column. For there are all kinds of receivers, de- There is, or to be more precise, there are -a few. pending on how good (and costly) the FM section To begin with, back in high fidelity's monophonic is, how good (and costly) the amplifier section is, days, budgeting for a system was quite simple. Con- and whether or not the unit provides AM reception sidering the three main building blocks- record too. Bear in mind that a higher- priced receiver does player, amplifier, and speaker -you could assemble not necessarily contain both a better tuner and a a well -balanced system by spending about equal better amplifier than a lower- priced receiver. Some- amounts on each. (At the time, FM tuners and tape times, yes -but often the higher- priced receiver may recorders were considered extras, and thus to be contain only a more sensitive tuner, teamed with the calculated aside from the basic system.) The mono same amplifier as that in the less expensive model. budget. in effect, could be figured as a simple ratio Or conversely, the less sensitive (and cheaper) tuner of 1:1:1. may be paired with a more powerful amplifier. Any Then came stereo, with the need for new and /or of these possible combinations is valid, any of them additional equipment -and the ratio was upset. "works," but don't expect the proportion of a stereo Speakers cost no more than they had before, but budget representing the cost of a receiver to be a suddenly you needed two of them. Stereo amplifiers fixed, immutable figure. did cost more than, but not twice as much as. mono Fortunately, though its hard to evolve a new units. And while cartridge prices went up slightly, budget ratio, it's not impossible -at least on an turntable and record changer prices remained about average basis, and allowing for some "cost toler- the same. As dealers and the public got used to the ances," some plus or minus dollars to go along with

idea of stereo, a modified version of the I: I :I ratio the plus or minus decibels. To illustrate: on today's appeared -something like 1 (record player) : 11/2 market, you can get a decent system for about $310: (amplifier) : 2 (speakers). Until recently, this this price covers $60 for an automatic turntable with formula generally prevailed: that is, if you asked stereo cartridge; $ 100 for a pair of small speakers; most owners of a high fidelity stereo system how and $150 for a minimal, but respectable, FM stereo they had apportioned their funds, ehances are you'd receiver. Better systems start at about $520, which learn that a little less than half of the total budget includes $90 for the automatic turntable and car- went for loudspeakers, the remainder divided be- tridge, $180 for the speakers. and $250 for the re- tween amplifier and record -playing equipment. ceiver. De luxe systems built around a stereo receiver It is now apparent that something new has hap- start these days at about $915; this figure can be pened to upset the revised ratio between record play- broken down into $425 for the receiver, $150 for er, amplifier, and speakers -and that something is automatic turntable and cartridge, and $340 for the stereo FM receiver. Until quite recently, most loudspeakers. (If you're a holdout for separate com- audiophiles considered stereo FM an adjunct to a ponents in your dream system, you'd better be pre- home stereo system. By the end of last year, how- pared to spend approximately $2,000-$325 for ever, at least eighty per cent of all systems sold stereo preamp, $395 for power amplifier, $165 for were based on a stereo receiver -a combination turntable and arm, $65 for stereo cartridge and $400 stereo FM tuner and stereo control amplifier on a for stereo tuner, with the balance, about $650, going

MARCH 1968 63

www.americanradiohistory.com SAMPLE STEREO BUDGETS (built around stereo FM receivers)

Low -priced: Medium- [iced: Medium -high priced: Deluxe high -priced: Component $310 to $380 $500 0 $835 to $1,240 $1,500 to $2,400

Record player $ 60 $ .. -$1t $ 160 -$ 300

Receiver $150 -$200 $240 -$280 40 -$600 $ 340 -$ 600

Speakers (2) $100 -$120 $180 -$240 .360 -$4: $1,000 -$1,500

In computing the above chart, we used average retail prices rather than manufacturer's list prices. Receivers, in particular, frequently sell for as much as twenty per cent below list price. Many dealers charge list price for a turntable, but include a cartridge for anywhere from one cent to five dollars. It is on this basis that record player prices above have been computed. Note too that the "record player" price- spreads cover the option of manual turntable, arm, and top -quality pickup.

for loudspeakers: or you can drop the tuner and To put it another way, there are two ways you can put more money into still better speakers.) achieve a comparable level of sound volume and In the three hypothetical systems using a receiver, quality in your listening room. One is by using low note that the cost of speakers accounts for roughly efficiency loudspeakers with a high -powered ampli- thirty -three per cent of the total, with that share fier; the other is by using high efficiency loud- declining as the over -all cost of the system goes up, speakers with a lower- powered amplifier. The buyer while the tuner -amplifier section accounts for about of a pair of low efficiency speaker systems may pay forty -seven per cent of the total. (In a system made $400 for them, then need to spend another $450 up of strictly separate components, up to fifty -six for a receiver that includes an amplifier capable of per cent will go for preamp, power amp, and tuner.) providing the 25 watts per channel needed to drive The record -playing equipment accounts for the rest. them. His neighbor may like the sound of two high In other words, if you're dealing with average efficiency speakers costing $600 or a bit more; he systems -low, low- medium, or medium in over-all may have to spend only $250 on a stereo receiver price -you can figure these days on spending about which will provide all the power-say, 15 watts per one -third of your funds on loudspeakers, slightly channel -he needs. less than half on the receiver, and about one -fifth There have been dramatic changes in loudspeakers to one -sixth for record -playing equipment. themselves which relate to budgeting. Until recently, As a result, we can generalize on a new budget most audiophiles considered $80 to $90 about the

formula of 1 :3:2 for record player, receiver, and rock -bottom price for a loudspeaker system that stereo speakers respectively. On this page. we've drawn could qualify as high fidelity equipment. In the past up some sample budgets based on typical systems. year or so, we've seen several speaker systems bearing A quick glance at these will show that the new ratio price tags of $50 to $60 which produce genuinely is at best an approximate one, and that it has greater good sound. In a city apartment, for example, a validity at the bottom of the scale than at the top. pair of these, with a quality receiver and record In fact, as system prices go up, the percentage of changer, could afford much enjoyment. The cost of the total spent on record player /arm /cartridge can such a system, of course. would be proportioned dif- decline by as much as fifty per cent. At the same ferently from our basic formula. time, the speakers' share of the total may climb from Let's get back now to the buyer who chooses an about one -third to nearly one -half while the ampli- amplifier rather than a receiver around which to fier- tuner's share remains relatively constant. build his music system. He still can go by the older But note that the relationship between speakers I:11/2:2 ratio. If he later wants to add a stereo and amplifier can modify even the new formula. tuner. it would be reasonable to expect him to select Acoustic suspension speaker systems have become one comparable in quality with his amplifier. In this increasingly popular in recent years. These low effi- case the cost of the tuner would be added to that ciency speakers require more powerful amplifiers of the amplifier and the ratio would again become to drive them than do higher efficiency speakers. I :3:2, the same as that for a system incorporating Since the cost of an amplifier goes up as the manu- a receiver. The total amount spent for the system facturer adds watts, you'll find that the efficiency made up of entirely separate components may come of the speakers can affect budget proportions. to more, but the proportions of the budget allotted

64 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com to the three major "blocks" of the system stay about Each feature costs money (some cost more than the same. others) and there's no way of guessing what one However, there again are exceptions. Your par- man will want on his tape machine and another can ticular geographic location may affect the amount do without. Here you'll have to consider your own you'll have to pay for a tuner. If you live in the preferences and determine your own budget. deserts of Arizona, for example, you may have to What about outdoor or extension speakers? As buy the most expensive FM tuner on the market in our society becomes more affluent, the second pair order to pull in a station, even though a compara- of speakers becomes more and more common. In tively inexpensive amplifier enables you to enjoy some cases, these may be older speakers, once part music from your records. Conversely, in big cities, of a main component system, which have since been where there are plenty of signals to choose from retired to bedroom, den, or rec room; in others, they and sensitivity is less important, you may be able to may be patio or outdoor systems. In either case, save money by buying a tuner of considerably less these speakers do not come under the provisions of sophisticated quality than your amplifier. an ordinary budget. Indoor auxiliary speaker systems usually go into locations where the demands for sound quality are less stringent than they are BEYOND THE BASIC elements of a stereo system in the living room or major listening area; hence there are extras which should be budgeted for but any reasonably good- sounding speakers will do. The about which it's impossible to generalize. Take, for cost of outdoor speakers depends on a number of instance, the FM antenna. It may cost you nothing factors. One $24.95 speaker system we know of (many manufacturers include with their receivers provides highly acceptable sound, better than that a folded dipole antenna adequate for FM listening afforded by a $75 outdoor speaker -but the former in most urban areas), or it may cost as much as is a patio speaker covering a relatively small listen- $150. The antenna you need is determined mainly ing area, while the latter can blanket a football not by the quality of your receiver or tuner (though field with sound. Besides reflecting sound coverage lower-sensitivity tuners may require more help from patterns, outdoor speaker prices usually indicate the an antenna than others), but by your location in degree to which speakers can withstand the ele- relation to the FM stations you listen to. That same ments: some of the less expensive models are de- listener in the Arizona desert with the best available signed for use only in fair weather. tuner may still need an expensive tower and signal Stereo earphones are another accessory item out- booster in order to pick up any station; a city dweller side the purview of a standard budget. Here again, may need costly coaxial cable to ward off FM price indicates not only sound quality and perform- ghosts, and he may want an antenna rotator to ance, but also durability -and comfort. enable him to pick up stations from the surrounding Finally, some advice for the shopper who may be suburbs as well as those in town. And a suburbanite unfortunate enough to encounter an unscrupulous with an average tuner may find that the simple dealer. When a dealer sells you a $350 stereo re- folded dipole pulls in all the stations he wants to ceiver and a $100 automatic turntable complete with hear without fading or distortion. magnetic cartridge and base, and then proposes to What about AM reception? Inasmuch as the high - sell you two loudspeakers for $50, the time has quality AM -only tuner is a thing of the past, you come to be suspicious. There are such things as will have to take FM (whether you want it or not) bargains in high fidelity, but speakers at $25 to $30 to be able to get decent AM facilities. Prices for each that are capable of revealing all the purity of AM 'FM tuners and for receivers providing both sound of a $350 amplifier -tuner combination are modes vary so widely that there's no practical way of unusual, to say the least. (If you accept such an estimating this cost in your budget. offer, or if you take advantage of one of the package The problem in connection with tape equipment deals in which two low -cost speaker systems are is even more difficult. Some dealers advise customers thrown in free with the purchase of a stereo receiver looking essentially for a music playback system to and automatic turntable, at least do so with your buy a deck that can be incorporated into the audio eyes open-knowing that you will later have to system permanently. To match the fidelity of your substitute better quality speakers in order to get the tuner (assuming you plan to tape off the air) or full potential from your system.) At the opposite your amplifier (which will be used to play tapes extreme, a dealer may offer you a well -known re- hack), one New York dealer suggests that you pay ceiver or amplifier of modest price, and then try to at least as much for the tape deck as you did for convince you that you must have a really fine auto- the tuner or amplifier. If you want a complete re- matic turntable and a pair of expensive speakers for

corder (with its own loudspeakers but not neces- quality results. Again, keep that 1 (record player): sarily with the frills described below), figure on 3 (receiver): 2 (speakers) ratio in mind. spending proportionately more. Most dealers will help you buy a balanced system. Frills in tape recording may be such convenience For your part, decide the total amount you want to features as automatic threading and shutoff, auto- spend before you walk into a shop -then spend it matic reverse, or automatic voice control; or such judiciously according to the formula suggested here operational features as photo sync, sound with that best meets your individual situation. This way sound, illuminated VU meters, and multiple speeds. you can keep the salesman, and your budget, in line.

MARCH 1968 65

www.americanradiohistory.com Know BOZAK'S Concert Grand There is only one loudspeaker system that is fully capab.e of reproducing all the subtleties of sound that characterize a "live" performance - the Bozak Concert Grand. That is the overwhelming consensus of people who know music best; that is why the overwhelming majority of them have Concert Grands in their own home music systems. The sheen of the highs, the natural balance of the midrange, the careful enunciation of the bass tones - if they are present in your program source and if your amplifier can reproduce them - you'll hear them with a Bozak Concert Grand speaker system. It may be far less expensive than you think to begin enjoying the richness of an unsurpassed music system based on Bozak loudspeakers. Ask your deale about Bozak's unique "speaker growth" plan.

Darien, Connecticut bb HIGH FIDELITY MAGAZINE

www.americanradiohistory.com HIGH FIDELITY E UIPMENT low% REPORTS The consumer's guide to new and important high fidelity equipment

SHERWOOD S -7800 RECEIVER

THE EQUIPMENT: Sherwood S -7800, a stereo receiver phone jack. The speaker switches, incidentally, let (AM, stereo FM, and integrated amplifier on one chas- you run two separate pairs of stereo speakers inde- sis). Dimensions: 14 by 4'/2 by 161/2 inches. Price: pendently: either pair may be on or off and neither $409.50 for chassis; $418.50 in simulated walnut position of either switch affects the headphone out- metal case; $437.50 in hand -rubbed walnut cabinet. put. What's more, you also can connect a mono Manufacturer: Sherwood Electronic Laboratories, Inc., speaker independently of either pair of stereo speak- 4300 North California Ave., Chicago, III. 60618. ers. This output arrangement lends the S -7800 a degree of versatility unusual in a receiver: you can pipe stereo to two different rooms, mono to a third room, COMMENT: Sherwood's new S -7800 looks very much and still listen privately over headphones -all at like its earlier receivers, but the tuner section has once. Or you can use the extra speaker hookups to been beefed up with integrated circuits in the IF strip beef up the stereo in one big room, or to experiment and with field effect transistors in the front end. with surround -sound effects. Just make sure you These innovations apparently have improved many don't exceed the impedance matching limits spelled areas of tuner performance a jot or so over what they out in the owner's instruction booklet. (Actually, if used to be. As for the amplifier section, Sherwood you do, the set will turn itself off rather than become rates its power output in several ways; taking the one damaged, thanks to its protective circuitry.) most closely related to our method (continuous or Speaker connections, and the usual inputs from RMS power into an 8 -ohm load), we get just about such sources as turntable (with magnetic pickup), on-the-nose confirmation of the manufacturer's speci- tape recorder, and any auxiliary (high level) source fications. That is to say, Sherwood claims 40 watts are at the rear, where you'll also find the outputs for continuous power for 0.6% distortion on each chan- feeding to a tape recorder. The set has a built -in nel taken separately; we get 38.3 watts on left, 41.9 loopstick antenna for AM plus terminals for an op- watts on right channels respectively. tional long -wire AM antenna. For FM, both 75 -ohm also are The attractively - styled set has an ample array of and 300 -ohm terminals are provided. There controls. At the left of the tuning dials (for FM and two AC convenience or:tlets, one switched. AM) a dual- purpose tuning meter shows center-of- Anyone looking for a good, all- around receiver channel for FM stations and maximum deflection for need have no doubts about the S -7800. Its amplifier AM signals. To its right, a red indicator lights up section is powerful and clean enough to drive any when a siereo FM station is tuned in. At the same speaker system(s) and its controls all respond ac- time the set automatically switches itself to stereo curately and correctly. The FM section is above aver- operation -unless you pull out the balance control age on most counts. We noted the high sensitivity and which ccnverts everything to mono. Two large knobs low THD measurements made at the lab and then at the right handle tuning and power /loudness re- checked out the set on the wideband FM facility respectively. Additional controls, grouped across the cently set up as part of the High Fidelity Cable system. lower portion of the panel, include: level adjustments We were able to log the high number of clean stations for the preamp section (to balance the volume from

your phono pickup to match that of the set's F M section for a given setting of the loudness control); interstation hush (to reduce the noise between stations); program selector; bass and treble tone controls (operating on both channels simultaneously); channel balance (which doubles as a stereo /mono switch); tape monitor; high frequency filter; and a pair of speaker selectors. There also is a stereo head- Square-wave response to 50 Hz, left. and to 10 kHz.

Equipment reports are based on Isboratory measurements and controlled listening tests. Unless otherwise noted, test data and measurements are obtained by CBS Laboratories, Stamford, Connecticut, a division of Columbia Broadcasting System, Inc., one of the nation's leading research organizations. The choice of equipment to be REPORT POLICY tested rests with the editors of HIGH FIDELITY. Manufacturers are not permitted to read reports in advance of publication, and no report, or portion thereof, may be reproduced ter any purpose or in any form without written permission of the publisher. All reports should be :onttrued as applying to the specific samples tested; neither HIGH FIDELITY nor CBS Laboratories assumes iesponsib lily for product performance or quality.

Alnitcrf 1968 67

www.americanradiohistory.com normally provided: thirty- eight, including thirteen in stereo FM, which compares favorably with that of any tuner or receiver we've yet tested. The set's Sherwood S -7800 Receiver tuning dial is one of the easiest to use: quite wide, plenty of space between the numerals, and very Lab Test Data legible markings in divisions of ten between the Performance numerals. And for those interested, the AM section characteristic Measurement of the S -7800 strikes us as better than average -it seemed, even with its own built -in antenna, to pull Tuner Section in more stations that sounded better than the AM sections of most other sets. IHF sensitivity 2.1 10/ at 98 MHz; 2.0 ¿IV at 90 MHz; 2.1 /LV at 106 CIRCLE 141 ON READER -SERVICE CARD MHz +5 Frequency response, mono 1.5 dB, 20 Hz to 17 kHz 0 -5 FM Mono Response THD, mono 0.26 °ó at 400 Hz; 0.33°ó at 40 Hz; 0.22°,ó at 1 kHz IM distortion 1.3% +5 iñ Capture ratio 2 dB C. 0 S/N ratio 61.5 dB ir`n5 FM Stereo Response & Channel Separation - 10 Left Channel Frequency response, -15 Right Channel stereo, I ch +0.5, -3 dB, 20 Hz to 16 kHz 20 - r ch +0.5, -3 dB, 20 Hz to 13 -25 kHz

20 50 100 200 500 1K 2K 5K 10K 20K THD, stereo, I ch 0.88 °ó at 400 Hz; 0.35°,ó at FREQUENCY IN Hz 40 Hz; 0.44 °o at 1 kHz r ch 1.5 °o at 400 Hz; 0.40% at

40 Hz; 0.40 °o at 1 kHz 3 IM CHARACTERISTICS Channel separation, - - -- 4 OHM Load either channel 22 dB at mid -frequencies; 8 OHM Load ; better thon 11 dB at 10 16 OHM Load kHz

19 -kHz pilot suppression 41 dB 38 -kHz subcarrier 2 3 4 5 10 15 20 25 30 40 50 100 suppression 43 db POWER OUTPUT, WATTS Amplifier Section

Power output (at 1 kHz o into 8 -ohm load) -3 Power Bandwidth for 0.6% THD' I ch at clipping 34.4 watts at 0.20 °.o THO Zero DB =37 Watts I ch for 0.6 °c THD 38.3 watts r ch at clipping 36.1 watts at 0.25% THD r ch for 0.6 °e THD 41.9 watts 1 .o both chs simultaneously 37 Watts Output 0.5 I ch at clipping 32.0 watts at 0.18% THD 18.5 Watts Output 0 ° r ch at clipping 34.4 watts at 0.17% THO Power AMPLIFIER PERFORMANCE CHARACTERISTICS bandwidth for constant 0.6% THD 30 Hz to 16.0 kHz +5 Harmonic distortion 0 37 watts output under 0.6 °o, 30 Hz to 14.5 kHz -5 Frequency Response, 1 -Watt Output 18.5 watts output under 0.6 %, 20 Hz to 20 1 10 20 40 100200 400 1K 2K 4K 10K 20K 100K kHz FREQUENCY IN Hz IM distortion 4 -ohm load under 0.8 °ó to 16 watts output 8 -ohm load under 0.8 °.o to 24 watts output 16 -ohm load under 0.8% to 22.5 watts -10 output Frequency response, -20 IHF SENSITIVITY ó 1 -watt level +0.5, -2.5 dB, 13.5 Hz to =a - 2.1 ,,V 21 kHz ó -30 RIAA equalization +0,- 2.5dB, 20 Hz to 20 -40 kHz xg Damping factor 66 ó -50 Input characteristics Sensitivity S/N ratio phono (mag) 1.2 to 4.8 mV 53 dB aux 115 mV 1 10 10' 10' 10 10 59.5 dB RF INPUT, MICROVOLTS

68 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com JENSEN 1200 -XLC SPEAKER SYSTEM

harmonics. THE EQUIPMENT: Jensen 1200 -XLC, a full range it becomes increasingly mixed with some not become evident speaker system in enclosure. Dimensions: 40 inches The doubling, in any case, does hard, and it wide; 301/2 inches high; 223/4 inches deep. Price: unless you drive the system abnormally To $895. Manufacturer: Jensen Mfg. Div., The Muter Co., is generally less severe than on most systems. bass is as good 6601 So. Laramie Ave., Chicago, III. 60638. put it another way, the 1200 -XL's as anything we've yet auditioned, and certainly better COMMENT: Like many other speakef manufacturers, than most. The mid -bass is clean, well- defined, and Jensen produces its share of compact or bookshelf nicely balanced with everything else. The midrange speaker systems but also sees enough of a market and highs are exemplary. with no apparent peaks or for large systems to justify designing and producing dips to beyond audibility, no harshness at the critical them too. Thus the 1200-XL series, available in three crossover points, no honking or screeching, and vir- decor styles. The "C" after the nomenclature stands tually no directive effects until near 10,000 Hz. The nar- for contemporary; there also is a 1200 -XLM (M for sound above this frequency becomes noticeably Mediterranean), and a 1200 -XLE (E for early Ameri- rower in its dispersion pattern, and a rolloff becomes can). The XLM is in pecan wood and has a figured apparent at about 13 kHz. White noise response decoration over the front grille fabric; it also is 3/4 -inch varies according to the settings of the rear controls; higher than the contemporary model. On the early we finally hit on positions (for both midrange and American unit, in "distressed pecan," wooden spindles highs) that were backed off from full rotation by run vertically over the front grille. This model stands about one -eighth of a turn. These settings, at least in re- 11/4 inches higher than the contemporary version. our room, produced a very smooth, uncolored Prices are the same for all three models, and so are sponse on both white noise and on program material. what's inside them and how they sound. Actually it is in handling musical material that Which is, in a word, great. These systems have a the 1200 -XL really can show off. We heard these big, open, clear and very natural sound from systems at high fidelity shows and were fairly im- top to bottom of the musical spectrum. They also are pressed, but wished aloud that we could hear the highly efficient, which means you can drive them to same setup in better acoustic surroundings -i.e., (large) room -filling volume with relatively little am- a larger room in a quiet house. Well, we finally have plifier gain. They also are very robust and can take got our wish and all we can do is repeat: great. up to 100 watts per channel of amplifier power-just These systems provide a you are there" kind of in case you like to be generous and let the neighbors sound, and yet they don't suffer from musical drop- down the block share your listening pleasure. out at softer listening levels. Transients come through Each 1200 -XL system contains seven speakers: four beautifully; the spectrum always is balanced; instru- 15 -inch woofers, a horn -loaded midrange driver, a ments and voices sound about as natural as you horn -loaded super- tweeter, and a direct -radiating "ultra could want. It goes without saying, but well say it tweeter." Crossover frequencies at 500, 4,000, and anyway, that these speakers are among the best avail- 10,000 Hz are provided by a network inside the enable; they can serve as professional monitors or as closure. Controls at the rear let you adjust mid - the mouthpieces of the finest home music systems. freqency and high -frequency balance. Input impedance Well -what would you expect from a pair of speakers is 8 ohms. Connections are made to screw terminals that cost about as much as a small car and take marked for polarity. Each speaker system weighs up nearly as much space? just over 240 pounds. The bass response of a 1200 -XL goes all the way down to 20 Hz, although from about 28 Hz and below CIRCLE 142 ON READER -SERVICE CARD

and extends, at its pivot point, into a small iron tube. An initial flux thus is set up which, when varied by the stylus vibrating in the record groove, induces signal voltage in two sets of coils within the cartridge. Loner mass (as compared with moving magnet types) and ADC 10E -Mk II higher compliance are claimed as the chief advantages of this movement. Inasmuch as compliance measure- CARTRIDGE ments are far from standardized, our lab made no attempt to relate its own compliance measurements (28 x 10-4; cm /dyne both laterally and vertically) to the manufacturer's claim of 35, but the lab did feel extremely THE EQUIPMENT: ADC 10E -Mk II, induced magnetic that this pickup -by any standard -has track stereo cartridge fitted with diamond elliptical stylus. high compliance. Minimum force needed to and 7 of Price: $59.50. Manufacturer: Audio Dynamics Corp., critical portions of the test records (bands 6 tones on STR 100) was Pickett District Rd., New Milford, Conn. 06776. CBS STR 120, and the glide only 0.5 gram, the lowest force yet reported. For normal use, in a high quality arm, a force of 1 gram COMMENT: The Mark II version of the Model 10E is was found to be optimum. The lab advises that while ADC's latest to use the "induced magnet" movement. this pickup works beautifully in a good arm, it should The stylus cantilever is surrounded by a tiny magnet not be used in an inferior arm. The critical shape of

MARCH 1968 69

www.americanradiohistory.com the elliptical tip, the low mass, and the very high compliance all demand an arm that has excellent balance, very low pivotal friction, anti -skating, and of course TEST REPORT GLOSSARY the ability to track at 1.5 grams or less. Bias: 1. anti -skating; a force applied to counter- Output voltage of the 10E -Mk II was 4 mV and 3.5 act a tone arm's tendency to swing inward. 2. mV on left and right channels respectively. The former a small amount of voltage applied to a device figure is exactly as specified; the latter a jot less, to prepare it for correct performance. but the difference is of no consequence. Left channel Capture frequency response ran, within plus 2.5 dB, minus ratio: a tuner's ability, expressed in dB, to select 1.5 dB from 30 Hz to 17 kHz. The very low end rose to the stronger of two conflicting signals. The 3 dB below 30 Hz, while the high end peaked in the lower the number, the better. 18 kHz to 20 kHz region. On the right channel, the Clipping: the power level at which an amplifier's response ran within plus 2.5 dB, minus 1.5 dB, from output distorts. 40 Hz to 17 kHz. The bass rose to 3.5 dB at 20 Hz, Damping: a unit's ability to control ringing. and the high- frequency peak was seen at 19 kHz. dB: decibel; measure of the ratio between elec- These are very good response characteristics for a trical quantities; generally the smallest differ- cartridge, by the way. The high -end peak in the 10E- ence in sound intensity that can be heard. Mk II, so often noticed in magnetic pickups, repre- Doubling: a speaker's tendency to distort by sents a good compromise between getting the reso- producing harmonics of bass nance just beyond the upper signal limits typically tones. found on commercial discs while still providing a Harmonic distortion: spurious overtones introduced by equipment to a healthy amount of high -end response. The square - pure tone. wave pattern of the 10E -Mk II shows very little ring- Hz: hertz; new term for "cycles per second." ing and a generally smooth, extended high end. IF: intermediate frequency, into which the RF is Separation between the pickup's two channels aver- converted by a tuner. aged 30 dB across most of the musical range, and IM (intermodulation) distortion: spurious sum - was still better than 20 dB at 30 Hz and at 15 kHz. and- difference tones caused by the beating of Harmonic and IM distortion both were lower than two tones. average. The pickup had a vertical angle of 20 degrees k: kilo -; and its low -frequency resonance (in the SME arm) 1,000. occurred way down at 7 Hz where it would hardly af- m: milli -; 1 /1,000. fect the normal (20 Hz to 20 kHz) range. M: mega -; 1,000,000. The measurements indicate a superior pickup, and p, (mu); micro -; 1 /1,000,000. our listening tests bear out this verdict. The 10E -Mk Pilot and sub -carrier: (19 kHz Il "sounds" as good as the best we've yet auditioned and 38 kHz); broadcasts signals used in transmitting FM and -installed in a good arm -tracks the most de- stereo; must be manding passages we could find for it to play. It has suppressed by receiver. a full, well -balanced, and natural output from top to Power bandwidth: range of frequencies over bottom of the musical spectrum and -like other top which an amplifier can supply its rated power quality models -elicits such clean response from older without exceeding its rated distortion (defined mono discs that you may think they're brand new. by the half - power, or 3 dB, points at the low and high frequencies). CIRCLE 143 ON READER -SERVICE CARD RF: radio frequency; the radiated energy of a broadcast signal received by a tuner. Resonance: a tendency for a device to emphasize particular tones. Res ponse to Ringing: a 1 -kHz square wave. tendency for a component to continue responding to a no- longer -present signal. RMS: root mean square; the effective value of a signal that has been expressed graphically by a sine wave. In these reports it generally de- fines an +5 amplifier's continuous, rather than momentary, power capability. 5 Sensitivity: a tuner's ability to receive weak sig- FREQUENCY RESPONSE & CHANNEL SEPARATION nals. Our reports use the Institute of High m-10 Left Channel Fidelity (IHF) standard. The smaller the number the better. 15 Right Channel 05-20 Sine wave: in effect, a pure tone of a single frequency, used in testing. 30 S/N ratio: signal -to -noise ratio. 35 Square wave: In effect, a complex tone, rich in harmonics, covering a wide band of frequencies, used in testing. THD: total harmonic distortion, including hum. 200 20 50 100 500 1K 2K 5K 10K 20K Tracking FREQUENCY IN Hz angle (vertical): angle at which the stylus meets the record, as viewed from the side; 15° has become the normal angle for the cutting, and thus the playing, of records. REPORTS IN PROGRESS Transient response: ability to respond to percussive signals cleanly and instantly. _11tec 711B Receiver VU: volume unit; a form of dB measurement BSR TD -1020 Tape Recorder standardized for a specific type of meter.

