High-Fidelity-1963-A

A PREVIEW OF NEW FALL RECORDINGS 60 cents

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iah fideli o 1 AUGUST THE MAGAZINE FOR MUSIC LISTENERS

POTLIGNT ON

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The new Fisher 400 The new Fisher 500 -C The new Fisher 800 -C with FM only, $329.50* with FM only, $389.50* with AM -FM, $449.50*

"Everything you need -on one compact tion, just as free from overheating or The FM sensitivity is equal to that of chassis" has always been a famous other life- expectancy problems as it the remarkable 500-C and 800 -C. Fisher specialty. As a matter of fact, would be if it were sold as a separate Just connect a pair of speaker systems integrated single- chassis stereo receivers component. That in itself is an achieve- to any one of the new Fisher stereo re- by Fisher outsell all other high fidelity ment that no other manufacturer has ceivers and you have stereo reproduction components in the world today. thus far equaled. of the highest Fisher quality. And that, But the completely new stereo receiv- The unit shown in detail at left is as you know, is the highest quality ers shown here set a new standard even the new Fisher 500 -C. It is completely there I. for Fisher. Never before have so much identical to the new 800 -C except that amplifier power, such high tuner sensi- the latter includes, in addition, a high - tivity, so many advanced control features sensitivity AM tuner section with adjust- THE WARRANTY THAT and such a degree of over -all engineering able (Broad /Sharp) bandwidth plus a MEANS MORE AND sophistication been offered on a single built -in ferrite rod AM antenna. DOES MORE FOR YOU! chassis only 171/2 inches wide, 544 The new Fisher 400 was designed to inches high and 131/2 inches deep. (Only make Fisher stereo receiver quality In striking contrast to the indus- 13 inches deep in the case of the 400.) available at an unusually moderate try -wide standard of 90 days, the What's more, each section of these re- price. It is in all essentials comparable Fisher Warranty is extended to ceivers - the tuner, the Multiplex con- to the 500 -C, except for slight differ- all tubes and diodes for one year verter, the stereo control -preamplifier, ences in FM circuitry, indicator features from date of purchase! the stereo power amplifier - is just as and control functions. Its music power ruggedly built, just as reliable in opera- output is 60 watts (IHFM Standard). *c.*i.n .Lsw OR 125449559. $24.95 RRiC., ,,,G...s 12551* (SPORT, . . .., 14..,,T. ,,,.,...o,o ,,,,R ....,oN.,. . ,o.: .s,.,. 1. 5 D ,.,1, ._C.,. CIRCLE 36 ON READER-SERVICE CARD

www.americanradiohistory.com You haven't seen this kind of tuner and amplifier engineering on one chassis

75 WATTS total music power output (tHFM Standard) from new stereo power 4 wide -band IF stages amplifier section

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BB 69 90. 92 94 96 90 100 102 Ipl IQ6 100 I,

New professional -type Exclusive Fisher STEREO BEACONt d'Arsonval tuning meter for instant indication of Multiplex broadcasts and automatic switching Fisher between mono and stereo modes Exclusive DIRECT TAPE MONITORt system New four -position speaker selector switch New front -panel earphone jack

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srExll:o 35/111M IS ma,. WNW; ileda.+ ALFRED ROBERTA DRAKE PETERS the 5 most NINA Y e. .... 1s ltllotawaulRu _. inivortant advances Ìn stereo PBCOPtlÌi9

Read how these 5 Command albums opened up new vistas in stereo and revolutionized the entire concept of recording

PERSUASIVE PERCUSSION BRAHMS SYMPHONY NO. 2 formed before. Now this great Amer- 1. concentration on ,stiotalating 3. in D. Op 73. ican musical - marking Command's entrance into this field rings out musical quality . remarkable William Steinberg/ - clarity and range." with a magnificence that rivals the Pittsburgh Symphony Orch. original opening night. NEW YORK TIMES "The su»umit ißt P(,/, ad." The record that made critics say, N. Y. HERALD TRIBUNE "Stereo didn't make COMMAND; THE SCHOOL FOR SCANDAL COMMAND made stereo!" With Per- When Command entered the classical 5. by Richard Brinsley Sheridan suasive Percussion the true musical field, it was with this recording of the Brahms 2nd which was called "the "Performance dazzling... rerord- excitement of stereo became a fact. iilg immaculate stereo ingen- Exploiting the full color of popular best classical orchestral album of ... 1961," and one of the finest Brahms ious . considered a summation music, Persuasive Percussion became of all the resources or stereo." a gigantic first in a new and exciting ever recorded. Since that memorable way to experience sound. It was, as occasion, Command albums of Wag- HI -FI STEREO REVIEW the New York Times stated, "destined ner, Beethoven, Debussy, Ravel and to turn the recording industry topsy many more have been greeted with Direct from its triumphant perform- turvy." highest praise and critical acclaim. ances on Broadway and in London All bear Command's almost fanaticall comes this superb Commar.d recording insistence on perfection that places of Richard Brinsley Sheridan's The its Classics in a position without peer. School for Scandal. Recorded in Lon- STEREO 35 /MM don with the original cast headed by Sir P,alph Richardson and Sir John 2. "iWith this spectacular recording Gielgud, the listener is afforded over Enoch Light's COMMJ1A\'D label CAROUSEL by Rodgers and two hours of recorded theatrical has crossed one mor(' threshold to 4. Hammerstein starring Alfred splendor. Itere in this Command re- the ultimate sound." in Drake and Roberta Peters. cording the spoken word is raised to HIGH FIDELITY MAGAZINE its full dignity and glory. "I have played your album of This is the album that accomplished `Carousel' with tremendous en- the greatest leap forward in stereo. It joyment and find it extremely was Command who perfected the tech- sensitive and beautifully made in For free, full color brochure every way." nique of master recording originals of all Command releases, on 35 mm magnetic films. Through (Signed) RICHARD RODGERS this method Command made it pos- WRITE TO: 8 -HF sible to bring sound of such scope and Not content with creating breathtak- intensity right into your own living ing reproductions of great music, room that you actually feel the pres- Command has gone on to add a new WORLD LEADER ence of each instrument. Here was dimension to the musical theatre with IN RECORDED SOUND music with absolutely no mechanical performers who match the greatness distortion coupled with "almost unbe- with their own stature. With a bril- lievable" purity. No wonder LIFE liant cast starring Alfred Drake and RECORDS called this, "the season's biggest Roberta Peters, you hear the music of ear opener!" Carousel as it has never been per - 1501 Broadway, New York 36, N. Y. CIRCLE 24 ON READER -SERVICE CARD

At;ct;sr 1963 1

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Plug -in head assemblies with premounted cartridges for Type A and Model AT6 Garrard Automatic Turntables.

Choose the right pickup for your Garrard installations - choose a Pickering - the new U38 /ATG and the famous U38 /AT are both available premounted in Plug.in Heads for Garrard Type A and Model AT6 Automatic Turntables. Featuring Pickering's exclusive "floating stylus" FEATHERWEIGHT OPERATION - for maximum record protection. 1 to 3 grams tracking (recommended 2 grams) - where environmental conditions ...so little mass that it actually floats on water... permit light tracking forces. so light it "floats" over the surface of your records. GA /38ATG - for Garrard Type A G6 /38ATG - for Garrard Model AT6 Includes U /38 Stereo Fluxvalve Cartridge (premounted) with D3807ATG The Pickering "floating stylus" action protects the Golden SAFE VGUARD "Floating Stylus" diamond and the life of the record while it plays. STANDARD OPERATION - for use where environmental conditions require a nominal tracking force of 4 grams or more. FOR THOSE WHO CAN HEAR THE DIFFERENCE GA /38AT for Garrard Type A G6/38AT - for Garrard Model AT6 - PICK ERING & CO., INC., Includes U/38 Stereo Fluxvalve Cartridge (premounted) with D3807AT Plainview. N. Y. SAFE VGUARD "Floating Stylus" icNering 1963 Pi

2 HIGH FIDELITY MAGAZINI

www.americanradiohistory.com Page 45

high fidelity

Page 4-

Music and Musicians 51 Listening to Schoenberg Peter Heyworth 55 The Jazz Composer: a Study in Symbiosis Gene Lees 18 Notes from Abroad -London, Tokyo, Hamburg 30 Virgil Fox: an interview .Shirley Fleming 67 New Fall Recordings: a preview

A Special Section on Tape 37 Spotlight on Tape: an editorial 38 Confessions of an Illicit Tape Recordist P " ! M "r 41 What Tape To Choose? Steuart Negerinn 45 Taping FM Stereo Edward Tatra!! Can/,'

48 Tapes fromm the Professionals R. D. Darrell Sound Reproduction 35 High Fidelity Newsfronts: on the trail of 4 -track Norman Eisenberg 59 Equipment Reports Acoustech I Power Amplifier Ferrograph Model 424A Tape Recorder Audio Dynamics ADC -3 Cartridge Reviews of Recordings 71 Feature Record Reviews Schumann: C'ar anal: Fanta.siestiirke (Artur Rubinstein) Richard Strauss: Ariadne auf Naxos (Soloists: Orchestra of the Vienna State Opera, Karl Böhm, cond.) 73 Other Classical Reviews 92 A Second Look at Dynagroove 94 The Lighter Side 100 Jazz 103 The Tape Deck

A U G U S T 1 9 6 3 VOLUME 13 NUMBER 8

Published monthly at Great Barrington, Moss. by The Billboard Publishing Co. Copyright © 1963 by The Billboard Publishing Co. The design and contents of High Fidelity Mogaxine ore fully protected by copyright and must not be reproduced in env manner. Second-class postage paid al Great Barrington and at additional mailing offices. One year subscripti,.n- anywhere on Earth $7.00. Indexed in the "Reader's Guido to Periodical Literature." Change of

Address notices and undelivered copies (Form 35791 should be addrevad to High Fidelity, Subscription Dept., 2160 Patterson 5t., Cincsnati 14. 0.

www.americanradiohistory.com Cover Design: by Roy Lindstrom

Roland Gelatt Editor in Chief Joan Griffiths There's no end to your listening pleasure Executive Editor Norman Eisenberg with Concertone double Reverse- O- Matiif Audio Editor Now, there is literally no end to the unattended playing time you can Sue Severn enjoy. Concertone, who doubled your listening pleasure with exclusive Managing Editor Reverse -O- Matic, now presents Double Reverse- O -Matic in the dramatic Shirley Fleming 505 Imperial Series. This exclusive automatic playback feature plays 4- Assistant Editor track stereo tapes from end to end, reverses, and plays the other 2 stereo H. C. Robbins Landon tracks as it rewinds ... then automatically "takes it from the top" again European Editor to repeat the cycle. For a full evening of uninterrupted listening, the Roy Lindstrom Concertone 505 Imperial is your instrument. Create your own personal pro- Art Director gramming ... then let it play to your perpetual pleasure. All the fine craftsmanship and features you expect of Concertone. Stainless steel face- Nathan Broder plate for extra beauty. Learn all the exciting details of this magnificent John M. Conly R. D. Darrell new recorder. Write for complete information today. Alfred Frankenstein John F. Indcox Robert C. Marsh CONCERTONE 510 Contributing Editors Instant monitoring ... the Concertone 510. Unmatched Claire N. Eddings recording flexibility in one compact Director of Advertising Sales unit. The 510 incorporates all the features of the 505 plus twin Walter F. Grueninger speakers and sound -directing Circulation Director panels which provide instant monitoring of the recorded signal. Warren B. Syer Luxurious ebony naugahyde carrying case. Stainless steel panel. Exclusive Reverse -O- Matir. feature.

CONCERTONE 400 COSMOPOLITAN A D V E R T I S I N G For people un the go.., it's the Cosmopolitan Main Office - Claire N. Endings. The Publishing House Combination Tape Recorder with AM Radio. Great Barrington, Mass. Telephone 1300 A versatile companion and co- worker for al°+.,1L. Tf. New York business or pleasure travels. 5" reel capacity. 1564 Broadway, New York 36 Push- button operation. Amazing fidelity. Telephone- Plaza 7 -2500 Remote mike. Foot -pedal control. This Seymour Resnick, Andrew Spanberger all -transistorized recorder has big recorder Chicago features in miniature form. The Billboard Publishing Co. 188 W. Randolph St.. Chicago I Telephone: Central 6.9815 Jerry Taylor for further information AMERICAN CONCERTONE, INC. Los Angeles A DIVISION OF ASTRO- SCIENCE CORP. 434 So. San Vicente Blvd.. Los Angeles 48 Write: f!D 9119 W. JEFFERSON BLVD. CULVER CITY CALIF. Telephone: Olympia 2 -2100 Robert J. Friedman, Michael R. Simon Export D. Marshall International, 170 W R-ashlncton, Chiea o, Illinois

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www.americanradiohistory.com of these outstanding $7.95 and $9.95 prerecorded 4 -track

FOR $598WAIL VALUE ANY STEREO TAPES ONLY UP TO $39.80 you join the Club now and agree to4 purchase as few as 5 selections from the more than 150 to be offered in the coming 12 months if

TCHAIKOVSKY: ANDY ROGER WILLIAMS SWAN LAKE songs of the Ballet Suite WILLIAMS COLUMBIA SOARING 960s MOON i Theme nom Carnival RIVER STEREO TAPE CLUB Theme from Exodus Its, A "ISj Blum Spero. Book!et and other great Original Soundtrack moose themes more IF YOU ARE ONE OF THE FORTUNATE PEOPLE who owr 4 -track stereo -9 reSaa] mHLC1 Recording __nAJ II.,Pi 'Illustpraions tape playback equipment ... if you are the kind of person who gets you are to 23. Also: The Bilbao 4. The winner of ten 46. "Superlative 54. A Summer Place, a kick out of sensational- sounding music ... if seeking Song, Portrait of My Academy Awards. Ma. playing...sumptuous Love Is A Many Splen- build an outstanding library of superb stereo tapes ... here is the Love, Calcutta, etc. ria, Tonight, etc. sonics."-High Fidel. dored Thing, etc. most generous offer ever made by the Columbia Stereo Tape Club! By joining now, you may have ANY FOUR of the magnificently re- The New here up to a $39.80 retail HAR MONICATS STRAVINSKY Star Spangled Marches j. corded 4 -track stereo tapes offered - ended , ANDRE KOSIELANETZ ANDRE value - ALL FOUR for only $5.98! The "FIREBIRD" Strike Up TO RECEIVE YOUR 4 PRE -RECORDED STEREO TAPES FOR ONLY $5.96 COMPLETE BALLET the Band KOSTELANETZ to indicate which Peg O' My Heart - simply fill in and mail the coupon today. Be sure Deep Purple Colonel "Wonderland Club Division best suits your musical taste: Classical or Popular. Bogey of Tenderly rip HOW THE CLUB OPERATES: Each Month the Club's staff of music ex- -9 More Seventy -Six Sound" perts chooses outstanding selections for both Divisions. These selec- ''I' .,,n, Trombones tions are described in the Club Magazine, which you receive free month. 13. Also: Malaguena, 45. "Brilliant per. 21. "A fine workout 15. Everybody Loves each Sabre Dance, Perfi formance...lush... for any sound sys. A Lover, Be My Love, You may accept the monthly selection for your Division .. or dia, Mam'selle, etc. rich." -Mus. Amer. tem."- Billboard Volare, 12 in all take any of the wide variety of tapes offered to members of both Divisions in the Magazine ... or take no tape in any palticular month. ORFF. CARMINI MANI NER 6 LOEWE Your only membership obligation is to purchase 5 tapes from the THE PHILADELPHIA ORCHESTRA more than 150 to be offered in the coming 12 montis. Thereafter, seeds and cho,us ame(at OMMAMDY ,onde,Hnr you have no further obligation to buy any additional !apes ... and CHARD BURTON you may discontinue your membership at any time. IULIE tapes want are mailed to you at the list price ANOREWS The you and billed and OnLlnal of $7.95 (occasional Original Cast recordings somewhat higher), plus Pr mdu a small mailing and handling charge. I k 35. "Superb... best 28. "It soars and it 3. "Most lavish and 31. "Fierce impact recording." - Wash- swings ... a break. beautiful musical, a and momentum." - ington Post through."- Playboy triumph. " - Nilgallen N. Y. World Telegram FREE TAPES Bach TONY given regularly. BENNETT asa mem- PLRCY Organ tapes, you I Left My ec, ".:.I 4 -tr FAITH wil a FILL - a Favorites Heart in for STRINGS receive your choice t of buy San Francisco stereo tapes Yyou Tenderly BREahIM E. Power additional Is the Night everycverY two Laura IT OP ON Tender Biggs a 50% dividend! Speak Low -- BROADWAY' Smile 9 more -

17. Also: Intermezzo, 27. If I were A Bell, 44. "Limitless pleas. 55. Also: Once Upon SEND NO MONEY -- just mail the coupon today to receive your four Beyond the Sea, Ebb From This Moment On, ure, perfect in ster. A Time, Candy Kisses, pre -recorded 4 -track stereo tapes - ALL FOUR for only $5.98! Tide, etc. Lida Rose, 9 more eo." -High Fidelity Love For Sale, etc. REX HARRISON IMPORTANT NOTE: All tapes offered by the Club must be played on BEETHOVEN JULIE ANDREWS RAY CONNIFF SINGERS HAWAII 4 -track stereo play -back equipment. If your tape recorder does not No. 4 5 YOUNG AT HEART The Fabulous SYMPHONIES and MV FAIR LADY play 4 -track stereo tapes, you may be able to convert it simply and II Yoe 50th State L.Y,d economically. See your local service dealer for complete details. SAM MAP !A ONGINAI Harbor LOIS OYUINO STEREO TAPE CLUB. Terre Haute, Ind Tr:1 fi COLUMBIA MnrlNw RAPP BRUNO WALTER 9 more SEND NO MONEY -mail coupon to receive 4 tapes for $5.98 36. "No better need 1. "One of the best 8. Also: "I'm In the 22. King Kamehame TAPE Dept. 421 -2 CIRCLE 4 be sought, a Walter musicals of the cen. Mood For Love, These ha, Across the Sea, COLUMBIA STEREO CLUB, specialty. " -Atlantic tury! " -N.Y. Times Foolish Things, etc. Blue Hawaii, 9 more Ter,- Haute, Indiana NUMBERS I :.! ur special offer and have circled MORE JOHNNY'S BEETHOVEN -. _i,t the numbers of the 4 tapes I BELOW: Iould like to receive for 55.98. plus small GREATEST HITS Piano Concerte No. 5 mailing and handling charge. Enroll me in 1 22 44 "Emperor" the following Division 01 the Club: CLASSICAL POPULAR LEON 2 23 45 select tapes from smi., FLEISHER I understand that I may aher Ltriston. I agree to purchase five se- rha 10 I,.ctions from the more than 150 to be of- 3 26 46 CLEVELAND iered in the coming 12 months. at list price ORCH. nlu.s small mailing and handling charge. Thereafter. if I decide to continue my ment- 4 27 48 6. Also: Stairway To 48. "Distinguished, 51. Pagan Love Song, 41. "Performances b,rshtp. I am to receive a 4- track. pre - recorded tape of my choice FREE for every the Stars; Teacher, freshness, vitality." Hawaiian War Chant, that really sparkle 6 28 51 i OVO additional selections I accept. Teacher; etc. -High Fidelity Happy Talk, 9 more and glow."-HighFid. E 31 53 MARY MARTIN lo Home SONGS OF THE FIRST TIME! rocen i NAMMERSTEIN'S I., %sf: PRINT, DUKE ELLINGTON NORTH & SOUTH THE SOUND of MUSIC 54 MEETS Address 13 35 1861 {1665 COUNT BASIS FINLANDIA 15 36 55 rMLAOELNNA ORCNESTRA City lane... state INNINN TAeERRAC U GNOM .APO. FPO addressees: write for special oflrr ELWIS MIME 17 41 rin -va_ Teab If P011 wish this membership credited to an established Columbia or Epic Tape dealer Swewf Rkarndr to accept subscriptions, fill in: p_ INS Mae M.1 1011, oHW,W e,e.a.q oaar authorized 21 43 43. Dixie, Aura Lee, 26. "Walloping en- 53. "Electrifying per. 2. "Every number is Dealer's Name Battle Hymn of the sembles and stirring formante . over. fresh and charming." Address T r _7 J Republic, 13 in all solos." -High Fidel. whelming. ".HiFi Rev. -New York Post LDealer's ©Cutunm,., 1 CIRCLE 23 ON READER -SERVICE CARD AUGUST 1963

www.americanradiohistory.com AUTHORitatively Speaking

Every now and then our mail brings us a communication from a man we have never seen and of whose history we are largely ignorant. But somehow we feel t%e know him very well. He lives in rerarw- Berlin and signs his letters only "Pavlik" (though we think he is an American), and v,e have been informed that he is a poet and a musician. We sense too that he is a solitary, perhaps a victim of some grave injustice or deep -hidden tragedy. In any case, we envision a gaunt figure walking rapidly but aimlessly through the city streets, failing to see the crowds all around him, his eyes troubled by what madness, what apocalyptic visions we do not know. On the other hand, we may

1 just have been reading too much Dostoy- evsky; and our mysterious friend may simply be suffering from myopia -or from fear of imminent apprehension by officers of the law (see "Confessions of an Illicit Tape Recordist," p. 38, and you'll understand why). In fact, all we've been actually told by the author who sends this contribution under the byline tti."& P` 1 M"r is that he owns "one of Eu- rope's best stereo systems." Sometimes vAe've caught ourselves wondering if he could possibly be our other old friend, P °0 M' o* in disguise. Our other contributors to this month's special series of tape articles have no reason for even relative anonymity, and achieve they are all well -known sober citizens. Audio engineer Stewart Ilegeman has been engaged in electronic and acoustical research for more than thirty years, be- TIIRILLI ginning with his efforts, while a Prince- LiVING ton \G freshman, to build an "electric Vic - trola." He hasn't finished that project yet (and says he never will), but his contributions to the design of high fidelity corn - PRESENCE ponents have made him an acknowledged authority in the field. Naturally, tape has been one of his prime interests, and for us he has conducted the unprecedented WITH THE laboratory experiments leading to the FINCO article "What Tape To Choose?" p. 41. Companion piece to Mr. Hegeman's re- AWARD -WINNING FM ANTENNA port is Edward Tatnall Canby's "Taping 1-M Stereo," p. 45. A teacher of music history and theory in various academic Broadcasting authorities agree that an outdoor antenna is absolutely institutions, music critic for a number of journals, director of WNYC's weekly essential for the reception of full quality monaural and multiplex broadcasts "Recordings. ETC." Mr. Can- FM sound. by too has for many years distinguished himself as a particularly learned and A FINCO FM antenna will deliver a clean, undistorted signal literate exponent of high fidelity (ride and bring in more stations, regardless of location. his books Honre Music Systems and High Fidelity and the Music Lover, in Guarantee yourself the best seat in the house for tonight's FM particular). Third member of the present concert ... install a fidelity- phased FINCO FM antenna. triumvirate is R. D. Darrell, without whom no coverage of tape matters could possibly be complete. Author of HIGH FIDELrrv's monthly "Tape Deck," Mr. Darrell can properly take a proprietary interest in the subject he explores here: "Tapes from the Professionals," p. 48. While the editors of this publication did not plan the current issue to display their catholicity of taste, they hope that readers will share their pleasure in the two very diverse essays which complete this Illustrated Other models FM Electronic Booster month's roster of feature articles: on p. FM 4 available from Model T- AMB -AC 51 "Listening to Schoenberg," by Peter $24.90 list $3.75 to $11.30 $34.95 list lleyworth, and on p. 55 "The Jazz Com- poser," by Gene Lees. The former comes Available at local dealers ... to us from the British music critic whose THE FINNEY COMPANY or write for Bulletin =20 -213. perceptive writing regularly appears in PRODUCERS OF IHE WORLD'S FINEST FM AND IV ANTENNAS the London Observer and who has graced our pages on previous occasions. The Dept. HF Bedford, Ohio latter is a first -time contribution from a onetime editor of Down Beat. CIRCLE 35 ON READER -SERVICE CARD 6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ONLY BY MAIL A REMARKABLE FOUR -RECORD ALBUM-AVAILABLE i -vev- 66 Folk. Songs & Ballads rì BY AMERICA'S MOST FAMOUS FOLK SINGERS Sent for ten days' listening... WITHOUT OBLIGATION "From end to end, this set is a charmer. It will make you rejoice MONAURAL: $11.95 STEREOPHONIC: $13.95 (Plu, a .mall mailing charge in each case) and it will make moist your eyes The usual list prices of albums of comparable quality and It is all person now and then.... content are $19.92 (monaural) and $23.92 (stereophonic) to person to person, heart to heart to heart." -JOHN M. CONLY CONTRIBUTING EDITOR, THE SONGS AND THE SINGERS High Fidelity Magazine TRADITIONAL THE STREETS OF LAREDO THE BUFFALO SKINNERS - 1x((1 I IOl'STON --I IG51110USTON BALLADS AND SONGS AWEIGH, SANTY ANO GET ALONG, LITTLE DOMES * * * U LAVERS - -1111- YC'I AVERS * * * * * * * ISLES --lull OF THE BRITISH GREENLAND WHALE FISHERIES -- T III JAMES MINSTRELSY SUMER IS ICUMEN IN MODERN Joan Baez III. 01 1.1.111 CONSORT -I ANOTHER MAN DONE GONE HE THAT WILL AN ALEHOUSE KEEP THE AMERICAN ODIC TTA -1 III DI:I.I. lit (:(:,(IRT THE RED CLAY Leon Bibb LANG -A- GROWING TRADITION I'M GOING BACK TO COUNTRY -DO1: r EA - 1!IX'AN MacCOLL VIRGINIA BLUES NO MORE CANE ON THE BRAZOS THE HANGMAN, OR THE MAID EAST --o in IA The Deller Consort FREED FROM THE GALLOWS -PETE SEFGER ION 1111111 -JOT IN JACOB NILES COTTON -EYED JOE -LEON 811111 DARLIN' -I. JOHN RILEY -ODFTTA POOR IOLETTE -LEON BIBB I'VE BEEN DRIVING ON BALD MOUNTAIN --- El Jimmy Driftwood WE BE SOLDIERS THREE SPANISH IS A LOVING TONGUE l III R WATER BOY - +nu lA w,,,irl , of REA Vlrinrl I IF. OILIER CONSORT -- RONNII t.II HARDY IS (U in intuN JOHNNY, I HARDLY KNEW YE THE ERIE CANAL -TIIF. SV1 As 1 IL', JOHN -I. I I II 'ION -T(1At SIAK!:M SARO JANE -oDP'I TA RAILROAD BILL -C. BI (I Bob Gibson THE WHISTLING GYPSY JOHN HENRY -uol[TrA HOUSE OF THE RISING SUN (.II III RT -TOM MAKIiM VIRGIN MARY HAD ONE SON -- R(INNII WHEN COCKLE SHELLS TURN MAN IIAI Z a 1111 GiBsoN EAST TEXAS RED - (.1x115 ID 51 NI ON Ronnie Gilbert SILVER BELLS - Eli MCCI'RDY WAYFARING STRANGER THE CAT CAME BACK OREENSLEEVES GIBBON IS Ill lt''ION - 'I'iII D1l.Ll'R CONSORT HE'S GOT THE WHOLE WORLD IN MEET THE JOHNSON BOYS Cisco Houston THE BOLD FISHERMAN HIS HANDS O1111 TA --ÏTIP I AV1 ItS II> MCCURDY GOD'S A -GONNA CUT YOU DOWN TALKING GUITAR BLUES THE COBBLER'S SONG "1'1'.1 I U( O IlC)lISTON - -001 Ewan MacColl - TOM MAKEM ALL THE PRETTY LITTLE HORSES I KNOW AN OLD LADY MILLS EDDYSTONE LIGHT -THE WEAVERS - (1151 T TA -ALAN NO MORE AUCTION BLOCK FOR THE FOGGY DEW -01111 rA Ed McCurdy ME --0111 1 TA THE WRECK OF THE OLD 97 BRITISH -AMERICAN OLD DAN TUCKER -CISCO I IDUSTON BALLADS AND SONGS (I nol'STON THE SINKING OF THE REUBEN JAMES Tom Makem SQUIRREL -LEON BIBB -C'SCO i IOLISTON COME ALL YE FAIR AND WE'RE ALL DODGIN' FRANKIE AND JOHNNY I MCCURDY TENDER LADIES -LEON mu, -'111F WEAVERS - D Alan Mills THE FOX -ODI:TIA THE STATE OF ARKANSAS WILD GOOSE GRASSES I III 'SEAM RS GO FROM MY WINDOW - -I III I AVERS I IOIISTON - -RONNIE GILBERT OLD JOE CLARK DANVILLE GIRL -(IH.n

- ISCo uomSTON John Jacob Niles THE GOLDEN VANITY 115151) DRIFTWOOD HARD TRAVELIN' --(. RONNIE GILBERT THE UNFORTUNATE MAN BONNEVILLE DAM - -CISCO 1-ill ISTON JOHNNY IS GONE FOR A SOLDIER II SI Ali' DRIFTWOOD Odetta -RONNIE. GILBERT THE OX DRIVER -ODI:TTA DO RE MI -CISCO IlOLOl ON Pete Seeger A PRACTICAL AND ENJOYABLE EXTRA ... With each album you will The Weavers find a handsome brochure containing all the words of the 66 folk songs and ballads.

is only by SoetE TIM!: AGO, The Classics formed. Such an album had, until IMPORTANT: This four -record album offered The Classics Record Library and is not available in stores Record Library, a Division of now, scented impossible of achieve-

Book-of-the-Month Club, Inc., set ment because of the problems in- THE CLASSICS RECORD LIBRARY T 72 -8 out to assemble a representative volved in bringing together first - c/o Book-of -the-Month Club, Inc., 345 Hudson Street, N.Y. 14, N.Y. collection of folk music -American rank singers from all over the coun- Please send me an album of FOLK SONG AND MINSTRELSY in the regular LP (monaural) version and bill me at the special price of and British sung by the finest try. The result is a "charmer," as - 511.95, plus postage and handling. If I wish I may return the folk artists of our day. The Van- music critic John Conly remarks album within ten days and he under no further obligation. guard Recording Society gave us above - and it is available only Check here if instead you want the stereophonic ver- carte blanche to select the best through The Classics Record Li- sion a1 the special price of 413.05, plu, a postage and handling charge. Same return privilege applies, of course. performances available from their brary. Because the album is not sold in record stores, the Book -of- wealth of recorded music. In addi- MR. tion, we were permitted to draw the -Month Club is permitting in- nuls. Miss PLEASE RHINE upon their recorded selections from terested collectors to listen to the the famous Newport Folk Festivals records at home and, if not fully at which virtually every leading satisfied, to return them to the Club City one Stale jolk singer in America had per- within ten days, without charge.

CIRCLE 22 ON READER -SERVICE CARD AUGUST 1963 7

www.americanradiohistory.com dles tape like a thousand dollar deck," said one audio ten watts per channel - measured at steady state reading, not at the itor after a full hour with the Vernon 47/26. What inflated peaks of "music power." Even when using low efficiency speaker pressed him most was the way the unique electronic systems, you get all the clean sound you could comfortably want. In keyboardw silently masterminded the tape movement in every mode. No comparing a recording from a standard high quality source, one equip- matter how fast or in what sequence the keys were worked, the tape ment reviewer found both low and high ends "very transparent, barely responded without a hint of protest. Little wonder, as the switches are distinguishable from the original." not only completely transistorized, but benefit from the logic circuits Such performance stems from highly advanced solid state circuitry. In employed in computers. Instead of relays or electro- mechanical devices, all, the Vernon has 47 transistors and 26 diodes - of the most costly the Vernon has "one shot multiplex," "flip flop" and diode gate circuits types yet available. Unlike the vacuum tube, transistors have no need that act with the immeasurable swiftness of electrons themselves. for an output transformer with its limitations on high and low frequency Vernon's direct -coupled system, response is flat far More than just a superb tape transport, the Vernon is complete with two response. With the Also are the tube's microphonics, high preamplifiers, two record /playback amplifiers and built -in speakers .. . beyond audible limits. eliminated to initial performance levels. all of identical professional caliber. Audio power exceeds twenty watts, internal heat and short-lived adherence CIRCLE 89 ON READER -SERVICE CARD www.americanradiohistory.com IVRY111..L PE, La

Apart from its handsome styling, the Vernon is thoughtfully designed for utmost ease and efficiency in use. The variable controls - tone /contour, record level and playback level - function either independently or ganged. You can operate the Vernon vertically, horizontally, or at studio angle ... with or without its cover. And for use as an audio center with tuner and /or turntable, the tapespeed selector need only be turned to "off." Among the Vernon's many other features of note: three motors, three tapehcads, multiple ernon intermix inputs (for authentic sound -on -sound and echo), automatic shut -off, automatic rewind /replay, one second electronic delay, monitoring from either tape or preamp, pro- vision for remote control. The built -in specially loaded monitoring speakers also merit attention, with their remarkably smooth and easy -to- listen -to quality that belies their size. ster eo tape recer Your audio dealer is eager to have you put the Vernon 47/26 through its many paces .. an d audio ceJ7/26i/1 to judge its true value to your own satisfaction. Or for descriptive literature, write Vernon Audio Division, 144 E. Kingshridge Road, Mount Vernon, N.Y.

CIRCLE 89 ON READER -SERVICE CARD

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World's Not So Dumb

first... SIR: In the few months during which I've been a HIGH FIUL.LIIY reader I've come to Stereo- enjoy the frank expression of contrast- phonic ing opinions of many of your contributors. It is significant, I think. that in Robot this time such articles have appeared as Robert C. Marsh's on Mengelherg 'HIGH FIDELITY, December 19621 and H. C. Robbins Landon's FREEMAN "200" STEREOPHONIC ROBOT on Bruckner I Feb- Audiophile Net $995.00 ruary 19631. Quite in the same vein was Leonard Marcus' description of Automatic Reverse Automatic Continuous Play what sounds 4 Broadcast Heads 40 Watt Stereo Output like a high romantic re- 100% Transistorized Tape or Source Monitoring vival under Leonard Bernstein in New

4- Channel Mixer 3 Hysteresis Synchronous Motors York 1 May 1963 I. These things are Touchbutton Operation -Echo Sound on & with Sound not surprising if one observes what Chamber is happening generally these days. We want our music (and everything else) to be "fabulous"! Audiophile 1 feel that it is this "fabulous" sound Net $399.50 that Bernstein imparts to his interpretations by frankly Mengelhergian techniques that attracts and holds most of his teen -age converts. I am glad that Mr. Marcus has put the matter so clearly,

referring to "his I Bernstein's I attempt. through both technique and interpretation, to bring as many musical effects to the surface as he can, where all may see and hear them without too much ONLY THE FREEMAN effort." To be just as frank, I don't "600" OFFERS Audiophile Net like this pandering of music to an audi- Automatic Shut-off $139.50 Hysteresis Audiophile Net ence unwilling to undertake the effort (at Synchronous Motor $1 59.50 least on some occasions) to really under- 3 Head Professional THE UNEQUALED stand what Stereo Design "550" they are listening to. I 15 Watt Stereo Output Tapes up to two hours. THE FABULOUS "660" seriously doubt that many of our young Qualifies For School Use The finest lecture, report Now, everyone can tape people will attain musical maturity under A Complete Home such a system of "education." Music System and conference recorder high fidelity anytime. No Competition in the world. Battery or anywhere in a 6-lb pack- Not surprising. in view of this, is the Under $600 AC power. age. Battery or AC power. decline of Jan Sibelius, which has been noted more than once in your columns. If measured purely by the sound and

1 fury of his early works (Finlandia, the FREEMAN ELECTRONICS CORP., Dept. HF -8 first symphonies) he would probably Net los eles 38, Caenoe run a poor second to Bruckner. But los Angeles 38, California $29.95 ® what about as a_ Sibelius a man who speaks PROFESSIONAL DYNAMIC Please send me: for himself in his own way? Booklet containing ingenious suggestions on how to the The beginning of a quiet process of self - MICROPHONE DM -166 get most from a tape recorder at work or play. I enclose 25C development is evident in his Second in walnut presentation case. (coin, stamps) for postage and handling. O Name of nearest dealer. Symphony. This process reaches its REVOLUTIONARY UNDER- culmination in Tapiola and the Seventh CHIN HIGH FIDELITY Name Symphony. These are not "fabulous" STEREOPHONES SEP -100 Address things, but are the good work of an Net $24.95 City Zone State inner -directed man with a conscience I Continued on page /4 CIRCLE 37 ON READER -SERVICE CARD 10 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Here's how to turn sound "snap - And more of the sound you want, you get. 664 puts out a healthy -55 db signal to match shooting" into professional quality Wider range is possible with the more any modern amplifier or tape recorder. And "sound pictures" with top -notch sophisticated 664 design. No compromises either high or low impedance can be selected fidelity. Start with this microphone, the needed at either the top end or the bottom. at the cable. Just move one wire. All this for Electro -Voice Model 664 dynamic cardioid. And no peaks (on -axis or off) from 40 to only $85.00 list (less normal trade discounts). 15,000 cps. A good part of the credit must Or $99.00 in gleaming gold finish. Your sound rein- Whether recording, providing go to the Acoustalloy diaphragm we use, money back if the 664 disappoints you in any forcement or doing critical PA work, the 664 made of a modern plastic that can be con- way. It won't. Why not put yourself in the Variable -D* cardioid pattern rejects sound trolled to within .001 ", yet shrugs off ex- foreground of the sound picture with the more uniformly at the back of the micro- tremes of humidity, heat and shock. We're E -V 664, today. Electro- Voice, Inc., Dept. -priced phone than any other similarly unit. proud of it. We invented it. 832H, Buchanan, Michigan. The 664 has four independent sound cancel- Another advantage of the Variable -D 664: for highs, for *Patent Pending ling systems (two the one the almost no proximity effect. This means you for lows). mid -range and one the Compare get the same tonal balance with ultra -close with the one or two cancelling systems this miking as you do when working at normal or low room rumble in other brands. Low, and long distances. A big bonus with untrained very high frequency noises are reduced just talent or wide- ranging stage pickups. as well as voice frequencies. A whopping 20 db, on the average. The highly efficient dynamic element of the gkerirreefeC, CIRCLE 34 ON READER- SERVICE CARD SETTING NEW STANDARDS IN SOUND

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Sony Sterecorder 777 S- Professional, all tran- 2 full range speaker systems. Unequalled for per- sistorized 2or4 track stereo /mono tape recording NOW ON DISPLAY formance and price. Less than $239.50. Sony system featuring remote control and the exclusive Sterecorder 500 -A complete 4 track stereo/ mono Sony Electro Bilateral head system. World's finest tape system with unsurpassed studio quality. The tape recorder. Less than $695. Sony Amplifier/ AT YOUR FRANCHISED full range. infinite baffle detachable speaker sys- Speaker System SSA 777 -All transistorized, 10 SONY / SUPERSCOPE tems integrate into the recorder lid. and separate 15 watt, extended range 8" infinite baffle hi fidelity AUDIO /TAPE DEALER feet for optimum stereo effect. Less than $399.50. speakers created to produce perfect, full -sound re- Sony BaHeryOperated Executive Portable 801 -A production with the 777 S. Less than $175. Sony Stereo -A distinctively styled, transistorized, 2 speed all purpose re- Mixer MX 777 -For advanced recording techniques, this all - corder of utmost precision and quality. For the executive desk transistorized, battery- powered 6 channel stereo /mono mixer or portable use. The self- storing mike features a remote stop is the perfect accessory to complete the 777 professional sys- and go switch. Tape it with you for less than $250. Sony tem. Less than $175. Sony Stereo Tape Deck 263 -D -Add 'Slide-Sync' Tapecorder 211 -TS- Incredibly versatile. serves tape to any sound system with this 4 track stereo playback the photo enthusiast with an exclusive, automatic built -in 'pro- tape transport. 3 heads. 2 speeds. vertical or horizontal oper- grammer' to activate a slide projector in 'sync' with your own ation. Less than $119.50. Sony Stereo Recording Amplifier recorded narration. Also the most compact tape teaching re- SRA -2L -All the facilities for adding stereo recording to the corder available. Less than $129.50. Sony Tape Teaching Re. 263 -D unit. Less than $99.50. Sony Sterecorder 464 -D Deck corder 464 -SL -A deluxe language and music teaching aid, -2 speed, 4 track, stereo /mono, record /playback compact 2 speed, 4 track, stereo and mono. Less than $219.50. Sony tape deck with built -in pre -amps. Ideal for custom installation. Sterecorder 600 -3 heads, tape and source monitoring, Less than $199.50 Sony Portable Tapecorder 102-Rugged sound on sound, vertical or horizontal operating, this 4 track 2 speed, dual track, hi fidelity recorder with deluxe features stereo recording and playback unit is perfect for professional and 7" reel capacity satisfies the most exacting recording re- quality home installation. Less than $450. Also available. quirements. Less than $129.50. Sony Tapecorder 111 -A an extensive line of professional studio quality microphones popularly priced, high quality bantam recorder for everyday and accessories. All Sony Sterecorders are Multiplex Readyf family fun. Less than $79.50. Sony Sterecorder 200 -The For detailed literature and name of nearest franchised tape most compact and lightweight quality 4 track tape recording dealer write Superscope, Inc., Dept. 1. Sun Valley. Calif. system on the market today. Carrying case lid separates into IN NEW YORK. VISIT THE SONY SALON, 585 FIFTH AVENUE.

CIRCLE 82 ON READER -SERVICE CARD www.americanradiohistory.com THERE ARE FOUR EXCELLENT VACUUM TUBE STEREO CONTROL CENTERS ON THE MARKET TODAY.

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WHY DOES THE NEW CITATION A SURPASS THEM ALL?

Part of the answer is suggested by an authoritative ual distortion of the measuring equipmert." report which appeared recently in High Fidelity Maga- "Its listening quality is superb....The overall effect zine. Here are some excerpts: of listening to Citation A is simply, more music and less "Marks a major breakthrough in the application of fatigue." semiconductors to high fidelity sound." "Should meet the demands of the most critical lis- "Superb response characteristic is not matched by tener and audio perfectionist." any other known preamplifier." "It suggests that...a sound path could be set up "Citation A literally has flat response to beyond one that approaches the classic goal of amplVier design - million cycles and distortion that is non -measurable by that is, a straight wire with gain." the usual methods." For a complete folio of reports and test evaluations of "Excellent transient characteristics and virtually no this remarkable new instrument,write Citation Division, phase shift throughout its extremely wide range." Dept. HF -8A, Harman -Kardon, Harmonic distortion is "actually less than the resid- Inc., Plainview, New York. harman kardon A SoDS.d.ar) of THE 1ERROlD CORPDP;rIC, CIRCLE 41 ON READER -SERVICE CARD

www.americanradiohistory.com LErrERS

Continued front page 10

of his own, who was neither a pleasant conformist (he might easily have been) nor an exciting rebel -but simply himself. The last quartets of Beethoven have the sanie kind of integrity. It is possible that Bruckner achieves it too (but why must all those other "parochial, highly nationalistic" composers decrease as he increases ?). The performer should see that these men are truly and faithfully represented. allowing the audience to accept or reject their work on its own merits. The composer deserves no less than this. So does the listener. I seldom agree with Senator Barry Goldwater, but I do heartily agree with his statement that "the American people are not so damned dumb." James M. Smith West Branch, Mich.

More Meaningful Experiments

SIR: The articles and editorial on psycho - acoustics in the April issue of HIGH FIDELITY, as well as certain statements and advertisements appearing recently concerning the advantages of an ultra - wide frequency response, prompt a question. Has the knowledge of how to conduct a meaningful psychoacoustical experiment been lost in the field of high fidelity? The science of psychoacoustics has, indeed, a great deal to contribute to our enjoyment of reproduced music, but high fidelity engineers seem to have developed a new "science"-psychoacous - tics by testimonial. Testimonials make interesting reading. but they do not necessarily have any particular relationship to reality. I am reminded of the statements which used to appear, in various periodi- cals. in articles on loudspeaker enclosure construction: "The author called all his friends in and they agreed that it sounded better than any other speaker they had ever heard." This is not psycho - acoustics. Which of these five Norelco recorders I would be delighted to see a paper on the results of a well -designed experiment (based on enough listeners to have was designed expressly for you? statistical validity) concerning the ef- The Continental '401'? (lower right) 100% The Continental '200'? (center) with special fects, if any, of carrying the frequency transistorized with professional quality 4 -track suitability for portable hi -fi tape deck applications extremes of an amplifier a number of stereo /mono /record/playback ... with 4 speeds, . with self- contained mono record /playback octaves beyond the audible response including new super -slow 15/16 ips for 32 hours capability and 4 -track stereo output from tape limits. I am still waiting for it. Instead, on single 7' reel...with completely self contained heads. High impedence microphone. is at an con- dual hi-fi pre amps, power amps, speakers and a paper given engineering The Continental '100'? (upper left) 100% vention (where better standards should dynamic stereo microphone. transistorized "trip- mate" battery portable (only 7 The Continental '301'? (upper right) 100% lbs.) ... with big machine record /playback quality have been upheld) in which the speaker transistorized with 4- speed, 4 -track mono record/ . constant speed motor and capstan drive ... said that a very wide -range amplifier playback capability...with dual hifi preamps for self contained loudspeaker... dynamic micro - sounded better. Perhaps it did, and I stereo playback through hi -fi, radio or TV...with phone...patch cord for external speakers playback don't doubt the speaker's honesty. But recording standby facility; mixing; monitoring; ...records /plays back 2 hours on a 4' reel. dynamic microphone. to whom did it sound better, and under Whatever your requirements in a tape recorder, what M. Fried very The Continental '300'? (lower left) ...with the choice of the one right Norelco machine for conditions? Irving 3- speed, 4 -track mono record /playback capability you is easy as A-B -C. For a pleasant demonstra- aptly pointed out in his article the dan- and stereo head output for play through external tion, visit your favorite hi -fi dealer or camera store. gers of making a judgment when a pre- equipment... with dynamic microphone and Write for free brochure B -8. North American Philips existing bias is present. Was the experi- versatility to match the varied requirements of Company, Inc., High Fidelity Products Division, ment, if experiment it was, controlled in churches, schools, etc. 100 East 42nd Street, New York 17, New York. such a way as to remove this bias? One cannot know, because no methods or data were presented. órelo° Edwin D. Burnett It Canada and Ihaughout the tree world. NORRCO Is known as the 'Philips' Adelphi, Md. CIRCLE 62 ON READER -SERVICE CARD 14 HIGH FIDELITY MAGAZINE

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GI have built a lot of kits and I must state that I have never come across a better executed one than the Award A50K. It is simply beautiful. Sound was sweet and clean.... even without regard to price it acquits itself handsomely. In its price class (0119.95) the A50K is a spectacular kit., (American Record Guide, Test Report)

Here's more praise from the nation's leading audio tion nor extraneous noise occurs at any time, and authorities: "The power response is exception - there are enough inputs and controls to do any- ally flat. The A5OK puts out as much power at 20 thing with the amplifier. I don't see how Hai man - cycles as it does at 1000 cycles. This is insurance Kardon supplies everything from the packaging that low efficiency systems can he used without to the performance of the A30K for the price of sacrificing orchestral instrument separation.... $79.95. This kit is as fine a value as I've ever come represents the ne plus ultra in kit packaging and across." (Modern. IIi -Fi and Stereo Guide) conies equipped with one of the best manuals we The Award Kit Series: Model A30K, handsome have seen..." (Hirsch- Houck Report for Popular 30 watt integrated stereo amplifier kit, $79.95; Electronics) Model A50K, powerful 50 watt integrated stereo "...so well organized that building the kit is amplifier kit, $119.95; Model F50NK, profession- almost as much of a pleasure as listening to the al FM Stereo (Multiplex) timer kit, $129.95; Mod- completed amplifier ... There is nothing to put off el FA30NK, new 30 watt. FM Stereo Receiver kit, the novice builder ... When you put the finished $169.95. Prices slightly higher in the West. A30K into use, you will find that the enthusiasm For complete literature on these remarkable in- accumulated during construction is justified. struments write Dept. 11F-8, Harman -Kardon, There is enough power to make the average Inc., Plainview, speaker system rattle the walls. Neither distor- L. I., New York. har man kardon A subsmiary of THE JERROLD CORPORATION

www.americanradiohistory.com New! Triple the length on a 7" reel!

Longest non -stop tape time ever! That's what you get with Tape. No. 290 is made to demanding stereo quality standards a 7" reel of new St o cir BRAND Recording Tape No. 290 to ensure brilliant sound characteristics. And exclusive Silicone -any way you play it! At 31/4 ips, for example, it provides 3 lubrication, which lasts the life of the tape, protects against hours of uninterrupted stereo or monaural -6 hours of record- recorder head wear, actually extends tape life. ing in both directions. Full hour on a miniature reel! No. 290 is also offered in 600' This exclusive triple length tape offers 3600' lengths on 7" lengths on 31/4" reels that fit most miniature recorders, play a reels. That's three times the footage possible with standard full hour at 31/4 ips, 2 track. Ask your dealer about both sizes length tape on a 7" reel. And compared with regular double of new No. 290. length tape, you get 50E; ; more recording time, pay less per foot.

SOOTCH. AND THE DFSMN ARE REGISTERED TRADEMARKS O NN ESOTA What's 290's secret? A superior new coating technique, MINING 9 MINNESOTA SPORT" 99 PARK AVENUE. N TORE. CANADA LONDON. ONTALO O''969. TM CO. developed by 3M, makes possible thinner high potency oxide coatings to reduce tape thickness, allow bonus tape footage per reel. Backing for No. 290 is the same extra -strong, half-mil tensilized polyester used on regular "Sancti" Double Length magnetic Products Division 3tm CIRCLE 59 ON READER -SERVICE CARD 16 HIGH FIUGLI rv MAGAZINE

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It's new, its deluxe, and it's all transistor! That's the Heathkit A1-43 Trans- istor Tuner featuring the very latest in solid -state circuitry for more features, greater listening pleasure. Sensitive, automatic, and ready to capture any broadcast your choose ... up -to- the -minute AM ... beautiful :y quiet FM ... and thrilling, natural FM Stereo! Truly deluxe ... styled in tasteful tan inyl- clad steel to complement any decor, quietly ... to match other deluxe Heath- kit stereo equipment. If you prefer the finer things, the latest in the state of the love the Heathkit A1-43! THE LATEST IN FEATURES: art you'll 18 lbs., no money down, 611 mo. 24 transistors, 9 diodes Built -in stereo circuitry Auto- Kit AJ-43, $119.95 matic stereo indicator Automatic switching to eliminate manual switching to receive stereo Built -in Automatic Frequency Control and Automatic Gain Control Ad- Matching All- Transistor justable FM squelch Stereo phase control Filtered Stereo Amplifier stereo tape recorder outputs Built -in AM & FM an- For balanced performance and appear- tennas Separate AM & FM tuning meters Lighted ance, choose the Heathkit AA -21 . 28 sup- slide -rule dial Flywheel tuning Regulated power transistors, 10 diodes, 70 watts! 28 lbs. ply Factory assembled FM tuning unit and 4 -stage IF circuit board Concealed secondary controls behind Kit AA -21, 513 mo. $139.95 hinged lower front panel Assembled AAW -21, $16 mo. $167.95

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CIRCLE 42 ON READER -SERVICE CARD AUGUST 1963 17

www.americanradiohistory.com IF WE SAID THIS, YOU'D NTS NEVER FROM BELIEVE US* AB PPA L) (un less you already own an ADC speaker system) r -

!!Audio Dynamics, known for the ADC cartridges and the Pritch- ard tone arm, has introduced a line of high quality loudspeakers that incorporate novel design features Halfway through Lo- When the subject of these revelations rin Maazel's extraordi- came back, we resumed our such as the use of a rectangular - talk about nar doublings hack conducting. A lot shape woofer...It is a very smooth, LONDON of mediocrity about. and forth opined natural -sounding speaker system across the Mr. Maazel. "Today there are hemispheres (which so few real conductors. There may he that strikes us as one of the finest began in August 1962 hundreds on the podium hut there are presently available ... and will continue. as only seven or eight -well. let us say ten at present scheduled. until January 1964) (I haven't stopped to count heads) -who The -18 in ADC particular appears the crisp and dapper young conductor are conductors in the true sense of the to be an outstanding reproducer stopped off here to talk with F.MI- word. When I speak of 'true' conductors from any standpoint, one that is Angel, Decca- London. and DGG officials I speak of men with technical equip- suited for the finest of home music and to conduct the Philharmonia Orches- ment. a catholic repertory. an intimate systems ... tra in Schubert's Unfinished Symphony, knowledge of music. and. most important among other things. of all, the ability to communicate." The initial impression of listening In the course of our conversation 1 ventured to ask if Mr. Maazel would to music through the ADC -18 was somebody remarked that. at thirty -three, include himself in this select group - one of immediate acceptance, and Mr. Maazel had been conducting the whereupon I was given a demonstra- this impression has been strength- Unfinished for a quarter of a century. tion of the Pisces technique. Mr. Maazel At these tidings I cocked a skeptical waxed eloquent on the subject of art ened after weeks of listening. The and the speaker eyebrow. But yes. confirmed Mr. Maazel. duties of the artist: he did does not favor one type of it was as true as he sat there. Most of not answer my query. music, or one family of instru- the publicity releases say he made his ments, over another. It is an im- podium debut at the age of nine. It Intrigue. The conversation turned to rec- partial, honest, transparent repro- scents that they are a year out. ords. Yes, Mr. Maazel's discography now ducer that seems to render no more "I conducted my first Unfinished." he numbered some twenty discs. Yes. he planned or less than what is feci into it said. "with a students' orchestra at Idaho to continue to record for various ... University 1938 age labels. making about seven or The ADC -18, in sum, is very easy in June at the of eight to eight, and a very good orchestra it was." releases a year. Yes, sessions with the listen to and live with, and Naturally. his attitude to the Unfinished Vienna Philharmonic were definitely on is a worthy complement to has changed a good deal after all these the docket. Anything else? At this point the ADC cartridge itself. years. but he hasn't begun to feel bored. the finny influence in the Maestro's horo- "The Unfinished." he maintained. "is a scope again gained the ascendancy. Now you be the judge! Audition piece I could perform every week in the About a week later I discovered why the ADC -18 speaker system at your year. Far from tiring of it, I find it per- the seeming evasiveness. On the very day hi -fi dealer. petually enriching." of our meeting, Mr. Maazel had been spirited into Walthamstow town hall to- 'excerpts from the Equipment Fish Story. Mr. Maazel went away to gether with Vladimir Ashkenazy. the Report section of the April 1963 talk to somebody on the telephone about Soviet pianist, whose opting for con- issue of HIGH FIDELITY maga- the Tristan production which he was go- tinued residence in Britain had made zine. Write for the full report. ing to fly lock, stock, and barrel to him front -page news overnight. With Japan after conducting it in Berlin. Then Decca- London officials walking about on SPECIFICATIONS somebody else called to ask about the tiptoe, putting fingers to their lips and Freq. Response ... 20.20,000 cps Dallapiccola Variations for Orchestra, urging everybody to secrecy, Maazel Power Handling ... to 6S watts which he planned to play on tour with conducted Ashkenazy and the London Min. Power 10 watts Req.... the Leningrad Philharmonic in the Symphony Orchestra in Tchaikovsky's B BASS UNIT MAGNETIC STRUCTURE U.S.S.R. Meanwhile I chatted with Pa- flat minor Concerto. Rushed through Flux Density ... 12,700 Oersteds by Total Flux . 165,000 Maxwells tricia Maazel (pianist, composer, con- editors and processors. the recording TREBLE UNIT MAGNETIC STRUCTURE ductor in her own right -when the mood appeared in the shops a mere five weeks Flux Density ... 15,000 Oersteds takes her). Mrs. Maazel confided that later, at the same time as Ashkenazy's Total Flux ... 53,500 Maxwells her husband likes being interviewed and Rachmaninoff No. 3, which had had Impedance ... 8 to 16 ohms is very adept at it. The reason. she a good month's start. When I asked the Net Consumer Price ... $250 laughingly explained, is that having been Decca people about it. they seemed much born on March 6. he is governed by the too dazed by their feat to he able to twelfth sign of the zodiac- Pisces, or explain just how they'd managed it. the Fishes. Presumably, Mr. Maazel is AUDIO DYNAMICS therefore inherently gifted at moving "Great Music "-Including Six Harps. CORPORATION through deep or troubled waters. His On another recent morning at Waltham- PICKETT DISTRICT ROAD, blue -eyed wife made a sinuous movement NEW MILFORD, CONNECTICUT of her hand in illustration of the point. Continued on page 22 CIRCLE 11 ON READER -SERVICE CARD 18 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com let the drums roi out (Audiotape will capture every beat)

Audiotape is discreet. Whether your tortion and background noise... such taste in music runs to drum solos or consistent quality, reel after reel. ocarina improvisations, Audiotape will So whether the drums roll out or the ""d'""pa keep your secret. And it will keep faith trombones twitter or the glockenspiels with the drum, too ... or with an octet roar, Audiotape will capture every note 7-,-, or an oboe. Whatever you record, Audio - every time. And whether you record on tape faithfully captures the highs and Audiotape for all the world to hear, or the lows and everything in between and enjoy it behind locked doors, you are reproduces them as naturally as life. using the finest (and most trustworthy) Only Audiotape gives you such clarity tape ever made. There are eight types, AUDIO DEVICES, INC. 444 Madison Avenue, New York 22, N.Y. and range ... such freedom from dis- one exactly right for your next recording. Off ices in. Los Angeles Chicago Washington, D.C. CIRCLE 10 ON READER -SERVICE CARD

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Just pushing the start button tells the quality of the EICO RP -100. that assures tight tape wrap- around on heads, no need for troublesome Instantly, tape flows with the smoothness and precision you would pressure pads- permanent bearing lubrication -digital tape index. in a Hit brakes halt expect only studio console. the stop button: D.C. And the sound? Frequency response 30 to 15,000 cps 2 db at 71/2 ips the tape with accuracy. Rewind watch a full reel whizz ` hairbreadth -and with 55 db signal -to -noise ratio. At 33/4 ips the frequency response is 30 through in less than a minute. Aside from the decisive snap of the to 10,000 cps ± 2 db with 50 db signal -to -noise ratio. Wow and flutter solenoid controls, all runs silently- thanks to rugged construction. No are below 0.15% at high speed, under 0.2% at low speed. mechanical whirring and buzzing obtrudes on the music. And the solid heavy -gauge chasis maintains vital mechanical tolerances under Summing up: "THE EICO RP -100 will do as good a job as many heavy use. recorders costing up to twice as much, and it is probably more flexible You can't top the RP -100 for versatility: 4 -track or 2- track, stereo or than any of them." That's the unbiased test report of Hirsch -Houck mono, with each channel separately erasable, 2 speeds (71'_ and 33 Laboratories, published in Hi -Fi /Stereo Review. As a semi -kit the ips), monitoring directly from tape, sound -on -sound recording, facilities EICO RP -100 is $299.95. You can also buy it factory -wired for $450.00. for mixing two inputs with separate level controls for each channel, and Even then it's unmatched for the money. See the superb RP -100 and for recording two programs simultaneously. the complete EICO line of high fidelity components at dealers everywhere. For FREE 32 page catalog, 36 page Stereo Hi -Fi Guide (enclose . and as for quality factors: 3 motors -hysteresis synchronous capstan 25e for handling & deale :s' name, write: EICO ELECTRONIC IN- drive- transistorized electronics to eliminate hunt and microphonics- STRUMENT CO., INC., 3300 Northern Blvd., L. I. C. I, N. Y. HF -8 automatic tape lifters- automatic shutoff-3 precision -lapped shielded heads adjustable in all planes -narrow -gap (0.0001 inch) playback head for maximum frequency response- consistency of high frequency Add 5% in Hest. response improved by hyperbolic- ground heads -separate record and e e amplifiers precise cueing and playback -high -torque tape start for ST 70 70-WATT ST 97 MTE 90 editing -jamproof speed shift -dual recording level meters- non -critical STEREO AMPLIFIER. FM STEREO TUNER. EM TUNER. E/CCL kit $99.95 $99 .95 bd 59.f5 bias setting- record safety interlock -rapid loading in sweep -line path d $145.95 .red 9149.15 wired 915.95 CIRCLE 33 ON READER -SERVICE CARD 2() HIGII FIDELITY MAGAZINE

www.americanradiohistory.com ... not only do they co -exist in time, they also go together remarkably well in space. Economy of size and clean simplicity of mounting have always been a feature of the QUAD design, and has been put to excellent use in this new modular wall mounting system by Heals of London.

