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www.americanradiohistory.com Everything Fisher knows about tuners, preamplifiers and power amplifiers is in this transistorized stereo receiver. to No output transformers -therefore no limitation Take the most advanced FM- multiplex tuner circuitry known of bass performance or of transient response Take the because of transformer characteristics. Fisher. Take the ultimate in Fisher control -preamplifiers. Four output transistors in each channel for con - most remarkable stereo power amplifier ever developed by Fisher engi- O servative operation at high power (instead of the conventional two). Massive heat sink. Pow- neers. Put them all together on one chassis, as Fisher did, and you have er output at 8 ohms is 110 watts (IHF) or 45 watts RMS per channel. IHF power bandwidth the incomparable Fisher 600 -T. Is it as good as any combination of is 12 to 35,000 cps. 1000, it's better! supply stabilizer transistors. separate components? In 999 cases out of © Driver and power shelf, Advanced solid -state multiplex section with bet- The Fisher 600 -T will easily fit on a standard 12 -inch deep © ter than 40 db stereo separation at 400 cps - an industry first. in less than 17 inches of horizontal space. (That's Exclusive Fisher NUI'istor- GOLDEN SYNCHRODE for all the electronics of your stereo system. ) O FM front end. for highest sensitivity and lowest \Ew noise. plus overload rejection beyond the capa- Thanks to its transistorized design, it will generate THE bilities of transistor front ends. Sensitivity is 1.8 µv (IHF): signal -to -noise ratio is 70 db at no heat to speak of. And thanks to the Fisher way 100% modulation. it will stay in perfect alignment FISHER Exclusive Fisher STEREO BEACON for automatic of using transistors, © switching between FM -mono and FM- stereo and optimum operating condition indefinitely. modes, and automatic visual indication of stereo II1)llß0Ok broadcasts. No relays, no clicks. (Transistors don't necessarily mean progress. Professional d'Arsonval -type tuning meter. Fisher solid -state engineering does.) O Wide -band (one megacycle) ratio detector of highest linearity and lowest distortion, capable The features and specifications of the 600 -T O of unusually accurate detection of multiplex signals. speak for themselves. No other integrated stereo Five wide -band IF stages and five limiters. receiver comes even close to this kind of perform- O Exclusive Fisher AUTOSCAN automatic stereo scanner for instant spotting of stereo broadcasts ance. The sound? Listen! It makes you smile con- O in- between mono broadcasts. without receiving at accepted standards. 9 Size: 163/4" wide, 51/2" high. 111/4" deep. descendingly previously Weight: 31 lbs. Price: $499.50. Cabinet: $24.95. PATENT PENDING For your free copy of this 76 -page book, use coupon on page 44.

108 Mill qu 90 9,1 94 196 98 100 102 IOe 106 s

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www.americanradiohistory.com (V -15 AVE) ELLIPTICAL STYLUS) NATURAL SOUND BEGINS WITH PICKERING Whether you own a record changer, automatic turntable, or a professional type manual turntable Pickering has engineered the RIGHT V -15 pickup for you. Each of these applications requires a cartridge with specific characteristics and specifications to produce the maximum in NATURAL SOUND that is possible from the record playing equipment and other components in your system. If it's RECORD CHANGER application, where high output and heavier tracking forces are required try the SAC -1 Most of you, no doubt are tracking lighter on the late model AUTOMATIC TURNTABLES and will use the AT -1 Or if a professional type MANUAL TURNTABLE is your choice you'll need the even more compliant IIZEr AM -1 And if its unexcelled tracking ability you're seeking, you will demand the ELLIPTICAL STYLUS PICKUP IZErAME1 All of these pickups are radically different from any other cartridge. You can see the difference. You can hear the difference. Pick up a V -15. Note its light weight -only 5 grams. Perfect for low mass tone arm systems. Now, see how Pickering's exclusive "Floating Stylus" and patented replaceable V -Guard assembly protects your record and diamond as it plays.

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Music and Musicians 52 Alarums and Excursions: an editorial 62 The Strange Demise of W. A. Mozart Else Radant 67 A Question of Function: music critics and musicologists Patrick J. Smith 20 Notes from Our Correspondents: Paris, London

Sound Reproduction 49 High Fidelity Newsfronts: a grand prix for fidelitarians Norman Eisenberg 54 A Portfolio of Stereo Décor-1965 70 Extension Speakers Len Buckwalter 75 Equipment Reports Pure Sonics Model 402 -C Basic Amplifier Audio Dynamics ADC 325 and 303A Speaker Systems Dynaco Dynatuner FM -3 Thorens Model TD -224 Turntable and Record Changer

Reviews of Recordings 85 Feature Record Reviews Wagner: Parsifal (Dalis, Thomas, London, Hotter, et. al.; Hans Knappertsbusch, cond.) Rimsky -Korsakov: Scheherazade, Op. 35 ( London Symphony Orchestra, Leopold Stokowski, cond.) Anon.: Carmina Burana (20) (Soloists; Münchener Marienknaben Ensemble of Ancient Instruments) 89 Other Classical Reviews 112 Reissues 117 The Lighter Side 121 Folk Music 125 Jazz 129 The Tape Deck

MARCH 1965 "OLUME 15 NUMBER 3

Published montnIy at Great Barrington. Mass, by The Billboard Publishing Co. Copyright 1965 e, The Billboard Publ.sh.ng (o The design and c of Nigh fide'.I, Magazine are fully by protected copyright and mut not be reproduced .n any manner. Second class postage p.d at Great B arr!ngton and at add!t,onal mailingntoff tes. Authorized M s d.d ss ad by the Post Offite D, ,,tment,s C ,.... and for payment of postage alI ash Nigh 5.0.1,57' MvstaI Amer.,. Ed t n published monthly except December when publ.shed s monthly SOSScr.05,0, Ar ywre o artn Sc Nat,onal and other Ed.t.ons monthly Subscr,pt,on Anywhere on Earth S7 Indexed in the "Reader's Guide Io Pered.cal C.te .- Sure." Change o'addres, On, unce...ered copes ,form 75791 should be addressed to Nigh fide ity, Eubscrlpt.00 Department. 2160 Patterson Street, C.0500at i, Oh,o 45214.

www.americanradiohistory.com IT'S NO USE! I JUST CAN'T WRITE A 1200 FOOT SYMPHONY

Cover Photo: by Ezra Stoller

Roland Gelatt Editor in Chief

Joan Griffiths Executive Editor

Norman Eisenberg Audio Editor

Sue Severn Managing Editor

Peter G. Davis Assistant Editor

H. C. Robbins Landon European Editor Shirley Fleming Managing Editor Musical America Section

Roy Lindstrom Art Director Nathan Broder R. D. Darrell Alfred Frankenstein Conrad L. Osborne Robert C. Marsh Contributing Editors

Claire N. Eddings Director of Advertising Sales

Walter F. Grueninger Circulation Director

Warren B. Syer Publisher That's all right, Ludcig, neither could Tchaikovsky, or

Brahms, or Mozart or Lerner and Loewe or any other com- A D V E R T I S I N G poser for that matter. You simply can't write music to fit a Main Office reel of recording tape. It's up to the recorder owner to buy a Claire N. Eddings, The Publishing House Great Barrington, Mass. 01230

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www.americanradiohistory.com RAVE REVIEW ON SONY 600

A Reader Gratified

SIR: Thank you ever so much for the excerpts from Wanda Landowská s writings which JET you recently published [ "From the Lan - dowska Notebooks," December 19641. You have done a great service to those Radio -Electronics of us who cherish the memory of this Magazine Our new collection is now great harpsichordist. June, 1964, says: Her insight, knowledge, personality, available ... and imagination have made harpsichord "This recorder has some very good spe- music of every era live and breathe. Her cifications and, although its price is above the 'cheap' equipment cabinets speaker playing has transported many a listener, range, one does not readily including myself, back 250 years to the believe such excellent specs for a 4 -track machine until enclosures consoles cabinets glittering court of Louis XIV, to Handel's they prove out. This ma- house on Brook Street, and to Aranjuez chine fulfilled its promise. With it, you galore. Danish and Provincial Palace, where Scarlatti played to the can tape your stereo discs and play them Spanish court. Mme. Landowska has car- back without being able to detect any difference, which is styles in new decorator finishes. ried us back to Cöthen to hear Bach play saying something. his Chromatic Fantasia and Fugue, in The physical design of this unit is good, D minor, and to Leipzig to hear Bach for either permanent installation or the see your dealer or write for free brochure play his D minor Harpsichord Concerto. most complete portability. How wonderful it was to see her words "The footage indicator is a footage in print! Again, I thank you... . indicator, not merely a place spotter, Teri Noel Torre and it keeps its count with all normal Deerfield, Mass. tape movements. Independent control of left and right channels, so one can be A Reader Exercised operated in record, while the other is in playback, enables the unit to be used for SIR: an endless variety of 'special' effects. Because your magazine usually maintains "Playback and record functions are such exemplary standards of informative- completely separate, so that a recorded 546 S. Meridian Indianapolis, Ind. ness with impartiality, I was particularly program can be monitored immediately. distressed by the lapse from those stand- Microphone and auxiliary inputs can be ards in your recent twin bill on conduc- mixed for combination and re- record tors and conducting [January 1965]. First effects. First stage amplification uses your editorial [ "The New Conductor "], transistors, while the main amplification which was blighted not only by a strong uses tubes-a good marriage in this undercurrent of evolutionary prejudice particular design. (in effect, it reads, "Of course Toscanini, "The mikes are very good, compared Furtwängler & Co. were Great Men, with most of the 'inexpensive' types but now we've gone beyond that sort of used with home recorders. Extremely thing" etc.) but also by a startlingly large good realism is possible for home record- quantity of downright confused thinking. ings. I had my family 'act natural' in For example, we are told at one and the front of the two -mike combination and same time that the old -style conductor the playback was unbelievably real. failed because he "often superimposed "The Sony 600 will naturally take a himself between the music he was sup- little playing around to find out how to posedly transmitting and the composer do various 'extra' things you may want. who wrote it" and that the new -style But when you get to know it. you'll find conductor will come into his own when it a very versatile instrument. It's a re- he can "gain in confidence and begin to corder with which familiarity brings put forward a more distinct artistic pro- confidence." file." H. Crowhurst As for the article from which the edi- Norman torial took its point of departure [ "A Mixture of Instinct and Intellect "], this struck me as a real Alphonse- and -Gaston For further information, or complete act between the Messrs. Paul Henry Lang copy of the above test report, write Superscope, Inc., 600 Test Report D, Continued on page 12 Sun Valley, Calif. CIRCLE 8 ON READER -SERVICE CARD CIRCLE 5S ON READER -SERVICE CARD 8 HIGH FIDELITY MAGAZINE

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Now enter the world of the professional. With the Sony Sterecorder 600, a superbly engineered instrument with 3 -head design, you are master of the most exacting stereophonic tape recording techniques. Professional in every detail, from its modular circuitry to its 3 -head design, this superb 4 -track stereophonic and monophonic recording and playback unit provides such versatile features as: vertical and horizontal operating positions sound on sound tape and source monitor switch full 7" reel capacity microphone and line mixing magnetic phono and FM stereo inputs 2 V.U. meters hysteresis -synchronous drive motors dynamically balanced capstan flywheel automatic shut off pause control and digital tape counter - all indispensable to the discriminating recording enthusiast. Less than $450,-, complete with carrying case and two Sony F -87 cardioid dynamic microphones. Multiplex Ready! The Tupewny to Stereo Yes, less SUPERSCOPE, than $450!