70 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com TRIPHONIC 75

RECEIVER /SPEAKER SYSTEM

THE EQUIPMENT: Triphonic 75, a four -piece receiver/ panel contains the stereo inputs corresponding to the speaker system consisting of stereo tuner /amplifier selector switch positions, plus a stereo output for plus mixed -channel bass speaker and two treble feeding signals to a tape recorder. Each of the three speakers. Dimensions: receiver unit, 14 by 93/4 by speaker outputs is fused, as is the main power line. 41/8 inches; bass speaker, 10 by 14 by 5 inches; each A 300 -ohm antenna connection, and three AC outlets treble speaker, 14 by 71/2 by 31/2 inches. Price, com- (two switched, one unswitched) are provided. plete system: $399.95. Manufacturer: Compass Com- From the description of the Triphonic's novel circuit munications Corp., 27 Haynes Ave., Newark, N.J. design, one would expect some unusual looking re- 07114. sponse curves and test data -and that we got, including some results that look poor indeed when evaluated by conventional or standard criteria. But - COMMENT: The Triphonic 75 must surely be the most how much this data reflects novel, if deliberate, unusually designed system now on the market. Its design and how much it reflects actual performance control panel at first glance resembles that of any is a nice question to which, frankly, we do not have conventional receiver, with an FM tuning dial, signal a definite answer. All in all, it would seem that the and stereo indicators, and a normal complement of data indicates both. For instance, take that broad the usual controls -for receiving FM and for running rise in the bass response of both the tuner section a control amplifier to which speakers are connected and the amplifier. It can be argued that such a and into which an external record player and tape characteristic is needed to drive the bass speaker. recorder may be plugged. There is a front panel stereo This is plausible enough in an "integrated design" - headphone jack and a speaker off -on switch, so that but what about that rise in distortion at the low headphones or speakers, or both at once, may be end -as seen in both the distortion curves and in heard. the spike -and -curve of the 50 -Hz square -wave photo? What's really different about this set, however, is This is clearly more distortion than is customarily its amplifier section. Instead of two normal amplifying found and even if it can be attributed to deliberate channels, for driving two full -range speaker systems, design intent, it does make one wonder. At any rate, the Triphonic 75 uses three amplifier channels- there is also a fair amount of distortion evident in the two for the left and right channel treble, and the response as it approaches the extreme high end of third for the mixed or combined bass from both the audible range, which limits the clean performance channels. The treble, for each channel, is fed to left of the system to a relatively restricted bandwidth, or and right speakers; the mixed bass, separated by an to less than room -filling volume, or both -depending electronic crossover, is fed to a common bass speaker. on the program material chosen. Strictly speaking, this is not really "three -channel" This was verified in listening tests. At normal or stereo; it is still two -channel stereo, but radiating lower volume levels, in an average small room, the from three physically discrete sound sources. These, system sounded pleasant enough and did have an by the way, may be located wherever convenient - effective stereo spread, but it seemed to us to just they are compact and light enough to fit readily into fall short of delivering what might be called, by many a spot on bookshelves or even hung on the comparison, an "authoritative" performance. The wall. Of course, the treble units should be separated. deepest bass was either muddled or lacking in tonal The bass unit can be placed just about anywhere. definition, and the top highs, while smooth enough, Some comment on the controls is in order. The lacked that final bite. Of course, much of this re- FM dial indicator is a continuous horizontal marker, action depends on your frame of reference. If you pointed at one end -the same type used on the come to the Triphonic system from a good com- speedometer on some cars, where it makes no sense ponent system you probably will discern these things because this type of indicator is basically an aid to fairly readily. On the other hand, if you stack it up manual adjustment and not a quick readout device. against a typical package set you will probably prefer On a tuner, of course, it makes good sense because the Triphonic. that arrow tip pinpoints FM frequencies most pre- Speaker response was estimated to extend from cisely. The interststion muting knob, called the QT just below 50 Hz to 12 kHz. At 48 Hz, doubling is (quiet tuning) control, can be adjusted to silence the very pronounced. This lessens somewhat as you go rushing noise between stations but still permit mar- up the scale, although some of it is still evident at ginal- strength signals to be received, if desired. Pulling 70 Hz. At 100 Hz, some slight distortion is evident, out this knob converts the set to mono FM; leaving and there is a roughness in the 300 Hz to 400 Hz it in lets the set respond automatically to mono or region. The midrange is smooth and level, with a stereo FM as the case may be. The channel balance gentle rolloff apparent from about 6 kHz and upward. control knob also can be pulled out to convert the Dispersion is generally good, with a gradually narrow- amplifier to mono, desirable when playing a mono ing effect from 6 kHz upward. White noise response record via a stereo pickup. The loudness control is was moderately smooth but had traces of "hardness" just that -it is not a pure volume control, but does which could be heard from different parts of the introduce some bass boost at low listening levels. listening area. The selector switch has five positions: tape head, The tuner had fair sensitivity and distortion that phono, FM, auxiliary, and tape play (tape preamp was somewhat higher than we've been accustomed or line output). The treble and bass tone controls to measuring on components. On the other hand, operate on both channels simultaneously. The rear it had a very good capture ratio and balanced (if

MARCH 1968 71

www.americanradiohistory.com rolled off) response on both channels. Channel separation for stereo broadcasts, while not great, was adequate. All told, the tuner should prove fair enough Lab Test Data for decent reception in average- strong signal areas. To sum up: while design innovations, and attempts Tuner Section to broaden the sound spread -such as using a three - Performance sound- source instead of a two -sound -source system characteristic -intrigue us and indicate a healthy attitude of ex- Measurement ploration for new vistas in home reproduction, we IHF sensitivity 5 µV at 98 MHz; 5'tV at 90 do note limitations from a high fidelity standpoint in MHz; 17 /IV at 106 MHz this particuiar attempt. The Triphonic 75 is well con- Frequency response, mono +2, -7 dB, 22 Hz to 10 kHz structed, and has a few very worthy control features THD, mono 1.7% at 400 Hz, 2.0 °o at 40 -its station tuning arrangement is especially good. It Hz; 1.8 °ó at 1 kHz is versatile enough to serve as a home music system IM distortion 3% center, and it is generally easy to listen to if one Capture ratio 2.5 dB doesn't "push" it to its maximum performance limits. SIN ratio 58 dB is That to say, while pleasant enough at average Frequency response, levels, it just doesn't make much of an acoustic stereo, I ch +2, -5 dB, 20 Hz to 11 showing kHz at high levels, especially in a large room. r ch +2, -5 dB, 20 Hz to 11 kHz For our tastes, it seems more suitable as a good "sec- THD, stereo, I ch 2.2% at 400 Hz; 4.7 °o at 40 ond system" for den or bedroom. Hz; 0.96°,ó at 1 kHz r ch 1.8% CIRCLE 144 ON READER- SERVICE CARD at 400 Hz; 3.6% at 40 Hz; 1.2% at 1 kHz Channel separation, o either channel -3 better than 25 dB at mid - Power Bandwidth for 1% THD frequencies; better than Zero DB =10 Watts 15 dB, 200 Hz to 9.2 kHz

CO 2 19 -kHz pilot suppression 46 dB 10 Watts Side Channel ! 38 -kHz subcarrier LaJ suppression 2 Harmonic Distortion 5 Watts 0 &o 62 dB 4 Amplifier tA Bass Channel Section 6 Watts 3 ° CO Harmonic Distortion Power output (at 1 kHz 2 into 8 -ohm load l AMPLIFIER PERFORMANCE CHARACTERISTICS I ch at clipping 10.6 watts at 0.42 °.o THD +5 I ch for 1°0 THD 12.5 watts 0 r ch at clipping 11.4 watts at 0.35 °o THD -5 Frequency Response, 1-Watt Level r ch for 1 !o THD 13.8 watts both chs simultaneously 1 10 20 40 100 400 1K 2K 4K IOK 20K 100K I ch at clipping 8.0 watts at 0.47°ó THD FREQUENCY IN Hz r ch at clipping 8.2 watts at 0.47% THD center (bass) channel at clipping 8.4 watts at 2.1% THD Power bandwidth for constant 1°0 THD 20 Hz to 3.5 kHz IM CHARACTERISTIC 8 OHMS Harmonic distortion 10 watts output, side ch under 1°0, 100 Hz to 4 kHz 5 watts output, side ch under 1%, 100 Hz to 4 kHz 6 watts output, ctr ch 4.2 °o at 100 Hz; 1.7 °o at 40 Hz 3 watts output, ctr ch 4.2 °o at 100 Hz; 1.7 °o at

1 2 3 4 5 6 7 10 20 30 40 Hz POWER OUTPUT (WATTS) IM distortion 8 -ohm load 2.4% at 0.125 watt output; m under 1°0 to 10 watts ° 0 output z Frequency response, 0 -10 1 -watt level +0, -3 dB, 20 Hz to 20.3 cr) IHF FM SENSITIVITY kHz -20 RIAA equalization +0.75, -2 dB, 32 Hz to 20 kHz V) 5 ,.V - 30 NAB equalization '- 2.5 dB, 36 Hz to 20 kHz Damping factor 50 40 Input characteristics Sensitivity S/ N ratio á 1 10 10' 10' 10' 10' 0 mag phono 2.3 mV 44 dB RF INPUT, MICROVOLTS tape head 2.2 mV 43 dB aux 210 mV 61.5 dB +5 tape amp 197 mV 61.5 dB

0 0m -5 ?-10 FM STEREO RESPONSE z-15 & CHANNEL SEPARATION -20 Left Channel

-25 Right Channel -30 -35 20 30 50 100 300 500 1K 3K 5K 10K 20K FREQUENCY IN Hz Square -wave response to 50 Hz, left, and to 10 kHz.

72 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 20 years ago we introduced the tape recorder. Now another great idea. Lower prices.

Ampex introduced the world's first to ten times longer than other kinds. to professional sound quality you can broadcast -quality tape recorder back Dual Capstan Drive, to eliminate wow get. And we ought to know. We make in 1947. Ever since then, we've been and flutter. Rigid -Block Suspension, more professional recorders than any- finding better ways to put sound on for perfect tape -to -head alignment. one else. tape and play it back again. And many models have extra fea- The Ampex anniversary celebration Now we're ready to celebrate with tures, to make home recording more is in full swing at your dealer's now. sweeping price reductions and professional and more fun. You can Stop in and see him. Savings go as money- saving values throughout our get bi- directional recording, so you high as $150. home recorder line. can record from right -to -left or left - Ampex. The people who started it all. You'll find anniversary prices on to -right without changing reels. And decks, portables and consoles. Most automatic reverse, so you can play models come with a combination of tapes back the same way - without features you can't get anywhere else. touching the machine. Or mono- Like Deep -Gap heads, that last five phonic mixing, to combine sound tracks. And automatic threading, for two -second loading. With all these features, an Ampex recorder produces the closest thing

Prices Good Only in U.S.A. Ampex Corporation, Consumer and Educational Products Division, 2201 Lunt Ave. Elk Grove Village, III. 60007 AMPEX CIRCLE 4 ON READER -SERVICE CARD MARCH 1968 73

www.americanradiohistory.com -NAST[SWGNRY, S-CSS-. NASCAS NEG. PAINTED IN,'

his "pacing" and make "structure," to it The true prima donna is not the singer limitations, partly vocal (the sound one with the logical motives and actions who vocalizes is most perfectly, but the not round and warm enough, the line not of the characters. In Gioconda, as in one who conveys something vital with or even and sweeping, as it should be), many earlier Italian operas, there is without vocal perfection. Tebaldi has partly temperamental (she doesn't seem pretense: now comes hardly any such never been a "great vocal actress" of to have enough empathy with this kind a mezzo aria (the tenor leaving the the Callas sort, but a large share of of music to cut loose with it). She is stage for no good purpose other than her immense likability, her capacity for not helped by a too fast tempo in "Stella that of letting her sing it), now comes inspiring loyalty, has been in the impres- del marinar." The other female principal, a Confrontation Duet, etc., etc. The sion of direct, sincere belief that she Oralia Dominguez, is only adequate - key to whether or not one can accept has always made on her audiences. One she has neither the calm beauty of tone all this is in the music. Gioconda's sacri- feels she loves the music, was born nor the legato for a memorable "Voce fices will be credible to anyone who is to it, and wishes to proselytize for it. di donna." moved by the lines written for her This has been particularly true of her Nor does Carlo Bergonzi make much great moments. singing of verismo roles and of parts impression as Enzo. The voice sounds And I do not see how the music can that smacked of Nineteenth- Century dry and strained at nearly all the cli- be gainsaid. It fails at one or two im- Grand Drama. Her Adriana Lecouvreur, mactic moments, and the care with portant moments-Barnaba's "O monu- for example, though it marked the low - which he phrases the lyric passages mento" never turns into the really water point of her Met career from a (characteristically, he's at his best for powerful monologue it is trying to be, vocal standpoint, became in Act IV a "Cielo e mar ") is but partial compensa- despite several good ideas, and the love real tragic heroine through her obvious tion in a role that calls for an open, ring- music for Enzo and Laura is pretty identification with and commitment to ing voice. There still isn't an outstanding cheap stuff -an obvious echo of the the role. Enzo on records, though our two best " Lontano, lontano" duet in Boito's The same sort of identification and "Italian" tenors (Corelli and Tucker) Mefistofele, but by no means as good. commitment have marked her Gioconda number it among their best roles. But there is a vitality and theatricality in -which also rises to true heights in the The Alvise, Nicolai Ghiuselev, alter- the score that is otherwise equaled only last act, a remarkable piece of operatic nates some very impressive sound with by Verdi's. I think of the festive choruses performing from any standpoint. Here moments of almost amateurish awkward- and dances in the first act, similar to she conveys the impression of true belief, ness. He is yet another of our young those in Forza del destino, and superior not pretended belief or belief assumed basses who employs an exaggeratedly to them, too; of the wonderful pulse for the evening, and in its presence there cupo approach to the top, and then and flow of so many of the arias and emerges the authentic prima donna - brings this down almost to the middle duets; of the Dance of the Hours, which something quite distinct from the puffy of his range. He secures a large, black is overfamiliar for the excellent reason fabrication (accomplished or not) that tone which is a good sort for the part, that it is as good an opera ballet as so often passes for real. but one longs for some real singing any ever written; and especially of the The singing itself is not, I grant, the above middle C, and one or two of the magnificent concerted finale to Act III, sort of vocalism given us by la Tebaldi passages around C sharp and D really which is surpassed only by Verdi at of fifteen years ago. On the other hand, should have been redone. His singing has his greatest. Here is the sort of moment it is far more impressive than we could weight and some temperament, at least. for which this kind of opera exists -all possibly have expected five years ago, Fortunately, this less than overwhelm- the emotional tensions pulled into a and is always big and vital. Much of it ing cast is in good conductorial hands. huge ensemble, complex and yet domi- has some edge and shrillness to it, Lamberto Gardelli seems to have an ex- nated by a single memorable theme, though this can impart an excitement of cellent feeling for the score; the con- which is used to tremendous effect on its own, and more than one energetic ducting has great snap and vigor, but the final page of the act, when it is assault on a top B flat or B falls short a good col canto give too. Because of stated by the orchestra as a sort of enough to be bothersome. But as soon as this, even the less well -sung sections have emotional summary of the momentous she arrives at the key pages of the score enough basic life to keep the thing going. scene. How well Ponchielli met the occa- -as early, for instance, as "A h! o cuor, Although there are one or two sloppy sion may be realized when one compares dono funesto!" near the end of Act moments in the first act, everyone jumps Giordano at his very best, attempting we know that she is splendid in the role. up and keeps running and no great harm precisely the same effect at the end of She flings herself into the big shouting is done. Chorus and orchestra do their Act IH of Andrea Chénier, and falling match with Laura, ending with a very work with enthusiasm and solidity. While far short of Ponchielli's achievement. moving moment at "Son la Gioconda." the recorded sound has too much empty - It is an unfortunate fact that no record- She is at her best throughout the fourth hall reverberation. it is satisfyingly large - ing has yet been cast with the all - act: "Suicidio!" is most impressive, and scale and unmarred by attempts to per- around excellence the piece asks for. the changing moods of the solo recita- suade us that the phonographic medium The roles of La Cieca and Alvise are tives are most persuasively projected. All is the message. particularly apt to cause trouble, for this is not the safest singing in the world, If all this sounds like less than the major singers are jealous enough of their what with chest tones carried full well ideal Gioconda, it must be kept in mind positions to avoid them. The others past their home territory and that large, that both the RCA Victrola and the suffer from today's simple shortage of steely sound belted out with abandon. Angel are even lesser than ideal; that good singers -more and more, the opera But far better this than something tenta- the older London version is very un- that affords us our last chance for a tive and flaccid; she takes a rightful evenly cast; and that the Cetra, though "six -star evening" has become yet place beside the foremost Giocondas of ' in many respects the best of the per- another opera cast around the leading recent years, by whom I mean Milanov formances, is badly outdated from the soprano. and Callas (neither of whom, regret- sonic standpoint. And among the choices That is to some extent the case here, tably, is in good form on her up -to -date of Tebaldi and the well -past- their -primes but the soprano is at least the authentic recording of the opera, though the young r Callas and Milanov, it's Tebaldi that I, article. Gioconda has become of late Callas can be heard on the Cetra set)? for one, shall be listening to. years Renata Tebaldi's most successful The rest of the cast is less impres- role: it suits her temperamentally, the sive; in fact, the only other singer really PONCHIELLI: La Gioconda fourth act in particular giving her the close to the vocal demands of his role is opportunity to project the sort of char- Robert Merrill. Even he is at less than Renata Tebaldi (s), La Gioconda; acter she understands best. And while his past best, the top sounding quite dry Marilyn Home (ms), Laura; Oralia not all of the role sounds easy or beauti- and hollow at several points; but the Dominguez (c), La Cieca; Carlo Ber - ful in her voice, it has called forth voice is of the proper caliber, fat and gonzi (t), Enzo Grimaldo: Robert Mer- singing that is big, confident, and com- firm, and his presentation is reasonably rill (b), Barnaba; Nicolai Ghiuselev manding. In communicative terms, it is effective in a general way. Certainly he (bs), Alvise; Chorus and Orchestra of far superior to her Don Carlo Elisabetta, is a Barnaba on a major -league level. Accademia di Santa Cecilia, Lamberto the only other role she has recorded Marilyn Horne's vocal capacities are Gardelli, cond. LONDON A 4388 or OSA complete in recent seasons. well known, but Laura shows mostly her 1388, $17.57 (three discs).

76 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Pianist lohn Ogdon: grandeur with grace.

BUSONI'S CONCERTO: A GRAND -SCALE WORK IN A FIRST RECORDING

by Bernard Jacobson

EVEN WITH THE usually revivifying For that matter, opportunities to hear are qualities that contemporary accounts experience of a birthday centennial just the work live have not been exactly show to have been characteristic of two years behind him. Ferruccio Busoni copious. In New York, for instance, Busoni's own playing. is represented in the Schwann catalogue there have been precisely two and one - Ogdon is also a very sensitive and on only four discs. Yet this neglect of fifth of them. On January 26. 1966, expressive player, but of these accom- one of the greatest musicians of his sixty -two years after its completion, plishments he has comparatively little day is less surprising than it might it was given its New York premiere need in this assignment. It may as well appear. With talents as broad in scope at a Carnegie Hall concert sponsored be said that the Piano Concerto is as they were deep, Busoni has always by the Busoni Society -Gunnar Johansen neither the best nor the most typical been more highly esteemed in other was the soloist. and Daniell Revenaugh Busoni. The composer himself regarded fields than composition. He was prob- conducted the American Symphony Or- it as a résumé of his style which he ably the finest pianist since Liszt. and chestra. Twelve days later. in the same had to get out of his. system before he as a teacher of pianists he wielded hall. Pietro Scarpini played it with the could go on to new things. a comparable influence: he was a con- Cleveland Orchestra under George For all that, it is a work of constant ductor of enthusiastic though less far - Szell. And on March 2. 1966, again in fascination and -with all its obvious reaching gifts: he was a theorist of hold Carnegie Hall. the second of its five eclecticism- genuine originality. The two imagination and profound philosophical movements figured. in solo piano form, scherzo movements show Busoni's melodic insight -witness his Sketch of a New as an encore at a recital given by the invention in the best possible light. This Aesthetic of Music (available in a use- young British pianist John Ogdon. is generally his weakest aspect, but it ful Dover paperback, Three Classics in Thereby hangs the happiest part of the is here camouflaged by unflagging the Aesthetics of Music, which also present tale. Ogdon is far and away the rhythmic zest and bolstered by one or includes some of Debussy's Monsieur finest exponent of this enormous work two quotations from Italian folk and Croche writings and Ives's Essays Be- I know of. I have heard him play it popular song. The Germanic side of fore a Sonata): and. like Liszt again. he once in London and once (in a reading his cosmopolitan musical character was a transcriber for whom transcription brilliantly conducted by Franz-Paul emerges in the first and last movements, was no mere craft but an art. The fact Decker) in Rotterdam. and none of the in which classical limpidity of line is, however (as the Little Orchestra other performances Eve encountered, merges with Oehlenschlaeger's meta- Society's recent New York performance either here or in Europe. has come physics in an individual and engaging of the opera Turandot may have brought near to emulating his. The qualities blend. The central slow movement, en- home to concertgoers). that he was also a that mark Ogdon out as predestined titled Pe,-.,.o serioso,. starts off in a vein considerable composer. master of the Busoni Concerto are oddly prophetic of Prokofiev and builds Now Angel is releasing the long - breadth and serenity of style: the ability to a climax of Brahmsian nobility. awaited first recording of the Piano to listen to himself and to his fellow - All these aspects Ogdon encompasses Concerto, whose sheer size -nearly musicians: and a transcendent technique, with apparent ease, alternating grandeur seventy minutes long with five move- which does not confuse amplitude and with crystalline grace as the music de- ments, of which the last introduces a brilliance of tone with mere loudness. mands. And. praise be. the engineers male chorus singing a text from the These are all qualities in short supply have solved the taxing problems of bal- Danish poet Oehlenschlaeger's Aladdin - among our present glut of percussive ance with perfect discretion, with the has inhibited record companies for years. young lions of the keyboard -and they result that in the many places where the

MARCH 1968 77

www.americanradiohistory.com soloist accompanies the orchestra with rhythms, jingly instrumentation, and arabesques and passage -work the piano quick tempos have a somewhat Oriental is always perceptible but never obtrusive. flavor which occasionally savors of the After the New York premiere, one critic CLASSICAL caravans and dancing girls in a Cecil hailed the piece as the ne plus ultra B. DeMille epic. of the romantic piano concerto. That Those who have seen the Pro Musica's is, as precisely as possible, just what it stunning production of Herod and hope isn't, and this performance and recording to find it duplicated here at a lower price present it as just what it is: a sort of will be disappointed, but listeners with festival for piano and orchestra -or, as no preconceived ideas should very much Busoni himself put it, a concerto in the enjoy the disc. Certainly anyone inter- original sense "signifying a coöperation ested in early music or liturgical drama of different means of producing sound." will want both versions, not only for (Busoni's ideas about the origins and a comparison of the plays but also for development of concerto form were the fascinating differences in perform- rather peculiar, but that needn't concern ance practice they display. S.T. us here. His own Concerto works, and that is all that matters.) ANERIO: Vivean felice (The Story of Adam and Eve); La Conversione di S. Paolo -See Carissimi: Bal- BACH: Christmas Oratorio, S. 2.18 tassar. Elly Ameling, soprano; Helen Watts, contralto; Peter Pears, tenor: Torn ANON.: The Play of Herod Krause, baritone; Lübecker Kantorei; Stuttgart Chamber Orchestra, Karl Mün- Ensemble Polyphonique of the French chinger, cond. LONDON A 4386 or OSA National Radio, Charles Ravier, cond. 1386, $17.57 (three discs). NONESUCH H 71181, $2.50 (stereo only). At first glance, the Christmas Oratorio Let me make it clear from the first might seem to be merely six loosely con- that this is not the same Herod presented nected independent cantatas. We know, by the New York Pro Musica to the however, that they were composed in modern world several years ago. In his 1734 for six related occasions: the three notes for the Decca recording of the Pro days of Christmas, New Year's Day, Musica performance, W. S. Smoldon the Sunday after New Year, and Epiph- pointed out that there are a dozen or so any. Even if Bach himself had not medieval dramas about the Coming of applied the title "Oratorio" to the set, the Wise Men. The version he tran- internal evidence proves conclusively scribed came from the so- called Fleury that they are to be considered a co- Ferruccio Busoni: again making news. Playbook, which also contains other hesive whole. The key relationship of similar plays. The Fleury version of the six cantatas (D major, G major, D The quality of the orchestral playing Herod is an elaborate and highly devel- major, F major, A major, and D major) is a pleasant surprise, indeed a relief. oped work which, nevertheless, Smoldon is simply a variation of a standard ca- Daniell Revenaugh is a founding director says, draws on certain core elements dential formula, with a brief excursion of the Busoni Society and an unques- common to all the Magi plays. into the refreshing key of F in number tionably devoted Busonian, but his un- This newly recorded Herod is evidently four. (This key, by the way, is also sure direction of the New York perform- based on one of the other versions, the most natural key for horns, fea- ance largely sabotaged Gunnar Johan - although Nonesuch's notes clearly indi- tured in this cantata only.) sen's gallant assault on the solo part. cate the Orleans MS 201 (the Fleury The four parts of the Christmas story, Here, however, no doubt helped by a book) as the source. The notes do not as taken from St. Luke and St. Matthew more adequate rehearsal schedule, he has tell us, however, how radically the and augmented by reflective poetry and contrived an accompaniment of consider- Nonesuch play -the Ravier fragment chorale verses, are related consecutively able character and sweep, though he is as it were -differs from the Pro Musica in the six cantatas. The first tells of the far from rivaling the effervescent preci- Herod. Here we have only the story of birth of Christ in Bethlehem, the second sion of Decker's Rotterdam performance. the Wise Men and the Shepherds. While and third deal with the angels' announce- The fourth side of this memorable the first episodes follow the Fleury ver- ment to the shepherds in the fields, the two- record set offers an impressive sion quite closely (despite considerable fourth with the shepherds' visit to Beth- glimpse of Busoni's mature style, in the cuts in the first appearance of the Magi), lehem and the naming of the child, and Sarabande and Cortege he wrote in 1919 from there on less than half the text the fifth and sixth cantatas relate the as a study, or "reduced model," for the remaining in the Fleury version appears. popular story of the visit of the gift - opera Doktor Faust. Here his mastery with the dramatic scene between Herod bearing kings from the East. of the essential art of transition may be and his son omitted altogether. The music While it is true that most of the observed in its most potent generative too differs considerably both in detail choruses and arias in these six cantatas force. Revenaugh leads a persuasive per- and occasionally in entire compositions were "borrowed" from previously com- formance. Altogether these records ad- -for instance the Magi's final chant. posed secular cantatas, the job was so mirably demonstrate that, even if Busoni's "Nos sumus." The Decca version also in- masterfully done that the mood and time is unlikely ever to come in quite cludes a second play, the Slaying of spirit of each piece perfectly matches its the way Mahler's has, he nevertheless the Innocents, highlighted by Rachel's new setting in virtually every instance. has much of value, and much that is moving lament for her children. This It is difficult for a modern -day listener truly his own, to offer. is, of course, absent from the Nonesuch to understand how Schweitzer could con- disc. sider the whole something less than an Ravier's "realization" contains some artistic success and even recommend BUSONI: Concerto for Piano, Or- interesting ideas about the rhythmic in- cutting any or all of the arias. chestra, and Male Chorus, Op. 39; terpretation of chant, lending a rather London's excellent performance joins Sarabande and Cortege, Op. 51 charming if sometimes lopsided effect two other first -rate recordings-Richter's to the music. Like the Decca perform- on Archive and Nurt Thomas' on the John Ogdon, piano; Royal Philharmonic ance this one would seem to be based imported Odeon label. Münchinger leads Male Chorus and Orchestra, Daniell on a staged version as there are lots of a spirited pew r manceoaf which only oc- Revenaugh, cond. ANGEL SBL 3719, interpolated processions and instrumental casionally falls a bit short of the super- $11.59 (two discs, stereo only). interludes. In these, Ravier's nervous charged (if rather contrived) excitement

78 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com provided by Richter. Thomas, on the Here the harpsichordist creates an mid- 1940s, and Schoenberg made a ver- other hand, paces the whole somewhat atmosphere of electric turbulence that sion for full orchestra. It is a curious more slowly and as a result gains con- nonetheless keeps the essential Bachian piece, in the composer's late tonal style, siderably in terms of clarity and pre- grandeur in clearest perspective. almost suggesting that Schoenberg was cision. His is also the most stylishly ac- Clean, warm sound with not a trace trying to supply, retrospectively, a miss- curate performance -his singers under- of brittleness. S.L. ing link between Brahms's Haydn Varia- stand exactly how to sing a measured tions and his own earlier Orchestral trill, for instance. Variations, Op. 31. Played with some Elly Ameling is easily the best of the BACH: Sonata for Unaccompanied real lift and with a more transparent three sopranos: she has a beautiful voice Violin, No. 1, in G minor; Partita orchestral sound than offered here, it and sings to perfection. Gundula Jano- for Unaccompanied Violin, No. 1, might prove an enjoyable addition to the witz (Archive) is not always equal to in B minor repertory. (This same recording is the technical demands of the music and included in Volume VII of Columbia's occasionally phrases incorrectly. Helen Ruggiero Ricci, violin. DECCA DL 10142 Schoenberg series, along with several Watts is superb in the contralto's music; or DL 710142, $5.79. more important works from his Amer- her singing of the cradle song in the ican period.) The Webern works stem from the second part will melt your heart. Still, in Everyone 1 know has his favorite pro- this department, I would have to call it ponent of solo Bach, and I am forced to caches of manuscripts that Dr. Hans a three -way tie, for Christa Ludwig say that Ricci is not mine. There is too Moldenhauer uncovered and acquired (Archive) and Marga Höffgen (Odeon) little subtlety of tone, too little feeling from the composer's relatives for the are also quite special. for the long line of Bach's phrases, too University of Washington. Im Sommer - As the Evangelist and tenor soloist little sense of the music's poise and equili- wind, a twelve- minute "Idyll" for large in the arias, London offers Peter Pears, brium. Ricci is at his best in the move- orchestra in a decidedly Romantic idiom, whose musicianly reading is somewhat ments that run nonstop in even note was composed in 1904 and predates any offset by his basically dry and not es- values (the Presto of the Sonata, the Cor- of the works recorded in Robert Craft's pecially appealing vocal quality. He is rente- Double of the Partita), but some complete Webern set. Although the tech- easily outdistanced by the beautiful voice other movements go astray. I am sure niques of theme transformation and of Fritz Wunderlich on Archive and by the violinist had his reasons for the ex- combination are not without interest, the Odeon's Josef Traxel, who manages the treme détaché bowing of the Corrente, over -all progress of the piece is sectional most dramatically meaningful perform- but at this slow tempo the result is stilted and unconvincing. The orchestral play- ance of the three. (Grumiaux, for instance, employs much ing here is generally more satisfactory - to Tom Krause uses his rich baritone to the same bowing but with a lightness of the idiom is, after all, close enough line coun- maximum advantage, singing in a com- touch and a faster tempo which make the Philadelphia's usual of pletely relaxed and lyrical style that is all the difference). This disc is the first try -but even so the various lines in the most attractive. One would be tempted of a complete set of three. S.F. climactic tutti could be more distinct. to call this the definitive performance, The Three Pieces for Orchestra ap- if it weren't for Dietrich Fischer -Dies- parently date from about 1913 (although kau's equally beautiful yet very differ- BERG: Lulu: Symphonic Suite' the notes, quoting from Dr. Molden- ently conceived reading on the Odeon hauer, are somewhat evasive on this tSchoenberg: Theme and Variations, Five Or- version. Op. 43B point), and they resemble the chestral Pieces. Op. 10- although the The Lübecker Kantorei is a highly Im Sommerwind; tWebern: Three pieces scored for polished, medium -sized group, whose ac- Pieces for Orchestra second of the "new" is curacy with pitch, ensemble, and diction a rather larger orchestra. In view of the performances on this record, I'm approaches perfection. It is all quite Luisa De Sett, soprano (in the Berg); other much faith in these natural- sounding, however, compared to Philadelphia Orchestra, Eugene Or- not inclined to put as adequate representations of the not - the electric precision of Richter's Munich randy cond. COLUMBIA ML 6441 or published scores; the playing could Bach Choir, which I have hitherto con- MS 7041, $5.79. yet- sidered the ideal. hardly be more strenuous if the subject were slave. London's sound is definitely the best Mr. Ormandy's recent interest in the matter the Marche a level with the rest are the pro- available- spacious and rich with per- music of the Second Viennese School On which fect clarity and balance. While criti- here yields its first recorded fruits, of gram notes, purvey an exception- percentage misinformation. cisms of these three fine recordings which all but the Berg are first record- ally high of the Suite is drawn must be in the nature of nit -picking, my ings. Unfortunately, the conductor's in- "The Rondo of Lulu Act I " from two widely sepa- personal preference is for Kurt Thomas' terest in the music is not matched by a from -no, Act comprising the version, which seems to have captured sufficient grasp of the requirements for rated passages in II, and her step- the spirit and tone of this wonderful its proper performance. love duets between Lulu son Alwa. The description of the Ostinato work best of all. C.F.G. Most obviously flawed is the Lulu as planned to accompany a film "de- Suite, for it has been heard elsewhere in Lulu's decline into readings that put to shame the approxi- signed to dramatize and imprisonment" misses the BACH: Partitas for Harpsichord: No. mate qualities of this one -inexact en- murder point that it reverses itself musically at 2, in C minor, S. 826; No. 6, in E semble, insecure intonation, faulty bal- the middle, in order to reflect the upturn minor, S. 830 ancing, and generally aimless progress fortunes after her imprisonment from bar to bar. Until we get an ade- in Lulu's in any case, took place in Albert Fuller, harpsichord. NONESUCH quate complete recording of this opera, (the murder, And the presence H 71176, $2.50 (stereo only). Dorati's recording of the suite will have the preceding scene). of a female voice in the Adagio is left to stand as the most reasonable repre- the finale of Act III, A gratifying disc. Not only does Fuller sentation of its musical virtues, despite unexplained: "... in which Lulu meets death at the hands surmount the technical hurdles of these an overly romantic approach and Helga the Ripper." Can that be the works with confident ease, he imbues Pilarczyk's strenuous singing of Lulu's of Jack the perhaps? D.H. the music with considerable magnetism brief aria; at least Dorati really tries to voice of Jack Ripper, and passion. He also seems to possess a make every note sound, from top to bot- rhythmic acuity reminiscent of Landow - tom, and to balance these notes as spe- ska; he indulges in felicitous internal cified by Berg. BERLIOZ: Symphonie fantastique, tempo changes, subtly distinguished Schoenberg's Theme and Variations Op. 14 rhythmic patterns, yet at all times keeps was first composed, at his American pub- the line moving clearly and force- lisher's urging, as a piece for concert Toronto Symphony, Seiji Ozawa, cond. fully. The most triumphant illustration bands; it had a limited career in this CBS 32 11 0035 or 32 11 0036, $5.79. of Fuller's mastery is in the intensely incarnation, proving far too difficult for throbbing Toccata of the E minor Partita. most such aggregations, at least in the Not long ago, Philips issued an out-