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CIRCLE 3 ON READER -SERVICE CARD AUGUST 1963 21

www.americanradiohistory.com iTES FROM ABROAD frt/ tee/ Re0 9t 01` reieda Continued from page 18 Owe a a,. ' stow singularly brilliant yet seraphic sounds were heard. Conducting the Royal Philharmonic Orchestra in the fete music from Berlioz's Romeo and Juliet, Antal ...and for good reason- too ! A true Dorati suddenly shook six harps out of professional. an artist in its own right, his sleeve. The score specifies two, but hr Roberts Stereo Tape Recorder is a Berlioz had a footnote saying the number -homed and respected companion in the magic world of sound. may be doubled or tripled at discretion. i \l Stereo Multiplex re;oly. lio izonlal or vertical operation. every For once the composer had been taken at his word. and Charles liirlicrts i- a precision in trunn nt of highest fidelity and amazing %ersa- Mr. Dorati Ger- hardt, an RCA recording director based !ility. It opens the door to gn'aI,'I' enjoyment of nntNic. of learning. of in Europe, were delighted with the play- 1ailuncnl- -makes pos.ill.' a 'tape treasury that gill last fonder! back. The Romeo excerpts. with Strauss's Dance of the Seven Veils as filler. will account for one record among thirteen comprising another RCA -Reader's Digest 1055 offers BIG project under the general title Treas- Sound in a custom, compact Stereo "A Tape Recorder! Its pure, high fidelity ury of Great Music." The last of the recording qualities are applauded by series, Tchaikovsky's Symphony No. 5, the professional -its simplicity of was scheduled for recording last month. operation by the amateur. Features: 4- Other conductors besides Mr. Dorati who track and 4 individual quarter tracks. have contributed are Charles Munch, Famous Roberts transport and high - Josef Krips, Fritz Reiner. Sir John Barbi- Julie London says: "My fidelity record /playback head. Dual full rolli, Sir Malcolm Sargent. Oscar Danon, new Roberts 1055 is an range speakers. Electronic muting. unbelievable Georges Prêtre, Jascha Horenstein, René value, gives Automatic shutoff. 3'/,, 7'/a ips.a professional performance, Leibowitz (whose name occurs twice), makes my home hii sys- $269.95 tem the greatest." and Rudolf Kempe. The symphonic and allied repertories they cover run from Mozart and Haydn to Stravinsky, Pro - "My new Roberts 1057 is kofiev, and Ravel, from Sibelius and a complete recording stu- Dvoìák to Tchaikovsky and Bizet. dio in itself," says Dick 1057 is the world's Van Dyke, star of "Bye Throughout the project Mr. Gerhardt most versatile tape recorder! Features Bye Birdie" and his own has used Walthamstow for the sake of 1, - CBS TV show 4-track stereo and monaural record /play acoustical unity "and because it is more Sound -on -sound multiple recording in adaptable than any other studio I know." stereo, sound -with -sound (teacher/ Similarly, he has stuck to the Royal Phil- student feature), sound- over -sound mix- harmonic Orchestra all the way through. ing Multiple selector panel 4- stereo "In my opinion," he says, "it is the best outputs for headsets, extension speakers orchestra in Britain and the finest re- and tape duplicating Dual speakers cording orchestra in Europe." with 3 position internal switch 3'/. and since of last 7'/2 ips.° 339.95 On the stocks September year, "A Treasury of Great Music" will 1057PS With Photo Sound Sync $369.95 sell in the United States at around $20. It is estimated that the final cost of the project will run to $300,000. CHARLES REID 997 designed to function as a complete sound system While the traditional with power reserve sufficient to play Court Music of Japan through six or more high efficiency is kept alive today un- speakers! Features:4 -track stereo TOKYO der the special patron- record /play with 2 track stereo playback 4 -track monaural record /play age of the Japanese Sound -with -sound Dual monitor Imperial Court, where speakers Dual (stereo) head, pre - it is regularly pro- Michel Panels-If, director amp and speaker outputs. Pause lever - grammed, and while the ancient sacred of Los Angeles City Bal- instant stops for editing 3 digit index let, says "My new Rob- music is performed at shrines and tern - erts 997 has no equal in counter Large, illuminated VU meters. ples, very few visitors to this country can music reproduction or for 3V., 7'/, and 15 ips. $449.95 rehearsing sessions." have had an opportunity to hear it and it is naturally quite unknown abroad. This situation will now be rectified, how- (e15 ip.v kit available for slight extra cost) ever, by the release (Victor Company For the thrill of a lifetime! Listen to a new Roberts Stereo of Japan) of two three -disc albums. Tape Recorder with Roberts exclusire Stereo /headsets! For Called "Gagaku," Japanese Court Mu- nearest dealer or other information -mail coupon today! sic dates from the thirteenth century and includes both music for ensemble playing and music for dancing by court musi- róRoberts Electronics. Inc. Dept HF -8 cians. In the former, winds, strings, and ROBERTS 5978 Bowcroft Street, Los Angeles 16, Calif. percussion are employed; in the latter, i ELECTRONICS, INC. PLEASE RUSH FREE Full information on all Roberts Tape Recorders. strings are omitted. The dancing is, of LOS ANGELES 16, CALIFORNIA New booklet "40 And More Things To Do With Your New course, of a highly stylized kind. The Roberts Stereophonic Tape Recorder ''. IN CANADA: J. M. 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www.americanradiohistory.com NOTES FROM ABROAD

Continued from page 22

"Gagaku" also comprises vocal music, as do the religious rituals. Partly indig- DIRECT FROM ITALY ...OVER enous and partly introduced from Korea 30 YEARS OF QUALITY and the Asian continent, this music has been handed from father to son down through the centuries and has thus kept its authentic purity.

From Court and Shrine. For its scholar- ly undertaking the Victor Company employed the services of Hisao Tanabe, a specialist in native music. and Sukeyasu Shiba. an expert on "Gagaku," to pre- pare the program to he recorded and to write the detailed explanatory notes. Eleven top -ranking musicians from the Court in Tokyo took part. In line with traditional practice they performed without conductor. Three of the records are given over to instrumental works: ensemble music, including a suite in fast, slow, fast tempo, and two shorter pieces and music for dancing of both native and Korean ances- try. All six of the "Gagaku" modes are LesaMatic represented. The other three discs are record player devoted to vocal music, both sacred ("Kagura," which means "music for For more information about $79.50 cods" and is performed only on festive this and other exciting new products (with jam -proof arm) days at shrines) and secular ("Kunte" songs). Here again the works chosen il- please write for brochure to Lesa of America Corp., lustrate various modes. 32 -17 61 Street, Woodside 77, New York, Dept. H -F These two albums are a thus far unique documentation of Japan's ancient NOTE: LESA ANNOUNCES A ONE -YEAR GUARANTEE ON ALL PRODUCTS! classical music. Awarded a prize by the CIRCLE 54 ON READER -SERVICE CARD Ministry of Education at its Seventeenth Art Festival and applauded by critics as a valuable repository of part of the country's cultural heritage, they well deserve a place at least in university and other educational collections. Thev are available, by the way, in either monophonic New... -me-iii-min4R0 or stereo format. FL.11 FL .111A

Two directional playback As its contribution to acti ities commemo- Remote control ready HAMBURG rating the one -hundred- and -fiftieth birthday of Richard Wag- Feather -touch pushbuttons ner, Philips Records will soon release its Bayreuth-made Tana /uïarer. Taped live Quarter track, two speed stereo in the Festspielhaus last summer, the album comprises the "best parts" of five separate performances under the direction 12 watt integrated amplifier of Wolfgang Sawallisch, According to Dr. Helmut Storjohann, a & r director of Philips' German offices in Hamburg, Vertical or horizontal operation almost seventeen hours of music were recorded, but linking together material from various takes proved unexpectedly easy. "We found that Sawallisch had See stuck to the same tempos on different YOUR Reit Q Sept. 1st occasions with almost unbelievable consistency," Storjohann said. Singers who will be heard in the recording include Wolfgang Windgassen in the name part, Josef Greindl (Landgraf), I-\ Eberhard Wächter (Wolfram), Gerhard 11r,H Stolze (Walther), and Franz Crass Wm Al Of M INNE APOIIS, INC. I YOUR ASSURANCE OF QUALITY eeoo.a.... -.-.,. e«,n r..,,....a.. ao u.,,.,..a. IN TAPE COMPONENTS (Biterolf). Anja Silja sings Elisabeth, and the American soprano Grace Bumbry

Continued on page 28 CIRCLE 90 ON READER -SERVICE CARD 24 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com NOTES FROM ABROAD For a . . . limited time Continued from page 24

again takes the role that has made her internationally famous as "the black SAVE UP TO Venus of Bayreuth." Tannhümer has not been the only Wagner project on Philips' docket of late. The company also taped a complete l'arsi/al, under the baton of Hans Knap- pertsbusch, at the Festspielhaus last year. By prior agreement between Bay- reuth authorities and Philips officials, however, release of the album will be postponed for some time.

Tour de Force for Faust. In addition to its complete operas, Philips has also been doing a series of highlights discs. One of these involved an innovation possible only to recorded opera. When sessions tor an album of Faust excerpts (Marcel Couraud conducting) were already under way, the singer who was supposed to ON THESE take the part of Valentine suddenly fell ill. The chances of carrying on according to schedule seemed rather dim, when tenor Ernst Kozub remarked that he TIMELESS would be willing to sing the baritone part as well as his own role of Faust. "We all thought it was a joke," Dr. Storjohann told me, and in the circumstances we REFERENCE did not consider it a very good one. But we soon found out that Kozub was perfectly able not only to reach for the baritone regions but also to change the BOOKS timbre of his voice within a few seconds." Thus, for the first time, we'll have a Each of these unique, hard cover books offers penetrating Faust in which both the seducer of reviews of classical and semiclassical music which appeared in Marguerite and that unhappy lady's HIGH FIDELITY -mono and stereo, disc and tape excepting brother are impersonated by the same 1962/61 Edition which is devoted entirely to discs. singer. You'll read about the merits of the performance, the quality Rosbaud Legacy. Another item on the of the recording, comparative evaluations with releases of pre- list of impending Philips releases will he cious years. You'll enjoy the horizon broadening discussions of an Amsterdam Concertgebouw version of the music, written by distinguished critics. Stravinsky's Prtruurhka, the last recording made by the Austrian conductor for in helpfulness Invaluable reference- gaining as the years Hans Rosbaud, who died in December go by. Not many left -so order now! last year at the age of sixty -seven. Ros- baud had planned to record The Firebird Offered by for the overside when his final illness intervened. WYETH PRESS Bernard Haitink has taken over for this work, and it is expected a division of that the disc will be in the shops soon. KURT BLAUKOI'F HIGH FIDELITY

High Fidelity, August 1963. Vol. 13, No. %. Published monthly by the Billboard Publish- ing Co., of Billboard. Vend. WYETH Box publishers PRESS -a division of High Fidelity, 600, Great Barrington, Mass. Amusement Business. and American Artist. Telephone: Great Barrington 1300. Member I enclose S_ _ - _ _. Send me postpaid the books checked: Audit Bureau of Circulations.

Editorial Correspondence should be ad- RECORDS IN REVIEW, 1962/61 Edition, regularly $6.95. Now only.$4.95 dressed to The Editor, High Fidelity. Great Baorington. Mass. Editorial contributions RECORDS IN REVIEW, Edition 1960 $6.95 ,' ill be welcomed. Payment for articles n'ptcd ill he aria nged prior to publica- RECORDS IN REVIEW, 1959 Edition, regularly $5.95. Now only $2.97 tion. Unsolicited manuscripts should be accompanied by return postage. RECORDS IN REVIEW, 1958 Edition, regularly $5.95. Now only $2.97 Subscriptions: Subscriptions should be addressed to High Fidelity, Great Barrington, Name Mass. Subscription rates: Anywhere on Earth, I year, $7; 2 years, $13; 3 years, 517. Single copies 60 cents.

Address - Chance of address notices and undelivered copies (Form 3579) should be addressed to City Mate Il igh Fidelity, Subscription Fulfillment Dept., - 221611 Patterson Street, Cincinnati 14. Ohio.

28 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com Virgil Fox

Forty thousand pounds of organ stand up and speak.

Catherine Contos VRGIL FOX. organist at New York's this country that there k no audience really stand up and speak!" Mr. Fox Riverside Church. occupies comfortably for organ recitals. But if organists would made his point by producing with his feet - joyfully. in fact-the front combat play musically, and if more cities had a massive fugue subject. position in a lively controversy between good concert instruments, there would be "Another point to note about this two opposing schools of organ playing. an audience. I give an average of sixty organ." he continued. as the thunder died He is the most celebrated (and in all concerts a year. mostly in churches -but away. "is that it uses very low wind likelihood one of the most articulate) church recitals are not the answer. With pressure --only three inches. as organ of those who believe in making use, all the associations of worship and burial. builders measure it. There was low without apology. of the resources of the audiences are apt to feel cowed there. pressure in Bach's day. but after that modern instrument in performing music After all, who would listen to Heifetz a general move to high pressures: the of an earlier age. Specifically. the issue behind a potted palm?" Philharmonic Convention Hall organ has arises in connection with music of the fifty inches. for instance. and most baroque era. Fox's castigation of "The cinema organs take high pressure. Now Baroque Boys." as he labels his con- THIS QUESTION going unanswered. Mr. the pendulum is swinging back again. trary- minded colleagues. can be as de- Fox slipped onto the organ bench to Builders have developed a way of cutting lightful as it is devastating: and when conduct nie on an exploratory tour of the the lip of the modern pipe so that it he sits ensconced at a console. hands instrument's 125 stops. He sounded. one responds to low pressure. The tone has and feet flying at a pace almost too fast by one. the five manuals: that of the greater intensity, a more beautiful. alive. for the eye to follow, his terse commen- Great Organ ( "the backbone of the in- bright fiery sound. Of course. I'm not taries shouted above the monumental strument." an Aeolian -Skinner official disparaging the older European organs. reverberations seem ammunition enough has called it), whose pipes occupy the Many of them are thrilling tonally. to lay waste any less verbally eloquent center of the gilt- screened platform though mechanically some of them re- opponent. reaching back from the stage: the Positiv. spond like Mack trucks. I played an I saw Mr. Fox in action one after- a smaller division with pipes stationed organ at Lubeck that needed two men noon recently when I went to Lincoln in a reflecting box atop a 9 -foot column to pull the stops. Center to be introduced to New York's on the platform ( the distance between "But there is a vogue of organ build- newest musical addition. the 5.498 -pipe the Great and Positiv pipes being his- ing and playing today that is just as un- Aeolian -Skinner organ designed for torically correct for the performance of healthy as it can be." Mr. Fox went on Philharmonic Hall. This organ. four works in which the theme is stated on with considerable vehemence. "It aims at years in the planning. boasts some speci- one and answered on the other): the imitating the limitations of the organs of fications that struck me as being of in- Swell division. containing brilliant and two hundred years ago- trying to re -cre- terest even to the least statistical- minded: rather trumpetlike reed stops particularly ate the sounds of Couperin at Saint -Ger- its air compressor is driven by an en- appropriate for French literature: the vais, for example. (A terrible sound. How gine four stories below stage level. with Choir. with reed tones of orchestral could anybody have said his prayers?) wind conducted by three large galvanized quality, and flute and string stops dc- The Baroque Boys don't believe. gen- iron trunks: there are some 20.000 elec- signed for vocal accompaniment: and the erally. in repeating a phrase more trical connections, and enough cable. liombarde division, consisting of a large softly than they played it the first time. according to the Aeolian -Skinner Com- family of powerful trumpet -toned stops or in using the swell pedal. They tend to pany, to provide telephone service to a especially useful in works demanding play monotonously. If pianists did what small city: the organ weighs about 40.000 great dynamic range. Last of all came the haroquists do -if they tried to give pounds. and all the lumber used is care- the Pedal stops. adding tremendous a recital on a piano like Beethoven's fully seasoned California sugar pine, weight to the low end of the frequency -they'd be hissed off the stage. Bach calculated to last as long as Philhar- spectrum. The Pedal includes two 32- himself wasn't a colorless organist. He monic Hall itself. foot stops with low notes of 16 cycles resigned a church post once be- This rather awesome instrument made per second-an octave below the reach cause they wouldn't let him use the its public debut at the hands of Virgil of the lowest instrument in the or- cymbelstern la tinkling. bell -like device) Fox and two fellow -performers at the chestra. in his chorale setting of Luther's Re- inaugural organ concert last December, "There has been much criticism of joice. Belayed Christians. He wanted and three weeks later it was heard again the lack of low frequency response in the cymbelstern to epitomize rejoicing. in a solo recital presented by Mr. Fox Philharmonic Hall." Mr. Fox com- "When I was a student, each of my alone. It seems particularly fitting, in mented. (This problem had proved teachers said to me, 'My dear boy. view of this close association, that he particularly acute for the organ builders this is the only way to play the organ.' introduce the instrument to records - because the ceiling of the hall is And they all disagreed. Finally I went which he has now done, under the suspended on springs to absorb the vi- to study with Wilhelm Middelschulte. auspices of Command (for a review of brations of airplane noise: unfortunately, the famous Bach performer who taught this release, see page 73). it also absorbed with equal efficiency the in this country for many years. On the "Do you realize." he said, watching tones of the organ's 32 -foot pipes.) "To first day he said: 'The organ is the with an understandably paternal eye compensate for weakness at the low end," most mechanical of instruments. If you as the massive console was moved Virgil Fox explained. "Joseph Whiteford, can get beyond the mechanics and reach into position at the center of the stage. who is tonal director of Aeolian- Skinner, the hearts of people. you will accomplish "that this is the first adequate concert had to 'beef up' the 32 -foot stops after what few organists have been able to.' organ New York has ever had? I am the organ was installed by increasing That has been my credo." continually being told by managers in the size of the blowers. Now those pipes SHIRLEY FLEMING

30 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com HIGH FIDELITY

B Y N O R M AN E I S E N B E R G NEWSFRONTS

On the Trail of Four -Track. For some tapes have a measure of channel separa- time now, United Stereo Tapes -the or- tion. dynamic range. frequency response. ganization set tip by Ampex to produce and sonic transparency unsurpassed by and distribute prerecorded tapes for anything we have previously heard. Our some eighteen recording companies -has investigation suggested that a well -made been proclaiming that "Stereo Sounds tape does indeed have the potential for Best on Tape." With an eye (or an ear) flawless reproduction. and left us clearly to this slogan and in line with Huai con inced that today's prerecorded tapes a been im- Fun I ITN's special emphasis on tape this as whole have demonstrably month. we made our way not long ago proved in sonic quality. Certainly. any to UST headquarters in a corner of the program source that continues to sound large Ampex Audio plant in Sunnyvale. better as it is played on better equip- California, and later to the UST duplicat- ment has passed a most telling test. ing facility in Bloomfield. New Jersey. final (at least for now) thought on Presiding over the California operation Master and slare.c, ,Dupes style. prerecorded tapes concerns economic is Pam Taylor, a young lady of Scottish questions. The average stereo tape costs origin whose office and studio would be about two dollars more than its disc the envy of many a stercophile -a desk which the copies can he played comes counterpart. Very probably. if and when and control panel are conspicuous at to the desired 71 ips. According to both sales and production increase, the one end. batteries of speakers at the Messrs. Spellman and Zdobinski. this price will come down to he more directly other. and some of Ampex's costliest technique -combined with a special competitive with discs. But a more im- tape decks in between. In truth, this is equalization used in playing the master portant factor remains -that of the rel- a nerve center where many decisions known as the AME (Ampex equalization) ative cost of the respective playback As N are made, of which the first and most curve. and something of a company equipment for each medium. our critical is the acceptance or rejection secret- maintains both the wide response experience. and that of others. has shown, N of recorded performances submitted by and the favorable signal -to -noise ratio the price for realizing the full potential the various member recording companies of the finished tapes. The slave recorders of a disc is much lower than the ex- of UST. Miss Taylor listens for acoustic use the standard NAB curve. The master penditure necessary to realize the hest and sonic flaws in these entries -and is recorded on polyester -backed tape for from a tape. Even to achieve something always with her aural guard up. The durability and freedom from the effects less than full sonic splendor of a pre- tapes auditioned here are two -track of humidity and temperature changes recorded tape. one must have a tape deck stereo "first- generation" copies. t4 -inch (particularly important inasmuch as it is that costs as much as, or more than. wide and at I 5-ips speed. made from shipped cross- country). while the copies the top quality disc players. A high the original masters. After acceptance, arc done on acetate to suit the wide quality, low cost tape playback deck or these tapes are copied onto 1 -inch tape range of playback conditions likely to tape player "attachment" that could he at I 5-ips speed -but in quarter- track. he encountered among home tape equip- connected to an existing sound system and thus become the "four -track mas- ment. Mr. Zdobinski, who-like his as readily as a turntable might well he a ters." These too are checked for sonic counterpart in California -has an ear needed development in the tape field. quality and, if approved. are sent to the for acoustic flaws. can flip on monitors New Jersey plant for duplication. Sam- in the duplication room and in his own Turntable in a Cradle. Richard H. Kerr, ples of the work done there finally are re- studio to A -B the copies against the who has had years of experience in the turned for checking by Miss Taylor master. and will spend hours checking "Long Lines Department" of the Ameri- before any production is released. such critical points as head alignment. can Telephone and Telegraph Company. At the New Jersey plant, the four -track equalization and bias adjustments. and has offered a "short line" solution to the masters are processed on huge playback speed accuracy. "A quality product," problem of isolating a phono pickup consoles that drive rows of "slave" re- Mr. Spellman explains, "demands qual- from environmental vibrations that cause cording consoles. This equipment fills ity control -or as we prefer to call stylus jumping, skipping. and feedback a large room and is tended by white - it at Ampex. 'quality audit.'" noises. Using something of the old "sky coated ladies who thread reels and ma- The end of the trail of a four -track hook" technique, Mr. Kerr :nserted two nipulate controls with a steadfast pro- tape -threaded onto a deck at home - small screw -eyes into his ceiling, sepa- fessional skill that made us envious. found us conducting our own private rated by a width slightly greater than Supervising this production room and an audit. Indeed. the past several weeks the turntable base. He then threaded adjoining laboratory and listening room we have been listening to more than our heavy twine from the left eyelet down- is chief engineer Edward Zdobinski, usual quota of prerecorded tapes- includ- ward and under the left front side of while operations director John Spellman ing samplings from UST's library as well the turntable base. across to the right manages the plant over-all and in par- as from independent producers such as front side, then upward to the right ticular supervises the marketing of the Columbia, and an interesting series of eyelet. through it, and back down to the finished tapes. Two master consoles. reissues by Alphatapes of the original right rear side of the base and across each controlling ten slaves, can produce two -track Everest library, recast in the to the left rear side. There the two ends each day about two thousand reels- four -track medium by Dubbings, Inc. were tied together to form a continuous give or take a hundred or so depending All this has been a labor of love more loop that not only cradles the turntable on the length of the program. The proc- than of duty, inasmuch as these recent but permits easy leveling. Most im- ess is ingenious: the four -track master tapes contain, in sum, what sounds to portant. Mr. Kerr reports. "I can op- (recorded at I 5-ips speed) is run on us like some of the best stereo ever re- erate the amplifier at maximum volume the master console at a speed of 120 corded. Even when played on "medium (and the speaker is close to the turn- inches per second. The slaves, however. quality" tape equipment (which of course table) and stomp the floor vigorously, run at 60 ips, which produces a two -to- still costs as much as, or more than, with absolutely no acoustic or mechan- one ratio so that the resultant speed at the best disc playback setups), these ical feedback. . . .

AUGUST 1963 35

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IN ITS COMMAND of a dual role, magnetic tape planation of the procedures employed, on page 41 of occupies a unique position among the wonders of this issue. the world of sound: it has established itself as the As Mr. Hegeman points out, the choice of tape master recording medium from which all subsequent will to some extent be determined by its intended releases are made; and it has acquired a growing use, and much of it, we suspect, will be expended following of music listeners who regard it as the on recording radio broadcasts. The joys of recording program source of choice. Tape's preeminence is off -the -air are recounted herein (page 38) by one based on its electrical characteristics (wide response, P " I M "r, and we doubt that any tape enthusiast good signal -to -noise ratio, dynamic range capabilities, will fail to feel a pleasurable shock of recognition channel separation) and on its physical properties in reading the author's "Confessions of an Illicit (relative permanence and durability). These qualities Tape Recordist." Not only, of course, are rare are demonstrable and have received a good deal performances and new repertoire thus to be pre- of explanation. More in need of discussion at the served for one's continued delectation, but increas- moment are the practical problems faced by the ingly there is the opportunity to avail oneself of all rapidly increasing number of tape users, for whom the material broadcast by stereo multiplexing. "Tap- this month HIGH FIDELITY presents a special series ing FM Stereo" is the pellucid title of Edward Tatnall of articles designed to heighten their pleasures and Canby's article on page 45 -a compendium of prac- lessen their frustrations. tical advice on how the amateur can avoid the pit- We begin with the raw material itself. The falls and reap the rewards of this burgeoning activity. employment of tape for recording was once confined For those music listeners who do not wish to to professional applications; today it is an avocation become involved in the art of tape recording but of thousands of amateurs -whose interests range who value the sonic characteristics of tape, R. D. from the immortalization of a child's first recitation Darrell explores on page 48 the present state of com- through the documentation of interviews or meetings mercial prerecorded tapes, taking into consideration to the building up of a recorded music library de- such matters as convenience, cost, and available rived from a variety of program sources. To meet repertory as well as their response and durability. the rising popularity of home recording, the number His conclusions, we think, will hearten serious col- of brands of tape (as well as of types within brands) lectors and perhaps add converts to that band. And has increased, in little more than ten years, by well as a concomitant aside to Mr. Darrell's account, over ten times. The prospective recordist is thus Audio Editor Norman Eisenberg reports on his visit faced with choosing from among this profusion in to the operations of United Stereo Tapes, Inc., which terms of his individual recording needs. He will manufactures most current prerecorded tapes (see find a range of backing materials, thicknesses, and "Newsfronts," page 35). even of the oxide coatings employed. Although The articles enumerated above are far from utter- claims for the durability and performance of these ing the last word on tape -there is much to be said, many tapes are lavish, to the best of our knowledge for instance, on the subject of playback equipment - they have not been subjected to laboratory examina- but we hope that they may form the preliminaries tion. To help fill the void in this area, we embarked to a continuing dialogue. The time is past for cursory on a test program designed to evaluate a representative dismissal of tape machines as an expensive toy, of number of the recording tapes generally available. tape recording as a hobbyist's sport, of tape col- The results of this investigation, conducted by lecting as the esoteric pastime of a fanatic few. Cer- Stewart Hegeman, well -known audio designer and a tainly the day is gone for footless debates on tape professional recordist of many years standing, are versus disc. The "age of tape" has long been her- now at hand and are presented, together with an ex- alded; it is now with us.

AS high fidelity SEES IT

AUGUST 1963 37

www.americanradiohistory.com Confessions of an Illicit Tape Recordist

BY Y * *I, Al **It

You WON'T FIND IT listed in Schwann. you can't get his life has Sviatoslav Richter performed Bartók's it from the record hunter shops; but if you care to Second Concerto -in 1958, with Janos Ferencsik and drop in at my house in Berlin, I can play for you a the Budapest Philharmonic -hut I have it; and al- recording of Stravinsky's suite for piano solo from though Richter's tempos in general are slower and Pétrouchka, performed by Emil Gilels, that will stand more deliberate than those of Anda and Foldes and your hair on end. I can also offer monumental 1944 Sandor, his inexorable rhythmic drive makes his live performances of the Schubert Seventh and the reading of the piece by far the most exciting I've Bruckner Ninth, played by Furtwiingler and the ever heard. Or would you rather have a limpidly Berlin Philharmonic, which you probably won't he beautiful performance by Gloria Davy of Alban able to hear anywhere else. Only once thus far in Berg's concert aria Der Weill, with the Baudelaire

38 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com text sung in the original French for a change, and equivalent. For good music, of these last three the with Ernest Ansermet and the Orchestre de la Suisse French station is the only one of interest, for about Romande at the top of their form? Just give me a three times a week it relays concerts from Radiodif- ring -but do it soon, before the cops close in. fusion Française in Paris. True, it relays them on Recording on magnetic tape was, if Fm correctly the cheapest of the three types of telephone line informed, a Danish invention, although the Germans available, with a frequency range of only 5,000 cps, did the most with it prior to 1944, and in the past but that's still where I got Der Wein with Gloria decade they have come to buy tape recorders almost Davy, not to mention a thrilling Missa Solemnis done as matter -of- factly as other people buy phonographs by Lorin Maazel and the Orchestre National. or radios. Tape is expensive in Germany, but with But then there's East Berlin too, with four FM such a wealth of both popular and classical music on transmitters which broadcast many performances of the German airwaves, people have found it cheaper the highest caliber. Leipzig's Gewandhausorchester to tape a broadcast of a record than to purchase the and the Dresden Philharmonia remain two of disc itself. As a result, record sales have, of course, Europe's finest orchestras, and one can hear them suffered. Furthermore, for a while a growing number not only under their resident conductors but also in of conscienceless characters were beginning to make sometimes surprising constellation with foreign De- a practice of buying records, transferring them onto guests; I have exceptional performances of the tape at home, and then returning them for a refund bussy Nocturnes and the Shostakovich Fifth by the on some excuse or other. The outraged record dealers Gewandhaus under Stokowski, and of Schumann's struck back at this ruse at least: all over Germany Piano Concerto by Jocrg Demus with the Dresden today, if you're buying an album as, say, a gift, where Philharmonia under Kyril Kondrashin. Just as the there's a possibility that the recipient may want to West Berlin stations broadcast live or taped concerts exchange it, the clerk binds the sleeve horizontally from all over Western Europe, including all the and vertically with heavy twine which he secures major festivals, East Berlin does the same from the with a leaden seal; unless the record is brought back Eastern European countries. East Berlin was the demonstrably virgo intacta, the sale is final. source of my Gilds Pétrouchka, when the Soviet More difficult has been the dilemma of GEMA, pianist played a broadcast recital there, and of my the West German equivalent of ASCAP or of Eng- Richter Bartók, when the East Berlin station bor- land's Performing Rights Society. In Germany, as rowed a tape from the Hungarian Radio. For a time, almost everywhere in Europe, radio and television one East Berlin station broadcast every Sunday morn- stations are the property of the nation. With the sale ing a Bach cantata by the unequalled boys' choir of of every radio or television set, the purchaser's name the Thomaskirche in Leipzig, where the composer is registered with the Post Office, to which, in West once was cantor. At present, this choir alternates Germany, he pays the monthly sum of 50 cents per Sunday broadcasts with Dresden's Kreuzchor, which radio and $1.25 per TV. For these small fees he is almost as outstanding in baroque music, including enjoys programs that are not dependent on paid works by Schütz, Buxtehude, and others even more sponsorship and that eliminate such horrors as ad- rarely performed. vertising commercials. GEMA receives a sizable amount of income from the Post Office (and the record companies) which it apportions among com- RIFFLING THROUGH my catalogue alphabetically, posers and others whose work is broadcast. As the here are a few (but by no means all) of the things I've tape recorder came to be a standard fixture in more caught on tape which are, for one reason or another, and more German homes, GEMA grew more and unique: Berg's Lulu, complete, in a scorching per- more alarmed by the thought of all the private taping formance starring Evelyn Lear with the Vienna being done with no royalties coming into the society's Symphony under Bruno Maderna; Pierre Boulez's coffers. Finally, choosing apparently at random, magnum opus pli selon pli, with Boulez conducting GEMA filed suit against the Grundig firm, but in the Hamburg Radio Orchestra; Debussy's Epigraphes doing so it also had its sights on Telefunken, Philips, antiques for piano, four hands, played by Yvonne Saba, and other tape recorder manufacturers. Loriod and Pierre Boulez; Hélène Weigel (Bert For mc, in Berlin, although I've recently begun Brecht's widow), Ernst Busch, and others in Paul to look furtively over my shoulder, my position up Dessaús score from Brecht's Mother Courage; the to now has been an advantageous one, due precisely Dvol'ák Concerto by that Leningrad Heifetz of the to the unique geography which, politically, makes this cello, Daniel Shafran, and the (East) Berlin Munici- city's situation so tense. West Berlin has two German - pal Orchestra under the Swedish conductor Carl language FM stations on the air all day, two more Garaguly; Mozart's Symphonie concertante with Paul after 4 p.m., and a fifth (for highbrows) in the Hindemith conducting the Berlin Philharmonic and evening. It also has FM transmitters of the American playing the viola solo; Scriabin's Fifth Sonata and Forces Network (pop, hillbilly, and transcriptions of Schumann's Faschinsschwank aus Wien, from ancient comedy shows), the British Forces Network Richter's Viennese debut recital; Stravinsky's Suite (DJ programs from Cologne plus direct relays from italienne on Pergolesi themes, by Igor Oistrakh and the BBC Light Programme), and their French his wife Natalia Zertzalova; and Karol Szymanowski's

AUGUST 1963 39

www.americanradiohistory.com wonderful Fourth Symphony with piano obbligato, club of hobbyists whose members get in touch with by the Warsaw Philharmonic under Witold Rowicki. one another in Germany and abroad but who, as far One wonderful thing about the German radio as Das Tonmagazin lets on, swap only tapes con- stations is their initiative in exhuming and perform- taining greetings and chitchat -and never, never ing big works by major composers which, for one bootleg music. How GEMA and the Post Office aim reason or another, have dropped out of sight. Any to harness and regulate all this activity eludes me, reasonably informed musicologist knows-to pick and a good many other people. only a couple from hundreds of examples -that Certainly I, for one, would be willing to pay a Robert Schumann wrote an opera, Genoveva, and regular sum, comparable to the present radio and TV so did Hugo Wolf, Der Corregidor. Most scholars taxes, to legalize my activities. The court in the who know these works at all have had to track down Grundig case, in fact, suggested a modest twenty -five a score and then play through it at the piano. Well, cents monthly. But is it fair to put a shameless free- I have both of them on tape, complete, performed booter like me in the same category with some by full cast and orchestra. Ferruccio Busoni's Piano impecunious teen -ager who uses his tiny set merely Concerto, since it lasts an hour and twenty minutes, to record the hit parade from AFN's "Frolic at almost never gets played, but I have that too. I also Five"? On the other hand, how to discriminate own his monumental Fantasia contrapuntistica, in between the two of us, and also be fair to all the both the one- and two -piano versions. How many gradations of plunderers in between? chances have you had to hear Beethoven's big The court ruling in the Grundig case (which, as chorus -and -orchestra setting of the "Sunrise" section I said, has not been enforced due to appeal) of Goethe's Calm Sea and Prosperous Voyage? Or all stated that from now on every purchaser of a tape those beautiful choral works by eighteenth- and nine- recorder would have to show his official, govern- teenth- century masters-Schumann's Das Schiff - ment- issued identity card (with affixed photograph) lein for chorus, flute, and horn, or Schubert's so that his registration and taxability would be Nachtgesang im Walde, for men's chorus and four ironclad. This highhandedness moved one of the horns? I have them all, on tape, and thus far for free. leading national newspapers, Die Welt, to publish a

Many of the Berlin Philharmonic's concerts, somber editorial beginning, "It is difficult . . . to under Karajan and other top conductors and with suppress the feeling ... that we are rapidly on the the very finest soloists, are broadcast. So are the way to becoming an authoritarian state. What else is concerts of the Berlin Radio Orchestra, which comes one to think if in future, upon purchasing a complete- very close to being in the Philharmonic's class. East ly normal piece of consumer goods ... one's identity Berlin broadcasts a regular series by the Municipal card must be shown ?" The editorial has a point. But Orchestra under Kurt Sanderling, formerly co -con- then so does GEMA. If I were a composer, I'm ductor of the Leningrad Philharmonic. The other fairly sure on whose side my sympathies would fall. evening in East Berlin I attended Sanderling's ex- Oh, when I think of all the things I could have citing performance of Das Lied von der Erde with recorded this past year! The Poulenc Stabat Mater. the Soviet Armenian singer Zara Dolukhanova, the The electrifying Trovatore which Leontyne Price did best Mahler contralto I've heard since Kathleen at the Salzburg Festival with Karajan and the Vienna Ferrier; I've refused a dinner invitation in order to Philharmonic (East and West Berlin stations to- stay home and record it a few nights from now when gether broadcast this a total of three times). The the tape is broadcast. Festival concerts from Bayreuth, Prague, Lucerne, and elsewhere, frequently bringing together soloists and conductor's whom Continued on page 109 UNLESS, OF COURSE, the law intervenes. At the moment, for surreptitious tapers in Germany like me, the heat's on. To nobody's particular astonishment, GEMA has won its suit against Grundig, and now nobody quite knows where he stands. Inasmuch as Grundig immediately appealed, nothing final has been done, but the future looks uncertain. The whole situation involves a good deal of hypocrisy. An electronics expert I know says that radio stations could easily inject into their broadcasts a signal that would be inaudible to the listener but would fore- stall the program's being recorded on tape. This would undoubtedly send sales of tape and tape machines plummeting except for playback -only models. There is also a pretense maintained that most tape recordists do not record off -the -air or from discs. A Munich record periodical called Das Ton- magazin acts as adoptive house organ for the Ring der Ton - bandfreunde (c 'o Postfach, Hannover -Hainholz), a

40 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com By Stewart Hegeman

A noted audio engineer conducts a latioiatoiy examination (f various kinds of recording tape.

ACURSORY READING of the advertisements for signal from one layer of tape to the next on the reel). magnetic recording tape- warning against distortion For noncritical recording -such as taping the or physical blight -might convince the amateur spoken voice or simply capturing any sound "for recordist that there is only one kind of tape for his the record " -virtually any tape will do; for serious purpose and that using any other would be a waste musical copying one must weigh the advantages of of time and money. The ads are correct at least extended playing time against loss of strength. in part: there are differences among tapes. But the For instance, when 0.5 -mil tape is run a dozen differences are not of such magnitude as implied. or so times on a machine, it may no longer wind While the physical and electrical properties of smoothly on the reel because some stretching has tape usually are defined in precise engineering speci- occurred. The recorded sound may thus be degraded fications not unlike those used for audio components, (notably that of piano music). Incidentally. tape such specifications can hardly be used for purposes should never be stored or left on the deck in the of comparative evaluation inasmuch as performance fast- forward or rewind mode; the tension placed of any tape depends to a large extent on the ad- on the tape can cause it to become permanently justment of the particular machine with which it deformed, and incapable of winding smoothly. is used. This conclusion is indicated by the results Physical behavior of tape is related also to the of tests of eleven brands of tape, tests which also kind of backing material used. Polyester film. for indicate that no one brand or type of tape shows instance, is dimensionally more stable than acetate any marked superiority. They all provided excellent under recurring changes of temperature and humid- results when the machine was properly adjusted to ity. This means that it shrinks and expands less. and the individual characteristics of each tape. Further- consequently can be stored more safely over longer more, when these individual adjustments were not periods of time. Too, it is stronger than acetate made, the tests showed a much smaller variation in and will stand more abuse before stretching and performance than one would have expected -a breaking. On the other hand it is not as flexible fact that should reassure many recordists whose as acetate and may not lap around tape guides machines cannot he adjusted. or who lack the neces- and heads as readily. While this generally is no

sary test facilities to make adjustments. problem with 1 -mil tape, with I.5 -mil polyester I Before examining the audio response, or elec- have occasionally had to increase the tape tension trical performance, of tape it is well to consider on some machines to provide proper head contact. its physical properties. These are controlled by the Whether a given tape deck needs such an adjust- material and thickness of the hacking layer to which ment can be checked simply by providing, with the magnetic oxide is bonded. Two types of hacking gentle finger touch, a little extra drag on the supply -cellulose acetate and polyester film (Mylar)- reel. If the highs sound better, the additional tension are used. Cellulose acetate is available in 1.5 -mil is needed. Actually, a machine should be in good and I -mil thicknesses; polyester film in 1.5 -mil, mechanical adjustment if it is to handle both the

I -mil, 0.655 -mil, and 0.5 -mil thicknesses. The 0.5 -mil and the I.5 -mil polyester films. thinner backings -of either type- provide longer Backing material also determines the manner playing times for a given size reel. They do, how- in which the tape will stretch and break. While ever, sacrifice some strength -and, because the polyester has a higher elastic limit (its point of "layer to layer" distance is lessened, there is deformation) than acetate, it has an even higher an increased tendency for print -through (transfer of breaking point. When stressed it acts like a piece

AUGUST 1963 41

www.americanradiohistory.com AUDIO OSCILLATOR ------, DUMONT HEWLETT PACKARD - 379 B 200 CD AMPEX =601.2P OSCILLOSCOPE RECORDER t

RECORD DAVEN ATTENUATOR ELECTRONICS QQ TRANSPORT

DISTORTION ANALYZER ANO V.LV.M. PLAY BALLANTINE V VM - ELECTRONICS 301 HEWLETT PACKARD L J 330B

Figure lA I I +4 Diagram of the test setup used for evaluating relative per- PLAYBACK RESPONSE AMPEX TEST TAPE 31321 -01 71/2 IPS formance of recording tapes. With this arrangement was .--- 0 it RECORD -PLAYBACK RESPONSE (SCOTCH 111) - 10 VU possible, first, to align the tape machine and adjust its playback 4 response with respect to a standard test tape. RECORD RESPONSE (SCOTCH 1111 10 Then, a blank - V tape was put on the machine to adjust the recorder for record/ AMPEX 601-2P UPPER CHANNEL playback response. The response thus obtained served as a I I I reference for plotting subsequent measurements made with the 20 50 100 300 700 2K SK 10K 20K tested tapes. The three curves shown in Fig. 1B indicate the degree FREQUENCY, CPS of conformation of test tape and reference tape, indi- Figure 1B cating the accuracy of the test machine for this project.

AMPEX 601 -2P UPPER CHANNEL FIXED ADJUSTMENTS SET FOR 4 of taffy that can be pulled out a long way before 'REFERENCE TAPE (SCOTCH 111) 0 it finally breaks. In contrast, acetate stretches and breaks at almost the same point of stress (lower, THD x -4 - THD THD "r of course, than polyester). Thus, a broken acetate - AT O VU AT O VU AT O VU tape can be spliced without loss of signal. 1.9% 1.3% 1.3% The choice, then, of backing and thickness would 2.7% 1.8% 2.0% seem to depend on such variables as required playing 20 50 100 300 700 2K 5K 10K 20K time; the nature and purpose of the recording chore; FREQUENCY, (PS the condition of, and mechanical Figure 2 adjustments available on, the tape transport; and, depending on its The shaded curve represents the range of responses obtained use, the potential need of splicing. Interestingly from twenty -three fresh reels, representing eleven brands of enough, our performance tests revealed recording tape, when used on the machine that had been no correla- adjusted for best response with the original reference tape. tion between physical characteristics and sonic re- Note that the major area of variation is in the high frequency sults. From an electrical standpoint, in other words, region, but that the maximum average deviation from the zero 0.5 -mil polyester is as capable of good response as db level over most of the audio range is only slightly more is 1.5 -mil acetate. than ±2 db. The THD (total harmonic distortion) figures also are given of three significant frequencies for the twenty -three tapes. They ranged from 1.9% to 2.7% at 100 cps; from 1.3% to 1.8% at 1 kc; and from 1.3% to 2.0% at 5 kc. THE SAMPLING of tapes used in the tests, which provides a satisfactory cross reference and approximates the "spread" on the tape market and among AMPEX 601 -2P UPPER CHANNEL INDIVIDUAL BIAS ADJUSTMENT tape users, is shown on Table 1. Of the twenty -three FIXED; EOLN. ADJUSTMENT FOR REFERENCE TAPE (SCOTCH 111) reels tested, thirteen were 1.5 -mil acetate; five 14 were 1 -mil acetate; three were 1 -mil polyester; one was 0 -4 1.5 -mil polyester; and one was 0.5 -mil polyester. THD ! THD s THD r Inclusion of every tape offered by each manufacturer ^AT 0 VU AT 0 VU AT 0 VU would have more than doubled the number of 1.7% 1.2% 1.3% samples, making the measurement task virtually im- 2.6% 1.6% 2.2% possible and contributing little or nothing of value to 20 50 100 300 700 2K 5K 10K 20K the results. The specific tests FREQUENCY, CPS conducted are listed on Table Figure 3 I1 and the measurement setup and response figures obtained are detailed in the Here, the shaded curve represents the range of response ob- accompanying diagram tained from the twenty -three reels of tape, when used on the and charts, which also include, for the technically same machine but with its bias adjusted individually for each minded, analyses of just what was done. By way of reel of tope. The equalization was not readjusted from its explanation, the procedure followed in the tests original setting for the reference tape. Although variations in was that used by professional distortion remained similar to the results when bias was not recordists when setting readjusted, variations in frequency response, particularly in the up for a serious tape job. That is to say, first a high frequency region, were considerably greater. machine of known high performance capabilities is

42 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com AMPEX 601 -2P UPPER CHANNEL IÑDIVIDUAI BIAS ing and plotting of data from the tapes to be tested. EQUALIZATION By "manicuring" one channel of the 601 -2P, I man- ¡¡AND 0 aged to produce a satisfactory flat response across THUD THD r THD _ ?1- -4 the range from 50 cps to 15 kc, which then served AT 0 VU AT 0 VU AT 0 VU as a guide for plotting the results from the test 1.7% 1.2% 1.3% sample reels of tape. 2.6% 1.5% 1.7% Scotch No. 111 was used as the reference tape 50 100 300 700 2K 5K. 10K 20K 20 inasmuch as it is the tape used as a reference by FREQUENCY, CPS United States Testing Company, Inc., in its tape Figure 4 recorder reports for this journal. Thus, the resultant Finally, the shaded curve is shown that represents the range of charts from my tests can serve as a handy cross responses obtained from the twenty -three topes when used on reference for readers. the same machine, but with both its bias and equalization Following these adjustments, three complete tape tested. Now the range of variation readjusted for each sets of measurements were taken on each of the from eleven brands, is virtually insignificant and in response, measurements conforms closely to the original curve obtained from the refer- twenty -three tape samples. The - ence tape. The variation in distortion also is less than before. covering frequency response, harmonic distortion, These results indicate that there is relatively little difference and signal -to -noise ratio -provide, I feel, the most in the response capabilities of various recording topes; the significant key to tape performance. Intermodulation that for best performance with any tape, results also indicate were started, but discon- the recorder should be adjusted for bias and equalization to distortion measurements that tape. However, without such adjustment, the range of tinued when-after several tapes had been run - variation likely to be encountered is represented by Fig. 2. it became obvious that the readings obtained were What is to be most avoided is making a bias adjustment only; those of the machine rather than of the tape. also changing its changing the bias of a recorder without Another possible arca of interest would have been equalization can produce the wide variation shown in Fig. 3 which -with some tapes on some machines -can produce de- a study of print -through, but since such a study graded response, particularly of high frequencies. requires special environmental conditioning to he accurate it was not attempted. Measurements of signal -to -noise ratio showed all samples to be satis- chosen. I used the Ampex 601 -2P, with which I am factory- better than the 58 db s 'n ratio of the familiar and which meets the requirements of the playback section of the test machine. "secondary standards" of the NARTB specification for tape recorder performance at 71/2 ips. (Although the 601 -2P is a half -track machine, cross- checks SIMPLY STATED, the key to optimum tape per- were made to quarter -track operation to assure the formance is that professional care is required if validity of the results. Tapes, recorded on half -track professional -sounding results are to be expected. on the 601 -2P, were played back on a quarter -track As this article will already have suggested, proper deck and equalized through the Citation A pre- adjustment of the tape deck is more important than amplifier. These tapes showed only a slight improve- selection of tape. In other words, if every recordist ment in high frequency response as a result of the took the desirable preliminary steps he would be improved head resolution. Representative tapes, re- assured of top performance from the particular corded and played back on a quarter -track re- combination of the tape and the deck used. This corder, showed variations similar to those obtained "matching" electrically is admittedly no easy chore, on the half -track 601 -2P.) and requires special equipment and special knowl- Having settled on the machine, the next step edge. Many home machines do not provide for the was to check it out. To do so, the Ampex standard adjustments required. Presumably, on such machines test tape (No. 31321 -01) was played on the machine. the adjustments have already been made at the fac- Its playback head was aligned for azimuth, and its tory -which would seem to suggest that the ultimate playback electronics adjusted for equalization and responsibility for tape performance lies with the signal level. Next, a blank reference tape was placed manufacturers of tape recorders. on the machine for recording. Bias was adjusted However -and this point seems most important by recording a 700 -cps signal (obtained from a signal -the test results indicate that even if your machine generator) and increasing bias energy until the signal does not provide for professional -type adjustments level recorded on the tape went through a maximum of bias and equalization (or for some reason they peak and just started to drop in level. A distortion are not made), the recorder can be set up to some check showed that further increase in bias had little, initial fixed adjustment which will provide satisfac- if any, effect on low frequency distortion. For high tory, if not optimum, performance. Conceivably, frequency accuracy, the azimuth of the recording by trial and error, an individual recordist may dis- head was aligned with a 15 -kc signal. Finally, the cover a particular tape that performs better on his recording equalization was adjusted to provide flat own machine -but this would be no proof that the response from this reference tape when recording sane tape would work as well on another machine. at a level of -10 VU. Considerable care was required In the last analysis, the tests show that the "match- to get as flat a response curve as possible on the ing" problem is more than likely to be resolved reference tape to facilitate the subsequent transcrib- by experience. At its worst, or most unresolved,

AUGUST 1963 43

www.americanradiohistory.com TABLE I

MANUFACTURER BRAND NUMBER BACKING THICKNESS

Ampex Corp. Ampex 511 Acetate 1.5 -mil Audio Devices, Inc. Audiotape 1271 Polyester 1.5 -mil 1861 Polyester 1.0 -mil 2431 Polyester 0.5 -mil 1841 Acetate 1.0 -mil Burgess Battery Co. 111 Acetate 1.5 -mil Eastman Kodak Co. Kodak 31 -A Acetate LS -mil Ferrodynamics Corp. Brand 5 15D7 Acetate 1.5 -mil 10D7 Acetate 1.0 -mil 10D7M Polyester 1.0 -mil Greentree Electronics Corp. American Acetate 1.5 -mil Minnesota Mining & Mfg. Co. Scotch 111 Acetate 1.5 -mil 150 Polyester LO -mil (High Out Black Oxide) 120 Acetate 1.5 -mil RCA Professional Acetate 1.5 -mil Grade 285C1 Acetate 1.5 -mil Vibrant 704C1 Acetate 1.0 -mil Reeves Soundcraft Golden Tone BTA -12 Acetate 1.5 -mil Professional Low print SLP -12 Acetate 1.5 -mil " SDP -18A Acetate 1.0 -mil Standard S -12 Acetate 1.5 -mil SS -18 Acetate 1.0 -mil Sarkes Tarnion 1131 Acetate 1.5 -mil Triton Tape Corp. Triton Acetate 1.5 -mil

(represented by the edges of the condition extreme TABLE 11 shaded response curves in the accompanying charts), the order of difference is never more than two or three db of high frequency gain or loss-a variation that can be corrected by a corresponding boost MEASUREMENTS or cut on a tone control. As to variations in distortion caused by "unmatching" of a tape to its deck, 1. Bias level set at 700 cycles, zero VU the differences encountered were always less than a two-to -one magnitude, and consequently would be 2. Frequency Response at -10 VU difficult to discern in actual listening. (Frequencies of Ampex Test Tope 31321 -01) To conclude: the tests indicated that all the 700 cps, reference tapes sampled are capable of producing very acceptable sound when used on a machine that is 15 kc 500 cps

correctly adjusted for bias and equalization. Best 12 kc 250 cps results can be obtained, with any tape, from a ma- 10 kc 100 cps chine that has both bias and equalization adjustments if the owner is prepared to make those ad- 7.5 kc 50 cps here is justments carefully. A point to remember 5.0 kc that no attempt should be made to adjust bias unless 2.5 kc equalization also can be adjusted accurately. The widest variations and the chance of the poorest 1.0 kc response -shown in Fig. 3- occurred when the bias was changed with no corresponding change in 3. Distortion, zero VU equalization. Short of making both these adjust- 100 cps

ments, the wisest course to follow is to rely on 700 cps the tape recorder manufacturer for having made them prior to shipping the machine, select your tape 5000 cps on the basis of its anticipated use, time requirements, 4. Signal -to -noise ratio of bulk -erased tape and the handling capability of your tape deck, and then go ahead and enjoy yourself.