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Tubed components are doomed. Why invest in obsolescence? As to the point of going completely It is now common knowledge you approach the extremely im- out of the tubed -equipment busi- among hi -fi engineers that tubes portant purchase of your next ness. Not even a nuvistor tube and output transformers play a stereo system, bear in mind that remains to mar the 100% solid - major role in creating distortion. the very finest tubed equipment state sound of every Harman - Why transistor components are will soon be hopelessly obsolete. Kardon instrument. better. Transistor units produce Harman -Kardon, possessing the Now, transistor economy. The better frequency response industry's longest, most exten- new Stratophonic all- transistor (cleaner, more "transparent" sive experience in solid -state FM stereo receivers (shown be- sound) because they don't use audio design, is and will remain low), priced down with the most output transformers. Transistors many years ahead of the field. popular tubed units, give you are the best switching devices Sound Unbound without the old known to man, give better re- The industry's only all- transistor price penalty of transistor sponse to sounds of very short line. While an occasional solid - equipment. Now, with the duration. Speakers are coupled state component has appeared Stratophonics, there is literally directly to the output transistors, in other lines, only Harman - an all- transistor receiver for giving you crisp, solid bass. Kardon now offers the fabulous every home and every budget. Tubed receivers require realign- wide -open sound quality of com- When you hear these magnifi- ment at least every other year. plete transistorization through- cent instruments, you will never

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next few days. In the event of Now, without paying a cent or obligating yourself in any as received, rarely later than the are made and your order completed way, you can join for three months the one record club that a delay, partial shipments tape is available. There is no addi- has every single advantage and none of the disadvantages of as soon as the record or all the others -including those advertised in this and similar tional cost to you for this service. discounts, publications. (Your trial membership applies equally to phono- Specials! In addition to your regular Citadel Club albums and tapes in graph records and 4 -track recorded tapes.) you will periodically receive lists of hit These are Here is what the Citadel Record Club offers to all its all categories of music, offered at super discounts. its unusual members: special purchases your Club can make through along to all mem- Discounts! As a member, you are entitled to unusually large buying power, and the savings are passed any of discounts on the records you want- sometimes as high as bers. Again, you are under no obligation to purchase 55 %! You can save as much as $300 a year if you buy many these selections. records and get them all at Citadel discounts. Free Schwann catalog! With your membership, Citadel immedi- than No obligations! You can buy as few or as many records as ately sends you the standard reference guide to more has you want, when you want them. You are not obligated to buy 25,000 long- playing records. This comprehensive catalog any specific number of records -or tapes. The choice is always separate sections for classical, popular, ballet, opera, musical yours at top savings. Citadel has no "agree to purchase" shows, folk music, jazz, etc., and another section for all new requirement of any kind. releases. All labels! Your choice is unlimited. Virtually any record, al- 100% guarantee! Your records and tapes from Citadel are bum or tape by any artist on any label is available at a discount guaranteed factory -fresh and free of defects of any kind. If a to Citadel members. This includes opera, classical, jazz, pop, damaged or defective record or tape does get through our close folk, spoken word- anything. You receive Citadel's periodic inspection, we immediately replace it with a perfect copy. bulletins and catalogs that keep you abreast of the newest Try membership in the Citadel Record Club for three recordings. You never get a "preselected" list -Citadel does months. Find out why it is the club for the fastidious record not limit your choice. buyer. You have nothing to lose except your possible illusions Promptest service! Orders are usually shipped the same day about other record clubs.

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KEFSJWDDD Continued from page 8

4 NEW KW -55A and George Szell. And finally there was Automatic AM/ FM Stereo the plain bad taste of that snobby. stale old "now let's all laugh at Mengelberg" Multiplex Receiver bit. without the good grace of so much as a footnote to point out that it was Mengelberg -along with Toscanini. Mah- ler, and Von Bülow -who created the modern high standards of orchestral performance which Szell can now presumably take for granted. The essential truth of the matter. as has been pointed out by many people (including music critic Robert C. Marsh. in his Toscanini and the Art of Conduct- ing), is that it is precisely the towering strength of personality in Toscanini and his colleagues which enabled them to reveal with such pristine vividness the composer's original conception. . As it is, your kind of logic plays right into the hands of those a & r men who go about exterminating legendary perform- , w ances imperfectly preserved and replac- Quality ing them with mediocrities transfigured Stereo by engineering "miracles." When and if That's Not Stereotyped! modern conductors begin to surpass their predecessors in terms of sheer artistic Unequalled maximum performance and dollar- for -dollar greatness. no one will rejoice more loudly value with advanced circuitry and reproduction appre- than I; but until that happens, it is only ciated by sound experts. insulting the real achievements of the present to attempt to inflate them by KENWOOD KW -55A "PLUS FEATURES" facile Darwinism and gobbledygook. Silent, automatic, electronic switching between FM stereo Harry Wells McCraw and mono automatic "stereo indicator" light nuvistor New Orleans, La. cascode front -end with 1.8 microvolts 4 I.F. stages, 3 limiters, wideband ratio detector variable automatic fre- The A & R Game quency control front -panel stereo headset jack direct tape monitor powerful 40 watt $239.95 amplification SIR: Since I imagine that many people will be participating in the game of "Let's Play A & R Man" IDecember 1964]. I am !a taking the liberty of sending along several of my own contributions: r M%, Mahler- Symphony No. 9, with the

-, 04 Rome Opera Orchestra under Tullio Serafin (perhaps with Mario del Monaco singing the Songs of a Wayfarer as a filler). IF SEPARATE AMPLIFIER AND TUNER ARE REQUIRED Delius -Orchestral Music. with Konstan- tin lvanov and the Moscow Philharmon- ic. Beethoven- Hanunerklarier Sonata, played by Fernando Valenti ( perhaps he could also be persuaded to record the Brahms Second Concerto under Karl Haas). Prokofiev -Alexander Nerskv, with the KW -220 Integrated Stereo Amplifier KW550 FM Automatic Stereo Multiplex Tuner Madrid Singers and the Spanish National thirteen front panel controls automatic relay switching to proper mode Orchestra under Rafael Frühbeck de two sets terminals of for each MAG exclusive FM stereo indicator Burgos. and AUX nuvistor cascode front -end Perhaps a search of the archives would direct tape monitor 5 wideband I F stages, 4 limiters stereo headset jack interstation muting circuit yield a Toscanini -led Pierrot Lunaire, a total 100 watts mus power low impedance cathode -follower output Weingartner .Sacre du Printemps, or (IHFM Standard. Shostakovich's First Piano Concerto, with Schnabel and Furtwängler. YOU ARE INVITED to see the complete KENWOOD line at the Edwin R. Kanunin New York, N.Y. LOS ANGELES HI -FI MUSIC SHOW MARCH 7th - 15th AMBASSADOR HOTEL ROOM 128H For complete information about KENWOOD proven reliable SOLID STATE For Modulated Sound and superior VACUUM TUBE components, see your nearest Authorized KENWOOD Franchised Dealer or write direct to: SIR: KENWOOO ELECTRONICS, INC. When they know the objections to it. why do record companies continue to Los Angeles Office: 3700 South Broadway Place, Los Angeles. Calif. 90007. ADams 2 -7217 turn out recordings. particularly opera New York Office: 212 Fifth Avenue, New York, N.Y. 10010, Murray Hill 3.1115 Cunt' d on page /9 CIRCLE 31 ON READER -SERVICE CARD l' HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com Enter Empire's Round -the -World Music Festiva. Win the most thrilling 21 days you and your ...and it's completely free! That's right! 3 weeks in the side trips (Versailles' tabu - ranked these features in speaker system that lets yo' classic centers of Western lous Palace of Mirrors, Art what they felt is the respec- sit anywhere -hear every culture awaits the lucky win- Museums, the storied lochs tive order of importance. thing. Its majestic sound i ner (and his guest) taking in and glens of Scotland),Tem- Your task -Match their list! unlike any you've eve the best of performing arts ple of Apollo, Acropolis, That's it! heard before. Its featuresar' ...the world famous Festi- Olympic Stadium, Colos- No long drawn -out essays... unique and its versatility i vals at Salzburg, Athens, seum, Trevi fountains and no jingles...no boxtops. Just unbelievable. Summed up Bayreuth, Bregenz, Dubrov- many, many more. rearrange the outstanding it's an engineering marve nik ...Greek drama unfold- And throughout, Empire Royal Grenadier features in with elegant furniture styl ing under Athenian skies... unrolls the ermine carpet... the order of importance that ing. Price $285. open-air performances of hotel rooms, transportation, you feel will match the mas- Helpful Hint: Puccini in Rome...opera, meals, tickets, tours -all first ter list. And you and your First go 'round to your loca ballet, symphony, dance class. Alitalia Airlines pro- guest might be packing for dealer, he'll be happy t( concerts, chamber music... vides the ultimate in air this glorious tour of festivals. oblige you with a live dem events that most music travel accommodations. Or Stay At Home onstration plus present yot lovers aspire to attend one, And you don't pay one cent. and hear all the great artists, with a complete itinerary o perhaps two, of in a lifetime. Empire -your host on this as you've never heard them the trip. Pay special atten Empire's Round- the -World incomparable trip for two - before on the New Empire tion to the constancy it Music Contest sends the picks up the tab. Royal Grenadier, the only sound level and tone in an lucky grand prize winner You'd need a bagful of direction, the freedom frorr and his guest on the most money to make this tour on room standing waves, th( glittering cultural tour ever your own. Instead, just take enriched base response, th( planned. Between perform- along an empty suitcase... unparalleled stereo separa ances you make the rounds to bring back the programs Lion, and living presence. of Paris nightclubs, are taken and other mementoes. on personalized excursions It's easy, here's all you do: through the world's cultural Listed in alphabetical order capitals (Rome, Paris, Mu- are the ten extraordinary nich, Athens), go on special features of the new Royal Grenadier, the world's most perfect speaker system. Leading high fidelity music editors and critics, in their collective judgment,