MARCH I968 79

www.americanradiohistory.com standing Colin Davis /London Symphony élan, if not with tight discipline -which chance to shine (and each does shine, Fantastique that stressed the classical/ is more than can be said of Benzi. brilliantly) and in addition the score structural facets of this (for its time) The Jeux d'enfants performances suc- is full of strong sectional solo passages. bizarre score. Davis favored slowish, ceed even more in separating the man To be sure, the Serenade is for the most rock -solid tempos, observed the repeats from the boy, so far as the conductors part sing -along- with -Brahms music, but in both the first and fourth movements, are concerned. A fragile and treasurable the fact that it isn't psychologically subtle and took Berlioz at his word by includ- musical delight, possibly "minor" and doesn't mean that the problems of per- ing the cornet parts the composer later hardly a masterpiece, this work arouses formance aren't. The matter of balances added to "Un Bal." As against the feel- a more disciplined control from Munch is particularly touchy, and all problems ing of ampleness and sobriety which the than the Symphony did. As for Patrie, in this department are solved but one: English conductor brought to the music, however, not even Munch can salvage there is, to my ear, too much French Seiji Ozawa is all pliancy and winged this jingoistic bombast; Benzi at least has horn. Again and again in the first Scher- grace. His tempos are faster, and he the advantage of offering La jolie fille de zo, horn color predominates when it has spins phrases from silk rather than forg- Perth music instead. no business doing so; the coda of the ing them from bronze. He gets the To- Sonically, the World Series record first movement gives a hint of what is ronto forces to play with marvelous produces a warmer, better -balanced to come when flute and horn meet in pliancy and transparency. Everything is sound than the Nonesuch, which is more lonely splendor and the former is quite light, impetuous, and transparent in tex- than a little bass -heavy. P.H. overshadowed. In all fairness, however, ture. Occasionally the effect is a mite this failing sounds to me like a recording too facile, but for the most part this is problem; things might very well be dif- an incandescent reading. Davis' scholarly BRAHMS: Concerto for Piano and ferent in the concert hall. In any event, approach is the one my conscience tells Orchestra, No. 1, in D minor, Op. it is a minor complaint. It is good to me to recommend, but somehow for me 15 hear this ensemble devoting its first disc Ozawa's is the more persuasive. More- to Brahms's first orchestral work. The over, since the Columbia engineers had Witold Malcuzynski. piano; Warsaw Na- music calls for heart. spirit, and a willing no repeats to contend with, they were tional Philharmonic. Stanislaw Wislocki, strength. and it gets all three in goodly able to get all of the third movement cond. SERAPHIM S 60055, $2.49 (stereo measure. S.F. onto Side 2 without a distracting turn- only). over break. I found the well- distributed sound altogether excellent. H.G. Malcuzynski has, of course, made his BUSONI: Concerto for Piano, Or- name as a Chopin specialist, but I find chestra, and Male Chorus, Op. 39; even more to admire about his Brahms Sarabande and Cortege, Op. 51 BIZET: Symphony in C; Jeux d'en- here. This onetime Paderewski pupil is fants, Op. 22; Patrie Overture, not a particularly colorful player. His John Ogdon, piano; Royal Philharmonic Op. 19 sonority, like his mentor's, tends to be a Male Chorus and Orchestra, Daniell Re- bit angular and sec. though never per- venaugh, cond. French National Radio Orchestra. cussive or drab in any way. It is, rather, Charles Munch, cond. NONESUCH H a kind of piano playing suggestive of For a feature review of this recording, 71183, $2.50 (stereo only). bronzen massiveness, with even the ulti- see page 77. mate fortissimos suggestive of still more weight and power in reserve. Malcuzyn- in C; Jeux d'en - BIZET: Symphony ski's nobly proportioned fants, Op. 22; La jolie fille de reading has CARISSIMI: Jepthe; Judicium Salo - Perth: Suite much of the sobriety and Olympian de- monis tachment that many so admired in the London Symphony Orchestra, Roberto old Backhaus interpretation. (For my- Elizabeth Speiser, Barbara Lange, so- self, I find be by Benzi, cond. WORLD SERIES PHC 9086, Malcuzynski's to far pranos; Derek McCulloch, countertenor; $2.50 (stereo only). the more ardent and absorbing reading.) Kurt Huber, tenor; Helmuth Geiger, bass; There is also plenty of soaring, surging Spandauer Kantorei, Helmuth Rilling, One of the cover annotators refers to the romanticism here, though not of the cond. TURNABOUT TV 340895, $2.50 Symphony in C as a "minor master- febrile, kinetically derived sort favored (stereo only). piece." "Minor" indeed -unless such by Rudolf Serkin and Leon Fleisher; unique explosions of youthful artistic and there is no dearth of introspective ßCARISSIMI: Baltassar genius as Der Erlkönig or the Overture detail either, although Malcuzynski D tAnerio: Vivean felice (The Story of the Arrau /Rubinstein to A Midsummer Night's Dream should eschews type of J Adam and Eve); La Conversione di also be termed "minor." lyricism and the Curzon /Szell emphasis S. Paolo Between young Benzi and the vener- on the score's chamber music aspects. able Munch here represented there can Moreover, Wislocki and the Orchestra Elizabeth Speiser, Maria Friesenhausen, be no question that the older man has provide glowing, committed playing and sopranos; Theo Altmeyer, Wilfrid loch - indisputable insights and musical instincts the sound, a mite woolly in tuttis per- ims, tenors; Erich Wenk, bass; choir and that the younger, at present at least, haps, is basically fine. instrumentalists of the Münster /West- lacks. It is paradoxical but true that the It should be noted that the present phalen Kirchenmusikschule, Rudolf Ewer - masterpieces of youthful composers disc is not a reissue of the Malcuzynski hart, cond. TURNABOUT TV 34172S, generally find the most sympathetic in- Brahms D minor which once gi aced the $2.50 (stereo only). terpreters in performers old enough to early Angel catalogue: that version was be their grandfathers. Beecham, for in- with the Philharmonia Orchestra under CARISSIMI: Jepthe; Judicium extre- stance, has given us superb performances Fritz Riegger's direction. H.G. mum of the Bizet Symphony as well as of such pieces as Mendelssohn's Overture. Eileen Laurence, Janet Frank, Eleanor The principal flaw with the Nonesuch BRAHMS: Serenade No. 1, in D, Clark, sopranos; Jane Gunter, alto; Staf- record lies with the rather less than ac- Op. 11 ford Wing, Seth McCoy, tenors; Gerd complished French National Radio Or- Nienstedt, William Fleck, basses; Igor chestra-the same as on Beecham's Chamber Symphony of Philadelphia, Kipnis, Michael Rudiakov, continuo; record. Beecham managed to minimize Anshel Brusilow, cond. RCA VICTOR LM Amor Artis Chorale, Johannes Somary, the tendency of the French horns to 2976 or LSC 2976, $5.79. cond. DECCA DL 9430 or DL 79430, sound like lovelorn saxophones, but $5.79. Munch not only allows their wobbly Brusilow could hardly have chosen a braying but adds a few strange "inter- better work to show off the capabilities For years there has been little but pretative" ritards. Yet he has ideas, and of his new orchestra -every first -chair Archive's pale stringy Jepthe to give he conducts with superb conviction and woodwind and brass player has his listeners any picture of Giacomo Caris-

80 CIRCLE 22 ON READER -SERVICE CARD

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www.americanradiohistory.com simi, the first master of the oratorio. fault of the music: in contrast to Caris- subdued final notes of harp and glocken- Now, Turnabout and Decca have resur- simi, Giovanni Francesco Anerio is a spiel-as against the Command record - rected this worthy man from the purga- dull fellow indeed. His melodies lack ing -demonstrate the difference between tory of that antiquarian performance and character, his harmonies are trite, and a musically appropriate recording effect restored not only Jepthe but two more he is almost completely devoid of dra- and a "spectacular" one), and, although oratorios to the flesh and blood world of matic sense. Yet this earnest Roman who his Rodeo has some untoward fussiness, Italian vocal music. died in 1630 can hardly be blamed for it's still Bernstein all the way in these It is remarkable with what skill Caris- the dull masked sound and the extrane- pieces. D.H. simi manipulates what was -at the time ous noise of sopranos gulping for air. he was writing-a very new style. The S.T. flowing melody, pathetic expression, and HANDEL: Vocal Music -See Mozart: forthright energy which characterize Ver- Vocal Music. di and Puccini are all there in Caris- COPLAND: Billy the Kid; Rodeo; simi, and like all great dramatic com- Fanfare for the Common Alan posers he uses them to make arresting JANACEK: The Makropoulos Case effects. Each oratorio concentrates on a Dallas Symphony Orchestra, Donald single dramatic event- Jepthe's discovery Johanos, cond. TURNABOUT TV 34169, Libuse Prylová (s). Emilia Marty; Helena that he must sacrifice his only daughter, $2.50 (stereo only). Tattermuschová (s), Kristina; No Zídek the ominous handwriting on the wall (t). Albert Gregor: Rudolf Voniisek (t), which Daniel interprets to Balthazar, COPLAND: Billy the Kid; Appala- Vítek; Viktor Ko6í (t), Janek; Milan Kar- Solomon's decision to test the rival moth- chian Spring písek It), Hauk -Sendorf: P'remysl Ko6í ers -and contrasts this with a lyrical ex- (b), Iaroslav Prus; Karel Berman (b), Dr. pression of sadness before a tragic event Pittsburgh Symphony Orchestra, William Kolenaty: Prague Chorus and Orchestra, or joy after the happy outcome. Steinberg. cond. COMMAND CC 11038 Bohumil Gregor. cond. EPIC L2C 6067 Though none of the singers on the two SD, $5.79 (stereo only). or B2C 167, $11.58 (two discs). Turnabout discs has an opulent voice, each makes the most of the expressive The listener in pursuit of recordings of Of the four operas that occupied Janá6ek qualities in his part. As Jepthe's daughter, Aaron Copland's three most famous for the greater part of the final decade Elizabeth Speiser is most moving in her works is confronted with a multiplicity of his life, The Makropoulos Case is the final lament P/orate colles, a piece which of duplications and overlapping cou- last to become available on records in must rank as one of the masterpieces of plings. of which these two new releases this country. All four -Katya Kabanora early baroque music. I was particularly are a typical example. Neither of them (1919-21)), The Cunning Little Vixen struck by the alto of Derek McCulloch alters the picture very much, although (1921 -23), The Makropoulos Case (1923- in the small role of the narrator in the lower- priced Johanos record is a 25 ), and From the House of the Dead Jepthe; McCulloch's voice recalls Deller, respectable bargain. His orchestra sounds (1927 -28)-are works of considerable especially in the clean execution of the a little short on strings, and their tonal intellectual probity and musical serious- cadential ornaments. quality is not quite up to major -orchestra ness, but their progress into the in- At twice the price Decca's offering is standards, but the fast movements have ternational repertory has been slow. not twice the value. The singers, espe- considerable bounce, even if the Nocturne The Makropoulos Case reached the cially the women, are weak; Eileen Lau - and Waltz in Rodeo don't have quite United States first in November 1966, in rence's shrill and trembling soprano can- enough momentum to sustain interest. a San Francisco Opera production, and not cope with the dramatic demands of The bonus Fanfare for the Common New York heard it for the first time Carissimi's music. An exception to this is Man is well played, and the recorded just this last December, in a concert bass Gerd Nienstedt whose deep rolling sound is splendidly solid and complete- performance by the Little Orchestra tones are most satisfactory in portraying ly natural. Society, coincidental with the release the Last Judgment. Somary's tempos About Steinberg's coupling I am less of this Supraphon -originated complete don't create the spacious effect I would enthusiastic. Despite the use of 35 -mm. recording. guess he was striving for. Even the choice film and an unspecified noise -reduction Like all of Janá6ek's operas. it labors of works is disappointing; Judiciun e.rtre- system (the Dolby ?), the sound is rather under a serious export difficulty. for mum has some nice moments, but it has close -up and two -dimensional, not nearly the melodic idiom of the vocal parts is nothing like the dramatic punch of the as convincing a facsimile of an orchestra closely related to the inflections of other oratorios. in a hall as the Turnabout. The scores Czech speech -a virtue totally lost on Both Jepthe and Judicitun Salomon's are well executed for the most part. but foreign audiences even when performers have been around, at least in scholarly without much lift or rhythmic snap -a can be found to sing in the original editions, since the '30s. Baltassar is a type of performance that I find rather language. The kind of subtlety that at new discovery, and a wonderful one it deadly to the fast middle section of Ap- least a significant part of the operatic is. The fresh and appealing melodies palachian Spring (the Bride's solo), public can appreciate in the text -setting even spill over into the traditional rec- which here sounds a rather pointless of, say, Pelleas or Wozzeck may be pres- itative of the narrator. And after an series of up -and -down runs. ent in equal measure in Janá6ek operas, extended ritornello of exuberant rejoicing To see what can really be done with but the vast majority of us are not in involving all five soloists, chorus, ands these scores, I recommend that you turn a position even to perceive it, let alone to orchestra, the stark recitative accom- V no Bernstein's recordings, especially judge its effectiveness. Our view of these panying the sudden appearance of the Billy and Appalachian Spring. The first works is therefore necessarily a some- handwriting is truly frightening. of these is one of Bernstein's great per- what limited one. As far as sound is concerned, Decca formances, despite one or two bad at- The libretto of Véc Makropulos- wins the prize with a many- colored pal - tacks and some tentativeness in the higher literally, "the Makropoulos thing "-is lette and an imaginative use of stereo. strings. The blend of wind sonority at taken more or less directly from a play There is very little evidence of separa- the beginning, the accenting of the Street by Karel Capek. the Czech playwright tion on Turnabout's Jepthe /Judicium Sa- Scene, the balancing of melody and sec- best known in this country for his lomonis disc -even at such moments as ondary figure in the "Bury Me Not" R. U. R., generally regarded as the the duet of the rival mothers in the latter episode, and the spring of the triplet first science- fiction play. The play that work. The sound on Baltassar is far figures in the Celebration Dance are Janá6ek used is also based on a kind superior, stereo and all. Ewerhart's in- all models of orchestral execution in of science-fiction idea: an elixir of life. cisive conducting and the delightful con- this style; these passages are all "correct" This elixir was discovered in the six- tinuo (anonymously performed) contrib- in other recordings, but sound dull and teenth century by Hieronymus Ma- ute to an extraordinarily alive perform- unimaginative when compared with the kropoulos, alchemist to the Emperor ance. What a surprise then to turn over way the Philharmonic plays them. The Rudolf 11; since the latter, quite natu- the disc to hear what sounds like a dif- same can be said of Bernstein's Ap- rally, didn't want to be the first to try ferent group altogether. Part of this is the palachian Spring (where the properly it, Makropoulos was forced to use his

82 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com (laughter Elina as a guinea pig. The get is the bitchy side of the character, MASSENET: Don Quichotte Emperor missed his chance at relative the virago who will stop at nothing -not immortality. but Elina lived on into the forgery, theft, or prostitution -to re- Breda Kalef (ms), Dulcinée; Miro early twentieth century, when the action trieve her father's formula. Without a Changalovich (bs), Don Quichotte; of the opera takes place. Having full realization of all aspects of Elina Ladko Koroshetz (bs), Sancho Panza; lived and loved under many names Makropoulos, it's hard for the opera to Chorus and Orchestra of the Belgrade (all with the initials E. M.), she is now make anything like its potential effect - Opera House, Oscar Danon, cond. Emilia Marty, a famous opera singer, but what a juicy part this could be for EVEREST S 440/2, $5.96 (two discs, aged 342 but still bewitching. During a the right singer! stereo only). love affair a century earlier, she had Almost equally debilitating is the or- given away the secret formula (the chestral performance -not only full of Somewhere above the plateau of mere " Makropoulos thing" of the title) and bad ensemble, faulty intonation, and craftsmanship, yet still a notch beneath now, feeling in need of a booster, she slack rhythmic articulation, but often the pinnacle that is pure genius, stands intervenes in a lawsuit growing out of without any sense of direction. It is the figure of Jules Massenet, a turn -of- that old affair, in order to recover her informative to compare the final portions the- century romantic who wrote twenty - father's document. When, in the last act, of the first and last acts as recorded seven operas. If ever a composer needed she finally gets her hands on it, she some years ago on Supraphon LPV 450 a Friend (or a League of Friends of, or realizes how empty and trivial life has by the same orchestra (with singers of a Society for the Prevention of Cruelty become for her. and gives it away to no greater distinction), but conducted to) it is he. Only Manors gets a regular a young girl, who -very wisely -burns by Jaroslav Vogel, who managed to hearing nowadays, but at least eight other it up as Emilia collapses. achieve a degree of tautness and forward operas are solidly worthy of revival, and All this centers very much on the impetus that is rarely approached here. four are streets ahead of anything ever leading lady, who is onstage for nearly To add to Mr. Gregor's problems, written by... . Well, perhaps we need the entire length of the opera; most of his orchestra is decidedly underrecorded, not be invidious. But what a consummate the other characters function primarily although the sound seems otherwise professional Massenet was! How well as foils for her, and because Janácek's respectable (I take it that the rough tone made are his pieces, how neatly every- musical materials are relatively neutral of the tutti passages is due to the play- thing fits together; how practical, effec- with respect to characterization of indi- ing rather than the recording). A libretto tive, economical was his nature. If he is viduals. they rarely come to life. An in both Czech and English is provided; now and then afflicted with religiosity, exception is the demented old Hauk- the translation, evidently designed to be it is at worst cloying and not (as some- Sendorf, a diplomat who once loved sung. does not seem to be an exactly times in Gounod) stifling. Emilia when she was Eugenia Montez, literal one. Don Quichotte is a good showcase a Spanish gypsy dancer; he recalls this So there you have it-an inferior for his virtues. Written sixty years ago episode so vividly that he awakens a performance of an honest, serious opera, for Chaliapin, to a well -fashioned brief flame of emotion in her before one that might very well make the grade libretto by Henri Cain, it was Massenet's she coldly dismisses him. when properly done. If you are at all last great success. It selects from Cer- Musically, Janáéek works in short sec- interested, you might as well settle for vantes the story of the Knight's wooing tions, each developed from a motive; at this version, since prospects for competi- of the Fair Dulcinea and his journey to the climaxes, the musical material be- tion are pretty dim. D.H. the lair of brigands to recover her comes more expansive, even lyrical, and stolen necklace. The opera ends with the in general he paces the succession of death scene, made famous in recordings episodes and the building of scenes by Chaliapin very KODALY: Concerto and Vanni Marcoux. There expertly. The exception is the for Orchestra; is throughout second Dances a wealth of melody and of the three acts, which of Galanta; Dances o/ tends to be ilarosszék color; but the resources needed are en- choppy and never really builds, musically. tirely within the compass of any small While there is a great deal of ostinato opera company capable of fielding a Philadelphia Orchestra. Eugene Orman - work in the orchestra, many of the mo- lanky basso, a portly baritone, and a tivic figures are made up of irregular dy. cond. COLUMBIA ML 6434 or MS mellifluous mezzo- soprano (of whatever 7034, $5.79. metric patterns, so that there is a good outline). And the opera is well worth a deal of rhythmic variety. Thematically, try. much of the material derives from a Inasmuch as Hungarian folk elements It is a sad comment on the present- basic Emilia Marty motive, made up play an ever -present part in Kodály's day French operatic scene that this first of fourths. fifths, and seconds; these in- compositional style, it is hardly sur- recording of the last good opera written tervals are already present at the begin- prising to find an abundance of in France should come to us from Bel- ning of the orchestral prelude, and Magyar material woven through the grade. Since we are not likely soon to they form the predominant elements of fabric of the Concerto for Orchestra. A have another recording of Don Quichotte, nearly all the essential melodic stuff - spontaneity, almost a childlike naïveté, it is bootless to go into too much detail which may have something to do with the gave his early works a charm that often on the performance. Essentially, it is relative indistinctness of the secondary overrode the feeling that not much new an acted, fully staged piece of actuality characters. was being said. (I have in mind such that we have on these Everest discs; inas- As to whether this all adds up to a works as Háry János and the Dances.) much as the Belgrade Opera is a re- viable opera, I'm afraid you will find By the time of the Concerto, however, doubtable ensemble that has been touring me sitting on the fence. although leaning the naïveté was gone (what European this work for a decade, the playing and towards the affirmative. My doubts are could have remained naïve in 1940 ?), choral singing are precise and polished. partly due to the present performance, and Kodály here offers nothing to re- Danon's pacing is robust and for the which is not very good. It's not merely place it. The Concerto is a bore. most part effective, though he allows the singing -although very little of that Rich, juicy string textures soften the Changalovich to slow things up too much can be described as distinguished: the folk ingredients into a gelatin mold. in his solos. The company sings in care- voices are generally rough and, al- Ormandy and his crew are big on strings, fully tutored French-really not a bad though the singers usually give the though, and it would be hard to imagine effort for foreigners -but the method pitches correctly, their rhythms are a more suitable choice of partners for of voice production and the inflections often quite inaccurate (some entries are the piece. But the two sets of Dances remain stubbornly Balkan. even in the wrong measures). And, alas, call for a robust playfulness of the winds Changalovich has a high reputation the performer of the leading role is, in -and from the present performers we as a singing actor, but here the acting every vocal- dramatic sense, something of get again only big -scene swollen strings. gets somewhat in the way of the singing, a disaster; her shrill, squally voice i __Hear Kertesz (on London) for an in- and he is too lugubrious for my taste. quite incapable of suggesting a woman fectious Dances of Catania. Strangely, his Sancho Panza is not a of spellbinding allure (let alone an oper- The sound is rich and fat, in keep- atic diva of such qualities), and all we ing with Philly's strings. S.L. Continued on page 88

84 CIRCLE 70 ON READER -SERVICE CARD

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If This Were the Music of Canada. God Save the Queen and Les Canadiens!

THE EYES OF THE world were on Canada stimulates only the thought that MacMil- cinating use of the 12 -tone principle. in its centennial year of 1967, and it is lan got to be a Sir and Vaughan Williams "Understated" is Gould's word for Anhalt not surprising that that year ended with didn't. The Images of Harry Freedman is and "ebullient and stagey" his words for the release of four records of Canadian a series of "impressionistic" pieces after Hétu. So be it, if by ebullient and stagey music. Of the four, two contain orches- Canadian paintings -and Hollywood film one also means brilliant. colorful, and tral works. played by Canadian ensembles scores. Pierre Mercure does the Honegger entertaining at every point. That Glenn who are led by those Far Eastern glam- bit for CBS with a piece called Triptyque, Gould knows how to play the piano is our -boys, Seiji Ozawa and Zubin Mehta: and François Morel concludes the col- scarcely news, and Columbia knows how one features Canada's foremost instru- lection with a ludicrously Varèsian effort to record him. mental soloist, Glenn Gould; and one called L'Etoile noire. Again, the sound We come at last to The Widow, an comprises selections from a trivial, old - of the orchestra is very fine and the in- operetta by Calixa Lavallée, who was time operetta by a composer who was terpretations are presumably authentic. born in Canada in 1842 and died in Bos- born in Canada but couldn't get his show Only the Morel is a recent piece, com- ton in 1891. There appears to be no produced there. With a single exception, posed in 1962; the others are anywhere record of its ever having been performed the music on these is discs depressingly from ten to forty years old. in Canada. Eleven excerpts from it are mediocre. Certainly, it does not afford As usual, Gould provides the jacket presented on the record by the chorus an honest survey of what Canadian com- notes for his record, and they are almost and orchestra of the Canadian Broadcast- posers have done and are doing. better than the music. He fills one en- ing Corporation, Winnipeg, with six On the RCA orchestral set Mehta con- tire side with the Fantasia in D minor vocal soloists, Eric Wild conducting. Not ducts the Montreal Symphony in the by Oscar Morawetz, composed twenty a word is intelligible, there is no text, Mouvement Symphonique No. 2 of Roger years ago. In this long piece the pianist nor is there anything more than the Matton, who has been hearing too finds suggestions of such modern com- vaguest sketch of the plot. The music much Honegger, and in the Lignes et posers as Prokofiev and Hindemith, is very light, very peintes and thin, very second -rate, of Pierre Mecure, who has had you can see what he means; but most of now recalling the Viennese style, now his fill of Varèse. Varèse is also to the it is straight Schumann of the most G & S. On the stage, nicely sung and fore in the first two of the compositions academic kind, and its selection for reacted, it could be charming. On this conducted by Pierre Hétu (the orchestra's cording is really indicative of a certain record . . . God save the Queen! assistant conductor), André Prévost's vein of perversity Fantasmes, that runs through which, with its grinding reit- Gould's extraordinary character. erations, cornes closer to saying some- Gould's Side 2 begins with the one MONTREAL SYMPHONY OR- thing distinctive than anything else on work in this entire the Canadian series that CHESTRA disc. These three pieces are not un- has the urgency, the singularity attractive or uninteresting. of pro- but they are file, the economy, and the eloquence of Matton: Mouvement Symphonique No. 2. superficial imita[ ons of well -known a genuine musical statement. This is the Mercure: Lignes et points. Prévost: Fan- idioms and are the kind of thing con- Fantasia of Istvan Anhalt, a 12 -tone tasmes. Somers: Fantasia. Montreal Sym- ductors choose when they want to ap- composer who really has something to phony Orchestra, Pierre Hétu, cond. pear as if they are (in encouraging local say and says it as well as any composer the Prévost and Somers). Zubin Mehta, talent but really don't want to work at it. now alive. But the Variations of Jacques cond. RCA VICTOR LM 2980 or LSC The pompous nonsense of Harry Somers' Hétu (not to be confused with the above - 2980. $5.79. Fantasia. %vith which Hétu concludes the mentioned Pierre Hétu) also make fas- record, is not even that. The orchestra is CANADIAN MUSIC IN THE obviously excellent, and the recordings TWENTIETH seem to be very good. It is also worthy CENTURY of note that the jacket material which MacMillan: Two Sketches for Strings comes with this record does not contain on French -Canadian Airs. one single word Freedman: about the composers or Images. Mercure: Triptyque. Morel: the music but is devoted strictly and sole- L'Etoile noire. Toronto Symphony, Seiji ly to the orchestra and the conductors, Ozawa. cond. CBS 32 11 0037 or 32 11 whose portraits, in sickly blue, fill the 0038, $5.79. cover. The Mehta -Hétu record bears the al- CANADIAN MUSIC IN THE bum title "Montreal Symphony Orches- TWENTIETH CENTURY tra." The CBS disc by Ozawa and the J Toronto Symphony at least does the sub- Morawetz: Fantasy in D minor. Anhalt: ject the honor of putting the music for- Fantasia. Hétu: Variations. Glenn Gould, ward. with the title "Canadian Music in piano. CBS 32 11 0045 or 32 11 0046, the Twentieth Century," and there are $5.79. some notes on the music, too. But the latter is no better than what the com- LAVALLEE: The Widow petition is pedd;ing. This disc also gives us four pieces. Soloists, Chorus, and Orchestra of the Two Sketches for Strings on French -Ca- Istvaa Anhalt: in a welter of mediocrity, CBC (Winnipeg), Eric Wild, cond. RCA nadian Airs, by Sir Ernest MacMillan, a genuine musical statement shines bright. VICTOR LM 2981 or LSC 2981, $5.79.