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www.americanradiohistory.com By Edward Tatnall Canby

1::==

CHECK AND DOUBLE -CHECK BEFORE YOU PUSH THAT BUTTON

To RECORD FM stereo -i.e., to feed broadcast signals into a stereo tape recorder - all you have to do is plug in the proper cabling, tune in your stereo station, and push START on your recorder (not forgetting to push RECORD at the same

time, and remembering to set the recording equalization for the right speed . . .) And this statement is not made quite facetiously. When all is said and done, this is exactly what you will do: you'll push the button. But before that crucial act, there's a great deal to be said and done. Excellent stereo tapes can be made from stereo broadcasts -if you will curb your enthusiasm and move sensibly, with some mild caution and a modicum of planning. If you're new to home recording, don't rush to tape a symphony being broadcast at a given time on a given station, as announced in the newspapers! That can come later, when you are wiser. Don't even plan any specific recording job -not at first. Instead,

AUGUST 1963 45

www.americanradiohistory.com two tracks inadvertently . . . or addled up the balance ... or committed any of fifty other minor faux pas you could make, but probably won't. For prudence' sake, then, it would be wise to study these possibilities before plunging into actual recording.

FIRST, THE TAPE. Needless to say, brand -new tape is a very good idea. On the other hand. used tape is perfectly good if you will check it carefully ahead of time, from beginning to end. Check the tape for brittleness. Dry indoor weather can render even a fairly new reel of tape dangerous, notably in the outer dozen or so turns. For safety, begin your recording beyond this point in any case, and remember to STOP recording on the return trip before you reach the danger area. Check also for weak or sticky splices, and for potential break -points such as nicks and creases. These flaws in a tape can ruin a recording. In an J emergency you can dip your finger in talcum powder and run it over both sides of the splice to remove the worst of the stickiness, but don't use spend a few evenings or a week end or two studying too much talc -and at least blow off the excess. your equipment and sampling the airwaves in Get out your patching tape and put a new splice stereo, to see how it all works and sounds. This over each spot in the tape that looks weakened. study is worth a dozen rolls of tape (you can Commercial splicing tape, the thinner the better, is reuse them) and may save countless collector's items de rigueur for home tape recorders. The thicker in the future. types often cause the tape to lift from the heads, Indeed, first of all -if you have not already thus causing a break in the sound. Do not use or- done so- become very familiar with your stereo dinary transparent mending tape; if you must, in an tuner and its signal. Just listen. Your tuner com- emergency, remove it immediately after your re- bines with your FM antenna and your special cording session, replacing with regular splicing tape. location to make a reception situation that is prob- Another vital factor in recording with used tape ably not like anybody else's. No use wasting tape is the signal that may still be on it. The only until you know these reception conditions by heart - completely sure way to protect your new recording in terms of stations, broadcast schedules, and, if is to bulk -erase the old tape. To be quite certain applicable, direction of the received signal. Remember no vague sounds are still present, test the tape by that stereo on the air requires a much stronger playing -in both directions! signal than mono FM from the same source; and If you do not bulk -erase, then find out for obviously you will not want to tape broadcast sure that your recorder will erase the existing signal material that is not transmitted in clean and clear and will play back the new one without any trace stereo sound. of the old, and minus added hiss (from slightly Having familiarized yourself with the FM stereo magnetized heads usually). Old tapes, these days, available in your locale, you next can turn to your may combine full- track. half- track, two -track stereo tape recorder. You can happily assume one thing: and four -track, mono and stereo, according to pre- within its limitations, your stereo recorder is likely to vious use. One on top of the other. The full -track take down and play pretty much what it receives crase head is the only one that can remove the from the stereo tuner. The two channels arc kept entire signal. Half -track heads take off only one of well separated and will produce two distinct sound two parallel tracks. Two -track stereo heads remove tracks on the tape. both, but leave a thin trace in the middle if your Provided that such matters as level, balance, tape tape had a full -track signal on it. plus more at the equalization, etc. are adjusted for optimum results, sides. Four -track erase takes off two thin lines of any good recorder operating at 71 ips should take signal, leaving everything else untouched, including down a virtual facsimile of the broadcast sound. At the recording made in the opposite direction. slower speeds, quality is less handsome but the If you are erasing tapes made by the saine stereo separation is approximately the same. A machine, your four -track erase should take care of stable stereo image. as heard from the tuner, should all earlier signals. But not all erase heads are in play hack later lib pretty much the same stability. perfect working order-and some signals are too (Seasick broadcast stereo will remain seasick on strong to erase. And in any case, not all four -track tape.) It's hard. indeed, to go wrong -unless you've machines can he counted on to he exactly lined up accidentally recorded mono . . . or blended the with each other. The tolerances arc extremely tight.

46 HIGH( FIDELITY MAGAZINE

www.americanradiohistory.com Thus if you erase somebody else's four -track record- unexpected short circuits. Even a slight failure in ing you may find tiny, wavering edges of signal a protecting capacitor, or an accidental momentary left here and there, to provoke faint echoes of the short in a working part, can throw the full line earlier recording. voltage into delicate circuits, to burn them up. Note that a two -track machine (stereo) or a Very seldom happens, but when it does your repairs half-track (mono) will produce usable sound from a may be expensive. one -way four -track recording but will reproduce sound from both directions at once if your recording is made on all four tracks, twice through the tape. THE SURVEYS AND PRECAUTIONS described above Oppositely, your four -track machine can reproduce completed, you are ready to start the main work of stereo from a two -track stereo tape (with one actually recording off the air. channel weakened) but will not erase all the signal First, check your tuner's reception. Make sure on an old tape of this sort. The two -track and four - that the antenna, if directional, is oriented towards track paths don't match up. Again, you may find the station, and that the station is tuned in pre- fringes of faint signal left behind due to tiny in- cisely. Note that though AFC will hold the tuning accuracies in the four -track tape motion. accurately, the AFC circuit may introduce extra High- output tape? Excellent for reducing noise background hiss. If you can. omit the AFC and level via a maximum signal, but beware of playback trust your tuner to stay tuned; it generally will if overload. On some recorders the playback pre- you have turned it on beforehand to allow it a amplifier cannot "take" the extra signal strength. warm -up period. If there is an input level -set on the overloaded Next. get all your level controls set -in tuner, preamplifier, you are all right. Volume controls control unit, and recorder. You have two channels later in the playback circuit do no good at all. to be balanced, and on each you have a succession of volume controls in tandem. The fancier your equipment, the more controls you'll have. True, THE NEXT logical step in preparing to make good they counterbalance each other; but remember that stereo tapes is to check the basic operation of your a too high level at one place, introducing distortion tape recorder. In particular, be sure its heads are in due to overloading, cannot he compensated for alignment. Once you have an out -of- alignment tape, later in the circuit. So set your levels stage by stage you must play it back with the same alignment as well as you can, beginning with the tuner, error, or lose its quality. Check too the speed, wow. then the input level -sets of the control unit if it has flutter, and general stability of the tape drive -what- them. Remember that the tape recorder outputs on ever it puts on your tape is there for good. If most control units are not affected by the tone your machine suffers from wow and flutter, they controls or by the regular volume control. will be introduced again in the playback, to cancel When your signal is well balanced into the out-for a seeming improvement -or double the control unit, set the input level controls on the original effect for a degradation of the sound. Have tape recorder and read the incoming sound on its your recorder repaired; it will then at least repro- meters or signal lamps. You can do this while test duce no more than the original faults. recording, or-on some machines -while the tape For most hookups you can simply run a pair is at rest. Study these levels for several minutes and of signal cables direct from the tuner or. if you set your recording volume controls so that the high- prefer, via your stereo control unit (integrated ampli- est incoming signal peaks are in the proper range fier or separate prcamp, as the case may be) to the (be sure not to overload the recorder) and of inputs on the tape recorder. The instructions accom- equal average intensity on each channel. Remember panying the tape recorder as well as those for your that the two stereo signals are different and will not system's amplifier explain these hookups. If your peak exactly together at any moment. Average them. tape recorder has separate record and playback Once set, leave the volume controls alone during heads, and your control unit has a "tape monitor" actual recording- better to risk an occasional over- function, you may want to run a second pair of load than a stereo tape in which the invisible per- cables from the recorder's playback output to the formers slither from side to side uneasily, due to control unit's tape head or "monitor" inputs. This balance changes in midstream. If you must change type of hookup enables you-while recording - signal level during recording, do so by slowly rotating to flip the "monitor" switch for an instant A -B the two level controls simultaneously, as a unit. This comparison between the off -the -air signal and the will minimize any shift in channel balance, though sound being recorded on your tape. slight differences in the tracking of the volume The tuner, recorder, and indeed the entire controls may result in some channel imbalance. system, should be grounded securely by means of If one channel really is too loud, then adjust one heavy -gauge wire or, better, flat braided grounding level control only enough to balance the channels - strips tied to the nearest cold water pipe or holding and do so very slowly. screw on a wall outlet. The ground connection should In general. I feel that an over -all, too low level, be tight and positive. A good ground is important. with extra hiss, is the lesser of two evils when com- to avoid hum as well as to avoid the possibility of pared with a too high Continued on page 110

AUGUST 1963 47

www.americanradiohistory.com Prerecorded tapes tor musical and sonic connoisseurs. By R. D. Darrell

FOR MORE THAN a half century recorded music over -all, disc -dominated record sales, but the real has been largely confined within spiraling grooves, significance is the increase in yearly sales from a fact which has led many listeners to regard a 1959's $800,000 to $12,000,000 for last year. In "record" as virtually synonymous with a "disc." In my view, this success has been won, not in any the last decade, however, the long domination of serious direct competition with discs, but by the the disc has been challenged by a rival medium - ability of tape to develop an audience of its own. that of magnetic tape. Tape was designed, of course, While tape and disc recordings share common and still is used, primarily for recording purposes; ground in musical content and usefulness, there and for some time public acceptance of prerecorded are very obvious differences between them. A seven - tapes -i.e., commercially published tape -reel duplica- inch reel of quarter -inch tape looks nothing like a tions of professionally recorded programs -was spirally grooved phonograph disc. You can't see the handicapped by their relatively high cost over their magnetic tracks in the tape's oxide coating although disc counterparts and the preliminary expense of you can the undulating signal engraved on a disc. playback equipment, by a merchandising pattern less It is thus much easier to locate an individual selection effective than that for discs, and by certain incon- or movement on a disc. Furthermore, "threading" a veniences in the handling of tapes and machines. tape past capstan, guides, and head assembly to an Yet the inherent attractions of prerecorded tape empty take -up reel before actuating the "play" button as a high quality program source apparently have or lever is a thoroughly different process from plac- overcome these stumbling blocks, and it is today ing a disc on a turntable and lowering the pickup enjoying great success. stylus. Both types must be turned over after a "side" Certainly, the statistics arc impressive. Individual (the common term) has ended, although turning manufacturers joyously report that 1962 sales ran over and shifting reels actually maintains the same 20% to 60% above 1961's and that the growth is oxide -coated (dull) surface of the tape in contact showing no signs of slackening in 1963. The ab- with the playback head and merely enables the solute figures are small, of course, in proportion to latter to reproduce tracks 2 and 4, which run in

48 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the reverse direction to the previously played tracks And when we turn to problems of deterioration 1 and 3. In either medium it is possible to skip resulting from wear and time rather than mis- or repeat, but shifting a phono pickup is easy and handling, tapes are far less vulnerable than discs. instantaneous in comparison with fast -forward or Granted that the use of unworn styli in ultracom- reverse reel winding and trial -and -error aural lo- pliant pickups installed in perfectly balanced arms cation of the wanted passage on tape. Too, one reel minimizes the chance of high frequency signal "side" often is programmatically shorter than the erasure or gross groove damage, the frequently other, necessitating fast -winding of the blank por- played disc inevitably develops some rise in distortions before turnover or completing the full return tion and surface noise. Even when stored, discs may of the tape to its original "supply" reel. accumulate dust and dirt. Yet, given only reasonably If it's simpler to replace a reel in its box than good equipment and care, tape seems impervious a disc first in its sleeve and then in its outer jacket, to sonic deterioration, and after years of constant boxed reels require differently sized shelf spacings use sounds as fresh as ever. and depths for proper vertical -row storage. The In terms of the available repertoire of serious smaller boxes provide less space for printed annota- music, it must be said that today's prerecorded tions, often necessitating the use of eye- straining tapes provide only a fraction of what is available smaller type; and while additional notes may be on discs. The tape catalogues list only stereo record- provided in leaflet form in either case, large booklets ings (excluding all the monophonic treasures still in and complete librettos are conveniently enclosed in print on discs), and- stereo or mono -there are disc album sets, whereas the tape purchaser often can fewer labels represented in the tape catalogue than obtain his copies only by mailing prepaid postcard in the disc catalogue. In the last few years, however, requests -and must file them separately from the the major releases from London, RCA Victor, reel or reels with which they belong. Columbia /Epic, Mercury, Vanguard /Bach Guild, Except for twin -packs, which sell at $11.95 vs. Westminster, Kapp, Command, and-more recently $11.96 or $11.90 for the equivalent two -SD albums, -Capitol/Angel and Philips have been generously and complete operas and other very long works, represented on tape. Some of these companies also which cost relatively little more than the disc ver- dip frequently into their earlier stereo disc or dis- sions, recorded tapes generally run at least a couple continued 2 -track tape lists for still outstanding of dollars higher than stereo disc editions of the works; and several lower -priced and minor -label same programs. Most "classical" releases list for series preserve worthwhile recordings no longer in $7.95 ($8.95 for RCA Victor's) as against $5.98; print on discs. In general, tape catalogues, while most "pops" are $7.95 or $6.95 as against $4.98. affording fewer multiple versions, provide an ex- Even the lower-price series of tapes, such as Rich- cellent choice of the standard orchestral, operatic, mond and RCA Camden, list for $4.95 as against and choral repertoires. In the pre -Bach, chamber, their $2.98 stereo disc equivalents. One avenue of re- instrumental solo and duo, and vocal recital catego- lief for the budget- conscious tape collector lies in ries, the tape lists offer a relatively sparse sampling, the 334-ips medium for "pops" programs, with and they present practically nothing more avant - growing MusicTapes, Pickwick, Bel Canto, etc., garde than Stravinsky and Bartók. Lighter entertain- catalogues of $3.95 normal- length reels and $7.95 ment fares better: Broadway shows, film tracks, "Hotpaks." There seems little likelihood at this time sonic spectaculars, popular mood and dance music, of any immediate reductions in list prices. On the and best -selling "folk" programs all are well repre- other hand, we do have an increasing number of sented. Current, but not older, jazz is amply supplied bargain sampler and special -offer releases, and the in reel editions, but authentic folk and ethnic ma- expanding repertory of standard twin -packs. terials -and (except for some comic skits) spoken word recordings -are rare. A cross-check of the monthly Schwann disc HAT, then, gives tape so enthusiastic a band of catalogue and the quarterly Harrison tape catalogue devoted followers? One great consideration is surely will disclose the repertory correspondences and dis- its relative immunity to damage. The risks of tape parities in more revelatory detail. But while such erasure and breakage, which loom so large in the title counting may suggest that tape has little to fears of the uninitiated, are practically negligible in tempt the discophile programmatically, it fails to practice. Really foolproof controls make it virtually take into account one of tape's unique advantages impossible to erase a recorded tape accidentally, and for large -scale compositions. While the playing time breakage can result only from carelessness-even of a microgroove record is normally limited to forty - then, splices can be made in seconds. On the other five or fifty minutes (the possible maximum of hand, disc surfaces are subject to nicks and deep sixty minutes, especially in stereo, involves risks of scratches which do irreparable harm. The vulner- inner groove distortion), a full narrow -hub reel ability of tape to magnetic radiation and to tem- of tape can run as long as one hundred minutes perature and humidity extremes is real enough, but without the slightest danger of lapses in sonic quality. it is no greater or more difficult to guard against Hence the equivalent of a two-disc album, or a than the susceptibility of discs to dust, heat, warpage, coupling of two separate discs, can be taped on a and careless handling. single, "twin- pack" reel-a product that costs no

AUGUST 1963 49

www.americanradiohistory.com more than the corresponding stereo discs and has do better, but these recorded -tape specifications can the appeal (and convenience) of reducing the number be consistently maintained in playback without of side breaks to half that of a disc set. nearly as serious risks of distortion as those en- As yet this unique feature of tape may not countered in disc -groove tracing. And in another have been taken advantage of as fully as it deserves, technical characteristic, vital for the best stereoism. but a format that can provide a full -length symphony recorded -tape reproduction easily maintains channel or opera act complete on a single side well may separations of 45 -db minimum, rising much higher rank eventually with tape's durability as the most still with the best new playback heads -whereas tempting enticement reels can proffer the serious even the finest of current disc pickups seldom can collector. Naturally, any coupling of two separate claim better than 30. Thus, while I have heard works has merit only if both are wanted; and, some -if not many -discs more spectacularly except for operas and other long works, too many ultrabrilliant than any recorded tape, and a very tape editions in the past have slavishly imitated even few that (on first playing at least) have less surface patently awkward disc -side layouts. Lately, however, noise, I have never heard any with as clean channel there are encouraging signs of tape producers' grow- differentiations and blendings. ing independence: such recent examples as the tape In general, however, strictly technical distinctions editions of Berlioi s Fantastique and Mahler's Ninth, tend to balance out, and over -all comparative judg- in which the usual mid- movement breaks have been ments must be made -as always-on subjective bases. eliminated, herald more extensive exploitations of Thus, to some aural sensibilities, tapes' surface noise the reel medium's durational capacities. (which is more than high frequency "hiss" alone) is less obtrusive than that of discs; to others it is more so. To tape fans their medium has better WE COME FINALLY to the vital question of sonic frequency-spectrum balances, a sweeter high end, quality. Does all music sound better on tape? Is richer and more palpably solid lows, and less sense tape likely to be the unrivaled sonic medium of of strain in thunderous climaxes; to many discophiles the future? such qualities may seem largely illusory. As impartial arbitrator committed to sober truth, No present type of recording is without produc- I must say reports of discs' impending obsolescence tion flaws. Many tapes are still afflicted with pre - and recorded tapes' triumphant supersedure have echoes; crackles still plague many, even virgin, discs. been grossly exaggerated! Technological progress But the worst defects, reverse -channel spill -overs in has not yet made -and can't reasonably be ex- tape and disc groove -track breakdowns or constric- pected to make -radically faster or longer strides in tions, are rapidly being eliminated by vastly im- one medium than the other. Now. and for the fore- proved processing equipment and quality controls seeable future, the sonic qualities of the best in both media. In the end, all quality judgments recorded tapes and the best stereo discs, reproduced will, of course, be strongly colored not only by in- by the best playback equipment, are substantially dividual playback- equipment characteristics but by similar over-all (always provided brand -new discs the personal tastes of their owners. are used for comparative evaluations- discs' chronic I hope it has not escaped notice that I have susceptibility to wear must be kept in mind). deliberately confined the present survey to main- This assertion applies, of course, only to commer- stream recorded tape considerations only. There will cially marketed products. if it were practicable to be interesting stories to come on such experimental produce direct same -speed duplications of master- developments as the use of a 334-ips speed in both tape recordings for general sale, no commercial disc low -cost open -reel and more expensive cartridge could meet the quality competition. That is not the tapings -and on a 17/8-ips speed for the more rev- case, however. Recorded tapes can be produced olutionary cartridges marketed by Revere. Even- at feasible costs only by high -speed (60 -ips) copying tually, 33/4-ips reels well may take over the bulk in batches of only six to twelve at a time (using of the present popular tape repertory and the 3M/ a line of "slaves" or a multi- turreted duplicator). Revere cartridge may prove more successful than The procedure for manufacturing prerecorded RCA Victor's in developing a mass market-but tapes not only is much slower and more laborious neither prospect is immediate. than that of stamping out discs, but it demands For the truly serious listener, what is far more ultrawide-range electronic circuitry to avoid high immediately pertinent and significant to the central frequency and other losses. Further, the basic costs issue here is the extraordinary extent to which 4- for material alone run far higher for tape than for track, 71/2 -ips recorded tapes have established them- discs. In view of such technical and economic selves as preeminently standard vehicles for the difficulties, manufacturers of the now standard best music and sonic quality in magnetic record 4- track, 71/2-ips recorded tapes have no reason to realms. Introduced tentatively some five years ago, apologize either for the list prices or for the quality they have had hard battles to fight. One proof of of their products. In the latter respect they can their success has been the dramatic expansion of honestly guarantee a clean frequency range well up repertoire; another is the consistency with which the to, if not beyond, 15,000 cps, as well as a signal - increased output is meeting increasingly stiffer stand- to -noise ratio of at least 45 db. The best discs can ards of quality.

50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com BY PE1 ER 11E1 .{l'OR 1 H

Listening to Schoenberg

Put aside "the theological fury of theoretical dis /mies," begin with the atonal counterpoint of Pierrot Lunaire, and eventually the ear trill adjust itself to the new harmonic relativity o/'ttoclve -note music.

Bettmann Archive

AS THE DUST OF TIME settles over the first half adjusting our cars to something new. That may of the twentieth century, it becomes increasingly he true so far as some composers are concerned; clear that the two composers who dominated that for instance, Luigi None s music sounds and is period were Schoenberg and Stravinsky. But whereas fiercely modern, but inasmuch as it is also often most of Stravinsky's works have now broken out of extremely simple, one need only get one's ear tuned the hothouse category of "contemporary music" and to his wavelength to perceive what it is about. But forced their way into ordinary concert programs, this is not true of Schoenberg's music. He had Schoenberg remains relatively little performed. True, a uniquely complex and elaborate creative character: he is no longer subjected to the abuse that senior he had a rich imagination and a powerful and critics used to dole out with monotonous regularity drastic intellect. As a result, his music is almost less than a decade ago. But it is only necessary to always both complicated and intense, and no useful compare the formidable amount of Stravinsky avail- purpose is served in pretending that it is really able on record with the relatively modest number quite easy to understand. On the contrary, the true of Schoenberg recordings to see how far he still is parallels lie with late Beethoven or with Bach's from winning widespread appreciation. instrumental music, and no one pretends that full All sorts of reasons have been given for this comprehension of the C sharp minor Quartet or failure of Schoenberg to break out to a wide audi- the Goldberg Variations can be had for the asking. ence. During his lifetime his paranoid personality, But there is another reason why Schoenberg's which collected enemies and nursed feuds with music makes slow headway. Bach and Beethoven terrifying pertinacity, certainly did little to help the inherited a musical language adequate to their pur- cause of his music. The dodecaphonic method of poses, or capable of being extended to accommodate composition, which he evolved in the years im- their profoundest ideas. Schoenberg inherited a mediately after the first World War, met with language (or at any rate a grammar) on the brink such fanatical opposition that for a long time re- of disintegration. This has been said so often that action to Schoenberg's music itself was entirely we have perhaps forgotten what it involved. Imagine obscured by the academic question of whether one a writer who found that English would not bear were for or against serialism. And then the pre - the strain of what he had to say, and who as a dodecaphonic scores of the years before 1914 seemed result had to devise a new verbal grammar. Nat- to explore such a strange and terrifying underworld urally, the difficulties in communication would be of the human psyche that they inevitably pro- immense. So they have proved in Schoenberg's case. voked a psychological as well as musical resistance. But why did Schoenberg feel obliged to under- No doubt all these matters played a part in take the destruction of the musical grammar he blocking appreciation of Schoenberg's music, but inherited? Certainly it was not because he was a I don't myself believe that any of them would have horn revolutionary or a man who wanted to startle been able to do so had not the music itself been the world with some new wonder. On the contrary, so complex. There is a tendency today to dismiss the a part of Schoenberg's complex character was difficulty most of us have in getting to grips with throughout his life intensely conservative, he was new music as nothing more than the difficulty of scathing about much of the overclever Moderni.vnus

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www.americanradiohistory.com i..° :1111t4; iv :141=1"1:".4".41411.i

of this MirIw.'' OM., . _ erotic tone poem one finds a truer child dill.WM. narr.os of Tristan than one does in Richard Strauss's symphonic poems or Mahler's symphonies. But the odd thing about Verklärte Nacht is that it was written for the singularly un- Wagnerian combination of a string sextet. Chamber music was vieux jeu in advanced circles at the turn of the century. Ex- citement centered on the latest effects of Strauss's lavish orchestration, and string quartets belonged to the sedate square world of that arch -reactionary, Brahms, who seemed to young men such as Hugo Wolf at once but a weary remnant of the past and an impediment to the future. This same Brahms, Archive was, however, much admired by Schoenberg, who Schoenberg: the composer as teacher. saw in him the true preserver of the great Viennese classical tradition of Haydn, Mozart. and Beethoven. fashionable in the Twenties, and he was a fanatical In turning to chamber music Schoenberg was de- admirer of his great predecessors, Bach, Mozart, liberately attempting to weld a classical sense of Beethoven, Brahms, and Wagner. No, Schoenberg's architecture and of thematic development to an difficulties stemmed essentially from what his im- expressive world stemming from Tristan. In a real mensely powerful mind and imagination wanted to sense he was striving for a synthesis of the heritages express. It is in the struggle for expression that of Brahms and Wagner. language is forged, fashioned, and extended. Since Thus already in this very early work there is the language of chromaticism Schoenberg inherited revealed the essential thing about Schoenberg: by had already been driven (by Wagner in Tristan) the intensity of what he had to say he was pushed almost as far as it would go, there was insufficient forward into the most extreme chromaticism, while elasticity left for the further push forward which at the same time he was forced by his equally his expressive needs required. Here, then, is the intense sense of order and proportion to look crux of why after so many years Schoenberg remains backward for means of ordering the disruptive ele- so difficult to understand: that elaborate and drastic ments in that chromaticism. For as Schoenberg creativity was virtually obliged to devise a new well realized, chromaticism was a waning asset. grammar to express what he had to say. The thought Heard against a firmly based tonality, a chromatic is complex. the language is new. note (i.e., a note that does not belong to the key The difficulties that sprang from all this. were, in which the music is written) had all the spice and are, by no means confined to the listener, how- of an occasional four -letter word in polite society: ever: for many years few musicians understood it added tension and flavor. But naturally the more what Schoenberg was about well enough to he able to chromatic notes were used, the more their value, perform his music convincingly. Or if by any chance their ability to shock, declined. In Tristan, Wagner they could do so, then the odds were that there had used chromaticism consequentially, not just here would be insufficient rehearsal time to get it right. and there but throughout the score, to produce As a result, the cause of Schoenberg's music has music of unparalleled intensity and anguish. But again and again been set back by performances composers who set about exploiting the new har- that have, quite literally, been incomprehensible. monic ground opened up in Tristan soon found it The blind cannot lead the blind. disappearing under their feet, for the simple reason This is where the gramophone comes in. On the that the exceptional chromatic notes became so whole it is the musicians who understand and love frequent as to undermine the tonal language which Schoenberg's music who record it, and there are now made them exceptions (and hence so effective) in a number of recordings available that can claim the first place. to he, if not necessarily authentic, at any rate This is the central crisis of modern music: lucid and grammatical and therefore comprehensible. around I 908 the resources of chromaticism had been Furthermore a record obviously provides the pos- exploited to a point where they had disrupted the sibility of repeated hearings, and in my experience whole grammar of tonality, on which the im- this is the only way to come to grips with Schoen - mense achievements of European music since the berg's music. seventeenth century had been based. Appalled by Wagner had been dead for only sixteen years the abyss before them, many composers, such as when, in 1899, Schoenberg at the age of twenty - Strauss, moved backwards, while others tried to five produced his first major work. Superficially, take harmonic side paths such as the use of folk Verklärte Nacht is very much a child of a period songs (Bartók, Vaughan Williams) or neoclassicism when the immense influence of Wagner still exer- of one kind or another (Stravinsky and Hindemith). cised an almost hypnotic effect on the young. Only Schoenberg had the courage to push on, and Indeed, one might go further and say that in the his heroism was all the greater because he, more than extreme chromaticism of the harmonic language any of his contemporaries, appreciated the im-

5' HIGH FIDELITY MAGAZINE

www.americanradiohistory.com mense achievements of tonality and the magnitude which the saturated harmonic texture of a big or- of the task of finding anything to put in its place. chestra cannot be achieved, usually presupposes a Indeed, at first he had nothing to offer in its degree of counterpoint -music conceived or heard stead except his own genius and somnambulist sense horizontally rather than vertically. of direction. From the Gurrelieder-a huge and Of course, even at the apogee of romanticism, masterly essay in Wagnerian music drama which counterpoint had never disappeared: a score like effectively disposes of the silly accusation that Die Meistersinger is full of it. But the point is that Schoenberg was a theoretician who devised a new romantic counterpoint was largely subservient to system because he was incapable of using the old harmonic order. Schoenberg arrived on the scene one-he pressed steadily forward in a series of just as the foundations of that order were collapsing, works in which tonality grew steadily more tenuous. and as it was growing steadily less able to impose Finally, in 1908, with the Quartet No. 2, in F sharp its will on the movement of contrapuntal lines, minor, he wrote music that crossed the frontier and which were in turn just starting to grow bolder and was without tonal ties. As I have said, Schoenberg more independent. The importance of this in the was very well aware of the immensity of the implica- development of Schoenberg's style cannot be over- tions of what he was doing. From henceforth he emphasized. was on his own, there were no guiding ropes, no Pierrot Lunaire was one of the composer's last well -worn tracks, no precedents to help him when scores written before 1914. During the First World he faltered and the world jeered. For him there War he worked on a huge uncompleted oratorio, could now be only one rule: "art comes of neces- Die Jakobsleiter. But the music did not go well, sity"; and it was necessity of self-expression, of and unbeknown to the outside world he set about a giving reality to the new sounds haunting his profound reexamination of his art. For over eight inner ear, that drove him forward on his solitary years, from 1915 to 1923, he published nothing. journey of exploration. Then in 1923 he surfaced with two new works, Piano Pieces Op. 23 and the Serenade Op. 24, both of which for the first time made use of THE FRUITS of this journey are some of the most dodecaphonic methods. In the following year he extraordinary and disturbing works of art ever wrote two further works, the Suite for Piano Op. created. Because he still had no principle of order 25 and the Wind Quartet Op. 26, in both of which to put in place of tonality the scores of this period he systematically exploited the new technique. are either short or are settings of words that them- Millions of words have been written about the selves dictate some sense of shape. In the first technique of "composing with twelve notes equal category come the Five Pieces for Orchestra, in to each other," and I don't intend to add many more. the second the monodrama Erwartung. Both were It has been claimed again and again that the system written in 1909, and both seem to explore a is an intellectual construction. To a certain point, nightmare world of the subconscious. Indeed this of course it is. But why should this cause so much could be said of almost all Schoenberg's music of ado in a world that has accepted The Art of Fugue? this period, of Die glückliche Hand (1913) and The tempered scale, in which all music since Bach Pierrot Lunaire (1912). It is as though, having once has been written, is itself an intellectual construc- cast off the conscious order of tonality, he found tion, and so is sonata form, the da capo aria, rondo himself possessed of a new ability to explore the form, and so on. The whole conception of art pre- terrifying paths of the subconscious mind, which supposes intellectual construction. While it cannot Freud at the same time was exploring by means of itself produce art, it provides a basis that renders of psychoanalysis. If the lurid expressionist frenzy art possible. And so it is with twelve -note serialism. of these works is not everyone's meat, there can It has given rise to thousands of valueless con- be no question of their musical power and coherence. trivances without a spark of creativity, just as How did Schoenberg arrive at this coherence? To sonata form has done. It has also given rise to that question there can be no answer: the sub- a few masterpieces. The important thing for the conscious mind has laws of its own and they cer- listener is to steer clear of the theological fury tainly stood Schoenberg in good stead. But in of the theoretical disputes which have clouded Pierrot Lunaire significant developments already the whole question, and to concentrate on the point the way to the future. This song cycle is music itself. written for a voice using the rather questionable device of " Sprechgesang" (or singing speech) and a handful of solo instruments deployed with an ex- HOW THEN does one listen to twelve-note music? traordinarily prophetic sense of color and texture. I am tempted to answer that one listens to it These are side issues, however; the most important much as one listens to any other music. Yet this thing in Pierrot Lunaire is the reappearance of pre - is true only up to a point, for the fact that classical contrapuntal devices, fugue, canon, passa- tonality is not only absent but often deliberately caglia, all extremely rare in the music of the time. It banished at first gives the listener the uncomfortable is no coincidence that they should loom large in feeling of there being nothing to hang on to, nothing a chamber work, for the spirit of chamber music, in to relate the notes to. In this sense it is a new world

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www.americanradiohistory.com in which the laws of tonal gravity no longer apply. Op. 26 (which accordingly preserves something of But the fact that the notes are not related to a the feeling of a prolonged and strenuous exercise) key note does not mean that they are not related his problem lay in applying it to a full orchestral at all. On the contrary, they are all interrelated work. It is not hard to see why this presented a one to another, only some relations do not dominate special difficulty, for the big romantic orchestra others as they do in tonal music. To find one's had been developed to its maximum extent by way about in this new world of harmonic relativity composers like Strauss, and indeed by the young is largely a knack. lust as in learning to swim there Schoenberg himself, to clothe a rich and full-blown comes a moment when you take your toe off the harmonic idiom. Once music turned with serialism bottom without sinking, so in dodecaphonic music in the direction of counterpoint, the whole existence there comes a moment when you no longer seek and relevance of the big orchestra was called into to relate everything to a key note but begin to question, for the rich textures that so well match perceive how a sequence of events can make sense rich harmony are not only unnecessary to counter- without it. point but an encumbrance to its audibility. When in There is, however, one way in which the 1928 Schoenberg's first orchestral dodecaphonic listener can help himself. Pierrot Lunaire, as I have score, the Variations for Orchestra, Op. 31, was already mentioned, is both atonal and highly con- performed, it became clear that he had met this trapuntal. In fact, Schoenberg was here already problem by using his instrumental resources with well on the way to twelve -tone music. Because tone the utmost restraint. Indeed, many of the varia- rows are much more readily grasped as rows - tions are written for chamber orchestra and the that is, as themes, motives, or melodies-than as full body is employed relatively rarely. Even so, chords, it is a good idea to start by listening to young postwar composers have criticized Schoenberg dodecaphonic music as atonal counterpoint, in other for applying a new technique to materials inappro- words just as one would listen to Pierrot Lunaire. priate to it. This is not to say that the vertical, harmonic ele- To dismiss the work on such grounds would be ment does not matter -but to start by seeking needlessly destructive: it is, after all, a major work harmonic order almost invariably tempts the ear by a major composer. But the Variations is certainly to try to account for events by a tonal order which a score looking backwards as well as forwards, and no longer exists. Certainly, atonal counterpoint is it is paradoxical that once Schoenberg had evolved not, at first, easy to grasp. When we listen to Bach, his method, his music takes on a distinctly classical the harmonic order in the music helps us to relate the feeling quite absent from his pre-1914 works. In a simultaneous melodic lines that make up the counter- sense he remained all his life profoundly envious point. Because in Schoenberg the harmony seems of his great Viennese predecessors, who had inherited to offer little help, dodecaphonic counterpoint at a viable language in which to express themselves. first sounds confused and complex, and today I Indeed the titanic disruptive activities of his younger blush to think of the works that I once had the days should perhaps be viewed as demolition temerity to describe as overstuffed or overelaborate. preliminary to forging such an instrument for him- But the ear is a wonderfully elastic instrument, and self, and once he felt that with serialism he had once it is given the chance to acclimatize itself, done so, he in some sense set about re- creating the and to train itself to listen to melodic lines with no past. Thus his early dodecaphonic works -pieces tonal relationship, it soon does so without difficulty, such as the Wind Quintet, the Variations for though I will not pretend that Schoenberg's music - Orchestra, the Suite, Op. 29, the Third Quartet- tonal, atonal, or dodecaphonic -is ever really simple. not only bear classical titles but are more truly neo- Viewed from this angle it becomes clear that classical in spirit than most of the wrong -note Schoenberg arrived at serialism, not as an abrupt pastiches which irresponsibly assumed that designa- change of front, but rather as a systemization of tion in the interwar period. It is indeed a fascinating what he was already practicing in works like Pierrot thought that the careers of Stravinsky and Schoen- Lunaire. In fact the first proper dodecaphonic piece berg, so profoundly different in almost every way, of music is the Theme and Variations from the did for years pursue remote but parallel paths. Serenade; this movement fits so effortlessly and without change of style into the remainder of the work that anyone not given prior notice would BUT Schoenberg was much more of an operatic have to study the score itself to say which is the composer than he is usually given credit for, and it serial movement. was perhaps the dramatic demands of two utterly But if serialism is in itself stylistically neutral, different stage works that provided the motive force the practice of it naturally had an effect on Schoen - for his evolution from this classical phase. The one - berg's development as a composer. In his prewar act Von Heute au) Morgen is not exactly a comic atonal music his difficulty had lain in finding some riot, and it is dogged by a vulgar and inept libretto. means of order to enable him to sustain length. But wry humor the music has in abundance and Serialism provided that principle, and once he had in the ensembles there is a delicate filigree which, mastered it fully in works like the Wind Quintet, improbable though it Continued on page 111

54 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com BY GENE LEES

THE

COMPOSER

A Study in Symbiosis

WHAT IS a jazz composer? The obvious answer in jazz no firm tradition specifies what a given in- to that question would seem to be: he is somebody strument should sound like. In classical music there who composes jazz. And the obvious answer. in is some variation in the sound different players may this as in so many other cases, would he a gross get from the same instrument: the sound a jazzman oversimplification. gets is uniquely his sound, to he admired or rejected Everybody knows what a "composer" (.sans in terms of itself, not in relationship to a long tradi- modifier) is. He originates thematic material and tion. A young tenor saxophonist who was having then develops it in a setting of his own choosing- embouchure trouble went to the great Lester Young for voice or solo instrument or any combination for advice. Young told him: "I can't tell you the of voices and /or instruments. And by ancient and answer. I can only tell you what I would do. And honorable practice he may in fact borrow his themes you're going to be playing with your mouthpiece from other composers, developing them in his own in your mouth." The young man left, not feeling he terms and thus giving them a new identity. But to had been denied his answer, but that he had been define a "jazz composer" is considerably more diffi- given the best of all possible answers. cult. Even if we sidestep the thorny question of what jazz itself is (some people hold that jazz not only depends on improvisation but is improvisation WHEN Roger Sessions writes a trumpet passage, and anything written down is ipso facto non- jazz)- he has in mind a general trumpet sound that teachers and even if we ignore the peculiar jazz nomenclature insist is the right one. But when Duke Ellington by which those who write melodic lines and their writes a trumpet passage, he has in mind the sound harmonic foundations are given the title of com- of a specific trumpet player- Buhber Miley or poser and those who write orchestrations acquire Cootie Williams or Ray Nance or Clark Terry the humbler appellation of arranger -we still have or whomever. If Ellington writes a passage for trom- to recognize that the man who writes jazz is a bone. he must think in terms of who will play it. composer of a very special breed. Will it be Lawrence Brown or Quentin Jackson or While at one point in history the classical Juan Tizol? Their emotional flavors vary: Brown's composer, if he happened to write opera, was the is inherently misterioso. Jackson's is irreverently unfortunate lackey of singers, the jazz composer humorous, Tizol's is exotic. If Ellington doesn't fit has even more generally been consigned to a the passage to the individual performer's stile, the subordinate status. Some jazz performers regard performer will impose the style on the passage. the composer's sole function as that of providing Examples of the jazz composer's propensity orchestral settings for their own improvised solos. not only for respecting the individual but for capi- and too many jazz composers have acquiesced in talizing on his talents abound in Ellington's work. this role -to the impoverishment of jazz. A more Consider his Columbia album "Zweet Zursdav" fundamental difference between the classical and (the title is a play on that of John Steinbeck's jazz composer, however. springs from the fact that novel Sweet Thursday). Written as a tribute to

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www.americanradiohistory.com the name bands of the swing era and, to a large extent, obtains to this day. [ For a detailed account of the work of Redman and Henderson, see "When the Big Bands Played Swing," HIGH FIDELITY, April 1962.] But Ellington, whose writing prominence dates, like Redman's, back to the '20s, always showed a fine disregard for orchestral sectionalism, voicing instruments not in section groupings but for color. He would voice a clarinet, trumpet, and bass clarinet together, for example. Whereas other writers voiced across the sections, Ellington was always ready to voice up through them when it suited his purposes. And this approach permitted him to Steinbeck and unveiled at the jazz festival of Mon- write in a linear way impossible with block voicings. terey, California -where the novel is set -the music strikingly calls up the flavor of that area. The interval on which the work is based is a falling minor RELATIVELY few jazz composers have followed sixth, which is approximately the interval of a Ellington's approach. but in some cases his in- foghorn. This device might seem conventional fluence can be definitely traced. In 1949, an ex- enough, even a little obvious. But the interval is perimental nine -piece band was organized in New played, at different times, by tenor saxophonist York City under the leadership -of- record of Miles Paul Gonsalves and trombonist Lawrence Brown. Davis. Participating in this informal workshop were Gonsalves plays it with a curious flat -tone softness, three men who were eventually to achieve greater and it is effective. But when Brown plays it, it be- prominence as writers: John Lewis, a pianist and comes almost eerie. Brown's playing has an oddly arranger; Gil Evans, an arranger; and Gerry Mulli- muffled, almost furry sound, and the interval in his gan, baritone saxophonist and arranger. Mulligan horn evokes not only a foghorn but the damp gray and Evans had both written in the early 1940s for fog itself. the band of Claude Thornhill, a leader of great The respect for the individual performer goes curiosity and imagination. He added two French beyond this, of course. It extends into the im- horns to the orchestra and permitted Evans and provised solo, which is not only permitted of the Mulligan comparatively unfettered experimentation. performing musician but expected of him. His Mulligan says that Thornhill's influence on later jazz virtuosity will put the final touch on the composer's writing has never been properly noted by critics. music. In Ellington's work, however, the soloist is Evans was the dominant arranger with the Thornhill never permitted to run wild. It is of more than hand and he voiced the instruments up through the passing interest that most of Ellington's great soloists sections, rather than in the Redman -Henderson way. have never achieved the success on their own that Now, in 1949, the lessons Evans and Mulligan they did while working with Ellington. had learned with Thornhill were about to be spread Jazz composition, then, is a collaboration - through the jazz world. almost a symbiosis- between soloist and composer, "The idea for the instrumentation came directly as opposed to classical composition, wherein the out of the Thornhill band," Mulligan said recently. performer, basically, follows the composer's instruc- "We realized we didn't need all those horns that tions. Classical composers too have written with spe- you use in a big band. We kicked the ideas around cific performers in mind and at one time musicians all that winter, and got it down to six horns and the were expected to fill in open areas with their own rhythm section. You couldn't write by sections, cadenzas, but in general the closeness of the relation- because there were no sections." ship between jazz composer and performer is unique. The band was recorded by Capitol in a series Ellington's recognition of this sine qua non of of 45-rpm discs, some of which have been reissued jazz is of course by no means his only contribution in an LP called "The Birth of the Cool." The album to jazz composition. To him must go a great deal title is an accurate one: the series virtually launched of credit for increasing its scope, first by expanding the era of so- called cool jazz, wherein restraint and its forms, and second by breaking the hegemony of control were considered the necessary adjuncts of the instrumental sections, thus vastly broadening emotion. In the years following, John Lewis was the color palette available to writers working with to go one way, Evans another, and Mulligan still jazz orchestras. another; but in the work of these three men we The section lines were drawn in the 1920s, when can trace most of the important developments in an arranger named Don Redman organized the in- jazz writing, both good and bad, since 1949. struments of big bands into reed, brass, and rhythm Let us consider the case of Gil Evans first. sections. This structure, with the brass subdivided Evans resumed his relationship with Miles Davis in into trumpet and trombone sections, was utilized the mid- 1950s, when he wrote the first of a pro- and beautifully developed in the 1930s by the late jected series of albums for Columbia, in which Fletcher Henderson. It became the format of all Davis was to be accompanied by a large orchestra

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com under Evans' direction. To date, "Miles Ahead," for the highly lyrical -among whom I include myself "Porgy and Bess," "Sketches of Spain," and "Miles -like the Mulligan band better than Ellington's. Davis at Carnegie Hall" have been released. In addi- Although Mulligan and Evans took parallel tion, Evans has recorded two albums on his own courses after the 1949 experiments, certain differ- for World Pacific ( "Great Jazz Standards" and ences of approach must be noted. One of the "Old Wine. New Bottles ") and one for Impulse differences, and an important one, is that Evans ( "Out of the Cool "). In general, Evans has or- seems to have sought larger and more complex chestrated the music of others in these albums, but forms while Mulligan has moved towards greater the discs contain six of his own compositions, some simplicity. If by form we mean more expanded of which are quite striking. Sunken Treasure, in- forms, then it would have to be said that Evans cluded in "Out of the Cool," is a beautiful example has made the greater contribution. of jazz impressionism. In the same album, La The third writer for the 1949 band, John Lewis, Nevada achieves a powerful swing and illustrates the has gone in a direction quite different from that of symbiotic relationship that improvising soloists and Mulligan or Evans. Lewis shot to prominence as composer can achieve in the best composed jazz. the pianist and musical director of the Modern One of Evans' greatest contributions to jazz Jazz Quartet, where he revealed himself as a gifted writing has been the further expansion of the jazz improviser and the writer of some lovely melodies. orchestra. By using flutes, oboes, French horns, and He began to branch out from jazz, writing film other "classical" instruments, without losing sight scores (including a very bad one for the Harry of the jazz purpose, and by voicing them in some Belafonte production Odds Against Tomorrow). Soon exquisite combinations, he has brought jazz or- he was writing scores for expanded orchestras with chestral writing almost to the scope of classical strings, including one piece, utilizing a full sym- writing. Perhaps more important, he has achieved phony orchestra, called European Windows. (Most within a framework that is essentially jazz an of Lewis' works are available on Atlantic; European emotional range which is comparable to that of clas- Windows is on RCA Victor.) His critics accused him sical music. of having what is known scornfully in jazz as "the If Evans writes in the Ellington tradition insofar Carnegie Hall complex." as voicing is concerned, there is an important difference in their approaches: he does not write for the individual musician to the same extent Ellington THESE LARGE -ORCHESTRA labors by Lewis gave does. It should be said, however, that Ellington has rise to a music that has been dubbed "Third Stream" always had his own band to work with -i.e., men by Gunther Schuller, whose own compositions have on his own payroll, whose individual talents he identified him very closely with the movement. knows -while most of Evans' writing has been This music attempts to fuse classical music and done for studio pickup bands. Significantly, Evans jazz, and according to its proponents should be tried to get a big orchestra of his own off the evaluated in terms of neither but considered as a ground in 1961, but was unable to maintain it. separate genre. If Evans did not find it possible to have his Lewis and Schuller (who played French horn own band for long, one of the 1949 collaborators on one of the 1949 singles) have not been the did: Gerry Mulligan. Mulligan has, in fact, had only workers in this area. Others include Dave several groups, including a quartet, a sextet, a ten - Brubeck, who, in collaboration with his brother, piece band, and, recently, a big band. Mulligan's composer Howard Brubeck, produced a work that working pattern is odd: he maintains a group for featured the Brubeck Quartet with the New York approximately two years, then disbands it and retires Philharmonic under Leonard Bernstein in an album to digest the experience before forming a new group. for Columbia; William Russo, whose "Seven Deadly At the moment he has a quartet and plans to re- Sins," recorded by Roulette, is one of the least awk- organize his big band this fall. ward Third Stream compositions; Jimmy Giuffre, Mulligan has done comparatively little writing for and a few others. his big band, but that done for it by other ar- But whoever writes it, performances of Third rangers, including the gifted Bob Brookmeyer, has Stream always seem to mingle jazz and classical reflected the leader's approach, which in turn, is musicians, whether in large orchestra or chamber Ellington- oriented. The voicings of the hand are ensembles, and because neither group (with a few im- often up through the section ù la Ellington; and, portant exceptions) is adept at phrasing the music again like Ellington, Mulligan permits the band of the other, the musics always seem stiffly separate. great freedom within a basic discipline. On the four (Once, listening to a car radio, I thought two stations l_Ps of the band so far released (on Verve) many of were coming in together; I found it was only a the orchestra passages heard were not written down Third Stream composition by John Lewis.) Often, but were improvised on the occasion, as is often in Third Stream, the jazzmen will start swinging the case in Ellington performances. Many persons nicely, and then the strings will come in and the consider the Mulligan band the most rewarding swing will simply stop. The composers tend to big group in jazz since the 1940s, and second only lament the inability of players to phrase in the two to Ellington's in stature. Some people, with a taste idioms, but much Continued on page 113

AUGUST 1963 57

www.americanradiohistory.com when the British say "the best pick -up arm in the world" it warrants serious consideration

The English are noted for their conservatism and they especially are not given to extreme claims in advertising. Their statement that the SME is "the best pick -up arm in the world" is simply a fact. It is made by dedicated craftsmen working with extraordinarily close tolerances and standards -providing features unattainable in any other tone arm. Its "secret" (if it has one) is care in manufacture and testing, and utterly accurate adjustments for every critical factor in tracking. It is not inexpensive -perfection never is. It is, however, worth every penny to the audiophile who wants a pick -up arm capable of realizing the full potential of cartridge and record.

I-IL-Jmm SME DESIGN FEATURES the A. Virtually frictionless knit.' edge F. ":\nti- skating" bias adjuster coon. perfect companion bearings. Pivot friction is less than 20 teracts tendency of the arm )o move milligrams, horizontal and vertical! toward record center and "favor" B. Wood -lined stainless steel tube arm. inner groove. cartridge Resonances are outside recorded range, G. Hydraulic lever -operated set -down of small amplitude, and damped. for "slow- motion" feather -light lower- C. Unique weight system statically bal- ing onto any part of the recording. .. ances arm longitudinally AN I) laterally. II. Nylon -jaw arm rest with stainless I). Rider weight adjusts tracking force steel locking link. from 14 to 5 grams, adjustable for ,4 or 5z increments, as as a fine I. International standard 4 -pin socket. gm. accurate , stylus pressure gauge. Cartridge shells fitted with detachable E. Sliding base offers alignment adjust- r!llars and mounting screws at standard :'.a a Inch spacing. ment through 1 inch. Height is adjustable through VI inch. Fulfills optimum J. Output socket and plug provides a The Shure M33 -5, of course. With the requirements of length, offset, over- rigid junction for the "stiff wiring" and SME, provides absolute minimum hang when adjusted with alignment delicate pick -up lead, eliminating in- tracking force without distortion. protractor included. fluence on free tone -arm movement. ... Incredibly transparent sound. Peak- free high end, clean lows, astoundingly PRICES: natural and clear in the middle range Includes one shell, arm, template, alignment protractor, hardware where most other cartridges suffer MODEL 3009 for 12" recordings $89.50 net serious deficiencies. 22 x 10-6 cm per MODEL 3012 for 16" recordings $99.50 net dyne compliance. 836.50 net. ADDITIONAL SHELL Model A3OH $5.50 each Jeres 2 HURE PZ1 pick_Up arrn LITERATURE: / SHURE BROTHERS, INC., 222 HARTREY AVE., EVANSTON, ILLINOIS Manufactured under U.S. Patent 3,055,988; 3,077,522; D193,006; D193,934; other patents pending. CIRCLE 74 ON READER- SERVICE CARD 58 HIGH FIDELITY MAGAZINE

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

high fideli EQUIPMENT REPORTS

Acousfech I

Power Amplifier

AT A GLANCE: The Acoustech 1. first product of a the finest encountered of any type and marks another new company, is a stereo basic or power amplifier that is major step forward in the application of transistors to completely transistorized and uses neither driver nor high fidelity sound. Considering its power capabilities, output transformers. Tests of a regular production line it is deceptively compact and runs perfectly cool hour model (recently made available) were conducted at after hour. As basic amplifiers go. it is also quite United States Testing Company. Inc.. and were supple - handsome. Its front panel, finished in brushed gold, mented by extensive listening tests. The results indicate contains a power off on switch, an input sensitivity that the Acoustech I meets or exceeds most of its switch (1.5 volts and 2.5 volts), a low frequency roll -off specifications. apparently can perform well even under selector switch (below 5 cps. IO cps. and 20 cps), and a conditions not specified (such as with a 4 -ohm speaker high frequency roll -off selector switch (25 kc, 50 kc, load), and in general has a superb listening quality. and over 100 kc). Above the roll -off switches are three Price is $395, including metal cage. Dimensions are neon lights. The center one indicates that the AC power 1534 inches wide. 5 inches high. and 12 inches deep. is on; the left or right glows when a B+ fuse in the Weight is thirty pounds. Manufacturer: Acoustic Tech- power supply blows. These fuses, located on the rear nology Laboratories. Inc. (Acoustech, Inc.), 139 Main panel, protect the output transistors in each channel St., Cambridge 42. Mass. against overload or misuse. The main AC line into the amplifier also is protected. Connections, for incoming IN DETAIL: The first high -powered. "all out design." signals as well as for output to speakers, are made by solid -state amplifier to be tested by this journal is among phone (not phono) jacks on the rear panel, and the

Equipment reports are based on laboratory measurements and listening tests. Data for the reports, on equipment other than loudspeakers, is obtained by the United States Testing Company, Inc., of Hoboken, New jersey, a completely independent organization which, since 1880, has been a leader in product evaluation. Speaker reports are based on controlled listening tests. Occasionally, REPORT POLICY a supplementary agency may be invited to contribute to the testing program. The choice of equipment to be tested rests with the editors of HIGH FIDELITY. No report, or portion thereof, may be reproduced for any purpose or in any form without written permission of the publisher.

AUGUST 1963 59

www.americanradiohistory.com 7 i

Upper photos show 50 -cps and 10 -kc square -ware response of the amplifier with filters in; louer photos show "wideband" response.