www.americanradiohistory.com Contest. guest may ever spend on the continent

OFFICIAL t EMPIRE 4. Entry must be BLANK OFFICIAL RULES envelopes ROUND -THE -WORLD ENTRY postmarked no later than Scientific Corp.. P.O. Box 606 1. On an official entry form, midnight, June 1, 1965. All Mail to: Empire or plain stationery, list all entries become the property Garden City, N. Y. the outstanding features of Empire Scientific Corp., 1. Fill in Name and Address (code letters) of the New and none will be returned. 2. List the features (by code letter only) in the order Empire Royal Grenadier in Mail entries to Empire Sci- that you think will match the judges' list. their order of importance. entific Corp., Box 606, Gar- Match person. N. Y. Only one entry per den City, Long Island, their 2. Judges will be deter- 5. The contest is open to all list! mined by Empire Scientific residents of the United Corp. The entry form listing States and Canada.The con- 1 the extraordinary features in test is prohibited to em- their order of importance ployees of The Empire 2 exactly as on the judges' list Scientific Corp., its selling will be the winner. In the agents, affiliated compan- event of a tie an opinion ies, its advertising agency, question on "loudspeaker and their families. This con- systems" will be sent to all test is subject to Federal, contestants involved in the State, and local regulations. 4 tie. The judges, will judge 6. Winner will be notified EXTRAORDINARY FEATURES: the answers to the opinion by mail not later than 15 THE EMPIRE ROYAL GRENADIER 5 question on the basis of days after final drawing. A. Complete symmetry of design with originality and aptness of 7. Winner and guest of his terminals concealed underneath. B. Die -cast mid frequency -high fre- thought. The participant choice will be flown by quency full dispersion acoustic lens. 6 submitting the best answer Alitalia across the Atlantic. C. Exclusive rigid non -resonant in the opinion of the judges All connecting intercity heptagonal construction. D. Fifteen inch mass loaded woofer with 7 will be the winner. The de- transportation will be ar- floating suspension and 4" voice coil. cision of the judges will be ranged by Empire Scientific E. Front loaded Horn with 360° final. Corp. All hotel accommo- aperture throat. F. Full presence mid -range direct radiator. 8 3. The prize must be ac- dations, meals (2 per day), G. Hand rubbed satin walnut with cepted as scheduled in ad- fares, sightseeing, admis- imported marble top. vertisements. Any tax or sions to festivals, and trans- H. Sound absorbent rear loading. 9 I. Ultra sonic domed tweeter. liability pertaining to the portation from terminals to j. World's largest (18 Ibs.) speaker award will be sole responsi- airports will be supplied by ceramic magnet structure PENDING 10 bility of the winner. No sub- Empire. The above is only POINTS stitution of the prize will be valid if prize is accepted as allowed. Empire Scientific scheduled. NAME Corp. reserves the right at 8. Album Winners (50) -En- change the fes- try forms must have a all times to mini- ADDRESS tivals and cities named with- mum of seven features in out notice. order exactly as the Judges' ZONE STATE List. In case of more than CITY 50 such entry forms, album winners will be se- DEALER'S NAME lected in random drawings conducted by one of the SALESMAN'S NAME judges. AL/TAL/A4 NOTE: ALL CONTEST ENTRIES L SUBJECT TO OFFICIAL RULES

Wait! There's more. Empire is offering 50 additional prizes... the Grand Prix Du Disque, Deutsche Grammophon Albums! Beethoven's 9 symphonies conducted by Herbert Von Karajan. Retail price $47.98. Of course they sound best on the Empire Troubador featuring the 880P Cartridge. Visit your dealer... he's always happy to satisfy an Empire customer.

CIRCLE NO. 108 ON READER SERVICE CARD Export: EMEC Plainview, L. I., N. Y. / Canada: Empire Scientific Corp. Ltd., 147i Eg ington \Vest. Toronto www.americanradiohistory.com "Can serve admirably to help you derive greater enjoyment from records or broadcasted programs. It covers almost every aspect of high fidelity reproduction with special emphasis on stereophonic equipment." HARVEST YEARS

PARTIAL CONTENTS

The ABC's of Stereo Stereo for the Man Who Hates Stereo Music and Stereophony Stereo Recording Today Cabinets for Components ells The Music Wall Improvements in tot Cartridges and Arms

From One Speaker to Many 1` FM Stereo in the Marketplace ì Antennas for FM FM for Motorists Anyone Can be a Sound Engineer A Mike or Two Around the House High Fidelity Servicing Noise -the Uninvited Guest many more! -and ¡at ónRtr

FOR MORE THAN A DECADE . . . of recording and reproduction, including stereo? Will it help the reader plan a new reproducing system to suit his

. . . readers tell us, the most literate and informative needs at a price he is willing to pay? Will it help the writing on sound reproduction in the home has appeared reader get the most out of that system or his present in HIGH FIDELITY. system'?

Now, for those who may have missed some of HIGH This illustrated flexible cover book of 132 pages, FIDELITY's top audio articles (plus a few from sister measuring 6 x 91/2 inches, will stimulate and inform publications) and for those who requested they he pre- anyone who has ever thought about owning his own "rig ". served in a hook, we have selected 31 of them for inclusion If audio perks up your interest -send in your order in the First High Fidelity Treasury. before we sell out. Payment with your order, please, to It's not a "layman's guide" to high fidelity, but it prevent bookkeeping expense. But satisfaction guaranteed tells you just about everything you need know for achiev- or your money back! ing good sound reproduction in your home. Mail your order for TREASURY with $2.50 to Wyeth Each piece was selected with these qualifications in Press, a division of High Fidelity Magazine, Great mind: Will it help today's reader understand the principles Barrington, Mass. 01230.

www.americanradiohistory.com The price tag went on KLH Model Seventeen last The quality went in first. The kind of quality you that add nothing to musical performance. can hear. Quality in the Seventeen's smooth, flawless When we finally had a speaker that was all quality response. Quality that gives the Seventeen the lowest and no waste, we put the price tag on. And you won't find harmonic distortion in the bass of any speaker in its price a trace of puff in the price. range. KLH quality in a handsome new oiled walnut This is the Model Seventeen. A speaker that brings a enclosure. In the ingenious grillecloth that can be changed whole new level of sound quality -a new distinction to in a snap. speakers costing under $100. And while the quality was going in, the waste was But no description can tell you how the Seventeen coming out. All the waste that inflates the cost of speakers. sounds. You've got to hear it. Only then will you be able The waste of rejects and varying quality in stock compo- to understand what an unusual achievement the Seventeen nents from outside suppliers. (KLH builds, tests, and is in high performance at low cost. See the Seventeen rigidly controls the quality of every component that affects at your KLH dealer now. Listen to it. Then look at the the musical performance of a speaker.) The waste of price tag. We think you'll agree that nothing touches obsolete design and engineering. Of inefficient and out- the Seventeen for honest sound at an honest price. dated manufacturing techniques. Of gingerbread `features' *Suggested retail Joe eastern L:S. Slightly higher in the West.

KLH RESEARCH AND I.KTELOC >IENT CORPORATION,

IIIItIlIIIIIIIIIIlIIfIIIllllhIIlIIIIIIlIIIHtI 35 CROSS STREET, CA'II RIDGE B ?. MASSACHUSETTS' CIRCLE 32 ON READER SERVICE CARD MARCH 1965 17

.+ www.americanradiohistory.com don't let the price tag fool you!

THE NEW ELPA PE -34 IS A LOT MORE TURNTABLE ...FOR A LOT LESS MONEY... ESPECIALLY WHEN YOU REVIEW THE FEATURES!