86 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com Continued from page 84 rhythms -but the organization is more complex, the material subjected to a de- baritone (as specified in the score) but gree of variation and superimposition. another basso, moreover one of precisely There is a prominent solo piano part (for the same timbre and style as the Don, the inevitable and always impressive with the result that one often confuses Yvonne Loriod), and the ensemble con- the two characters. The lovely voice and sists of clarinets. a large brass section, warns temperament of Miss Kalef make xylophone, xylorimba, marimba, bells, for an ideal Dulcinea, but her vibrato is gongs, and tam -tams (the Et Exspecto too wide to sound happy to our western orchestra comprises large wind and brass ears -particularly so in her first -act ensembles plus a battery of bells, gongs, languorous aria. and tam -tams). The disc offers true stereo. not the The performances, supervised by the "reprocessed" sort to be found in some composer, demonstrate remarkable virtu- other albums of this series; and there is osity and ensemble, and are stunningly plenty of stage movement. The orchestra, recorded; the tam -tam strokes in the though quite clearly recorded, is too dis- fourth movement of Et Exspecto should tant; and the voices, boosted excessively, make this a popular demonstration rec- sound harsh and sibilant unless tamed ord. The liner notes, by the composer. by the treble control, and sometimes are redolent of apocalyptic mysticism and even this does not seem to help very ornithology ( "The song of the Short -toed much. G.M. Lark . symbolises joy ") but not unhelpful in expediting comprehension. D.H. MESSIAEN: Et Exspecto Resurrec- tionem Mortuorum; Couleurs de la ,cité celeste MILHAUD: Aspen Serenade; Suite de Quatrains; Septet for Strings Yvonne Loriod, piano (in Couleurs); Strasbourg Percussion Group; Domaine Milhaud Ensemble, Darius Milhaud, Musical Orchestra, Pierre Boulez, cond. cond. EVEREST 6176 or 3176, $4.98. CBS 32 11 0047 or 32 11 0048, $5.79. J Darius Milhaud teaches at the summer it is exhilarating to hear these The major works of Olivier Messiaen, music school in Aspen. Colorado every confections sung as their composers the most influential figure in the French year, and it is not surprising that he has confidently hoped they might be." musical world since World War II, have composed a serenade named after it: con- The Gramophone remained little known in this country sidering Milhaud's incredible facility. the except to specialists. There can be no surprising thing is that he has not written doubt that his is a distinctive and highly twenty serenades named after different personal style, but its ability to sustain localities in and about the town. The attention is less certain; longish works Aspen Serenade, for four woodwinds, JOAN built from the juxtaposition of short - four strings. and a trumpet. employs a winded materials require great skill in familiar and invariably effective Milhaud organization if they are not to seen formula- fresh, supple melodies, bril- SOIHERIANO merely garrulous and repetitive to the liantly orchestrated and made all the listener. brighter and more dynamic through poly- The 1964 Et Exspecto. commissioned tonal clashes. As the years go by, the by André Malraux and first performed polytonality goes rougher and more dis- at the Sainte -Chapelle in Paris, is perhaps sonant without. somehow, affecting the THE GOLDEN a special case; although the materials are brightness of the result. entirely characteristic -choralelike brass The Suite de Quatrains is a group of passages, chant -derived lines, disjunct poems by Francis Jammes, beautifully melodies based on bird songs -their pres- recited by Mme. Milhaud against AGE OF entation and articulation in this work is an instrumental background. There so aggressively simplistic as to suggest are eighteen of these quatrains. Not one that the composer was writing down to of them is printed in the notes, which is OPERETTA his official audience. Only once do we a very serious drawback so far as non - hear one of those complex multi -layer French audiences are concerned. There textures in which each plane seems to be is not even a hint of what they are about. The beloved soprano in a delight- operating independently ful excursion into the world of of the others, The Septet for Strings, composed in operetta as it existed in America, and most of the five movements are made 1964. may well he the most recent work England, France, Germany and up of simple alternations and repetitions of Milhaud on records. It too exploits Austria. of the presented material. The outer polytonality, and it contains a more or movements are processional- ceremonial less aleatory movement entitled Etude Music by Romberg, Friml, Herbert, in nature; in the last one, a metrically de Hasard Dirigé: the glory of this com- Offenbach, Lehar, Fall and others. regular brass chorale marches along with position, however. is its slow movement, conducted by an equally regular rhythm on gongs and which reaffirms the profundity of the bells-apparently aimless (and endless), grand style and explains what one means RICHARD BONYNGE it eventually builds to a massive dynamic when one says that Milhaud is in direct climax, a kind of crude Bolero effect. In line of descent from the great romantics; Stereo OSA -1268 fact, the whole piece impresses me as a movements like this separate the men relatively cheap exploitation pf such ob- from the boys. vious devices, overlaid with a patina of The Lord and Everest Records alone Messiaen's superficial trademarks. know what pickup grotto is disguised here The earlier Couleurs de la cité celeste, as the "Milhaud Ensemble," but whoever composed in 1963, is conceived more in its members may be. they know their RECORDS Messiaen's usual terns; the materials are business. So do Everest's sound engineers. similar -plainchant, bird songs, Hindu A.F.

88 CIRCLE 48 ON READER -SERVICE CARD .

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www.americanradiohistory.com MOZART: Symphonies: No. 35, in its place; does anybody know of another its chance at contrast or animation; then, D, K. 385 ( "Haffner "); No. 41, in so substantial recording conducted by a at its end, instead of the magical little C, K. 551 ( "Jupiter ") nonagenarian? D.H. breath and entry, there is simply a pause and a start with the repeat of the A Marlboro Festival Orchestra, Pablo section, which is then sung in a manner Casals, cond. COLUMBIA ML 6466 or MS MOZART: Vocal Music: Exsultate, all but indistinguishable from that of its 7066, $5.79. jubilate, K. 165. Vesperae solemnes first time around. Throughout these arias, de confessore, K. 339: Laudate in fact, there is practically no embellish- These two symphonies were recorded at Dominum. Vesperae de Dominica, ment, and certainly nothing to lend the public performances during last summer's K. 321: Laudate Dominum flavor of a true elaboration. Miss Popp Marlboro Festival, in the conductor's tHandel: Vocal Music: Rodelinda: is better with such an item as the "Ur: ninety -first year. They show few traces Ombre, piante; Ho perduto. Serse: centu leggiadretto"-she could stand to of his age, and much less evidence of Un: cenno leggiadretto. Ottone: be more of a tease with this delightful his vintage than the Bach recordings Vinto è l'amor. Giulio Cesare: Pi- piece. but the singing is very pert and that have recently emanated from Marl- angerì) la sorte mia. Joshua: O, Had brings out markedly the resemblance to boro. Tempos are on the fast side, but I Jubal's Lyre Pergolesi's Serpina, which, come to think do not sound driven, and the playing is of it, should be a good role for the in the slightly strenuous do-or-die-for- Lucia Popp, soprano: English Cham- present artist. good-old-Marlboro tradition: not ideally ber Orchestra, Georg Fischer, cond. The Mozart side is more satisfactory, smooth, but never limp. The only note- ANGEL S 36442, $5.79 (stereo only). particularly from a stylistic standpoint. worthy eccentricity occurs early in the The E.x.eultaate is very well sung; the Jupiter's first- movement recapitulation, There is a quantity of appealing vocalism low notes are not all there and there is where an obviously imitative passage on this disc: Lucia Popp has a fresh. neat a certain rhythmic flatness to parts of it, between the two groups of violins (not soprano and a more than adequate tech- but its certainly one of the better ver- separated, by the way) is played so as nique. Collectors who are really in- sions on records. The two Lautlates are to sound like a single line: this clearly terested in this particular sort of pro- also most enjoyable. with an especially contradicts Mozart's intention. gram, simply as pleasant listening, will beautiful moment at Miss Popp's en- I'm not going to recommend these as find the record worthwhile. trance with the "Amen" of the K. 339. basic versions of the works, however; to For me, the singer does not (yet, at The sound is excellent, and the liner the usual hazards of performance record- least) have the extra touches of per- notes and text leaflet are exemplary. ings (such as coughs and squeaky chairs) sonal projection and interpretative sensi- But the over -all impression is one of are added the expectable Casals grunts tivity to make her performances absorb- pleasing. tasteful singing rather than of anticipating sforzando chords, and, in ing. and the decisions about tempos and anything memorably individual. C.L.O. the Jupiter, rather a lot of places where embellishments on the Handel side are the old gentleman can be clearly heard unadventurous in the extreme. Both dif- shushing his players. This sort of thing ficulties are illustrated by the second and OBRECHT: i%lis.ca sub tuant praesid- can be very annoying on repetition. But third sections of " Piangerò la sorte mia." ium confugimus as documentation of a remarkable mu- The "Ma poi morta" is so thuddingly i Ockeghem: ,tl issa Mi-mi sician's longevity. this disc certainly has paced, so dutifully sting. that it loses all Cappella Lipsiensis. Dietrich Knothe, cond. ARctuvt: 198406, $5.79 (stereo only).

Experts say this is It is a mystery to me why, with the wealth of Renaissance music still to be explored by recording companies, the the best integrated turntable same works should appear on discs over and over. Only two of Obrecht's more than twenty Masses have been rein the world. corded: Ockeghem. his contemporary, fares only a little better with three Masses. Now Archive, a company with the resources to break new ground, has issued two of these same works already available in excellent performances -the Vienna Chamber Choir's sturdy interpretation of Obrecht's Mass on Bach Guild and the Berkeley Chamber Ensemble's finely chiseled Mis a Ifi -tai on Lyrichord. The Misca sub mum praecidium is a perfectly splendid piece. Starting with three voices in the Kyrie. the composer adds a voice in each of the following Too bad everybody doesn't know that. four movements so that the concluding In the Thorens TD-150AB, the tonearm and turntable have a unified suspension, Agnus is sung by seven parts. As if this minimizing vibration and acoustic feedback. Speeds of 331/2 and 45 rpm are weren't enough. the tipper voice sings derived from a Thorens double motor on a single rotor shaft, turning at the the Marian antiphon "Sub taunt praesid- unusually low speed of only 425 rpm. iaut" in long notes throughout while the The result is completely silent and absolutely precise operation. Such factors added voices join further chants in praise as rumble and wow are virtually eliminated. An exclusive low mass, plug -in of the Virgin Mary to the basic Mass shell, adjustable vertical tracking angle, pneumatic tonearm cueing or lower- text. The last movement is a cumulative ing device, a handsome slim line chassis are among the many features that paean of praise and supplication, com- make this instrument a proud possession for any enthusiast. TD-150AB; $99.75. bining the original antiphon. the joyous (Also available without tonearm & base TD -150) - "Regina Coeli." and a part of the "Salve For more details and a FREE Record Omnibook, see your hi -fi dealer, or Regina" with the remaining voices in a write ELPA MARKETING INDUSTRIES, INC., NEW HYDE PARK, N. Y. 11040 final plea for mercy. The Archive performance underscores THOIRENS TD-15O AB Obrecht's techniques with the subtle addition of instrumental doubling as the parts increase. Knothe's over-all concep- CIRCLE 26 ON READER -SERVICE CARD

92 CIRCLE 3 ON READER -SERVICE CARD-

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CIHCLt NU. 3 .L I.NHV www.americanradiohistory.com tion is somewhat more relaxed than phrasing, creating instead a seamless is magnificent. spacious without being Gillesberger's energetic reading for Bach texture of constantly moving voices. The echoey, full without confusing the iden- Guild, which also uses more and a directionless flow of space in some late tity of the lines. A new and sturdier greater variety of instruments. The fine Gothic cathedrals with its accompanying jacket which folds out into the notes is effect of Knothé s flowing early move- effect on the viewer of awe and wonder a big improvement on the familiar flimsy ments is balanced by the greater excite- has its direct parallel in this music. yellow envelope. S.T. ment Gillesberger creates in the Agnus The performance here is excellent. The Dei. Both performances are equally con- Cappella Lipsiensis, properly singing a servative in their use of musica ficca. cappella in this work, achieve a rich OCKEGHEM: il fissa Afi-mi-See It is really very hard to choose between blend without obscuring the individual Obrecht: ilfissa sub tuum praesid- these discs; why couldn't one of them lines. The sensitivity and expression of ium conftlgimrrs have contained Obrecht's fascinating the last Agnus Dei are particularly mov- Missa Maria zart or the lovely Missa ing. The pitch is also right, in so far as Mater Patris? one can say such a thing about Renais- PALESTRINA: Masses and Motets: Unlike Obrecht, Ockeghem uses no sance music. The Berkeley ensemble Hissa ascendo ad patrent: Hissa obvious structural devices on which to in transposed the Mass up considerably, festis apostolorunr; Cantantibus or- base his Missa Mi -mi. In fact, he even making it easier to sing but losing the ganis; Surge arnica mea avoids the measure to measure techniques dark quality Ockeghem intended. of imitation, sequence, or clearly defined The sound throughout the Archive disc Singers of Saint -Eustache. Emile Martin, cc.nd. ODYSSEY 32 16 0121 or 32 16 0122, $2.49.

"Masses and Motets" is a somewhat misleading title for this disc inasmuch as the Specially priced, specially packaged... two Masses are large -scale works occupy- ing almost a full side each while the motets are obviously fillers. The Missa in festis apostolorunt is a responsorial The Nine Bruckner work in which plainsong alternates with sections of polyphony providing a contrast to the full choral texture of the Symphonies Missa ascendo ad patre m on Side 2. In both compositions the Roman master works his usual magic, weaving a light Eugen Jochum, conductor but colorful fabric of indescribable beauty without a sign of effort. Berlin Philharmonic Orchestra There is plenty of pliancy in Martin's expressive handling of the rather un- Bavarian Radio Symphony Orchestra polished chorus. although its chanting in the Missa in festis apostolortun is pretty stiff. The sound would be lovely if con- "DGG has done a wonderful job. Splendid recordings, all, of per- siderable distortion did not mar the forte formances by two orchestras who have the Bruckner style in their passages on both sides. The quick tempo bones. directed by the man who. having devoted so much of his life of Surge arnica mea I also thought a bit to Bruckner's cause. has become for many people the Bruckner overdone; Palestrina is a kind of perfec- conductor of our time.... The scores used are the latest ... the tion unto himself -and if you rush him in the interests of "expressivity," layout of the music on the discs is exemplary ... with no side breaks the result is a chaotic breakdown of both in movements.... Few of the more structurally integrated per- sense and spirit. S.T. formances by other conductors have dug quite'so deep into the meaning of the music. He [lochum] is essential if one wants to experience the true 'feel' of Bruckner." -The Gramophone PONCHIELLI: La Gioconda

Renata Tebaldi, Carlo Bergonzi, Robert Merrill. et al.; Chorus and Orchestra of Accademia di Santa Cecilia, Lamberto Gardelli, cond.

For a feature review of this recording, see page 75.

PROKOFIEV: Concerto for Piano and Orchestra, No. 3, in C, Op. 26 f Ravel: Concerto for Piano and Or- An II- record boxed set. chestra, in G with illustrated brochure. SKL 929/39 Martha Argerich, piano; Berlin Philhar- monic Orchestra, Claudio Abbado, cond. DEUTSCHE GRAM MOPHON SLPM 139349, $5.79 (stereo only).

m mophciz Both of these performances are winners ' Sesellschafl in the modern warhorse concerto sweep- stakes. DGG has done well to assign the DGG Records are distributed by MGM Records, a division of Metro- Goldwyn -Mayer Inc. Free on request! The new illustrated DGG /Archive catalog. Write MGM Records, present doubles to two of the ablest Classical Division, 1350 Ave. of the Americas, New York, N.Y. 10019. young jockeys on the musical track! Argerich can manage just about anything you could imagine on the instrument-and usually, just a little more. In CIRCLE 19 ON READER -SERVICE CARD 94 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com EXPERTS AGREE ... the Heath AR -15 is the world's most advanced stereo receiver

Electronics World, May '67: "Heath implies strongly that the High Fidelity, Dec. '67: "The AR -15 has been engineered on AR -15 represents a new high in advanced performance and circuit an all -out, no- compromise basis." concepts. After testing and living with the AR -15 for a while, we must concur." Popular Electronics, Jan. '68: "There is no doubt in your is a remarkable musical in- Hi Review, May '67: "Several people have com- reviewer's mind that the AR -15 -Fi /Stereo strument." mented to us that for the price of the AR -15 kit they could buy a very good manufactured receiver. So they could, but not one that would match the superb overall performance of the Heath AR -15. " Popular Mechanics, Nov. '67: "... Heathkit's top -of- the -line AR -15 is an audio Rolls Royce ..." Modern Hi -Fi & Stereo Guide, 1968: "I cannot recall being so impressed by a receiver ... it can form the heart of the finest Popular Science, Dec. '67: "Top-notch stereo receiver " . . . stereo system." "it's FM tuner ranks with the hottest available " . . "it's hard to Audio Magazine, May 1967: "The entire unit performs con- imagine any other amplifier, at any price, could produce sig- siderably better than the published specifications." nificantly better sound." here's why the experts agree The Heath AR -15 has these exclusive features: Best sensitivity ever ... special design FM tuner has 2 FET Adjustable Multiplex Phase Control , . . for cleanest FM rf amplifiers and FET mixer stereo reception Best selectivity ever ... Crystal filters in IF ... no other has Tone Flat Switch ... bypasses tone control circuitry for flat it ... perfect response, no alignment . .. like having 8 trans- response when desired formers in IF Front panel Input Level Controls ... easily accessible, yet Best limiting characteristics ever ... Integrated Circuits hidden from view by hinged door in IF ... like having 20 transistor stages in IF and of any receiver 150 Watts of Transformerless Amplifier ... direct coupled drivers Most power output ... for lowest phase shift and distortion Music Power ... enormous reserves outputs Ultra -low distortion figures ... harmonic distortion less Capacitor coupled output ... protects your speakers 1 IM distortion less than than 0.2% at watt or full output ... Massive power supply, electronic filtering ... for low 0.2% at 1 watt, less than 0.5% at full output heat, superior regulation . . . electrostatic and magnetic Ultra -wide power response . .. 6 Hz to 50,000 Hz, 1 db, shielding at 150 Watts Music Power Two Tuning Meters . for center tuning and maximum Ultra -wide dynamic range phono preamp (98 db) as- signal ... also used as volt- ohmmeter during assembly of kit sures no overload regardless of cartridge type used. All -Silicon transistor circuitry ... 69 transistors, 43 diodes, . . . hushes between - Unique Noise -Operated Squelch 2 IC's. station noise before you hear it ... unusually elaborate and effective Positive Circuit Protection ... Zener -diode current limiters plus thermal circuit breakers protect unit from overloads and Unusual Stereo Threshold Control . automatically switches to stereo only if quality of reception is acceptable short circuits ... you adjust to suit "Black Magic" Panel Lighting ... no dial or scale markings Stereo -Only Switch ... silences all monophonic programs show when receiver is turned off, thanks to exclusive tinted if you wish acrylic dual -panel design

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CIRCLE 32 ON READER -SERVICE CARD MARCH 1968 95

www.americanradiohistory.com the Prokofiev this player's demonlike direction, keeping every one of the or- version offered here, actually follows tempos quite took my breath away, but chestral strands taut. His classical sense the Sixth Symohony and precedes the also present in her playing are a fanciful of balance and his crackling, incisive Seventh in chronological order. The poetry and a ravishing, unpercussive tone rhythmic control are particular assets in 1930 version was composed for the quality which conveys the peaches -and- the Ravel. As a further merit of this disc fifieth anniversary of the Boston Sym- cream as well as the caustic irony of this the sound is remarkably clean, spacious, phony Orchestra apparently in some music. Indeed, Argerich's fleet plasticity and. I might add, happily free from haste -much of its thematic material could be called "Hofmannesque," though artifice. H.G. was derived with minimum symphonic its untrammeled fluency is completely un- treatment from the 1928 ballet score The tinged by the cocktail -music glibness Prodigal Son -and the composer un- which occasionally tainted that master's PROKOFIEV: Symphony No. 4, in C, doubtedly felt revision was necessary. work. A similar freshness and finish are Op. 47/112 (1947 version) Despite an extensively reworked score, brought to the Ravel by Miss Argerich. however, the 1947 L' Fourth cannot be Few technicians can match her for sheer Moscow State Radio Symphony Orches- judged a complete success. even in this accuracy, though the exactitude of her tra, Gennady Rozhdestvensky cond. superb recording. The limited materials technique never dampens the joyous im- MELODIYA /ANGEL SR 40040, $5.79 of the terminal movements, even though pulsiveness of her music making. (stereo only). supplemented by new ideas. emerge as Abbado seconds his soloist's efforts rather arid and scholastic when expanded with some remarkably poised podium Prokofiev's Fourth Symphony, in the symphonically beyond the 1930 scale. Rozhdestvensky approaches the Fourth with an affectionate attention to detail b( i and with an insight into the lyric possi- :.. bilities of the score. His balance of inner Expect the unusual and leading voices does better justice to Prokofiev's texture than Ormandy's heavy -handed treatment on Columbia from Westminster and achieves a softer effect in the massive blocks of harmony in the full tutti. the pacemaker in classical music While he finds greater variety in the two outer movements, he stresses the lyric and dancelike quality of the two TERESA STICH -RANDALL FAVORITE ARIAS middle ones strongly. And in Prokofiev's rather heavy marchlike passages, he Gounod: Faust; Charpentier: Louise ; Delibes : Lakme ; Beethoven: avoids the coarseness that other conduc- "Ah Perfido !" Weber : Der Freischütz; R. Strauss : Ariadne auf Naxos. tors mistake for Prokofiev's heroic Vienna Radio Orchestra & ViennaVolksopern Orchestra, Brian Priest - style. The Moscow State Radio Sym- man conducting. WST -17140 phony Orchestra by no means matches the Philadelphia Orchestra sound. either MAUREEN FORRESTER A CHARM OF LULLABIES in over -all quality or in solo proficiency: 21 songs sung in English, French, German, Israeli, Italian,Portuguese, the brass, indeed. often borders on the ugly. But the spaciousness of the re- Russian, Spanish and featuring Benjamin Britten's Song Cycle "A cording and the warmer interpretative Charm of Lullabies ". John Newmark, piano. WST -17137 approach create a more attractive ambience. May we hope that Rozhdest- THE ORGANS OF THE NATIONAL SHRINE, vensky will soon record for Melodiya/ WASHINGTON, D. C. Angel more Prokofiev symphonies, in- Maurice Duruflé & Marie -Madeleine Duruflé- Chevalier perform works cluding. for comparison, the 1930 ver- by J. S. BACH / BUXTEHUDE /DURUFLE /HANDEL/SCHUMANN sion of the Fourth? P.H. /TOURNEMIRE. WST-17138 MORE NEW WESTMINSTER RELEASES RACHMANINOFF: Isle of the Dead, Op. 29 -See Scriabin: Poem of MOZART: PIANO SONATAS, K.330, K.333, K.396. Ecstasy, Op. 54 (Angel edition). DANIEL BARENBOIM, piano. WST-17139 VIENNA RADIO ORCHESTRA, ROBERT RUDOLF conducting; RAVEL: Concerto for Piano and Or- KURT RAPF, harpsichord. chestra, in G -See Prokofiev: Con- certo for Piano and Orchestra, Symphony No. 63 in C Major "La Roxolane ", & Versions. First Second No. 3, in C, Op. 26. Symphony No. B in B Flat Major "Parthia ". Overture in D Major. WST -17141

BEETHOVEN: STRING QUARTETS, Op. 74 & Op. 95. SATIE: Piano Music, Vol. 2 ALLEGRI STRING QUARTET WST-17142 La belle excentrique; Descriptions auto- MUSIC GUILD matiques; Véritables préludes flasques MESSIAEN: QUARTUOR POUR LA FIN DU TEMPS for Violin, Clarinet, (pour un chien); Vieux sequins et vieilles Cello & Piano HUGUETTE FERNANDEZ, violin ; GUY DEPLUS, clarinet; cuirasses: En habit de cheval; Sports et JACQUES NEILZ, cello ; MARIE -MADELEINE PETIT, piano. MS -150 divertissements; Chapitres tournés en tous sens; Aperçus désagréables. SPANISH PRELUDES & INTERMEZZOS PABLO SOROZABAL conducts the MADRID SYMPHONY ORCHESTRA MS -149 Aldo Ciccolini. piano. ANGEL S 36459, LECLAIR: CONCERTOS FOR VIOLIN& STRING ORCHESTRA $5.79 (stereo only). HUGUETTE FERNANDEZ, violin ; PAILLARD CHAMBER ORCHESTRA: PAILLARD, In an age of absurdities, when the ri- JEAN -FRANCOIS cond. MS -148 diculous has become both commonplace and accepted, Erik Satie is rapidly as- iff.fltr suming a position among the most im- ` /Peom/ndtt2 RECORDS n¡!!ld RECORDS portant composers of the first half of A MODULE OF ABC RECORDS. INC. the twentieth century. This comes as a If your record dealer does not yet have in stock - and to obtain free catalog - write: shock to those who remember that as Westminster Recording Co., Inc., Dept. 3, 1330 Ave. of the Americas, New York, N.Y. 10019 recently as fifteen years ago Satie was CIRCLE 63 ON READER- SERVICE CARD 96 HIGH FIDELITY MAGAZINE

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*Less Cabinet r HEATH COMPANY, Dept. 8 -3 Benton Harbor, Michigan 49022 NEW In Canada, Daystrom Ltd. FREE 1968 Enclosed is $ including shipping. CATALOG! Please send model (s) Now with more kits, pore color. Fully describes these along with Please send FREE Heathkit Catalog. over 300 kits for stereo /hi -ti, color TV, electronic organs, elec- Name Inc guitar & amplifier. amateur radio, marine, educational, CB, home & hobby. Mail coupon or Address write Heath Company, Benton Harbor, Michigan 49322. City State Z p L Prices & specifications subject to change without notice. HF-207J CIRCLE 32 ON READER -SERVICE CARD MARCH 1968 97

www.americanradiohistory.com The average embarrassed non - technical music -loving layman's clip-and -save INSTANT GUIDE TO RECORDING TAPE

Does that shiny new tape recorder you got for a gift have you buffaloed? Do you panic Tricky Test Question. at the terms like acetate tapes, Mylar tapes, Q: How do you get longer playing time per tempered Mylar tapes, standard -play tapes, reel of tape? longer- recording tapes, double -length tapes, A: You can do it in either of two ways. (1) At triple -time tapes, low -print tapes, low -noise slow speed. The tape plays longer but sounc tapes, and inches -per- second? Here's how to fidelity is reduced. (2) On thin tape. You get - stop trembling and start taping. A complete more footage per reel but it costs course in four easy, step -by -step lessons... proportionately more. (To put it another wat plus a clearly marked paragraph of the same recording job can cost you a dime advertising from the makers of Audiotape. or a dollar, depending on the method you Lesson 3. select. If you're clear in that, you've earned Lesson 1. your diploma.) Which Speed to Record At. The Basic Question - RECORDING TIME PER TRACK: ONE DIRECTION Lesson 4 Acetate or Mylar Base? (IN MINUTES) Post -Graduate When you record TAPE 1200 1800 2400 3600 Course. something, you are SPEED FT. FT. FT. FT. magnetizing microscopic particles of iron Experienced tape recordists, with ears and 1'/e 128 192 256 384 oxide. If you don't know what iron oxide is, equipment that are ultra- sensitive, can don't worry. Just bear in mind that the 33'' 64 96 128 192 sometimes hear "echoes" caused by particles have to be attached to something or 7t/z 32 48 64 96 "print- through." Think of it as a leakage of they will blow away, sound from layer to layer when very thin tap( so they are coated onto 15 16 24 32 48 plastic tape. This base tape can be either is wound on the reel. When you achieve that kind of expertise, you'll want acetate or Mylar. Choice of base does not Your tape recorder probably allows you to special "low- print" coatings...as well as affect fidelity of sound, so why a choice? record at several different speeds (you, by "low- noise" coatings which eliminate the barely To save you money and trouble. the way, are a recordist; only your machine is perceptible tape -hiss that only the most Acetate gives you economy. It's not as rugged a recorder). What's the reason for this expensive amplifiers can pick up anyway. as Mylar, but professional recording studios smorgasbord of speeds? The faster the speed, prefer it and use it almost exclusively. the higher the fidelity; the slower the speed, You may prefer it too. the more playing time per foot and per dollar. Advertising Paragraph. gives 15 ips Mylar* you mileage. It survives for years (inches -per- second). Commercial Now that you feel like an expert, you'll want even in deserts and jungles (if you're taping recording companies use this speed when the brand of tape that's used by experts tribal chants, you'll want Mylar). they tape your favorite performer for later Mylar because it's made by experts. Its name is transfer to records. Forget tapes also can be made exceedingly thin, it. Audiotape. It's made by the people who supp which means a reel can hold more feet for 71/2 ips is what you need for really good hi -fi tape for recording studios, corporate a longer, uninterrupted program. music at home, and for the clearest computers, Cape Kennedy countdowns and 'Tempering' overcomes Mylar's tendency to reproduction of speech (foreign -language automobile stereo cartridges. It's made in th stretch under stress, and is used for the homework, sound -tracks for home movies, full range of acetateMylartemperedMylar thinnest, most expensive tapes (the next cocktail -party capers). An 1800 -foot reel will standardplaylongerrecordingdoublelength lesson takes you painlessly through thick play for 45 minutes -the length of a tripletimelowprintlownoise. It's made and thin). 'DuPont's reg.stered trade mark for its polyester film. long -play record. better. Ask anybody who knows. They'll tell 33/4 ips is fine for background music and for you to ask for Audiotape. Lesson 2. most speech applications- dictating to your secretary and recording baby's first words. An Hewro W4Good How To Make Good Tape Recordings. 1800 -foot reel play ,ax Standard -Play, Longer- Recording, will for an hour and a half. 150 pages packed with easy -to- understand Retordeqç 17/8 ips isa businesslike speed without hi -fi tips. Regularly $1.50. Yours for 25C or the end tab from reel of Audiotape Double- Length,Triple -Time. frills. Good for taping conferences at the (7 -inch size). Audio Devices, Inc., Dept. H -3 Instead of "Play," "Recording," "Length" or office because it puts a lot of words 235 East 42nd Street, New York 10017. "Time," think of "Thickness." Picture a on a single reel. An 1800 -foot reel will play tape -reel 7 inches in diameter. It will hold for three hours. 1200 feet of standard -recording tape 15/ 16 ips is not recommended for anything (acetate or Mylar)... 1800 feet of longer - but continuous monitoring. An 1800 -foot recording tape (considerably thinner acetate reel will play for 6 full hours. Unless you or Mylar)... 2400 feet of double- recording do wire- tapping, you are probably not in tape (still thinner Mylar). Easy, isn't it? the market for 15/ 16 ips and you're Now move on to: ready to try this: CIRCLE 69 ON READER -SERVICE CARD