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amplifier is supplied with a pair of 15 -foot -long cables The Acoustech I is rated by its manufacturer at 40 fitted at one end with suitable plugs and at the other watts power per channel, delivered across the 20- to with color -coded spade lugs. These cables also contain 20,000 -cps range into an S- or I6 -ohm load. (The ampli- fuses for protecting speakers from overload. There fier is not specified or rated for 4 -ohm loads, more of actually are two outputs per channel. for driving mul- which later in this report.) Actually at the unit's rated tiple speaker arrays in one room, or for separate stereo harmonic distortion of 0.95 %. USTC found that the or mono systems in different rooms. power available from the amplifier was well in excess of The circuit, in each channel. contains a total of eight 40 watts, reaching the 60- to 70 -watt region. However, transistors. The input signal feeds into a 2N398A ger- the manufacturer has stated that the Acoustech I "is manium PNP grounded -collector stage, which has a gain designed for the reproduction of music, not extended of less than one inasmuch as its function is to give the periods of pure sine wave reproduction" -which explains amplifier a high input impedance. The signal then goes why the rating of the amplifier for normal use is set to a type ST -1613 NPN silicon transistor stage that conservatively at 40 watts per channel. and also why provides high gain. A negative feedback loop from the USTC did not run the unit at maximum power long output jack of the amplifier is connected to the base of enough to make an ultimate power bandwidth measure- this stage. The amount of feedback is controlled by the ment. However, from various data obtained, and from sensitivity selector switch, and the greatest amount of observing the distortion at half power (20 watts, or 3 db feedback is provided in the 2.5 -volt position. Some local down from rated power) on an oscilloscope, USTC esti- feedback is also used around this stage to stabilize its mates that the power bandwidth extends from 10 cps to high frequency response. The signal next is fed to the 30 kc, which is excellent performance by any standards. base of a 2N 1046 PNP germanium transistor, which Distortion figures measured by USTC generally were acts as a driver and phase splitter for one half of the within, or below, the rated values given for the amplifier. output stage. The driver for the other half is a type Total harmonic distortion at 40 watts output, into an ST -4361 NPN silicon transistor. To compensate for an 8 -ohm load, remained under 0.4% on the left channel unbalanced driver stage, a bootstrap network provides from 20 cps to IO kc, rising to 0.72% at 20 kc. At some positive feedback from between the collector and half power, the distortion was slightly less up to l l kc, base of the driver to the output stage. A temperature - coming up to 0.78% at 20 kc. THD on the right

compensating network, containing two type IN1692 channel at 40 watts output was checked at 1 kc and diodes in series, serves to adjust the driver bias when found to be 0.21%. And with both channels driven the amplifier is running at a high signal level. The out- simultaneously, delivering 40 watts each, the left channel put circuit in each channel uses four ST -7175 silicon distortion remained only 0.21%. power transistors which are biased slightly above class B, Distortion measured at 16 ohms was even lower than and are operated in push -pull parallel. They feed the at 8 ohms. It remained below 0.46% from 20 cps to output jack through a 1.000- microfarad capacitor. 20 kc at the 40 -watt level, and below 0.34% at the The amplifier's power supply is built around a full - 20 -watt level. wave bridge circuit using four silicon diodes, a specially USTC also measured intermodulation (1M) distortion, designed power transformer, and careful filtering. and found that it too generally remained well within

60 HIGH FIDELITY M.AGAZtN!

www.americanradiohistory.com Response with no filtering Zero DBs40 w. Response with 10 CPS + 50 KC cutoff filter ------A-4 Response with 20 CPS + 25 KC cutoff filter ----- + I I NC IM DISTORTION CHARACTERISTICS B-8 Estimated half power points on power bandwidth curve ¡ I Half Power. THD Curve at Full Power (40 w.) r% C-16n g 10 Full Power 0 11 -T A THD Curve at Half Power w.) 14 B ° I(20 C 16 .y Frequent J Response 18 -:,. 20 \ 12 i 11 PERFORMANCE CHARACTERISTICS

1 , 2 4 5 7 10 10 40 -24 10 10' 10' 10' 10' POWER OUTPUT IN WATTS FREQUENCY IN CPS \

specified levels for 8 -ohm and 16 -ohm loads. At a 1 -watt increased the high -frequency rise -time to 2.9 micro- output level -not specified by the manufacturer -the IM seconds. measured into an 8 -ohm load was 1 %; into a 16 -ohm The actual measured sensitivity of the amplifier for load. 0.529ó. With both 8- and I6 -ohm loads. the IM 40 watts output was 2.35 volts on the left channel. and gradually became less as amplifier output was increased 2.10 on the right channel in the 2.5 -volt position. It was to about a 25 -watt level. then started to rise up to the 1.3 volts and 1.22 volts left and right respectively in the 40 -watt level. This distortion characteristic is different 1.5 -volt position. The amplifier's signal -to -noise ratio, from conventional tube amplifiers, but is fairly typical referenced to 40 watts output, was 90 db, a very of the "class AB" or "class B" output circuit used in the favorable figure and again better than specified. Stability Acoustech I. In any case, the highest distortion found of the Acoustech I with capacitive loading was very at medium to high power levels was still better than good. and the amplifier's damping factor (IHF method specified: 0.79% with an 8 -ohm load, and 0.71% with at 1 kc) was 27. although this dropped to a value of 11 a 16 -ohm load. at 40 cps and to 18 at 20 kc. These measurements were made with the amplifier's To return now to the matter of operating this input sensitivity switch set to the 2.5 -volt position. In amplifier into a 4 -ohm load -the manufacturer does not the 1.5 -volt position. which increases the amplifier's rate or specify the amplifier for use with 4 -ohm speakers sensitivity and thereby drives it "harder" to reach rated inasmuch as he feels that "the impedance of the only output, the distortion figures rose, as expected. Although American- produced 4- ohm -rated speaker system goes well the manufacturer does not rate the amplifier for 1.5 -volt above 16 ohms ... below 80 cps and above 8 ohms at operation, the figures are given for those interested. THD the mid- frequencies." This is an interesting thought and at 20 cps was 1.4 %; at I kc. 0.38 %; at 20 kc. 1 %. IM one which we have investigated, particularly inasmuch (for 1.5 -volt input sensitivity at 40 watts output into as public demonstrations of the Acoustech I have been an 8 -ohm load) was 1.1 %. While these figures, in sum, made using the AR -3 speaker -which is, of course. the are not inordinately high, they do substantiate the idea 4- ohm -rated speaker referred to. To begin with, we -expressed by the manufacturer himself -that the obtained an impedance curve for the AR -3 from Acoustic Acoustech I provides top performance in its 2.5 -volt Research; as shown here. it indicates that the impedance sensitivity mode rather than in its 1.5 -volt position. The measured frequency response of the amplifier 25 20 I I I indicates that the Acoustech I is of the "wide -hand IMPEDANCE AR -3 SYSTEM 15 philosophy" school, and has been designed for uniform (POTS IN 'NORMAL" POSITION) response and stability below and above the 20- to 10 20,000 -cycle range. For those who prefer to limit the 5 response, the and -cut filters are high- low provided. 20 50 100 300 500 1K 3K 5K 10K 20K With the filters out, USTC measured frequency response at the I -watt level to be flat within +0, -0.5 db, from of the AR -3, once past the bass peak. does hover close 5 cps to 5; kc, and down to -I db at 82 kc, and to to 4 ohms across the range. (Incidentally, the "peak" in -3 db at 148 kc. With the filters in. the response rolled impedance should not be misconstrued as a peak in off more at the extreme low and high ends-but even response!) Next, we checked the performance figures with the most pronounced rolloff, response still was flat of the Acoustech operating into an actual 4 -ohm load. within +0, -2 db from 20 cps to about 24 kc. These First, it was determined that the amplifier will put out figures apply to the 2.5 -volt input sensitivity. In the up to 40 watts at 4 ohms, although it will furnish higher 1.5 -volt sensitivity position, the amplifier's response power at higher impedances. Second, the amplifier's was down 3 db at 6 cps and at 92 kc. distortion into a 4 -ohm load was only slightly higher Square -wave response photos of the Acoustech I than into the other impedances. THD was measured at show the excellent transient characteristics of this ampli- 20 watts as 0.38% at 20 cps, 0.25% at 1 kc, and 1.1% fier. The 10 -kc square -wave response was outstanding. at 20 kc. IM for 25 watts output was found to be the best in fact yet seen for any power amplifier. The 1.1 %. Finally, in listening tests, the Acoustech I has response to a more rigorous signal -a 100 -kc square driven AR -3 speakers beautifully, as indeed it has driven wave -was also remarkably good, and had a rise -time other speakers, of varying efficiency, with which we of a scant 2 microseconds. The 50 -cps square wave have paired it. shows some tilt due to phase distortion. These figures This point, incidentally, suggests something that apply, of course, to the amplifier in its wide -band opera- many listeners and critics have commented on in recent tion. When the low and high frequency filters were months -that there may not always be as close or as introduced, to limit the response to a nominal 20 -cps apparent a correlation with transistorized amplifiers to 25 -kc range, square -wave response naturally was between what is measured and the actual listening ex- poorer, reflecting the attenuation of frequencies below perience. The latter often seems to be "better" than the and above those points. Using the 1.5 -volt input sensi- former! Whatever may come of this generally in the tivity- again- tilted the bass square wave to 37% and future (there already is talk in professional audio circles

AUGUST 1963 61

www.americanradiohistory.com of revising conventional methods of measuring distor- low noise level; it has an outstanding transient response. tion), one conclusion about the Acoustech 1 seems quite and high damping that seems to "grab hold of and certain. When used in the 2.5 -volt input sensitivity mode control a speaker to a degree that has led many and with no filters in, it is one of the finest amplifiers listeners to remark that the speaker itself "never sounded yet encountered. It has a superb "listening through" better." Any serious stereophile who is prepared to quality; it is. for its power class, the coolest -running: spend $395 for a basic amplifier and who has a pre- it furnishes ample power to drive low -efficiency speakers amplifier capable of supplying a 2.5 -volt signal would of any impedance rating; it is stable; it has a very do well to consider the Acoustech 1.

Ferrograph Model 424A

Tape Recorder

AT A GLANCE: The Ferrograph Model 424A is a for microphone and the other for high -level signals two -speed (71/2 and 31/2 ips) tape recorder providing such as from a tuner or external preamplifier), and each for either monophonic or stereo 1/ -track recording and input has its own level control on the front panel. The playback, as well as 1/2-track ( "four track ") mono or output level controls for each channel are dual con- stereo playback. (It will not record in quarter -track.) centric types; they may be used while recording to According to tests conducted at United States Testing regulate the level of the monitor signal independently Company, Inc., the 424A is extremely well made and is of the input level. The monitor signal itself may be a fine performer, having smooth response and low derived from the input signal or from the playback head. distortion. Cost is $595, which includes a carrying case. The recording level meter may be switched into Over -all dimensions (in the closed case) are 1811 inches either channel. Its electrical characteristic is not that wide, 171/2 inches deep, and 91 inches high. Weight is of a standard VU meter inasmuch as it will respond forty -eight pounds. The 424A is manufactured by The more to the peaks, or transients, than to the average level Ferrograph Co., Ltd., Ferrograph House, 84 Blackfriars of musical signals. However, it is calibrated linearly Rd., London, S.E.I, England, and distributed in the from "0" to "IO" and a red mark at "8" indicates the U.S.A. by Ercona Corp., 16 West 46th St., New York maximum recommended recording level. 36, N.Y. The transport mechanism for the Ferrograph uses separate motors for the take -up reel, supply reel, and IN DETAIL: The Ferrograph is laid out on an ample - capstan drive. The tape drive system is somewhat un- sized deck which mates with a sloping front panel. The usual in that the capstan has a rubber face while the deck contains the transport, head assembly, and associ- "pinch roller" is solid brass. USTC found that the ated controls for mechanical operation, while the sloping mechanical system worked very well, with a sure and panel contains the electronic controls. If somewhat positive action and no tape spillage. However, occasion- unusual in appearance, the general layout is very logical, ally, when the pause button was released, the automatic easy to use, and shows evidence of careful workmanship stop lever would trip, stopping the transport-a minor and finish. The entire unit is fitted into the carrying annoyance at most. case which, when the lid is removed, may be installed The transport is started by a lever and stopped by in a cabinet or cutout of suitable dimensions. a button. A mode selector knob chooses one of four The 424A has three stereo heads -a half -track erase positions: play, fast -forward, rewind, or record. No head, a half-track recording head, and a quarter -track separate record interlock button is provided on this playback head. Thus, although it will not record quarter - machine, but none is really needed with this system track, it will play quarter -track stereo tapes. And, of of operation. course, it will record in mono as well as in stereo on Pressure pads are used to hold the tape firmly half -track widths of tape. It can be used for making against the heads. There are no tape lifters in this unit, sound -on -sound recordings and echo effects, and for and the sound on the tape may be heard even when in mixing two input signals. Continuous and direct monitor- the fast -forward or rewind modes of operation -unless, ing on stereo and mono is provided. of course, the volume is turned down. The Ferrograph The recorder has two inputs for each channel (one recorder includes such features as an automatic stop

62 HIG:1 FIDELITY MAGAZINE

www.americanradiohistory.com mechanism (operable in play and record modes), a In order to obtain a recording level of zero VU on clock -type tape position index, a pause control, and a the Ferrograph, an input signal of at least 190 millivolts speed shift knob. The deck will accept 81/4-inch-diameter is required at the high level input, which is a very good reels for extra playing time. sensitivity. The recording level meter reads only 5 at The electronics section of the recorder contains a total this level, or halfway between zero and full scale. There- of nine tubes. The recording amplifier for each channel fore, when recording with the meter peaking at 8, as has a two -stage microphone preamplifier followed by a instructed in the Ferrograph operating manual, the actual single -stage 12AX7 amplifier and a single -stage 12AU7 recording level will be well in excess of zero VU. The amplifier incorporating the recording equalization cir- measurements indicated that the 700 -cps harmonic dis- cuit. The recording level meter is driven by a meter tortion produced by the recorder remained under 3% amplifier circuit using both halves of a 12AX7 tube. with recording levels up to +7 VU, at which level the The push -pull bias oscillator uses a 12AU7 tube. while recording level meter read about 9.4. the three -stage playback preamplifier uses two 12AX7 The record /playback frequency response of the stages and one 12AU7 stage. The equalization of the Ferrograph recorder at 71/4 ips was flat within =3 db playback preamplifier is adjustable. although some in- from 33 cps to 13 kc, and showed a gradual decline in strumentation is needed in order to make these adjust- output as the frequency increased. Both channels had ments. A control permits selecting equalization for the essentially the same characteristic. At 33/4 ips, there 3-3/4-ips tape speed, the NAB characteristic for 71/4 ips, was a difference between the left and right channels, and the European CCIR characteristic for 71/4 ips. presumably due to a difference in the equalization In USTC's tests, the recorder's wow and flutter were characteristics of the two channels. The left channel low at both speeds, measuring 0.12% and 0.1% respec- remained very flat over the mid- frequency region (:` -0.5 tively at 71/4 ips, and 0.14% and 0.16!á respectively at db from 70 cps to 4 kc) while the right channel had 33/4 ips. The tape ran somewhat fast at both speeds, the sane gradual slope shown by the response curves however, the speed error ranging between 2.5% and made at 71/4 ips. Both response curves at 33/4 ips cut 2.8% at 71/4 ips and being a constant 4.6% at 33/4 ips. off sharply above 7 or 8 kc. The rewind and fast -forward time for a full 1200 -foot At 71/4 ips, the recorder's distortion was under 2% reel of standard tape was very good (only 46 seconds). over most of the audio band, and remained under 3% on The playback frequency response of the Ferrograph both channels from below 30 cps to 12 kc. At 33/4 ips, recorder, measured using an NAB -equalized test tape. slightly higher distortion was noted, although both was flat within ' 2.5 db from about 100 cps to 14 kc. channels had less than 4% distortion from 30 cps to 7 The low end of the response curve showed a gradual kc. These figures. measured with signals recorded at rise on each channel below 600 cps, and was up by -10 VU level, are all good. +3 db at 50 cps on the left channel, and by +4 db at The recorder's playback signal -to -noise ratio was 50 cps on the right channel. Over -all, this response 52 db on the left channel and 47 db on the right channel, characteristic is one of the smoothest yet encountered both figures referenced to zero VU. When recording, the in tape recorders of this price class. With a zero VU signal -to -noise ratio decreased by about 2 db on each recorded level at 700 cps, each channel of the channel. USTC points out that these figures are quite recorder provided a maximum output of 0.54 volts. good, especially in view of the fact that recordings While (his is a relatively low output level by American made on the Ferrograph will normally be made at a standards, it should not present any problem to the relatively high recording level due to the characteristic user of the Ferrograph, since most amplifiers have more of the recording level meter and the low distortion of than enough gain to handle this level quite well. the recorder. Intermodulation distortion was completely

RECORD /PLAYBACK TOTAL HARMONIC DISTORTION AT 7.5 IPS Left Channe (Upper Track) 6 g Right Channel (Lower Track) -- and 4 Response distortion characteristics of the Ferrograph at 7.5 ips, left. and at 3.75 ips. 2

20 50 100 300 500 1K 3K 5K 10K 20K

FREQUENCY IN CPS

RECORD /PLAYBACK FREQUENCY RESPONSE CHARACTERISTICS AT 3.75 IPS +5 NAB PLAYBACK FREQUENCY RESPONSE AT 7.5 IPS 8 +0 , - 5 t s (Upper rT ack) Z 1 0 Left Channel Left Channel (Upper Track) d Right Channel (Lower Traci() -- 10 Right Channel (Lower Track) - - 20 - - 20 50 100 300 500 1K 3K 5K 10K 70K 20 50 100 300 500 1K 3K 5K 10K 20K FREQUENCY IN CPS FREQUENCY IN CPS

RECORD /PLAYBACK FREQUENCY RESPONSE CHARACTERISTICS AT 7.5 IPS ó +5 RECORD /PLAYBACK TOTA HARMONIC DISTORTION AT 3.75 IPS 0 Left Channel(Upper T ack) ,,, 5 Right Channel (Lower Track) - - - - 10 d felt Channel (Upper Track) 15 - - - liiiiiiiiiiii111111 °` -20 Right Channel (Lower Track) - 50 100 300 500 1K 3K 5K 10K 20K 20 50 100 300 500 1K 3K 5K 10K 20K FREQUENCY IN CPS FREQUENCY IN CPS

AUGUST 1963 63

www.americanradiohistory.com negligible at zero VU, and only became significant at Even the instruction manual for the recorder is outstand- very high recording levels where the machine's recording ing. It is a hard -cover book printed on fine quality paper, level meter reached 10. and contains a complete operational and technical de- The Ferrograph 424A is undoubtedly one of the scription of the recorder on its sixty pages. It also best recorders available for home use. It has complete contains complete diagrams of the unit, full parts lists, versatility, and in general gives top quality performance. and detailed alignment and adjustment instructions.

Audio Dynamics ADC -3

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AT A GLANCE: The newest and lowest -priced car- velocity on the left channel, and channel balance was tridge from Audio Dynamics is the ADC -3, a high very good (within I db up to about 10 kc). The frequency quality "moving- magnet" type. With its rated compliance response of each channel was measured as constant of 15 x 10 -6 cm /dyne, and its 0.0007 -inch (0.7 -mil) within 2 db of the I -kc level up to around 1I kc. diamond stylus, it is intended for "universal" use, or The rise and fall above this frequency is typical of many wider application than its ADC -1 and ADC-2 prede- cartridges and has no appreciable effect on listening cessors. That is to say, it is designed for installation quality. in tone arms that track best in the 2- to 5 -gram region. which includes the arms found on most automatic Zero D B 8.5mv players. Price is $37.50. Manufacturer: Audio Dynamics 5 Corp., Pickett District Rd., New Milford, Conn. 0 5

IN DETAIL: Recommended load impedance of the 10- RESPONSE AND (HA NNE!. SEPARATION ADC -3 is 47K, although this value is not critical. In- 15 creasing it will produce a slight rise in the high -frequency 20 response; lowering it will tend to reduce the high -end 25 Left Chann el T response. Recommended tracking force is from 2 to 5 30 Right Chann el - grams, a fairly wide range. Measurements made at -35 United States Testing Company, Inc., were performed 20 50 100 300 500 1K 3K SK 10K 20K

with a 47K load and a 3 -gram tracking force. FREQUENCY, CPS The cartridge is contained in a mu -metal shield to prevent hum pickup from the turntable. It is suitable Channel separation was excellent on the left channel, for mounting in any standard tone arm containing either generally staying better than 25 db up to 10 kc, and 1/2 -inch or 7/16 -inch mounting centers. The stylus is still showing 19 db at 16 kc. Separation on the right mounted in a clip -in assembly that makes replacement channel was not as good but did remain generally at exceedingly simple without the use of any tools and about the 16 -db point across the range, reaching II without removing the cartridge from the tone arm. db at 14 kc. This measured difference in channel The ADC -3 has four terminals, and the left channel separation is of little significance with regard to the ground is connected to the cartridge case. Either a ADC -3's ability to reproduce normal stereo discs. In three- or four -wire system may be used; a ground clip fact, in listening tests the ADC -3 furnished excellent is provided to connect the two ground terminals of the channel separation and stereo breadth and depth. Its cartridge together for the three -wire system. sound in general was clean and well defined from top Tracking at three grams, the cartridge had very good to bottom, with no audible distortion or disparity in tracking ability, high compliance, and low harmonic channel balance.

distortion. Needle talk also was low, and the car- An oscillogram of the cartridge's response to a 1 -kc tridge's shielding proved to be very effective against square wave shows a generally good waveform with hum pickup. only a small amount of ringing. This fine transient The ADC -3 produced an output voltage of 8.5 response without doubt contributes significantly to the millivolts at 1,000 cps with 5 cm /sec peak recorded pickup's clean sound.

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64 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com New Fall

Recordings a preview

FOR the ninth consecutive year we more organ music from Helmut Wal- CAMBRIDGE: Fanciers of Heinrich offer herewith an advance glimpse cha at the console of St. Laurens Biber and the scordahua violin will of the recordings scheduled to reach Church, Alkmaar; and more of the be offered more recorded evidence of the shops between now and the end unaccompanied cello suites played by this composer's wizardry, again with of the year. Only a portion of the Pierre Fournier. Having been much Sonya Monosoff as presiding virtuoso. forthcoming bounty revealed by our taken with a previous Archive disc Hugues Cuenod contributes a collec- company -by- company survey can be devoted to the dance music of Mi- tion of posthumous Schubert songs, mentioned in these pages, but we trust chael Praetorius, we're looking for- almost all previously unrecorded, with there will he enough here to whet any ward to hearing another disc of this David Garvey accompanying. He's to and all appetites. composer's music, entitled "Ten be heard as well in Bach's Cantata No. Christmas Songs." And our curiosity 61, Nun kommt der heiden Heiland, ANGEL: Devotees of Victoria de los is piqued too by the prospect of Jean - with the Old North Singers of Christ Angeles are due for a rich beni- Philippe Rameau's Pigmalion ballet. Church, Boston; on the overside is son. The Spanish soprano will be fea- Heinrich Schüti s Seven Words of tured in a new Barber of Seville ARTIA /PARLIAMENT: These labels Christ from the Cross. (made in London under the direction arc now under new management, but of Vittorio Gui, with Luigi Alva and as before will purvey recordings made COLUMBIA: Last season's extensive Sesto Bruscantini) and in her first re- by Supraphon in Czechoslovakia. In recording program in Lincoln Center's cording of Cavalleria rusticana (made the next few months we can expect Philharmonic Hall has furnished the in Rome under the direction of Gabri- performances by the Czech Philhar- material for a big salvo of Leonard ele Santini, with Franco Corelli and monic under Zdenek Chalabala of the Bernstein releases this fall. The can- Mario Sereni). Dietrich Fischer-Dies- Dvofák symphonic poems (Golden nonade begins, appropriately enough, kau admirers can look forward to this Spinning Wheel, Midday Witch, Wood with Tchaikovsky's 1812 Overture, singer's latest accounts of Schubert's Dove, etc.), while the same orchestra firearms blazing away within the con- Schwanengesang and Die Winterreise, conducted by Karel Ancerl will be fines of the new hall; the Marche both with Gerald Moore at the piano. heard in Prokofiev's Alexander Nev- slave and Capriccio italien fill out the From the Philharmonia Orchestra sky and in a Bartók concerto cou- disc. Also under Bernstein's direc- we'll have the Mussorgsky -Ravel Pic- pling -the Viola Concerto (Jaroslav tion: a Beethoven Fifth with all the tures conducted by Lorin Maazel, the Karlovsky, soloist) and the Third Pi- repeats observed, the Brahms Violin Quattro pezzi sacri of Verdi conducted ano Concerto (Eva Bernathova, solo- Concerto (Zino Francescatti, soloist), by Carlo Maria Giulini, and the ist). Also on the docket is a previous- the Brahms Fourth, and the Bach St. Tchaikovsky Fourth and Fifth conly unrecorded Cello Concerto in C by Matthew Passion (on three records, ducted by Otto Klemperer. The Haydn, discovered in Prague two sung in English, with Adele Addison, "Great Recordings of the Century" years ago; ifs paired with the Boc- Betty Allen, Charles Bressler, David will bring a reissue of the thirty -two cherini Concerto and played by Milo Lloyd, and William Wilderman as the Beethoven sonatas played by Artur Sádlo and the Prague Radio Orchestra soloists). Schnabel, a Bach organ recital by Al- under Alois Klima. The Philadelphians under Ormandy bert Schweitzer, and a miscellany are represented in the Saint -Saëns entitled "Singers of Imperial Russia." CAEDMON: Two classics of the Eng- Third Symphony (with E. Power lish stage are promised for the Christ- Biggs playing the new Aeolian -Skin- ARCHIVE: The accent this fall in mas trade. Sheridan s The Rivals, on ner organ in Philadelphia's Academy Deutsche Grammophon's far -ranging two Cacdmon discs, will feature Dame of Music), the Brahms German historical series is very much on Jo- Edith Evans, Pamela Brown, and Mi- Requiem (sung in English by the Mor- hann Sebastian Bach. Items: the Well - cheál MacLiammóir in the cast. In mon Tabernacle Choir, Phyllis Curtin, Tempered Clavier, Book I, performed the offing too is Hamlet. on four and Jerome Hines), and the Prokofiev by Ralph Kirkpatrick on the clavi- Shakespeare Recording Society discs, Sixth Symphony. The same orches- chord (for the first time on records, with Paul Scofield as the irresolute tra. guest -conducted by Charles we believe); the Magnificat, with Dane, Zela Walker as Ophelia, and Munch, has also been recorded in an Maria Stader, Hertha Töpper, Ernst Diana Wynyard as Gertrude. For Kip - all -French program, includ :ng Faure s Hätliger, Fischer -Dieskau, and the lingites there'll be readings from the Munich Bach Choir and Orchestra; Jungle Books by Boris Karloff. Continued on page 69

AUGUST 1963 67

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CIRCLE 31 ON READER- SERVICE CARD 68 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com incidental music to Pelléas et Min- laborate in Beethoven's Piano Concer- Mozart arias by Teresa Berganza, sonde and the Ravel Valses nobles et to No. 3 and Rondo in B flat, while highlights from Aida with Birgit Nils- sentimentales. alone Richter will be featured in a son. and a recital by the Bulgarian On the more or less contemporary miscellany of Chopin, Debussy, and basso Nicolai Ghiaurov. Ernest An- front we're promised Stravinsky 's Scriabin taped during his tour of Italy sermet and the Suisse Romande Or- Oedipus Rex under the composer's last winter. Igor Markevitch leads the chestra continue their documentation baton, Aaron Copland's Clarinet Con- Czech Philharmonic Orchestra and of the Stravinsky literature by giving certo with Benny Goodman as soloist Chorus in Cherubini's Requiem in D us this fall the complete Baiser de la and the composer conducting, Samuel minor. Last but not least, we're defi- fée ballet music. They've also made Barber's Andromache paired with the nitely promised the long awaited Furt- a Pines -Fountains coupling. Mozarte- William Schuman Symphony No. 8 wangler interpretation of Bruckner's ans can look forward to a complete (Schippers and the New York Phil- Ninth Symphony, as well as his read- recording of W.A.M.'s wind band harmonic), and the second volume of ing of the Beethoven Fourth. Both music, on five discs, performed by an Robert Craft's Schoenberg series. are actual- performance tapings with assemblage of British instrumentalists; the Berlin Philharmonic, and both of also on the way is a coupling of Sym- COMMAND: Recent forays to Pitts- course are in mono only. phonies 33 and 39 by the Vienna Phil- burgh have yielded recordings of the harmonic under Istvan Kertesz. As Tchaikovsky Fourth, the Beethoven EPIC: Another Beethoven Fourth, this Christmas approaches, London hopes Eroica, and a collection of Wagner one in stereo, is coming from Epic - to release some albums recorded in overtures -all under the direction of recorded by the Cleveland Orchestra Europe this summer, but details at William Steinberg, of course. under George Szell. The same orches- press time were still nebulous. tra and conductor will also be heard COMPOSERS RECORDINGS: Chief in a Debussy -Ravel coupling (La Mer, LOUISVILLE: In the Louisville Or- item of interest on the CRI label will Daphnis et Chloië). Leon Fleisher chestra's "First Edition" series this be a complete recording of Nausicaa, solos in a disc of American piano fall we're promised Frank Martin's an opera by Peggy Glanville -Hicks to works (Copland, Leon Kirchner. Ses- Violin Concerto (paired with works a libretto by Robert Graves; the per- sions, Ned Rorem) and collaborates by Ernest Bloch and Toshiro Mayu- formance-taped "live" in Athens two with the Juilliard String Quartet in the zumi) and Carlisle Flood's The Mys- years ago-is conducted by Carlos Brahms F minor Quintet. tery (songs for soprano and orchestra, Surinach. Also on the forthcoming list with Phyllis Curtin as soloist). are works by Henry Cowell, Frederic EVEREST: We're informed by this Jacobi, and Elinor Remick Warren. label's new management that it is ac- LYRICHORD: Orientalists will want quiring American rights to recordings to know about a two -disc album en- DECCA: Guiomar Novaes makes her made by the Club Français du Disque titled "Buddhist Chant," a recorded Decca debut with a Chopin- Liszt -De- (France), Ariola (Germany), and survey of the rituals practiced by the bussy recital; it's the first time in her Saga Records (England). Among the Zen, Nembutsu, and other sects. A long career, we're told, that the Bra- items down for pre -Christmas release complete recording of the Brahms zilian pianist has recorded any music are the Bach Suites for Orchestra Chorale -Preludes, Op. 122, is en route, by Liszt. The Abbey Singers, a group (Karl Ristenpart conducting), the performed by organist Robert Noeh- of five vocalists working under the di- Tchaikovsky Pathétique (Dean Dixon ren, who also contributes a series of rection of Noah Greenberg, also are conducting), and the Fourth and Fifth three records (on the associated Ex- making a disc debut in "Five Cen- Symphonies of Mendelssohn (the late périences Anonymes label) devoted to turies of Song." In an album called Eugene Goossens conducting). the organ literature of seventeenth - "The Glory of Cremona," Ruggiero century Germany. There's a possibil- Ricci will put fifteen famous Stradivari GOLDEN CREST: With the piano ity that Haydn's opera Il Mondo della violins through their paces. music of Fauré finally accounted for, luna will be out on Lyrichord before Grant Johannesen is now turning his Christmas, but at this writing particu- DEUTSCHE GRAMMOPHON: Cer- attention to American chamber music. lars -except for the fact that the work biggest bulkiest tainly the and offer- This fall he'll be heard with violinist is to be recorded in Munich -were ing from DGG this season are the Michael Rabin in sonatas by John not available. nine Beethoven symphonies performed Alden Carpenter and Arthur Shep- by Herbert von Karajan and the Ber- herd. Harpsichordist Igor Kipnis con- MERCURY: This company's 1962 lin Philharmonic (on eight records, tributes a miscellany that includes the sortie into the U.S.S.R. is still yielding available only as a boxed set). We'll plaintively titled Sufferings of the new material; coming up soon is a be publishing a feature review of this Queen of France by Jan Dussek, while coupling of the two Liszt piano con- undertaking in our next issue. Other the Phoenix String Quartet will be certos, with Byron Janis as soloist in multi- record albums include Così fan adding three unrecorded works to the both, and Kyril Kondrashin and Gen - tette, with Eugen Jochum conducting discography of Juan Arriaga. nady Rozhdestvensky as the respective the Berlin Philharmonic and a pre- conductors. Harpsichordists Rafael dominantly German cast ( Irmgard LONDON: It goes without saying that Puyana and Genoveva Galvez collabo- Seefried, Nan Merriman, Erika Köth, the autumn schedule includes a com- rate in "Music of the Bach Family"; Ernst Häfliger, Hermann Prey, and plete opera recording with Joan Suth- the collection includes Johann Sebas- Fischer -Dieskau); a made -at -La Scala erland in the cast. This year it's Ver - tian's Concerto in C for Two Harpsi- version of // Trovatore (Antonietta di's La Traviata. The Alfredo is Car- chords, two four -hand sonatas by Jo- Stella, Fiorenza Cossotto, Carlo Ber - lo Bergonzi, the elder Germont is hann Christian, and one two- harpsi- gonzi, and Ettore Bastianini, with Robert Merrill, and the orchestra (of chord sonata by Wilhelm Friedemann. Tullio Serafin on the podium); and the Maggio Musicale Fiorentino) is Due attention to the twentieth -century the late Beethoven quartets (cum conducted by John Pritchard. Other muse is paid by Antal Dorati and the Great Fugue) performed by the operatic items include: highlights London Symphony in a Webern - Amadeus Quartet. from Lortzing's Zar und Zimmermann Schoenberg -Berg collection and by Jo- Sviatoslav Richter and the Vienna and Waffenscd,mied (Hilde Gueden, Symphony under Kurt Sanderling col- Eberhard Wächter, et al.), a recital of Continued on page 93

AUGUST 1963 69

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CIRCLE 66 ON READER -SERVICE CARD 70 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com PAUL AFFELDER NATHAN BRODER O. B. BRUMMELL R. D. DARRELL ALFRED FRANKENSTEIN reviewed by HARRIS GOLDSMITH JOHN F. 1NDCOX ROBERT C. MARSH Records CONRAD L. OSBORNE in ERIC SALZMAN JOHN S. WILSON Review

by Harris Goldsmith

For Schumann, a Sonic Replacement For Rubinstein, Artistic vindication

Ardor and control.

CUNsIDI RING TIIAT Rubinstein has re- its numerous unsatisfactory details (the difficult Paganini episode on the earlier corded so few of Schumann's flippant A ren, the coarse -sounding and later recordings -the newer per- works, one might well feel some dis- rubato in Chopin, the pugnacious and formance is not just swifter. it is also appointment in discovering that the insensitive Chiarino) and its general lighter and more accurate as well. pianist has now chosen to repeat two stodginess throughout. there were aspects Rubinstein's Carnaval remains. how- items which he has already given us of that performance at which one could ever, a big. sweeping rendition. despite instead of going on to important reper- only marvel. the added tenderness in Area, Etteebius, toire of which. as yet. we have no disc The amazing thing about the new Reconnaissance, and like sections. His versions from him. In this particular in- performance is its strength and techni- re- creations of Estrella and Chiuriva, in stance. however, we can feel grateful cal brilliance. Rubinstein. at seventy - particular, are buxom and lusty. He to Rubinstein and RCA Victor, for the six. retains all his compelling ardor, churns up enormous energy in the sweep- new recording is not merely a sonically together with an immaculate control. In- ing tonal canvas which is part and updated replacement but a vindication of deed. his tone is more sonorous than parcel of both the opening Prramhul' this artist's talents as a supreme ex- ever before. and the youthful exuber- and the culminating Alurrhe des Darid.s- ponent of Schumann's music. ance of his playing. uncanny in hündler rostre les Philistit: s: and no Rubinstein first performed Car,u,ral the concert hall, becomes a virtual pianist since Rachmaninoff has executed in this country back in 1906. but we miracle as one experiences it here. the syncopated figures which close both had to wait nearly fifty years for a While few pianists could give a more of these sections with a comparable recorded documentation. Unfortunately, brilliant exposition of the notes alone, kind of giddying impact. In contrast to that long- awaited release was not all it Rubinstein has gone further, deepening the volatile and light- footed Moisei- should have been: the piano tone was his musical insights and welding them witsch account (on a recent Decca re- thin and wavery, the reading itself flam- to an unfaltering mechanical equipment. lease) Rubinstein's exposition is much boyant. unduly extroverted, and even If some of the tempos in the new per- bolder and weightier. and while he downright labored at times. It was formance are appreciably broader than stresses an occasional inner voice (as in strange to find an artist usually so full at one time, it should be quite obvious Pierrot), he differs basically from of spontaneity as Rubinstein indulging that these changes have been deter- Moiseiwitsch in that he emphasizes mass in all sorts of contrived and arbitrary mined on purely musical grounds: com- rather than line. "stop-go- mannerisms. Yet even with pare, for example, the excruciatingly In passing, it is interesting to note

AUGUST 1963 71

www.americanradiohistory.com some of Rubinstein's revised ideas regarding repeats and tempos in this work. The Da Capo of Papillons, strangely omitted from the pianist's previous recording. is here restored. but a hitherto observed repeat is now ignored in Recon- naissance. The unusual. gradual accelera- tion to a fast tempo in Prc,ambule (most players, probably following Rachmani- noff's example, do this more abruptly) is maintained from the old version, but Eusehins, while still not quite Adagio (as indicated by the composer), is a good deal steadier on the new disc. The predecessor Rubinstein version of the Fantasiestiicke has been out -of- print for many years. although memory proclaims it to have been quite fine. This lovely suite of vignettes offers a very contrasting aspect of Schumann. Unlike Carnaval, its pieces are more self- contained, and. in fact, the Fan - Soprano Maria Reining. tasiestiicke never "build" in the sane way as do the Carnaval, Kreisleriana, and Etudes spmphoniques. These are, perhaps, the most subtle things Schumann ever wrote and are basically nontechnical Ariadne auf Naxos -as Strauss Heard It in outlook (despite the fact that two of the pieces, In der Nacht and T,awneswirren, are among the most Just Before the Bombs Fell difficult to execute in all piano literature). Of Rubinstein's two rivals on record in this work, Richter and by Conrad L. Osborne Guiomar Novaes, he resembles the latter more closely in general approach. Both of these artists are more liberal with pedal effects and opaque in sound than Richter, who is essentially a watercolor- ON June 11, 1944, Allied troops. at- I would venture to guess, though, that ist painting with clear, bright dabs of tempting to expand their five -day- this was the very last Ariadne to be sonority. In matters of technique, how- old Normandy beachhead, ran into heavy sung in the old Staatsoper. Just nineteen ever, Rubinstein clearly outplays his fighting in the vicinities of Carentan and days later, on June 30, 1944, a per- distinguished distaff colleague; he is. at St. Lô. In Finland, the Red Army formance of Giitterdiimtnerung brought once, firmer and more volatile. Rubinstein launched a major new offensive, register- down the curtain on the old stage for also makes more of Des Abends and ing gains of up to fifteen miles. In the last time; not long after, the house Warum? than does Richter, who sounds Rome, Pope Pius XII ventured outside lay in ruins. The recording itself must curiously uninvolved with the former the Vatican for the first time since the have originated with a radio broadcast, and languid in the latter. Richter, inci- German take -over. And in Vienna, the since it is labeled as "from the archive dentally, omits from his collection one Staatsoper was celebrating the eightieth of the Austrian Radio, Vienna." At one of the strongest pieces, Grillen (as well birthday of Richard Strauss with a per- or two points during the performance. as one of the weakest, Fabel), which formance of his own favorite opera, the sound of an announcer's voice can gives Rubinstein a clear point for his Ariadne auf Naxos. be heard very faintly. vibrantly spirited reading of that work. Strauss loved Ariadne above all his To say, then, that the release is of his- Both pianists give Aufsc /rnung a splendid other works, although he was certain torical interest is to understate the case. rendition. In the remaining pieces - that even in its relatively successful Can it be denied that the purely his- In der Nacht, Tratunesuirren, and second version (the one with the sung torical considerations, the mere aware- especially Ende von! Lied-I myself prologue, premiered in 1916), it would ness of the listener that these sounds are would choose Richter's tightly coiled never catch hold with the public -in the sounds of Vienna, June 1944, color rhythmic emphasis and gossamer finger - whom. however, he placed greater trust all one's feelings about the recording? work over Rubinstein's more spaciously than in the critics. So Ariadne was As it happens, I am writing this review plastic, thicker-toned statements. But in- perhaps the most appropriate of all on the morning of June I I, 1963 -nine- dividual preferences in specific works possible selections for a birthday cele- teen years to the day after the event - notwithstanding. Rubinstein's is on all bration, and the Staatsoper, though under and cannot put the coincidence out of counts a beautiful record. wartime handicaps, set it forth with a my mind. I am not Viennese, and in fact A word about the sound: RCA Victor cast which any house would have dif- have never even visited the city; yet I has provided a full, clear tonal frame ficulty in matching today: Maria Rei- hear the sounds of these performers' feet which allows the artist to spin his poetic ning, Alda Noni, Irmgard Seefried, and on the vanished stage, the slight changes spell unhampered. I was, however, aware Max Lorenz, with Paul Schoeffler as of perspective as singers move closer to of preëchoes on both sides, most dis- the Music Master, Erich Kunz as Har- or farther from the microphone. the oc- turbingly so before Papillons in Cama- lekin, and Peter Klein as Brighella, Karl casional echoes of that anonymous an- ra/ and in the silence preceding Trawnes- Böhm conducting. It is this very per- nouncer's voice, and at the end, the ndrren overside. There was also some formance that Deutsche Grammophon vaguely hollow sound of that audience's surface crackle on the side of the disc now gives us. applause, and I am moved by the knowl- containing the Fantasiestiicke. As I do not have at hand the extensive edge that, for a while, nothing comes brochure that is to be released with the between me and that place and time, SCHUMANN: Carnaval, Op. 9; Fan - album (it will include, I am told, some those people. tasiestiicke, Op. 12 reminiscences of Strauss, written by See - And so I think this recording cannot Böhm, in addition to the usual (and I mean "cannot be Artur Rubinstein, piano. fried and ") considered RCA VICTOR LM 2669. LP. $4.98. notes and libretto), I am not up on all strictly on its musical merits. Certainly RCA VICTOR LSC 2669. SD. $5.98. the details of this particular performance. one can objectify one's responses suf-

72 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ficiently to state that it is an excellent ready forty -seven but with his whole performance, at points almost a great Met career still in front of him, is mag- one. Whether it is the choice Ariadne nificent as the Music Master, his voice CLASSICAL on discs is another question, for both sounding brighter and more colorful the Angel and Victor versions are ex- than we have known it since the war, traordinarily good -but this decision will and his characterization full of knowing touches. The Brighella of Peter Klein AREL: Electronic Music No. 1; Music depend, for each listener. at least in part for a Sacred Service: Prelude and on whether or not he prefers live to is also outstanding (he handles the high - Postlude; Fragment a studio performances, and to what extent lying lines of the quartet with unusual -For review grace), including this recording, see page he allows himself to be affected by the and the Naiade -Dryade -Echo trio 91. extramusical aspects of the DGG version. is competent, graced by the presence of Ideally, this recording should take the the young Emmy Loose. place of a second edition in one's li- Since the sound, though surprisingly BACH: Partite diverse sopra O Gott, brary alongside one of the others (prob- fine considering the source, is not up to du frommer Gott, S. 767 ably. on balance, the Angel). good modern studio standards, it is not }Boyvin: Organ Works Since this is a live performance, and easy to compare the orchestral work with Noelie Pierront, organ. a quite special one, the DGG version has that on the Angel or Victor recordings, Music GUILD M 26. LP. $5.50. a spark and sense of momentum not both of which benefit from superb en- Music Gump S 26. SD. $6.50. quite captured by the other recordings. gineering, and the Victor from the ad- People do not enunciate absolutely per- vantages of stereo. The orchestral sound Titled "Great Organs -Silbermann," fectly, or always sing with razor -sharp is just not plush, and there is no sense this record presents two of the instru- intonation, because they of "air" around the instruments in the ments built by the great seventeenth - are giving a and eighteenth -century performance in theatre. frequent passages for solo instruments family of Alsa- a But this is a tian organ builders: that at Ebersmun- very strong cast, and some of its mem- or very small chamber groupings. Since ster (in the Boyvin) and that at Mar- bers are in better form than on any of Strauss's ingenious scoring is one of the moutier (in the Bach). The pieces by their commercial recordings. I do not glories of Ariadne, our view of Böhm's Jacques Boyvin (c. 1653-1706) are an recall being this excited by Maria Rei- work is in part obscured by our in- excellent choice. This little -known figure ning, even in listening to some of her ability to judge balances and sonorities was organist at Notre Dame in Rouen, older 78s, and for those whose judg- with any great accuracy. His pacing is where he presided over a large and ment of her is based brisk, but not quite as brisk as Leins- generously endowed instrument. His only on the London known Rosenkavalier, dorf's -which sometimes verges on the compositions are two collections this performance will of pieces written to show off the pos- come as a revelation. Her voice, whose breakneck. The Prologue does not seem sibilities of an elaborate organ, and it timbre is exactly right for this music, to hang together quite as well as in either is from these collections that the present sounds bright, even, free. and completely the Von Karajan or Leinsdorf versions, selection was made. The toccatalike secure. Her singing is not bothered by but this again is at least partly attribut- "Grand Dialogues" display the power the occasional affectations and preciosi- able to a lack of immediacy in the sound, and brilliance of the full organ, and ties that disturb Schwarzkopf's otherwise and to allowances for actual stage per- other movements feature clean and incisive reed stops, splendid performance, nor by the vocal formance. Certainly the performance has singly or in combina- spirit. tion. In the Bach variations the organist unevenness that detracts from Rysanek's much airy life and uses various types of flutes, mixtures, admirable and frequently exciting por- I do wish to emphasize that the sound and mutations, in combinations not trayal. "Es gibt ein Reich" is most in- is thoroughly listenable, not badly dis- always ideally chosen for clarity in telligently built to a really thrilling cli- torted or muddy. And I wonder if the counterpoint. Here there is an oc- max, and the final duet is accorded fresh, record buyers should not press for more casional sagging in the rhythm, as in ringing sounds. live performances; this kind of documen- Variation 7. The sound from Ebers- It is fascinating tation is assuredly one of the phono- munster is clear and resonant; Mar- to hear the young moutier seems Seefried (she was graph's most important functions, and to have a longer rever- all of twenty -five) in beration period and is a bit blurry in the role of the Composer. In general. I there must be much material of equal spots. N.B. am sure that her later Angel recording musical and historical interest in the of the role is to be preferred: by the archives of broadcasting corporations all BACH: Passacaglia and Fugue in C time it was taped, she had absorbed the over the world. I find that, much as I role completely, and her voice cherish many of the really fine studio minor, S. 582 had be- La come capable of the dark, almost manly recordings produced over the last fifteen (Messiaen: Nativité du Seigneur: tone called 1944 years, it is the representations of true, Dieu parmi nous for. In the perform- }Franck: pièce ance, her voice is really too light living performances -most of them, alas, Grande symphonique, and Op. 17 girlish, particularly in the parlando mo- privately and poorly recorded -to which ments. But it does have a beautiful I turn with the greatest affection. After Virgil Fox, organ. quality and ample body on top, and she all, this is how it was. COMMAND CC 11018. LP. $4.98. sails into the music with all the enthu- COMMAND CC 11018SD. SD. $5.98. siasm of a very young, very gifted so- STRAUSS, RICHARD: Ariadne auf prano. This disc represents a number of im- Naxos portant "firsts." As Shirley Noni, whom I have always Fleming re- thought of lates in this issue (p. 30), it is the first as a musicianly but shrill soprano Maria Reining (s), Ariadne and the of the recording made of the new Aeolian - Adina sort, is a perfectly wonderful Zer- Prima Donna; Irmgard Seefried (s), The Skinner organ in New York's new Phil- binetta, not note -perfect in the manner Composer; Alda Noni (s), Zerbinetta; harmonic Hall, and it is performed by of Angel's Streich, but remarkably free Emmy Loose (s), Naiade; Elisabeth Virgil Fox, one of the three artists and accurate in her handling of the chal- Rutgers (s), Echo; Melanie Frutschnigg participating in the program officially lenging scena, and really more spirited (c), Dryade; Max Lorenz (t), Bacchus dedicating the instrument last December and in character than either Streich and The Tenor; Peter Klein (t), Bri- 15 and the first to present a one -man or organ recital there on Victor's Peters (partly the ghella; Richard Sallaba (t), Scaramuccio; January 7. It live perform- also marks the first time in a very ance. again). Max Lorenz, well past his Josef Witt (t), Dancing Master; Fried- long while that Fox has recorded any- prime even in 1944 and somewhat dry rich Jelinek (t), An Officer; Paul Schoef- thing but short salon pieces. and strained, nonetheless sings strongly fler (b), The Music Master; Erich Kunz A virtuoso with an amazing technique, and with a fine sense of phrasing, and (b), Harlekin; Hermann Baier (bs), A this organist is also a sensitive musician. is at least the equal of either Schock or Wigmaker; Hans Schweiger (bs), A He imparts more than the usual Peerce. Lackey; Alfred Muzzarelli (speaker), meaning and cohesiveness to Franck's sometimes The smaller roles are beautifully han- The Major Domo. Orchestra of the patchy Grande pièce symphonique, and, what's more, makes it dled. Kunz is flat in pitch on one or two Vienna State Opera. Karl Böhm, cond. sound truly symphonic and truly ex- notes, but sounds warm and flexible, and DEUTSCHE GRAMMOPHON LPM 18850. citing. He also makes a brilliant tour understands the music. Schoeffler, al- Three LP. $17.95. de force out of the chromatic, mystical

AUGUST 1963 73

www.americanradiohistory.com Dien parmi note, one of the nine Christ- BEETHOVEN: Egmont, Op. 84 keyboard, and this is the view Arrau mas meditations that make up Olivier takes, without in any way diminishing Messiaen's La Nativité dt, Seigneur. Netania Davrath, soprano; Walther Rey - the force of the elegiac movement. The Most arresting of all, however, is Fox's er, speaker; Utah Symphony Orchestra, idea of joining the two sonatas of Op. treatment of Bach's great Passacaglia Maurice Abravanel, cond. 27 was a good one. Both are marked and Fugue in C minor. His registration VANGUARD VRS 1101. LP. $4.98. Quasi tun, Fantasia ( "Almost a fan- and handling of the variations, while VANGUARD VSD 2139. SD. $5.98. tasy"), although we will never free the completely different from that of most second of its moonshine. Arrau plays organists, preserves the baroque style Beethoven wrote an overture and nine them as a pair. bringing out the graver and dignity of the music, at the same pieces of incidental music to Goethe's feelings which intrude upon the lighter time imparting to it a fresh, new sound. Egmont. This is the only complete edi- elements of the design. The dead pianis- In its first organ recording, Com- tion currently available, the primary simo opening of the second sonata is mand's engineers have captured an un- competition being a performance of the especially noteworthy. While stereo ef- usually wide range of dynamics, from two songs, the overture, and the best - fects are minimal, the recorded sound the very softest solo flute stop to the known of the orchestral interludes by is quite acceptable. R.C.M. full organ going full blast; yet no de- Klemperer and Nilsson on Angel 3577 tail is ever lost, pipes are heard to (with the Ninth Symphony). Abravanel speak distinctly, inner voices come and Davrath are no match for this com- BEETHOVEN: Trios for Piano and through clearly, and there is no distor- bination; the conductor tends to be Strings, Op. 1: No. 2, in G; No 3, tion. In some respects, this is the most stodgy, and the singer has at best a light in C minor thrilling disc of serious music that Com- lyric voice. Completeness is a virtue, mand has yet issued. P.A. however, and these performances are Albeneri Trio. basically straightforward and convincing. MUSIC GUILD M 36. LP. $5.50. Music GUILD S 36. SD. $6.50. BEETHOVEN: Concerto for Violin Furthermore, Reyer's speeches in the Melodrama are a valuable addition. The 61 and Orchestra, in D, Op. recorded sound is good if somewhat The present disc not only makes these works available in stereo but restores Wolfgang Schneiderhan, violin; Berlin cavernous. I feel a complete Egmont is worth owning, this one them to the catalogue. Beethoven's Op. 1 Philharmonic Orchestra, Paul van Kenn and fills the bill acceptably. R.C.M. betrays his youth, but he is already a pen, cond. composer of exceptional technical skill 18099. DEUTSCHE: GRAMNIOPHON LPM and musical imagination. ( Listen to the LI'. $5.98. BEETHOVEN: Sonatas for Piano Pre.siissimo finale of the C minor Trio if you doubt me.) The result is music of Wolfgang Schneiderhan. violin: Berlin No. 12, in A flat, 13, Op. 26: No. in E unfailing charm, delightful lyricism, and Philharmonic Orchestra, Eugen Jochum, flat, Op. 27, No. 1; No. 14, in C sharp uninhibited zest. It belongs in any com- cond. minor, Op. 27, No. 2 ("Moonlight"). prehensive collection of chamber music. DEUTSCHE (ìRAN!N101'110N SLPM The here are thoroughly 138999. SD. $6.98. Claudio Arrau, piano. performances PHILIPS PHM 500028. LP. $4.98. sympathetic and musicianlike, and the sound very good. R.C.M. The monophonic disc listed above dates, PHILIPS PHS 900028. SD. $5.98. recorded is according to its manufacturer, from "several years ago." Presumably it is With this collection Arrau begins a BOY V I N: Organ Works -See Bach: the same recording formerly pressed new affiliation with the Philips company Partite diverse sopra O Gott, du disc is a "re- and a series which, in time, may here by Decca. The stereo com- frommer Gott, S. 767. cent" production. The mono sounds very prise the complete Beethoven sonata good and the stereo is acceptable but literature. If the remaining twenty -nine unspectacular in the familiar manner of works are played as well as these, the BRITTEN: Young Person's Guide to I)(iG's two -channel efforts. The sound project will be one to watch. Arrau is the Orchestra. Op. 3.1 source is wide, but there are few points a native of Chile who received his train- }Prokofiev: Peter and the Wolf, of reference within the ensemble- largely ing in Berlin. At times the Teutonic in- Op. 67 because the perspective is that of the fluences dominate his playing, while on rear of the hall. other occasions his Latin temperament is Lorin Maazel, narrator (in the Britten); Actually, the significant differences be- ascendant. He is at his best when these Alec (lunes. narrator (in the Prokofiev I; tween these sets have little to do with elements are in balance, as they are here. Orchestre National Français, Lorin sound as such. The mono is superior on The Op. 26, sometimes grimly known Maazel, cond. two counts. First, Schneiderhan plays as the Funeral March Sonata, was, in DEUTSCHE GR.AAINIDrHON LPM 18746. better in this version. His phrasing is Tovey's estimation, a divertimento for LP. $5.98. simpler, musically stronger and more DEUTSCHE GR:INIMOPIION SLPM direct, while his control of the instru- 138746. SD. $6.98. ment is more secure. (Listen to the superior execution of the trills here, for Maazel, always the prodigy, has recorded example.) Second, in the monophonic the narration of the Britten in English, set we hear the Joachim cadenzas French, German. Italian, Spanish, beautifully played, and providing such Portuguese, and Russian. I can't say splendid moments as those heard in the how he does in the last six languages, transition to the Rondo from the slow but his English version of the narration movement. The cadenzas of the stereo, is effective enough. though -oddly, for on the other hand. strike me as an an American -spoken with a bit of a example of misplaced musicology. foreign accent that I personally find rather Schneiderhan, seeking authentic Bee- on the precious side. He has edited the thoven material, has arranged for violin text (with the composer's permission), the cadenzas prepared for the little aiming at a kind of dry. dramatic treat- heard piano transcription of the con- ment. and the over -all impression is certo. They have some excellent mo- good. especially as it is coupled with a ments, such as the timpani accompani- fine musical performance. ment in the cadenza to the first move- If Maazel's reading is dry, Clunes's ment. but their over -all character is version of the Prokofiev is still more so thoroughly pianistic that they do underplayed and still more effective. not fulfill their function -which is to This narrator, a well -known English ac- show off the skills of a fine violinist. tor, achieves a kind of laconic urbanity Both versions are orthodox German combined with touches of wry, dramatic accounts of the music, and you may be humor that give the whole character surprised how little difference the of the tale a completely new twist. change of conductors produces. Schnei- In both cases, Maazel's musical direc- derhan is thoroughly schooled in the tion is perfectly suited: elegant, broad. music, and he plays it with a respect and witty, with a great deal of attention for traditional values and the ability to to matters of detail. It is not often that demonstrate their validity. Among stereo either of these works gets this kind of versions, however, he is bested by the care and attention in matters of phrasing. Francescatti -Walter edition. R.C.M. Maazel: Peter for young sophisticates. balance, and articulation. There's nothing