The NEW ELPA PE -34 4 -speed Turntable A vernier speed adjustment (3 %) for per- The specifications prove combines features that up to now were found it: There's a new fect pitch or "tuning" the turntable and concept in turntables -the PE -34 (backed by only in higher priced professional transcrip- record for perfect pitch or any accompany- 50 years tion -type turntables. experience) ... just like other Elpa ing musical instrument. Marketing Industries products that have set new hi -fi standards. Features like: Belt PLUS idler wheel drive TONE ARM the reason for the low, low rumble) 4 Speeds Low resonance balance arm with Built -in lowering (cueing) device that saves double Don't let the price tag fool you ... you can't precision -bearing suspension (vertical and do better at $72. (± $25.00 or 35 %) record and cartridge wear Powerful four- horizontal planes) pole induction motor (with plenty of Torque) minimizes arm drag. Heavily weighted, non -magnetic Turntable All modern cartridges can be easily mounted Stop in at your Franchised Elpa dealer and ask Vernier speed control Rugged, precision - in a cartridge mounting slide. to see the new PE -34 in action.* Price built professional type tone arm. Complete 4 -wire system. includes: Full Year Guarantee, Strobe Disc and 45 rpm adapter. Satin Walnut base op- Cartridge mounting slide pulls out for quick tional at What do all these features add up to? stylus $6.00. Base dimensions: 4" High x inspection. 15" Wide x 121" Deep. The Elpa PE -34 not only meets, but exceeds Built -in spring loaded stylus pressure ad- the National Association of Broadcasters justment gauge. New Dust Cover Available! (NAB) specifications required for profes- Style PC -34 Sturdy Plexiglass $9.00 sional use in broadcast stations. CONTROL SYSTEM Automatic tone arm lift at end of record. That means the NEW Elpa PE -34 will satisfy Semi -pneumatic cueing and indexed (7 ", your strict requirements too. AND not be- 10 ", 12 ") tone arm control at start or at cause of price either. any point during play. Examine these Specifications: Automatic fool -proof glide to and from record groove. PF \ PLATTER >' & DRIVE SYSTEM Cueing lever incorporates positive tone A heavy -duty precision -built 4 -pole induc- arm lock. tion motor floats in a triple rumble isolation PERPETUUM -EBNER system. PHYSICAL DIMENSIONS Width: 13" a new division of A heavy cast and machined non -magnetic Depth: 103/4" Elpa Marketing Industries, Inc. platter on a precision bearing assures accu- Height: 3" above mounting board rate speed and minimum wow and flutter. 3 %s" below mounting board New Hyde Park, N. Y.

CIRCLE 23 ON READER -SERVICE CARD 18 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com LETTERS

Continued from page 12 sets, that literally explode in the ear of the listener? If you set the volume control so that the softest music is audible, much, much too then the loudest is v o 0 loud: if you turn down the volume so Fatherweíght that the loud parts are reasonably and comfortably hearable. then the softest parts disappear entirely. I have bought several opera recordings during the past two years that I can listen to only through my headphones. If I did otherwise, I'd be given notice to vacate my apartment -in a concrete building thoroughly soundproofed. Even as it is, I have to sit near the controls to soften the loudest parts. George E. Herrmann Vancouver, B.C. Canada

FM Stereo -Broadcaster's Side

SIR: Not wishing to drag on the comment regarding Leonard Marcus' article entitled "FM on the Threshold" [Novem- ber 19641, we at WCRB nevertheless feel obligated to point out that our station began the first broadcasts of a major symphony orchestra's entire season in stereophonic sound, in 1957, with Satur- day night AM /FM live stereocasts of the Boston Symphony. These programs were continued in FM multiplex stereo when that medium was authorized by the FCC with a wallop in 1961. It would greatly help FM (and all "good music" stations) if there were not The KLH Model Sixteen is probably the smallest such emphasis on "live" broadcasting. integrated stereo amplifier in its power class. Taped performances of actual concerts We designed it that way. Small enough to fit into are just as satisfactory, and when not delayed too long, they actually serve as any room. Handsome enough to be welcome there. "live" broadcasts. The maintenance of But small size and good looks are only the begin- high-quality broadcast lines for "live" ning. The Model Sixteen really delivers all the advan- broadcasts (especially in stereo, where tages of transistor design that you've been promised two lines are needed) is an economic unreality for the greater number of FM for so long. stations; maintaining one system is about This is a full powered, full performance amplifier, the limit for most of us. with 70 watts of wide -band steady state power - 200 HIGH FIDELITY could well serve the watts of peak power. if it cause of good music broadcasting clean. Distortion would explore the myth of "live" versus This is clean power ... KLH "taped" (as distinct from "canned" mu- levels are insignificant from 25 to 20,000 cps. sic) with an open mind. This is reliable power, far beyond the potential of David S. MacNeil! any tube amplifier. (There is no known aging process Program Director, WCRB be shorted out or Boston, Mass. in a transistor.) The Sixteen can't burned out in use. A unique electronic circuit, designed by KLH, eliminates the need for fuses or circuit break- ers in the speaker outputs. We saved the best for last. The price is a featherweight, too. Just $219.95. The cabinet is optional at $19.95.* That's less than you'd pay for one of those big heavy old- fashioned jobs.

We designed it that way.

*Slightly higher on the west coast

KLH

1111111111111111111111011111111111111111 CRO`,. F.T.\CAMDIPRIDGE 39.5IASSACHCSETTS CIRCLE 69 ON READER -SERVICE CARD MARCH 1965 19

www.americanradiohistory.com The EMI 812 NO1L? is the first QOM little loudspeaker without an OUR C6RRESPOWN inferiority complex. IEF11s

Observed through the which can also be frequently heard at rain from a bistro in the Salle Wagram- arrived in quantity PARIS the Rue de Montenot- on December 5 for the annual Paris te, outside the rear feline show. Although they did not in- door of the Salle vade the boxing arena where Bergonzi- Wagram, the making Cavaradossi was slated to perform. their of Angel's new Tosco mass mewing was audible enough to (to be released this month) seemed a make the microphone men cancel oper- routine job. Sessions began December 3 ations for the day. More time was lost and wound up eleven days later. Maria because of a general walkout of French Callas, Tito Gobbi, Carlo Bergonzi, and utilities workers which cut Paris power conductor Georges Prêtre came and went intermittently for twenty -four hours from like ordinary musical citizens. During 9 o'clock on the evening of Decem- breaks the men of the Conservatoire her IO. These interruptions were par- Orchestra were their usual irreverent ticularly vexing because the Tosca sched- selves, and the chorus people, from the ule was already a coiirdination miracle. Paris Opéra, had the usual chorus look Prêtre had engagements in New York on of waiting interminably to be told to sing. December I and 15, and Bergonzi on December 2 and I I. Gobbi had sung A Tosca for History. But inside the hall on the fifth in Chicago, and had to be in there was a marked and rather nervous Rome on the tenth. Only Callas had awareness of history being created. The enough open dates for comfort. participants and rare spectators are not apt to hear Puccini's masterpiece again NI. Glotz as Captain. Glotz therefore without being Proust -ly reminded of such found himself obliged to run what sea- nonoperatic matters as cats, strikes, At- men call a taut ship. As the proceed- lantic plane schedules, garcons bearing ings advanced, his incisive voice (he champagne, and celebrities at horseplay. was normally up in the control room, Like most progressive high fidelity compo- There will also be the recollection of surveying the operation on closed- circuit nent manufacturers, we have been aware of the constant awareness in everyone's television) on the public- address sys- the stigma suffered by most compact loud- mind of being ultimately judged by that tem became a Big -Brother presence, speaker systems: small size = small sound. So famous 1953 Callas/Gobbi/Di Stefano alternately cajoling and commanding. EMI decided to create a compact loud- album. And no one will forget having Once in a while speaker which literally liberates its sound his small, roundish fig- watched and from its size. heard a great artist totally ure would appear on the balcony above absorbed in what everyone was Our new 812 has many of the advantages of felt the orchestra and singers, and he would a farewell interpretation a larger loudspeaker while still retaining the -so far as re- deliver a rapid, detailed analysis of a benefits of compact size at a compact price cordings are concerned -of one of her passage he had found unsatisfactory. His just $49.95'. The secret of its sound is greatest roles. Callas was forty -one the assurance and knowledge were both im- brilliantly assembled in a 141/2" cabinet with day the sessions began; and even the pressive, particularly in a man still in the unique EMI woven metal grille. Its 6' /2" EMI empire does not invest in a com- his thirties. Although he did not actually woofer has a high compliance uniroll sus- plete Tosca very often. usurp Prêtre's role, you felt that you pension that gives it an exceptional low bass Michel Glotz, the assistant Pathé- were seeing the emergence of a new frequency and a mid response -range of re- Marconi artistic director who was in alistic quality. gen- type: the disc impresario who, like many eral charge (he is also Callas' personal modern film directors, is in a sense the Its tweeter unit is specially damped to afford artistic director), had two pieces of bad a smooth response in the high frequency luck. The cats -not the jazz variety, Continued on page 24 range with a clean and live sound. And a specially designed low -loss crossover network critically matches both units. Even the cabinet is unique: 3/4" walnut that costs twice as much as other compact cabinets. That's why, small as it is, the EMI 812 is the first little loudspeaker without an inferiority complex. It will make its presence known in any room, not only auditorily but visually as well. Go to your EMI dealer and listen to our new 812 compact loudspeaker system. It's quite an earful. EMI'Higher in South and West. SCOPE ELECTRONICS CORPORATION 235 East 42nd Street, New York, N. Y. 10017 Distributed in Canada by Hartone Electronics Industries, Ltd. 298 Avenue, Toronto 19, Bridgeland Ontario At the .Salle IVagram, Tito Gobbi and ,.(aria Callas. CIRCLE 24 ON READER -SERVICE CARD 20 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Mr. Miller is an audiophile. He listened He listened He's also a cost -conscious to Brand X. to Brand Y. accountant who wants a $425. $31995. new stereo receiver.

Then he saw the new Bogen RF35, a 35 watt FM- stereo receiver. "Interesting," he said, "What are the specs ?" The salesman told him. "Hmmmm," said Mr. Miller, "35 watts will drive most any speaker system." The salesman nodded: "Thirty -five clean, useable watts." "It sounds like 60." "That's right; distortion is almost unmeasurable." "And," said Mr. Miller, "20 to 20,000 cycles is more than anyone can hear." "Unless your name is Lassie." "How about that 0.85 uv. sensitivity for 20 db. of quieting? The RF35 actually meets broadcast - monitor standards." "That's Bogen. All that performance," said the salesman, "for only $234.95." Mr. Miller computed rapidly. "Wrap it up," he said decisively. "And add," his voice trembled, "the new Bogen B62 stereo turntable. The $69.95 model with variable speed control and automatic cueing." The audiophile/ accountant wore a smile all the way home.

For complete details on the remarkable RF35 and the new illustrated Bogen catalog write Bogen, Dept. A -3, Paramus, New Jersey.