www.americanradiohistory.com normally relegated to a somewhat con- descending footnote in the history books. His own refusal to take himself seriously, his practice of giving his works absurd titles (such as "Three Pieces in the Form of a Pear "), his obscure indications to the performer ( "slow down politely" or "very seriously silent") -all of this tended to distract from the music itself, and as a result critics found it simpler to ridicule such easily assailable sidelights than to attempt an evaluation of the compositions themselves. Today, it is just these "extramusical" sidelights that have become of focal interest to the younger generation of composers. Thus it remains equally difficult, perhaps even more so, to make an assess- ment of Satie purely in terms of his music. Recordings, however, help one in coming to such an evaluation, and the present disc is indeed welcome. The second volume to appear of Aldo Ciccolini s performance of the piano music, it contains pieces dating principally from 1908 -14, the period immediately following Satie's three years of study at the Schola Cantorum under Vincent d'Indy and a particularly interesting stage in his development. He was then in his middle years, and had already produced a sizable body of work. Comparison of those earlier compositions with the music written after the Schola Cantorum inter- lude is quite revealing. Ironically, it seems to me that Satie's technical weaknesses are more apparent in the later works than in the earlier ones- primarily because they are more elyt4(AA. ambitious and thus tend to reveal more clearly the composer's limitations. When Satie attempts a fugue, for example - and several are included on the present a4;.(4,e, R .Q 'rc4.44- kta, KAAL,0), recording -one is aware of a distinct amateurish quality (although I must admit he does bring a unique charm to the genre). When he is least pretentious, on the other hand. he is at his best. This is well illustrated by Sports et divertis- The Paris Chamber Orchestra sements, a set of twenty -one one -page pieces originally written to accompany drawings by a little -known French artist, Paul Kuentz, Conductor. Charles Martin. Here Satie appears in best chamber orchestra. " -French Journal of Music vein "Our his most characteristic -witty, droll, American journals have been enthusiastic, too. So enthusiastic that the orchestra and short -winded. There are some won- has returned to these shores at least once a year since their first tr umphant visit derful moments: humorous quotes of seven seasons ago. This year's tour climaxes March 12th when Kuentz and his well -known tunes in the most unlikely ensemble of prize -winning Parisian instrumentalists will perform at Carnegis Hall. contexts, sudden changes of mood and With superlative harpist, Nicanor Zabaleta, as soloist. And an extensive repertoire texture, and above all. a genial sense of spanning three centuries. Their recordings for DGG /Archive, best -sellers of bath calculated naïveté unmatched in all continents, include many delightful and unfamiliar works:

music. BAROQUE MUSIC FOR TRUMPET VIRTUOSO. Works by Albert, Gobrie i, Jac - Finally, however, one is struck more chini and Torelli Adolf Scherbaum and Stanislous Simek, trumpets. DGG 136 518 by what Satie suggests than by what he actually accomplishes. There seems to be HANDEL: HARP CONCERTO /DEBUSSY: DANSES SACRÉE ET PRO=ANE /RAVEL HARP Nican a dichotomy between the composer's INTRODUCTION AND ALLEGRO /ALBRECHTSBERGER. CONCERTO. vision and the technique in which it is or Zabaleta, harp. DGG 139 304 embodied, an inability to convince the HARP CONCERTOS OF THE 18TH CENTURY. Mozart: Adaigio and Rcndo in C listener solely in terms of the musical Minor, K. 617 /Eichner: Concerto No. 1 in C /Wagenseil: Cancer° in G /Ditters- argument. But the vision itself has re- dorf: Concerto in A. Nicanor Zabaleta, harp. DGG 139 112 mained remarkably fresh and produc- DE LALANDE: SYMPHONIES FOR LOUIS XIV AND XV /MOURET: FANIFARES tive. Darius Milhaud once said of Satie AND SYMPHONIES. Adolf Scherbaum, trumpet. ARC 73233 that he "foresaw, prepared, and discovered everything done by everyone else." And indeed in these pieces one 'Deutsche ARCHIVE can hear anticipations of such diverse L.-Jrtcm mc1Tht .n PRODUCTION musical phenomena as Stravinsky's neo- (Je.spüSllutft classicism, the music hall aesthetic of DGG Archive Records are distributed by MGM Records, u division of Mero- Goldwyn Mcyer In Les Six, and the musical theatre of John Free on request! The new illustrated DGG Archive catalog. Write MGM Re:ods. Classical Division, 1350 Ave. of the Ameri:as, New York, N.Y. 10019. Cage. It is these influences that make CIRCLE 19 DN READER -SERVICE CARD 99 MARCH 1968

www.americanradiohistory.com Satie a figure of no small historical im- SCHOENBERG: Variations on a Re- had any commercial recordings of the portance. citative, Op. 40; Ode to Napoleon Ode to Napoleon and the String Trio All of the compositions are well played Buonaparte, Op. 41; Theme and since the long- vanished Dial LPs. This by Ciccolini, who brings to them a fresh, Variations, Op. 43B; Trio for series is now well past the halfway point uncomplicated approach which suits Strings, Op. 45; Phantasy, Op. 47 and, although a number of significant them perfectly La Belle excentrique, works remain (notably the unfinished En habit de cheval, and Aperçus dé- John Horton, speaker (in Op. 41); oratorio Die Jakobsleiter and the comic sagréables are all written for four hands. Marilyn Mason, organ (in Op. 40); opera Von Neale auf Morgen, as well as The album notes do not explain just how Glenn Gould, piano (in Opp. 41 and a new and adequate Moses and Aron), Mr. Ciccolini manages this by himself - 47); Israel Baker. violin (in Op. 47); we are already greatly indebted to the no doubt achieved through the expedi- Juilliard Quartet (in Opp. 41 and 45); underwriters of the project. Schoenberg's ency of double -track recording. R.P.M. Philadelphia Orchestra, Eugene Orman- work stands at the seminal center of the dy, cond. (in Op. 43B). COLUMBIA M2L twentieth century's musical thought, and 367 or M2S 767, $11.58 (two discs). for all their occasional shortcomings the albums in this series have made possible SCHOENBERG: Theme and Varia- This album represents the seventh vol- a considerable broadening of our aural tions, Op. 43B -See Berg: Lulu: ume in Columbia's Schoenberg series, experience with this music. Symphonic Suite. and fills two major gaps; we have not The present set concentrates on the last decade of the composer's life. The Organ Variations present a certain problem, for they have been published only in an edited form, adjusted to suit a specific registration for a very large organ. Schoenberg objected to this. and requested that an unregistered edition be Now on Seraphim... made available, but this has never been done; in a 1949 letter the composer legendary perfomances wrote: "If I were doing the registration, I should work it out only in such a way that all the voices come out clearly. But at an everyday price that seems to be impossible on the organ." At Seraphim prices you can indulge yourself every * According to the liner notes for Mari- day by buying top-quality pressings of some of the per lyn Mason's previous recording of the most celebrated musical recordings of all time - ° "` piece (Counterpoint 507, of which the stereo is fake, by the way), she had and still not hurt your budget. More important, these transfers from the pre - worked out her registration in consulta- stereo age are meticulously accomplished without artificial gimmickry, and tion with the composer, but neither on sound their very best on today's stereo or mono equipment. that recording nor on this new one do I hear the kind of clarity to which Schoen - 1,111111 `.1 1111:111 \\tI1K` /K7UiF1M berg's letter refers. Since I don't have \l\\t\I1l,\lll:l \ / BEETHOVEN: I 5 & 7 s, MIJOm81JO'm' access to the composer's original score, \ wnna Rxlhumonrt aecoeded 1956 _5a showing in what octave each line should sound, I'm not in a position to make broad judgments, but Miss Mason certainly treats some of the composer's tempo markings, and even some note values, rather freely. Like the Op. 43 Variations, the organ piece is in Schoenberg's "late tonal" style; in another letter, he called it "my 'French and English Suites.' . ARTURO TOSCANINI The BEETIIOsEPI 51A117 xrILt / RIO-lARD TAUBER harmony . . . fills out the gap between NOS 11 5 6 rrtiu>rcA1Ll Il VIENNA QTY OF MY DREAMS tl/E BB/ y1\tl'1111\1 ()lt( III SIR-\ my Kammersymphonies and the 'dis- sonant' music." Perhaps one of the two recordings listed in the European catalogues makes a better case for this piece, although I suspect that a proper printed score is a prerequisite for more satisfactory performances. (On the subject of Ormandy's reading of Op. 43B, see my review of the separately released single -disc edition on page 79.) 111E ART OF DENNIS BRAIN` E ART OF CERAI E) n7O014 yK M Beethoven. Moran. Dmer!don. Between these works in "olden style" Haydn. Schumann and Dukas came the remarkable Ode to Napoleon, a setting for speaker, string quartet, and piano of Byron's poem on the occasion of the French emperor's resignation and exile. This too has tonal references - the unusual tone row yields up traditional triads, and a ringing E flat major chord at the end is achieved by an almost conventional cadence. (When que- Price optional with dealer. ried about this, Schoenberg characteristically replied, "I don't know why I did it. Maybe I was wrong, but at C SERAPHIM) present you cannot make me feel this.") Although the medium is not far from that of Pierrot Lunaire, the musical con-

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www.americanradiohistory.com could tent not be more different; the eccentric pedaling that marred his con- leagues, Robert Mann and Raphael single movement, Hill - broadly dramatic, even tributions earlier in this series. Since yer. No chamber work of Schoenberg heroic, has a Beethovenian sweep en- another recording is imminent, I shall bristles with so many difficulties, if tirely appropriate to the libertarian sub- probably have an opportunity to com- only because nowhere else did ject and its he so World War II references. ment further on this performance very extensively exploit the more unusual Because of the vital importance of soon; at any rate, it is certainly more timbral possibilities of the strings: pizzi- rhythmic accuracy, Schoenberg said that than good enough to show that the Ode cato, col legno (with the wood of the for the speaker "only very a musical is one of Schoenberg's masterpieces. bow), sul ponticello (played on the singer can be considered." Mr. Horton That the String Trio of 1946 is bridge), con sordino (muted), does well har- by the rhythms, and I suppose another such masterpiece, many mu- monics, and some fearsome combina- it is wishful thinking to imagine that sicians have long known, partly from a tions of these. All this is to valid musical any of the great actors who might give noncommercial disc by members of the purpose, and this intense, concentrated a more convincing delivery of the poetry New Music Quartet, made at a Pitts- single movement is of the stature of the could possibly accommodate themselves burgh Festival in the early '50s and late Beethoven quartets, well worth to the the musical requirements. The Juilliard distributed to many schools and libraries. considerable effort of listening needed players are admirable, and Mr. Gould The same cellist of that recording, Claus to get past its surface difficulties. seems on his best behavior here, with Adam, takes part in this fine new ver- The violin Phantasy was conceived a minimum of the metric license and sion, with his present Juilliard col- specifically as a piece for violin with piano accompaniment, and only after the violin part was completed did Schoen- berg actually compose the accompani- New Releases fron? ment (although his manuscript of the solo part shows that he had already determined the harmonic substance of the piano part). Like the Trio, its com- CARDINAL positional influence has been A division of Vanguard Records considerable, for in these works Schoenberg explored some The most exciting new label significant implications of his techniques further than in any earlier on the current scene pieces. Another single movement of $3.50 Stereo great virtuosity and concision, it has also playable on mono yet to receive a truly satisfactory reading on records. The present one suffers from a lack of ultimate security in the fiddling, and from Mr. Gould's fond- ness for rubato and overuse of the damper pedal. Given the number of violinists who now have the Phantasy Greek -born musician-mathematician- in their repertories, we shall probably architect (collaborator with have a better recording before very Le Corbusier), and outstanding composer in Paris exploring new horizons in music using long. Calculus, Mathematical Logic, Theory of Proba- And now, onward to Volume VIII bility and Sets. "A delicately poetic calm or violently the string quartets, - brutal agitation...a new kind of writing, a singular language." perhaps? D.H. (Olivier Messiaen) First recording of XENAKIS -Three SCHOENBERG: Verklärte Nacht, Major Works Op. 4-See Scriabin: Poem of Ec- METASTASIS I PITHOPRAKTA stasy, Op. 54 (London edition). French Nat'l Radio Orch., Maurice Le Roux conductor EONTA Yuji Takahasi, piano; Paris Instr. Ensemble, Konstantin Simonovic, cond. SCHUBERT: Quintet for Piano and VCS -10030 Strings, in A, D. 667 ( "Trout ") ANTONIO JANIGRO- AN ALBUM OF CELLO FAVORITES with Antonio Beltrami, piano VCS-10018 Marlboro Ensemble. COLUMBIA ML 6467 "Janigro is worth listening to even if he does no more than draw his bow across the strings." T. Sherman, St. Louis Post Dispatch or MS 7067, $5.79. THE YALE QUARTET- MOZART: QUARTET IN D MINOR, K. 421 SCHUBERT: Quintet for Piano and QUARTET IN D MAJOR, K. 575 VCS -10019 Strings, in A, D. 667 ( "Trout "); "Immaculate playing, sterling musicianship. Without doubt, one of the great Adagio and Rondo for Piano and Beethoven Quartet recordings." H. Tircuit, San Francisco Chronicle, on the Yale Quartet's Beethoven Op. 132, VCS -10005 Strings, D. 487 ALFRED BRENDEL-SCHUMANN: C MAJOR FANTASY, OP. 17 Melos Ensemble. ANGEL S 36441, $5.79 SYMPHONIC ETUDES, OP. 13 VCS -10020 (stereo only). "Very fine and long needed." B. H. Haggin, Yale Review, on Brendel's Schu- bert C minor Sonata Op. posth., VSD -71137 Both of these editions have much to ABRAVANEL CONDUCTS VAUGHAN WILLIAMS recommend them. If you want a flowing, Fantasia on a Theme by Thomas Talfis; Flos Campi; 5 Variants on "Dives and lightweight Trout, the supremely well - and Lazarus"; Fantasia on "Greensleeves" (Utah Symphony) VCS -10025 integrated teamwork "An interpretation of awesome. inspired magnificence." B. Jacobson, High of the Melos ef- Fidelity, on Abravanél's Mahler 2nd Symphony, VCS -10003/4 fort fills the bill. Though these players - SWAROWSKY CONDUCTS HAYDN: Lamar Crowson, pianist; Emanuel Hur- SYMPHONY NO. 30 in C, "ALLELUJA" witz, violinist; Cecil Aronowitz, violist; SYMPHONY NO. 31 in D, "HORNSIGNAL" Terence Weil, cellist; and Adrian Beers, Vienna State Opera Orchestra VCS -10021 bassist-all show the expected British Forthcoming shortly reserve and discretion, there is nothing The first integral recording of prissy about their well- chosen tempos THE FOUR SYMPHONIES OF CHARLES IVES and quite sufficiently vigorous work. I New Philharmonia Orchestra of London HAROLD FARBERMAN, conductor do not object to a conventional approach Recorded with the Dolby System -3 discs boxed, with notes when it is accomplished with such VCS-10032/3/4 finesse and musical intelligence. The CIRCLE 61 ON READER -SERVICE CARD 102 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com Angel sound is honeyed and smooth, double bar in the opening Allegro Vi- Great and this disc has the further advan- vace? Even the incontestably authentic tage of a bonus, the lovely Adagio and B & H score gives A and B there!) Aside Rondo, which so far as I know has from textural minutiae, the Marlboro ef- not been recorded elsewhere. The Melos fort is big, roughhewn, and basically r people have reënforced the cello part dramatic in its outlook. Although it Mahle with double bass, and have made a few has less polish and ensemble integration slight revisions in the scoring. The basic than the Melos version, it also seems to concertante character of the little piece project a somewhat more individualistic is actually enhanced by these emenda- character. Buyl tions. I question the balance of the Colum- There are, I am sure, some unre- bia recording. which places Serkin un- Three records constructed literalists who would happily comfortably close to the microphone. price forego a second composition on the disc His powerful, monolithic type of pianism, for the in order to hear the first movement of it seems to me, would benefit by slight the Trout played three times! By repeat- distance. For example, the nearness of two!'` ing the exposition section-as Schubert makes absolute nonsense of the pianist's inexplicably designated- Rudolf Serkin, extremely wide dynamic range -at many Jaime Laredo, Philipp Naegele, Leslie points in the Andante where he is Parnas, and Julius Levine go some dis- obviously playing "ppp, dolce," as marked, tance towards creating that effect - what emerges from the disc is a rather though even they decline to do the pallid rnezZO piano. There are also prob- MAHLEII` same in the finale, despite the composer's lems of internal balance between mem- SYMPHONY NO.10 sanction here too. Mr. Serkin's stringent bers of the string ensemble. By virtue 41; DAS LIED purism pays dividends elsewhere, how- of its high place on the musical staff, VON DER ERDE ever: in accordance with the Urtext one can hear Laredo's violin without EUGENE Breitkopf & Härtel score he rightly es- dificulty, though both he and violist ORMANDY chews the tie at bar 9 in the Andante Naegele (who gets short shrift by the 0, PHILADELPHIA second movement, ORCHESTRA and changes the microphone) could well afford to play usually misprinted E back to F in the out more assertively. Similarly, I would third measure of the A minor section like to hear a bit more of Parnas' rich of the same movement. And of course tone. Julius Levine's contrabass is un- he also joins Lamar Crowson by restor- usually heavy as reproduced here, but I ing the trill on the half-note G sharp rather like the solid effect its prominence D3S 774 (A 3- Record Set in Sterno Only in the recapitulation of the first move- gives to the performance. ment's second subject. (But where, I I feel almost churlish to add that, On COLUMBIA RECORDS wonder, does Serkin get his authority despite the considerable virtues of both Manufacturer's suggested list price. for playing A and G sharp in the written - these Trout performances, neither sug- Optional with dealer. out trill nine measures first CIRCLE 14 ON READER -SERVICE CARD before the gests the angler at the most dazzling, crystalline mountain stream. That idyllic circumstance is, for me, best evoked by: 1) Schnabel /Pro Arte on Angel PURCHASING COLH (a wonderfully twinkling account of the piano part); 2) Elly Ney/Strub A HI -FI on Odeon BEFORE PURCHASING RECORDS (pointed, unbelievably delicate); 3) Peter Serkin /Alexander SYSTEM ? Schneider and CONSULT friends for Vanguard TRADE -INS OK -TIME PAYMENTS (witty, satirical; full of fleetness, color, Up to 3 years to pay! and energy). H.G. Altec Lensing record rating Service Electrovoice JensenHallicrafter a consensus of critical opinion Send Us University SCHUBERT: Symphonies: 2, Acoustic Research No. in Janszen Viking B flat, D. 125; No. 6, in C, D. Wharfedale 589 ( "Little C ") Marantz' major Your List of Harman -Kardon The unique quarterly bulletin which Eico Ampex* Bath Festival Orchestra, Yehudi Men- Sherwood* authoritatively classifies overall quality Crown Recorders uhin, cond. ANGEL S 36453, $5.79 of more than 100 recent Components Superscope recordings of (stereo only). Scotch Tape Dual Changer* serious music in each issue has expanded Bogen to include Maestro Menuhin is making real strides; For Dynakit Fisher source identification and com- A he had better beware, lest one of our H. H. ScottLeak parative review indicators. ECI Roberts major orchestras snatches him up as its National Music Director before he Package Sony Challenger can say Garrard "Zigeunerweisen "! The two Schubert Miracord symphonies presented here Rek -O -Kut Finco INTRODUCTORY OFFER! 505' are given ap- Quotation Fairchild pealing performances full of high spirits, Pickering Sonar the agility, and refined detail. Though some Visit our 3 N.Y. Showrooms ADC Cartridges off single copy price Audio Tape of the tempos really keep the players l'or Spretal 152.pag- FFI -Fi, Magnecord' (Il. Co unuel,ntl ., Cata- on their toes, never for a minute do log. send 25e coin or ADC Speakers - Fntr Trnard these readings become hard- driven. Mail orders accepted. Menuhin keeps his winds forward and Send $1 for copy and details to Send inquiries to main store at molds the string parts with velvet poign- ance and delightful, subdued 132 Nassau St., New York, N.Y. 10038 color. record rating Service There is the requisite romantic songful- ness about his approach, but tempered P.O. Box 67 AIREX RADIO restraint and classical proportion Hudson, Now Hampshire 03051 are 69 West 23 St., New York, N.Y. 10011 also on evidence at every turn. 1 prefer 132 Nassau St., N.Y., N.Y., 212 -964 -1820 these readings even to Beecham's, and they are exceedingly well recorded. H.G. CIRCLE 2 ON READER -SERVICE CARD CIRCLE 47 ON READER -SERVICE CARD

1 114 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com SCRIABIN: Poem of Ecstasy, Op. 54 Rachmaninoff: Isle of the Dead, Op. 29. WHO SAYS SO?

Lev Volodin. trumpet: U.S.S.R. Symphony Orchestra, Yevgeny Svetlanov, cond. We say that the M7 5E MLLODIYA /ANGEL SR 40019, $5.79 (stereo only). HI -TRACK is significantly superior to any cartridge in SCRIABIN: Poem of Ecstasy, OP. 54 the moderate ($39.50) price 1 Schoenberg: Verklärte Nacht, Op. 4 class- because of its low Los Angeles Philharmonic Orchestra, cost, light tracking force, Mehta, cond. LONDON CM 9552 or Zubin and greater tracking ability. CS 6552, $5.79.

Scriabin's ecstatic Poem receives in the Angel version a performance that is a virtual lexicon of orchestral malpractice: WORLD'S attacks are ragged: intonation. particularly in the "" inds, is faulty: and the general ensemble playing is embarrassing. All this is compounded by Svetlanov's read- SECOND ing of the score, which is calculated to emphasize every imaginable surface effect but misses completely the long -range continuity. His regard for the text is at BEST best cavalier: long pauses occur where none is indicated and are missing where they are, and the tempos are often erratic. Soloist Velodin's flat. dull trumpet CARTRIDGE sound doesn't help matters. although he does have the necessary power for the demanding part. Mehta's Scriabin performance is fortunately much better. The Los Angeles ensemble, with rare exceptions. is excellent. and the various principals acquit themselves beautifully in the many solo sections (but here the trumpet soloist is given no credit! ). Mehta is also more successful in bringing off the over -all design of the piece, although in this respect WHO SAYS SO? we are still awaiting a definitive reading. the general criticisms Although sanie Virtually every independent of the U.S.S.R. Symphony's Scriabin apply also to its performance of Rach- high fidelity critic and the maninoffs Isle of the Dead. in this case testing orgarization that has the more straightforward musical argu- tested it both here and ment conies off rather better. It seems ... surprising in the light of the continued abroad ... agree that the popularity of the composer's piano con- V -15 Type II SUPER- TRACK;J certos that this work is so rarely heard at $67.50, is the finest, high- now. I myself find it far superior to the concertos: and its use of the Dies lrae- est trackabi ity cartridge in not so much as a melodic idea but as a the world. motivic cell which gradually emerges during the course of the piece-is quite striking. As for Mehta's Verklärte Nacht. the post -Wagnerian hue of Schoenberg's early WORLD'S style seems to suit his temperament very well, and he directs a powerful and convincing performance. But for those like myself. who feel that Schoenberg's score BEST loses much of its most characteristic quality %%hen performed by full string orchestra rather than a sextet. the performance s ill remain essentially unsatisfactory. The CARTRIDGE complexity of the contrapuntal writing. defined by a vast network of subtle motivic relationships. is too often submerged in the lushness of the full string sound. Nevertheless, the Los Angeles musicians put on an impressive display and indicate that this orchestra is to be ranked among the best in the country: and London's recorded sound shows them off to very good advantage. R.P.M. CIRCE 51 ON READER -SERVICE :ARD MARCH 1968 105

www.americanradiohistory.com SIBELIUS: Songs check has turned up previous versions of Viiren flykstar hasti.¢t is taken rather only three. Since there are, of course, no sedately Flickan kom ifran sin ülsklings mate; for the indicated Vivace, and duplications with Krause's earlier record Kullervon Rennes budskap; liigargossen; Lüntan -J valitus (a section of the 1892 for London, and only two with the out - Ku!lervo peter min ad redel: Pa verande,, vid Symphony) probably can't be of -print Kim Borg disc, the Sibelius en- made ha vet; Romeo; Marssria,,; Kullervon thusiast to work in a piano transcription, will find this new set an in- where all the musical valitus; Hasa Mil; Den fürsta kyssen; dispensable gestures are out item simply on the grounds of scale with their I systrar, i brader; Vliren flyktar hastigt; of repertory. realization in sound. Whether the non -Sibelian will Necken; Langsamt sonc gvüllskyn; Jag He will also find it find desirable from much of interest here is another question. etc trad; Norden. the standpoint of performance, for There are long stretches where the logic Krause is mostly in excellent voice, and Tam Krause, baritone; Pentti Koskimies, of the harmonic succession simply es- Koskimies is a fine musician. The vocal capes piano. LONDON OM 36030 or OS 26030, me, and when it is perceptible it is sound is smooth and even except for usually tiresomely $5.79. a few high obvious. A couple of Gs that might also belong the later songs -the Tavaststjerna to another singer- they're not bad notes, settings from Op. 61 and Norden, with Of the sixteen songs on this record, only but in violent contrast to the evenness its coloristic exploitation of minor sec- five are currently available in other of timbre throughout the rest of the onds in the piano -are not without at- versions, and of the remainder, a quick range. A couple of songs miss fire: traction, and Hastkrüll is an impressive showpiece of wide -ranging declamation (although less so here than on London OS 25005, where Kirsten Flagstad de- ployed a still imposing voice against record a spacious orchestral background). Pri- marily a disc for specialists, I should say. The recording of both voice and piano of is superb, except for sale inner -groove distortion -in view of which, I wonder why Ku/ /ervou valitus, a loud and heavy the piece, was chosen to end a side? Texts and translations are provided on an month insert. D.H. STRAVINSKY: Petrushka (1947 version); Circus Polka CLAUDE DEBUSSY ISAAC ALBENIZ Los Angeles Philharmonic, Zubin Mehta, IBERIA cond. LONDON CM 9554 or CS 6554, FRENCH NATIONAL RADIO ORCHESTRA $5.79.

By now, Stravinsky's 1947 rescoring of Petrushka is no longer news on records; we have had several versions of quality, including one by the composer, and the present entry offers no overwhelming at- tractions, save for an extremely clear and well- defined recording job. Indeed, the sound is more than clear enough to expose what might be called the " Mehta edition of the 1947 revision," comprising a few trivial retouchings: a xylophone added to some tutti passages in Scene 1; two snare drums, on opposite sides of the stage, instead of the one prescribed, to introduce the ballerina's first trumpet solo in DEBUSSY Scene 3 (or could this be a Culshaw ALBENIZ touch ?); and an extremely peculiar ru- (Images pour orchestre, No. 2) I (Suite, orchestration by Arb6s) bato reading of the bassoon figure at the start of the waltz. Given Stravinsky's well -known abilities in the area of orchestration, this sort of thing would seem French National Radio Orchestra to be in a class with putting a mustache conducted by CHARLES MUNCH on the Mona Lisa -even if, in the pres- Two images of Spain, colorfully evoked by two master com- ent case, the mustache is very small. posers -one French, one Spanish. Glowingly I could wish too that Mehta were occa- interpreted by sionally less casual in his appreciation a master of the idiom. Yours, on colorful Nonesuch. of the 1947 score's quite specific tempo H-71189 (stereo only) List price $2.50 equivalences and changes; he has a tendency to create articulations where none r.oncsucil is desired, and to exaggerate the necessary ones. However, he gets rather good playing out of his orchestra. A side filler with Petrushka is a rarity, and the 1942 Circus Polka makes a welcome bonus, even though it is not as i well played as Petrushka or as pointed For complete catalogue, write as the composer's own version. But why, NONESUCH RECORDS 1855 Broadway, New York, N.Y. 10023 oh why, couldn't it have been put at CIRCLE 23 ON READER -SERVICE CARD II' HIGH FIDELITY MAGAZINE

www.americanradiohistory.com in the transitional pages 1, thus sparing the lis- jan's tempos the start of Side and the Allegro dash for the turntable if he between the introduction tener a mad too slow, and the timpani's want the Ringling Brothers' ele- giusto are far doesn't triplet ostinato in the epilogue phants trampling right in over the dead important is inaudible. An unremarkable Marc /he body of poor Petrushka? D.H. slave rounds out the disc. M.S.