74 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com in this record for the children's peanut The orchestral tuttis in the Concerto, Norwegian Choir of Solosingers (in the gallery; this is strictly for the cool incidentally, are given in their entirety. Cowell and the Ward); Members of the sophisticates of the younger set. E.S. Recorded sound is vivid, but always inti- Oslo Philharmonic Orchestra, William mate. H.G. Strickland, cond. CASADESUS: Sonata for No. COMPOSERS RECORDINGS CRI 165. LP. Piano, $5.95. 2, Op. 31 -See Milhaud: L'Album COUPERIN: Concerts royaux ("Les de Madame Borary. Gouts -réunis "): No. 6, in B flat; The Cowell is 10, a tuneful, brilliantly No. in A minor; No. 14, in D orchestrated setting of a most remark- CHOPIN: Concerto for Piano and minor. Sonatas: L'Astrée; L'Impéri- able poem by the seventeenth- century Orchestra, No. 2, in F ale Boston clergyman Edward Taylor. The minor, Op. poem meditates, 21; Polonaises: No. 3, in A, Op. 40, in grandiose style, on Jean-Pierre Rampal, flute; Laurence the Lord's making of the world and his No. 1 ( "Military "); No. 6, in A flat, Boulay, harpsichord; Huguette Fernan- destruction of it at his own pleasure, and Op. 53 ( "Heroic ") dez, violin; Robert Gendre, violin; this affords Cowell a fine opportunity Robert Boulay, violin; Etienne Pasquier, for big, climactic treatment Stefan Askenase, piano; Berlin Philhar- in the quasi - cello. archaistic, fuguing tune style of which monic Orchestra, Leopold Ludwig, cond. MUSIC GUILD M 21. LP. $5.50. he is past master. DEUTSCHE Robert Ward's setting GRAMMOPHON LPM 18791. Music GUILD S 21. SD. $6.50. of a few lines LP. $5.98. of Whitman compresses an immense amount of heroic and elegiac DEUTSCHE GRAMMOPHON SLPM Each one of these chamber works con- feeling into 138791. SD. $6.98. the extraordinarily short tains one or more movements that make space of three minutes. Leo Sowerby's it well worth an occasional hearing. organ concerto is most notable for its This undeniably beautiful, though per- Such, for example, are the rather tragic coloristic effects: plexingly wayward. performance of the its substance, it seems Grave of L'Astrée and the Canzonetta to me, is rather more academic than F minor Concerto is a genuine example of the same sonata, with its lively expressive. Recordings of Teutonic romanticism. Askenase's par- throughout are counterpoint; the finale of L'Impériale, mediocre. A.F. ticular brand of pianism harks back to an elaborate and smoothly worked out the days of Moriz Rosenthal and Emil fugue; the elegant and charming Alle- von Sauer. His playing consistently mande of No. 14; the delightfully play- DAVIDOVSKY: Study No. 2 -For shows scrupulous craftsmanship and, ful Air du diable of No. 6; and prac- a review including this recording, despite its great elasticity and subjec- tically all of No. 10. The performers, see page 91. tivity, avoidance of flamboyancy. In the apparently all French. are competent. matter of tempos he is much more apt There is some discreet added embellish- to indulge in rhythmic license than is ment by the violin or flute, and inventive DEBUSSY: Nocturnes: No. 1, Nu- customary nowadays. The second sub- hut tasteful realizations of the continuo ages: No. 2, Fetes. Prélude à l'apres- ject of the opening movement, for ex- by the harpischordist. Good sound. N.B. midi d'un faune. Printemps ample, is extremely distended, and the beginning of the development nearly Boston Symphony Orchestra, Charles halts altogether. Askenase also makes a COWELL: " . if He please" Munch, cond. very elaborate climax in the middle of f Ward: Hush'd Be the Camps Today RC'A VICTOR LM 2668. LP. $4.98. the slow movement. and that too will f Sowerby: Classic Concerto for Organ RCA VICTOR LSC 2668. SD. $5.98. not suit present -day listeners accustomed and Orchestra to something more cohesive. Ludwig's Munch's second Dynagroove release, accompaniment is completely in accord Rolf Karlsen. organ (in the Sowerby); recorded in the spring of 1962 just a with his soloist -in fact, I wish that he couple of weeks before his recent Ravel had not been quite so much on the same program, combines a remake of the side of the fence: a little prodding from Afternoon of a Faun, first done in 1956. the conductor sometimes helps a soloist with his first recorded performances of prone to linger unduly over the beauties NEXT MONTH IN the two best -known Nocturnes and the of music. relatively unfamiliar symphonic suite After one accepts the individual na- Printemps. Interpretatively, Nuages and ture of this reading. one will note its Fifes strike me as pedestrian when not many beautiful and sensitive details. heavy- handed; the Faun more effective. First of all, there is the admirable stress- but overlush; the suite most striking ing of important inner voices. Askenase high fidelity despite its extreme alternations between is also highly aware of the importance of sensuous languor and nervous energy. certain orchestral cues, and it is grati- Yet I'm still held spellbound by the per- fying to hear a soloist subordinate his Portrait of the Conductor formances and sonics throughout, for the own part to that of the other instruments As Celebrity Bostonians' sheerly angelic playing is when required to do so. He is, further- reproduced with both glowing vividness more. a master colorist, and his execu- The case of Herbert von Karojan. of coloristic detail and overwhelming tion is always an aural delight (at no dramatic impact. And if Dynagroove's by H. C. Robbins time more so than in the cascading pas - London freedom from surface noise is largely sagework at the close of the rondo). negated by excessive background hum Whatever reservations one may have re- New Products or amplification roar in the quiet open- garding Askenase's old- fashioned style ing bars of the prelude and suite, both in this work, it is obvious from the The latest audio gear these works refute suspicion of any performance that he is a master at his - inherent inability of ultraclose miking art. a preview. and Dynagroove technology to capture No reservations whatever dampen my by Norman Eisenberg the atmospheric aura of musical impres- enthusiasm for Askenase's playing of the sionism. The sharper -focused mono edi- two popular polonaises. The interpretation is less successful in this respect; but tion of the A major is broad and search- A Real New Orleans Sound while the stereoism itself is not strongly ing, while that of the A flat has a courtly narked in the multichannel format, the grace that reminds one that the polo- Old -time jazzmen get their strings float far more buoyantly and naise is. after all. a stately dance not so chance at Preservation Hall. the over -all sonorities are more richly very different from the minuet. In con- by John S. Wilson luminous. Realistic as the stereo version trast to the pounding that so often is. it faithfully captures the complex passes for drama in these pieces. As- blend as well as the individual strands kenase's leisurely approach allows utmost The Component Id of the scores' tonal textures -at least attention to detail. One can only ad- And the Package Ego as a concertgoer would hear them from mire the lucid clarity of his trills and a front -row seat. For the ultimate in the singing quality of his octaves (which One push button or lots of evocative magic I personally feel that indicate very flexible wrist action. and knobs? there should be more psychic if not reliance on the shoulder and hack literal distance between sound sources muscles for reserves of sonority). This A key for the amateur analyst. and one's cars. but there is no denying is altogether patrician piano playing. and by David Lachenbruch the potency of the present sonic en- many young practitioners could profit chantments. from its example. Apart from its interpretative and tech-

76 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com nical qualities, the present release is of phasized by Vox's stereo arrangement, special interest for its inclusion of the which places flute in one channel and rarely heard Printemps (Ansermet's 1958 keyboard (at a hutch lower dynamic version for London is the only other level) in the other. The flute sound it- available stereo version). Written in self, however, is clean and sharp. I886 -87, for orchestra with wordless SHIRLEY FLEMING chorus, this work was not performed until 1913, after its revision for orchestra alone, and it always has been HUMMELL: Quartet for Clarinet and considered one of Debussy's least distinc- Strings, in E flat -See Weber: tive scores. Yet for all the immaturities Quintet for Clarinet and Strings, in its two movements (Très moiler(' and in B flat, Op. 34. tlodrré), there are also foreshadowings of the composer's later mastery of tonal coloring, as well as some haunting LISZT: Concerto for Piano and Or- melodies and breath -taking climaxes. chestra, No. 1, in E flat; Alalédic- Note to tape collectors: both this and tion for Piano and Strings; Hun- the earlier Munch Ravel program are garian Rhapsody for Violin and conveniently and economically coupled Orchestra in a single 4 -track reel, FTC 2135. 70 min., $8.95. R.D.D. Eugene List, piano (in the Concerto and Eugene List: of those who play Liszt. Ma/Mk/ion); Carroll Glenn, violin (in ELGAR: and Allegro, the Rhapsody); Vienna State Opera Or- Introduction chestra, György Lehel. cond. in E Op. 47; Serenade for Strings, WI.sTSIINSTER XWN 19025. LP. $4.98. ment. All are played on a small English minor, Op. 20-See Vaughan WI'.STMINSTLR 17025. SD. organ built to Handers specifications. WST Williams: Fantasia on a Thence by $5.98. Thomas Tallis. The splendid performances by both the soloist and the orchestra, the ideal balance between them, and the lifelike Although many will dismiss the title of this album, "List Plays Liszt," as being FRANCK: Grande pièce symphon- sound combine to make this as delightful an advertising gambit, it is actually quite ique, 17 Bach: Passaca- an organ recording as I know. N.B. Op. -See apt in this instance. Aside from the glia and Fugue in C minor, S. 582. pianist Eugene List to whom the allusion HANDEL: Sonatas for Flute (8) obviously applies, the list of Lists par- taking in this enterprise can be ex- HANDEL: Arias I'o. I, in minor, Op. 1, , \'o. I: . \o. 2, 8 panded to include Carroll Glenn ( Mrs. in G minor Op. 1, , \o. ': N in (i, Say tu Irene: Eclipse. War Is Toil Eugene L.) and Westminster's record- i'oe,l Op. 1, Na. 5; No. 4, in C. (1p. I, No. 7: Trouble; Where'er You Walk: ing director Kurt List. whose efforts and Lore No. 5, in F, Op. 1, No. No. 6, .Founds the Alarm; Dei; Enjoy ll: undoubtedly were instrumental in achiev- Solana in B nùnur, Op. I, No. 9: No. 7, in A the Street Elysian Grove; Waft Her, ing the glowing. well -balanced sound minor, Op. 1, No. 4; No. 8, in A minor. Angels; Sou d an Alarm. which enhances the attractions of this Mario Duschenes, flute; Kelsey Jones, collection. Jan Peerce, tenor; Vienna State Opera harpsichord. The Concerto receives a crisp. light - Orchestra, Hans Schwieger, cond. Vox VUX 2021. Two LP. $6.95. textured interpretation in the classical WISTMINSII( XWN 19028. LP. $4.98. Vox SVUX 52021. Two SD. $6.95. tradition. While the present version may WLSrxuNSrI,R WST 17028. SD. not have quite the fire or finesse of $`.98. Something of the worldly and practical those by Richter and Vásáry. it neverthe- nature of Handel (who was never above less belongs well near the top of re- It has been more than twenty years perusal of a ledger hook) may perhaps corded editions, and can be confidently since Jan Peerce made his debut at the be reflected in the fact that his Opus I. recommended to those listeners attracted Metropolitan. and during that time he published in 1724, is a tidy package by the somewhat off -beat nature of its has proved to us repeatedly that he has capable of pleasing a broad market. It companion pieces. mastered the art of bel canto to a degree contains. according to most accounts. The Malidirtion is a sugary display achieved by only a few artists in any fifteen sonatas, which six are for piece. but pleasing to listen to occasion - generation. For those who have followed of violin, oboe, and seven ally --especially when it is as well per- his career, particularly his work in re- two for for flute. instrument whose was formed as it is here. The Hungarian cent years with the Bach Aria Group. an popularity blossoming at the time. (The eighth Rhapsody, originally composed for vio- it is a delight to hear him in such excellent voice. Much of this Handel sonata in the present collection was pub- lin and piano. is presented in an or- lished before Opus I.) The movements chestration made by Jenö Hubay, who nnlsic would impose a strain on a range the to the dancelike spiced young and powerful singer. Peerce pro- from stately up the harmonies a bit to give the (several sonatas. jects with the skill and secure technique of the in fact. come work a slightly exotic. Kodály -like fla- close to of one who knows precisely what his the realm of the dance suite). vor. Carroll Glenn's big, clean. brilliant and the flutist is given opportunity resources are and exactly how to make ample tone holds its own against the exuberant to perform minor miracles of sustained best use of them. Vocal students might conducting of Lehel. whose crisp. in- well note this singer's flair for phrasing legato phrasing with a bare human cisive work is admirable in all three per- and his unfailing ability to put the text minimum of breathing space, and to formances. maintain a smooth but pace in across forcefully. Happily, he is given agile The sound, as already noted, is well good - good accompaniment and, in stereo, Handel's -humored allegros. Swiss above average. but the stereo review particularly flattering engineering. trained Mario Duschenes performs with copy was afflicted by staticlike surface R.C.M. style and great skill: his tone is round noise happily absent from the mono- and fluid and consistently pleasing. and phonic disc. H.G. his rhythm -while not as clastic as John IIANDEL: Concertos for Organ and Wummer's, for instance -is so secure Orchestra: No. 2, in B flat; No. 5, that he can afford to sound relaxed. MAHLER: Das Lied eon der Erde iu F; No. 1 3, in F; No. 16, in F But the debilitating factor in this set is the lack of a cello to delineate the bass Mildred Miller. mezzo: Ernst Hiifliger. E. Power Biggs, organ; London Phil- line of the continuo part. While it is tenor: New York Philharmonic, Bruno harmonic Orchestra, Sir Adrian Boult, perfectly "correct" to use harpsichord Walter. cond. cond. alone. one need only listen to the COLUMBIA ML 5826. LP. $4.98. COLUMBIA MI. 5839. LP. $4.98. Wummer versions (on Westminster) to COLUMBIA MS 6426. SD. $5.98. COLUMBIA MS 6439. SD. $5.98. realize how much is added by the cello, not only in tonal warmth but. more im- A reissue on a single disc of the per- These four works are selected from the portant, in making structural sense of this formance previously available on M2S complete organ concertos recorded for music, in which top and bottom melodic 617, this recording represents. so far by same Columbia the artists on six lines so crucially interact. Without the as 1 know. the last time Walter directed discs. The first two concertos are from resonant and comforting foundation of Das Lied. which he introduced to the Opus 4; No. 13 is sometimes known as string tone, a sonata of this kind seems world in 1911. It is a beautiful recording, "The Cuckoo and the Nightingale" be- like a picture with half the frame miss- well engineered, and undoubtedly the cause of the birdcalls in its first nuve- ing. This effect of disunity is further em- more effective for stereophony. Its

AucusT 1963 77

www.americanradiohistory.com documentary value cannot be under - Quartet No. 2, although it lacks the spe- performs it on the present disc. Essential- stressed. i here are, of course, two cifically imaginative qualities of the ly neoclassic in design, the work consists earlier versions, both of them important, Martirano, is nonetheless an admirable of two tightly rhythmic, toccatalike move- and the second (which remains in the work with intense and often profound ments with a central section that is catalogue) all the more historic for the qualities of musical thought. The first gently lilting and pleasantly conserva- presence of Kathleen Ferrier. I would part of the work is purely instrumental tive in harmonic structure. not part with it, but neither would I part and is based on a kind of Schoenbergian Johannesen is an ideal interpreter for with this. Each has its special merits, motivic cell which is developed at great both works. His reading of the Casadesus and the Miller- Hiifliger combination is length. Actually, the real thematic ma- is propulsive and attractively transparent one of the best ever assembled for re- terial of the work is not so much a in sonority. The Milhaud, on the other cording this music. matter of specific motives as of musical hand, shows the artist in a more warmly In the single -disc set the time of the ideas whose fundamental characteristics romantic mood. In contrast to the dry - two sides has become 29:15 and 33:40 are attacks, accents, ways of phrasing, point attack he utilizes in the Sonata, respectively. This is longer than the tempos; all of this is extended and de- these vignettes are stated in flowing pastel textbooks would regard as ideal, but veloped at length on a series of parallel colors. Some are tenderly caressed, others Columbia has managed it without any or intersecting planes and levels. This given wry humor and even a touch of changes that cannot be adjusted with the kind of musical structure continues right irony. The playing is constantly delight- volume and tone controls of a good into the second part of the work, a set- ful and perfectly proportioned. preamplifier. The level of the three -side ting of the first and last parts of Rilke's Golden Crest's sound, very crisp and versions, naturally. is higher, and the Ninth Duino Elegy; the voice part, in ef- slightly unresonant in the Sonata, is just frequency emphasis is slightly different, fect, adds a new level or dimension of a a shade more atmospheric on the other but the substance of the two recordings beauty contrasting admirably with the side, as properly befits the nature of is the sanie. The Mahler collector prob- severity of the preceding sections. An Milhaud's opus. H.G. ably has the original edition, and he austere and demanding conception, the should stick with it. Those who are work has genuine musical, intellectual, shopping for a stereo Das Lied at bar- and expressive qualities. MOZART: Concertos: for Bassoon gain prices need not be fearful of this Miss Harsanyi is remarkable in the and Orchestra, in B flat, K. 191; one. K.C.M. way she handles a difficult and wide - for Flute and Orchestra, in G, K. ranging part with great accuracy and 313; for Oboe and Orchestra, in C, vocal beauty as well. The instrumental- K. 314; for MARTIRANO: "O, O, O, O, Clarinet and Orchestra, That ists are excellent, and there is an en- in A, K. 622 Shakespeherian Rag" semble between soprano and strings tRochberg: Quartet for Strings with which gets to the heart of the Quartet in Bernard Garfield, bassoon (in K. 191); Soprano, No. 2 a most exceptional way. The recorded William Kincaid, flute (in K. 313); John sound on both sides -mono only -is de Lancie, oboe (in K. 314); Anthony Janice Harsanyi, soprano; Princeton good. E.S. Ciigliotti, clarinet (in K. 622)); Philadel- Chamber Singers, Instrumental Ensemble, phia Orchestra, Eugene Ormandy, cond. COLUMBIA ML Thomas Hilbish, cond. (in the Marti - La du Seigneur: 5851/52. Two LP. rano). Philadelphia String Quartet (in MESSIAEN: Nativité $4.98 each. the Rochberg). Dieu parmi nous -See Bach: Pas - CoLUMMBtA MS 6451/52. Two SD. COMPOSERS RECORDINGS CRI 164. sacaglia and Fugue in C minor, S. $5.98 each. LP. $5.95. 582. It was a fine idea on Columbia's part to show These are two American twelve -tone off some of the first -desk wood- MILHAUD: L'Album de Madame Bo- wind players of the Philadelphia works of significance. Salvatore Marti - Or- vary chestra in concertos by rano is a young composer who has Mozart. The j Casadesus: Sonata for Piano, No. 2, celebrated Mr. Kincaid, now first flutist achieved a kind of word -of-mouth reputa- emeritus, still produces a beautiful, tion in the profession but is little known Op. 31 liquid tone, and his breathing is outside, principally because he has writ- as incon- Grant Johannesen. piano. spicuous as it must have been more than ten very little and that little is rarely GOLDEN CRLST CR 4060. LP. $4.98. forty years ago, when he joined performed because of its difficulty. The the GOLDEN CRLST CRS 4060. SD. orchestra. John de Lancie also turns work at hand can well serve to illustrate in $4.98. an excellent job, though it would have his talents. The title is taken from T. S. been even better, I think, certain Eliot, but the texts themselves are from if Milhaud's suite of seventeen short pieces appoggiaturas in the first movement and Shakespeare. They serve as a spring- is taken from the composer's score for the whole finale were played faster. The board for a group of choral -instrumental a 1934 film production of Flaubert's bassoonist, Bernard Garfield, has a better settings of great fantasy, imagination, novel. It is a witty. charming, and work to deal with. and he does full and sophisti- control, primitive power, thoroughly masterly example of minia- justice to it. His round, singing tone cated shape. The is big and pow- effect turist writing at its very best. The Sonata retains its quality even in the most agile with huge pile -ups of vocal and erful by Robert Casadesus was composed in passages; his Andante is a lovely noc- instrumental sound, now accumulating in 1942 and dedicated to the pianist who turne: and the finale is playful without now great static masses, tumbling for- clownishness. Mozart must always be ward in furious motion. The chorus trills, done with taste -he never fell for what hisses, and buzzes until it sounds like the Tovey called the Great Bassoon Joke - instruments, while the instruments breathe and taste and musicality are what Mr. and gasp and soar like voices. The details Garfield supplies here. are remarkable but the great impact is The finest work of all -one of produced by the intense bulk and asser- Mozart's great concertos -is Anthony tive power of this conception, as real and Gigliotti's assignment. Technically and as forceful as some natural phenomenon. stylistically, his performance seems to Martirano imposes on us-just as he im- nie almost faultless. His tone is creamy poses on his performers and, for that and delicious, his phrasing musical; only matter, on Shakespeare -and that he is one thing is lacking to make this reading able to do so is a tribute to his imagina- entirely satisfactory- little improvisations tion and musical forcefulness. in the spaces Mozart left for them. The Mr. Hilbish, a gifted conductor who lour widely separated whole notes about has a talent for achieving wonders with two -thirds of the way through the first difficult contemporary vocal music, movement, for example, were surely worked long and hard with his excellent meant by Mozart to be connected with group of professional singers and they, quick runs of some sort; to play just along with the instrumentalists, can be the whole notes is to hold up the motion. fairly said to have come remarkably close Soloists in these concertos do not to achieving the impossible. often have such an orchestra behind George Rochberg belongs to the mid- them. To mention only one small ex- dle generation of American composers. ample, the clean precision of the six- He teaches at the University of Pennsyl- teenth notes in the strings in the Adagio vania and has written a number of large - of the flute concerto is rare in recorded scale symphonic and chamber works performances of this work. Except for which have left a deep impression. His ,Milhaud: witty miniaturist writing. a passage in the exposition of the first

78 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com COMING IN OCTOBER -DON'T MISS IT!

a gala special issue on the

life and works of Verdi

Articles by ALBERTO MORAVIA PETER J. PIRIE SHIRLEY FLEMING WILLIAM WEAVER ROLAND GELATI

plus a Verdi Discography by Conrad L. Osborne and many more features

high fidelity The Magazine /or Music Listeners

GREAT BARRINGTON, MASS.

AUGUST 1963 79

www.americanradiohistory.com movement of the clarinet concerto, where the orchestra is too subdued while the soloist is only playing arpeggios, the balances are very good throughout, and the sound in both versions is glorious. In the review set, the notes are on the wrong sleeves. To sum up. these readings of K. 313 and 314 are the equals of any now on discs; that of K. 622 challenges comparison with Gervase de Peyer's on London; while that of K. 191 seems to me the best now available. N.B.

MOZART: Sonatas for Piano: No. 10, in C, K. 330; No. 13, in B flat, K. 333. Fantasia in C minor, K. 396 Daniel Barenboim, piano. Music GUILD 40. LP. $5.50. Music GUILD S 40. SD. $6.50. Daniel Barenboim: Israeli pianist. Mr. Barenboim, a twenty- one -year -old Tapes in Israeli pianist, reveals some fine qualities have been attributed to Handel and to here. He produces an attractive tone one Ricciotti, as well as to Pergolesi I. and is capable of both delicacy and The performances this time are free strength. from Technically, there is nothing the traces of tenseness found in those in these pieces he cannot do with ease, Review: of Nos. 2 and 4, and the sound is ex- including rapid, even, non -legato scale tremely good in both versions. The 1963 EDITION passages. No doubt when he grows Flute Concerto, like its companion on older his performances of Mozart will the other disc an undistinguished work mature too. Such matters as hesitating I the authenticity of both has been ques- a traction of a second before byJ R. D. Darrell striking tioned), is played with a pleasing, live a chord (and thus disrupting a phrase), tone. N.B. Brings you in one convenient book or slowing up for soft passages, will surely be the prerecorded tape reviews -about 500 outgrown, and Mr. Barenboim's musicality is such that one feels PROKOFIEV: Peter and the Wolf, -which appeared in certain HIGH FIDELITY he can master the difficult art of carry- Op. 67 -See Britten: Young Per- during 1962 and 1961. were All written ing on motion in a slow tempo. The son's Guide to the Orchestra, by R. D. Darrell. contributing editor sound is excellent. N.B. Op. 34. of HIGH FIDELITY. pioneer in the art of discography. author of The High MOZART: Symphony No. 29, in A, PROKOFIEV: Romeo and Juliet, Op. Road to Musical Enjoyment and Good K. 201; Ein musikalischer Spass, 64: Orchestral Suites: No. 1; No. 2 Listening. K. 522 Minneapolis Symphony Orchestra, Stan- If you buy pre -recorded tapes. this Orchestra San Pietro, Renato Ruotolo, islaw Skrowaczewski, cond. hook will help a you build fine library cond. MI RCURY MG 50315. LP. $4.98. of the music you enjoy. Mr. Darrell's DLccA DL 10068. LP. $4.98. Mi RCURY SR 90315. SD. $5.98. interests range from Beethoven to ro- Di ccA DL 710068. SD. $5.98. mantic Italian songs. As a sample of Prokofiev extracted three suites from the contents turn to The Tape Deck in The charming little A major Symphony his huge ballet. and the first two alone this issue of HIGH FIDELITY. Multi- has certainly not been neglected on rec- contain nearly an hour of what is probably the most genial music from the ply that contribution by 24. add a piece ords: it has received loving attention from such artists as score. The Romeo and Juliet music is on The Basic Tape Library, and an Bruno Walter, Klemperer, and Van Beinum, uneven but, on the whole. it probably index. that's to mention And it! only the finest of the available versions represents the composer's most inspired dance score if you are not yet one of the HIGH known to me. The present reading is and the best of it is on this disc. Skrowaczewski and the Minneapolis FIDELITY readers who buys pre- not quite in the same class as these edi- Orchestra prove to be excellent inter- recorded tapes, you will find Tapes in tions. but it has solid virtues. If the first movement needs a little more spirit and preters; everything is played with great Review: 1963 Edition helpful as a guide the finale more impudence, and style, character, and affecting Prokofiev- to discs if a for performances on tapes are distinction is lacking between piano and ian elegance. available. also, on discs. And the hook pianissimo, the playing throughout is The orchestra, by the way. seems to be will enlighten and entertain every musi- nevertheless clean. precise. and tonally shaping up extremely well under the cally minded reader. attractive. and the slow movement is talented young Polish conductor. In expressively sung. The always amusing such matters as ensemble, phrasing, 61/2" it measures x WA". Soft cover. 31usical Joke is performed with a articulation, and big line and sound, the organization can he put in a class with Payment with order. Satisfaction guar- straight face. as it should be. Excellent sound in both versions. N.B. our very best symphonic groups. There anteed or your money hack. Use the are one or two weak points about the handy order form below. string sound; the ensemble quality of PERGOLESI: Concertini: No. 1, in the section is occasionally thin and wiry 863 G: No. 5, in E flat; No. 6, in B in the very highest registers. But even Wyeth Press, a Division of High Fidelity flat. Concerto for Flute and Strings, if the strings are a shade below the best American string sections. they Publishing House, Great Barrington, Mass. in G play well and generally produce a fine sound which Send me a copy of Tapes in Review: 1963 Edition André Jaunet, flute (in the Concerto); is an excellent counterpart to the or- for the $2.50 I enclose. Zurich Chamber Orchestra, Edmond de chestra's first -class wind playing. Stoutz, cond. Conductor and orchestra make their Send to VANGUARD BG 646. LP. $4.98. impression in this music not so much VANGUARD BGS 5058. SD. $5.95. through virtuosity as such as through Neme control. Even rather deliberate tempos This disc completes the set of six "con - are used to impart tremendous tension certini" recorded by these and the most Address artists for motion through careful and Vanguard. As on the previous record musical articulation of colors, details. (reviewed here last May), the present and phrases. This music beautifully works sustain one's impression that they shows off the accomplishments of con- were written by an inventive and skill- ductor and orchestra just as they show ful composer, whoever he was (they off the music to its best advantage. E.S.

80 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com PROKOFIEV:.Sonatac for Piano: No. 2, in D minor, Op. 14; No. 3, in A minor, Op. 28 Rachmaninoff: Piano Works 20TH CENTURY -FOX RECORDS (jury Graffman, piano. COLUMBIA ML 5844. LP. $4.98. COLUMBIA MS 6444. SD. $5.98. y6,k6, When Gary Graffman started making records (for RCA Victor) about 1956. one of his very first releases coupled Sonatas with THE these same two Prokofiev Schubert's Wanderer Fantasy. Although I do not have the older disc on hand to make a direct comparison, my impression is that the present performances have ORIGINAL much the same technical brilliance as the earlier ones, and also that Graff - man's new rendition of the Third Sonata is similarly both too fast and insuf- SOUND TRACK ficiently incisive from the rhythmic standpoint. This most brief, and most popular, of Prokofiev's piano sonatas is, OF strangely enough, not favored by a truly superlative recorded performance. Graff - man's, though lacking somewhat in the THE MOST IMPORTANT last degree of excitement, is just about as good as any other I can think of. (No competing editions are currently MOTION PICTURE listed in Schwann, but some of the with- drawn versions come to mind.) There is EVER FILMED a splendid Gilels disc of the Second Sonata, but the sound, middling poor in the now deleted pressings by Artia and Concert Hall. is so positively wretched on the surviving Bruno disc that Mr. Graffman's decent account wins by de- fault. Columbia's recorded sound, by the way, has plenty of amplitude and realism. Rachmaninoff's music requires a more clinging type of tone than Graffman's steel -point engraver's touch provides. Here he offers the Barcarolle, Op. 10, No. 3; Elégie, Op. 3. No. I ; Etude tableau, Op. 33. No. 9; Polichinelle, Op. 3. No. 4: and the Preludes. Op 23. No. 5 and Op. 32, Nos. 8 and 12. The pianist plays very capably, hut his well- inten- tioned interpretations are not very interesting. H.G.

PUCCINI: Aianon Lescaut (highlights) Renata Tebaldi. (s). Manon Lescaut; Mario del Monaco (t), Des Gricux; Mario Borriello (b), Lescaut; Fernando Corona (bs), Gerontc. Chorus and Or- chestra of Accademia di Santa Cecilia IRome), Francesco Molinari -Pradelli, cond. I_uNDON 5713. LP. S4.98. Lo uoN OS 25713. SD. $5.98. An intelligent selection of highlights from the complete London set, with the focus almost entirely on Tebaldi and Del Monaco. Tebaldi's voice is at its roundest and loveliest; and while Del Monaco does not have the polish of Victor's Bjocrling, he is in better control than might be expected. The selections -which include the finales of Acts 11, Ill, and IV, plus the three big tenor arias, the three big soprano arias, and portions of the first- and second -act ducts -avoid the grotesque endings which sometimes crop T up on sets of excerpts. (The sole ex- E EXCITING ception is the conclusion of the Act I MOST duct, just before Geronte's entrance.) The sound is quite good, with soloists well forward. though a slight buzz is likely to affect the solo voices from time to time. C.L.O. ALBUM OF 1963 Continued on next page CIRCLE S5 ON READER- SERVICE CARD AUGUST 1963

www.americanradiohistory.com RACHMANINOFF: Piano Works- See Prokofiev: Sonatas for Piano: No. 2, in D minor, Op. 14; No. 3, in A minor, Op. 28.

RACHMANINOFF: Suites for Two Pianos: No. 1, Op. 5 ( "Fantasy "); books et al No. 2, Op. 17 Vitya Vronsky and Victor Babin, pianos. RCA VICTOR LM 2648. LP. $4.98. HIGH FIDELITY SYSTEMS - A User's RCA VICTOR LSC 2648. SD. $5.98. Guide by Roy F. Allison An earlier Columbia disc of these suites AR Library Vol. 1 70 pp., illus., paper $1.00 by Vronsky and Babin and a Westminster release featuring Ferrante and Teicher A layman's guide Othmar Schoeck: 1886 -1957. practical to high fidelity in- were both fine versions, but neither re- stallation. We think that it will become a mains in the catalogue. The current is- ornamentation as an organic structural classic work for novices (and perhaps be con- sue, alas, documents the apparent coars- matter -and quite properly so in this sulted secretly by professionals). From the ening of style which has vitiated much of music. This also applies to the rhythm Bergen Evening Record: "completely basic the present duo's recent work. The lilt and phrase projection which is also, in a ...If this doesn't give you a roadmap into and charm has all but disappeared from sense, "ornamented." The rhythmic ir- their playing on this record, and in its the field of hi-fi, nothing will." From The regularities and an almost Chopin -esque place one finds a hard, percussive "bril- American Record lingering rubato will surprise those fans Guide: "really expert guid- liance" and a mechanical (as opposed to ance...1 would of the ching-ching-ching school of harpsi- strongly urge this book as musical) sentimentality. The stereo ver- chord playing prerequisite reading and will delight those who for anyone contem- sion produces a more cushioned tone care about the way this music should plating hi -fi purchases." From High Fidelity: than its monophonic counterpart, but un- properly sound in performance. "welcome addition to the small but grow- fortunately the fact remains that the The harpsichord itself, made by Wil- ing body of serious literature players are too loud throughout and the liam Dowd of Boston, is built to classical disc, in either pressing, is meager on home music systems." in ap- specifications with a few modern refine- From peal. H.G. Electronics Illustrated: "To my ments that permit, among other things, fast changes mind, this is the best basic of registration. The sound is surprisingly book RAMEAU: Pieces in G; Cinq Pièces; soft with almost none of now available on high the ping fidelity." Wa Le Lardon; La Boiteuse; La Dau- usually associated with the in- phine strument. This seems partly due to the sound engineering; apparently there was an intentional REPRODUCTION OF SOUND Albert Fuller, harpsichord. attenuation of the highs in CAMBRIDGE CRS 602. LP. $4.98. order to take the edge off the tone. by Edgar Villchur CAMBRIDGE CRS 1602. SD. $5.98. The effect is pleasant but most listeners on most want, suspect. AR Library Vol. 2 93 pp., illus., paper $2.00 equipment will I This is Vol. 2 of a set of the complete to follow the suggestion given on the Vol. 2 explains how components work rather clavecin music of Rameau recorded by jacket, namely, to boost the treble. The notes also suggest playback levels than how to use them, but it presupposes no Fuller and being issued by Cambridge. low for the best and most "natural" results: technical or mathematical background. Martin I have not yet heard any of the others, but judging by Nathan Broder's review this recommendation I wholeheartedly Mayer writes in Esquire: "far and away the of Vol. I and the high quality of Vol. 2, endorse. E.S. best introduction to the subject ever writ- this would seem to be a marvelous enter- ten- literate, intelligent and, prise, realized with imagination and ROCHBERG: Quartet for Strings of course, immensely knowl- taste, and well representing the wit and with Soprano, No. 2 -See Mar - edgeable." From HiFi /Stereo genius of the great French master. tirano: "O, O, O, - W)I If anyone would like to try a one - O, That Shake \I) Review: "just the book to speherian Rag." satisfy that intellectual itch for record sampling of Rameau's keyboard deeper understanding." art, this disc will do beautifully. The Pieces in G, from the third book of key- SCARLATTI, DOMENICO: Sonatas board pieces published in 1730. contain for Harpsichord some of the composer's most character- AR Needle Force Gauge $1.00 istic and delicious music. There is that Fernando Valenti. harpsichord. most famous and delectable fowl, La Music GUILD M 31. LP. $5.50. The same gauge that is supplied with AR turn- Poule, the astonishing L'enharmonique, Music GUILD S 31. SD. $6.50. tables. It is an equal arm balance with weights the superb, rich and strange Les Sauvages, to 1/4 gram, accurate enough as well as other miniatures of similar Fou Ts'ong, piano. to be used at the AR plant charm and grace. Le Lardon and La Boi- WESTMINSTER XWN 19015. LP. $4.98. tease WESTMINSTER 17015. SD. ( ±5 %), and complete with are tiny bits of musical mimicry. WST mere $5.98. instructions and case. aphorisms. By contrast, the Cinq Pièces, transcriptions from the Pièces de I Clavecin en Concert, are plump, highly One of the important "complete works" developed pieces in which the gracefully projects that came to an untimely end and elaborately ornamented lines and was the sonatas of Scarlatti as recorded ACOUSTIC RESEARCH, INC. characteristic instrumental textures are by Fernando Valenti. Twenty -four discs. 24 Thorndike St., Cambridge 41, Mass. laid out on a larger scale and with a that I know of, appeared before West- certain weightiness of scope and pur- minster threw in the towel. It is good Please send me the following: pose. to have Valenti back in his old hunting La Dauphine, we grounds, especially because the eight Roy Allison's "High Fidelity Systems -A User's With are already in Guide" at $1 another musical category. This work, un- sonatas he presents here were never re- published until 1895, was apparently corded by him before. Almost all of Edgar Villchur's "Reproduction of Sound" at $2 written on the occasion of a royal mar- these pieces are fascinating. for one rea- AR needle force gauge at $1 riage in 1747. This is a big concert son or another, and Valenti's playing piece, written not for the drawing room retains its familiar virtues: insight, vi- I enclose $ in bills, money order, or but for public display. One hardly recog- tality. and virtuosity. check only. (All prices postpaid.) nizes it as being by the same composer Fou Ts'ong manages to get twelve as the rest. works onto his disc. It is another fine NAME Fuller's style and treatment are first - selection, with only one sonata (L. 257) rate. His use of registration is imagina- that struck me as dull and overlong. This ADDRESS tive -more so. as he readily admits, than young pianist shows no signs of con- would have been possible on the harp- tamination by the nineteenth -century, or sichord of Rameau's day. He treats the Tausig -Billow, approach to Scarlatti. His CIRCLE 2 ON READER -SERVICE CARD 82 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com playing is crisp, with little or no pedal, SCHUBERT: Fantasia irr C minor, D. and he carefully brings out the special 993: Kupelweiser- Walzer, D. 893A: traits of each sonata: the bird calls and Menuette in F, D. 995, No. 2 -See hunting horns of L. 23. the poetry of L. Schumann: Daridsbündlertünze, 256. the delicacy of L. 82. the dissonant Op. 6. clashes in L. 457. the charm of L. 352. Both artists are favored by first -rate engineering. N.B. SCHUMANN: Carnaval, op. 9; Fan - tasiestiicke, Op. 12 SCHOECK: Buried Alive, Op. 40 through our Special Artur Rubinstein, piano. Dietrich Fischer -Dieskau, baritone; Berlin Membership Plan Radio Symphony Orchestra, Fritz Rieger, For a feature review of this recording, BUILD YOUR RECORD LIBRARY cond. see page 71. INEXPENSIVELY, QUICKLY, CONVENIENTLY DEUTSCHE GRAMMOPIION LPM 18821. TO PURCHASE" OBLIGATION LP. $5.98. NO AGREE DEUTSCHE GRAMSIOPItON SLPM SCHUMANN: Davidsbündlertünze, CHOOSE THE RECORDS YOU WANT 138821. SD. $6.98. Op. 6 Citadel Record Club members purchase hi-fi -I-Schubert: Fantasia in C minor, D. and stereo albums at cost: classical, popular, Fischer -Dieskau has already devoted one 9'93: Kupellveiser- Walzer, D. 893A; jazz, show hits, folk, etc. There are never any "list purchases through Citadel. LP to a recital of songs by the Swiss Menuette iu F, D. 995, No, 2 price" composer Othmar Schoeck; now he pre- CITADEL Membership - sents a through -composed cycle of Joerg Dennis. piano. The Proven Method Of Record Buying fourteen songs, after poems by Gottfried Music GUILD 42. LP. $5.50. Used By Thousands Because... Keller, which makes use of orchestra Music GUILD S 42. SD. $6.50. and chorus. YOU DECIDE ON YOUR PURCHASES - You Keller's poems deal with the feelings Schumann's musical schizophrenia reached are not obligated to purchase any particular and fantasies of a man who has been its heights with the conception of the quantity of records. Buy as few or as many entombed alive, evidently in a coffin be- Du vidshiindlertiin,ze. The Davidsbündler records as you want ... the choice is yours. neath a field. Sometimes he simply was an imaginary organization founded YOU HAVE COMPLETE FREEDOM OF SELEC- describes the sensations of his situation - by Schumann for the purpose of defeat- TION - Virtually any record or album, by his limbs grow numb, then regain feeling; ing the Goliath of Philistinism. It was any artist on any lahel is available including he hears voices bickering; he listens to peopled by the composer's friends and all major labels plus hundreds of smaller the rumble of earth shifting. the toll associates, both real and imaginary. most labels as well as most imports. Again, the of the clock; he eats the rose placed notably by Horistan and Eusebius-a choice is completely up to you. with him in the coffin. At other points pair representing. respectively. the extro- ' PROMPT SERVICE -Many orders are shipped he imagines that his limbs may take root. verted and introspective facets of the the day received, rarely later than the next or tries to envision what the weather composer's own nature. Schumann even several days. In the event of a delay, partial shipments are made and your order com- is like outside. or reminisces about child- went so far as to sign several pieces of pleted when available. hood experiences. Finally, as death ap- the present opus with the initials F and proaches, he feels that he has reached E (in the first edition. that is-for when * PERIODIC SPECIALS - Periodically you receive a list of hit albums from all categories a point beyond bitterness. beyond time - he revised the work at a later date. he of music at prices up to 55% off list. Again, a point, in fact. of peaceful acceptance. omitted these and sundry poetic refer- you are under no obligation to purchase any me as poetry of unusual This impresses ences, as well as some of the repeat of these specials. imaginativeness and sensitivity. and marks). The suite of dances is a most Schoeck's setting is such that the work diverse and intriguing score. Parts of it * FREE! SCHWANN RECORD CATALOG - With your membership you receive this quick ref- must be ranked among the most impor- suggest the styles of other (and future) since erence to over 25,000 albums. This easy-to- tant of its sort to be composed composers. Certainly the trio section of use catalog contains separate sections for World War I. No. 13 is similar to a Brahms chorale classical, popular, ballet, opera, musical Schoeck writes in what should be in texture and harmony; No. 15 em- shows, folk music, jazz, etc., and for all new termed a conservative modern idiom, ploys a mode of piano technique usually releases. firmly grounded in nineteenth -century associated with Chopin the last of (in * 100% GUARANTEE - If a damaged or de- German traditions. Sometimes. as in the his Op. 25 Etudes. most particularly); fective record does get through our inspec- tenth song (where the poet longs for a and the romanticism of a few of the tion, we shall immediately replace with a sweetheart left behind who might visit his more introspective dances sounds almost perfect copy. grave in tears, and might know that his "far out" enough to be the work of Membership dues is $3.00 a year ... a nomi- heart still beats for her) it attains a Scriabin or Rachmaninoff. In the main, nal amount if you think of the prices you have real lyric eloquence passage. and however. the Daridshiindierniue are. paid within the past year. AS A CITADEL MEMBER -this BUYING RECORDS AT COST, YOUR DUES WILL others concerning the coming of spring emphatically. by Schumann. and they rep- BE PAID FOR WITH VIRTUALLY THE FIRST PUR- or nostalgia for childhood, are full of resent one of the composer's most in- CHASE YOU MAKE THROUGH THE CLUB. Additional genuinely beautiful music. There are also spired works. savings quickly mount up, permitting you to buy many more albums on your record budget. touches of orchestration and of rhythmic Although there have been several re- May we suggest that you give Citadel an op- playing that remind one of Orff. The cordings of these pieces in the past. all portunity of proving its value to you. You enter whole score is ingenious in its calculation of them have been discontinued. The no obligations, take no risks ... simply complete of emotional rise and fall. of building present release. then. is to be heartily the coupon below, include your $3.00 yearly dues and upon receipt we shall immediately forward and releasing of tension (the pedal point welcomed. Dennis plays scrupulously, all membership material to you. is used to tremendous effect in the open- with evident respect for the text and a ing song, and again in the *SATISFACTION_ * * * * ** * **** GUAR.* FREE' Act now. sixth). nicely judged digital articulation. Some Fill out coupon, The final climax, unfortunately, is a of the nimble dances. such as No. 12. ANTEED. Try member.* d ship for 30 days. If, miscalculation. In his wish to make of it are delightfully crisp as he renders them. !you are not completely enclove wollr a soaring, cathartic statement of the em- As a whole, however, the pianist'. It_ satisfied, dues will beP include a free refunded immediately., record cleaning bracing of eternity, the composer has severely constricted dynamic scheme and F dragged in the chorus and pulled out all rather literal approach are not what this kf.vic,ntg;r_;1T;rt)kyr44u;x cloth as a gift. the old stops. The effect would be ap- fanciful opus requires. propriate in the closing minutes of one of The Schubert Fantasy makes use of those splendid old movies about Other certain melodic fragments which bear 545 Fifth Avenue, New York 17,N, y.11-HF Women and Doomed Pilots that keep strikingly similar ideas to some which Enroll me in Citadel for one year. I am under no turning up on television ( "He'll always Mozart utilized in his great Fantasia, obligation to purchase any particular quantity of be up there -somewhere "). Here, it K. 475. also in the sane key. Schubert's records. but those that I do purchase will be at cost price . NEVER more. Send the current very nearly wrecks the whole composi- development of them, however, is much Schwann catalog and free record cloth immedi- tion. Fortunately, there's much of inter- less terse and dynamic. Both this com- ately. I understand that if, after 30 days, I am est that goes before. position and the other Schubert works not completely satisfied I can get my full membership dues back immediately. $3.00 dues Fischer -Dieskau is at his formidable included in the present collection are enclosed. hest, in good vocal estate and seemingly unpublished and here performed from FULL NAME entirely involved in the work, which he Ms copies. dramatizes with relish. The orchestral Music Guild's sound is attractively STREET playing is fine, the sound superb. In transparent and lightweight. hut. when _ZONE sum. an absorbing. consequential com- necessary, the piano's bass rings out CITY STATE position. expertly rendered. C.L.O. formidably. H.G. CIRCLE 20 ON READER -SERVICE CARD AUGUST 1963 8 ;

www.americanradiohistory.com SCHUMANN: Symphony No. 2, in vinsky's masterpieces, and the team of C, Op. 61 Shapiro and Smith perform it with rare melodious magic as understanding of its Stravinskyan hard- New York Philharmonic, Leonard Bern- ness, litheness. rhythmic bounce, and stein, cond. spare, unsentimental lyricism. Violinists Cleopatra used it to COLUMBIA ML 5848. LP. $4.98. brought up in the romantic tradition COLUMBIA MS 6448. SD. $5.98. tend to soften and inflate this music, but Miss Shapiro, to her eternal honor, enrapture Caesar and Although the present performance shares knows that De Beriot is dead. with Bernstein's earlier Decca recording The Divertimento on the other side of this work the unusual feature of a turns out to be the one from The Fairy's Mark Antony! ON repeat in the first movement exposition, Kiss as arranged for violin and piano. it is unfortunately by no means a repeti- If you want to hear that in such a com- AUDIO FIDELITY RECORDS tion of what used to be one of this con- bination, Ava's elegant recording will ductor's specialties. provide a fine opportunity. A.F. Comparison of the Bernstein of ten Music of years ago with today's glamorous celebrity TCIIAIKOVSKY: Symphony 6, CLEOPATRA is instructive. What one hears on the No. CLEOPATRA. B and the Nile earlier disc is a broadly vibrant, well - in minor, Op. 74 ( "Pathétique ") °^' NILE controlled rendition with considerable Provocative! musical sensitivity, only slightly blem- London Symphony Orchestra, Antal Historic! Love ished by an occasional touch of excessive Dorati, cond. songs, dances of rhetoric. The new edition is less sensitive, MERCURY MG 50312. LP. $4.98. the fabulous queen MERCURY SR 90312. SD. $5.98. 'l more exhibitionistic. Hearing it, one is recreated! ¡t plagued with perplexing questions. Why so many Luftpausen? Why the tampering Dorati doesn't believe in weeping over AFLP211S /AFS0611S lt11t1 with tempo in the first movement'? Are the Pathétique. Apparently, he views this those not poco ritards rather than multo as a symphony of strong drama and pas- rallentandos at measures 20 et seq. in the sion but little or no mourning. His tem- a gifted folk trio... scherzo'! Why the accelerando at bar pos are generally on the fast side, espe- 362 in this movement? Wherefore the cially in the finale, and, here as else- clumsily "expressive" treatment of the where, he eschews excess sentimentality. Adagio'? (Harold Gomberg's overphrased Although his departure from the norm Tip & Tinker and strikes me as occasionally a bit too radi- MOANIN' n' GROANIN' oboe solo is particularly objectionable.) Charlie Scott sing: Why the mad scramble in the Finale? (A cal and abrupt, it is a valid interpreta- MOANIN' N' burst of uncontrolled speed such as this tion delivered with the strength of con- ,.. GROANIN'. .:T can only naturally lead to untidy articula- viction. The orchestral playing is co- Mean Muddy River, . tion of those recurrent triplet figurations hesive, and the sonics both in mono and Ghost Riders, which dart about from instrument to in- in stereo are altogether excellent. P.A. others. strument.) Why does the conductor allow the clarinet to play so loudly at Measure 191 and disastrously ruin the cumulative USSACHEVSKY: Metamorphosis; AFLP2110/AFSD6110 effect of that climax? Why the absurd Linear Contrasts; Improvisation rallentando at the very end? No. 4711 -For a review including Aside from these particular miscalcula- this recording, sec page 91. a jazz original... tions, I might add that the Philharmonic's playing shows little of the concern for VAUGHAN WILLIAMS: Fantasia SUNDAY AFTERNOON WITH RABS GONZALES tonal color, phrase shaping. and internal clarity which we have on a Theme by Thomas Tallis; at Small's Paradise with Johnny Griffin. Clark Terry. the right to expect from an orchestra of major caliber. In Fantasia on "Greensleeves" Horace Parlan. Buddy Catlett and Ben Rrley. fact, the over -all sound from this disc {Elgar: Introduction and Allegro, He (Bobs) is our of the truly original is so harsh and opaque that the signifi- Op. 47; Serenade for Strings, in E spirits in pan cance of Bernstein's use of Schumann's mirror, Op. 20 original orchestration (a fact he takes great pride in calling our attention to) Allegri String Quartet; Strings of the is completely lost. Columbia's brashly Sinfonia of London, Sir John Barbirolli. reverberant acoustical framework may be cond. BARS partly to blame for this, but it seems to ANGEL 36101. LP. $4.98. GONZALES me that much of the responsibility falls ANGEL S 36101. SD. $5.98. on the conductor. H.G. For me the highlight of Just released! this record is SOWERBY: Classic Concerto for the intense, admirably recorded perform- by DAUNTLESS ance of the Tallis Fantasia. This work Organ and Orchestra-See Cowell: was conceived in spatial, stereophonic . . if He please.)" terms -it is scored for two string orchestras plus a solo string quartet -and 11M4311 056311 STOCKHAUSEN: Gesang der Jüng- the effect of space and reverberation is linge: Kontakte-For a review in- enhanced here by the acoustics of Temple Church, London. I am not cluding this recording see page 91. normally in favor of a big, glorious. a great gospel group reverberant sound, but it works all to STRAUSS, RICHARD: Ariadne auf the advantage of a rich, slow -moving r i.. Naxos piece like the Tallis Fantasia which is set out in New excitement al óosDellMh long lines and planes with Soloists: Orchestra of the Vienna State simple harmonies and rich string scor- in gospel! Opera, Karl Böhm, cond. ing. Further, the performance here has THE GOSPEL TRUTH real tension and direction -one might The Galileans sing: For a feature review of this recording, almost say drama. The work is (almost Build Me Up; Glory, see page 72. inevitably) paired on a side with the Glory; Stay There, Green.sleeve.s Fantasia, which also Others. STRAVINSKY: Duo Concertant; emerges in good form. Divertimento for Violin and Piano Whether or not one is an Elgar DM4310/DS6310 enthusiast, it is easy to recognize, as ob- violin; Brooks Smith, jective fact, that the Introduction Write for FREE catalog of Audio Fidelity Sr Dauntless records. Eudice Shapiro, and piano. Allegro for String Quartet and String AUDIO FIDELITY INC. AvA A /AS 15. LP. $3.98. Orchestra is an extremely well -written 770 ELEVENTH AVENUE AvA AS 15. SD. $4.98. piece of music in the composer's best classic- romantic vein. Elgar was a kind NEW YORK 19, N. Y. The Duo Concertant is one of Stra- of fastidious English Brahmsian in the CIRCLE 12 ON READER -SERVICE CARD ti. HIGH FIDELITY MAGAZINE

www.americanradiohistory.com sanie sense perhaps that Dvofák might was conducting from the first violin part WEBER: Quintet for Clarinet and be called a Bohemian Brahmsian. A work and treating the rest of the ensemble as Strings, in B flat, Op. 34 like the Serenade for Strings of Elgar accompaniment. tHummel: Quartet for Clarinet and is a perfect cross- channel counterweight The present disc is intended to exploit Strings, in E flat for the Dvofák work of the same name; the richness of Wagnerian orchestration, Elgar knew how to provide just the right but what it really emphasizes is the gor- David Glazer, clarinet: Kohon String amount of Edwardian sentiment, always geous string tone of the Philadelphians. Quartet. presented with the best conservatory good The wind parts are often difficult to Vox DL 960. LP. $4.98. manners. if he achieves something more hear, and the clarity and balance of Vox STDL 900960. SD. $4.98. than that in the Introduction and Allegro, such recent Wagner discs as Szell's Cleve- it is perhaps because his remarkably land collection are missing. As a state- Weber had a not -so- secret fondness for fluent Mendelssohn- Brahms technique is ment of Wagner's scores, I must therefore the clarinet, and wrote six compositions here more completely at the service of find this less than satisfactory. For for it in various instrumental combina- his ideas rather than the other way those who want simply to luxuriate in tions. His Quintet is a delight from the round. luscious sound, it will no doubt he ap- moment the clarinet puts in an appear- I do not know what "the strings of the pealing. R.C.NI. ance (arriving fashionably late) to the Sinfonia of London" might be, but they Rossini -like finale, in which. having are obviously excellent musicians, as proved its serious intentions in a long are the members of the Allegri String WARD: Hush'd Be the Camps To- aria, it outdoes itself amid cascading Quartet. Barbirolli, who was close to day -See Cowell: `. . . if He scales. The minuet contains one of the both composers, serves their music with please." most accurate predictions of ragtime you vital understanding. 'the sound both of the monophonic and of the stereo version is good; as pointed out before, the Tallis Fantasia received an "on location" recording and is therefore especially deep and resonant; the sound elsewhere is clear and rich. The spatial conception of the string writing in the Tallis Fantasia and the Elgar Introduction and Allegro makes the NEW IN stereo edition especially desirable for those works. E.S. AUGUST VICTORIA: Four Motets; Mhsa Quartz Toni ROSSINI: THE BARBER OF SEVILLE Schola du Grand Scholasticat des Pères (S) 3638 C/ L Also on 4 -track stereo tape: ZC 3638 du Saint -Esprit de Chevilly, R. P. L. The polished and sparkling Glyndeboume Festival Deiss, cond. (in the Motets); Chorale production of Peter Ebert, starring Victoria de los Sant -Jordi de Barcelona, O. Martorell, Angeles, Luigi Alva, and Sesto Brnscantini. With Ian cond. (in the Mass). Wallace, and Laura Sarti. Vittorio Gui Music GUILD 41. LP. $5.50. Carlo Cava Music GUILD S 41. SD. $6.50. conducts the Glyndeboume Festival Chorus and the Royal Philharmonic Orchestra. The motets comprise two that have been recorded several tines -A re Maria BERLIOZ: HAROLD IN ITALY (four -part) and O vos omnt's -and two S)313123 Also on 4 -track stereo tape: ZS 36123 that are less familiar: O regent caeli and Four colorful picture post cards from Byron's hero: Duo seraphim. Particularly fine, indeed Yehudi Menuhin reveals a new side of his artistry as full of glowing beauty, are the tragic viola soloist; the fast -rising young Briton Colin Davis O vos (nines and the gravely joyful conducts the Philharmonia Orchestra. O re gem cacti. They are sung by a choir of French monks in a rather highly THE RED ARMY ENSEMBLE charged performance with much dynamic ( formerly The Soviet Army Chorus & Band) ( S ) 36143 nuance and considerable rubato -a type The same thrilling group whose previous Angel al- of approach not unsuitable to the con- (S)35411, has a best seller. Astonishingly trolled passion of this master's music. bum, been There is a good deal of reverberation, vivid recordings made in London: Meadowland, The which blurs the musical lines in the Birch Tree, Kamarinskaya, other Russian and Ukrain- Alleluia sections of O regem cacti and ian songs -and Annie Laurie, sung in English. With portions of Duo seraphim. The Mass, a vocal soloists Belayaev, Polozkov, Didenko and Ser- less eloquent work than the great motets, geyev, under the direction of Col. Boris Alexandrov. is well sung by a mixed Spanish chorus. Here there is plenty of resonance but SINGERS OF IMPERIAL RUSSIA no reverberation problem. N.B. "Great Recordings of the Century" COLH 129 A collector's treasure of rarities from Russia's vocal WAGNER: Orchestral Excerpts "golden age,' recorded 1904 -1924. Sopranos Antonina Nezhdanova, for 40 years queen of the Bolshoi; the Lohengrin: Prelude to Act III. Siegfried: international celebrity Lydia Lipkovska; Italian -born Forest Alarntrs. Die Meistersinger: Prel- Olympia Boronat, the star of St. Petersburg who mar- ude to Act III; Dance of the Apprentices; ried into Polish nobility Tenor Leonid Sobinov, Entrance of ... the Aleister.singers. Tann- in sound "; of Russian lyric tenor hiiuser: Overture and Venu.sherg Music. "the poet the greatest voices, Dmitri Smimov ... And the immortal Feodor Philadelphia Orchestra, Eugene Ormandy, Chaliapin. Music from Eugen Onegin, The Snow cond. Maiden, Prince Igor, The Tsar's Bride, Marta, Fra CoLumnin ML 5842. LP. $4.98. Diavolo, more. COLUMBIA MS 6442. SD. $5.98. Also -new on 4 -track stereo tape: Leopold Stokowski was originally an or- MOUSSORGSKY: BORIS GODOUNOV ZD 3633 ganist, and in his hands the Philadelphia Christoff, Lear, Ouzounov, Chorus of the Sofia National Opera and the Paris was treated with an organist's respect Conservatoire Orchestra conducted by André Cluytens. "A sweeping and gran- for the many registers of a complex in- diose Boris...A brilliant performance (HiFi /Stereo Review, reviewing the discs). strument. Eugene Ormandy began his career as a violinist, and there have been times, particularly in recent seasons, when one might almost suspect that he CIRCLE 8 ON READER -SERVICE CARD AUGUST 1963 85