BOGEN* LEAR SIEGLER, INC. COMMUNICATIONS DIVISION PARAMUS, NKIV JERSEY 33 years of leadership in audio technology CIRCLE 6 ON READER -SERVICE CARD MARCH 1965 21

www.americanradiohistory.com 1965 - 1967- 1969 - This is Bill Smith's This is Bill Smith's This is Bill Smith's New Bozak Speaker. New Bozak Speaker. New Bozak Speaker. It Cost $251* It Cost $ 94.50* It Cost $82.00*

Though young and just getting a Things are going well. Bill and Mary Bill just had another raise. Mary start in the business world, Bill has just moved into a new house. Their completely refurnishes their home, an ear for music. He wants the very living room is big enough to take but finds that the quiet dignity of best loudspeaker he can afford now, advantage of a broadened sound the Bozak cabinet still adds charm without losing his investment later. source, with its increased realism. to her living room. His wife, Mary, wants furniture of While both secretly believe it to be They take the final step toward their which she can be proud. difficult to improve the sound from dream of listening perfection. They their Bozak, they add a convert their a Wisely, they choose the tasteful Ital- second speakers to three -way B -207A system a ian Provincial enclosure designed to coaxial speaker. by adding Bozak B -209B mid -range speaker and a three -way house a full Bozak B -305 speaker It's easy just remove a pre -cut - crossover network. Again, they simply system. In it they have mounted a panel and insert the speaker. Total remove a panel and insert the speak- single two -way Bozak coaxial B -207A cost $94.50. speaker. er. Total cost, $82.00. To their surprise, they find a new Now they have achieved their goal. measure of presence, of musical de- They have the complete Bozak B -305 light, in their Bozak. speaker system which they couldn't afford when they were first married. Meanwhile, they've enjoyed years of musical pleasure.

Ii00ñ (COCA

CAN LOUDSPEAKERS REALLY GROW?

Yes. today - even though you can't afford it - and build toward it as your needs increase. Meanwhile, Thanks to Bozak's uncompromising policy of build- your musical pleasure begins with the first Bozak ing all speaker components to the same high elec- component. trical and acoustical standards, to the same tonal values, you can add speaker elements to a Bozak Why not gratify your musical taste beginning system without fear of mismatch. - now. Our catalog shows you how. Your dealer will Thus, you can select the Bozak of your dreams prove it. AK(k *AII prices shown are current prices and are subject to change at any time. Prices Export: Elpa Marketing Industries, Inc. slightly higher in the South and Far West. DARIEN CONNECTICUT New Hyde Park New York

CIRCLE 7 ON READER -SERVICE CARD 77 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com What a crazy, lovely, naive, ingenious company.

BOGEN makes a professional turntable with 59 speeds and automatic cueing for only $69.95

/ //

The B62 is only $69.95. That's very lovely. If anyone else made the B62, it would sell for at least $99.95. (Read on. You'll agree.)

Of course. You've got to be to make anything as great as the B62. Crazy like Galileo, Fulton, Edison.

Sure. Bogen actually expects people to believe they can own a professional turntable for under $70.00!

Of course. With 33 years of technological leadership - Bogen can provide a professional turntable at such a moderate price.

The B62 has automatic cueing. Great for dance tempi. It lets you hear old 78's at the man who's "all thumbs." No more dam- their original 80 r.p.m. speed. Also great for aged cartridges or records for B62 owners. 16" transcription records with a single adjust- Instead of lowering the arm by hand, the ment. There's also a massive 73/4" pound table! cueing lever does it for you. It lets the arm Rumble is inaudible, and the professional balanced down with feather lightness into any groove tonearm accepts all popular4pin plug-in cartridges. you choose. It also has variable speed con- For more complete specifications, of the B62 and other new trol; 59 speeds, from 29 to 86 r.p.m., with click stops at Bogen components write: Bogen, Dept. A-3A, Paramus, N.J. 78, 45, 331/2 and 16 r.p.m. For those who like to "perform" with records, and for dancers and musicians, the B62 BOGEN 'LEAR SIEGLER, INC. changes record pitch to match that of voice, instrument or COMMUNICATIONS DIVISION r II; I 5rl NEW JERSEY CIRCLE 6 ON READER -SERVICE CARD MARCH 1965 23

www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS you Continued from page 20 are getting fine "author" of a production. When you remember that he also supervises the "montage" of the tapes, the analogy becomes nearly complete. The taut ship, however, was also a fairly happy one, and -especially on December 8, during the recording of the macabre second act -positively frolic- music reproduction, some. Those who think of Maria Callas as a tigress should imagine her as she was during most of that afternoon, slouching about the stage with her half college -girl, half ranch -hand gait (her favorite sport these days is riding in the Saint- Germain forest), leaning affec- tionately on the massive, avuncular but Gobbi, pecking a kiss on his cheek just after he had finished, as Scarpia, with his elegantly evil proposition, doubling up with laughter when Bergonzi, who was being tortured a few feet away at another microphone, let go with a particularly bloodcurdling yell, and again are you having ÌÚl1! when Gobbi decided to outroar the orchestra. (Big Brother's booming voice: "Tito, leave Maria alone -she's really Dalila.") Gobbi's own comic turns included cranking up Bergonzi from behind for Mario's "Vittoria! Vittoria!" and delivering a dead -pan imitation of one of Callas' celebrated but, as an actress, notoriously static rivals in the role of Floria Tosca. It would be wrong to suggest that there was no temperament on display. Callas did not disguise the fact that she was "unhappy" about being told to go down and join the chorus in the Salle Wagram bar and trompe -l'oeil winter garden, and made it plain that she did not think much of that cantata sequence anyway. Asked to record some retouches one evening when she was obviously dressed to go out, she objected that her voice was "down in my shoes," until she was outmaneuvered by Gloti s "exactly what we want for the death of Mario." But one's strongest impression by far was of a veteran professional ( "She made her debut," a woman near me whispered, "twenty-seven years ago! ") relaxing con- fidently in the company of other professionals who were also old friends. Koss Stereophones are the "Fun- makers" in a stereo -hi fi system. They'll bring out the quality you never heard in your components The Compulsion of Belief. Relaxing and before . . . and sound? Well, just ask any dealer or owner about also working hard. I hope my notes on Koss Stereophones. He'll tell you about (or demonstrate) a unique the horseplay have not implied a lack of sound with a new stereo dimension. Get the full benefit your seriousness in making this Tosca, for the emphasis throughout was on pro- system has to offer. And add some fun it. to ducing not only a stereo illusion of a thrilling KOSS PRO -4 STEREOPHONES opera staged in an opera house $45.00 but also on producing a musical and Truly a professional instrument. Frequency response: 30- 20,000 cps. almost cinematic suspension of disbelief Impedance: 50 ohms to be used with 4, 8, or 16 ohm outputs. Fluid- filled ear in characters and story. Callas' "How cushions for positive seal and comfort over long listening periods. Highest much ?" to Scarpia, for example, was quality drivers mounted in acoustically designed chambers provide unusually not projected into an imaginary smooth frequency response. Equipped for boom mike attachment. theatre but uttered quietly and with desperate MODEL SP -38 write for Complete Details and Specifications on all Koss and Rek -O -Kut Products resignation, as it might have been in a film close -up. Both Prêtre and Glotz favored letting each recording take run KOSS REK-O-KUT as long as possible, with the objective of giving singer-actors and orchestra a 2 2 2 7 N O R T H 3 1 s t S T R E E T chance to be swept along by Puccini's MILWAUKEE, WISCONSIN 53208 insistent repetition of powerful motives. CIRCLE 34 ON READER -SERVICE CARD 24 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Although one must wait for the album, of course, to decide how successful all this was, it may be of interest to have one expert opinion of one sequence in advance. After the scene in which full was some lively having stabbed there re is oli Scarpia discussion during the playback in the control room. Prêtre wanted to improve a couple of his notes, and Callas a couple of hers. Glotz agreed to a retake. Then Gobbi intervened, stressing his words: You can fix those little notes, and you can do the whole thing over several times, but you will come back to this but version. Because this one is about a real murder." There was no retake. To help step up the sonic realism. Pathé- Marconi had hired Fred Kiriloff. a French expert in sound effects well known for his work in films, the theatre, and Son -et- Lumière spectacles at are you getting fine châteaux. When I saw him at the Salle Wagram he had a collection of noises (for eventual superimposition on the musical tape) which included the scratch of Scarpia's pen, the clink of his wine glass, the thud of the heavy door to Mario's torture chamber, the rustle of paper, and of course several varieties of footsteps. For the cannon which an- music reproduction? nounces Angelotti's escape he had taped sounds from a radio broadcast about the Second Armored, the famous Leclerc division of World War II. For the execution at the castle of Sant' Angelo he planned to get some infantry friends at the Vincennes barracks to fire a volley. "It has to be in the open air," he said. At last reports he had found no Puccinian use for the banging and clank- ing of a waiter, burdened with bottles and glasses, who clumped the full length of the balcony while the red silence light was on and Glotz's baffled voice rang through the hall.

Nine "Vissi d'Artes." In terms of psychological realism, the high point of the sessions, at least for me, was the night of the nine " Vissi d'ortes." Although it is quite impossible, when one is listening to bits and pieces out of their proper order, to know what the cumulative effect of a recording will be, I feel safe in predicting that this aria will be central-as the composer obviously meant it to he. It was clearly central in Callas' conception of her role, for she sang and Compact cars are fun, but they can't match big car performance acted Tosca. not as a mature diva under on the open highway. That's how we feel about the Rek -O -Kut full sail, hut as an ardent young woman. R -34 Turntable, too. Like the big car, it is designed to carry on devout, charitable, and uncomplicated, after the "fun" model drops off. That's Rek -O -Kut performance whose life "for art and love" is suddenly and durability. The R -34 spins records at precise speed, transmits and absurdly smashed. the signal to your amplifier. And no noise about it. The first " Vissi d'aric" came shortly after IO o'clock on the evening of De- REK -O -KUT R -34 TURNTABLE $89.95 cember K. and caused a lot of preliminary 2 tonearm, and solid walnut base. bustle in the orchestra, since it had not Specifications: Complete -speed turntable, All with a 5 -year Warranty, unheard of in the audio industry! Exclusive Reko- been scheduled. Callas, who had been on thane belt reduces noise and rumble to minus 6 db lower than any other belt. stage since early that afternoon, waited Exclusive Instant Speed Selector changes from 331 to 45 rpm with a mere with her face buried in her arms on her flick of your finger. Specifications: Noise and rumble: - 60 db below average level (@ 7 cm /sec. @ 1000 cps). Flutter and wow: .08 0/0 RMS. music stand -carefully, so as not to dis- recorded turb her high and evidently fresh hair- and Specifications do. She remained in this posture until Write for Corn fete Details the voice of Glotz, using to instead of on all Koss and Rek -O -Kut Products vous, asked if she felt ready. Then, with one hand on her throat most of the KOSS REK-O-KUT time, she went through the whole num- 2 2 2 7 N O R T H 31st S T R E E T MODEL PRO -4 $45.00 Continued on page 28 MODEL SP 30 524.95 MILWAUKEE. WISCONSIN 53208 CIRCLE 49 ON READER -SERVICE CARD MARCH 1965 25

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www.americanradiohistory.com Get in the groove-any groove...