Overture, TCHAIKOVSKY: 1812 TCHAIKOVSKY: Manfred, Op. 58 Op. 49; Marche slave, Op. 31; Over- Romeo and Juliet, Fantasy U.S.S.R. Symphony Orchestra, Yevgeny ture Svetlanov. cond. MELODIYA /ANGEL R 40028, $5.79 (stereo only). Don Cossack Choir, Serge Jaroff, cond. (in Op. 49); Berlin Philharmonic Or- Svetlanov must be awarded an A for chestra, Herbert von Karajan. cond. effort in this diligently prepared assign- DEUTSCHE GRAMMOPHON SLPM 139029, ment. He secures proficient playing from $5.79 (stereo only). his orchestra, and gives a rock -solid, and "Ruio'd'ere generally reliable account of this pyro- Tchaikovsky's 1812 Overture has not technical score. He also reinforces that lacked outstanding recordings since Mer- transfiguration scene in the finale -where cury started an arms race by including Tchaikovsky specified the use of a har- the sei of sun:' cannons in its 1954 disc with Antal monium -with an organ point, a revision The tender, tragic tale of Dido and Dorati and the Minneapolis Symphony. which is both justifiable and effec- Aeneas, legendary lovers in the lost Among the more memorable answering tive. Alas! Svetlanov's interpretation -or city of Carthage, immortalized in the on salvos have been Morton Gould's rather. the traversal he presides over- only authentic opera by England's RCA Victor and Bernstein's for Colum- bears little relation to the Byronic hero greatest 17th Century composer, bia (though Reiner's superbly recorded - of this symphonic poem. He reduces Henry Purcell. and cannonless -version on Victrola Manfred's wanderings to those of a proved that heavy artillery isn't a pre- Muscovite policeman walking his beat. Charles Mackerras, noted for his ap- requisite for a high -caliber performance). The Alpine mountain scenery. so stirring- proach to the period, conducts this Herbert von Karajan has now joined ly conjured by Tchaikovsky's music, be- definitive new version. With recently - the battle with a new DGG recording comes merely gutters and cobblestoned acclaimed soprano Tatiana Troyanos. that not only includes cannons but goes streets in the present scenario. Even the Both in their debuts on Archive. a step further. Instead of beginning the second movement (intended to depict Overture with the usual divided cellos the Fairy of the Alps beneath the rain - PURCELL: DIDO AND AENEAS (In and violas intoning the Russian hymn how of the waterfall) is strictly a mono- English). Troyanos, McDaniel, Ess- God, Preserve thy People. Von Karajan chromatic affair here. Svetlanov stead- wood; Monteverdi Choir; Northwest restores the hymn to its original choral fastly adheres to the metronomic tread German Radio Chamber Orch. /Mac- setting. As sung in authentic style by the of the Manfred motive. but the accurate. kerras, cond. 198 424 Don Cossack Choir, it is so startlingly graphically clear rhythms never spring effective that one wonders why Tchaikov- impulsively to life. Whatever faults I J. S. BACH: CANTATAS, NO. 80, "Ein sky didn't think of it himself. It certainly found with the recent Markevitch /LSO Feste Burg"/ NO. 140, "Wachet Auf." is a more legitimate procedure than account for Philips (uppermost among Giebel, Töpper, Schreier, Adam; St. Leopold Stokowski's practice of substitut- them was a certain disinvolvement and Thomas Church Choir; Leipzig Ge- ing a wordless solo baritone for the oversophistication). that record was far wandhaus Orch./ E. Mauersberger, trombone recitative in Rimsky -Kor- more distinguished than this new one. It cond. 198 407 sakov's Russian Easter Overture. also had the edge vis -à -vis clarity of in- tension established when strumental sound. H.G. HANDEL: ST. JOHN PASSION The dramatic Haefliger; the orchestra overwhelms the chorus at (Brockes Passion). Stader, Choir; Schola the thirty- fourth bar is not allowed to Regensburg Cathedral dissipate. Von Karajan drives the vir- TCHAIKOVSKY: Symphony No. 4, Cantorum Basiliensis /Wenzinger, tuoso Berlin Philharmonic at whiplash r7 in F minor, Op. 36 cond. A 3- record set. 198 418/20 tempos and with a demoniac intensity SCHUTZ: THE SEVEN LAST WORDS that rejuvenates the most commonplace Los Angeles Philharmonic, Zubin Mehta, OF CHRIST /SEVEN LITTLE SACRED passages. Even the endlessly repeated cond. LoNDON CM 9553 or CS 6553, CONCERTOS. Schreier, Adam, four -note scale figure before the final it $5.79. Apreck, Rotzsch; Dresden Cross peroration is brilliantly articulated in- Choir / R. Mauersberger, cond. stead of being thrown away as just so Temperament and color are present to 198 408 much padding. The ending does not a goodly degree in Mehta's interpreta- disappoint: the carillon weaves a thick tion, but the primary quality is a suave, MOZART: SYMPHONIES, NO. 6 IN F, tapestry of sonority, the cannons sound flowing lyricism. The first three move- K.43 / NO. 8IN D, K.48 /IN G, K. 45a, like the roar of some great prehistoric ments. in particular, are admirably "Alte Lambacher"/ IN G, "Neue Lam - beast, and the brass chorale cuts through straightforward and cleanly executed by bacher ";Salzburg Camerata Academ- triumphantly (albeit with less than im- the Los Angeles ensemble. One notes the ica Orch./ B. Baumgartner, cond. maculate ensemble). orderly, transparent work of the wind 198 409 DGG's engineers have wisely placed octet in the third- movement trio and the cataclysmic final pages as far from many other such instances of shipshape the center of the disc as possible so orchestral work. Even the finale, a mite as to avoid compression or distortion, whipped up at dramatic climaxes, is- ARCH IVE and have recorded the whole with un- by the yardstick of customary Tchai- PRODUCTION usual presence, solidity, and depth. By kovsky performance-a model of discre- comparison, the same conductor's older tion. The clean, spacious sound speaks Archive Records are distributed by MGM and broader recording with the Phil - well for the acoustics of Royce Hall at Records, a division of Metro -Goldwyn -Mayer Inc. harmonia Orchestra on Angel seems U.C.L.A.. and the use of ten stringed Free on request! The new illustrated DGG/ pallid indeed. basses gives a welcome bloom to the Archive catalog. Write MGM Records. Clas- one sical Division, 1350 Ave. of the Americas, Romeo and Juliet is very fine but must colorfully scored music. Definitely New York, N.Y. 10019. yield at points to Bernstein's beautifully of the outstanding Tchaikovsky Fourths Engraving of Dido and Aeneas courtesy of paced account on Columbia. Von Kara- in the catalogue. H.G. The Bettmann Archive. CIRCLE 5 ON READER -SERVICE CARD MARCH 1968 107

www.americanradiohistory.com VERDI: Quattro Pezzi Sacri The Angel record is of course a large - WEBERN: Im Sommerwind; Three scale effort, with the Philharmonia Pieces Musica for Orchestra -See Berg: Aeterna Chorus and Orchestra, Chorus at its full complement of 240 Lulu: Symphonic Suite. Frederic Waldman, cond. DECCA DL singers and a large orchestra. The Phil - 9429, $4.79 or 79429, $5.79. harmonia forces are also qualitatively superior to Waldman's small group YARDUMIAN: Mass, Come, Creator For some years, Frederic Waldman's (about a hundred singers and players Spirit Musica Aeterna concerts in the Grace altogether), and Giulini brings to his Rainey Rogers auditorium at New York's reading a dramatic approach consistent Lili Chookasian, mezzo; Metropolitan Museum members of the of Art have with the operatic character of much of Fordham University Glee Club; mem- played a treasured role in New York this music. However, excellent micro- bers of the Thomas More College Wom- musical life, and record listeners have phone placement gives Waldman's chorus en's Chorale; had Chamber Symphony of the pleasure of his fine Haydn, a full tone and good balance, and Philadelphia Chorale, Handel, and Monteverdi Robert Page, performances. some listeners will prefer his more re- cond.; Chamber Symphony of Philadel- In recording the Quattro Pezzi Sacri he strained style. phia, Anshel Brusilow, cond. RCA meets competition of the most exacting The Decca record contains a four -page VICTOR LM 2979 or LSC 2979, $5.79. NI9 sort, Carlo Maria Giulini's version with insert with full texts and translation and U --the Philharmonia Chorus and Orchestra an excellent essay on the music by Commissioned by Fordham University for Angel, and meets it with distinction. Joseph Braunstein, P.H. for the commemoration of its 125th anniversary, this vernacular Mass arouses interest more for what it might have been than for what it is. In providing a musi- From the sublime to the subliminal... cal setting of the English text of the Ordinary of the Mass for large -scale performance on a festive occasion, it MERCURY'S EXCITING NEW RELEASES employs a soloist, orchestra, and small chorus; the score also calls for the participation of the congregation, which in this record, as in concert performance, is replaced by a larger mixed chorus. Yardumian has selected musical materials from the traditional hymns of the Roman Catholic Church and has used them in HANDEL ways similar to Renaissance practice: the Vesper hymn Come, Creator Spirit (Veni, Creator Spiritus, also used 1.2Conarti Gnr.sinpr by 77,-*= Mahler in his Eighth Errglisli Ch,trnlrrOn htsha Symphony) plays Raymond' Lrypanl an important thematic part in the sections designed for congregational sing- .J- ing. The Kyrie, Gloria, Credo, and Agnus fï' Dei also contain thematic material from the Liber Usualis, the major Benedictine compilation of Gregorian Chant. Yar- dumian's own Armenian extraction con- HANDEL: 12 CONCERTI GROSSI, BACH: THREE SONATAS tributes a tenth -century Sanctus theme FOR from the Armenian Op. 6 ( Complete) CELLO AND PIANO, S. 1027 -9 liturgy. English Chamber Orchestra, con- Janos Starker, cello; Gyorgy The work does not, I'm afraid, come ducted by Raymond Leppard. Sebok, piano. SR90480 off very well. Yardumian writes in a SR3 -9124 (3 record set) heavy, turgid style. Passages calling for congregational singing are especially so, but even those requiring only the smaller chorus lack clarity. Extensive use of imitation and other rather elemen- tary contrapuntal devices contribute to the heavy texture. Yardumian, it seems to me, inclines too much towards obvious contrasts, dictated by the text but not brought into dramatic perspective or musical continuity. The Ordinary of the Mass requires a composer capable of mastering dramatic shifts of moods and casting them into a unified work. In this performance, moreover, the choral texture buries the orchestral detail: one hears an amorphous instrumental body, but its main impact comes from the brass. I suspect CLASSICAL RAGAS OF INDIA PIERRE HENRY: LE VOYAGE that Anshel Brusilow, Seven Ragas performed on sarod, (A Panorama of Experimental a young conductor only just starting to tabla, tambura, sarangi, satara Music, Vol. 2) take command of his chamber orchestra, is not yet and other traditional instru- Henry's electronic score is based up to the challenge of a ments. Recorded in India. on The Tibetan Book of the Dead. complex work for such mixed forces. SR90481 SR90482 The choral groups, for example, simply are not completely welded together. How- ever, the artistry of Lili Chookasian For new catalog, write to deserves high praise. P.H. MERCURY RECORDS 110 West 57th Street New York, N.Y. 10019

CIRCLE 40 ON READER -SERVICE CARD 108 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Janet Baker copes with this particu- SchwarzKopi, lar problem admirably; but this brings us to the other half of the rub. She Fischer- Dieskau, Moore: RECITALS sings the twentieth -century songs much better than the early seventeenth- century ones. There's something too projected, THE T ¡1IIh'iUI[JfTE. MISCELLANY too public, about her Dowland and Xe90 Wolf's Spanish Song AOa4'. her Campian. I don't think this is simply a matter of prejudice, born of the fact that most singers who attempt this reper- THE 11811hiWl toire couldn't project if they wanted to. It's rather a matter of making things too explicit in an emotional sense. The Three world -renow ied lieder tendency worried nie when Miss Baker interp- ?,ters, also close per- showed it in her "He was despised," sonal `r;ends, explore the in the Mackerras Messiah recording. and subt e ruantes of Wolf's most it worries nie even more here, because JANET BAKER: z1 Treasury of Ln- song cycle. A tri- lute song which the singer usually challenging glish Songs, I 597-1961" -in accompanied himself -is an exceptionally umphait performance, and art form. More the only available version. Dowland: Come again, sweet lore. subtle and intimate it can be asserted that Miss Campian: Never lore unless you can; tangibly, WOLF: T -lE SPAN!SH SONG Baker plainly has not lived with the Oft have I sighed; If thou longst BOCK. Elisabeth Schwarz- the style in the way Peter so much to learn; Fain world / wed. period and English have. Other- kopf, soprano; Dietrich Purcell: Sleep, Adam, sleep: Lord, what Pears and Gerald made some Fische--Jieskau, baritone; isman? Boyc Tell me lovely shep- wise she would surely have verses in these Gerald Moore, piano. A two - herd: Monro: Afy lovely Celia. Arne: attempt to embellish later And the omission of the Where the bee sucks. Stanford: La Belle strophic songs. record set. 139 329/30 stanza seriously weakens the point Dante sans merci. Parry: Proud Maisie; last to north, of Campian's If thou longst so much Meanwhile, tie O mistress mine. William Busch: Rest. Herber. von Karajan trium- ring -time. Vaughan to learn. Warlock: Pretty phantly returns to Sibelus Williams: Linden Lea. Gurney: The The more extrovert Purcell songs Boyce is a A vibrant new ''Va'se fields are full. Britten: Corpus Christi are splendidly done. The country. Carol. Ireland: The Salley Gardens. gem -both music and performance. The Triste" and three other pow- Quilter: Love's Philosophy. accompaniments are excellent. The re- erful interpretations, for the cording is impeccable. Miss Baker makes first time on one DGG record. Baker, mezzo: Robert Spencer, a glorious sound throughout. But I must Janet SIBELIUS:FINLANDIA /VALSE lute; Martin Isepp, harpsichord: Am- not do her the disservice of suggesting here approaches TUO- brose Gauntlett, viola da gamba: Doug- that her achievement TRISTE /THE SWAN OF Bach, and las Whittaker, flute; Gerald Moore, the level of her Gerontius, NELA /TAPIOLA. Berlin Phil- recordings, of her New York piano. ANGEL S 36456, $5.79 (stereo Mahler or harmonic /Karajan. cond. only). recitals last winter. 139 016 No texts are provided. I can distin- guish most the singer's words, but not MANN: DAVIDS- I yield to no one in my admiration, of SC-IL which borders at times on worship, for quite all of them. B.J. BUENDLER DANCES /PAPIL- this lovely artist. But I am frankly dis- LONS. Wilhelm Kempff, appointed by this record -partly because piano. 139 316 of the performances. partly also because HAROLD BAUER: Piano Recital CONCERTOS FOR FLUTE of the actual choice of music. No doubt I ought to be grateful for Bach: Well - Tempered Clavier, Book I: AND ORCHESTRA. Mozart, No. 3, in sharp a collection that ranges so widely and Prelude and Fugue, C Bla.ret and Léclair. Aurèle yet duplicates so little. However, if a minor. Brahms: Sonata for Piano, No. Nicolet, flute; The Lucerne representative selection were the aim, 3, in I minor, Op. 5: Waltzes, Op. 39: Festival Strings /Rudolf the absence of George Butterworth, No. 15; No. 16. Chopin: Berceuse, Op. Baumgartner, cond. 139 311 Thomas Dunhill, and Michael Tippett 57. Couperin: Le Carillon de Cythère. is odd. And in any case I don't feel that Debussy: Rêverie. Handel: Suite No. 5: DON COSSACK CHOIR: AVE - this is a really helpful way to present Air and Variations. Mendelssohn: Char MARIA. AND OTHER GREAT twentieth -century English song, when acterstück in A, Op. 7, No. 4. D. Scar- CHORAL MUSIC. Includes even the best exponents of it are still latti: Sonata for Harpsichord, in A, L. Ave Maria (Bach- Gounod); 345. Schubert: Moment musical, No. 3, scarcely known in this country or, for God, Save Thy People (Tchai- in F minor, D. 780, No. 3. Schumann: that matter, in their own. Generous kovs''cy); 1st Psalm of David; helpings of Warlock and Vaughan Wil- Romance in B fiat minor, Op. 28, No. I. The Bel s Toll in Jerusalem. liams would. it seems to me, have made 136 544 a better foil to the Campian and Pur- Harold Bauer, piano. VERITAS VM 108, cell bias of the admirably programmed $5.79 (mono only). . first side. As it is, apart from the Stan- ..'V::.;: ford, Warlock, Vaughan Williams, and When the HMV -Beethoven Sonata So- Gurney items. all the songs on Side 2 ciety was devised in the early Thirties, 'Deutsche are rather dull. The Parry numbers are the task of recording the marathon cycle stiff and contrived. the Britten and very nearly went to Harold Bauer (1873- g Quilter are undistinguished. and Ireland 1951) instead of to Schnabel. Wilhelm CJ.eS6uSGlIafi. is really one of the most justly neglected Backhaus. a third contender for the honor, of composers: in his Salley Gardens, finally did get around to the project some DGG Records are distributed by twenty years later, but a mere handful MGM REccrds, a div,s,on of Metro listen to the limp word setting that puts GoldwyrwMayer Inc. no stress at all on "love" and "life" in of recordings is all that remains of Bauer's memorable artistry. Free on -equest! The new illustrated the phrase "She bade me take love DGG ¡Arch ve catalog. Write MGM [second stanza -life] easy," with the No serious collector of piano music Records, Classical Division, 1350 can to bypass the present collec- Ave. of tFe Americas, New York, result that the singer has to do all the afford N.Y. 10019. work of expression, instead of having tion, which Bauer recorded in 1938 at a solid contribution from the composer. the recording studios of G. Schirmer. p- CIRCLE 19 CN READER -SERVICE CARD

MARCH 1968 I 09

www.americanradiohistory.com Included is one of the two stupendous tronic devices. Although each composer editions of the Brahms F minor Sonata uses a completely different set of elec- made during the 78 -rpm era. (Percy tronic gear, the three pieces are, never- A Grainger's early Columbia set was the theless, very much alike. Each is a ran- other; any chance of Veritas issuing that dom tissue of noises and each is a dread- Dramatic New on a later release ?) Bauer's grasp of the ful bore. Cage, the old master, provides work's often elusive architecture as well more variety of effect than either Alvin as of its youthful ardor is handsome tes- Lucier or Toshi Ichyanagi, but even he Interpretation timonial to his intellectual grasp of this grows tiresome very quickly in this music. To be sure, his conception is a context. of Beethoven's very personal and romantic one, but the The rest of the program on this disc emphatic underlinings and expressive lib- consists of short pieces for voices without 3rd Symphony erties are fitted into a scheme that al- electronic modification. Most original is ways moves forward with wonderful Pauline Oliveros' Sound Patterns. With (Eroica) economy. Bauer's Brahms is "Grand great spirit, style, and good humor Miss Manner" pianism at its rugged best. In Oliveros requires her vocalists to impro- the Waltzes, Bauer has the ingenious idea vise pitches and to indulge in such un- of playing No. 15, going on to No. 16, orthodox kinds of sound -producing be- and then returning again to 15 as a havior as "whispers, tongue clicks, lip da capo. The "do -it- yourself A.B.A. kit" pops, and finger snaps." Some of the was evidently very popular a generation effects here suggest, for an unbelievable ago (as witness the Diller -Quaile Solo moment or two, that the other sound - Books for piano students)! I am fasci- producing orifice of the human body is nated too by Bauer's treatment of the also being employed, but this is not cor- Chopin piece, which for once has in its rect. Our avant -garde composers have bass line the lullaby quality that so many not yet arrived at using that resource, pianists miss. Bauer was a master of but they will in time, you may rest as- tonal wash and pedal effects. I remember sured. well his trick of silently depressing some Best of the non -electronic group is Cincinnati bass keys to give a mysterious atmosphere She Was a Visitor, by Robert Ashley. Symphony (of overtones) to the "rock -a -bye baby" The title sentence is repeated by a single Orchestra passage at the end of ChOpin's F minor speaker over and over again, and by a Max Rudolf..w... . Fantasy. complicated method (described in the Whether this penchant for color and jacket notes) Cincinnati the sounds of this sentence Symphony Orchestra tonal suppleness suited the works of the are transformed by the chorus into a Max Rudolf, Conductor baroque and classical masters is a moot chiming, chittering, effervescent texture point. For all the admirably straightfor- as if a million birds were going at once Other Distinguished ward, sturdy sentiment of Bauer's treat- in a forest where a million crickets were Cincinnati Symphony Recordings: ments, there have been more eloquent making the most of their opportunities and incisive renditions of the A major while the wind played strongly among the MOZART: Scarlatti Sonata and Handel's Harmoni- leaves. A beautiful piece. ous Blacksmith. The Bach gets a very Serenade No. 9 ( "Posthorn ") Morton Feldman's Chorus and Instru- Symphony No. 28 fast, ardent kind of reading, which I like ments 11 and Christian Wolff in Cam- very much. DL 10129 (M &S) Perhaps Edwin Fischer's bridge, both sound like the quiet end- -complete recording of the Well- Tempered ing of a piece about God by Charles BRAHMS: Clavier and sundry piano performances Ives. The instruments used in the first Symphony No. 4 by Harold Samuel and Myra Hess have Feldman score are a tuba and chimes. DL 10128 (M &SI accustomed me to romanticized Bach. A.F. PAGANINI: Of Bauer's memorable work on behalf of Schubert, Schumann, Debussy, and Concerto No. 2 Mendelssohn there can be no quibbling; CAPELLA ANTIQUA: "Voices of the SAINT- SAENS: his interpretations of all are warm, satis- Middle Ages" Concerto No. 1 fying, and completely idiomatic. Ruggiero Ricci, Violin As a very young child, I knew Mr. Anon.: O Maria maris stella-Vcritatem; DL 10106 (M &S) Bauer. He was a gentle, modest man- O miranda dei karitas -Salve mater sal- HAYDN: and as these performances attest, a sub- utifera- Kyrie; Veni virgo beatissima- limely gifted artist. The sound of the Veni Symphony No. 86 sande Spiritus- Neiuna; Homo record is of course not of today, but it lugcbat-Homo miserabilis- Brunians est Symphony No. 57 is totally adequate and frequently much mors; Sei srillekommen Herre Christ; Ave DL 10107 (M &S) better than that. H.G. virgo virginiuit, Gaudens in Domino; Der CARL NIELSEN: Tag der ist so freudenreich; Dies est Symphony No. 4 laetitiae; Fulgent nunc; Nun bitten wir BRANDEIS UNIVERSITY CHAM- den heiligen Geist; Komm heiliger Geist ( "The Inextinguishable") BER CHORUS: "Extended Voices" Herre Gott. Dufay: Allelu %a veld DL 10127 (M &S) sande Spiritus; Conditor aine sideriun; Alma MENDELSSOHN: Lacier: North American Tinte Capsule redeniptoris mater; Magnificat octavi Symphony No. 5 1967. Cage: Solos or Voice 2. ichyanagi: toni; Veni creator Spiritus; Spiritus Extended Voices. liveros: Sound Pat- ( "Reformation ") Domini repleidt. Antico: Senza te sacra BERWALD: terns. As ey: She Was a Visitor. Feld- regina. Resinarius: Komm Gott Schöpfer. f\ man: Chorus and Instruments 11; Chris- Symphony in C Major tian Wolff in Cambridge. J Capella Antiqua, Kurt Ruhland, cond. ( "Singul i ère ") NONESUCH H 71171, $2.50 (stereo only). DL 10144 (M &S) Brandeis University Chamber Chorus, Alvin Lucier, cond. ODYSSEY 32 16 01555 Nonesuch has produced a delightful rec- (M) MONO (S) STEREO or 32 16 0156, $2.49. ord which should please both cognos- centi of medieval music and neophytes. IDECCA A Div.sion of MCA Inc. The first three co,o,..0 compositions listed above If the general style is familiar, the in- are relatively long works for voices total- dividual pieces probably will not be, as ly transformed in sound by various elec- most of this excellent selection is new to CIRCLE 6 ON READER -SERVICE CARD 1 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com IaII=iNS EMlafaf,Fa INN 7 disc. e subtitle "Musicusic from the Gothic coeur is exceptionally beautiful, and the Cathee ral" has not kept conductor Ruh - others, even the fast ones, are all ef- land f om concentrating on what might fective (and in most of these songs, ef- be cal ed the livelier side of the Middle fect is what counts). IF YOU'RE Ages. I predict overnight success in About the German side, I am a bit Ameri an collegio musics, for example, less enthusiastic. There is some breath- for th jolly Fulgent nunc, an irresistible taking vocalism here: the control of the tidbit rom the Glogauer Liederbucll. soft singing in Anakreons Grab, the color GAME, The clean and sparkling singing and contrasts between the light, pointed the sh rp -edged sound of the shawms and sound for ¡eh hab' in Penna. the floated krum horns are heightened by the stereo tones in Verschwiegene Liebe, and the SEND A separa ion which delineates the different darker sound for the Schumann cycle. layers of the thirteenth -century motets. But in a number of these, there is a tend- The I apella Antigua's performance is ency to pull back from climaxes, a splend d until they reach the one superbly reluctance to move forward (a little - QUARTERI beauti ul piece on the disc. Dufaÿ s but only a little -like the Sutherland gorge s setting of the Marian antiphon rhythmic limpness). if the line here had It takes cool to appreciate to- Alma redempwris mater. one of the more of the ongoing quality that is al- day's "new" music. And we'll lyrical high points of the fifteenth cen- ways present in the Debussy group, these tury, fortunately receives a most pedes- would be really memorable interpreta- help you get it. For a mere is trian . rformance by choirboys who tions (i except Der Gartner, which $.25 (to cover the cost of plod elentlessly over the delicately impossibly slow and rather too coy). At mailing and handling) we can shape melodic line. any rate. high marks for the inclusion - In . y mixed hag of unfamiliar treas- of the brief but impressive Schumann un -kink your musical hang ures li e this the recording company can cycle: despite some mannerisms. this ups with an ear -opening, eye - assist he listener immensely by provid- reading makes the more literal Helen opening guide to M.O.O.T. ing a quate notes. Nonesuch has sup- Watts version sound rather prosaic. plied model set, including a short but Throughout. Wustman's playing mir- (Music of Our Time). Our 7" know) dgeahle discussion of the music, rors the musical qualities of the singing, introductory LP includes the an ex ra sheet of texts with English both in its virtues and its occasional de- "now" sounds of trans) ions, and for those who want it ficiencies: the celebrated hurdle at the fascinating a list of sources and modern editions end of Ich hab' in Penna is cleared with Cage, The Byrds, Stockhau- (tucke discreetly away in small type). great aplomb. I could wish for a more sen, Moby Grape, Babbitt It sav-d me a lot of time, for instance, focused piano sound. however: London others. It's music you'll to fin that there was no point in search- can certainly do better, as it proves in and ing a library for the delightful jumpy the recent Torn Krause disc of Sibelius never hear in the concert hall, Gaude is in Domino which I had enjoyed songs. Texts and translations are provided written to shake your stereo panic arty. Congratulations to whoever on an insert. D.H. founda- rescue it from an obscure manuscript in off its complacent a Dies en convent for this performance. tion. Listen at your own risk. S.T. KATHLEEN FERRIER: Vocal Re- A whole new bag. cital MUSIC OF OUR TIME. COLUMBIA'S EXCITING NEW SERIES: REGI E CRESPIN: Song Recital Handel: Semele: Where'er you walk; Atalanta: Like as the lovelorn turtle. Schum nn: Gedichte der Königin Maria Purcell: The Fairy Queen: Hark! The Stuart. Wolf: In der Frühe; Der Gartner; echoing air. Monteverdi: Arianna: Lasci- M. M Das rlassene Miigd/ein: Ich hab' in atemi morir. Lotti: Arminio: Pur dicessti. O.O Penna; Anakreons Grab; Verschwiegene Gluck: Orfeo: Che faro senza Euridice. T Liebe. Debussy: Chansons de Bilitis. Schubert: Lachen und weinen. Brahms: Poulen : Chanson d'Orkenise; Hôtel: Le Sonntag. Parry: Love is a bable. Stan- Carafe t: La Reine de coeur; Les Gars ford: The fairy lough. Trad.: Ca' the I qui vo it à la file; "C "; Fêtes galantes. yowes: The Spanish Lady. A GUIDE TO THE ELECTRONIC REVOLUTION IN MUSIC Régine Crespin. soprano: John Wustman, J Kathleen Ferrier, contralto; piano. With examples from works by Babbitt, Cape, Foss, Oliveros, Pousseur, Stockhausen and others piano. I ONDON 63043 OS (mono OM or 26043, Rococo 5265 $5.95 only). Narrated by John McClure $5.79. Clie faro senza Kathleen Ferrier? It is The m st immediately striking aspect of fourteen years now since she died. but Send $.25 per album to M.O.O.T. this re ital by Mme. Crespin is the purity no singer since has even called her voice P.O. Box 50 / Radio City Station New York, New York 10019 of her intonation; i have rarely heard a to mind. let alone replaced it. That even, voice r f similar size handled with such secure. serene sound still haunts the ear; HF -I finesse and focus. The lady obviously true. sonorous. innately musical, utterly has a eniarkable ear, especially for an individual. No artist could ask a nobler opera inger; the few lapses from perfec- memorial than her voice. arched in grief, Name tion (v ry few indeed. but of course they as we hear it on this record in Orfeti s stand t more in such surroundings) are lament and Monteverdi's "Lasciatemi Address obviou ly due to "mechanical difficulties" morir." rather han to any defect of musicality. Of the dozen items here, half at least City Easil t the finest thing on the disc is are Ferrier performances not available the De ussy cycle. a performance that, elsewhere, and admirers will make haste for su tle coloring and scrupulous mu- to obtain them. muttering (one hopes) a State Zip sical a curacy, surpasses any recording word of appreciation to Rococo on the is $ I've ev r heard of these songs. The de- way. There is a full range of emotion Enclosed livery f the text is as natural as speech, in the program offered, all the way from for copies of M.O.O.T. but ne er runs the risk of turning into the gravity of Arianna to the sheer humor some ind of pitched speech, for tone of The Spanish Lady: the Purcell is a M.O.OT. Is What's Happening. and I gato line are always present. special delight. Despite the variety of lan- 1 RECORDSMJ Amon the Poulenc items, La Reine de guage and style, the program holds to- On COLUMBIA CIRCLE t4 ON READER -SERVICE CARD MARC 1968 111

www.americanradiohistory.com gether and makes an acceptably unified TOM KRAUSE: Vocal Recital principally for its inclusion recital. of three less than familiar items. The William Tell Rococo does not identify the source Mozart: Don Giovanni: Finch' han dal aria is one of Rossini's noblest, but not of this material but it could well be an vino; Deh vieni alla finestra. Rossini: often heard these days; lgor's narration aircheck acetate, vintage 1948 or so, from Guillaume Tell: Sois immobile. Leonca- is a reminder of the riches waiting for Canadian or Scandinavian broadcasting vallo: Bohème: us La Scuoti, o venta. Gior- in the Russian repertoire, now beginning files. There are occasional technical flaws dano: Andrea Chénier: Nemico della to come West again (with the help of and one persistent little buzz (like a mini- patria. Borodin: Prince Igor: Igor's Aria. the Melodiya catalogue); Rodolfo's invo- ature harmonica) which rides above Wagner: Tannhäuser: O du, mein holder cation from 'the other' Bohème (yes, in loudly modulated passages and will not Abendstern; Der fliegende Holländer: Die that one Rodolfo is the baritone and be tamed by the treble control -but this Frist ist um. Marcello the tenor) is a tantalizing and is not anywhere near bad enough to be atmospheric sample from a work that crippling. That apart, the balance and Tom Krause, baritone; Vienna Opera Or- will forever be obscured by Puccini but sound quality are adequate. With the chestra, Argeo Quadri, cond. LONDON nevertheless deserves an occasional re- records comes a useful and authoritative OM 36042 or OS 26042, $5.79. vival and a decent complete recording. biographical note on Ferrier written by In these arias (and indeed throughout Helen H. Hatton of that apparently ami- This recital finds the young Finnish bari- the disc) Krause sings with his customary able Toronto radio station CHUM -FM. tone in something below his best vocal musicianship, discretion, and power-and G.M. form, but the album is worth having with notable clarity of diction in all four languages; but there is a sense of strain, particularly in the legato, which has not appeared in his earlier work -a hint of stridency and imperfection of pitch, particularly in the upper register. Quadri's work with the orchestra is t4_£F,..'`'..Aqr most proficient, and the recording quality . .. is first -rate. There is a sleeve note on each BOSTON SYMPHONI(..:ORCHESTRA of the arias, but this does not compen- I It I/ 11INSDORF, AbwrlUirrnw sate for the absence of texts and transla- THOMAS D. PI:RRY. J...aam{¡.r tions; they SYMPHONY HALL ROSTOM MASS41Ik'5kTT5 02111 should be routine for such multilingual recitals. G.M.

June 19, 1961 MUSIC OF THE SIXTEENTH CEN- Mr. W. Schwann TURY: "The Triumph of Maxi- Schwann Record Catalog milian I" 137 Newbury Street Boston, Massachusetts Q 11 Anon.: Toccada; Fanfare. Isaac: La la hü hü; Virgo prudentissima; Isbruck ich muss dich lassen; Carmen; Pay pris amours; O Venus banc; Le serviteur; Lasso quel It is a rare event when any product of the ch'altri fugge; Et fe boi human mind has been accepted as a singular achieve- d'autant; Un di lieto giamai; Tricinium. ment. While there is constant debate and dispute Senfl: O Herr ich ruf dein'n Namen an; over which encyclopedia, which of the dictionaries, Magnificat primi toni; Fortuna which of the anthologies of various kinds is -Ich superior, there is very little dissent (at least stiind an einem Morgen; Die Briinnlein I have heard none) over your accomplishment in die da fliessen; Nun grüss dich Gott; creating for the United States recording world Ach Elslein-Es taget vor dem Walde; the unchallenged, authoritative guide, both Maecenas atavis; Das Speyer. for the producer /performer and for the listener/ Gliiut zu buyer. With all the many companies and activities Hofhaimer: Salve regina; Tröstlicher I do not quite tee how you keep up to date, but Lieb; Hertzliebstes Bild beweiss; Carmen however you do it, it is certainly worthy of a magistri Pardi; On frewd verzer ich; big thank -you from all. Since I cannot speak for Meins traurens ist. Festa: everyone, of course, let me at least say bravo C. Quis dabit and thank you for myself. octdis (arr. Senfl).