www.americanradiohistory.com are likely to run across in nineteenth - manlike. sounds of Minkus, Drigo. century music, enhanced no end by the Lovenskjold, Pugni, et al. Deprived of fact that the cello is forced to swallow the visual spectacle, we are obliged to its dignity and, in its own somewhat concentrate on the music; what we hear elephantine fashion, follow the antics of can be pretty depressing. the clarinet. The stun shines all the time All of this may be very unfair on niy here, except for a thoughtful turn into part. Certainly, those responsible for this I the minor in the second movement. it is set spared no effort in making the re- David Glazer's day and he makes the cording and booklet (the latter lavishly most of it, ably supported by his col- illustrated, with excellent historical notes) leagues. as authentic as possible. Alicia Markova. Hummel's piece (recorded here for the whom the project is intended particularly first time) is well padded with common- to honor and who has appeared in most places, all perfectly palatable. As the notes of the roles, worked closely with the con- tell us. "he took compositional advice ductor concerning styles and tempos: from Haydn," but I don't think he took Bonynge has the London Symphony play- very much of it. There is a noticeable ing brightly and crisply; and the engineers hole in the middle on this side of Vox's have created a naturalistic, halfway -hack- stereo disc. but the instruments are more in- the -hall sound. P.A. realistically spread on the Weber side. SIIIRLLY FLEMING Moussorgskv SAFFORD CAPE: "Music at the Bur - BORIS GODOUNOV gundian Court" Boris Christoff Pro Musica Antiqua (Brussels), Safford RECITALS AND Cape, cond. The new Boris Godourov_ MISCELLANY VANGUARD BC 634. LP. $4.98. by Christoff -the out- The dukes of Burgundy were patrons of standing Boris of our the arts. and some of the greatest com- generation." RICHARD BONYNGE: `The Art of posers of the time wrote music for them. Saturday Revier. Angel the Prima Ballerina" Side I of the present disc offers pieces by some of these fifteenth -century mas- Minkus: La Bayadìre: Grand pas de ANGEL (S)3633 ters: Dufay, Ockeghem. Obrecht. and D/L dear (Act IV); Don Quixote: Pas de others. They include dances, secular 4 -TRACK STEREO TAPE ID 3633 deux. Drigo: Les Millions d'Arlequin: songs, and two sacred pieces. All of them J l'as de trois. Rossini: Guillaume Tell: are of great interest, and i was espe- La Tyrolienne (Act Ill). Adam: Giselle: cially struck by the melancholy songs 01 Danse des Vignerons; Pas seul; Peasant Arnold de Lantins and Robert Morton. pas de deus (Act I): Grand adage et Dufay's cheerful Hé! Conpai;nns and variations (Act II). Lovenskjold: La Syl- his lovely !'atendray. Side 2 is entirely phide: Scì'ne de la Sylphide. Tchaikov- devoted to secular and sacred music by sky: Swan Lake: Grand pas de deter Gilles Binchois, which is notable for its (The Black Swan) (Act III): The Sleeping tenderness and melodiousness. Most of CIRCLE 8 ON READER -SERVICE CARD Beauty: Bluebird pas de deus (Act I//): the pieces are sung by one or two voices The Nutcracker: Grand pas de deux (Act accompanied by instruments, some are / /). Donizetti: La Favorita: Grand pas played by instruments alone, and two are Writ" de trois. Bolero 1830 VANGITARD Traditional: (arr. performed by a vocal ensemble with in- Recorded under the auspices of James O'Turner). Pugni: Pas de quatre. struments. A question raised here is The Bach Guild London Symphony Orchestra, Richard whether Mr. Cape is justified in present- Bonynge, cond. ing on instruments alone such peculiarly LONDON CMA 7213. Two LP. $9.96. vocal forms as a sequence ( Dufay's rein LONDON CSA 2213. Two SD. $11.96. sanete Spiritus) and a hymn t Binchois's Beata nubis gaudia) -both curtailed. The The introduction to the comprehensive performances are technically good and booklet accompanying this album be- musically impressive, and the sound is gins: "After the success of the 'Art of fine. N.lì. the Prima Donna,' everyone wanted to make an 'Art of' record, but just copy- FRENCH INSTRUMENTALISTS: ing the idea seemed senseless. One day, however, when London's producers were Twentieth -Century Music discussing plans for a ballet music album Milhaud: Divertissement for Wind Quin- with Richard Bonynge, we realized that tet. Britten: Simple Symphony, Op. 4. there was one other tradition musically Poulenc: Suite française. Jolivet: Con- THE and theatrically comparable with that of certo for Bassoon, Harp, Piano, and the Prima Donna. and the idea for this String Orchestra. record was born. The album would be, VIRTUOSO then, a homage to the Prima Ballerina Paris Wind Ensemble (in the Milhaud); and the grand tradition which she rep- Sarre Chamber Orchestra, Karl Risten- resents. . ." part. cond. (in the Britten); Paris i-n- TRUMPET But there is one important point that semble, Francis Poulenc, cond. (in the London's producers overlooked. "The Poulenc); M. Allard, bassoon. Cento Art of the Prima Donna" gave us a pro- Soli Orchestra of Paris, Rudolf Albert, VOL.2 gram of music in which a true present - cone(. (in the Jolivet). Concertos and Sonatas for day prima donna sought to re- create the Music GUILD 39. LP. $5.50. One. Two and Six Trumpets by showpieces of prince donne of bygone Music GUILD S 39. SD. $6.50. HAYDN, TORELLI. BI BER, eras. "The Art of the Prima Ballerina." ALBERTI. MANFREDINI, on the other hand, offers us only the The mystery here is how the Britten LEOPOLD MOZART background to which terpsichorean mira- slipped into this disc of very French cles were performed: none of the art of music. Otherwise the record comprises I SOLISTI DI ZAGREB the prima ballerina herself is really re- three Gallic works of neoclassical wit Antonio Janigro, conductor created for us. I am not, of course, op- and skill, headed by the charming and Helmut Wobisch, 1st trumpet posed to performances of ballet music in delightful Poulenc. Poulenc arranged BG -641 & BGS-5053 (Stereo) concert or on records. But how much of this suite from an incidental score which "The all -over finest of its kind." the music in the present album is first - he had based on music by the sixteenth - R. D. Darrell. Hick Fidelity. on rate? When our eyes are regaled by the century composer Claude Gervaise (Mil- The Virtuoso Trumpet, rod 1. sight of a Markova or a Fonteyn per- haud did something similar in his Suite forming on the stage. our ears are in- prorençalc; there are. of course. other clined to forgive the uninspired, if work- precedents for this sort of thing going CIRCLE 88 ON READER -SERVICE CARD 5(, HIGH FIDELITY MAGAZINE

www.americanradiohistory.com back at least to Stravinsky's Pit lcinella). surface noise, especially on Side 1, is The Milhaud, dating from 1958, is all but ruinous. One is willing to listen basically attractive, occasionally routine through a fair amount of noise to hear wind music. At its best it has the typical a great voice or a superb technician in Milhaud cleverness and esprit and it is an aria, but for me at least, Wolf songs always appropriately written for the are another matter. instruments. Jolivet's Concerto, although Nevertheless, there arc certainly some generally adhering to some of the classi- most interesting interpretations here (as cal canons, is a bit more wide- ranging well as a few songs, such as Lied som and a lot more intense. It has greater Winde and Rat einer Alien, which one scope and a somewhat less consistent does not often hear). As Philip Miller use of musical materials. It sets out to points out in his notes, Gerhardt aimed achieve more than the others, but the for a more purely musical interpretation end result, superficially more "modern." of Lieder than most singers of our gen- is also heavier, much less attractive and, eration -there was not the insistence on ultimately, of greater pretentions and no underlining or coloring every word of a greater import. song. Her voice, though beyond its prime The Britten is a short string work for these recordings, was a beautiful, based on musical material originally strong one, and her ability to sustain a written by the composer between the true legato quite unusual. If one listens tender ages of nine and twelve. It is to In dent Schauer( meiner Locker, one also neoclassical in a sense, but in the will hear very little of the coquettishness academic and pedantic manner that one that Schumann, or Lehmann, or Seefried might expect from a brilliant child try- brings to it; it is gently, fairly slowly ing to rival, say, Mozart. Generally sung, with a quiet, affectionate tone. In speaking, it would seem that composers general, the smoother, warmer songs re- should leave their brilliant childhood ceive very fine treatment, while a few accomplishments to biographers and of the others could do with more char- musicologists. acter and clearer declamation. ( Weiss/ du All of the performances are good and zu den Blumen gehst is an example of the they are well recorded. One should point former, and Herr, seas tringt der Baden in particular to the excellent wind play- bier of the latter.) They could all do with ing; it is charming, elegant, and stylish, better reproduction -the acoustically re- proving that the great French traditions corded songs accompanied by Nikisch in this branch of the musical art are (Und willst du, Heinnreh. Verborgenheit) still very much alive. E.S. actually are clearer than the others. The sound of Volume II is superior, ELENA GERHARDT: Recital, Vol. I: and much of the singing fresher and more youthful (on both sets, there are Wolf passages where flatness of pitch poses a Begegnung; Lied vom Winde; Auf einer problem, but Volume II contains fewer Wanderung; Rat einer Alten; In dem instances than Volume I). The Vergeb- .Sehauen meiner Locken; Heimweh (An- liches Stiindchten is brought to life bril- ders wird); Die ihr .schwebet; Ach, des liantly, with a teasing quality in the girl's Knaben Augen; Nun wandre, Maria; lines and a strong tone in the man's, and Gesang Wev'las; Herr, was trügt der Ba- Feldeinsamkeit is wonderfully sustained. There is also an O del ratio (hike ardor den hier; Auch kleine Dinge; Das S er- lassene Alügdelein; Das Stündchen; Wenn that will stand comparison with any. a du zu den Blumen gehst; Und stehst Ihr Verborgenheit that is far better than the früh, Ihr ¡angen Leute: Du denkst mit one transferred in the other disc, and an einem Fädchen; Nein, junger Herr; Auf especially brilliant piece of work by dem grünen Balkan; Und willst du deinen Nikisch in Wiegenlied. Schmerten is a Liebsten; Heimsiels (Wer iss der Fremde); fine example of what clever phrasing 1 as Verborgenheit. opposed to big tone) can achieve in the way of punch and strength. The notes Elena Gerhardt, soprano; Coenraad Bos, supplied for both recordings are excellent. Arthur Nikisch. piano. but there are no texts, which is decidedly Rococo 5202. LP. $4.95. a drawback with the Lieder. C.L.O.

ELENA GERHARDT: Recital, Vol. II JUAN MERCADAL: Guitar Recital Brahms: O liebliche Wurfgen; Vergeb- Albéniz: Sevilla. Brower: Suite No. I: liches Stündchen; Feldeinsamkeit; Sap - Prelude. Granados: La Maja de Goya. phische Ode. Wagner: Schmerzen. Handel: .Sonata from the Avle.sford Strauss, R.: Stündchen; Wiegenlied; Wie Suite. Malats: Serenata española. Ra- sollten wir. Rubinstein: Neue Liebe. meau: Minuets (2). Scarlatti. D.: Ga- Bungert: Ich hab' ein kleines Lied rotte. Torroba: Suite Castellion: Fan - erdacht. G luck: Paride ed Elena: O del danguillo. Traditional: Song of the Bell rniu dolce ardor. Schubert: Der Tod mod Bird. Wiess: Gigue. das Müdchen; Wohin''; Du bist die Ruh'. Schumann: Mondnacht; Ich grolle stichst. Mercadal. guitar. Verborgenheit. Juan plays your precious records Wolf: Der Freund; ARTRI C CIP 62/1001. SD. $5.98. a light, gentle touch Elena Gerhardt, soprano; Arthur Nikisch, with Bruno Seidler -Winkler, Ivor Newton, This is a most auspicious debut record- Harold Craxton, piano. ing. Mercadal is a strong technician Rococo 5207. LP. $4.95. blessed with sterling finger control, rhythmic drive, and considerable tonal Light, leather -touch push buttons provide gentle, Of these two issues in Rococo's Library refinement. He is a thoroughly contem- automatic handling of single records, or stocks of Series. Volume I1 is the more recom- porary instrumentalist in the brisk, no- up to 10. Or you con oioy your records manually. mendable, despite Gerhardt's reputation nonsense way as he goes about such Brings out their best performance, and preserves as a Wolf interpreter. Unless all my de- pieces as the Albéniz .Sevilla. but he also their quality for lasting enjoyment. ductions are incorrect, the Wolf disc is finds many opportunities for dynamic Miracord model 10 with 4 -pole motor, $89.50; comprised mainly of the contents of Vol- niceties and for those delectable little model 10H with hysteresis motor, $99.50. base ume i of the old Wolf Society issues touches of flexibility which lend in- and cartridge, extra. BENJAMIN (the accompanist, Bos, is not credited). timacy to this type of recital. The Details at your hi -li The transfers were evidently made from bright, well -articulated performances on dealer, or write. NI IRACORD a set in rather poor condition, and the this disc provide lively listening, and the Ben or, .1 Pc c,n, Sound CvP. 07 S, -car S,..Wes'bwv.N.Y. CIRCLE 15 ON READER -SERVICE CARD AUGUST 1963 87

www.americanradiohistory.com recorded sound is vivid and attractive. HELGE ROSWAENGE: "Helge Ros- I found that my review copy, however, wringe in Opera" had a scraping noise at the beginning of Side 2. H.G. Verdi: Aida: Holde Aida; Otello: Jeder LONDON RECORDS Knabe kann mein Schwert mir entreissen; i Vespri Siciliani: O Tag des Grames; IS PLEASED MONTREAL BACH CHOIR: Music La Traviata: Ach ihres Auges Liebesblick; TO ANNOUNCE of the Spanish Renaissance Rigoletto: Holdes Mädchen, sieh mein Butterfly: organ; Consort of Viols, Leiden. Puccini: Madama Leb' THAT IT IS Gian Lyman, wohl, mein Bliitenreich. Massenet: Flic!,, Otto Joachim, cond.; Montreal Bach o flieh, holdes Bild. Meyerbeer: Land so MAKING AVAILABLE Choir, George Little, cond. wunderbar; Les Huguenots: Ich ging THE WORLD Vox DL 890. LP. $4.98. Vox STDL 500890. SD. $4.98. spazieren einst. Wagner: Die Meister- RENOWNED singer: Am stillen Herd; Selig wie die Suture; Walters Preislied. This disc presents an absorbing selection from the richest period in the history of Spanish music. Included are vocal pieces Helge Roswiinge, tenor; Berlin State eidearr4re of various types and forms, keyboard Opera Orchestra, Berlin Philharmonic; CATALOG pieces (played on an organ), and some Erich Orthmann, Franz Alfred Schmidt, Selmar Meyrowitz, conds. IMPORTED FROM ENGLAND other instrumental works, here performed by viols. The composers range from such TELEFUNKEN TH 97014. LP. $1.98. SOME OF THE RARE RECORDINGS celebrated masters as Victoria to shadowy NOW OBTAINABLE AGAIN ARE THE figures of whom not much more is known In a recent Carnegie Hall recital (his HANDEL OPERAS. SOSARME AND than their names. There are also some American debut!) Helge Roswänge, now SEMELE: THE DEFINITIVE BRAN anonymous works, which are not the in his mid -sixties, demonstrated that even DENBURG CONCERTO RECORDINGS least attractive of the group. today his voice displays much of the DIRECTED BY THURSTON DART ANO Each of the vocal works -they cover characteristic ring and richness, if not a A VAST SELECTION OF BAROQUE a wide field, from a tavern song to the range or ease, that made him one MUSIC. SOME OF THE NEWER ITEMS Mass -is very fine, and all are well of the great tenors of the German stage. less NEVER BEFORE AVAILABLE IN THE sung. The performances by viols are In these recordings we are given the are U.S. ARE 9 VOLUMES OF MOZART satisfying, mainly because the players voice of thirty years ago. when the singer PIANO MUSIC WITH ARTUR BAL inclined to push each tone out instead was at his very peak. and ARNOLD SCHOENBERG'S SER- of producing the phrases smoothly As a cross section of Roswänge's art, SAM, prob- ENADE FOR SEPTET AND BASS evenly. Moreover, while there can the disc is not ideal. With the exception MUSIC MONTE ably be no objection on historical of the Huguenots aria, none of these VOICE. CHURCH OF Victoria's VERDI AND ANERIO. ETC. grounds to a performance of pieces is a "tenor -killer" of the sort that FOR COMPLETE LISTING WRITE TO Ne timeas, Maria by an ensemble of he made a specialty of on his early viols, that composer's style is so pro- HMVs -Florestan's aria is not here, nor LONDON RECORDS. INC. foundly vocal that a choral performance the Singer's Aria from Rosenkusalier, 539 WEST 25 ST.. N.Y. I. N.Y. is much to be preferred. Some of the nor the high -flying bravura excerpts more rhythmic vocal pieces are accom- from Postilion du Lougjunueatt or Life panied to their advantage by percussion for the Tsar. At least five of these instruments. One wonders, however, selections have been transferred to LP about the propriety of jiving up a couple before this; moreover, these recordings of Fucnllanà s tientos by adding a tam- have been monitored somewhere along bourine. The sound is clear, and, in the the line, so that the voice does not pop choral works, well balanced. The excel- out with all the exciting resonance of his lent notes by R. D. Darrell include, best 78s. All the same, one will have to IFF among other useful data, information search pretty thoroughly to find another about modern editions of the works on selection of major arias so consistently the record. N.B. well sung. Roswänge's voice pos:cssed Dynamic incomparable brilliance and meatiness of EUGENE ORMANDY: "Dances for tone, plus an extraordinary range. and he HEADPHONES sang with an irresistible combination of Orchestra" vigor and smoothness. No tenor on rec- Bizet: Carmen: Habanera; Danse bohème. ords has led the Rigoletto quartet more Grieg: Peer Gynt: Anitra's Dance. suavely. or scaled the reaches of the Glière: The Red Poppy: Russian Sailors' Huguenots aria more surely or excitingly. Dance. Saint -Saëns: Danse macabre. The Meistersinger excerpts are practically Borodin: Prince Igor: Polovtsian Dances. perfect -this is just the timbre for the Ravel: Alborada del gracioso. role, and he sings every note of it, without equivocation. The "Hohle Aida" is Philadelphia Orchestra, Eugene Orman- a bit declamatory -sounding. and the dy, cond. Afanan aria rather perfunctory. But COLUMBIA ML 5857. LP. $4.98. nothing is sleazy or uninteresting. His COLUMBIA MS 6457. SD. $5.98. partners in the Rigoletto and Meister- singer ensembles (Yoder, Kindermann. These seven dances cover a fairly broad Reinmar, and, in Selig trie die Smote, THE ONLY HEADPHONES THAT CARRY A musical field. The Borodin and the two Kuttner) are excellent. and both excerpts LIFETIME WIRRANTY Bizet excerpts are operatic in origin; receive nearly exemplary performances. the Glière is taken from a ballet; the The notes are entirely biographical. Permoflux presents . Absolutely the finest is the incidental music to Everything is sung in German, with de- sound in stereo high fidelity today. Professional Grieg part of a the Saint -Saëns and Ravel cent. but never outstanding, accompani- quality sound with exciting features that add play, and were written purely for the concert stage. ments. At the price, decidedly worth hav- up to the greatest value in stereo listening. (As a matter of fact, the Alborada del ing. C.L.O. TONAL STABILITY gracioso isn't a dance at all but a jester's COMPARATIVE FREEDOM FROM morning serenade.) But whatever the HARMONIC DISTORTION source of the music, Ormandy invests SOCIETE DE MUSIQUE D'AUTRE- WIDEST FREQUENCY RESPONSE each piece with lavish color and rhythmic FOIS: Music of the Renaissance POWER HANDLING verve. The Glière and Borodin, in partic- LONGEST LIFE ular, are notable for their dash and bril- Société de Musique d'Autrefois. liance. Only the middle section of the ELI KTRA EKL 229. Two LP. $4.98. Feature for feature your best headphone buy is Ravel lacks a certain requisite Spanish Permoflux -with a lifetime warranty. Write for Playing throughout is of the high- In this album we are given an unusually free details. flavor. ly polished order one expects from the interesting collection of pieces. with em- Permoflux Corporation Philadelphia Orchestra, while the stereo phasis on works with French texts. reproduction (the only edition I've Fifteenth- century France is represented P. 0. Bo. 1449 Glendale, Calif. heard) is full and natural. P.A. on Side 1, sixteenth -century France on CIRCLE 93 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Side 3. Side 2 is devoted to fifteenth - GEORGE SZELL: "Showpieces for century pieces with Italian texts or titles, the Virtuoso Orchestra" and Side 4 to works by sixteenth -cen- SPOKEN WORD tury English composers. Each side con- Mendelssohn: Hebrides Overture, Op. 26. tains instrumental as well as vocal music. Strauss, J. Il: Perpetual Motion, Op. 257. While some famous composers are repre- Strauss. R.: Don Juan, Op. 20. Stravin- sented -for example, Busnois, Binchois, sky: The Firebird: Infernal Dance. SHAKESPEARE: The Merchant of Dufay, Dunstable, Isaac, and Dowland- Tchaikovsky: Capriccio italien, Op. 45. Venice very few of these pieces are otherwise Wagner: Tristan und Isolde: Liebestod. available on records. I enjoy particularly Dorothy Tutin. Portia; Hugh Griffith, the gentle melancholy of the two chan- Cleveland Orchestra. George Szell, cond. Shylock: Harry Andrews, Antonio; Jer- sons by Binchois; Dufay's Les doleurs EPIC SPM I. LP. $1.98. emy Brett. Bassanio; et al. dont me sens, with its long, climbing Eric SPS 1. SD. $1.98. CAE SRS 209. Three LP. $17.85. melody; Dunstable's lovely O rosa bella CAEDMON SRS S209. Three SD. and the fine anonymous Perla ;uya; the With all the attention given last season S 17.85. eloquent frottole by Varoter and Trom- to George Szell's fiftieth year on the honcino; the amusing Mirelaridon by Le podium, no one seems to have printed Of the two complete recordings of the Heurteur: and two charming songs by my favorite Szell story. It takes place Merchant of Venice now available, this Robert Jones. The instrumental pieces in- during a performance of Ravel's Daphnis new Caedmon set seems to me superior clude a rather striking . Seconde Fantaisie et Cbloi% when. in the midst of the 5/4 to its competitor on the London label. by Claude Le Jeune, here played by a bars of the closing dance. the conductor 1 regret that I have not heard Caedmon's small orchestra of old instruments. momentarily slipped and beat out a bar earlier, abridged two -record album with While there can he no objection to of four. "Ye gods," said one backstand Sir Michael Redgrave as Shylock (2013). the instruments chosen, the orchestra- second violinist, nudging his partner. The single disc of excerpts made by the tion used here is of a subtle, changing sort "Someone threw a spitball into Univac." Dublin Gate Theatre (Spoken Arts 810) that is effective in keeping the modern One has to add. of course. that to the is excellent as far as it goes. listener's interest alive but much more computer's skill in efficiently organizing Hugh Griffith's low, deep voice is sophisticated than anything known to materials it is fed Szell brings both sen- good vocal equipment for the Shylock have been employed in the Renaissance. sitivity and taste. The present collection here. Successfully avoiding rant, he does Otherwise, the performances arc all of illustrates that beyond the need for ar- not, however, always avoid tameness: high quality: all of the solo singers are gument, and it is one of the most attrac- thus. he is quite satisfactory in the first. excellent, the instrumentalists are good, tive bargain records of some seasons. sympathetic portion of the Merchant's and the sound is first -rate. Original texts The Mendelssohn seems a little stuffy "Hath not a Jew eyes ?" speech, but the and English translations of the French here, but the Tchaikovsky is given a threatening climax leaves something to and Italian vocal works are provided: but beautiful run with energy and refinement. he desired, and certainly many an actor with touching confidence in the perform- There is a brief audible contribution of this role has been more exciting in ers, no texts arc given for the English from the maestro to close the 1. Strauss, the Court Scene. I must add too that works. Information about the editions and the R. Strauss appears to have Errol I have never before encountered a Shy - used is lacking. but the notes do supply Flynn as protagonist. The Stravinsky lock whose reading was quite so freely the names of the authors of the texts, and the Wagner come from exceptionally punctuated by sighs, groans, chuckles, where they are known, and thus we find, well- received discs of recent release. murmurs, and gasps. This same oddity for example, that a highly melismatic If you want to explore the substance appears among other members of the love song by Delahaye has a text by of the Szell legend, this is a fine over- cast: Portia sighs before speaking her Francois Villon. N.B. view. R.C.M. first line: Lancelot Gobbo ( Ronnie Bark-

ArrYouBrllillHOulYj,,1/ APIlik thir 2 of What Good Music Offers You, I m1111111111111111111IIIQQQQ ,Q11111 , ARS gives you PLEASURE plus = Special Introductory Record ACHIEVEMENT...through guided listening = "ALL ABOUT MUSIC" pith )our membership in llte ARS Greater listening enjoyment comes with greater understanding of good music. The America Record Society Explains and demonstrates the ele- ONLY menus of music: rhythm, melody, now offers 18 planned programs of instructive listening. harmony...and much more! Guar- Each is complete on a 12 ", 331/2 rpm L.P. high fidelity anteed to increase your knowledge sloe record ($2.98 each, three for $7.95). and enjoyment of good music or Each record includes stimulating, printed program notes your money back. retail value on background of composers and the music, PLUS A 12 ", 3311 RPM L.P. HIGH FIDELITY RECORD. SECOND -BY- SECOND COMMENTARY -YOUR KEY TO FOLLOW- ING AND UNDERSTANDING TILE MUSICAL SCORE. 1111111111111111111111111111111111111 joNA the thousands of music lovers who get more MAIL COUPON TODAY LA pleasure from serious music. America Record Society, 920 Broadway, New York 10, N.Y. Gentlemen: do; M the America Record Society today (simply mail Please send special introductory record "All About Music ". Err 14 L coupon), and take advantage of Special Introduc- closed is $1.00. I understand I will be enrolled in the America tory Record "ALL ABOUT MUSIC" under direction Record Society and will review new offerings in a monthly News- letter. I will accept or reject a record at that time. I will not have of musicologist C. J. McNaspy. to buy any specific number of records and 1 may cancel my membership whenever I choose. THERE'S NO OBLIGATION TO BUY ANYTIIING, NOW OR LATER Name AMERICA RECORD SOCIETY Address 920 BROADWAY NEW YORK 10, NEW YORK City Zone State A CIRCLE 9 ON READER -S RVICE CARD AUGUST 1963 89

www.americanradiohistory.com er) begins with a grunt: and even the lin Gate production: Ashcroft seems to Duke of Morocco (nobly read by Mark me to have the edge in wit and incisive- Dignam) interjects a "Ha! ha!" One ness and vocally too she is better equipped suspects that, to some extent at least, for the role (there is a richness, even a the method must be credited to the di- slightly unctuous quality, in the Car- rector. (And who is he, by the way? michael voice which makes it a trifle Labels and cover identify him as Peter heavy for the Beatrician touch- and -go). Wood; jacket notes insist that he is I also think that the Ashcroft perform- Howard Sackler.) ance is more varied. and she is particu- In general, too much restraint and larly amusing in the scene where she oversubtlety are the serious faults of is "ill." On the other hand- Dublin Gate this recording; even Dorothy Tutin's offers a fine lagniappe in the presence charming Portia. though certainly the of the brilliant Hilton Edwards in the most sustained of the major roles, suffers minor role of the villainous Borachio, from being too much held in and played while Daphne Carroll plays Hero with down. Jeremy Brett's Bassanio is af- all her customary charm. These roles are fected: and while Harry Andrews rouses beautifully done in the London set too. interest at the outset by stressing An- though; in short, the choice is hard. tonio's "humor" of "sadness," this note EDWARD WAGLNKNLCHT tends to be lost as the play proceeds. The minor characters are all satisfactorily SHAKESPEARE: done, and Zena Walker brings a charm- "Shakespeare at ing voice to the role of Jessica. Stratford" EDWARD WAGLNKNLCIIT Royal Shakespeare Company, Peter Brook, Peter Hall, and Michel Saint - SHAKESPEARE: Much Ado About Denis, dirs. Nothing LONDON 5770. LP. $4.98. LONDON OS 25770. SD. S5.98. Dame Peggy Ashcroft, Sir John Gielgud, A collection of scenes William Squire, Michael Hordern, Patrick and speeches from eight comedies, three tragedies. and one Crean, Josephine Stuart, Gary Watson, history Peter Woodthorpc, performed at Stratford during Ian Holm; Marlowe 1960/61 and presenting Society: George Rylands, dir. sixteen players (nine men and seven women this LoNIRtN A 4362. Three LP. $14.94. ), disc is rather a mixed bag. Paul Hardwick's LONDON OSA 1362. Three SD. Prologue to Troilus $17.94. and Cressida is bom- bastic. and Patrick Wymark is practically unintelligible in Launce's Among Shakespeare's "golden middle address to his dog front The Tiro Gentlemen of comedies" Allah Ado About Nothing is Verona. But Edith Evans the one which is magnificent for posterity has cared as Queen Margaret in Richard least. Probably the thorough artificiality III ( Act IV, Scene 4), and Elizabeth Sellars of the contrived Italian intrigue in the scores in both her selections serious plot is primarily responsible. -as Her - mione in the trial scene of The Winter's Claudio 's treatment of Hero in the church Tale and as Queen Elizabeth to Dante scene would be outrageous she even if Edith's Margaret. In the "Kill Claudio" were guilty, and her father Leonato is, scene from Much Ado About Nothing possible. an even greater fool than the if both Christopher Plummer and Geraldine elder Capulet. But there is also an ele- McEwan play with a deceptively of vulgarity in the sparring part- light ment touch which is just right for Beatrice ners Beatrice and Benedick, which does it still provides superb performance and Benedick, and which does not con- not appear in kind. I believe, in any ceal their deep feeling. other hero and heroine of Shakespearean For my personal taste. these are the The new Sono -Flexb needle incorporated comedy whom we are intended to ad- triumphs of the set. writing of Just behind them mire. Fortunately the brilliant should place Peggy Ashcroft's reading in the Velocitone Mark Ill and other helps to the Beatrice -Benedick scenes of Katherine's advice in The Taming of Sonotone cartridges brings new pleasure direct away from this. and the attention the Shrew, very high -keyed and a the little to music lovers. Not only does it over- offensive element itself declines as shrill but intelligently felt and delivered: play proceeds until nothing but admira- Gielgud's reading of Othello s address to come the problem of broken needle in the presence of the lady's tion remains the Senate. so vocally beautiful as almost the shanks, but it increases music listening generous indignation in "Kill to conceal his lack of the Othello tem- pleasure by providing higher compli- Claudio" scene. perament; and the Epilogue to AA You second to be The new recording (the Like lt, done with much verve by ance, wider and flatter frequency re- stereo) is one of made and the first in Vanessa Redgrave, who has already very best in the Marlowe Society sponse, lower distortion, less needle the shown what a fine Rosalind she is in this group has been em- and record wear. series. Of late. Caedmon's complete recording of the ploying increasingly prominent actors for play. still refusing the leading parts (although The program is completed by two se- but never Make sure the next cartridge you buy to identify player with role), lections from Twelfth Night and one quite as is the Sonotone Velocitone Mark Ill with before, I think. has it reached each from Hamlet ("To be or not to the two leads here. To what high as be"), As You Like It ( "All the world's Sono -Flex needle. And, if you're one of and the di- extent the rest of the cast a stage "). The Merchant of Venice (the 14 million phonograph owners with a rector have been vivified by the presence mercy speech), and Romeo and Juliet. Dame Peggy Ashcroft and Sir John phonograph equipped with a Sonotone of EDWARD WAGLNKNI.CHT Gielgud it would he hard to say. What cartridge, replace your current needle is certain is that the production crackles with a Sono -Flex. You'll notice a marked and sparkles throughout. Since the only other recording of the improvement in performance. play (the Dublin Gate production on Available at all leading hi -fi dealers. Spoken Word A 6) is also out of the top drawer, the purchaser cannot go wrong with either version. Different as they are in the quality of personality NEW revealed. I should find it hard to choose SONOTONE between Sir John Gielgud's Benedick and that of Micháel Macl.iammóir; both SONO -FLEX T NEEDLE are outstanding. For Beatrice. however. I definitely prefer Dame Peggy Ash- SONOTONE CORPORATION, ELMSFORD, N. Y. croft to Coralie Carmichael in the Dub- CIRCLE 75 ON READER SERVICE CARD HIGH FIDELITY MAGAZINE

www.americanradiohistory.com New Musical Conceptions Realized by Electronic Means

Karlheinz Stockhausen

lr OUGHT TO mE SAID straight off that creteness, its nonabstractness. It is as if, Of the Columbia Studio works on the all of this music -like most electronic in working with these taped vocal sounds Son Nova recording, the most ambitious music being produced today -uses elec- in conjunction with "pure" electronic is that by the Argentinian composer tronic equipment and tape as a means sounds. the composer was naturally Mario Davidovsky. A dry, vigorous for the realization of artistic conceptions brought around to the physical and composition, Study No. 2 is musically that can be evaluated as works of art psychological realities of the sonic ma- simple, perhaps even crude, but full of (good or bad, important or unimportant) terial and its possible significance in real motion, direction, variety, and char- in the usual sense. Though the music as forming a musical and expressive struc- acter. The three works by Vladimir such exists only on tape or disc for per- ture. Ussachevsky have the quality of good formance through loudspeakers, it is in At any rate, I suspect that Stock - and interesting studies; sound sources are every sense the product of an individual's hausen's Gesang, dating from 1955 -56, primarily nonelectronic and their partic- imagination, genius, skill, and mastery gets closer to the real problems of mak- ular characteristics and manner of ma- of his medium. Composers use electronic ing a piece of music than any other nipulation seem to have suggested the means because they are fascinated by work. electronic or not, he has yet writ- musical shapes of the pieces: for ex- new and wider horizons, because they ten. The piece has an immediacy and ample, a work is built out of the rela- have conceptions that can be realized an expressive reality in which the ma- tionship between sliding, whooshing only electronically, and because they can terial itself, its dramatic- expressive effect, sounds derived from nonpitched percus- thus achieve a fantastically precise con- and the direction and shape into which it sive sources and events of fixed rhythmic trol of musical events. forms itself are intimately and profound- or pitch definition derived from the The actual musical results can differ ly related. The sounds of the voice ap- sound of a harpsichord. The results are very widely -witness these two records. pear, now pure, now transformed, now simple, clear, limited, but genuine and As in any art form the differences ulti- multiplied into a chorus, now trailed off musical in the best etude manner. Of mately reflect stylistic and aesthetic dif- into a mere echo, now charged with less intrinsic interest is the electronic ferences: i.e., the predilections, tastes rhythmic energy, now sustained and dis- music of Bulent Arel, a Turkish com- (and abilities) of the particular creators. tant, always beautifully framed and sus- poser who worked at Columbia; his ef- One could say that Stockhausen's elec- tained by the electronic material with forts are quiet, cool, skillful, and con- tronic music presents the realization of which they are inextricably interwoven. trolled but without much content. certain preconceived ideas about struc- A"r,ntnkte, composed in 1959 and 1960, Needless to say, both the DGG and ture and form; the same is true of his is. at the same time, a more and a less Son Nova discs should be played on instrumental music. The Columbia ambitious work than Gesang. It actually stereo equipment. Most of the works "school" as represented on the new rec- exists in two forms; in one version, the were originally designed for multichannel performance, often with speakers ar- ord ( the Princeton part of the Center - tape material is juxtaposed with a live Milton Babbitt and the R.C.A. Electronic pianist and percussionist; that here is ranged in all directions around the lis- Sound Synthesizer -do not appear here) from a stereo tape alone without live tener. Since this spatial aspect is built suggests an interest in a wide range of performers. While the range of electronic in as an essential part of the musical raw sound material, not necessarily elec- sounds employed in this version often materials, conceptions, and structures, tronic in origin but transformed through approaches very closely the actual sounds two channels would seem to be a bare electronic and tape manipulation in such of piano and percussion instruments, I minimum requirement: the Stockhausen a way that the musical ideas and struc- believe they are all electronic in origin. release, in fact, apparently exists only in . tures shape themselves from the material. The piece is an extended series of inter- stereo format. ERIC SALZx1AN With the exception of one or two related studies of musical continua. works by Edgard Varèse and Milton Bab- Fixed pitch is virtually nonexistent al- STOCKHAUSEN: Gesang der Jiing- bitt, the Stockhausen Gesang probably though occasionally steady states of mu- linge; Kontakte represents the most extended and coin- sical phenomena appear briefly. The . plete realization of an electronic concep- sounds move in great. wheeling circles Realized at the Electronic Studios of the tion considered from a mere musical and with huge accelerations and ritardandos West German Radio, Cologne. aesthetic point of view. It is curious that of a variety of percussive sounds. There DEUTSCHE GRAMMOPHON SLPM in important works by the three com- are wide sliding scales of speed, pitch, 138811. SD. $6.98. posers mentioned, the human voice plays duration, and loudness sorted out into a significant role. Stockhausen uses a great bands of sweeping sound. USSACHEVSKY: Metamorphosis: boy's voice (singing a Biblical text). pre- From my point of view the work's Improvisation recorded and electronically manipulated inordinate length does not seem justified Linear Contrasts; to very effective purpose. While I do by any sense of real direction or long - No. 4711 not think that this has much to do di- range motion; there is always the feeling tArel: Electronic Music No. I; Music rectly with any question of employment that it could start or finish at any point. for a Sacred Service: Prelude and of a "human" element in a "dehuman- The actual electronic material also ap- Postlude; Fragment ized" medium, perhaps one should not pears limited in its use, although the lDavidovsky: Study No. 2 overlook the dramatic effect (and rich- piece could certainly serve as a kind of ness) of vocal sounds in a purely elec- index of possibilities and, as in all of Realized at the Columbia- Princeton Elec- tronic landscape. With Stockhausen. it Stockhausen's work, there is a great deal tronic Music Center. seems to me that the use of the boy's that is remarkable in the quality of SON Nowt 3. LP. $5.98. voice is successful because of its con- thought. SON NovA 3. SD. $5.98.

AUGUST 1963 91

www.americanradiohistory.com A Second Look at Dynagroove

SINCE ITS INTRODUCTION in the spring, Among the newest releases I have also cal criticism may have some validity: a stormy controversy has been raging studied the Rubinstein Schumann (re- designed for the current 0.7- and 0.5 -mil over the merits of RCA Victor's viewed catch- by Harris Goldsmith on p. 71), playback styli, Dynagroove discs will not all system labeled Dynagroove. Public and the Munch Debussy and U. S. Serv- be accurately reproduced by the 0.3- or enthusiasm has been considerable - ice Bands discs (which I review on p. 76 0.2 -mil styli which may very possibly within barely three months of their re- and p. 98 respectively). I've had too the come into use at a later date. lease all ten of the initial Dynagrooves welcome opportunity of comparing the Leaving aside such potential difficul- had made an appearance in Billboard's British -pressed Butterfly (cut without ties, I can sum up my personal reactions listings of the fifty best- selling stereo Dynagroove disc techniques, although as follows: the more I listen to Dyna- discs; but of course commercial success embodying Dynagroove preëqualizations) groove recordings, the more I'm im- does not necessarily imply either artistic with the corresponding all -Dynagroove pressed by the new technology's clarity or technical excellence. and any serious American edition. and vividness (perhaps even more observer can only be disturbed by the While for the most part this further marked, relatively, in mono discs than extreme diversity of critical reactions to investigation has strengthened my first in stereo format); the more I'm con- Dynagroove. impressions of Dynagroove, it has also vinced that its chief accomplishment is Of the many claimed Dynagroove ad- provided new illuminations on some of in heightening the sense of immediacy vantages, only one -that of exceptionally the debatable considerations. I must agree and dramatic impact regardless of play- quiet disc surfaces -seems to be unani- with the opposing camp that in some back equipment or of the volume level mously accepted. Its apparently wider cases the stereoism itself seems minimal, (although it is relatively more effective dynamic range (noted by many reviewers. but I'm still convinced that this is pri- with smaller equipments and lower play- including myself) is denied as illusory marily the result of more cohesive or- back levels); and the more I realize its by other listeners. Some objectors even chestral layouts (especially in the Boston ambivalent qualities in wide -range high contradict the generally recognized recordings); certainly I can't find any level reproduction -when it enhances the minimization of groove -tracing distor- real constriction of "spread" in Butterfly, dramatic qualities of the original per- tion, professing hear to more rather than for instance, or any differentiation - formance but at the saine time also in- less, particularly in the last half of dilution there or in most of the pop tensifies any unnaturalness of sonic per- Munch's Ravel Bolero (which is, accord- program releases. I agree too that Dyna- spective. When the miking is not too close ing to one writer, "the most distorted groove preëqualizations modify normal and there is a warm acoustical ambience stereo record ever produced by the Amer- frequency-spectrum balances to provide (as in Butterfly), the over -all results ican disc industry "). Dynagroove pre - greater mid -frequency presence and vivid- strike me as wholly admirable; when the equalization techniques are accused by ness (expressly for more effective repro- reverse is true (as in most of the or- some of "placing limitations on artistic duction on restricted -range equipment and chestral programs so far), the achieve- expression "; by others of drastically cur- at low playback levels), but I simply ment of ultraclarity is (to my ears) at tailing the "stereo effect and /or both cannot hear-on wide -range equipment the expense of familiar orchestral bal- low and high frequency response char- and at higher levels -any substantial loss ances and auditorium authenticity. In acteristics." And if the complete Aladaam of extreme highs or lows. And whatever such cases. while the sound may be im- Butterfly is unique among the first Dyna- results measurement tests might show of mensely exciting, it is not what one groove releases in escaping directly ad- Dynagroove's dynamic range, it impresses hears in the concert hall. verse technical criticism, some opponents me subjectively as at least as wide as In short. then, like every other audio of the system have suggested that the rea- (if not even greater than) what I have technique. Dynagroove is a double -edged son is that in this recording Dynagroove previously experienced. As for distor- tool, which can serve music well when techniques were employed more spar- tion. my ears reaffirm that it has been it is handled with genuine artistic skill ingly than elsewhere! lessened rather than increased (the real but which can also lead to melodramatic Some of these disparagements (includ- origin of some listeners' objections to the excess. In itself it represents neither ing the last one) strike me as outright last half of the Bolero, for example, being revolution nor retrogression; it is simply nonsense; others as having at least some brutally hard -driven orchestral playing a system of electronic and mechanical justification, although in most cases I and cruelly candid miking rather than procedures that must be evaluated solely am far from sure that the source of the recording or reproduction per se). in terms of individual recorded perform- alleged flaws lies in Dynagroove technol- Earlier I had thought the Dynagroove ances. ogy as such. (The qualities I disapprove groove -cutting techniques of perhaps Only in time. with more and more most strongly are those that seemingly more negative than positive value (since varied examples, can the specific tech - stem from overdose miking and deadened most of the tape editions are such an niques be analyzed more objectively. acoustical ambiences, evident in several extraordinarily close aural match of their Meanwhile, however, if its originators pre -Dynagroove RCA Victor recordings. disc equivalents), but my comparison sincerely wish to speed that analysis. such as the Leinsdorf- Boston version of of the British non -Dynagroove -cut and they could do so simply by issuing a Bartók's Concerto for Orchestra- quali- American Dynagroove-cut Butterfly discs Dynagroove comparison -sampler which ties which have the effect. as a reviewer proves that, in this case at least, the would include the same passages (from in the Gramophone vividly describes it, new cutting techniques do represent an various present programs) done both with of putting the listener "just a bit too improvement. I was able to detect audible and without Dynagroove preëqualiza- much on top of the sound for comfort. ") evidences of the all- Dynagroove version's lions, and also with and without Dyna- In any case I have been prompted by superiority both in orchestral and in vo- groove disc cutting. Such an opportunity the continuing debate to rehear all the cal fortissimos, which in the British ver- for direct comparisons probably wouldn't first Dynagroove discs in direct compari- sion are enough tighter and rougher in resolve all the current controversies. but son with their tape editions, as well as quality to indicate the presence of at it surely would help in pinning down to listen with particular care to the more least some slight groove -tracing distor- listeners' arguments to matters of sonic recent Gould -Sibelius and Hollander - tion. On the other hand. in this matter of fact rather than prejudice! Leinsdorf Dello Joio /Ravel programs. Dynagroove's cutting- practices, theoreti- R. D. DARRGLL

92 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com NEW FALL RECORDINGS produced Off Broadway last season), a three -volume "Treasury of Spanish Continued from page 69 Drama," and six abridged versions of Shakespeare plays will be added to seph Szigeti in violin music by Ives, SA's drama catalogue. Look also for Webern, Honegger, and Debussy. a seven -volume "Tales of Hans Chris- tian Andersen." read by Eve Watkin- PHILIPS: A complete set of the Bee- son and Christopher Casson with thoven violin sonatas played by David sound effects of crocodiles weeping, Oistrakh and Lev Oberin is on the horses laughing. and ducks talking way, as well as another installment "like nothing you have ever heard." (Op. 22 and Op. 28) in Claudio Ar- rau's Beethoven piano sonata project. SPOKEN WORD: In addition to the Octogenarian Pierre Monteux makes usual Shakespearian accretions (this his Philips debut leading the London fall, Measure for Measure and Two Symphony in Brahms No. 2 and the Gentlemen from Verona), we can look Amsterdam Concertgebouw in Bee - forward to a recorded documentation . thoven No. 3. In celebration of Notre of the recent "Salute to Edgard Va- Schwarzkopf Dame's 800th anniversary there's a rise," given in New York this spring Ludwig collection of works by Campra, Des - with Aaron Copland, Leonard Bern- Böhm, cond. vignes, Vierne, and Chochereau re- stein, and many other notables. corded in the Parisian cathedral. The most beautiful whose taste runs to more crop of Francophiles VANGUARD: A bumper recording of a intimate music will want to know Haydn. From Antonio Janigro and Ge- Mozart opera yet about a Duparc song recital by the Zagreb Symphony, the so- called Angel rard Souzay. Finally, the last of Clara "Starts und Drang" symphonies, Nos. to have appeared." Haskil's unreleased recordings will 44 through 49 ( in a three -record al- Records and Recording make its appearance- Falla's Nights bum): from David Blum and the Es- in the Gardens of Spain and the Cho- terházy Orchestra. Nos. 52 and 60; ANGEL (S)3631 D/L pin F minor Concerto, with the La- from Mogens Wctldike and the Vienna 4 -TRACK STEREO TAPE ZD 3631 moureux Orchestra under Markevitch. State Opera Orchestra, Nos. 99 and 102. Maurice Abra'anel and the Utah RCA VICTOR: Our plea ( "Music Symphony weigh in with Karl Gold - Makers," June 1962) for the release of mark's Rustic Wedding Symphony Schubert's Ninth Symphony as re- and Handel's oratorio Samson (Phyl- corded in 1942 by Toscanini and the lis Curtin and Jan Peerce among the CIRCLE 8 ON READER -SERVICE CARD Philadelphia Orchestra has been an- soloists). More of Heinrich Biber's swered. This stunning performance music has been exhumed by the Con - will be issued, as a Soria Series pres- certus Musicus of Vienna, and more entation, next month. Other autumn "Madrigal Masterpieces" by the Deller Never before, Soria albums: Puccini's Tosca, re- Consort. In mono only we'll he of- such a portable corded in Vienna under Von Kara - fered the complete Beethoven violin as this! jan's direction, with Leontyne Price, sonatas taken from private recordings Giuseppe di Stefano, and Giuseppe of a 1944 Library of Congress recital Taddei; a mammoth "Horowitz Col- series by Szigeti and Arrau. lection" ranging from Mozart (Sonata in F, K. 332) to Prokofiev (Sonata WESTMINSTER: The growing army No. 7, Op. 83) by way of Czerny and of Brucknerites will want to know Scriabin; an Elizabethan collation by about a new recording of the Eighth The KLH Model Eleven the Julian Bream Consort. Symphony, on two discs played by Stereophonic Phonograph The latest entry in the Tchaikovsky Hans Knappertsbusch and the Munich Piano Concerto sweepstakes will he Philharmonic. The Chinese pianist forthcoming from Artur Rubinstein Fou Ts'ong is represented in Chopin's and the Boston Symphony, Erich F minor and Schumann's A minor Leinsdorf conducting. The all -time concertos (with the London Symphony Tchaikovsky champ, Van Cliburn, will under Peter Maag), and also in two be heard this fall in Beethoven's Piano Schubert sonatas -the A minor (No. 4, and Concerto No. with Fritz Reiner 14) and 13 flat (No. 21). Other items, $1992 the Chicago Symphony. who also con- under way this summer under James tribute a Pastoral Symphony. Anna Grayson's supervision, will very pos- The world's first respectatk portable - Moffo pays homage to the 150th an- sibly be in the shops by November. a system of fine components designed niversary of Verdi's birth with a col- into a sophisticated 28 pound package of featuring a into such Indeed, that addendum can apply to breathtaking performance, pair lection of arias that delves rew full -range, mentioned. of KLH's revolutionary rarely performed works as / Vespri almost every company long -excursion speakers. See and hear and Giovanna d'Arco. And the fa- The gap between recording session and it (and ask about the unique 5 year mous Leontyne Price /William War - commercial release is narrowing con- guarantee) at your franchised KLH dealer's. field partnership in Porgy and Bess siderably, and many undertakings that Or write us for literature. will be revived in the latest stereo. were no more than fond hopes when report went to the printer will be this MIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIMM SPOKEN ARTS: An original -cast re- pressed into vinyl before the year is KLH RESEARCH AND DEVELOPMENT CORPORATION cording Bertold Brecht's A Man's out. Wouldn't it he a shame if there of 30 CROSS STREET, CAMBRIDGE 03, MASEACIIUSETTS a Man (in Eric Bentley's adaptation, were no surprises left? CIRCLE 52 ON READER -SERVICE CARD AUGUST 1963 9

www.americanradiohistory.com POPULAR THEATRE FOLK

"She Loves Me." Original Cast Reeord-

in,>;. M-G-M E 41180C-2, $6.98 (Two LP); M-G-M SE 41180C-2, $7.98 (Two SD).

Barbara R.ixiry Barbara Cook

Lighthearted Lyrics and a Score To Soothe the Ears

AHARMING AND FROTHY musical confection of a small group of talented performers, and has a which floated on to Broadway in late April, score that, running counter to current fashion, She Lores Me is a brave attempt to bring hack the soothes rather than assaults the ears. intimate musical, a form of entertainment out of Joe Masteroff's book is based on Parfumerie, a vogue since Jerome Kern's enchanting The Cat and European success of 1937 written by the Hungarian the Fiddle of 1931. Like that predecessor, She Lores playwright Miklós László. Although Lázló's comedy Me dispenses with a chorus, relies on the teamwork never found its way to Broadway. it was the basis

94 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com for two Hollywood films -The Shop Around the gay little chant called No More Candy, and the en- Corner, an Ernst Lubitsch movie of 1940, with Mar- dearing Dear Friend, which closes the first act; and garet Sullavan and James Stewart. and In the Good her romantic vis- à -vis, Daniel Massey, though a little Old Summertime, a 1949 musical starring Judy Gar- shy of voice, manages the songs allotted him with land and Van Johnson. (In the latter the locale was considerable assurance, notably Tonight at Eight. switched to Chicago, and Parfumerie smelled more The other performers are all excellent: Barbara Bax- of the Midwest than Vienna.) Without ever having ley, better known as a serious actress, turns out to seen Lászlo s play, I am willing to hazard a guess be quite a comedienne, and is particularly effective that Masteroff s story line is a good deal closer to in A Trip to the Library; as the one caddish indi- the original than was either of the Hollywood adap- vidual in the cast, Jack Cassidy does a splendid job tations. By today's standards the plot may seem in- by the serenade Bona and has something of a field genuous: two young people meet through an adver- day with Grand Knowing You; and Ludwig Donath tisement in a lonely hearts column, without realizing lovingly sings Days Gone By, a recollection of things that as fellow employees in the same perfume shop past in waltz tempo and one of the composer's most they see each other every day. But add to this situ- charming inventions. Wood Romoff and Ralph Wil- ation the subplots and the sub-subplots and the whole liams play minor roles, but they make major contri- thing begins to take on the quality of a Meilhac butions to the success of the whole. and Halévy libretto for an Offenbach operetta. If Bock's music is the most memorable distinc- This lighthearted imbroglio has been wonderfully tion of this altogether delightful show, special men- illuminated by Sheldon Harnick's fine lyrics and tion ought also to go to Don Walker's orchestrations. Jerry Bock's remarkable score. Neither of the com- Full of unusual and colorful touches, his writing for poser's previous Broadway efforts (Fiorello and strings and winds is thoroughly pleasing, and his dis- Tenderloin) approaches his present imaginative evo- creet use of brass is a welcome deviation from the cation of atmosphere and character. From the open- usual blatant Broadway norm. ing Good Morning, Good Day and Sounds While This is a long score, running almost an hour and Selling (both of which remind one again of Offen- a quarter, and because some of its numbers evolve bach) to the closing Twelve Days to Christmas out of dialogue M -G -M has very wisely recorded it (which has more than a suggestion of Noel Coward) in full on two discs. I have not heard the mono the score is a constant delight. Fortunately, She version: although the stereo shows certain inequali- Loves Me is sung by a cast who appreciate its merits. ties in depth (some phrases come over as if more others in the same number) and The always wonderful Barbara Cook 1 in my opinion closely miked than the most accomplished girl vocalist in the theatre to- although little attempt is made to simulate stage day) is persuasive in all her numbers, and is out- movement. on the whole I found the sound very standing in the long soliloquy Will He Like Me ?, a satisfactory. J.F.I.