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New Miracord 18H &ngle record play turntable operates manually or automatically. Offers new cueing record band selector. Gently lowers arm and sets stylus in desired band or groove. Includes famous Miracord `eatures: automatic pushbutton controls, Papst hysteresis- synchronous motor, heavy balanced turntable platter, transcription arm, four speeds. Your hi -fi dealer will soon be showing the new Miracord 18H alongside the now famous Models 10 and 10H. Be sure to see it. Price is $119.50 (less cartridge and base). For further details, write direct: Benjamin Electronic Sound Corp. 80 Swalm St., Westbury, N.Y. Sole U.S. distributor ' BENJAIM I N Miracord turntables, Elac cartridges and other Electroacustic® audio components. RAIRACOR0

CIRCLE 5 ON READER -SERVICE CARD

www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS

One nlaterpieCe Continued from page 25

ber without a pause, and received an deserves another ovation from the orchestra. Her response was to phone the control room for a private critique. The second " Vissi" was an unrecorded rehearsal, which is a pity, for it would have made a wonderful document for future historians of opera. Callas came down from the stage, threaded her way through the orchestra, and took up a position directly in front of the per- spiring Prêtre. While he indulged in his customary rehearsal chatter to his men ( "poppity-pop-pop- poppity-paf! Douhie- croche! Double- croche! ") and the orchestra blasted away, she closed her eyes, glided her hands over the music stand as if it had been the sofa in the Farnese Palace, and sort of dreamed her way through the aria in that young girl's voice she can apparently turn on and off as she wishes. Another ovation. The third " Vis-ci." which was recorded, had the same quality of tenderness and regret. but Callas, after another mys- terious talk on her private phone to the control cabin. chose to try again. The fourth apparently contained an orchestral passage which displeased Prêtre, for a fifth attempt followed, and then a sixth. a seventh. an eighth, and a ninth, the last three being merely long retouchings. When the orchestra seemed to be at fault. Callas buried her face in her arms and waited. When she disliked her own effort, she held her nose and waved rue- fully in the direction of the television camera. It was close to midnight when Glotz called a halt and announced that 88 Stereo work would start a half hour later than usual the next morning. This time it was the boss who got the orchestral ovation. (OIllp1ll Il ROY MCMULLEN

After the enormous success - commercial LONDON as well as critical - of its recording of Enjoy pleasure filled hours in full fidelity with an 88 Benjamin Britten's Stereo Compact - the choice of music connoiseurs. War Requiem, Decca/ London has naturally Play standard tapes or build a library - easily recorded been eager to exploit to the full its ex- from AM and FM radio or LP's. Concerts, lectures, clusive contract with the talented com- family or social events - all come to life - ready at poser- conductor, and 1964 saw the re- your fingertips. lease of a spate of Britten albums. This year, however, Britten is taking a sab- Features exclusive "Edit -Eze" cuing and editing. Superb batical. to he devoted exclusively to com- 30- 18,000 cps frequency response for finest mono or position. The last product of his busy stereo recording with three hyperbolic heads. Monitor - season in the recording studios -a disc off-tape, Sound on Sound, Erase -Protek, automatic shut- coupling his comparatively recent Can- off, tapelifters, are but some of the many features to tata Misericorditem (with Dietrich Fisch - let you thoroughly enjoy high quality tape recording. er-Dieskau as principal soloist) and the Sinfonia da Requiem, written in 1940 - Ask your Viking dealer to run an 88 Stereo Compact was completed just before Christmas. through its paces. You'll enjoy the practical features and superb quality of this fine tape recorder - truly Maestro Britten. I was able to attend the a masterpiece made by SKILLED AMERICAN CRAFTSMEN Sinfonia da Requiem sessions, held at Kingsway Hall, and found them fasci- 4 -track model .... $339.95 nating. This was 2-track model the first time that Britten .... $347.95 had Walnut enclosure $ 18.95 ing or MINNIAPOl15, INC, recorded with the New Philharmonia. and the first time that the New Philhar- 9600 Aldrich Ave. So. Minneapolis. Minn. 55420 Continued on page 40 ÇIRCLE 61 ON READER -SERVICE CARD 28 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com STEREO: 1965 Edition -which, like its five predecessors, is published by HIGH FIDELITY Magazine sparks ideas that help you achieve the best stere: reproducing system at the price you decide to pay. Or it helps you get the most out of your present High Fidelity, Publishing House, stereo system, if you are that far along. Great Barrington, Massachusetts, 01230 There's much more, of course, but this gives you Send me STEREO: 1965 Edition for the an idea of the scope of this annual of about the size dollar Inclosed. of this issue of HIGH FIDELITY. AND IT'S YOURS FOR ONLY $1 Name If you're particularly interested in high fidelity Address reproduction of music, can you afford to be without STEREO: 1965 Edition? City State Want a copy conveniently delivered to your Zip Code home? Just fill in and mail the order form with your 365 dollar. Do it now -while you're thinking about it!

MARCH 1965 39

www.americanradiohistory.com NOTES FROM O!B CORRESPONDENTS

assure... Conrinueri train page 28

monja (in personnel the same as the "old" TOP PERFORMANCE Philharmonia) had made a solo recording for Decca London. While Britten is EXTENDED LIFE not always at his most relaxed before the microphones the is, after all, func- tioning as both composer and conductor), for your with the New Philharmonia he seemed to enjoy every moment. Decca /London now regards it as a rule at orchestral hi -fi sessions to record complete movements without a break, and this was no exception. The first take was devoted to get- stereo ting the notes down accurately; the second, mainly to achieving the effect of television over -all command and spontaneity. Britten's way with the orchestra might at first seem a little schoolmasterish, radio hurt, as one of the wind players put it, he does not waste a single word. On occasion he takes extraordinary pains to ...do what get exactly what he wants. For example, in the middle Dies /rae he detected that I the cellos with a note simply on the the fourth beat of each bar were entering exPe is a fraction of a second too early each time. His Insistence might have been considered pernickety, except that his approach was so very practical. The score marks the bowing to be adopted, and this, one of the cellists thought, might be part of the trouble. Britten was all consideration. "I don't think it makes any difference, the ups and downs. It only looks nicer if you see it on television!" And his modesty often came out. At one point he complimented the flutist, Gareth Morris: "I liked very much how you divided those notes." Again, speaking to Bernard Walton, the principal clarinet, he suggested that there was "a little too much crescendo for my taste." "For my taste," indeed -hardly a dictatorial way for a composer to make his wishes known! With the engineers too, Britten showed a genuine understanding of their IN5'I'ALr.'PfIE problems (like everyone else he addressed Decca /London's chief wizard, Kenneth ROTRON Wilkinson, as "Wilkie "). At the end, with everything completed to everyone's satis- Beats the heat that wrecks the set. faction; he paid a final tribute to the orchestra. It had been "a marvelous Reduces service calls by up to 40 %. day," he said, and he hoped to work with Improves performance by minimizing drift KIT the New Philharmonia again. The feeling was clearly reciprocated. due to temperature changes within enclosure. So quiet you have to feel the breeze to know it's going. Beethoven for The Whisper Fan Kit for Winds. "Wilkie" and his HiFi ham radio, TV, and team were at work again Draws 7 watts. Costs pennies a year to operate. within a few other home applications. minutes, but comes complete with this time with only eight Compact -only 4 -11 16 square and 11/2' deep. special mounting hard- players. Following its set of Mozart's ware, a plug and cord for complete wind music played Installs in minutes. Fast, easy, simple. electrical connections. by the Lon- and detailed installation don Wind Ensemble, Decca /London was instructions - ready for recording Beethoven's music for wind easy mounting in three possible configurations. hand. Again the leader was Jack Bryme:. Write for complete details...or ask your dealer... NET PRICE: $14.85 One still thinks of Brymer as Beecham's clarinetist in the Royal Philharmonic the it was who recorded the Mozart Clarinet Concerto with Beecham, lusciously with charm in every bar) but in rehearsal he ROTROH mfg.co.,inc. is no merely blithe spirit. Quite the re- verse. "Come on boys. From the be- WOODSTOCK, NEW YORK ORiole 9 -2401 ginning a little faster!" Or when they ROTRON Continued an page 44 CIRCLE 51 ON READER -SERVICE CARD 40 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com The AR -4 -$51 to $57, depending on finish

Excerpt from a column by Robert Marsh, music editor of the Chicago Sun - Times. A reprint of the complete AR-4 review is available on request.

The AR -4 is a best buy in any comparative shopping survey. It is going to attract a lot of interest in the low -price bracket, but, more than this, it is going to raise a big fuss in the next bracket up, competing with its own big brothers the AR -2 and the AR -2a.

Development work on the AR -4 has made possible an improvement in the AR -2 and AR -2a speakers as well. The AR -2a has a new mid -range unit of improved smoothness and dispersion, and has had its name changed to AR -2ax. The AR -2, with the same new unit installed as tweeter, has become the AR -2x. These new models are entirely compatible in stereo with the original speakers. The grille cloths are new, but the older grilles are still available. The AR -2 and AR -2a speakers are also still available for those who want exact matching, or the owner of either of these speakers can convert to the corresponding new model for $15 and about half an hour of his time. Conversion kits are available at your AR dealer or direct from Acoustic Research. The AR -2ax is $109 to $128, depending on finish, and the AR -2x is $89 to $102. These prices are the same as for the original models. AR's five -year speaker guarantee (covering all costs including freight) applies, of course.