With all'good wishe London Ambrosian Singers, John Mc- Carthy, cond.; Vienna Renaissance Play- Sincer yours, ers. NoNaisucH HB 73016, $5.00 (two discs, stereo only).

Music lovers who want to play Renais- ich sance prince for a day might well choose to be Maximilian I, the founder of the Hapsburg empire whose musical estab- lishment was the envy of sixteenth Thank you, Y. cen- 11. Leinsdorf, tury Europe. There are now four discs of music from his court at Innsbruck for your kind words. It means a lot to us to know our work available, with surprisingly little overlap- on Schwann Catalogs is helpful to musicians and all concerned ping of material. Complementing the Ar- with the making, selling and buying of long playing records. chive offering, "Music in the Chapel of Maximilian I" (73223) and Angel's recent "Music for Maximilian" (36379), SCHiVANN RECORD CATALOGS are available at record stores everywhere. Ask your this Nonesuch release concentrates on the dealer for your copy every month. If he doesn't carry Schwann Catalogs send us 60c together Emperor's three great resident com- with your name and address and that of your dealer. We'll send you a sample copy and posers, Heinrich Isaac, Ludwig Senfl, information about Schwann Catalogs to your dealer. and Paul Hofhaimer. The repertoire W. Schwann, Inc. ranges from large -scale motets celebrating 137 Newbury Street., Boston, Mass 02116 Maximilian and his circle to the chamber music they undoubtedly enjoyed at CIRCLE SO ON READER-SERVICE CARD 112 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the n ore informal court entertainments. If he soloists aren't quite up to Fritz Wun erlich (Angel) or the Concentus Musi us (Archive), they still turn in a rema kably good performance -at, one migh add, a considerably lower price. The ienna Renaissance Players are a Gabrieli grou of singers and instrumentalists whos sound includes a wide variety of colo from the lusty trombones and trum.ets of the introductory fanfare to home. the i timate clavichord on which Gudrun comes Schn eiser plays Hofhaimer's charming We have brought Gabrieli back to San Marco. Cari en. Among the singers the clear so- three centuries ago, his magnificent ceremonial music pran. of Maria -Therèse Escribano is out - Here, stan ling, especially in Isaac and Senfl's was heard in all its attra cive arrangements of the hit tunes sonic spler_dor. A STEREO SPECTACULAR! of t it day, J'ay pris amours, Die Brünn- Records OF GABRIELI lein die da fliessen, and, of course, the Columbia THE GLORY ever popular Innesbruck ich muss dich has undertaken the MUSIC FOR MULTIPLE CHOIRS, lasse I. immense project of BRASS AND ORGAN T e Ambrosian Singers, here led by Gabrieli's FIRST GABRIELI RECORD{NGS IN THE Joh McCarthy, give the best account re- creating FABLED ACOUSTICS OF SAN MARCO, VENICE on any label so far. in its original of t e choral pieces music BIGGS The sound is fine, and the two -disc box E. POWER acoustic environment. ORGANIST inch des a handsome set of notes, texts, A stereo S?

Tra litional: llatikrah. Mendelssohn: On COLUMBIA Cots certo for Violin and Orchestra, in E RECORDS nein r, Op. 64. Mahler: Symphony No. 2: last movement.

Net Inia Davrath, soprano; Jennie Tourd, CIRCLE 14 ON READER -SERVICE CARD nie' o; Isaac Stern, violin; Tel Aviv Phil- han ionic Choir: Israel Philharmonic, in cod eration with Kol Yisrael Symphony Orc lestra, Leonard Bernstein, cond. Cot UntiIA ML 6453 or MS 7053, $5.79. DISCOUNTS Thi record was made at actual perform - SELLING HI -FI WRITE FOR anc s in the amphitheatre of the old He- hre University on Mount Scopus in NATION -WIDE Jcr salem, in the Congress Auditorium WORLD QUOTATION of he same city. and in the Mann Audi- tor Inn. Tel Aviv. The performances were WIDE FACTORY SEALED CARTONS giv n in July 1967. And one of the most FRANCHISED DISTRIBUTOR things about the record jacket SINCE charming QUICK SHIPMENT is hat it makes no direct reference to the war whose conclusion these concerts 1948 cel brated -the nearest it conies being opening of WE GIVE an allusion to "the cultural COMPONENTS RECORDERS the United City of Jerusalem."

IVIARCH 1968 ]13

www.americanradiohistory.com Indeed, it's the first album to capture the band's true sound, perhaps because theLEESsi" all previous recordings were made during "live" appearances by the band. To get their sound on tape, producer John Hammond used twenty -four microphones on the twenty -one musicians, and the driest, deadest studio he could find in Los Angeles. He picked up not only the range of the orchestra's dynamics but its echo -y eeriness as well. Open Beauty, one of the most attractive pieces in the band's growing library, uses an amplified woodwind section, an unidentified electronic keyboard instrument (probably a clavinette), the sound of which is reverberated, and Ellis' own horn, playing those surprising one -man canons that puzzled and then excited East Coast audiences when they first saw the band last summer. Ellis will play a note, and when it comes back on tape echo, play another over it, and then a third over the echo of both notes; and thus pile up chords. Or he'll lay one line over another. Somehow he manages to make this self- ensemble swing. Finally, at the end of his solo in Open Beauty, he plays a line that descends in quarter tones, letting the tape echo smear it, creating an effect like that of paint Pon Ellis: somehow he makes his self -ensemble swing. running in the rain. Rock -and -roll has, of course, experimented with some of these effects. The Blues Project uses tape echo delay in Just Add Amps flute solos. But the only effect such groups seem to be able to summon is that of sheer oddity. They simply lack CHARLIE CHRISTIAN began 1 HEN using life easier for a trumpeter: he doesn't the skill and musicianship to explore it an amplifier on his guitar nearly thirty have to blow so hard to achieve volume, as Ellis and his band do. The rock years ago, it did more than increase the and his "chops" don't get as tired. But groups have gone mostly for gimmicks volume: the amplified guitar became a here too the significance isn't the added or volume, not for the creative use of fundamentally different instrument. Be- volume: it's the alteration in the actual electronics, although of course they are cause the tones do not have the rapid character of the instrument that counts. vehemently claiming artistry for them- decay of the acoustic instrument. a play- Clark Terry plays here a Selmer Vari- selves. er can produce long. liquid melodic lines tone trumpet. Since the instrument is It should be noted that Ellis has like those of, say, a clarinet. Even the not yet on sale, Terry used the com- another interest in common with the actual sound is different, not merely pany's demonstration model: he had rockers: Indian music. But here too louder. Christian's conception was unlike played it only once before the record there is substantial difference in the way that of any guitarist before him. and he dates from which the album is drawn. the material is used. He's really into became a forerunner of the bebop re- Thus it is difficult to say whether his it, and the rock people are merely volution in jazz. playing represents the full range of the dilettanting around with it. One of the For years. the guitar was the only in- instrument's potential. most exciting things about the Ellis band strument to be amplified. But recently The most noteworthy effect of the is its use of "unconventional" time amplifiers have been developed for any Varitone horn on the record is a doubling figures, as in the number Turkish Bath. instrument you can think of and at the of the melody an octave lower, which More and more, the members of this or- same tinge, the number of instruments makes it sound as if Terry is working chestra are becoming at ease in actually producing other their sound electroni- with a valve trombonist. As it happens, meters and scales, and they know what cally, such as Baldwin's new electronic Clark Terry probably commands more they're doing. harpsichord, has grown. Whether the tone color than any instrumentalist in The whole is greater than the implications sum of of these developments will jazz. Between his regular trumpet, re- the parts with the Don Ellis Orchestra, prove as far -reaching as those of the plete with its mutes, and his flugelhorn, which, as far as I'm concerned, is the amped guitar remains to be seen. But he can produce as many or more sounds most original big band since the Sauter - it seems likely that they will he even than are in evidence on this record. Finnegan Orchestra. greater. But trumpeters who fall short of Terry There's no use moaning about the ar- Two albums released recently -"It's will perhaps welcome this electronic rival of electronic amplification -and not What's Happenin'" by Clark Terry (Im- means to broaden their palette. Terry much logical justification for complaints pulse A 9157, $4.79 or AS 9157, $5.79) could do without it. either. After all, the wooden box that and Don Ellis' "Electric Band" (Colum- This is not to denigrate Terry or the gives a violin its volume and its char- ~bia 2785 CL or CS 9585, $4.79)- stress album. It's an exceptionally good album, acteristic tone colors is only a means the use of amplified trumpet. In addition, in fact. Terry is the most consistent solo- to amplify mechanically the sound of the sax -woodwind section is amplified ist in jazz-the fluid grace and irre- stretched strings. Electronic amplification during part of the Ellis album, while pressible wit of his playing make him is but an extension of the principle, not the pianist occasionally turns to elec- one of jazz's greatest delights. Electronics a departure from it. tronic instruments like the clavinette. simply don't add that much to it. Used with imagination and taste, as What is the use of amplifying a Such is not the case with the Ellis in the Don Ellis Orchestra, it is more trumpet, already a loud and piercing band. Startling use is made of amplifi- than promising: it is tremendously excit- instrument? First, amplification makes cation in their first album for Columbia. ing. GENE LEES

114 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Why you ought to spend $70 more for CONCORD'S automatic stereo tape deck

Why do you want a stereo tape deck? recordings are always perfect. If you tape, automatically reverses and plays To get more enjoyment from your spend $40 more for a third head you side two, then stops. It can be re- music system by taping your own are not buying anything that either played at the touch of a knob without recordings from radio or records. To improves the recordings or the listen- necessity of re- threading. The tape enjoy listening to the superior sound ing enjoyment. is always on the supply reel for con- quality of music on tape. The impor- Our automatic reverse -a-track 776D venient replacement or replay. A pre- tant word is enjoyment - your invest- records and reproduces sound with recorded tape automatically plays ment in your music system is for excellent fidelity. It adds much to the side one, then side two, then stops enjoyment and listening pleasure. enjoyment and pleasure of your automatically. Concord's uni- directional tape deck music system by making it easier to The automatic 776D has many other Mcldel 510D makes beautiful music. record and more pleasant and enjoy- important features including solid Its recording and sound reproduction able to listen. It's a better way to state preamplifiers, headphone jack capability is equivalent or superior to make and listen to tapes just as an monitoring for private listening, four any competitive product. However, automobile with automatic transmis- heads - fluxfield heads - center drive lik other manual tape decks, it re- sion is a more pleasant and enjoyable capstan - automatic and manual re- cor fs in one direction, plays in one way to drive. The automatic reverse verse at any point on the tape - dire action, and you must remove both 776D records and plays in both for- electronic automatic stop before reel ree s and re- thread the tape after re- ward and reverse tape directions. ends - the world's quietest and most cor iing or listening to record or listen While recording it automatically re- reliable tape transport mechanism to he second side. verses at the end of the reel and con- with Concord's famous "quality that on the second side lasts." We could add a third head to our tinues recording 510D for about $40, but it would not of the tape. You will never miss a note Increasing your investment in your significantly improve the recording or of a recording on the 776D. For listen- music system by adding a Concord of so d reproduction quality. A third ing, the 776D plays side one the 510D tape deck will add much to your hed permits you to monitor the tape enjoyment of your system - increas- while recording to determine if the ing your investment by about $70 recorder is operating properly. This more for our automatic 776D tape used to be necessary 15 years ago deck will add many times that in re- when recorders were used by radio cording and listening enjoyment. sta-ions and did not have the reli- Ibe Sq^aru,e of Ouar,ry ability of today's solid state equip - ment like our 510D. On our 510D uni- CONCORD ELECTRONICS CORP. Co..,.,<..,o,,..00wC., directional tape deck, you can moni- 1935 ARMACOST AVE. LOS ANGELES. CALIFORNIA 90025 tor the sound while recording and the

CIRCLE 18 ON READER -SERVICE CARD MARCH 1968 115

www.americanradiohistory.com DOC SEVERINSEN HE GREAT ARRIUA

DOC ; SEYERINSEN In the recording studios ... admiring fellow- musicians jokingly ... - E GR=AT but fondly ... call him "Superlips" ... and with good reason! Doc Severinser is teat unique musical talent that comes along all too ARRIVAL! rarely. He is almost too good to believe!

h is virtLoso trumpet (and flugelhorn) brilliance has been polished aid refried and expanded over the years until, today, he stands a one ... cn a pinnacle ... above all the brass masters of the world. And ...:958 s the year for Doc Severinsen. The year he will become a naticnally recognized SUPERSTAR .. because Doc is now "exposed" to millions of people nightly as musical star and or- ciestra leader of the Johnny Carson "Ton ght Show." His person- a ity and electrifying talent are winning new admirers every time =FEE AGAIN - WHAT THE WORLD NEEDS NOW IS LOVE - he performs. -FE MORE I SEE YOU - TRUMPETS AND CRLMPETS - ENCHANTE - YOU AND THE NIGHT AND THE MUSIC - Doc already has 8 COMMAND hit albums ... but this is unques- SLNNY - IT MUST BE HIM - UP, UP AND AWAY - tionably Ins greatest ... a marvelous blend of fresh new songs, won- NIKKI - I HAVE DREAMED - ALONE TOGETHER - derful staidares, and the latest contemporary hits ... all played ALBUM `927 with warmth and excitement by Doc and he Same Big Band You

See And Hear On TV. wfiRl I> 1 I A./1R IN t+I CJRU[ D SOUND Whether you're a long -time fan ... or have just become an admirer .. be sure to buy this latest album. "THE GREAT ARRIVAL" is a RECORDS

Great Masicai Treat! 1170 Averne of the Americas, New York, N Y 10019

CIRCLE 16 ON READER -SERVICE CARD 116 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com POPS JAZZ MOVIES STAGE FOLK

cvTHE LIGHTER SIDE reviewed by MORGAN AMES O. B. BRUMMELL GENE LEES STEVEN LOWE TOM PAISLEY JOHN S. WILSON

SYMBOL * DENOTES AN EXCEPTIONAL RECORDING THE BEATLES: Magical Mystery but rather extensions of the same kind written in what corresponds to the Tour. The Beatles, vocal group of aesthetic. The arrangements have be- Phrygian mode (basically an F major with rhythm, electronic, and instru- come increasingly sophisticated both in scale with a B natural instead of a B mental background. The Fool on the terms of instrumentation and in the mas- flat) transposed into C. The undulating, Hill; Blue Jay Way; I Am the Walrus; terful blending of electronically produced seamless melody (the vocal line is subtly Strawberry Fields Forever; Penny or altered sounds. The endless final chord altered electronically) unfolds over a Lane: All You Need Is Love: five of A Day in the Life finds a counterpart mysterious organ pedal point; there is no others. Capitol MAL 2835 or SMAL in I Am the Walrus, which concludes harmonic development. The effect is 2835, $5.79. with a slowly ascending scale, faintly really quite beautiful. Each Beatle album has significantly dif- glowing in the background until it finally Side 2 contains five songs previously fered from its immediate predecessor. ebbs out of existence. released as singles. Strawberry Fields The group that sang I Want to Hold The Fool on the Hill, its lyrical mel- Forever, which was issued shortly before Your Hand in uncomfortable unison is a ody and charming soprano recorder the "Sgt. Pepper" album, was the Beatles' hazy souvenir from the past. The biggest obbligato providing a seemingly childlike invitation to the world of psychedelic change in their stylistic evolution oc- foil to the text's theme of alienation, is pleasure. (I suppose that Yellow Sub- curred with "Sgt. Pepper's Lonely Hearts a thoroughly lovely song, one which is marine from "Revolver" may also be Club Band," though "Revolver" con- bound to be recorded by many a non - a paean to drugs, but it's such a lousy tained a few songs (Tomorrow Never rock group. song.) Knows and Love You To) which, with As in Within You Without You from All You Need Is Lore, the album's altered borrowings from Indian and elec- "Sgt. Pepper," a song by George Harrison final plea, is a good song, too. But don't tronic music, provided the musical vo- (Blue Jay Way) is the most exotic del- try dancing to it -the tune has been cabulary for "Sgt. Pepper" and the cur- icacy. Each day a new group comes on worked out in seven -beat phrases. S.L. rent offering. the scene with sitar in hand with more The six songs from "Magical Mystery tasteless imitations of the raga. But Har- LEN CHANDLER: The Lovin' People. Tour" (a special color television program rison, who was the movement's prime Len Chandler, vocals; Len Chandler, made by the Beatles last year) are not mover, has left the pack far in the rear. arr. and cond. Bound to Fly; Touch radical departures from the ambience of Blue Jay Way bears its Indian influence, Talk; Behind Your Eyes; seven more. "Sgt. Pepper" -there was a lot of fertile but as a germ for original development, Columbia CL 2753 or CS 9553, $4.79. material only implied in that album- not as piecemeal borrowing. The song is Len Chandler is a one -man band of talent. On this, his second Columbia LP, he is writer, arranger, singer, guitarist, organist, and English horn player. He sings well and has a marvelously sensitive way with a lyric. It has been said that every intelligent singer is capable of writing at least one good song. Chandler has written three for this album: Lovin' People; Sold Out, No Reservations; and The Warmth of You Beside Me. Unfortunately for Chandler, the average LP contains ten to twelve bands. He just isn't up to the writing task. But the shadow of Bob Dylan hangs heavily over the folk /rock field and every new recording talent is forced to turn out reams of original material, whether he's good at it or not. Len Chandler is worth hearing. It's a shame that being a good performer isn't enough. I don't recall ever hearing that Caruso wrote his own stuff. T.P.

DON COSTA: Modern Delights. Don Costa, arr. Windy; Valley of the Dolls; Heroes and Villains: eight more. Verve 8702, $4.79 or 6 -8702, $5.79. Down Penny Lane to Strawberry Fields-the Beatles on a magical mystery tour. In this album, Don Costa challenges

MARCH 1968 117

www.americanradiohistory.com ONE OF A SERIES his own reputation as one of the fresh- URBIE GREEN: Twenty -One Trom- If you're around est arrangers in the business, proving bones. Urbie Green, trombone; orches- that he too can write like a hundred tra, Lew Davies, arr. and cond. Here's other mechanical men when the deal is that Rainy Day; You Only Live Twice; Tucson, Arizona right. Naturally the songs are hits of the What Now, My Love; nine more. Proj- day. Actually, a few of them deserved ject 3, PR 5014, $4.79 or PR 5014SD, and better care than they received-Up, Up, $5.79. like shopping and Away; Society's Child: Windy: Ode The trombone is, in a sense, the Ameri- to Billy Joe. All are pleasant tunes. can instrument. In the hands of jazzmen, great Hi -Fi stores - Costa features an amplified guitar its horizons have exploded. Good jazz throughout, playing one -finger melody, trombonists play it with a speed and fa- and providing all the color of a blank cility almost like that of a trumpet. By see this man... blackboard. comparison, symphony trombonists are a Costa is a talented man. So is Los little embarrassing, particularly when Angeles disc jockey Johnny Magnus, heard straining and struggling through who wrote the superficial liner notes some (to a jazzman) easy solo passage, (he too must have listened once and like that in Ravel's Bolero. known there was nothing worth saying). This album, despite faults of taste, is It's a cop -out project for all involved, a virtual handbook on what the trom- on its knees before a familiar god. I bone can do, and every music school wish I hadn't heard it. M.A. should have a copy of it. With brilliant players like J. J. Johnson, Buddy Mor- BiNG CROSBY: in Hollywood, row, Wayne Andre. Will Bradley, Kai 1930 -34. Dinah; Please; Learn to Winding, Lou McGarity in the orchestra, Croon; Anger HE'S OUR DEALER! Sundon'n; Good twenty -one trombonists achieve a blend Night Lovely Little Lady; twenty - you wouldn't believe. They're Reg Lowander, Manager of The Sound Shop together, 4659 E. Broadway, Tucson, Arizona seven more. Columbia C2L 43, $9.95 whether playing in a burry roar or with The Sound Shop features superior high fidelity (two discs, mono only). a hard bite or laying out a soft golden components and shows them in attractive sur- The image of Bing Crosby as the casual. carpet roundings. Speaking of the Pioneer line, Reg of sound that you'd like to be Lowander said, "It is contributing substantially lazy -along "buh- buh -buh -boo" singer has able to run through barefoot. to our steady growth. We are particularly im- been so firmly established that this set In the ballads, the pressed with such Instruments as the SX -700T arrangements are Receiver. Its reception of distant FM - an im- is a delightful reminder that there was a warm and pleasant. The up -tempo ma- portant asset in Arizona - Is phenomenal." good deal more to his singing in his early terial is less attractive. Tricky -diddley days before the pattern had been solidi- commercial, the fast tracks constitute a PIONEER fied. Here is Bing while he was a vocal pandering to what is assumed to be pub- handyman with Paul Whiteman's orches- lic taste and, alas, probably is. Even PIONEER ELECTRONICS U.S.A. CORP. tra in 1930; a jauntily swinging in the ballads there 140 Smith St., Farmingdale, L.I., N.Y. 11735 comic are too many cascad- singe, (516) 694.7720 with the Rhythm Boys; a marve- ing Richard Himber- cum- Mantovani ef- lously facile scat singer with the Mills fects, like waterfalls of sugar. Brothers; and then, through his first Soloist Urbie Green is a really amaz- films -The Big Broadcast. ing There are speakers and College Hu- trombonist. His intonation is so good mor, Going Hollywood, We're Not Dress - as to be disconcerting. The trombone speakers and ing, and She Loves Me Not -the de- tends to a flattish kind of feeling, but velopment of what later was to become Urbie plays on top of the pitch, a de- speakers and the familiar Crosby pattern of the care- liberate tending towards sharpness that speakers and free groaner who populated all those keeps the listener alert even while over- cheerfully sentimental cinema epics from whelming hint with security. His tone is speakers and the 1940s. gorgeous, his phrases long, relaxed, cas- speakers of That pattern was not entirely due to ual. He does a cadenza at the end of Crosby himself. The songs written for his Stardust that will leave you open- all kinds later pictures were generally cut to fit mouthed. with nothing the manner that evolved in these early A flawed but highly interesting album, movies, and the later accompaniments exceptionally well recorded. G.L. really new became monotonously similar. His reper- for toire at this stage, however, was more JANIS iAN: For All the Seasons of except the adventurous and the groups playing be- Your Nliltd. Janis Ian, vocals; rhythm Piston -Action "Sandwich "... hind him -at least those of Anson Weeks, accompaniment. There Are Times; Jimmie Grier, and Lennie Hayton Shady Acres; Lonely One; eight The only speaker systems having the "Sana- -were more. lighter and looser wich" cone, (U.S. Patent No. 3,111,187), than the later studio Verve FT 3024, $3.79 or FTS 3024, which provides structural strength, hun- musicians. $4.79. dreds of times greater than conventional And the songs-well, these were the Janis Lan is the young lady (sixteen) cone material. The rigidity of the "Sand- songs that made Crosby: Please. Thanks, who caused some stir recently with her cone wich" prevents cone breakup or erratic Learn to Croon. Down the Old Ox Road, recording of a teen -age racial- strife song flexing which causes distortion in other Love Thy Neighbor, Love in called Society's speakers. You hear smooth natural sound. Bloom, Child. This is Miss Perfection at every harmonic and dynamic 7emptarion, and a pair of lovely neg- Ian's second album. She writes all her level. The rich grained Scandinavian wood lected Nacio Herb Brown tunes, Beauti- own material, some of which is sur- cabinetry is a joy to see. Where space is a ful Girl and Our Big Love Scene. These prisingly good, some weak and de- problem, see and hear the "Mini- Sandwich" were songs on which Bing could open up rivative. Insanity Conies Quietly to the -$135.00. For no compromise in perform- and use the full projection of his warm Structured Mind is a powerful if the- ance, the "Mark II" Sandwich is $199.00. baritone. One is apt to forget that he atrical tale of a young lady in the For brochure and name of nearest dealer - Write Dept. SA was a strong. forthright singer even process of committing suicide (pausing while using his own idiosyncratic way of long enough to give us a song). Evening ERCONA rumbling notes around in the back of Star is a young and touching ballad of CORPORATION his throat. love. Honey D'I'a Think? finds Miss The transfer from old discs and mas- Ian judging a young man's case of the - - , U.S. Representatives for: ters, incidentally, is as :. L Condenser and Dynamic Microphones not only remark- blues fraudulent. While her singing Lrnega Replacement Styli ably free of extraneous noises but has is particularly good on this track, one 432 Park Ave South, New York 10016 an unusually contemporary, full-bodied can't help wondering from what lofty presence. J.S.W. place young and comfortable Miss Ian CIRCLE 28 ON READER -SERVICE CARD 11 HIGH FIDELITY MAGAZINE

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CIRCLE 46 ON READER- SERVICE CARD MARCH 1968 119

www.americanradiohistory.com ONE OF A SERIES

informs us of what it's really like to pay sides done with the Harry James band. If you're around your dues. And I Did Ma is a witty The reading is reluctant, the voice light and vocally accurate put -on of country - and thin, but more than a suggestion of New and- western maudlinism, complete with the later exquisite enunciation is detect- York City honks and yodels. able. Other singers have paid as much Baltimsa and several others are mere- attention to their syllables as Sinatra, but and like shopping ly necklaces of mismatched imagery, not with the same simultaneous illusion deliberately going nowhere. It was good of naturalness. Only on those very first enough for Bob Dylan. It's not good tracks did it sound mannered; it soon be- great Hi -Fi stores - enough for Miss Ian, nor for the fans came second nature. who think this sort of thing is deep. The recorded sound in the collection see this man... With her clear tone and flair for dy- is far from uniform. Why Shouldn't It namics, Miss Ian possesses one of the Happen to Us, an inconsequential "cute" few first -class female voices to emerge song from the mid- 1940s, sounds as if from folk rock. What's more, her sing- it were recorded through five layers of ing is growing. And she has a real gift wet Kleenex. But along with other tracks for song writing. Yet just when one from the period, it shows a style already marvels at it, Miss Ian reminds us of formed: Sinatra could by then get "in- how young she is by throwing in a line side" a lyric even if there was no sub- of condescension for anyone of parental stance to it. And the voice was becoming age. With luck, the growing up process deeper. will cure her standard teen -age arro- The best tracks are the ballads. Sinatra gances. This is a fine talent. M.A. had not yet grown the necessary glands HE'S OUR DEALER! to take swingers by the horns. That came LOVE: Forever Changes. Arthur Lee, later. His attempts to swing (Blue Skies, Moe Belin, Owner of S & S Audio guitar and vocal; John Echols, guitar; for example) were mostly embarrassing, 106 West 32nd St., New York, N.Y. Bryan Moe Belin, one of the senior members of the Maclean, guitar and vocals; though a few of the lighter tunes in that New York hi -fi alumni, is now in business for Ken Forssi, bass; Michael Stuart, per- vein come off. himself. In his new, midtown location, he says, "I'd like my long- standing customers to know cussion. Alone Again Or; A House Is Sinatra's Dorsey days were recorded that since going into business for myself I find Not a Motel; Live and Let Live; on RCA Victor, and his first records on that Pioneer has become one of my most reliable Bummer in lines. It gives my customers the quality they're the Summer; seven others. his own were for that company's Bluebird looking for . . . and at the most reasonable Elektra EK 4013, $4.79 or EKS subsidiary. Excepting that material, Co- 74013, $5.79. lumbia's collection is a thorough and in- The first album by Love contained the teresting reconstruction of the first half Pl ON EER ,(1,1) intriguing Little Red Book, its shifting of his career. G.L. PIONEER ELECTRONICS U.S.A. CORP. harmonies implying a free -wheeling ex- 140 Smith St., Farmingdale, L. I., N. Y. 11735 ploration of exciting, untraditional chord NANCY SINATRA: Movin' With (516) 6947720 progressions. The group's second disc Nancy. Nancy Sinatra, vocals: Billy ( "Da Capo") realized the group's poten- Strange, arr. and cond. What'd tial in the area of harmonic inventive- 1 Say; Friday's Child; This Town; ness and also showed Ken Forssi to be a nine more. Reprise R 6277 or RS Audio -color solid, skilled, and imaginative bassist. 6277, $4.98. So I was very disappointed by this For all the lavishness of Miss Sinatra's Lets you see your music new record, which not only signals the recent television special, it brought us a end of their excursions into untapped rather nervous Nancy. Not so with this (for rock, at least) harmonic play- album, taken from the TV show, in grounds, but emerges as a real regres- which Miss Sinatra sounds relaxed and sion. They have lost two members (the graceful. With certain glaring exceptions, group now totals five) and have at- her singing is improving rapidly. She no tempted to compensate by bringing in longer sings flat -at least not here. While strings and trumpets, but they haven't she seems to be a basically restrained a decent arranger on hand, and the re- performer (in the family tradition), she's sults are amateurish. learning both the value and mechanics Live and Let Lite does, in some small of animation. In short, she's warming up. way, recapture the elemental spirit of Of course, it must have been a corn - their earlier efforts, and A House Is fort to have a few friends in the wings. Not a Motel affords a glimpse into the Frank Sinatra sings one track, Younger realm of good rock- guitar playing; but Than Springtime (he sounds beautiful), the rest sounds like the vast majority of and Dean Martin joins Miss Sinatra in a uninspired and mainstream commercial trivial but pleasant duet called Things. ASSEMBLED KIT FORM rock groups. S.L. Several selections were written by Lee $54.95 $44.95 Hazelwood, who has written so much of $5 DOWN - $5 MONTH FR A NK SINATRA: The Essential Frank Miss Sinatra's material from the begin- Sinatra. Frank Sinatra, vocals; or- ning. Hazelwood duets with Miss Sinatra Walnut finished cabinet included chestra, chorus, quartet; various on an earlier success, Jackson, as well as Shipped REA Collect arrangers and conductors. Close to Some Velvet Morning, a strange and You; Blue Skies; Sweet Lorraine; gripping song (alternating 4/4 and 3/4 Easy to build, easy to install. All transistor forty -five more. Columbia S3L 42 or time), which Miss Sinatra sings haunt- AUDIO -COLOR adds a visual dimension to mu- ingly. sical enjoyment. A brilliantly moving panorama S3S 842, $19.19 (three discs). of color casts dancing images on a soft frosted Columbia, a label that showed little faith For my tastes, Nancy Sinatra is a fine screen, reflecting rising and falling volume with in Sinatra when the tide was running talent and this is her most imaginative each beat of the music. Here's a truly unique against him, keeps finding new ways to and tasteful album so far. M.A. and exciting new musical experience. Make capitalize on its former association with check or money order to CONAR. him. This is the latest repackaging of SEND FOR FREE CONAR CATALOG some of that material, and, as it happens, the three -disc collection (eight tracks to a side) is a valuable retrospective.