"The Bestiary of Flanders and Swann." agreeable enough, in what I would call Angel 36112, $4.98 (LP); S 36112, an old- fashioned concert party sty le, and $5.98 (SD). 1 suspect they have been written with Those who fondly remember the two dean eye to Mr. Flanders' vocal limitations, lightful nonsense songs about the hip- since it is he who does most of the sing- popotamus and the gnu ( "the g- nicest ing. Occasionally, Swann breaks into a work of g- nature in the zoo "). which the mock heroic tenor just to make it clear team of Flanders and Swann included in that he could sing if he really had to. their recording of At the Drop of a Hat The stereo edition separates the two per- a few seasons ago, will be pleased to formers quite widely. but in the present discover that a wider exploration of the instance this positioning seems eminently zoological universe has inspired them to right. J.F.I. an entire program of animal songs. Flan- ders, who writes the lyrics, has some "My Silent Love." Living Strings Plus marvelously fanciful ideas about the Two Pianos. RCA Camden CAL 754, various problems -social. biological, psy- $1.98 (LP); CAS 754, $2.98 (SD). chic, and even political -which he as- For three years now, RCA Camden's sumes beset the poor beasties, and these British -based orchestra. The Living he presents in a series of neat and whim- Strings. has been recording (with and sical numbers. There is the warthog. who without twin pianos) some of the finest despite heavy camouflage remains a so- mood music albums in the catalogue. cial pariah because everyone knows he Flanders and Swann: not all whimsey. Anyone who has not yet discovered these is a hog beneath the finery; and the proud low- priced issues might well start with little sea horse, who, while his sea mare the chameleon, capable of changing the this new release, certainly one of the is out opening aquatic garden parties, is color of his skin to match his political best. The romantic atmosphere character- obliged to take on a maternal role. views -a metamorphosis transpiring so istic of nearly all this music has been raising sea colts and sea fillies. How frequently that eventually he can't re- heightened by Hill Bowen's scorings, in sad the life of the armadillo, who un- member what his original color was. which the lush writing for strings and suspectingly sings his song of love to an (Flanders suggests it's yellow.) In fact, pianos is flecked with the warm sounds abandoned armored tank, and how for- not all the songs are lighthearted: there of the brass, notably French horns. The tunate that of the sloth, who from his are ominous suggestions in the lyrics of program is a nicely balanced mélange of inverted position sees a world in which Dead Duek.c and The Ostrich too. excerpts from Chopin. Fihich. and a frown becomes a laugh. Then there is Donald Swann's musical settings are Tchaikovsky. and such semiclassical and

ALcUsT 1963 95

www.americanradiohistory.com pop numbers as Dream of Obvert, Inter- "Dark Eyes." Don Cossack Choir, Serge there is a tug of poignance, mezzo, and the title song. Also included If you're Jaroft, cond. Deutsche Grammophon game for something truly different, this are Naomi, a Nathaniel Shilkret waltz LPEM 19367, $5.98 (LP); SLPEM release will afford you a glittering which I do not remember having heard hour. 136367, $6.98 (SD). Engineering is first -rate. O.B.B. before, and Romberg's Faithfully Yours DGG continues to frame the Don Cos- (not as part of the score of The Desert sack Choir in the finest sound ever ac- Sung as the liner notes indicate, but for corded the veteran Russian chorus, and "Far Away Places," Vol. 2. Enoch Light and His Orchestra. some years the theme song of the com- Serge Jaroff's singers respond with a Command RS 850, poser's radio show). The English tech- meticulously balanced program ranging $4.98 (LP); RS 850 SD, $5.98 (SD). nicians have provided resplendent sound from a fragment of the Orthodox liturgy Enoch Light might easily have titled this disc in both editions, with the stereo disc through Rimsky-Korsakov's Hindu Song "Around the World in Forty Min- slightly richer in quality. J.F.I. to the latter -day Soviet hit Moscow utes," since the itinerary roams the globe Nights. Here is a very broad spectrum -from Istanbul to Polynesia, from Rio in- to "Streets I Have Walked." Harry Bela - deed. The Don Cossacks are emerging Canada, from the Scottish Highlands fonte; Orchestra and Chorus, Howard from a sorry period to the Orient, with a few other stopovers of lax direction thrown Roberts, cond. RCA Victor LPM and dreary repertory; this recital harks in. Lew Davies has written for 2695, $3.98 (LP); LSP 2695, $4.98 back to their halcyon age. this tour a series of gay and colorful We are not arrangements (SD). likely to hear Russian songs better sung which not only suggest the Belafonte is back, slicker than ever, -or better selected some time atmosphere of the more exotic ports of -for to call and with the familiar appeals. For my- come. O.B.B. but also brighten up the less glamor- self, I wish that he would abandon his ous ones. He makes wonderful use of the habit of including an Israeli song in "Travelin'." Chet Atkins, guitar. usual accouterments of the Enoch Light RCA Orchestra, every recital: his totally misguided sing- Victor LPM 2678, $3.98 (LP); LSP and has implemented them ing of Erev steel Shoshaninl (Night of 2678, $4.98 (SD). with a harpsichord, celeste, and bagpipes. Roses) would depress even an Arab; and In these beautifully relaxed, The skillful manner in which he has subtly col- worked his Waltzing Alathilda is not helped in ored, and gorgeously played perform- this last much maligned instrument the least by a fake Australian accent and ances of some rather inconsequential into the Scottish medley, plus Jim- the ministrations of a saccharine chorus. musical trifles, Chet Atkins once again my Maxwell's remarkable playing, con- stitutes the Yet Belafonte shapes a poignant evoca- proves that he has no peer as a pop piéce de rr%sistance of the entire disc. The tion of the Old West out of l Ride an guitarist. In fact. he might well be called delicate tones of the celeste endow Old Paint and his version of The Horning the poor man's Segovia. Though most of The White Cliffs of Dover with Day emerges as one of the most deli- the items in this program are now almost an almost pastoral atmosphere, while cately lovely religious songs to come to too familiar (Exodus, La Dolce Vita, the bright timbre of the harpsichord adds us from the West Indies. The high point Baubles. Bangles, and Beads, etc.) Atkins considerable animation to the almost of the record is a long, heartfelt rendi- finds a way to endow with bouncy version of By the each unex- River tion of the ancient Japanese court song pected freshness. The less hackneyed Sainte- Marie. The instrumentation throughout Sakttra (Cherry Blossoms). Belafonte numbers picked up by the guitarist on a is arresting, calling for tin- sings it in Japanese with an accent that recent South African tour kling finger cyn- als, tambourines, gongs, are of even wood will be an agonizing experience if you greater appeal: Nahoon.sprttit Polka; blocks, tom -tom, and castanets. ( Regrettably, know the language, but with an emo- (Yoram Patat, a lively tune in polka there is also a vocal group whose tional intensity that redeems everything. rhythm; and Mossie Se Moses, which la- la- la -ing is only distracting.) In- cidentally, The disc ranks with his finest. O.B.B. suggests that South Africans have dis- we're also offered a fine, boisterous, covered bossa nova. I cannot find that rollicking performance of "The Establishment." Original Cast Re- the stereo offers anything not to be heard Colonel Bogey . . but where does one cording. Riverside RM 850, $4.98 (LP). on the mono; both are immaculately re- find that on the map? J.F.I. Kenneth Tynan has described the floor corded, and the sound is most seduc- show at London's now famous night tive. J.F.I. "Flamenco Fenomeno." Juan Serrano, club The Establishment as being "more guitar. Elektra EKL 235, $4.98 (LP); scurrilously outspoken than anything of "Sun Arise." Rolf Harris; Orchestra, EKS 7235, $5.95 (SD). its kind in Europe." To judge from these Johnnie Spence. cond. Epic LN 24053, Anyone who has ever attempted to mas- recorded excerpts from the New York $3.98 (LP); BN 26053, $4.98 (SD). ter the guitar will strongly suspect that production performed by the original Australian -born Rolf Harris creates a Serrano has ten lithe snakes in place London cast, Tynan's pronouncement fresh breeze indeed. Writing his own of fingers. His mastery of the instrument is equally applicable to the current songs, he illuminates a funny, soft -focus is uncanny. He shapes chords and legatos American presentation. Some of the more world -a world of satirized island life with the clean. lovely plasticity of a vitriolic numbers may have been toned (Sun Arise), of progressive degeneracy torero leading a bull through a classic down a little for audiences in this coun- (Nick Teen and Al K. Hall). and of the facita, and his flamenco is a three- dimen- try and some of the very -very -British cunning gaucherie of adolescence (Hair sional cry from the soul. Here is the items dropped, but we still have a series Oil on My Ears). Harris is off -beat, his legitimate challenger of Sabicas and Mon- of impudent, irreverent, iconoclastic comedy depends upon the snicker rather toya. Listen to his Flamenco Variations sketches adding up to an outrageously than the belly laugh, and sometimes on Autumn Leaves for a fast primer on frank and funny program. Fairest game the myriad complexities a gypsy guitarist for the authors, whose political beliefs can coax from a simple melody. O.B.B. are obviously Left -Liberal, are humbling Tory politicians. their national programs "Star Dust." Boston Pops Orchestra, Ar- and personal foibles -all outspokenly thur Fiedler, cond. RCA Victor LM ridiculed in Window on the World and 2670, $4.98 (LP); LSC 2670, $5.98 Consent and Advise. Among other (SD). political and social issues, the problem of The heartiness of Fiedler's direction with and colored immigrants is disposed of the exuberant orchestral playing of his startling directness in Lodgings (although fellow Bostonians infuse this concert of to the ambition of an African potentate standard show tunes and a couple of a number become Queen of England. in Debussy miniatures with a feeling of called Sports Report, is rather long and musical bonhomie quite rare these days. labored). The Monarchy. once considered Everybody, but everybody. is obviously sacrosanct in the English theatre, conies enjoying the occasion. And why not? in for some rough treatment in The The show tunes have been skillfully or- Queen. a wicked lampoon of Her Maj- chestrated in a semisymphonic manner by esty reading a prepared speech. Bril- either Jack Mason or Richard Hayman liantly read by Eleanor Bron. it is ex- (though i would enter a mild demurrer tremely funny until the final pay -off line, against the former's inflated treatment of where the use of a blasphemous phrase Reverie), and they exploit the impressive to get the necessary laugh seems to nie technical prowess of this orchestra. The inexcusably tasteless. One or two num- luminous, almost diaphanous arrange- bers misfire, but most hit their targets ment of Debussy's Clair de lune, by the with startling accuracy. The quartet of way, is accredited to one Mouton. and performers has established such extraor- the setting is one of the most beautiful dinary rapport that much of the dialogue I have ever heard. sounds quite extemporaneous. J.F.I. Rolf Harris: breeze from down under. On the matter of sound, i am con-

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www.americanradiohistory.com siderably less enthusiastic. In spite of RCA Victor's claims for its new Dyna- groove process, the quality of this particular disc is anything but pleasing. The mono version is fair, though when compared to non -Dynagroove records by this orchestra it proves to be lacking in rich- 1963's BIG ALBUMS! ness and body. The stereo version is less agreeable, developing an uncomfortably harsh quality in fortissimo passages and Another great triumph by characterized by edgy highs and pallid America's foremost lows. J.F.1. exponents of film music ... Ferrante & Teicher. "Yours Is My Heart Alone." Robert UAL 3290 Shaw Chorale, Robert Shaw, cond. UAS 6290 (Stereo) RCA Victor VCM 7023, $6.98 (Two LP); VCS 7023, $6.98 (Two SD). Shrewdly designed to appeal to a variety of musical tastes, this two -record album of recordings old and new is also an impressive documentation of this group's mastery of a repertoire stretching from Bach and Handel to Kurt Weill and Richard Rodgers. For lovers of operetta, there arc newly recorded performances of memorable songs from musicals of the past. all included on the first record in the album -a most sensible and con- siderate arrangement. One or two familiar rousing chorus numbers, such as Song of the Vagabonds and Drink, Drink, Drink, are also in evidence. More welcome is the reappearance of such Andre Previn conducting his charmers as Kern's She Didn't Soy Yes great score from the (in a particularly dainty setting); I-riml's sassiest, sauciest film Something Scents Tingle -Ingleing and of the decade. Gianninu Mia, and, to go back a long Every Little UAL 4109 way, Karl Hoschna's saucy (Stereo) Movement. Elegantly and sumptuously UAS 5109 scored by Robert Russell Bennett, the performances almost certainly could not be matched in any theatre today. 'I -he The Proudest Name In Entertainment second disc offers material culled from previously released albums of spirituals, CIRCLE 86 ON READER -SERVICE CARD hymns, folk, pop, and college songs, plus an excerpt from the Kyrie of Bach's B minor Mass. These have all received favorable comment in past issues of this THE CONCERT SINATRA magazine, and I can only add my agree- I ÓrMtÌr: N.IAtMÌRYIIM óitOOCliúrés °iüiii rúYIIli YérOYL i msöuú: ment with the laudatory opinions offered by my colleagues. There is, surprisingly, no pronounced difference in the quality of sound between the old and new recordings. The latter are perhaps a shade more robust, and a trifle warmer and cleaner. J.F.I.

"New Sides." Shelley Berman. Verve V 15036, $4.98 (LP). Berman is a hard -working comic who takes his craft seriously. He strikes out in no new directions on this, his fifth recording, but each of his routines sinks a satiric shaft into a large. fat target. One telephone sequence neatly eviscerates A. T. & T. and the morass of digits with which it now entangles telephone users; :mother caustically points up the general unavailability of medical aid in small This album utilizes Westrex 35MM recordation, 24 emergencies. The most hilarious episode is another telephone call -a device, inci- RCA 44BX microphones, 8 track 21 position mixer dentally, which Berman tends to over - use-to a small loan company: a happ console, 73 musicians, and 4 Sound Stages of the moron applies for a loan -by- phone. and the resultant byplay illuminates many a in It an funny facet of our money- oriented so- Goldwyn Studios Hollywood. represents un- ciety. Berman strains occasionally, but all in all he is one of our most incisive paralleled achievement in the technology of Sound. wits, and this recording catches him in full, outraged cry. O.B.R. Raymond V. Pepe. President of Institute of High Fidelity. Inc.. has written a definitive critique regarding the extraordinary technical aspects of this album. Ask your reel rd dealer ... or "Big Top Circus Calliope"; "Big Top write to Reprise Records. 1347 Cahuenga Boulevard. Hollywood. Carousel Band Organ." Audio Fidelity AESD 5986/87. 55.95 each (Two SD). Here are two new evocations of past music under canvas, breezily recorded reprise outdoors in Paul Eakins' "Gay '90s Vil- lage" at Sikeston, Missouri. Most of the r CIRCLE 94 ON READER -SERVICE CARD AuGusT 1963 97

www.americanradiohistory.com selections are period favorites, and many satisfy you, fine! They are well if not here plays with enthusiasm; the vividly of the performances boast an unex- exceptionally recorded. R.D.D. clean recording is an aural delight, not pectedly nonmechanistic lilt: listen par- least for its attractively live acoustical ticularly to the perky Pride of the Ma- "Come All Ye Fair and Tender Ladies." ambience; and the performances (of rines and the rocking Tennessee Waltz Pernell Roberts; Orchestra. RCA Vic- Banjo Chime, Down Yonder, Feefin' Bad, in the first program, and to Wedding of tor LPM 2662, $3.98 (LP); LSP Cedar Grove, etc.) are often virtuosic the Winds Shade of and the Old Apple 2662, $4.98 (SD). and always fun. I wish that the fine Tree in the second. To be sure, the Wur- Handsome and heroic romantic lead of anonymous harmonica player might litzer itself is pretty wheezy, and have Calliola the TV series "Bonanza," Pernell Roberts shared star billing, especially for his the Wurlftzer Band Organ's pipe and per- here turns his attention to folk balladry. contributions to My Old Kentucky Home cussion qualities are less impressive man Despite an unfortunate stricture in the and Wild Flower. R.D.D. those heard in the bigger Belgian Band upper register, his baritone is stronger Organ program released last January and richer than many a competitor's. "The National (AkSD 5975). The present jacket notes, He sings Cultural Center Pre- straightforwardly, without arti- sents. ." U. S. furthermore, fail to date or describe in fice Army Band and or pretension, and I think that his Chorus; U. S. Air Force detail the instruments themselves. Never- version of Sylvie Band and and Lily of the West can Singing Sergeants; U. S. Marine Band; theless, there is a real fascination in stand against any other in the catalogue. these sonic snapshots from a memory U. S. Navy Band and Sea Chanters. This is Roberts' recording debut, and it RCA Victor LPM 2685/88, album of authentic Americana. R.D.D. is not free $3.98 of a certain wooden reticence. each (Four LP); LSP 2685/88, $4.98 But if he ever chooses to leave television, each (Four SD). "Folk Songs and Sentimental Ballads." he has a significant future in the realm Rita Ford's Music Boxes. Columbia The four discs reviewed here represent of folk song. Outstanding recorded a "benefit concert," all normal CL 2008, $3.98 (LP); CS 8808, $4.98 sound, though profits no noteworthy benefit is and royalties from their sale going to (SD). conferred by stereo. the This disc resurrects delicate sounds of O.B.B. National Cultural Center's campaign to raise funds for a performing -arts cen- the past that might have tinkled from "30 ter in Washington. the music boxes in many a dark Victor- Hits of the Thundering '30s." In view of this laud- wide variety the Frankie Carte, His Piano and Or- able purpose I regret having to say that ian front parlor. A of chestra. only the fine Swiss and domestic instruments in RCA Victor LPM 2593, $3.98 Marine Band record (Lt. Col. (LP); LSP 2593, $4.98 (SD). Albert F. Schoepper conducting, LPM Miss Ford's collection have been heard or on records before, but she has chosen In another of his reminiscent rambles, LPS 2687) strikes me as successful; Frankie Carle takes a look at the Thirties, the other programs are marred by the particularly delectable examples here: a which, inclusion light but bright -toned Swiss Stella, a more whether they thundered or not, of too many nondescript pop tinny -voiced Symphonion, were probably productive of more good pieces, slick Broadway scoring techniques, a sonorous popular songs and an Olympia, and (featured most often) a than any other ten years in often schmaltzy use of male - the present century. To be sure, the ensemble vocalists. Unfortunately, the superbly ringing Regina -all of which decade extreme employ punched metal disc "records." was not without its musical hor- Dynagroove techniques employed rors, but by and large, Tin Pan Alley in the recording only italicize the general They are closely miked, with some am- tunesmiths lack plification roar and traces of mechanism produced a tremendous num- of refinement in the performances. noise, but the clean, sweet recording does ber of songs that not only had imme- Brilliant and ultrapowerful as the sonics diate appeal but still retain their popu- are here, they are cruelly closely miked; full justice to the often quite glittering larity sonics. Best of all, the sixteen musical today. As they flit by in this and though there is no dampening of crisp and effervescent performance, in acoustical ambience, reverberation is ex- selections are ideally chosen: Foster which songs, Kathleen Mavourneen, Cotnin' the melodic line is always well cessively long and unpleasantly cavern- Love's Sweet Song to the fore and the orchestral backing ous. Actually, the less coarse, more through the Rye, Old nicely approximates sharply focused -every one a heart throbber. I can't the style of the pe- mono editions are more imagine what the Beat Generation will riod, they create a wonderfully nostalgic attractive than either the stereo discs make of such tonal lavender and old and agreeable mood. Victor's West Coast or the tape versions (4- track, FTP lace, but nostalgic oldsters will find a studio sound is immaculate. I.F.I. 1188/91, $7.95 each). R.D.D. magical escape here. R.D.D. "Folk Music and Songs from the Middle "Soft Lights and Sweet Music." The En- "The Gypsies Are Singing." Sándor East." Philips PHM 200063, $3.98 chanted Strings and Organ, Dick Lakatos Ensemble of Budapest. West- (LP); PHS 600063, $4.98 (SD). Jacobs, cond. Coral 57416, $3.98 (LP); minster XWN 19022, $4.98 (LP); The iterative, modal music of the Mid- 757416, $4.98 (SD). WST 17022, $5.98 (SD). dle East has not been well served on Irving Berlin's great song from the early Eight popular gypsy singers of Central vinylite. To the casual Western ear, this Thirties, Soft Lights and Sweet Music, im- Europe offer a splendidly recorded pro- genre seems harsh, unmelodious, and mediately establishes the romantic mood gram of the traditional songs of the lethally repetitive. Actually, a subtle in- of this program of sentimental favorites. Romany caravans that have wound across terplay of melody and rhythm lends an Except for Now Is the Hour (which I've the face of the Old World since time almost endless, though not sharply de- always thought a dreadful dirge), the immemorial. Each soloist is heard in a fined, variety to Arabic music. Here program is a prime collection of melodic medley of three songs, making a bumper an impressive assemblage of native artists songs of the Smoke Gets in Your Eyes, crop of twenty -four in all. Here is frenetic offers an attractive anthology of this rich Blue Champagne, Sweet and Lovely joy and profound gloom, fiery fiddles and and little understood music. The numbers genre, played in continuous sequence sad cymbaloms-all as authentic as discs titled Alhinna and Bitter Farewell pro- by a group of strings, abetted by Ham- are ever likely to capture. Sopranos vide particularly appealing entrees. Ex- mond organ (sometimes spelled by pi- Jolán Boros and Mária Pataki contribute cellent reproduction in both versions, ano) and rhythm. The combination of particularly memorable performances. with stereo spreading the performance as strings and Hammond organ is not one Unhappily, the album includes neither wide as a Bokhara carpet. O.B.B. that usually appeals to me. but on this texts nor translations and provides only occasion it is most successful, thanks to the Hungarian titles. O.B.B. "New Sound in Bluegrass:" Bob Johnson, the strings' beautiful tone and the dis- banjo; Bill McElhiney String Orches- creet work of the organist. The stereo "Rods 'n' Rails: Hot New Sounds from tra. M -G -M E 4135, $3.98 (LP); SE sound is unusually rich and soothing, the Drag Strip." Riverside RLP 5517, 4135, $4.98 (SD). and is splendidly spread. J.F.I. $5.98 (LP); RSD 95517, $5.98 (SD). Devoted as I am to most forms of sonic Are the Riverside boys, who have never Americana, one of my blind spots has "Low Lights and Laughs." Joan Barton. flagged in their devotion to documenting been the so- called Bluegrass programs, Warner Brothers W 1481, $3.98 (LP); racing cars of every type, allowing their mostly emanating from Nashville, Ten- WS 1481, $4.98 (SD). annotators a vacation? Surely they can't nessee. The present disc -the first of this I suppose that this album will appeal assume that every listener will recognize genre I've really enjoyed -is marked by primarily to those -as the French dis- the present variety of souped -up stock a considerable element of sophistication. creetly put it-of a certain age. Most of cars by their sounds alone! Yet this pro- if not indeed commercialization. These these clever ribaldries date from the gram (like the earlier "Super Stocks," qualities aren't present in the soloist's 1930s and 40s, and most auditors who RLP 95516) simply reports what a mi- brisk and straightforward back -country can look back that far will remember crophone hears on a drag strip-includ- banjo playing, but there's no denying them with a pang of pleasure -I Said ing public announcements (for the most them in McElhiney's often ingeniously "No," She Had To Go and Lose It at part unintelligible), with no added in- antiphonal string orchestra and guitar the Astor, I Lost My Chérie to Paris. formation to help a baffled auditor. If backings. But what price purism? The This genre of double entendre pops the razzing sounds here are enough to more important facts are that everyone reached its brief plateau a generation

98 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com be bored by the commercialized and subsequent efforts to revive the cal spell over, around, and through these might ago, unfa- folksiness of Nashville guitar soloists, type lack the sophisticated gloss these selections which. because of their Miss Barton's vocal tim- miliarity, are doubly attractive. Among may find it worth their time to investi- gems possessed. out- bre-a kind of little -girl quality overlay- the more immediately appealing numbers gate the present program. Garrett's by a dis- size assemblage of genuinely virtuosic ing the hint of a leer-superlatively un- are Pianissimo, highlighted strings, players shows what can be done with the nuances. A lot of fun. and a creetly played piano solo against derline such hack -country favorites as the Ten- that is. by today's standards, De tout mon coeur, with its enchantingly nostalgia strings, nessee Waltz, Sugarfoot Rag, I Can't almost innocent. O.B.B. airy combination of flutes and and La Semaine in a gay, lilting arrange- Help /t, and even a ballad plaintively Paris in entitled Send Me the Pillow You Dream Cha- ment suggestive of the charm of "The Gershwin Songbook." George on the stereo ver- On. Divorced from the usual hokum, the Norman Stemfalt, the spring. The highs kiris: Orchestra. sions incline to shrillness, though this can tunes themselves have considerable 1610, $3.98 (LP); cond. Horizon WP easily be tamed by adjustment of the catchiness. and the present arrangements WS 1610, $4.98 (SD). The mono version, which does (mostly by Ernie Freeman) treat them England in controls. These recordings were cut in not suffer from this ailment, I found with an ingenuity that is seldom over - was starring in 1959. when Chakiris more agreeable. J.F.I. fancy. Garrett's performances embrace the London production of West Side both warm romanticism and cheerful Story. Although this fine batch of Gersh- Tommy zest, and the wide variety of guitar tim- too "Fifty Guitars Go Country." win songs (some of them heard all Liberty LSS 14025, bres and massed sonorities are caught to like for- Garrett, cond. infrequently these days) seems (SD). perfection in extremely robust and broad - to $5.98 midable material for a beginner Sophisticated listeners, who normally spread stereoism. R.D.D. tackle. Chakiris handles most of them extremely well. He has an excellent sense of style, good phrasing. and a completely unaffected way of projecting his songs in a pleasing, darkly colored baritone voice. There are some traces of vocal roughness. however. and occasionally he fails to make the most of prandberg the material. no It Again is almost de- void of piquancy, and They All Laughed surely calls for lighter. more humorous AND THE treatment. Otherwise. this is a quite successful debut. When the recordings NORSEMAN were issued in England. the orchestral support was credited to the London Va- riety Orchestra. Horizon's liner notes attribute it to members of the Ted Heath Band ... and to judge from the swinging arrangements this would seem to be closer to the mark. "file recorded sound. I'm afraid. is no better than fair. being badly plagued by the excessive use of an echo chamber. J.F.I.

"Guitars Around the World." Axel Stor- dahl and His Orchestra. Decca DL 4377. $3.98 ( LP): 74377. $4.98 (SD). A really brilliant programmatic scheme is inadequately realized here. but despite unimaginative arrangements. often hard - plugging performances. and unnaturally sharp -edged recorded sonies, this disc is one no aficionado of the guitar family can afford to miss. For I know of no other single release which represents a wider variety of plucked instruments: Everywhere! Spanish, Mexican. Brazilian. and Portu- Tandberg Tape Recorders...Dependable Lau - guese guitars ( played by the great TILE PLACE: Atlantic Ocean crossing: in a "Dragon' lutes, Greek mandolins, rindo Almeida); THE SITUATION: Several years ago,Thor Solberg, a Norwegian sailor, crossed the mandolins, samisen and balalaika. Italian Atlantic in an authentically duplicated version of an ancient Norwegian "Dragon" and both steel and electric banjo, tipple, ship. Daily reports of the crossing were made on a Tandberg Tape Recorder. Despite guitars. Each is featured in appropriate the sea air and motion, the Tandberg faithfully recorded the comments of this modern selections, in at least a few of national Norse adventurer and represented an accurate log of the voyage. Power was derived which the performances rise above medi- arc Almeida's from batteries and a vibrator. ocrity. Among the best NATURAL lovely lute playing in a rather fancily THE CONCLUSION: TANDRERG OFFERS BETTER, CLEARER, MORE harmonized and overromantic Green- SOUND UNDER ANY CONDITION! sleeves, Joe Maphis' zestful strumming Tandberg tape recorders are guaranteed for 12 months. in his original Lonesome Road Blues, *Details about Tandberg Tape Recorders and Howard Roberts' virtuoso fleetness and delicacy in Stordahl's original, Astro Guitar. R.D.D.

" Pourcel Portraits." Frank Pourcel and His Orchestra. Capitol T 1855. $3.98 (LP): ST 1855. $4.98 (SD). Only two American numbers, Georgia on My Mind and I'm Getting Sentimental over You, make an appearance on Pour- eel's otherwise all -Gallic musical land- MODEL 74 MODEL 64 MODEL C scape. Since both are accorded typically C,mplte Sterra Music System. Stereo Record /Playback Deck. Monaural Record/Playback. French treatments, however (even though Features: 3 speed, 4 track Features: 3 separate heads. Features: 2 speeds, 2 heads, the opening trombone passage in the lat- stereo record, stereo playback monitoring on tape. multiplex power amplifier, builtin ter does recall the Tommy Dorsey ar- with 2 power amplifiers and 2 input, 3 speeds, automatic tape speaker. In 2 track or 4 track. rangement), no international complica- built in speakers. stop. soundon. sound. Remote Model 8F - Remote control, LW $300 30 as ailable. startstop. fast rewind. to ensue. Using a larger control start.stop tions are likely 1...1 !798.00 from 8219.50 than usual complement of instrumental Pelham, N. forces, Pourcel weaves a magical. musi- .Tandberg of America, Inc., P. 0. Boa III, I Third Aye., Y. CIRCLE 84 ON READER -SERVICE CARD AUGUST 1963 99

www.americanradiohistory.com Elek Bacsik: "Jazz Guitarist." Philips of this disc is bland and colorless: it is In place of the American guitarist Charlie 200079, $3.98 (LP); 600079, $4.98 the sort of performance that might have Byrd, we now have the excellent Bra- (SD). been accomplished by any skillful studio zilian guitarist and composer Luis Bonfa, Bacsik, a Hungarian who began playing band. who is given an added share of the spot- guitar in Switzerland and entered the jazz light by the inclusion of seven of his world in Paris, provides further evidence Johnny Dankworth and His Orches- compositions. Another new element here of the rapidly expanding international tra: "Jazz from Abroad." Roulette is vocalist Maria Toledo, who sings in a status of jazz. At the same time, he il- 52096, $3.98 (LP); S 52096, $4.98 warm, insinuating manner, and whose lustrates one of the inevitable problems (SD). rich. dark voice is sometimes used briefly this process gives rise to. While tradi- In view of the steady dilution of the jazz as coloration. Getz ranges from mellow tional jazz musicians who are distant qualities in Ted Heath's band during the lyricism on his tenor saxophone to aptly from their New Orleans roots (both his- past decade, the Dankworth orchestra propulsive jabbing phrases that give an torically and geographically) tend to a appears to be the best big group England exultant quality to several of the selec- slavish note -by -note imitation of their now has to offer. It plays in a clean and tions. He has become an unusually au- forebears, foreign players, oriented toward disciplined manner, but aside from Dank - thoritative improviser in the bossa nova modern jazz, are more apt to be in- worth's consistently good alto saxophone idiom, and he shows off particularly fluenced simply by the superficial char- solos, it has no identifiable musical char- well on Um Ahraco No Getz, a Bonfa acteristics of the style. Thus Bacsik has acter of its own. One hears a good deal composition designed for the purpose. picked a potentially interesting program of contemporary Basic, a suggestion of covering a fairly broad spectrum (Paul Ellington (and even of Charlie Barnet). Giuffre: "Free Fall." Columbia Desmond's Five, Jimmy Take Horace Silver's and considerable gospel- oriented playing CL 1964, $3.98 (LP); CS 8764, $4.98 Opus de Funk, George Wallington 's God out of the recent "soul jazz" period. What Child, Django (SD). Reinhardt's Nuages, and the band does, it does well, but it leans The "free fall" in the title here may Miles Davis' Milestones, among others) too heavily on the mannerisms of other complete re- but refer to Jimmy Giuffre's he treats the pieces with that im- groups. Dankworth, however, has be- himself from jazz. Whatever personal slickness typical moval of of American come a very fully developed alto saxo- this odd series of runs, squawks. squeals. electric guitarists in the Fifties. Yet be- whose phonist broad, all -encompassing and hollow rumblings may be considered, neath the mechanical qualities, one style can is comparable to that of Phil Woods. they have no apparent relationship to hear a more than capable musician who, In keying his approach to each selection, jazz. Most of the pieces are short (there if he could relax enough to create light he is free of the limitations imposed by is one ten -minute work), some are un- and shadow and dappled grays a instead too obvious style, yet there is a per- clarinet solos, some are of the unvarying glitter of sunshine, sonal quality about his playing, accompanied neverthe- duets with bass, some are played on might produce something quite provoc- less. ative. clarinet, bass, and piano. Listening to this disc is a strange and puzzling ex- Erroll Gamer: "One World Concert." perience. Each listener will have to Count Basic and His Orchestra: "This Reprise 6080, 53.98 (LP); 9 -6080, find his own way through these pieces, Time by Basie!" Reprise 6070, $3.98 $4.98 (SD). for there are no guideposts in the wil- (LP); 9 -6070. $4.98 (SD). The House of Garner, which manufac- derness Giuffre has entered. Back in the days when the Basie band tures music to specification more consis- was first flying high -that was twenty - tently than any other producer of jazz, Bobby Hackett Sextet: "Jazz Impressions five years ago- current pop tunes were is at it again in this set, recorded at the of Oliver.'" Epic 16037. $3.98 (LP); a normal part of its repertory (which Seattle World's Fair. Every rumble, every 17037, $4.98 (SD). was true of every band then, no matter grunt. every trill. every touch of purple It must be said for Lionel Bart's score how hot its pretensions). These were romanticism is in its proper place as for Oliver! that its melodic strength can successful when the tunes came out Garner romps through standards (The prevail over even the atrocious organ and sounding more Basie than pop; they Way You Look Tonight, Sweet and clanky guitar backgrounds contrived by were failures when Basic's mark was Lovely, Lover Conic Back to Ale), his Dick Hyman for Hackett's trumpet. missing. Nowadays, it is unusual for own Misty, and an original blues, among Hackett handles the tunes gracefully and such a band to deal in pop tunes, and other things. For those who like to get straightforwardly, seemingly oblivious therefore this disc -which includes Moon what they expect to get, this set could of the thump and din going on behind River, Fly Afe to the Moon, I Left My scarcely be improved upon. Those who him. His expositions are pleasant and Heart in San Francisco, What Kind of hope to hear Garner remove some of the unobtrusive, but he lacks the imagination Fool Am I, and other contemporary hits shackles of formula will be disappointed, displayed by the Bob Dorough quartet -is being offered as a distinct departure although he loosens up enough on Mack in its treatment of the same material on from the norm. It is, rather, a return to the Knife to suggest that he is not play- the Music Minus One disc. a previous condition of servitude. The ing it entirely by rote. results are much the same as in bygone Bob James Trio: "Bold Conceptions." days, except that the rugged individuality Stan Getz -Luis Bonfa: "Jazz Samba En- Mercury 20768, $3.98 (LP); 60768, is missing. Basic's present slick and plia- core!" Verve 8523, $3.98 (LP); 6 -8523, $4.98 (SD). ble machine is not so capable of shaping $4.98 (SD). Keep an eye on James. He's liable to a pop tune into the Basie mold. The This is a follow -up to "Jazz Samba," turn a lot of things topsy -turvy. This leader's musical personality dominates the Getz album released last year that disc was made when the pianist and his This Could Be the .Start of Something launched the bossa nova fad. Unlike trio (Ron Brook, bass, and Bob Pozar. lug and peeps through in his piano pas- most sequels, it is not content simply to drums) had just won everything in sight sages and the saxophone ensembles on repeat the formula. It is. rather, a varia- at the Collegiate Jazz Festival at Notre some other selections. But a great deal tion on and :amplification of the original. Dame in 1962. It is full of adventurous

100 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com toward standard pieces both carried out with an aplomb that assuming but effective original pieces of gram leans in the blues (Bucket's Got a Hole in It, t.ottId be startling in far more expe- his own. His clean and uncluttered piano start with, James work is set off unusually well by the Trouble in Mind) and ballads (You Al- rienced performers. To You Heart- virtuosity, but unlike so imaginative support of Eldee Young, ways Hurt the One Lore, shows great is the in- technicians who have pre- bass. Young tops the set off with Swamp aches). One pleasant surprise many piano clusion Walkin' through Heaven with he manages to swing and to Girl, an amusing piece that is built of ceded him, You, which has not been heard much sense of internal development around his instrument but never becomes convey a when was featured by even while he is going a run -of- the -mill bass solo. since the days it in his solos Jimmie Lunceford's band. through the flashing fingers routine. But Medieval Jazz Quartet: "Plus technique is merely the icing on the cake. The Joe Pass: his explorations of new means of ex- Three." Classic Editions 1050, $5.95 Bud Shank, Clare Fischer. In Pacific Jazz 64, $4.98 pression, James incorporates in several (LP). "Brasamba." S 64, $5.98 (SD). a marvelous assortment of rum- The Quartet plays recorders (occasion- (LP); pieces nova records, this blings, rattlings, whistles, gulps, and ally doubling on krummhorns or baroque In the flood of bossa because of tinkles produced by (among other things flute) while the "plus three" is a rhythm one immediately stands out Brasamba and Samba de listed in the commentary) oil drums, section consisting of guitar, bass, and two selections, wind chimes. magnetic tape, paper drums. The idea is to play jazz with the Orfeu, on which Shank's flute and Pass's glass percus- on piano strings. mallets on piano frame sound and style of baroque chamber guitar are backed by a five -man a kind of impetus and strings, and a string bass played with music. To a certain extent the results sion section building mallets. in themselves, such things might are amusing, particularly when the quar- not usually associated with this genre. successful bossa be mere novelties. But the trio makes tet manages to work up a really swinging In general, the more have centered effective use of the varieties of timbre attack on such a warhorse as How High nova performances on the wistful aspects of the music and color they produce, developing their the Moon. But there comes a time - gentler, more percussively melodic potential. James's fairly quickly -when enough is enough, (as with Charlie Byrd, Stan Getz, Luis programming ideas, too, are out of the when the routine periods far outweigh Bonfa). The less successful have been ordinary. I don't think I've ever before the sparkling moments. Bob Dorough, those that took a heavy rhythmic ap- heard Leonard Bernstein's romantic My apparently the moving spirit of the group, proach. In this case, the rhythm section heavy beat simply ¡.me from Candide played by a jazz occasionally sings, which is a mistake does not produce a but group. There are also two unique orig- (especially when he attempts to use "hip" a positive one -which is considerably inals by James, two jazz standards variations on the lyrics of such tunes as different. It creates a sensation of rising to (Nardis and Birk's Works, both fascinat- September Song and Lady Be Good). excitement, enabling Shank and Pass ingly transformed by James's sportive in- play forceful solos without seeming to disc, on strumentation), and a pair of ballads. New Orleans Jazz: "At the Kitty Halls." strain. The remainder of the The only selection in the whole set that Arhoolie 1013, $4.98 (LP). which Shank alternates between flute and fails to get off the ground is Fly Me to The kitty halls of the title are those New alto saxophone, is in the more customary the Moon, treated rather ponderously. Orleans rooms-Preservation Hall, Dixie- bossa nova vein and, as such, is a satis- After this disc, James's prime problem land Hall and, for a few months, fying collection. may be what to do for an encore. icon Hall -where bands of veteran New Orleans musicians have had an op- Jimmy Smith: "Hobo Flats." Verve Max Kaminsky and His Dixie Eight: portunity to play for the past couple of 8544, $4.98 (LP); 6 -8544, $5.98 (SD). "Max Goes East." United Artists years. The nine hands heard on this disc Smith is an organist who has developed 3174, $3.98 (LP); 6174, $4.98 (SD). were recorded between 1960 and 1962. a large jazz following and, more recently, Twelve two- minute snippets of Tin Pan The selections are from sessions intended a popular following, despite a complete lack of enthusiasm on my part, at least. Alley orientalism (Hindustan, Poor But - for release on the Icon label and (ac- terfly, Moonlight on the Ganges) are cording to Chris Strachwitz, who assem- In view of this, it may be a left- handed played by an unusually good group in- bled them) are mostly alternate takes of compliment to say that I find consider- cluding, besides Kaminsky on trumpet, performances already released on Icon. able merit in this disc. Oliver Nelson's Urbie Green on trombone, Bob Wilber There are flashes of spirit and fire in big -band arrangements really rock, and on tenor saxophone and clarinet, Peanuts some selections but almost all of them they place Smith in a setting in which he band do the Hucko on clarinet, and a rhythm section are marred by poor recording. There is, can relax and let the made up of Marty Napoleon, Mundell too. a quality of thinness and some un- heavy work. As a result, he plays for Lowe, Jack Lesberg, and Osie Johnson. certainty about all the clarinetists parad- the most part in the deeper and more The ensemble writing, uncredited, has ing through the set except Albert Bur- soothing regions of the organ, with little the neatly woven, imaginative voicing bank. The most effective group is Kid recourse to the shrill cacophony that characteristic of Wilber in recent years. Howard's La Vida Band, which focuses marked his earlier work. In fact, the Wilber's performance on tenor saxophone or Howard's crisp trumpet and his nat- band parts are so fully developed and such is often a revelation; out of his earlier ural. though Armstrong -like, singing. are decorated with typical quirks capable but somewhat impersonal style 'I here are also good trumpet spots by of Nelson's imagination (a beautifully has emerged a big- toned, sinuously rhyth- Punch Miller and Kid Thomas, and a dirty harmonica wailing over chasm -deep mic manner that owes a great deal to glimpse of Jim Robinson's rugged trom- trombone blats) that it is quite possible Bud Freeman. Even though Kaminsky bone. As a cross section, this set serves to enjoy the record without paying much is the leader here, his solos are, as usual, a purpose, but it too often betrays its attention to Smith if you don't want to. modest but effective. His major contri- origins from left -over takes. bution lies in the authoritative and per- Kid Thomas-George Lewis: "Ragtime ceptive way in which he plays lead. the Jimmy Rushing: "Five Feet of Soul." Stompers." GHB 5 (GHB Records, 39 band's effectiveness could be shown to Colpix 446, $3.98 (LP); S 446, $4.98 Spring Valley Road, Park Ridge, N.J.), better advantage in more expanded selec- (SD). $4.98 (LP). tions. The ebullient voice of Jimmy Rushing Here is an excellent group of veteran has been given a worthy setting and un- New Orleans traditionalists including, be- Ramsey Lewis Trio: "Pot Luck." Argo usually good recording on this disc. He sides the two leaders, Jim Robinson on 715, $4.98 (LP). has a big. swinging band behind him, trombone, Emanuel Sayles on banjo, bass, The Lewis trio has shown a marked abil- and the arrangements by Al Cohn put Slow Drag Pavageau on and Sammy Penn ity to blow as the wind blows. When the emphasis on ensemble playing, with on drums. This group builds lustily Erroll Garner dominated the jazz world, only brief spots for solos and fills (uni- punching climactic ensembles here. To Lewis had Garner qualities; when soul formly good) by Patti Brown, Joe New- be sure, the openings are usually ragged jazz came in. he was full of soul; when man, and Zoot Sims. Rushing is in good and require a few bars to be pulled to- Ahmad Jamal was the thing, he was full voice, showing little evidence of the dry- gether. But once Thomas can get his of Jamalities. His search for a recording ness and strain that have crept into some lead trumpet tiring its jabbing, driving "hook" leads this time in a much more of his more recent recordings. The pro- thrusts, Robinson's commanding trom- logical direction: he has put together a bone and Lewis' dancing clarinet fall into provocative program and let the chips place and ride along with rugged joy. of fashion fall where they may. Thus Robinson is a remarkably consistent per- - he finds a fresh and interesting approach former, playing beautifully shaped, full to Nature Boy, and makes use of a ro- bodied lines that give a sense of solidity mantic ballad from Puccini and a slightly to everything he does. This is not gospelized piece from Granados. He Thomas' regular band, which may ac- works out logical but somewhat unex- count for some of the uncertain begin- pected developments of three folk songs, nings. But these highly knowledgeable swings Arrivaderci Rona gently and per- men play with pure joy once they have suasively, and contributes a pair of un- settled into place. JOHN S. WILSON

101 AUGUST 1963

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www.americanradiohistory.com by R. D. DARRELL

The following reviews are of 4 -track in ru June review of the disc edition) that the longer taping has room for all 7.5 -ips stereo tapes in normal reel form. sounds. in this first -rate tape processing. sixteen of the .S7aruni Dances and re- scry similar to the Dynagroove record. places the familiar Moldau with the 3, BRAHMS: Symphony No. in F, I he Debussy works (the stereo disc edi- breath- taking Dance of the Comedians Op. 90; Tragic Overture, Op. 81 tion of which is reviewed elsewhere in from The Bartered Bride. But you can't this issue) temper my earlier fears that go wrong with Kertesz's tape either! Pittsburgh Symphony Orchestra, Wil- Dynagroove equalization techniques - liam Steinberg, cond. and the extremely close miking with Cususmmu 11015. 45 min. $7.95. which they generally have been associated HANDEL: Music for the Royal Fire- so far -might be too realistic for the works; Concerto a due chari, No. Vienna Philharmonic Orchestra, Herbert most evocative musical impressionism. 2,inh yon Karajan, cond. In this respect, at least. Munch's lus- L(Noos LC L 80122. 47 min. $7.95. cious Afternoon of a Faun and his Wind Ensemble in the Fireworks); Pro Printentpv are satisfactory, if still not Arte I-nsenble lin the Concerto); Steinberg does it again! His Brahms wholly magical. The latter is particularly Second in ('harles \Iackerras, cond. I hird matches his memorable welcome. not only as a tape first but as verve and superbly trans- V %sent au) V IC 1661. 47 min. $7.95. interpretative a valuable reminder that this early work parent stereoisnt, boasting perhaps even boasts more than merely student skills you share Handel's own relish for more resiliency and -as the music here and Massenet -like charms. None of the If reed brass demands-glowing expansiveness. His here matches the best in- the pungencies of massed and other readings it hard to reading of the overture may not he as terpretations available on tape. but the timbres. tet find accept Stokuw ski's reading the sternly "tragic" as many, but it is au- bewitching playing of the Bostonians of Fireworks music i in his 125 -man transcription thoritatively decisive without undue and the vividness of the recorded sonic, too is recorded reviewed last April ), the present reel rhetorical sehemenee. It constitute a strong attraction. with ringing sonic.. In comparison. Von will be ¡list what you want. Mackerras Karajan's performances of both works sticks closely to the original scoring: seem stilted, for all their earnest ex- DVORAK: Slavonic Dances: Op. 46. and even goes Handel's demands a bit His tempo contrasts are better by using a few more than the pressixeness. Nos. I , 3, 8: Op. 72. .\'os. 1. 2 overture prescribed twenty-four oboes, twelve extremeh mannered. and the Smetana: The Bartered Bride: Over- when is not over - bassoons, and one double- bassoon -in tends to drag it (The srenuous. Even the London engineers ture. Polka, Fnniant: Vltava addition. of course, to the stipulated two must have been napping for once. since ,1loldaul serpents. nine trumpets, nine horns. three this rich recording seems unduly thick pairs of timpani. and six sidedrums. and bottom -henry. The Command ver- Israel Philharmonic Orchestra. Isivan Although none of these (except the ser- sion jumps immediately to the top of Kertesz, cond. pents) ;tr_ period instruments. they are S7.95. the list of taped Thirds, since the fine IA)suoN L('1. 80115. 47 min. en:p.ued with a sure sense of baroque Walter, Columbia interpretation of 1961 stylistic idiom, and the timbre qualities is not as good technically, and neither 1 hardly needed to check on the fact that and thunderously pompous mutts achieve was trained of the older reels i by Kubelik for Kertcsz horn and musically festive magnificence. I was a bit disap- London and Stokowski for Everest) can in Budapest: from the first sparkling pointed that the tape version (processed meet the present competition. bars here it is evident that he is one of with complete freedom from pre cho the relatively rare recording conductors and spill -over, though blemished by (invariably Czechish or Hungarian) who some slight surface noise) omits the DEBUSSY: Nocturnes: Nuages. Fetes: have the right feel for this vivacious sound of actual fireworks included on Prélude J l'apris -midi dun faune; music. Perhaps his exuberance is a but the original Pye disc. Printemps too uninhibited in an exceptionally fast - Less panoramic, but often even more Ravel: Bolero: Pavane pour une in- flowing Moldau. but the Israeli musicians delectable. is the grand concerto for faute défunte; La Valse respond nobly t t his enthusiasm and the two wind hands (horns. oboes. bassoons) technology is first -rate throughout -with Wilk strings, in which Handel thriftily Boston Symphony Orchestra, Charles less cavernous reverberation than was restored sections from Messiah, Esther. Munch, cond. evident in Ma:tzel's Beethoven overtures and an organ concerto. It too is done RCA Vicroa FTC 2135. 70 min. recorded in the same Hador Cinema, with striking vitality, and if the recording $8.95. Tel Aviv. Despite this reel's advantages throughout no longer sounds quite as of purer conics and lower cost, however, sensational as it did in 1959 (it The usual premium price of RCA my first choice for the music must still now seems a bit coarser than Stokowski's Victor classical reels has a special justifi- remain the Sejna /Chalabala Artia twin - Fireworks). it is still something to rouse cation here for what is a twin -pack in pack of September 1961- not so much almost any listener. all but name and cost. The Ravel pro- for its comparably authentic and invig- gram (which I discussed at some length orating interpretations as for the fact Continued on nest page

AUGUST 1963 103

www.americanradiohistory.com 111E TAPE DECK the mezzo solo in the finale), has minimal tape motion noise for so- Continuel from preceding page called hiss). Here. then, one enjoys the ALL TAPE HEADS full benefits of an expanded dynamic LEHAR: Die fustige Witwe range that encompasses both radiantly ethereal pianissimos and bloodcurdling, WEAR OUT! Lisa Della Casa (s), Hanna Glawari; apocalyptic grandeurs. Mahlerites will Charles K. L. Davis (t), Camille de remember the inspired performance of Rosillon; John Reardon (b), Count Klemperer and Rössl- Majdan for Vox HERE'S HOW AND WHY! Danilo Danilowitsch; et al.; American over a decade ago. That success is Opera Society Chorus and Orchestra, matched in the new version, and further Franz Allers, cond. enhanced by Schwarzkopf's brief but in- COLUMBIA OQ 517. 57 min. $9.95. deed heavenly "Aufersahlt.- and by the superbly eloquent Philharmonia Orches- Elisabeth Schwarzkopf (s), Hanna tra and Chorus. Glawari; Nicolai Gedda (t), Camille de I have long had a special affection Rosillon; Eberhard Wachter (b), Count for this music. which I came to know in Danilo Danilowitsch; et al., Philharmonia the phonographic Dark Ages via Oskar Chorus and Orchestra, Lovro von Ma- Fried's first complete recording ton tacic, cond. Polydorl circa 1926. This work still ANGEL ZB 3630. 80 min. $15.98. seems to me to share with Beethoven's Ninth the gift of reconciling superhuman Granting that Columbia's is by far the majesty with a touchingly human lyric best 31erry Widow sung in English that tenderness. I envy the youngster of I've ever heard, thanks primarily to Miss today who first hears the Re.currertinn Della Casa's brilliant vocalism in the Symphony in its present superb re- title role, it still smacks more of Broad- creation! way than Vienna to me. In this light it is very good, with a highly competent PUCCINI: Madan,a Butterfly supporting cast and spirited if sometimes heavy -handed control by one of the best Leontyne Price (s), Cio -Cio -San: Rosa- Broadway batoneers. "the sound is glit- lind Elias (ms), Suzuki; Richard Tucker tering. with effective stereo spacing (if (t), Lt. Pinkerton; Phillip Maero (b). Magnetic tape itself is the no special stereogenic effects), and the Sharpless; et al.; RCA Italiana Opera tape surfaces are quiet, though marred Chorus and Orchestra, Erich Leinsdorf, real cause of head wear! by far too many preechoes. cond. But for the real Lchár and the full RCA VICTOR FTC 8006. Two reels: The abrasive action of tape as it passes atmospheric magic of this music. only a approx. 97 and 61 min. $21.95. over the head face gradually wears German version, with full dialogue, will The mostly ecstatic reception of the disc away the depth of metal left on a new do. Miss Schwarzkopf may sing a hit edition of this release must be so fresh in head after final polishing (sec above). too carefully in the present one, but she is, as always, an aural readers' minds that I need deal here Because wear is nearly always uneven, delight, and the supporting cast and chorus achieve only with some special tape considera- craters or ripples are also far formed on richer characterizations and period evo- tions. The present reels provide sonic the face as wear progresses. thus mak- cations than those in any English version. qualities indistinguishable, to my ears ing it impossible to achieve good The recording here is good, if not at all anyway. from those so highly praised contact between the head gap and the exceptional; the tape processing very on the Dynagroove discs. and the dra- all- important signal recorded on the good apart from one slight intrusion of matic continuity of the performance itself is markedly superior on where tape. The severe high frequency losses spill -over in the Pavilion Duet. Yet it tape, each of the three and erratic output resulting from poor cannot quite match either the earlier acts is complete on Schwarzkopf, Angel a reel side. tape -to -gap contact are very mono version (disc annoying only) or the 1960 London The new format necessitates a cou- to Head wear taping starring the car. should NOT be Hilde Gueden and with Robert Stolz pling. but a happy choice was available: permitted to reach this point - much conducting the Vienna State Opera the hulk of Miss Price's earlier Verdi - less go beyond it to the limit where the Chorus and Orchestra. Puccini program. Sensibly omitted here gap actually begins to open up. are the two Original (studio) Butterfly 13 replacing worn excerpts. and less reasonably the "Tace,, the head with a MAHLER: Symphony No. 2, mi- new Nortronics professional in C la mote- from 11 Troiolore, but the re- type of nor ( "Resurrection ") maining seven welcome laminated tape head arias are for you will obtain the striking illuminations they provide on improsed high frequency response over Elisabeth Schwarzkopf. soprano; Hilde the soloist's artistic and vocal growth the original head, plus the added fea- Rössl- Majdan. contralto; Philharmonia during the year or two before her tri- ture of longer life since laminated heads Chorus and Orchestra, Otto Klemperer, umphal contributions to the complete cond. have 50'; more depth of metal at the Butterfly. gap. Nortronics manufactures both ANGEL Z13 3634. 80 min.. $15.98. No one who owns the previous Butter- laminated and solid -core heads, but fly taping (London LOR 90010 of Octo- Here is a first tape edition that calls ber 1960) is likely to give it up, for it recommends the use of the laminated for special acclamation on several counts. types for up- grading offers sonic of Tebaldi's most sumptuous of your recorder. To begin with. the work itself is one of vocalism. But the new version is prefer- the most imaginative, HAVE YOU CHECKED YOUR HEADS LATELY? moving, and mag- able technically. and is far superior in Get the most from your investment in tape netically gripping of Mahler's master- over -all dramatic grip. equipment. Be certain that head wear is not pieces. It is perhaps better suited than causing you to lose the clean, crisp sound any of the others to introduce this which only tape gives you. Have your Hi -Fi SAINT -SAENS: Symphony No. 3, in dealer, Radio /TV serviceman or camera store strangely endearing composer to listen- check your heads for wear. Insist on Nor- ers who may not yet have come to know C minor, Op. 78 tronics replacement heads and "Guik -Kit" him at his best. Secondly. the tape is an t Debussy: Petite Suite (arr, Büsser) mounting hardware; both correctly matched to your recorder. engineering triumph-notable, even in {Fauré: Masques et bergamasques; these days of technological miracles. for " ll fowl on lope - Pelléas et Mélisande: Incidental Iod.elTnpr sounds bed with \'or/ronregheads" its sweetness and auditorium authen- Music (arr. Koechlin); Pénélope: ticity (as perceived from a seat well back Prélude k") in the hall), as well as for its power and panoramic breadth. This tape ver- Pierre Segon, organ (in the Saint -Saëns): 8141 10th Ave., North Minneapolis 27, Minn. sion is preferable to the disc edition, in Orchestre de la Suisse Romande, Ernest r which many of the extraordinarily quiet Ansermet, cond. I Write today for FREE copy of NORTRONICS and lovely low -level passages lose some- LONDON Tape Head Replacement Guide LCK 80105 (twin -pack). 90 thing of their full magic because of min, $11.95. Name surface noise. Happily, the present tape it is not I Address processing. while completely I was prepared to criticize so seemingly admits one barely I City Slate preecho -free (and J perceptible touch of spill -over just before Continued on page 106 CIRCLE 92 ON READER- SERVICE CARD

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No reels to thread! Each cartridge let you record and play back Stereo life; automatic shut -off. contains 600 ft. of Mylar tape 1 mil and Mono through properly equipped You can buy RCA Victor's finest thick. Records Stereo up to 1 hr. at Stereo hi -fi, TV or radio. Stereo tape cartridge recorder, the 3:;4 ips, up to 2 hrs. at 1% ips .. . Cordon Bleu, for only $199.95, man- Pre - recorded cartridges available Mono up to 2 hrs. at 3 ips, up to 4 ufacturer's nationally advertised price by Rubinstein, hrs. 1%. Just insert cartridge and start! Cliburn, Clooney, -optional with dealer. Prices, speci- Belafonte, Lerner and Loewe- clas- As little as 3!., seconds to change. fications subject to change. sical, jazz, top musicals. Case safeguards valuable recordings. See Walt Disney's "Wonderful Two speakers deliver exceptionally Plus these added features! Dual high World of Color," Sundays, impedance ceramic mikes; 3" x 5" fine stereo reproduction on home re- NBC -TV Network. cordings and pre-recorded tape, with Mono front speaker; Digital Tape Counter; dual Ray Recording Moni- sound separation up to 10 ft.! tor; erase -proof Interlock; 4 -pole The Most Trusted Name in Sound Ideal as a tape deck! Plug -in jacks motor with bearings sealed in oil for Tmk(s)® CIRCLE 65 ON READER -SERVICE CARD AUGUST 1963 105

www.americanradiohistory.com TIIE TAPE DECK strumentalists and singers include Casals, Serkin, Entremont, Brailowsky, Farrell, Continued from page 104 and Tucker; the soloists with orchestra include Casadesus, Gould, Francescatti, GRADO Stern, and Biggs; incongruous a combination as that of the orchestras heard "Truly the world's finest..." the grandiloquent Saint -Saëns Organ alone are conducted by Bernstein, Or- mandy, Symphony, the early, salonish Debussy Walter, and Stravinsky; and also present are Suite, and the aristocratically refined the Budapest String Quartet and the Mormon Fauré works. Yet in the actual hearing Tabernacle Choir. But, these strange companions somehow as might be imagined. the jumps from are one composer reconciled by Ansermet's treatments, and (and period and style) to another arc likely the mixture as a richly varied to disconcert all but emerges the most omnivorous yet never really heterogeneous cross sec- listeners. Unless you simply can't resist such musical tion of consistently Frene!. music. The smorgasbords, conductor stresses the romantic rather this lavish one is most TURNTABLES than safely recommended to beginning tape the display aspects of the symphony, collectors revealing unexpected poetic delicacies in only. the first section as well as in the Poco SPEAKERS Adagio. Listeners ordinarily bored or oppressed by the work are likely to "Adventures in Tinte." Stan Kenton and change their minds about it here, and His Orchestra. Capitol LT 1844, 38 CARTRIDGES they probably won't object to the rela- min., $6.98. tive lack of fire in the Scherzo or of Described as a "concerto" for Kenton's dramatic impact in the finale, although twenty- two-man band (featuring a brass these last will seem unduly tame to ad- TONE ARM section of four mellophoniums, six trum- mirers of the far more powerful and pets, three trombones, extroverted Munch /RCA Victor and bass trom- and bone), this series of original compositions Paray /Mercury tapings. by Johnny Richards RECORD CLEANER The enchantingly colored playing of duplicates the Bru - beck experiments in exploiting the Swiss orchestra and the glowing the jazz potentials of various meters. translucence of London's stereoism are The music itself is, of course, very more ideal for the first tape editions of different from Brubeck's (in the "Time Out" and "Time the Debussy and Fauré works. 1 can't Further Out" programs), remember ever hearing the Petite Suite but it boasts considerable distinction at its best -in performed with more delicacy and resil- the charming ience. Fauré's yearning Prelude to Quintile, the romantic Artemis, and the oddly original For further details write to Nnélope works up to an impressively Artemis and Apollo. And even the less striking sonorous climax; the Ouverture, Menuet, compositions Gavotte, and Pastorale of his Alasques are interesting for their use GRADO LABORATORIES, of rhapsodic saxophone, INC. et bergamasques are vivacious and lyr- trumpet, and mellophonium solos. ical, if undeniably lightweight; and his The big band's ro- 4614 Seventh Ave., Brooklyn 20, N. Y. bust sonorities are recorded more familiar incidental music to Mae - in full - blooded stereo. terlinck's drama still is likely to please conservative listeners (as it did the drain - CIRCLE 39 ON READER -SERVICE CARD "All the Hits from `Oliver!' Mela- atist himself ) better than the very " dif- achrino Strings ferent and far more original operatic and Orchestra. RCA Victor FTP 1181, 41 score by Debussy. In short, this is min., $7.95. a With each rehearing. Lionel reel which, for all its variety, makes a Bart's music uniform -essentially Gallic romantic for Oliver! sounds better, and the present -recorded and program of scmisymphonic Pre 4 Trsck Stereo -appeal. It is also one notable, even transcriptions by today's fast -rising standards, is even more attractive (and more ex- for its tensive) Tepe et Cost! impeccable processing. than the recent Mantovani tape. Mclachrino's scorings are imaginative Through Our Special Membership Plan without ever seeming pretentious, his ex- Citadel Membership - Proven by thousands SCHUMANN: Symphony No. 2, in pressive performances are never too lush. of satisfied club members because ... C, Op. 61 and one's aural pleasure is enhanced YOU DECIDE ON YOUR PURCHASES - Buy throughout by luminous, acoustically as few or as many tapes as you want . Cleveland Orchestra. George Szell. cond. warm recording. There's some really mag- FREEDOM OF SELECTION - Virtually any Eric EC 829. 36 min. $7.95. nificent cello playing here (especially in tape, on any label, by any artist is available. the haunting Roy for Sale). a charmingly FREE! COMPLETE TAPE CATALOG - With The cxecutant merits here have been stercogenic. mildly gypsyish duo vio- current cata- for membership you receive this anticipated by Szell's Schumann lin and cello in the swaggering log of all 4-track stereo tapes. First Rerienin,g November 1962, but the Situation. and touches inspiration PROMPT SERVICE - Many orders are of the present of shipped the day received ... rarely later work seems even more congenial to the in each of the other eight selections. than the next several days. conductor, whose masculine ardor, ex- These are all well above the normal run 100% GUARANTEE - All tapes are guar- hilarating vitality, and (in the Adagio of show mood music. Add first -rate tape anteed factory fresh and free of defects. espressivo) songful serenity will remind processing and ou have a reel that (Special! All LP records also available under listeners how inadequately this music should please listeners of all tastes. membership.) Membership your Citadel Tape is often treated these days. Happily, dues is a year ... a nominal amount $4.00 this tape is markedly su- "Broadway Coes Latin." Edmundo when you consider that as a CITADEL MEMBER first edition Ros BUYING TAPES AT COST, YOUR DUES WILL BE perior technically to that of the Spring and His Orchestra. London LPNI PAID FOR WITH VIRTUALLY THE FIRST PUR- Symphony: more brightly and less 70059. 32 min.. $7.95. CHASE YOU MAKE THROUGH THE CLUB. Addi- heavily recorded. it is immaculately pros Ros is better than ever here (see J.F.L's tional savings quickly mount up, permitting you essed. Now. Szell's Fourth before too review of the disc edition last March). to buy many more tapes on your tape budget. long, please! He makes the most of the hest Latin - Try membership for 30 days.lf not completely American bands to be found today. of satisfied, your dues will be refunded immed- consistently witty and adroit arrange- include iately. Complete the coupon below, ments. and of recorded sonics and in- your $4.00 yearly dues and upon receipt we shall forward all membership material to vou. VARIOUS ARTISTS: "The Sound genious stereogenics as brilliant as of Genius" (Sampler) those of most percussion -dominated CITADEL TAPE CLUB spectaculars, and often more tastefully HT8 division Citadel Record Club artists. musical. Several bland vocal choruses by 545 Fifth Ave., New York 17, New York Various COLUAIBIA S2Q 3. 82 min. $8.95. Ros himself leave me lukewarm, but Name what can't be ignored are the incomparable piquancies that distinguish the Street An appetizing lot for one's money here: no less than nineteen selections (includ- treatments of The Sweetes( Sounds, Give Zone State City ing isolated movements as well as com- My Regards to Broadway, and Slalom. plete pieces) by no fewer than eighteen of Columbia's star artists. The solo in- Continued on page 108 CIRCLE 21 ON READER -SERVICE CARD 106 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THE BEST STEREO REPRODUCTION

IN YOUR ROOM INTERCONNECTIONNTTERCON OF HIGH QUALITY R COMPONENT PARTS NO MATTER HOW CAREFULLY EACH PIECE MAY HAVE BEEN SELECTED

Why, for example, will a stereo system exhibit excellent frequency response under free field conditions where no sound characteristics and listening pleasure in one room but walls or objects are present to cause undesirable reflections, inferior results in another room even though the same com- standing waves or other distortions. Extensive tests have ponents are used? shown that flat response of stereo speaker systems is sig- A major component of all stereo installations usually over- nificantly altered by room size and shape, speaker placement looked, or considered only in passing, is the room in which and reverberation time. We have also observed that the the system will be used. How will its acoustical environment characteristic sound of a stereo speaker system is largely affect sound quality? determined by the slope of the response curve in the mid- Speaker systems are designed to provide flat or uniform range region (approximately 500 to 4000 cycles per second).