ACOUSTIC RESEARCH, INC., 24 Thorndike St., Cambridge, Mass. 02141 l'lease send me conversion kits AR -2a to AR -2ax AR -2 to AR -2x with complete instructions. I enclose in cash or check ($15 postpaid per kit), and /or

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CIRCLE 1 ON READER -SERVICE CARD 41 MARCH 1965

www.americanradiohistory.com Cracked cadenzas in your concerto? ... then "bargain" recording tape's no bargain! Mistakes you can buy cheap. And tape- making mistakes potency oxides assure intimate tape -to -head contact for you're almost sure to get in recording tape sold dirt cheap sharp resolution. Precision uniformity of coatings assures without the manufacturer's name. The dangers for audio- full frequency sensitivity, wide dynamic range, plus iden- philes? Fade out of high and low frequencies. Distortion. tical recording characteristics inch after inch, tape after Background hiss. Even tape flaking, or worse, abrasive- tape. Lifetime Silicone lubrication further assures smooth ness that can damage your recorder. Worth tape travel, prevents squeal, protects against the gamble? Hardly. head and tape wear. Complete selection of all You can make fine performance, long -life purpose tapes -from standard to triple lengths, crystal -clear recordings a certainty by speci- with up to 6 hours recording time at 334 ips. See fying "SCOTCH" BRAND Recording Tapes. All III:III L1 ic 1/11)1% your dealer. And ask about the new "SCOTCH" Tapes must pass over 100 quality "SCOTCH" Self -Threading Reel. Remember tests to earn their "brand . . on SCOTCH BRAND Recording Tape, you "... tests no bar- hear it crystal clear. gain tape could hope to pass! Thinner, more flexible coatings of high- Magnetic Products Division 31m "SCOTCH" AND THE PLAID DESIGN ARE REG. TUS OF SM CO.. ST PAUL 19. MWMH 1566. UM Cam.

42 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com There is really only one way to make a great transistor amplifier. The Fisher way.

keep the output stage cool at Superior solid -state amplifier design begins with the massive heat sink also helps to elimination of the output transformer. Naturally, the Fisher all times. could go on listing requirements and finding the TX -300 stereo control -amplifier has none. Its bass performance One in the TX -300. Inputs? There are 16, accommo- and transient response are not limited by transformer char- perfect answer source. Outputs? Including the acteristics. Yet the output impedance can be correctly matched dating every possible program jack, 10! Controls and switches? Count to 4 -ohm, 8 -ohm or 16 -ohm speakers by means of a special stereo headphone impedance selector switch. them: 21. in solid -state audio The power output of a great transistor amplifier must But the most important criterion certain hastily engineered equal or surpass that of comparable vacuum -tube models. The components is reliability. Unlike TX-300 works equally well after three Fisher TX -300 has a rated power of 100 watts (IHF) into 8 ohms. transistor amplifiers, the The Fisher way. The IHF power bandwidth (half power at low distortion) extends hours, three months or three years. 11 'B" deep. Weight: 24 lbs. Price: from 12 to 50,000 cps! But the powerhouse features are not Size: 151/4" by 4 "/16" by TFM -300, a transistorized at the expense of conservative operation, since each channel $329.50. Cabinet: $24.95. (The Fisher TX -300, costs $299.50.) has four output transistors instead of the conventional two. A FM stereo tuner designed to match the

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www.americanradiohistory.com NOTES FROM This is one of the amazing OUR CORRESPONDENTS

Cipher tape recorders from Japan. Continued from page 40

start at an important clarinet solo: "Keep Don't wait for out of the way, until I've done me bit!" The works to comprise the album are mainly early Beethoven (the those expensive imitations. Octet 1 heard was supposed to have been written in a single night), but certainly they afford very agreeable bread -and -butter music.

Choirboys and a Harpist. Finally, a word about a recording from Argo (a Decca/ London subsidiary specializing in choral and spoken word releases): Britten again but without the composer's presence and emanating from Cambridge. The disc will include the Ceremony of Carols, the Missa Brevis, and Rejoice in the Lamb, sung, not as one might expect by the King's College Choir, but by the St. tl M u 8M John's College Choir. Britten has often 3111.1 . made it plain that he prefers something lustier than the refinement of treble voice represented by the King's tradition. CIPHER VI: a 4 -track stereo recorder with Ergo, detachable speakers and 2 dy- St. John's -ever namic microphones; speeds 71/2 and 33/. ips; 2 VU meters; automatic shut- the rival of the more off; digital index; pause control; plays horizontally or vertically; $239.50. famous choir down the road. "Let's have some Continental tone on the last note!" says choirmaster George Guest in connection with one of the Your Cipher dealer will be glad to give you the full story. Or write Inter -Mark carols in the Ceremony, and even the little eight- year -olds nod their Corporation, 29 West 36th St.New York, N.Y.10018. In Canada: understand- Inter -Mark ing, projecting their voices more throatily Electronics Ltd., 298 Bridgeland Ave., Toronto 12,Ont. CIPHER on the note in question. This Little Babe, another of the CIRCLE 68 ON READER -SERVICE CARD carols, has a fiendishly difficult passage in very fast and close three -part canon (one wonders whether Britten really conceived of its being done accurately by children) but these boys did wonderfully well, it seemed to me. With the singers was a harpist, whose Buying stereo? name I expect we shall be hearing more of. Marissa Robles is Spanish, very young, and dramatically pretty (doe -eyes that continually laugh at you), and her playing has an unmistakable compulsion, even in the trifles that she entertains herself with in the intervals between recording takes. We shall soon be having a The first thing recital disc from her, I hear. EDWARD GREGNFIELD

High Fidelity, March 1965. Vol. 15. No. 3. Published monthly by The Billboard you need Publishing is free. Co.. publisher of Billboard. Vend, Amusement Business. American Artist. Modern Photography. and the Car- negie Hall Program. High Fidelity /Musical America Edition published Fill out and mail this monthly except coupon for your complimentary copy December, when it is published of The New semi- Fisher Handbook. available to readers of this monthly. Member Audit Bureau of Cir- magazine without charge or obligation. Whether or not you culations. know a great deal about high fidelity and stereo, you will Editorial correspondence should find this comprehensive 76 be ad- -page reference guide and idea dressed to The Editor. High Fidelity, Great book a valuable aid in making buying decisions -the first Barrington, Mass. 01230. Editorial con- thing you need before investing in expensive equipment! tributions will be welcomed. Payment for Detailed information on all Fisher components is included. articles accepted will be arranged prior to publication. Fisher Radio Unsolicited manuscripts should Corporation be accompanied by return postage. 21-40 44th Drive, Long Island City, N. Y. 11101 Subscriptions should be addressed to High Fidelity, Great Barrington. Mass. 01230. Subscription rates: High Fidelity /Musical Name America: Anywhere on Earth, 1 year 59. National and other editions published monthly: Anywhere on Earth, 1 year 57. Address Change of address notices and undelivered copies (Form 3579) should be addressed to Free! High Fidelity. Subscription Fulfillment $2 Value! 76 Pages! City State Dept.. 2160 Patterson St., Cincinnati, O. 013 45214.

CIRCLE 35 ON READER -SERVICE CARD 44 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com If the recording sounds like this, use the Fisher Dynamic Spacexpander:

in for that kind of fun. You are undoubtedly familiar with recordings and broad- sound like the Grand Canyon, if you go K -10 is quite simple. Natural casts that sound as if they had been microphoned in a tele- The basic principle of the from walls phone booth. The sound has no space, no air around it; the reverberation is created by the reflection of sound listener's ears a frac- music, no matter how well played, sounds dead. The blame and ceiling. These reflections reach the from the orchestra can usually be laid on insufficient reverberation. tion of a second later than the direct sound makes it possible to sense That is where the Fisher Model K 10 Dynamic Spacex- or soloist. This slight delay, which added to pander comes in. With this the size of the room or auditorium, is electronically remarkable instrument, 11i the music by the K -10. you can add natural The Fisher Dynamic Spacexpander works equally well reverberation to the on mono and stereo records, tapes or broadcasts. Its price is program material and only $69.50 -one reason why the professionals are buying it precisely regulate the in quantity. Other important Fisher stereo accessories include desired degree of rever- f the WS -1 Wide -Surround'' speaker system, which augments the beration. Thus, you can make a cramped little recording studio apparent source area of the sound above 250 cps and costs sound like Carnegie Hall; and you can also make Carnegie Hall $49.50 a pair; and the HP -50 stereo headphones, priced $29.95.

For your free copy of this 76 -page book, use coupon on page 44.

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www.americanradiohistory.com ou should ask a lot of questions about any automatic turntable that asks you to spend $99.50

here's one:

Can you vary each speed over a 6 range, letting 9 you adjust the pitch of any record? (Or must you get along without such a unique feature ?)

CIRCLE 58 ON READER -SERVICE CARD 46 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ... and here are 20 more:

when using the single play spindle... A Is tonearm bearing friction so minimal (less than 1 0.1 gram) that anti- skating compensation is effective Can you start automatically - with the press of a at less than 1 gram tracking force? 1 switch - or, if you prefer, cue the record manually at (Or is it actually high enough to render anti -skating com- any position while it's either motionless or rotating? pensation virtually ineffective at such light forces ?) (Or must you always: 1. press one switch to start the Does the counterweight offer the convenience of record rotating, 2. position the tonearm by eye over the 15 both rapid and fine adjust? record, 3. press another switch to lower the tonearm ?) (Or fine adjust only ?) Can you interrupt play at any time, with the ton earm 1 I. Will the motor maintain speed constancy (within returning to its resting post and the motor shutting off 2 U 0.1 °/°) even during prolonged line voltage variations ... again, automatically? from 95 to 135 volts? (Or must you instead: 1. press one switch to raise the (Or will the motor speed actually vary if such line voltage tonearm, 2. place the tonearm by hand on its resting post, variations last long enough to overcome the flywheel and 3. press another switch to turn off the motor ?) action of the platter ?)