CONARDivision of National Radio Institute It includes his first recording, From Deot CT8C 3939 Wisconsin Avenue, Washington, D.C. 20016 the Bottom of My Heart, one of the CIRCLE 17 ON READER -SERVICE CARD

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www.americanradiohistory.com The writing by Ladd McIntosh, alto and Converstioos soprano saxophonist and leader of the band. is fresh and imaginative. Part of JAZZ his gift is a flare for orchestral color. conhìouefl: And he has an individual rhythmic sense. Normally. with musicians this young -and nonprofessionals at that -it is necessary to say: "What they lack in polish, they make up with enthusiasm." These kids have both. Indeed, they play with more polish than you'll hear in normal commercial recordings, which are made by (a) fine studio musicians who unfortunately never see an arrangement before the record date, or (b) the not -quite- the -best musicians who'll DUKE ELLINGTON: Soul Call. La plus go on the road for the comparatively belle Africaine; West Indian Pancake; poor money a big band leader today Soul Call; two more. Verve 8701, ',lust pay if he's to survive. This band $4.79 or 6 -8701, $5.79. has a cohesiveness you rarely get on rec- The discouraging thing about this album ords. Given that, and the youthful quali- is that it is all too typical of a Duke ties of enthusiasm and fire and vitality, Ellington performance. While some their ensemble work is delivered with a measure of interest may be found in al- crackling authority that is alarming. most anything the Duke does, it is Bands made up of very young mu- distressing to see him often involved sicians are usually weak in solo capacity. with so much that is meretricious. Though the ensemble work is this band's The set has one saving grace-a long strength, the solos are at least good. And piece (almost aUOillooal OV fourteen minutes) called their rhythm section! Composed of bass- moue La plus belle Africaine, which Ellington ist William Burkey (who plays with prepared for the Dakar Art Festival. strength and incisive clarity) and drum- It is a good, sturdy bit of Ellingtonia mer Lyle Preest, and augmented by per- with a rolling, rumbling, regally imperial cussionist Daniel Ruddick and leader theme for the ensemble out of which McIntosh (who contributes some odd BILL EVANS three long solos develop -a gorgeously and interesting rhythmic -textural effects rich, singing performance with maracas), It was a private conversation. And by Harry Car- it churns and charges highly personal. Bill Evans alone in ney on baritone saxophone, a deft but and pulses and swings. In Forever Lost a room with 3 pianos: Conversations overlong bit by bassist John Lamb. and in My Minds Eye (McIntosh even has a With Myself. Six years have passed. some of Jimmy Hamilton's piping clari- talent for titles), they'll rock you right The dangling conversation is re- net noodling ("Little dickie bird- hey!" out of your chair. This is powerful, ex- sumed. And the pianist speaks with the Duke greets him). The Ellington citing. richly creative music by a collec- even more authority now. The dia- piano stomps joyously through the back- tion of gifted young men who care. logue has been perfected as the ar- ground, while the Ellington vocal pres- Two tracks of the second side tist within has grown. With fewer - ence is frequently heard fifteen questions, more swinging state- steaming things minutes and thirteen seconds of ments. Other voices, other tunes. up, and, in the process, compensating in it -are devoted to the San Francisco enthusiasm for what the piece may lack State College Quintet, a group which, I The original Conversations has rein musical value. am reliably told, was embarrassed mained Bill Evans' best -selling al- to win bum. And perhaps also his best. Africaine is worth having, but the rest the small group trophy because they'd Now overhear this: of this disc makes one Ellington admirer come to the festival on their own, with- cringe. J.S.W. out their school's sanction. Such is the musical insularity obtaining in academe. *INTERCOLLEGIATE MUSIC Comprising Jimmy Dukey (tenor sax- FESTIVAL. Ohio State University ophone), Dennis Kalfas (piano and Jazz Workshop Band: San Fran- Pakistani flute). Charles McCarthy. Jr. cisco State College Quintet; Joe De (flute), Chris Poehler (bass), and Bill Vito, singer. Impulse A 9145, $4.79 Weichert (drums), the quintet is a fine or AS 9145, $5.79. group full of genuinely promising people. For some time I have been yattering Kharisma for Keiko, written by Kalfas, about the collegiate jazz movement. is fragile, lyrical, and lovely without which involves an incredible 10,000 big being in the least effete. New lass. by bands in high schools and colleges, to Dukey, leans toward new thingery with- say nothing of small groups. I consider out getting lost in the long grass of it the most important musical trend in "freedom." Some of it's quite arresting. America today, and I think other people The solos in both tunes are fine, but I would if they knew about it. particularly like pianist Kalfas, who has V /V6 -8727 This album, recorded last May at the learned from Bill Evans and gone on. The first jazz piano album recorded first intercollegiate Musical Festival in I recently heard a major record com- in a brilliant new sound process (us- Miami Beach, is, as far as I know, the pany executive say flatly: "Jazz is dead." ing 30 inches -per -second tape) that first commercial recording devoted to As the first oracle to proclaim its demise captures every emotional nuance, Anyone who cares at all (I said six years ago in Down Beat that every musical whisper,with incredi- the movement. ble depth and clarity. about American music. no matter what it was dying), let me say that I was kind of music, owes it to himself to get wrong. and so is anybody else who thinks it. Don't walk-run to your record store. so. A new vitality seems to be corning This is not only a significant recording; into it. and nowhere more conspicuously it is also, in my opinion, one of the best than in the collegiate jazz movement. jazz albums of the year. The sounds in this album are not those Side 1 is devoted to the Ohio State of death. but those of life. Wake up and University Jazz Workshop Band. All listen, America: this is a terribly impor- . ,v,. H,...rn. ,... thy., ri,Irn GniAw n-Mayer In,. four tracks are no less than amazing. tant recording. G.L. CIRCLE 68 ON READER -SERVICE CARD 2 2 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com A complaint one might have had jlze about the duo's past recordings was the '1 il 0ti' lack of organization in their material. S Another grievance might have been that la:/e Pencit3 FOLK Flatt and Scruggs have shown a tendency to record the same songs more than once. ..jOLUiI I Now even this cavil has been spiked. Their current album has not only or- 1 ganization but a theme: songs of rivers and rails. The songs are typical country pieces about trains and boats. The recur- rent subjects are hoboing (Atlantic Coast- al Line) and train wrecks (Train No. 1262). As might be expected, there is YOU SAVE MORE Orange Blossom Special with a whirlwind ON NI -FI performance by fiddler Paul Warren. COMPONENTS & TAPE RECORDERS BUNRATTY SINGERS: Music and There is even that standard country and We invite your western test of our I Song front the Medieval Banquet item, the tear jerker: Eastbound "We at Will Not Be Undersold Policy." Bunratty Castle. The Bunratty Singers, Train tells of a little girl seeking a 15 -day money -back guarantee. vocals. Coral CRL 57497 or CRLS pardon for her father, dying in jail. In 2.yr. unconditional guarantee parts & 757497, $4.79. listening to the simple sincerity of the labor no charge, at local warranty station or factory. Readers of travel magazines and itin- song's vocal. it's difficult to believe this Trade -ins- highest allow. Send your list. erants in the region of Ireland's Shannon is the work of a group at the very pin- Most items shipped promptly from our Airport know of the medieval banquet nacle of a sophisticated area of the music 250,000 inventory, fully insured. business. But Our specialty -APO offered nightly to dollar -laden tourists then, wasn't it this quality & Export. of warmth and 23rd yr. dependable service -world wide. at Bunratty Castle. Part of the fun stems truth which made the from the -so- group great to begin with? Rated =1 service -satisfaction according to not medieval performances T.P. nationwide survey. afforded the banqueters in the Great Wrde for Our Price First! Hall by the Bunratty Singers. The fare JONATHAN & LEIGH: Third and You'll Be Glad You Did! they offer is heavily laced with latter - Main. Jonathan & Leigh, vocals and day Irish folk songs and -with sharp ex- guitar: rhythm accompaniment. Tapes- HI- FIDELITY ceptions-is excellent of its kind. When try; Brownsville; Changes; nine more. the women of the group (there are no Vanguard VRS 9257 or VSD 79257, CENTER men) sing ballads like 1 Have a Bonnet $5.79. The House Of Low Low Prices" and 1 Know Where I'm Going the effect In the antediluvian days before the 239 -H East 149th St. is light and lovely. But in waters of the Mersey covered our land, New York, drinking songs N.Y. 10451 like Tite Jug of Punch they sound arch; there was a thing called Folk Music. in war songs like Clare's Dragoons they Americans have adapted to the change: CIRCLE 33 ON READER -SERVICE CARD embalm Ireland's poor dead "Wild they've learned to sing under water. The Geese" who fought for France against result is called Folk Rock. England in 100-proof saccharine. On Jonathan & Leigh are only partially balance, a grossly uneven record ... but successful singing in this hybrid medium. DIXIE IS when it is good, it's golden. Coral's They can sing folk music almost as well Largest stereo, incidentally, isn't very; actually, as Ian & Sylvia, after whom they pattern discount it is "enhanced" mono. O.B.B. themselves, but unfortunately, Jonathan's rather reedy High tenor cannot measure up to Ian Tyson's rich baritone. Leigh Fidelity *JUDY COLLINS: Wildflowers. has Judy Collins, vocals; a pleasant little voice, which she uses to component Joshua Rif- kin, arr. and cond. Priests; Sky good advantage. distributors Fell: Albatross; eight more. Elektra On traditional pieces such as Gilead in the South. EK 4012, $4.79 or EKS 74012, $5.79. and Cocaine Blues, they achieve a charm- Wholesale Here flowers Judy Collins. The hint of ing blend, and a sound quite their own- marred only by the prices on richness she showed in her early re- inclusion of some ham- handed drumming and unnecessary package or cording of Anat /tea is in full evidence now. is electric guitar work. This has become individual This a woman singing. Of special merit are Lasso! di donna; Jacques Brel's common practice as a concession to the components. rock La Chanson des Vieux Amantes; and aspects of the market, and it is Latest models Judy's own Since You Asked. odious. The recording itself is poorly done. The in factory The arrangements -no, let us say overbalanced drum track in- trudes upon the singing. sealed cartons orchestrations -are by Joshua Rifkin. On Seven songs on the album were written shipped imme- Miss Collins' last album, Rifkin's work tended to be by a John Alden. One of them, Song diately from our overly busy. He too has grown and the orchestrations for Shelley, is really good. It is impossible warehouse. on this to tell whether disc are nearly impeccable. T.P. or not this John Alden Special attention is Jonathan, because Vanguard again has not seen fit to include given to Audio FLATT AND SC'RUGGS: Hear the liner notes. One must therefore conclude Clubs, Churches Whistles Blow: Songs of Rivers and that Jonathan & Leigh (according to the jacket) were and Schools. Rails. Lester Flatt and Earl Scruggs, vocals and produced by Elmer J. Gordon (from his For Special Price rhythm accompaniment. brow ?), who Bringin' in the Georgia Mail; also did "additional head Quote Write Roust -a- arrangements." He should - Bout: Going Across the Sea; have arranged eight to omit the rock -and -roll trimmings. T.P. more, Columbia CS 9486 or CL 2686, $4.79. WHOLESALERS One can hardly find fault with the work Our New Warehouse of Earl Scruggs and Lester Flatt. Scruggs's 10520 DETRICK AVENUE superlative banjo style is perhaps the Kensington, Maryland 20795 most imitated in the country and Lester Phone: 301-933-7600 Flatt's voice and guitar are as familiar to millions as the voice of the President. CIRCLE 20 ON READER -SERVICE CARD 124 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "s Smart HI -FI THEATRE To Be Thrifty! FILM COMPONENTS TAPE STEREO & RECORDERS HI -FI BUYERS TAPES, ACCESSORIES BEFORE YOU BUY GET A RABSONS QUOTE... YOU'LL BE GLAD YOU DID! SLEEP LEARN KITS At Rabsons Competitive Prices Relia- MERITAPE bility and Personal ervic6 have been bywords for over 61 years HAIR: An American Tribal Love -Rock Musical. Original cast recording. Shel- It's so and aFs to deal with Rabsons ley Plimpton, Walker Daniels, others, Up to 36 months to pay on Easy Pay Plan SAVE MONEY Centrally located -as close as your telephone vocals; rhythm accompaniment. I Got -as near as your mail box Free Mail Order- Life; Walking in Space; Electric Blues: Hi Fi Clinic Service Fast Air Mail Response 1143 LOWEST PRICES on Quotation Requests Franchised Distribu- fifteen more. RCA Victor LOC tor for Hi Fi Lines 62 Years of business or LSO 1143, $5.79. INTEGRITY SERVICE "Know How" to serve you better Ship- least absurd FRANCHISED DISTRIBJTORS ments DOUBLE PACKED and FULLY INSURED Hair is the most recent and "Attractive" Prices Warehouse on prem- to stretch rock-and -roll and its ises Fast Delivery -Large inventory permits attempt WRITE FOR OUR VERY attendant culture into the form of musi- LOW processing and shipment promptly All PACKAGE QUOTATIONS merchandise brand new in Factory sealed cal theatre (or to shrink musical theatre cartons Save even more on complete sys- into rock boundaries). The show's title Nationally Advertised Brands tem quotes Export Packing -220 Volts 50 Factory Cycle merchandise a specialty Free list refers to youth's flag of rebellion, "long, Sealed Cartons of monthly specials. beautiful ... gleaming, steaming, ratty, t:e FREE CATALOG matty . . . greasy, fleecy, down -to -there Visit Our Showrooms hair." To excuse the inevitable discrepan- cies between musical theatre and hippie rock. Hair is described as "less a struc- DRESSNER 1523 -K JERICHO TPKE a Happening, a musical tured play than NEW HYDE PARK, N. Y. Ile -In." Sure. Currently, any presentation 11040 RABSONS 57 ST. INC. which lacks a basic structure (and the 119 West 57th Street, New York, N. Y. 10019 Tel. Area Code 212-247-0070 public courtesy therein) is termed a Hap- 45 ON READER -SERVICE CARD pening (capital "H" mandatory). CIRCLE 21 ON READER -SERVICE CARD CIRCLE This misguided project has many good moments. all of which work for the wrong reasons. Notable on this album is Frank Mills sung by Shelley Plimpton, a narrative from a girl who is trying to Why? locate a boy she met in Greenwich Vil- lage: "1 would gratefully appreciate it, DO THOUSANDS OF HI -FI if you see him. tell him I'm in the park with my girl friend, and please tell him ENTHUSIASTS BUY FROM Angela and I don't want the two dollars back, just him." The song and Miss AUDIO UNLIMITED Plimpton's sweet singing have all the charm. innocence, and foolishness of youth. There's nothing hip about it. In It's Obvious! a show which praises itself for being inside all the current fads -astrology, Indian mysticism, England, pot, love, and LOWEST PRICES flowers -Miss Plimpton with her unaf- fected little song is the real flower. FAST SERVICE Hare Krishna and Walking in Space (the prettiest melody in the show) breath- FACTORY SEALED UNITS lessly repeat the joys of pot, visions, and FULLY Eastern religion, as if we hadn't heard INSURED SHIPMENTS AM Fill in coupon for o FREE One Year Sub- it all to extinction already on radio. PACKAGE DEALS -SAVE MORE scription to OLSON ELECTRONICS' Fantas- White Boys, impressively sung by Jonelle tic Value Packed Catalog - Unheard of LOW, LOW PRICES on Brand Nome Allen, Susan Batson, and Alma Robin- FRANCHISED DISTRIBUTORS Speakers, Changers, Tubes, Tools, Stereo son (I'm uncertain which one has the Amps, Tuners, CB, Hi -Fi's, and thousands of other Electronic Values. Credit plan lead but she's a fine singer), happily at- Write for FREE Listing today available. tests to the sexiness of young Caucasian males. The "show" closes with The Cli- NAME max. Guess what that's about. No en- SEND US YOUR LIST ADDRESS terprise in the topic department: this is FOR OUR AIR MAIL CITY STATE all safe, well -trodden hippie ground. QUOTE TODAY GIVE ZIP CODE Galt MacDermot's music (well played If you hove a friend interested in electronics by a small group in rock style) is tune- Visit Our Showroom and Warehouse send his name and address for a FREE subscription also. ful -often too tuneful for the "tribal Closed Mondays love -rock musical' this pretends to be. OLSON ELECTRONICS, INC. The lyrics, by Gerome Ragni and James AUDIO unlimited, inc. 44308 Rado, are coherent, sometimes pretty 715 -F Second Ave. (Nr. 38) N.Y., N.Y. 10016 823 S. Forge Street Akron, Ohio or amusing, with a few excellent lines. CIRCLE 42 ON READER -SERVICE CARD MARCH 1968 125

www.americanradiohistory.com But the nagging commercial undertones Legrand. Never was a man more aptly never cease. named. The field of popular composing In all, Hair is moderately interesting, and arranging happens to abound in moderately worth seeing and hearing. rich, important talents. There are so But it should be noted that this, and all many fine arrangers at work that it SOR such projects which claim to depict the would be difficult to narrow a list down wonders of the hippies, are conceived by even to the ten best. But in this valley of the enterprising and financed (thus con- jolly green giants, Michel Legrand towers trolled) by the shrewd. They are built perhaps tallest. Under the impact of this not to glorify but to profit from the incredible album, it's difficult to think youth they promote. How long until the of anyone who can top him. It's a stun- kids see and rebel against this ultimate ning experience. One can hear the matu- form of adult mockery? M.A. ration of the brilliant mind that created FRANK the "I Love Paris" album when barely out HELLO, DOLLY! Original Broadway of his teens. That was the burgeoning of Cast Recording. Pearl Bailey, Cab Cal- genius. This is the album of a man in &The J loway, Emily Yancy, others, vocals; his prime. Philip J. Lang, arr. Elegance; Mother- Legrand has scored for a large orches- hood; It Only Takes a Moment; nine tra. The orchestrations are dense, alive more. RCA Victor LOC 1147 or LSO with movement, yet clear, often forming DUKE 1147, $5.79. a sheer backdrop for the piano (played For all its tarnish, the Broadway stage by Legrand -and superbly throughout). remains the ultimate setting for the oc- Like his fragile voicings, swelling modu- casional rare gem among performers. lations, and continuously mounting dy- There's no conquest like Broadway con- namics, Legrand's choice of lead instru- quest. This season's hit is Pearl Bailey ments is breathtakingly perfect for what- in a restaged version of Hello, Dolly! ever mood he wants. In Johnny Mandel's Producer David Merrick. with his flair beautiful A Time for Love, the theme for gathering several winners in the is played by plucked strings, sustained same corral. has joined the supremely by legato strings above. Henry Mancini's seasoned Miss Bailey, Cab Calloway, Two for the Road is given to a deep, and an able supporting cast in a pre- warm tenor saxophone, played in the established hit show, directed and chore- Ben Webster manner. The haunting mel- ographed by hit -maker Gower Cham- ody of Legrand's Norma Jean's Theme pion. How could it miss? (from the film The Plastic Dome of In this cast recording, Miss Bailey is Norma Jean) is surrendered to the equal- alternately festive or blisteringly blasé ly haunting sound of a harmonica. Luiz but always warm. Loosely based on Bona's Manhñ De Carnaval is intro- Thornton Wilder's The Matchmaker, the duced by a chorus of French horns. show revolves largely around its title There are no weak spots. Even Max song. Musically, things are dull through- Steiner's Tara's Theme from Gone With out. Somehow Miss Bailey injects new the Wind is vastly refreshed although the FIRST TIME life into the big song, growling its aside theme was hardly one of Steiner's high - lines with her famous fatigue. Emily points as a composer. The album is well Yancy, as Irene Molloy, is charming on recorded and the orchestra, particularly Ribbons Down My Back. Philip Lang's the string players, magnificent. TOGETHER! orchestrations are more interesting than If you, as I, spend much time being usual for Broadway, and the chorus' either enraged or heartsick over the back -up singing is a cut or two above reams of poor music heard everywhere traditional Broadway sloppiness (pro- in all fields today, you need this album. moted under the guise of "enthusiasm "). It's a symphony of a kind, and it will Personally, I don't know how much become a classic. M.A. longer I can stand to hear this show's title song. no matter who sings it. But if it must he done, let someone of Miss UP THE DOWN STAIRCASE. Music Bailey's magnitude do it. Dolly! is and from the sound track of the motion always was a personality show, and so picture. Orchestra, Fred Karlin, com- long as strong performers are recruited poser and cond. United Artists UAL in the leads, it may go on forever. Next 4169 or UAS 5169, $5.79. year maybe we'll get an all- Oriental A good many motion picture scores have version starring Pat Suzuki. M.A. used the current pop music idiom to gain their effects, and many more have *MICHEL LEGRAND: Cinema Le- used touches of it to spice otherwise grand. Orchestra, Michel Legrand, conventional music. This one is almost arr. and cond. Watch What Hap- entirely derived from current idiom (what pens; Make Me Rainbows; The Girl the record industry with a straight face I've Never Met; eight more. M -G -M calls "contemporary") -and it works. It FRANK SINATRA & DUKE ELLINGTON - works because Fred Karlin is a richly "FRANCIS A. AND EDWARD K." E 4491, $3.79 or SE 4491, $4.79. REPRISE STEREO ALBUM FS 1024 Michel Legrand is the man who, in talented man. 1954. at the age of twenty -two, gave Though he's used fuzz guitar and elec- us a now -famous album entitled "I Love tric bass and rock rhythms, Karlin has Paris." It became one of the best selling used them as compositional materials, instrumental albums ever released. Of not because they're the thing. With a his more than fifty film scores, the best connoisseur's ear for sounds themselves known here is The Umbrellas of Cher- he's mixed and matched them, put them bourg. Once the student of the dis- under a recorder or two and some trom- tinguished teacher Nadia Boulanger, Le- bones, and hinted at simultaneity between grand is a thoroughly schooled composer, the middle ages and now. arranger, conductor, and pianist of classi- A different, interesting, and fetching cal as well as jazz and popular music. film score. G.L. CIRCLE 67 ON READER -SERVICE CARD 126 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THE ULTIMATE IN SONIC -SPECTRUM+ RECORDED SOUND QUALITY ON TAPE CARTRIDGES

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MARCH 1968 I 27

www.americanradiohistory.com O.K., perfectionist. Get a look at these specs.

Four heads, 4 track, 2 channel. 7" maximum reel size. Tape speeds 7;¡ and 3;'4 ipf (0.5`e). Dual speed hystereses synchronous motor for capstan drive, 2 eddy current outer -rotor motors for reel drive. Wow and flutter: 7;Z ips: 0.08 3% ips: 0.12 Frequency response: 7);, ips: 30 to 20,000 Hz ,2 dB 45 to 15,000 Hz); 3?; ips: 40 to 14,000 Hz (2 dB 50 to 10,000 Hz). SN Ratio: 55 dB. Crosstalk: 50 dB channel to channel at 1,000 Hz. 40 dB between adjacent tracks at 100 Hz. Input: (microphone': 10,000 ohms. 0.5 mV minimum. (line): 300,000 ohms, 0.1 V minimum. Output: 1 volt for load impedance 10,000 ohms or more. Phase Sensing Auto Reverse (you don't need sensing foil for automatic reverse play,. Symmetrical Control System, a soft -touch control operation for fast -winding in both directions, playback and stop. Four TEAC heads in a removable unit. An optional remote control unit. An optional repeat play unit. Tape tension control switch. Independent LINE and MIC input controls. 100 bias -frequency. Pair of jumbo VU meters. Ask your TEAL dealer for Model A -6010. There's only one like it in the world. T E Ac TEAC CORPORATION OF AMERICA 1547 18th St Santa Monica, Calif. 90404

CIRCLE 57 ON READER -SERVICE CARD 128 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THE TAPE DECK BY R.D.DARRELL

Those Clever, Clever Cassettes. Since my tamed and by the ease with which re- perhaps especially in battery -operated first report, in May 1967, on this then cordings and dubbings can be made with- portable use, both for mono "snapshot" dark horse in the tape cartridge stakes, out constant manipulation of the re- amateur recording and for out -of -doors the cassette has clearly proved itself a cording level control to avoid too high monophonic playback of commercially challenger to be reckoned with. For one or too low modulation. The standard recorded tapes. thing, the repertory has expanded no- blank cassette runs for thirty minutes on tably. A year ago only Mercury, Philips, each side; I haven't yet tried the thinner- Flying Classics. For really long programs, and a few subsidiary labels were repre- tape types, now coming on the market, Ampex's three -hour open reels designed sented by cassette releases; now, cassette which run to forty -five or even sixty for American Airlines in- flight entertain- catalogues have been begun by Ampex minutes per side. ment (but just as effective for home - (featuring some seventeen labels), Gen- I suspect that mono playback may grounded listeners) are in a class by eral Recorded Tape (with some eighteen give a better relative impression of pres- themselves. The latest classically ori- labels), Deutsche Grammophon, and ent cassette sound qualities than stereo ented examples of these 33/4-ips, $23.95 Liberty -with others expected soon to be playback would, but in any case the over- cornucopias are CW 8, devoted to Mer- heard from. Last spring, barely half a all results represent genuine improve- cury /Philips /World Series recordings, dozen classical programs were listed; to- ments. This is especially obvious when and CW 9, to recordings from the Com- day, while pop programs continue to one listens to the ultrabrilliant, so- called mand and Westminster catalogues. The predominate, there is a generous propor- spectacular pops materials and to larger latter offers less novel repertoire, since tion of more serious fare (for the most symphonic and operatic works, which about half of its sixteen selections have part symphonic favorites) especially fare notably better than before, thanks appeared earlier in individual open -reel from DGG, London /Ampex, and West - largely to the wider dynamic range and releases by conductors William Steinberg minster/GRT. more substantial sonics exploitable. and Pierre Dervaux, duo -pianists Leonid There has also been a corresponding Such advances were well demonstrated Hambro and Jascha Zayde, organist Vir- increase in the availability of equipment by the 28- minute one -sided Project -3 gil Fox, and tenor Jan Peerce. Most of for cassette playback and recording (the Sampler (the second side is left blank for the other selections, however, seem to be latter function, of course, being a dis- home recording experiments) which came first tape editions of the music in ques- tinct advantage of the cassette medium with the Ampex Micro 20 and by a num- tion. In any case I should have a particu- over endless -loop 4- and 8 -track car- ber of London programs already familiar larly warm welcome for Daniel Baren- tridges). Growth is particularly in evi- in open -reel and endless -loop formats. boim's Mozart Piano Sonata No. 16, dence among portable battery -or -AC These included the LKM 66603 Phase -4 K. 570; excerpts from Handel's Xerxes models for mono operation only. Note Popular Sampler (here trimmed by three and Purcell's Music for a While featuring that there is no drawback to playing selections and some twelve minutes to Maureen Forrester and Mildred Miller; commercially recorded stereo cassettes get within standard cassette time limita- and movements from Vivaldi and Vieux - on these machines: their heads are wide tions). Stokowski's glittering Phase -4 temps violin concertos played by Rob- enough to span both stereo tracks - recording of Rimsky's Scheherazade ert Gerle. which in the cassette format are placed (LKX 94005), excerpts from the Regina In CW 8, none of the twenty -one se- side by side rather than interlaced with Resnik Carmen (LKX 31104), highlights lections seems to have been taped before the reverse -direction tracks -and thus to from the somewhat aged but still relish- in the present performances, and at least combine their output for mono playback. able D'Oyly Carte Mikado (LKX 31099), ten of the compositions themselves ap- For some time now I have heard en- and highlights from the Phase -4 Kismet pear here in first tape editions. Of these, thusiastic reports from people who own starring Regina Resnik and Robert Mer- I particularly relished Telemann's Don the Norelco Model 150 Carry- Corder, the rill with Mantovani's Orchestra (LKX Quixote Suite and Suite in C conducted Sony Model 100, and similar portable 84043). (These are list -priced at $5.95 by Beaucamp; two delectable Lumbye mono equipment. My own experience has each, except for the "M" series Sampler, dances conducted by Hammelboe; Colin been with Ampex's mono -only battery/ which is $6.95.) Less surprising, of Davis' readings of the Berlioz Corsaire AC Micro 20 (one of a new "micro" course, are the attractive results achieved Overture, Mozart's Symphony No. 32 series including the all- stereo Micro 50 with such less technically demanding ma- (Overture), and the first movement only deck) -and from my very first trial of it terials as Antonio Carlos Jobim's charm- of the Mozart Symphony No. 29, K. 201; I was won over. ing "Wave" program on A & M (AMX movements from Haydn's Masses Nos. In cassette playback via its own small 53002, $5.95) and the original sound- 4 and 5; the E minor Vivaldi Cello speaker the Micro 20 sounds better than track, composed and conducted by Sonata by Starker and Swedish; and the any comparable -sized radio I've ever Maurice Jarre, of Doctor Zhirago Liszt piano pieces by György Cziffra. encountered. Used as a deck for playback (M -G -M 56, $6.95) . As in practically all of the Astrostereo via my big sound system it provides de- I hope to report soon on new cassette releases so far, there are some grounds cidedly effective monophony-though releases from other companies. Cassettes for complaint: spoken title and artist an- handicapped, vis -à -vis 7.5- or 33/4 -ips still have a long way to go technically, nouncements (though these are admirably playback, by the higher surface noise especially in climbing up into true high - straightforward as a rule): violent stylistic and more restricted frequency range of frequency realms (at present, even the contrasts between one selection and an- the 17/s -ips speed, it is remarkably im- surface noise sounds more like "Whoosh" other; the programming of excerpts from proved in dynamic range over the re- than "Hisss"), and indeed they may not works that might well have been done sults I was able to obtain from the early achieve genuine high fidelity standards in their entirety. Nevertheless, these cassette releases. As for recording, I have until supplies of the revolutionary miscellanies offer a fantastic quantity of taped speech "live" and I have "cas- chromium- dioxide magnetic tape- coating for the most part fine music and first - setted" a number of discs and open -reel can be spared from exclusive computer rate performances, as well as many indi- tapes; in every case I have been agreeably use. Meanwhile, however, this format vidual compositions not otherwise rep- surprised both by the sonic qualities ob- has unique conveniences and advantages, resented on tape.

MARCH 1968 129

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OWe think we're about to explode and combination balance control /stereo- ranted free from defects in materials . the current notions about how mono switch included, for instance. and workmanship for two years. A much high fidelity should cost (or- Finally, we knew that quality had to warranty we'll back to the hi :t. more accurately -how little). start high -and stay high. That's why Listen to these exc_ting new com- First, we resisted the temptation to we built spanking -new facilities. staffed ponents soon ... now at most leading take any shortcuts in the development with skilled craftsmen, and provided independent high fidelity showrooms. of these new components ... unless you them with the most modern production Critically compare thL.n and you'll find count our computer, used to design equipment ... an inspired combination. that our bargains offer you more in new circuits in a fraction of the time The result? A new 30 -watt stereo the bargain! needed by ordinary methods. amplifier and a sensitive FM /stereo *We don't expect much need for warranty And we kept each component simple tuner, each priced well under 5100.00. service -but we're ready. Once the unit arrives and easy to use, yet complete. Not and the E -V 1180 receiver that com- at our factory or authorized service station, any defects we discover are -epaired or replaced that we stuck to just plain vanilla. bines these two components for even with no charge for pats, labor, or return You'll find thoughtful touches like an greater savings -just $176.00. Each .ransportation. Other repairs at nominal cost. accurate zero- center FM tuning meter built in the U.S.A. and each one war- Fair enough?

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