The MODEL 2S and 2A Room EQUALIZERS from Stereo Design provide finger -tip control of stereo system response to accurately match the acoustical environment of your room. Two controls for each channel permit slope adjust- i ment of high and low frequency response through the range of 0 to 4 db per octave. These units also otter a new and very effective way to equalize the harsh irritating sound present on many records. MODEL 2S STEREO ROOM EQUALIZER * For use with any good quality 2 -way stereo speaker system. Response curves taken from tests Balances system response to provide natural using the following equipment: uncolored sound in your room. Brüel & Kjaer Model 1402 Random Noise Generator Easily panel mounted in equipment * cabinet. Brüel & Kjaer Model 2112 Audio Constructed to highest standards of design Spectrometer and appearance. Brüel & Kjaer Model 2305 Level Recorder c ?= Satin anodized x panel size 14" 33/4 ". Im- McIntosh C-11 Preamplifier pedance 8 ohms. Price $36.00. McIntosh MC-240 Power Amplifier Stereo Design Model 2S Stereo e Room Equalizer Briiel & Kjaer Model 4134 Micro Two Model U.3 speaker systems from Lahti of Ann Arbor. phone calibrated flat 2 to 40,000 Room size 14 a 171/2 ft. Reverberation time .160 set. cps. Speaker spacing 12 ft. Microphone 111/2 ft. Test procedure involved ya octave sequence bandwidth analysis of white noise weighted by -3 db per octave with both left and right channels operating. Two examples of room effects are shown. Note that the useful bandwidth of the MODEL 2A ROOM EQUALIZER system in each case is severely limited under normal conditions *Use with any good quality 2 -way speaker of operation (dashed line). The system. One unit required for each channel. Stereo Room Equalizer was then * Easily mounted on speaker enclosure back set to provide natural balanced panel or with other equipment. sound as judged by the listener. The resulting curve shows a very *Satin anodized panel size 7" x 33/4 ". Im- marked improvement in system pedance 8 ohms. Price $19.50. performance. Two Bozak B.300 speaker systems. Room size 16 v 33 ft. Reverberation time .165 sec. Speaker spacing 12 ft. Micro- phone 15 ft. STEREO DESIGN FOR THE HOME BY RAY DEHN

THE FIRST BOOK EVER PUBLISHED ABOUT THE DESIGN OF HOME STEREO SYSTEMS

The purpose of high quality stereo equipment purpose of stereo reproduction, we have been is to provide the means whereby you can enjoy able to establish basic design requirements for the fullest attainable equivalent of a live per- stereo systems. In addition, twelve excellent formance whenever you wish and in your own installations are shown in great detail in order surroundings. The purpose of this book is to to illustrate the practical application of these show you how to achieve this objective in your rules under widely differing conditions of room room. arrangement and acoustical environment. Most stereo installations fail to make the Whether you are about to purchase a stereo best use of good equipment and often degrade system or have already done so, this book will room appearance. By following a new and logical provide invaluable aid in helping you achieve approach toward understanding the nature and superb results in modern stereo reproduction.

STEREO DESIGN INC. 8515 HERRICK DR. CHESTERLAND. OHIO PLEASE SEND ME THE ITEMS CHECKED BELOW. Model 2S Stereo Room Equalizer Check Enclosed Model 2A Room Equalizer Ship Prepaid Stereo Design for the Home Send C.O.D. If you are a resident of Ohio. add 3% sales tax.

Name Address

AVAILABLE THROUGH YOUR DEALER City ...__ _... Zone State OR ORDER DIRECT J CIRCLE 79 ON READER -SERVICE CARD Alla Sr 1963 I(17

www.americanradiohistory.com THE TAPE DECK Gilberto is the immensely popular Built in Beauty & Brazilian singer and guitar player who Continued from page 106 is credited with sparking the bossa nova's world -wide popularity. 1 missed his first Finger American release (on Capitol) a couple -tip Control "Flamenco Antiguo." Carlos Montoya, of years ago, but the present program of 1198, 36 guitar. RCA Victor FTP min., romantic songs could hardly be bettered. $7.95. It reveals one of the most distinctive and __ As the program title indicates, this reel With - certainly the subtlest of torch singers. Audio is devoted to flamenco guitar playing in Particularly good are his frequent sotto the old, pure style. There arc no arrange- rote passages and the uncommon, instru- Accessories ments of alien material, and Montoya is mental deftness of his wordless vocal- one unaccompanied except in piece -an izations. Backed discreetly by resilient Buderia Soleá exciting fast and festive por small ensembles (except in Este sea Olbar by Mosley in which he is joined by his son, Carlitos, and A Primera Vez, for which he sup- a snappily precise dancer. The powerful, plies his own guitar accompaniments), closely does justice miked recording full Gilberto is a real charmer -especially in Six Position S%sitch Plate to the crisp transients of both the danc- Samba de Minds Terra, Voci e Eu, and This high quality switch plate is avail- ing and the sonorous guitar. Montoya the amusing children's song Presente de his normal able in two styles and are designed for plays with even more than Natal. He is well recorded, too, if not vigor and incisiveness, and if there is installation at a central point and control quite as crisply and brilliantly as the any speaker or combination of speakers excessive vehemence at times it is well Alencar Orchestra, which also enjoys installed in remote locations. Mosley No. contrasted by more lyrical passages, espe- superior tape processing. FAS -6 has six heavy duty push button cially in the long Levante and the ex- switches and will control one speaker tremely virtuosic Romdeiia. The program "Music from 'Jumbo' and Other Rodg- from each switch. This is a six position as a whole may be strong medicine for ers and Hart Songs." Ornadel and the switch for switching any listeners entirely new to flamenco, but it Starlight Symphony. M -G -M STC combination of six speakers is sure to be treasured by aficionados as 4097, 35 min., $7.95. used in Ili -F'i or intercom. one of the most authentic recorded rep- This is an outstanding reel, combining as Mosley FST-6 has the same resentations of the darkly passionate it does some of the best Rodgers and outward appearance as the Spanish gypsy art. The tape itself was Hart tunes, Ornadel's mellifluous sym- FAS -6 but contains six dual extremely well processed; despite its wide phonic scorings, highly rhythmic per- channel switches for stereo dynamic range and the explosiveness of formances, rich stereoism, and immacu- installation. Roth are easily many of the sonic materials that make late tape processing. I particularly installed with F -9 mount- up the program there is minimal surface enjoyed the well -varied treatment of ing brackets. noise, with no spill -overs and practically There's a Small Hotel. Piquant woodwind no preëchoes. playing is evident throughout, with discreet yet effective use of stereogenic "The Good Life." Freddy Powers' Pow- antiphonies. \lltnuator erhouse Four. Warner Brothers WSTC I'latt Paris." 1488, 27 min., $7.95. "Songs of Les Djinns Singers Model No. F'AV -I, available in brown or Always enthusiastic for rowdy musical with Orchestra. ABC- Paramount ATC 829, 32 min., $7.95. ivory polystyrene plate with satin finished humor and odd timbre combinations, 1 the anodized aluminum dial face have fallen an easy victim to the rude A tempting preview program by sixty and modern indicator knob. gusto and novel make -up of the Power- French girls calling themselves Les who are to the States Use to assemble I.-pad, T- house Four. The group is comprised of Djinns, tour United season. They all sound very pad, Fader etc. for Audio & three banjos and a tuba, with players this coming young, and a considerable of their Ili -Fi systems. Less control. doubling frequently as nasal country - part Model No. FAV -2 has the style vocalists and occasionally swap- charm is undoubtedly accounted for by added feature of plug and ping their regular instruments for piano, the engaging touch of amateur freshness jack supplied for additional bass. clarinet, and sax. A very few of underlying their obviously well -trained external speakers. the pieces here (e.g., Sally Ann) are fair- competence. Mtich of this release's ap- ly straightforward back -country ragtime, peal rests on the appropriate choice of but the best ones are those in which the pops and quasi -folk selections: a Mon- sieur LaFayette which is a sort of French Three l'ositiuu Speaker S itch ensemble cuts loose in livery stable re- animations of White Ligbtnin', The Auc- Yellow Rose of Texas, a plaintively moving Thyl de Flandre, a haunting bolero - This Model, No. a tioneer, If You Knew Susie, etc. The FSS -1 is complete re- rhythmed Et Maintenant, and lilting Le mote switching system for or recording itself is powerful, rather hard Ili -Fi Printemup.s. The small accompanying or- Stereo speaker systems. The and dry, and there are a good many is far less zestful three position switch preëchoes. Yet none of this is any real chestra adequate. if will than the girls themselves, and the bright operate single speaker sys- handicap to so lusty a program. But, fair recording and quiet, preëcho -free tape tem, remote system or both. warning -the Powerhouse Four are def- processing are fine. The reel annotations Model No. FSS-2 has the initely not for listeners of tender aural omit texts and translations. and fail to added advantage of external sensibilities! the group's conductor or the plug and jack, supplied for identify additional external speakers. soloists. Hits of Brazil." Paulo Alen- Mounting brackets & instruc- "The Great tions included. car and His Orchestra. Kapp KTL "Time Further Out." Dave Brubeck 41051, 30 min., $7.95. Quartet. Columbia CQ 515. 37 min.. 'Boss of the Bossa Nova." Joao Gil- $7.95. Speaker %1 all Plate Outlet berto: Ensembles, Walter Wanderley Unlike most sequels, this follow -tip pro- and A. C. Jobim, tonds. Atlantic ALC gram to "Time Out" of August 1962 is Model No. FAS -1PK, comes in brown or 1922, 27 min., $7.95. more inventive and robustly executed ivory polystyrene flush mounting outlet. Credit the bossa nova vogue with stimu- than Brubeck's first suite of blues in Speaker socket and plug are lating North American interest in other various meters. As "reflections" of polorized and solderless. related types of Brazilian popular music. Miró paintings the pieces may not be Ideal for custom Hi -Fi in- There is a considerable variety in Alen - particularly evocative, but musically they stallation where remote car's brightly played and recorded pro- are often amusing (It's a Raggedy Waltz. speakers are not permanent- gram of Rio de Janeiro's current hit Charles Matthew Hallelujah, and the ly installed. Complete with tunes. topped in the lively vein by .Samba 7/4 Unsquare Dance) or fascinatingly mounting brackets and in- de Aforro. Palhacrtda, and Vocc Pa.ssot, intricate. Paul Desmond has rather less structions. Model No. FAS- and in the more romantic realm by to do than usual, but plays as gracefully 11PK has the double advan- Poemua da Flauta and Balada Triste. The as ever when he is given a chance, and tage of two outlets. male ensemble vocals are somewhat non- Joe Morello on drums is costarred more descript, but there are many fine instru- frequently than in most Brubeck pro- mental solo bits by the pianist, accordion- grams. The recording itself is effectively eleclzosult. Sac. ist, guitarists, and percussionists. Chan- full -blooded, but the tape processing is Mosey nel differentiations are rather more lamentably flawed by some spill -overs 4610 N. Lindbergh Blvd. - Bridgeton, Mo. marked than usual. on Side B. CIRCLE 60 ON READER -SERVICE CARD 108 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com CONFESSIONS OF AN r. . . : -zniq ILLICIT TAPE RECORDIST ïiz-" 111IDII!üinnüiá4l_ Continued front page 40 \\ ? _ contractual obligations keep apart on record labels. Those long unavailable records and old tapes (e.g., Richard Strauss conducting) exhumed from archives and now broadcast. Betty Allen bringing a new. black. savage dimension to Ravers Chansons ntadrea.ms'e.s. fylenu- hin and David Oistrakh having a hall together in the Bach Double Concerto CIPHER $j[ with the Enesco Orchestra in Bucharest. Stereo in depth Emil von Sauer playing the Second Con- certo of his teacher Franz Liszt. Evelyn Ell Lear and Thomas Steward doing Mahler's cycle Des Kimbell I+'anderhurn with the Hanover Radio Orchestra. All those esoteric choral works performed to perfection by the RIAS Chamber Choir. That whole retrospective series on Sivas ink . including many a sassy early work which possibly esen he himself had forgotten. And all the curiosities such as CIPHER VII STEREO Hindemith's Sonata for Tuba and Piano, Casella's sprightly Scarhtttiana for piano In so many ways, the new Cipher VII stereo tape recorder is heads above the crowd: records and in 4- 3 -speed and orchestra, or Respighi's Toccata for playsback track, stereo or monaural, records sound -on- sound, and its two full -range speakers are detachable for the same instruments. best positioning. Cipher VII can be played horizontally or vertically, or it Well, there's still a little hit of time. can be installed into your present hi -fi system. I'm told that the tape recorder manu- Other professional features of the Cipher VII include: separate volume facturers are determined to fight to a and tone controls for each channel 2 dynamic microphones 2 VU meters finish. which may mean two three or editing facilities tape index counter auto, reel -end years before they exhaust all possibilities shut -off 10 watt output two -tone cabinet with brushed of appeal. Not only UEMA takes the op- aluminum control panel. $274.95 posing stand: both the radio and the brochure and name of nearest INTEfi lUK recording firms tend to sympathize. In For Cipher dealer. write to: INTER -MARK the interest of quality. Garman radio sta- CORP., Dept. HF, 29 West 36th Street, New York 18. N. Y. tions rarely broadcast an ordinary corn- CIRCLE 48 ON READER -SERVICE CARD mercial disc: instead, they get a copy of the original tape from the record firm. These tapes account for about seventy per cent of all music broadcast by West German radio stations. On he- half of their artists, outraged by the activities of me and my ilk, recording firms are threatening to refuse their tapes to broadcasting studios until all us private recordists are paying in a regular sunm. At the same time the record companies are warning performers against making any direct arrangements with radio stations that carry live public or studio -made performances. Up until now, the whole activity has had. for me and countless others. the ageless. universal appeal of getting something for nothing. or almost nothing - and what we've been able to get! In all honesty, though, a day of reckoning was inevitable. I shall more than gladly pay nmv monthly fee. if and when it comes to that, and piously continue nmy activities with renewed vigor and a quiet conscience. But a monitory word to nm com- patriots at home: as the poet might have said. gather ye those IA1 rosebuds sshile ye may. for, as the other poet might have said. if UEMA comes, can ASCAP be far behind? 4 hours: 3 acts: 3 reels. Your favorite operas- virtually uninterrupted on stereo tape. There's Wagner's Siegfried: four hours of grand opera on three reels of tape. There's Verdi's Otello on two reels of tape. And

Bellini's La Sonnambula. And Donizetti's Lucia di Lammermoor. And more -over sixty complete albums to choose from. Vitality and quality reproduction characterizes stereo tape. It makes

these albums second only to a box seat in the Grand Tier. For the catalog of over sixty operas -

write to United Stereo Tapes, 88 Llewellyn Ave., Bloomfield, N.I. STEREO SOUNDS BEST ON TAPE CIRCLE 87 ON READER -SERVICE CARD

AUGUST 1963 I 09

www.americanradiohistory.com EICO new Transistor Stereo /Mono 4 -track Tape Deck Model RP 200W TAPING FM sn:ßro I r .1. wlrr,l r a,J -i PURCHASING Continued from page 47 51oa11 Re loon A HI -FI level and distortion in all the loud passages. Experience will help you hit it SYSTEM? ) Tltltl L4 right in both channels before you start TRADE -INS OK -TIME PAYMENTS wnt, for full s11 r<:dlons 10. Up to 2 to pay! to record. A fixed unbalance between years Jim Lansing' TAPE STORAGE OR channels can he corrected in stereo play- Altec Lansing CARRYING CASE back. A wandering, changing balance is Electrovoice reg. 9.95, now 5.95 Send Us Jensen Hallicrafter Heavy wood Construction. absolutely impossible to correct in play- Hartley' Comet waterproof vinyline. Holds up to 24 tapes.) back -your balance shifting is sure to USL Citizen Band Texas Crystals reg. 2.75, now 1.79 he random and your attempted correc- Your List of Internat'I Crystals IPres soil Cardboard. holds 10 so. University r 1 tions usually make it more At times. tapes or 60 .19 I tm n cords. PLUS POSTAGE the apparent stereo balance out of your KSC Speaker SAXITONE RECORDING TAPE Components Systems x1110 rn.o. oil n, oil r s .ak - of tuner may change as a result of some Acoustic Research bark. 111p.o, 1111 ,trier "'1'11.11'ea,11.. Janssen Viking I\ 'ou 11 n,1 it'. tl.t "prlre" imbalance in the program material. the "1 deal with u. %Yí111 tl pion ers In III, Wharfedale lane evorder Ino-1 new. ''and ",111, '¢Intlauon 1111 .m, everything' tolls. broadcast transmission. or the tuner it- For A Concertone 223' }IYI.AR. :1" lip malln111c husi .39 Bell G.E. acetate I : tic ,, : Inch.... .75 self. The source of seeming balance dif- an' lda Weathers Leak' \IYI. : \It ,I''Ilstwtcr 1, n Inre. .89 ferences is unimportant: what counts is it Harm .n- Kardon 111111' 111-I.AIt.. 11111. a Intl, reel 1.18 Package Eico Pilot I21111' eL.\Il. lela stir 11, Inrl,..1.59 right- sounding balance at the time of I lnl,' acetate IVl :,wtlrl. 7 Iona.. 1.15 Sherwood' I _u''' 11 _ 11111. nine 1 1.29 actual recording. Always retest for bal- Tandberg In,t11' nr,Ltlacetate 11, 1 11.111.1. 7`I non ..1.39 101111' a1T1.AIt 1 mil. dunk. 7 Inch 2.89 ance before every recording. ESL Frazier 211111' \IYI.:\It. t .11liel. 7 Inert 2.59 Quotation Superscope 1111' \Ill.\It. t , nre,. Inch 2.89 Last. I mention two minor points of PLUS POSTAGE Marge Users ')t Even Lowe) AIREX WON'T Dual Changer potentially major importance you Bogen RCA -if BE UNDERSOLD Dynakit Fisher Empty 31/4" do things the wrong way. - 4Track First: channel merchandise H. H. Scott Plastic Reels Oe Save 30% All ea. reverse. As all stereo recording fans is brand ECI Roberts STEREO MUSIC ON TAPE! new, De Wald National know. it is surprisingly easy to get Sony BARGAIN PRICES SEND FOR OUR FREE factory fresh & Challenger Tape Recorder/Blank Prerecorded Tape Catalog your channels reversed. and you can guaranteed. Browning do it (or double- reverse hack to normal) Garrard NORELCO SPEAKER When in New York City Miracord visit our showroom. Famous at many points along the circuitry. General Radio ÁD3800 \I. twin cone Free Cabinet Brochure. 8" (75- 19.000 cycles) Broadcasts are supposed to be right: you Rek -O -Kut p2 n.00 99l0 opo 4a9e. Polytronics fore can set your system to reproduce right - Norelco Finco OTHER Norelco models at way -round in your preliminary testing. AIREX Fairchild BIG DISCOUNTS. Pickering Sonar specifications on entire Fven so. you may discover to your Audio Tape Norelco line sent on request. display that your A -B via the monitor RADIO Magnecord SAXITONE TAPE SALES Rockford Cabinets 1115'. nt' ('II\I !iISSI11NLU switch also changes the sides. for a CORPORATION Fair Trod rd LLLI- '1110N WS, INC.) reversed image. If so. don't change 85 -HF Cortland St., N. Y . 7, WO 4 4820 1778 Columnia Rd.. NW. Washington 9 anything. First. your tape itself may not CIRCLE 4 ON READER -SERVICE CIRCLE 25 ON READER -SERVICE CARD he reversed at all: you may have re- CARD versed the playback connecting cables in your hookup. Secondly. if your tape BUY, SELL OR is reversed -and stays reversed -you need merely mark it so on the box and set SWAP NEWSLETTER the playback controls accordingly. But If you switch channels en route. you Dispos.. of used equipment and records - Illill the tape. through this monthly newsletter mailed The other factor isn't so easy to 1st of every month. Subscription: $1.00 a cope with -phasing. You must treat it year. Ads limited to 30 words, including similarly. with foresight. before recording name and address -$1.00 each. No dealer your chosen broadcast. Phase reversal ads accepted. Send check or money can be tricky to spot: and its source is order, use coupon below. even harder to uncover. since phasing. like channel right -and -leftedness. can he HIGH FIDELITY. Dept. CE reversed almost anywhere -including in Great Barrington, Mass. the recording being broadcast or in a station. Start my subscription to your Buy, Sell "live" mike pickup at the Correct or Swap Newsletter with the next issue. it first. if you can. before you start your 1S11 recording session. If not. don't change while recording. If your tape is all phased Name one way. you can correct at leisure when you play it hack. Just mark the box. Nothing is lost. no permanent harm Address done. As a rule. phasing. channel - NEW GIBSON GIRL' reverse. and balance setting are ele- City State ments in the "do not change" category STEREO 4 TAPE SPLICER during the course of all recordings other Enclosed is my payment for than tests. $ The new GIBSON GIRL® STEREO 4, is espe- A final helpful hint: for any record- cially designed to meet the precise re- Insert the following 30 -word advertise- ing made. you should mark your tape ment )including name and address( in the quirements of splicing 4 -track tape. A reels and tape storage boxes. Addi- next issue of the Newsletter. (Type or new streamlined Gibson Girl shape tionally. in every off -the -air recording print plainly.) 1$1) material on the tape, if you possibly can. the com- protects program include. leaves tape edges free of adhesive. plete spoken announcement -before or yet Splices glide your head with after the program. or ideally. both -as past tape never a hint of their presence. See the a common sense aid to indexing. GIBSON GIRL® STEREO 4 at You may. alas. have to include the new your tape hi -fi commercials too. Dreadful waste of tape. recorder and dealer. But you can always edit them out later List Price $11.50 on. And erase them. ROBINS INDUSTRIES CORP., FLUSHING 56, N. Y. CIRCLE 70 ON READER -SERVICE CARD Hlcll FII1r.l ITY NI vc \/LNr.

www.americanradiohistory.com DON'T WASTE TIME LISTEN lNl: TU SCIlO1:NBERG Continued on page 54

MAKING may sound. looks back to Co.sì fan flute, CONNECTING CORDS while the idiom as a whole has a fluidity and ease earlier absent from Schoen- OOft berg's dodecaphonic music. Here at last he appears as total master of his new ON A 7 INCH REEL! 76'644 method. SWITCHCRAFT The other opera is. of course, Afove.v tall Aron. Even in its unfinished state INTERCONNECTING it stands as a sort of summa of Schoen - CORD berg's achievement, a work of a remarkable grandeur of conception, pro- fundity. and expressive range. Precisely why. in well -nigh twenty years. he never brought himself to finish this mas- terpiece remains a mystery. But the fact that in its unfinished state the opera seems so complete suggests that uncon- sciously the moment of Moses' total defeat and despair had a deeper import for Schoenberg than the triumph and justification planned for the final act. time to Before you take make The second act Of Moses and Aron a special cord to connect 2 up was the last thing that Schoenberg com- units, check Switchcraft Catalog pleted before the Nazis forced him to S -590. leave Germany and to seek refuge in the Over 190 Molded Cables with United States. There is a deep irony in different type connectors and the fact that the Nazis could see only TRIPLE l'I,:I1 lengths. STOCKED BY decadence and distortion in the music of BY r-; Electronic Parts Distributors the man who. as he alighted on the Musical and Photo Distributors dodecaphonic method. wrote to a friend. MORE TAPE ON A Write for Catalog 5590. "I have discovered something that will en- 50% STANDARD 7" REEL SurC the dominance of German music for a thousand years." That would just have GRES NTR EE ® ELECTRONICS 5539 N. Elston Ave., Chicago 30, III. lasted out Hitler's thousand -year Reich. AI S. LA CIENEGA BEVERLY HILLS, CALIF CIRCLE 83 ON READER -SERVICE CARD The idea of Schoenberg as a rootless 40 ON READER -SERVICE CARD cosmopolitan is a grotesque perversion CIRCLE of the truth. On the contrary. his aesthet- 7NO' ic horizons rarely reached far beyond STRINGS his native ,1titteleuropa. Life in America was not altogether AI YIII NTF,1 T1 NO easy for so quintessential a central SOLID STATE "GIMMICKS" European as Schoenberg. His unique blend of paranoia and incorruptibility PII SS" h'R AMPLIFIER did not make his path smoother. and there seems little doubt that the struggle .'Lllili:r..lÍi, for existence and later for health to some extent lessened his output. But two of his greatest works belong to this last period of his life. Behind the classi- A $329.00 SHERWOOD cal shape of the Violin Concerto 119361 (Fair Traded) there is little Of the self- conscious neo- 14Y 8,0001110 FMMX RECEIVER with case classicist of the Twenties. In this work ... Nothing to buy form and expressive content go hand in "...better than the best..." lust write to Rabsons for a quotation hand. More remarkable yet is the String renowned audio expert Julian D. Hirsch in on any Hl FI states Component. This alone brio of 1946. in makes you eligible. Drawing will be for this score. which February, 1963 Hi -Fi /Stereo Review. made Sept. 30, 1963 Schoenberg completed in a few weeks after an illness that nearly proved fatal YOU ALWAYS GET MORE FROM RABSONS and from which he never fully recovered. Established 1905 58 Years of Reliability there is an elliptical brevity and concen- Franchised Protection - Plus For a copy of the com- Rabsons Special Six Month Guarantee tration. a paring away of all extraneous Sn plete report on the Easy Payment Plan - Up to 24 Months to Pay detail. that looks directly across to the SOLID STgTE Each Component Double Packed to Insure remarkable Acoustech I AMPI IFIERS world of Beethoven's CAN Safe Arrival ... At no extra charge last quartets. The as well as an SOUND BETTER Rabsons Sells ONLY Factory Fresh Merchan- intensity of expression and the intellec- dise in Original Factory Sealed Cartons authoritative tual complexity which sometimes cause booklet on MIRAC CLEANING CLOTH Schoenberg's music to sound over- Free thLurRquoteSo whatever your write Rabsons for our elaborate are here carried on to the NI FI NEEDS i Olympian level of the greatest masters. Write to: "ROCK BOTTOM. PRICES The absence of this work is the most ACOUSTECH, INC., DEPT. H -8 serious single gap in the catalogue of 139 Main Streel, Cambridge 42, Massachusetts ST. INC. Schoenberg recordings. RABSONS -57 Name 119 West 57th St., New York 19, N.Y. Area Code 212 Circle 7 -0070 Address Dogonolly oppo,.re Corneg,e NoII City State This drawing is not open to residents in any locality whose laws prohibit such a drawing.

CIRCLE 64 ON READER -SERVICE CARD CIRCLE 1 ON READER -SERVICE CARD At (.1 sr 1963

www.americanradiohistory.com PROFESSIONAL DIRECTORY

ARIZONA IOWA NEW YORK

NOW EVERYONE CAN BUY 4 -TRACK PROMPT WESTERN HI FI FANS STEREO DELIVERY ARE YOU INTERESTED IN PRICES? TA ES AT COST ..111, all label. -all aru.l, AMPLIFIERS - MULTIPLEX - LOW TAPE RECORDERS. TUNERS 100% FACTORY FRESH SPEAKER SYSTEMS. ETC. PRICES WRITE FOR QUOTATION No "agree t purrha -e" Ilhligarien AIR MAIL QUOTES - COMPARE 511 ''li.l prim" parrIta.e- WRITE FOR CATALOG 511 "prr..eleelyd" 'tape 1i.1 Hi -Fi Sales Company l ....el. Neral.ee.h ip S I 00 764 West Main Street Satisfaction Guaranteed AUDIO DIVISION Phone 969 -3191 Mesa. Arizona DISCOUNT TAPE SERVICE L. M. BROWN SALES CORP P. 0. Box 1601 Des Moines 6, Iowa Dept. F -242 West 101h Street New York 14. N. Y CIRCLE 45 ON READER -SERVICE CARD CIRCLE 18 ON READER -SERVICE CARD CALIFORNIA CIRCLE 27 ON READER -SERVICE CARD

LIMITED EDITION MARYLAND RUDOLF FRIML'S DIXIE RECORDERS TAPES HIGH FIDELITY WHOLESALERS Golden Jubilee L.P. album. Friml playing, COMPONENTS KITS conducting his beautiful new music. High Largest discount High Fidelity component dis- BEST -BY- COMPARISON PRICES tributors in the South. Wholesale prices on VISIT fidelity only. Enclose check or money order OUR FACTORY SEALED CARTONS package or individual components. Latest mod- S5.95. STORE SEND FOR "QUOTES" ON PACKAGE els in factory sealed cartons. HISTORICAL RECORDS DEALS AND SAVE MORE Box 2181 Are prices too high ? -Write: WRITE FOR MONTHLY SPECIALS Los Angeles 53, Calif. DIXIE HI -FI CARSTON rN1;D6. 12402 Connecticut Ave., Silver Spring, Md. 125 -F East 88 St., New York 28, N. Y. CIRCLE 47 ON READER -SERVICE CARD CIRCLE 19 ON READER -SERVICE CARD CIRCLE 28 ON READER -SERVICE CARD QUICK -SEE ALBUM FILE NEW JERSEY HI -FI COMPONENTS Ellminotes bottom TAPE RECORDERS jacket wear. Rolls WRITE FOR QUOTATION forward for front - SLEEP LEARN KITS view, Clip- through ON HI -FI COMPONENTS selection. 9 modes , r.d, y fit any calinet, MERITAPE : ,,o,, , closet or shelf. SOUND 57.95 up. A l s o available with cab- FREE 1963 CATALOG wet shown. Deal- REPRODUCTION, INC. ers, inquire. l:11111 1523 JERICHO TPKE. KERSTING MANUFACTURING COMPANY 34 New Street, Newark 2, N. J.

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LOW WAREHOUSE PRICES Unlock IN WASHINGTON, D. C. WAREHOUSE DIRECT SHIPMENTS the door to: Andy 6,Ctrane guy,' LOWEST PRICES At:.. SPEEDY DELIVERY FACTORY WARRANTY 711renSEMCO EASY-PAYMENT PLAN STEREO Mail your list of components MAIN STORE Send for our for a Money - Saving quote! 509 11TH ST., N.W., WASH., D.C. new stereo hi -fi discount catalog 11-11 GL'F. 4Idll"41F ... its free! 228-H Greenway Terrace, River Edge, N. J. ELECTRONICS COMPANY CIRCLE 61 ON READER -SERVICE CARD SIB E 95 Street. Brooklyn 12. R. Y. CIRCLE 80 READER -SERVICE CIRCLE 51 ON READER -SERVICE CARD SAYE 30% .... ON CARD STEREO MUSK ON TAPE NEW YORK I Corn fete Stock) -... WRITE FOR FREE QUOTATIONS AND (ATA- aye" plastic reels 10e ea. 1 LOGS ON HI -FI AND STEREO BARGAIN PPRICES on blank - EQUIPMENT. tape recorders and actes- F E í st\It H -FI RECORDING TAPE suries. 900' 1 Mil Acetate 5" Reel $ .75 NORELCO SPEAKERS 1200' I. Mi Mylar Specializes in í 5" " 1.15 1200' 1.5 Mi Acetate 7" " 1.09 Famous A1138uuM. twin cone 8" MONEY (7519.0110 c5clos), co in parab IL net SAVING YOU 120C" 1.5 Mi Mylar 7" " 1.19 9.90, now 4.99 12 For 9.01, plus COMPONENTS 1800" 1 Mi Acetate 7" " 1.39 FACTORY FRESH postage. OTHER Norelco speaker QUOTATIONS 1800" 1 Mi Mylar 7" 1.75 PRICES. POSSIBLE " models at DISCOUNT LOWEST 2400" 1/2 Mi Mylar 7" " 2.49 IS peel rica tions on complete line FAST DELIVERY sent on request.I by OVER 50 We are FRANCHISED Serving all your needs in electronics SAXITONE TAPE SALES NATIONAL licmmissioned Electronics, Inc.) WRITEAFORMBARGAIN LION ELECTRONICS D. 215 Fulton St., New York 7, N. Y. 1776 Columbia Rd.. Wash., C. LIST REctor 2.6714, Dept. LE CIRCLE 25 ON READER -SERVICE CARD 715 F 2nd Ave., INe. 38th/ 9 Warehouse Visit Our New York 16, New York CIRCLE 55 ON READER -SERVICE CARD ILLINOIS CIRCLE 13 ON READER -SERVICE CARD LDOK WHAT MAGNUM OFFERS! SOU NDTA STIC! Virtually all labels -all artists record index No obligations -no requirements That's what our customers are Every LP at low discount prices Choose the records you want from recocards saying upon receiving our prices! free catalog of over 25,000 LP's Designed for collections of 150 up. Write for special low prices on Magnum offers a complete one -stop record sere ice. You get lowest possible prices, complete Send 25c for brochure, sample record index hi -fi components, tape recorders, freedom of choice, no purchase obligations or cords, sample index guides by composer. etc. INDIVIDUAL QUOTATIONS requirements of any kind, unlimited selection, 100% quality guarantee . Special offer in- Racecards (H3) ONLY! cludes tree catalog and free record cleaning 503 Hyde Park Bank Building No catalogs. cloth. For complete details write ... MAGNUM RECORD SERVICE 1525 East 53rd St., Chicago 15, Illinois 2057 Coney Island Ave. Brooklyn, N.Y. 447 West 50th Street, Dept. FH, New York 19, N.Y. 14 ON READER -SERVICE CARD CIRCLE 57 ON READER -SERVICE CARD CIRCLE 67 ON READER -SERVICE CARD CIRCLE

www.americanradiohistory.com PROFESSIONAL DIRECTORY THE JAZZ COMPOSER NEW YORK SAVEo4OV0 Continued front page 57 HNFI

USE OUR EASY.PAY.PLAN Up to24months to pay of the problem is inherent in the on all your Stereo writing. Where. from the listener's DON'T BUT 14141-COMPONENTS needs. Recorders, standpoint. the alternation of styles con- Tape Recorders or Electronic Equipment until Tuners, Amplifiers, Turntables, etc. stitutes you get return mail quotation from "your an improvement over alternating friend in the business." Dizzy Gillespie with Mozart on the pho- LET US PROVE that we can supply Trade -Ins -Highest Allowance -Send us your your requirements PROMPTLY AT nograph has not been explained. The na- list. LOWEST COST. FREE CATALOG. ture of the flaw is obvious: despite pro- 15 day money -back guarantee. Full 2 -year warranty palls 6 labor. testations to the contrary. Third Stream We are factory franchised all ines. We ship STEREO COMPONENT Supply Co., Dept. F tends to impose form on jazz from with- front stock. 18th year of dependable b reliable service 150 NINTH AVE., NEW YORK 11, N.Y. out. rather than building it from within. throughout the world. CIRCLE 78 ON READER- SERVICE CARD For a sympathetic account of this We guarantee "We Will Not Be Undersold." Call us at (212) EN 9 -3700 from any part of PENNSYLVANIA school of jazz. see Gunther Schuller's U.S.A. You may deduct 3- minute toll charge article on John Lewis, Hlctt FluhurY, if your order is in excess of $100.00. October 1960.1 BEST BUY HI -FI LIST FREE. Send IOc for stereo The problems of writing jazz are not tape catalog -All labels save 331/2"ó. all aesthetic. A writer must have a band to write for and jazz. unlike ELECTRONIC WORLD HI -FI RECORDING TAPE classical music. has to pay its own 7.. Spools Splice Free Freq Resp 30 15KC way all the way: no musical philanthro- 3-1 1 12 BUILT 1950 pists or municipal governments VOTES l E5TE.1932 will 60M 31/4" 600' Mylar S 1.09 S 99 bargain sheet: underwrite its losses. Even when a jazz 12A 7" 1200' Acetate 1.09 99 rape Corcchuí< e tweftOREANS 18M 7" 1800' Mylar 1.89 1 79 Y t3 T3 EASTON ROAD, composer writes mostly for recording 24M 7" 2400' Mylar 2.59 2.39 ROSLdYNB,PEA A, sessions rather than for a standing hand. 24MT 7" 2400' Mylar -Ten. 2.89 2.79 - e.rnin r . .. his product is required to sell well Any assortment permitted for 12, price. Add enough to pay 15c per reel postage & handling, continental CIRCLE 44 ON READER -SERVICE CARD for itself. Yet despite the U.S.A. Write for complete listirg & 100+ price TEXAS obstacles. many gifted writers -including Charlie Niingus, another offshoot of HAVE YOU REQUESTED Ellington-have devoted a great deal of A STERLING QUOTE? love and talent to the task of building HI-FIDELITY The Southwest's largest the forms of jazz in an honest way. CENTER source of quality Tenor saxophonist and composer "The Hausa Of Low Lew Prices" hi -fi components WILL Oliver Nelson, whose "Afro -American NOT BE UNDERSOLD! Suite" is on Riverside. has prodigious gifts. 1797 -A First Ave.. New York 28, N. Y. Clare Fischer, a Gil Evans -influenced CIRCLE 46 ON READER -SERVICE CARD - STERLING- ELECTRONICS. INC. arranger and pianist, is startlingly tal- SPACE CITY, U.S.A. ented. An album he wrote for Dizzy Gil- I.41 Be a Guest of Honor in P. O. Box 1229, Dept. HF., Houston 1, Texas lespie titled "Ellingtonia" I Verve) is a particularly interesting example of fine CIRCLE 81 ON READER- SERVICE CARD New York City at the jazz writing lit also illustrates awkward- WASHINGTON ness that infuses the attempts of classical musicians to play jazz scores- most of the better jazzmen were hooked HENRY LEARN =SLEEP for other dates on the days it was Headquarters made 1. Lalo Schifrin, a native of Ar- Experiment ini this fascinating. gentina and alumnus of the Dizzy Gil- HUDSON educational new field. Use your Phonograph. recorder or amazing new "Elec- lespie Quintet. has accomplished much tronic Educator" endless tape recorder. We carry a full line of endless tapes for standard and promises more. His first large recorders. plus timers. pillow speakers and com- outfits. educational jazz work. "Gillespiana Suite" (Verve). HOTEL self -he coursess (In tape and ires rd for steep impressed musicians and learning and self-hypnosis experimenters. Write critics. but a for free 300 -item catalog and full details. new 40- minute work titled "The New 3 Days $18.45 5 Days $32.95 Sleep- Learning Research Association P. 0. Box 244, Olympia, Washington Continent" I Mercury ) is a much better Per 7 Days $46.45 DoablePe r9on Occupancy CIRCLE 91 ON READER -SERVICE CARD piece Of music. Another interesting com- y ENGLAND poser is Gary MacFarland. aged twenty - Choice Room with Private Bath nine. who four years ago couldn't notate Ticket to Radio or TV Studios music. His development has been aston- Vic Tanny Pool and Facilities ishing. Little of his best work has so Guided Tour of Rockefeller far been available on records, but that Center . to s. rite to usaand we mill show cou hose tu keep your will soon he corrected by a contract Performance at Radio City HI -FI COSTS LOW! with Verve. Music BRITISH EQUIPMENT Hall Amplifiers, Tuners. Speakers, At the moment. some fifteen years Lecture Tour of U.N. or Em- Motor s, Pick -Ups from the United Kingdom. IIiFi Mail after the "Birth of the Cool" made its pire State Building Observation Order Specialists. carefully Tower packed. insured and shipped first appearance on Capitol's singles. Gil promptly at minimum cost. Evans is still the jazz composer to Yacht Cruise around Manhat- Send $1.00 for Catalogue. C. C. tan Island or Motor Coach Tour Goodwin (Sales) Ltd. (Dept. H), whom a large part of the jazz world is 7, The Broadway, Wood Green, of Uptown N. Y. N. 22, England. looking for leadership. He is unspecific Motor Tour of Chinatown, READER -SERVICE CARD about his plans: "I intend to compose Downtown N. Y. or Hudson some things later." he says: "now I'm River Day Line Cruise just an arranger." But in the meantime Steamer Trip to Statue of Lib- CHANGE OF ADDRESS there's another man to whom jazz com- erty posers can look for inspiration. He's very. very For information and brochure active. His name is Duke write or call If you plan to move, please notify Ellington. us six weeks in advance, giving old address as well as new, attaching HENRY HUDSON HOTEL stencil imprint from wrapper of last 353 West 57th St., N. Y. C. copy received. Send to High Fidelity, fi'2Ii'2 ^. fi'7 f>h f1{ fi'9 fJ fW9 fi'2 f'i"i tY7 COlumbus 5 -6100 Subscription Department, 2160 Pat- CIRCLE 43 ON READER- SERVICE CARD terson St., Cincinnati, Ohio, 45214. 113

www.americanradiohistory.com LAFAYETTE ADVERTIS ING INDEX Key No. Page No. Key No. Page No.

A complete 1 ... Acoustech, Inc. 111 52 .. KLH Research & Develop- ment recording studio 2 .. Acoustic Research, Inc. . 82 Corp. 93 in one case 3... Acoustical Manufacturing 53 . Lafayette Radio Elec- 21 Co., Ltd. tronics 114

4 Radio . .110 Airex Corp. 54 Lesa of America Corp. 24 . 33, 34 5 Allied Radio 55 Lion Electronics 112 Lansing Corp. 75 6 Altcc London Records 88 9 America Record Society 89 57 Magnum Record Service 112 7 American Concertone, Inc. 4 58 McIntosh Laboratory, RECORDS 8 Angel Records 85, 86, 93 Inc. .. 25 10 Audio Devices, Inc. 19 59 Minnesota Mining & Mfg. SOUND -ON- 11 Audio Dynamics Corp. 18 Co. 16 SOUND 12 Audio Fidelity, Inc. 84 60 Mosley Electronics, Inc. 108

6l . Myer's Emco .. 112 PROFESSIONAL QUALITY I Audio Unlimited 112 14 Audio World 112 62 North American Philips 4 -TRACK STEREO Co., Inc. 14 15 Benjamin Electronics 87 92 Nortronics 104 TAPE RECORDER 16 Bozak, R. T., Mfg. Co. 23 Complete with 2 17. British Industries Corp. 36 93. Permoflux, Inc. 88 Dynamic Mikes, 18 Brown, L. M., Sales Corp. 112 63 Pickering & Co., Inc. 2 Output Cable, Professional Directory 169's 19 Carston Studio 112 Tape Reel and NO MONEY DOWN 112, 113 1200 ft. of Tape 20 Citadel Record Club . 83

21 . Citadel Tape Club 106 64 Rabsons -57 St., Inc. 65 RCA Sales Corp. 105 Here is professional quality at 22 Classics Record Library .. 7 Lafayette's low price. Compare this 23 Columbia Tape Club 5 66 RCA Tape 70 dependable portable tape machine 24 Command Records 1 67 Recocards .. 112 with others and you will agree, the 25 Commissioned Electronics 68. Reeves Industries, Inc. 65 RK -155 is tops. 110. 112 94 Reprise Records 97 29 Playback 4 and 2 -track stereo; 26 Concord Electronics 69 Roberts Electronics, Inc. 22

4 -track monaural Record 4 -track 70 . Robins Industries Corp. 110 27 Discount Tape Service 112 stereo and monaural Dual level meters Built -in amplifiers and 28 . Dixie Hi -Fi 112 71 Sarkes- Tarzian, Inc. 102

2 full -tone stereo speakers for hi -fi 29 Dressner 112 25 . Saxitone Tape Sales 110, 112

sound Response: 40- 18,000 cps 30 . Du Pont "Mylar" .. 26, 27 72 Scott, H. H., Inc. . Cover Ill at 71/2 ips 2 Speeds: 33 ips & 31 .. Dynaco, Inc. 68 73 Sherwood Electronics 71/2 ips Plays reels up to 7 inches Cover IV

32 . Eastman Kodak Co. 31 . Shure Bros., Inc. .. RK -155WX With Carrying 74 58 33 . Eico Electronic Instrument Case _ Net 169.95 91 .. Sleep- Learning Research Co., Inc. 20 Association 113 34 Electro- Voice, Inc. 11 LAFAYETTE Radio ELECTRONICS 75 Sonotone Corp. 90 Syosset, L.I., N.Y. 35 Finney Co. 6 76 Sony Corp. 32 OTHER LOCATIONS 112 Fisher Radio Corp. Cover I l 77 Sound Reproduction Jamaica 33, N.Y. Scarsdale, N.Y. 36 New York 13, N.Y. Paramus, N.J. 37 .. Freeman Electronics 78 . Stereo Component Supply Plainf ield, N.J. Newark 2, N.J. 113 Bronx 58, N.Y. Boston 10, Mass. Corp. 10 Natick, Mass. 79 Stereo Designs, Inc. 107 17 . Garrard 36 80... Stereo Warehouse 112 Goodwin, C. C. 113 38 81... Sterling Electronics 113 39 Grado Labs, Inc. 106 82 . Superscopc 12 I 1 1 LAFAYETTE 40 ..Greentree Electronics 83 . Switchcraft, Inc. 111 Radia ELECTRONICS 41 .. Harman -Kardon, Inc. 13, 15 Dept. WH3 P.O. Box 10, 84 .. Tandberg of America, 42 .. Heath Co. 17 Syosset, L.I., N.Y. ... Inc. 99 43 Henry Hudson Hotel 113 FREE 388 85 . 20th Century -Fox Rk.155Wx Rush me Giant Sized Pages 44 . Hi -Fi 113 Records 81 enclosed 1963 Catalog. 45... Hi -Fi Sales 112 86 United Artists 97 46 .. Hi- Fidelity Center 113 87 .. United Stereo Tapes 109 47 .... Historical Records 112 NAME 88 Vanguard Records 86 48 Inter -Mark Corp. 109 ADDRESS 89 Vernon Audio 8, 9 49 Jensen Mfg. 66 CITY 90.... Viking of Minneapolis, 24 112 Inc. STATE 50 .. Kersting Mfg. Co. IZONE 1.0 ims 51 ... Key Electronics 112 Wyeth Press 28, 80 CIRCLE 53 ON READER -SERVICE CARD 114 HIGH FIDELITY MAGAZINE

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Only Scott Kits come equipped with one. It's a full -color terminal strips and other mechanical parts is completed at instruction book to insure you against confusion, incorrect the factory. Critical circuitry such as the FM "front end" is wiring and the installation of wrong parts. prewired by factory experts. When you finish a Scott Kit it Every part and every wire is reproduced in its exact color. will look and work like a factory wired component. A special printing process is used requiring seventeen differ- If you've never seen the Scott full -color instruction book ent colors ... including even silver and gold ... to insure visit your dealer now or fill in the coupon below. We'll send life -like reproduction. It is practically impossible to make a you a sample page and a catalog showing all Scott Kits. construction mistake! To speed assembly time Scott Kits are divided into con- H. R. Scott Inc. 111 Powdermill Road SC'CYTT venient assembly groups. There is a separate page in the Maynard, Mass. D instruction book for each group, and the parts for that page Rush me a sample page from a Scott full-color kit instruction book. Also enclose a catalog of Scott kits and factory wired components. are mounted, in order, on Scott's unique Part- Charts. Name No one but Scott goes to the time, trouble and expense Address to give you this kind of kit building insurance. Scott Kits City Zone State offer many other advantages, too. All wires are eilt and Include names and addresses of interested friends and well send them duplicate materials. stripped to exact length. Tedious mounting of tube sockets, J

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New, S -3000 Y FM Stereo Multiplex Tuner with professional zero-centered tuning meter and Stereo Indicator Light.

The wider band requirements for the stereo information now being Third, you will just plain appreciate the added professional touch multiplexed on FM channels has made precision tuning a factor Sherwood has added to an already professional -quality FM tuner. more -important- than -ever in FM reception. A bonus in tuning ease Tuning eyes are good. Peak meters have value. But, these are Added to the professional accuracy of zero- centered meter tuning, yesterday's achievements applied to today's and tomorrow's needs. Sherwood gives you a "can't -be- fooled" Stereo Indicator Light. This is why Sherwood engineers have incorporated a professional, Stereo broadcast identification is instant and positive. zero -centered meter in the new S-3000 Y Tuner. It tells when you are This restless attention to all the details which can improve per- exactly on frequency. No guesswork. No maybe's. Only assuredness! formance is why Sherwood components have been ... and will What difference does Sherwood professional zero -centered meter continue to be ... outstanding values. tuning make?

Quite a lot. It makes possible accurate, first -attempt tuning. You will Other value features of the S -3000 Y find it isn't necessary to tune and then step back to listen and verify whether you tuned in correctly. Superb sensitivity: 1.8 uy (IHFM) for -30 db. noise and distortion.

Secondly, "zeroed -in" tuning is particularly beneficial to obtaining Wide -band 3 -mc. Gated -Beam Limiter and 1 -mc. Balanced Ratio minimum distortion and maximum stereo separation due to the Detector: combine to suppress background noise introduced by stereo added information multiplexed on FM stereo channels. FM and create the pace setting capture effect of 2.4 db. FM Interchannel Hush: eliminates the "rushing" noise between stations. Flywheel tuning: made with turntable accuracy for smoothest, fastest tuning. Dial spread: communications -type 20% longer scales provide professional accuracy. Price: $165.00 (less case).

If you want a component that combines tuner and H I G H F I D E L I T Y 80 -watt stereo amplifier in one compact chassis .. . see the new S-8000 IQ FM Stereo MX Receiver. Has For complete H -8 zero- centered professional tuning meter and Stereo information write Dept. Sherwood Electronic Laboratories, Inc. Indicator Light. 4300 North California Avenue, Chicago 18, Illinois Price: ;319.50 (less case).

See our May advertisement on Sherwood Speaker Systems. ti_asr. Steréo Receivers Tuners Amplifiers Stereo Indicator Lights Speaker Systems Contemporary

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