Can you change turntable speed at any time during Will 123/4" x 11'/:" do nicely for installation? U cycling and play? 17 (Or must you provide for at least 700%o more area ?) (Or must you first shut the entire machine off ?) Can you lift the tonearm from the record during play 18 and place it on its resting post ... or restrain it at any when using the changer spindle ... time during cycling without concern for possible mal- function or actual damage ... thanks to its foolproof If there are records on the spindle, can you interrupt slipclutch ?) 4 play at any time, return the tonearm to its resting post, (Or are you better advised not to attempt either, because and shut the entire machine off ... automatically? of mechanical linkage between tonearm and cycling (Or must you either wait for the last record to drop ... mechanism ?) or remove all the records from the spindle ?)

Can you start automatically with a record on the plat- and as for superior performance ... 5 ter, but none on the spindle? (Or must you first place another record on the spindle ?) Has it been tested and acclaimed by every audio 19 publication as living up to every last claim? Can you change turntable speed and record size U selector at any time during cycling and play? Has it earned such acceptance by experienced (Or must you first shut the entire machine off ?) 20 audiophiles that they have actually traded in their professional -type manual turntables for it? 7 Will 61/2" clearance above the mounting board be I enough to insert and remove the changer spindle? Has quality control been so consistent that it has (Or must you have up to 9 " ?) 21 achieved the astonishing reliability record of 99 °/° or more perfect, right out of the carton? in any mode of play...

Q Does it offer you all four standard speeds? Obviously, if you've been considering anything but the DUAL 1009 Auto Turntable, haven't U (Or must you discard your collector -item 78's, and /Professional you been asking the right questions, or getting the complete do without the special material available on 16's ?) answers. Write for our informative literature...or just ask any audio dealer. (And if you'd like to spend just $69.50 and still get Dual quality, ask him about the new DUAL 1010 Auto /Standard Turntable.) Can you use cartridges weighing as little as 2 grams 1 O with no effect on tonearm mass? (Or must the tonearm head have a minimum of 6 grams ?)

Does the tonearm itself weigh just 20 grams? 11 (Or up to almost 50° /D more ?) DUAL 1009 Has the tonearm been proven to track flawlessly as Auto /Professional 1 L low as '/2 gram? Turntable (Or is no such claim made ?) When applying stylus force, do you enjoy the preci- 1 sion of continuous dial adjust from 0 grams up, plus UNITED AUDIO (IN,.0DUAL the convenience of a direct reading numerical scale? 12 WEST 18th ST., NEW YORK, N.Y. 10011

DUAL'S THE FINEST . THE RECORD PROVES IT SINCE 1900 (Or just markers and click stop positions ?) In Canada: DUAL OF CANADA, 24 Milford Ave., Toronto 15, Ontario CIRCLE 58 ON READER -SERVICE CARD MARCH 965 47

www.americanradiohistory.com Mr. Saul Marantz discusses his revolutionary new model 10-B FM Stereo Tuner

Q. Mr. Marantz. your new 10 -B tuner is ode mixer -a technique used in modern variation of stereo demodulator, which quite revolutionary. Do you feel it will sensitive radar designs to eliminate a permits phase correction to maintain a obsolete all other tuners? major source of noise, harmonic distor- very advanced order of stereo separa- In one sense, yes. The per- tion and other spurious interference. tion throughout the whole audio band. Mr. Marantz: The whole RF is balanced- of this is so dramatically circuit tuned, formance tuner using a precision tuning capacitor with Q. What is the purpose of the tuning and superior to conventional tuners that multipath indicator? anyone who wants or needs perfect FM four double sections, for further reduc- has but tion of spurious images. reception today no choice to use we've devel- Mr. Marantz: This oscilloscope device is model 10 -B. superiority, however, For the critical IF strip, the Its oped the first commercial application of so versatile its single trace tells many does not necessarily obsolete conven- easily understood stories. It shows when Rolls Royce, of course, the "Butterworth," or phase -linear fil- a station is tional tuners. This new concept provides a number tuned exactly to the center makes superior cars, but they haven't ter. of the passband. The height of the pat- of distinct characteristics essential for tern shows obsoleted Chevrolets. good results. The passband, for example, the signal strength. The in- is phase -linear for extremely low distor- dicator shows how much multipath is Q. Is this superior performance discern- present, making it easy to adjust the ible to the average listener? tion - especially at high frequencies - and it remains essentially phase -linear antenna for best reception. It shows if Mr. Marantz: Very much so. The differ- the station is creating distortion by over - at all signal levels. modulating. ence is quite dramatic. As you know, Cutoff slopes beyond the passband are Also, technically informed conventional tuners have never been users can check stereo separation of extremely steep, allowing unprecedented transmissions, discs able to pick up and reproduce broadcasts selectivity; it is much less subject to the and other sources. which could match the quality of a fine effects of multipath, and it doesn't re- disc or tape playback system. This has quire realignment with tube changes or Q. And how soon will the model 10 -B be often been blamed on broadcasting qual- aging. The old standby coupled IF cir- available in quantities? ity. But the new 10 -B disproves this the- cuits currently in use do not have any of Mr. Marantz: The Model 10 -B is a labo- ory. It reproduces the broadcast of a these characteristics. disc or with same ratory instrument of extremely high a tape the clarity and quality which will separation as if played through a play- Q. Are there any innovations designed never be mass produced in the usual sense. However, pro- back system - proving that broadcast specifically for multiplex? duction quality is generally excellent. has been stepped up fourfold and Mr. Marantz: Yes. For multiplex recep- all back -orders are now being filled by Q. Is this true with weak broadcast sig- tion we've developed our own unique Marantz franchised dealers. nals also? Mr. Marantz: Yes. In fact the model 10 -B will reach 55 db quieting at only 3 microvolts! This is better than most con- - -'% ventional tuners will reach at 1000 i ' - I microvolts. With 25 microvolts station F a C) i the Model 10 -B reaches a phenomenal 70 I _ I db quieting which is about 20 db I - I better I . _ I . t t I I . than most conventional tuners can achieve at any signal strength. This MARANTZ MULTIPATH /TUNING INDICATOR means that with the Model 10 -B there IF Passband retains Conventional mutually - Station tuning is simply Muitipath (Ghosts) shows will be excellent reception even in fringe phase linearity and sharp coupled IF circuits and accurately adjusted up as 'wiggles' on the areas, particularly so because of slopes at any signal change characteristics by centering the trace. tuning trace. Antenna is the tun- strength for low distor- drastically depending on simply rotated until trace er's high sensitivity, its extremely sharp tion, sharp selectivity. signal strength. is smooth. selectivity and reduced susceptibility to multipath effects, which on other tuners cause distortion. Q. How are such improvements accomplished? Mr. Marantz: The answer to that question is very complex, because the 10 -B is far more than an improved tuning system; it is a completely new design. concept with many technical innovations developed by Marantz engineers. Q. Can you give us some examples? x-ww itmlkm-w a w Mr. Marantz: Yes. The RF section, for example, contains a balanced- bridge di- MARANTZ, INC., SUBSIDIARY OF CSUPERSCOPE INC., SUN VALLEY, CALIF. CIRCLE 38 ON READER -SERVICE CARD 43 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com HIGH FIDELITY B Y N O R M A N E I S E N B E R G NEWSFRONTS

Three Weeks for Ten Features. By way midnight June 1. the judges agreed that front sound waves. of course. remain in of establishing a yardstick for the even- helping to arrange it was a delightful ex- phase. Designed at CBS Labs. the new tual judging of a new contest, Empire perience. Music -via Grenadier speakers 360 is manufactured by Pye Limited of Scientific- manufacturers of loudspeaker naturally -and an international menu England and distributed in the U.S.A. systems. turntables. arms, and cartridges lunch (each course served by a waiter by Columbia Records. Retail price: $250. -recently played host to a bevy of press whose nationality matched that of the people who were asked to enumerate. in dish) rounded out the occasion. The nine Making Headway. Multiple -track tapes order of estimated importance. ten fea- quarts of champagne disappeared early and the imminence of video tape seem to tures of the company's Royal Grenadier in the proceedings-an impressive mark have encouraged a spate of activity in speaker system. To generate a spirit even for a score of fourth estaters. the relatively unpublicized area of tape suitable for the occasion. and to suggest head design, according to recent news the grandeur of the first prize to be New Columbia 360. During a recent visit from Nortronics. whose tape heads. we've awarded. Empire transported the "pre- to CBS Laboratories in Stamford. Con- been told by company vice -president judges." together with nine bottles of necticut, we had an opportunity to ex- Joseph Dundovic. "are used as 'original' champagne. from midtown Manhattan to amine the new Columbia 360 at closer equipment by more than 75(4 of the the VIP room of Alitalia Airlines at range and in greater detail than was nation's tape recording manufacturers." Kennedy Airport. On arrival. the group possible at its initial showing to the press For one thing. this company has an- was escorted to a luxurious atmosphere some months ago. The new set is a stereo nounced an eight -track head for use with of modern furnishings and imported ob- version of the old Model 360. developed ordinary 1,3-inch-wide tape. Using track jets d'art. Press kits were supplied - in 1952 by Dr. Peter C. Goldmark. pres- widths of only 20 mils. the new head in the form of flight bags. Following a ident of CBS Labs. to complement his system can provide eight channels of round of potables. the contest -which is introduction of the long -playing (mono- monophonic program. or four sets of open to the general public -was ex- phonic) record. The "Stereo 360" -with stereo channels, or two sets of four - plained: entrants are to compile their two full channels -is scarcely larger than channel material -on a single width of lists of the ten features. and the list its mono ancestor but certainly is more t,,pe. In addition to audio use. the new that matches the master list (to be made stylish. thanks to the space -saving of heads are expected to figure prominently up from those of the judges) will win transistor circuitry and compact speaker in video tape inasmuch as the relatively what company president Herbert Horo- design. Performance. over all. belies the high speeds used in video recording would witz described as "the Grand Prix of set's compactness. and projects a pleasant limit the amount of program material world culture ": a three -week. round -trip stereo image over a fairly wide area. The that can be stored on an ordinary reel tour for two of Europe's leading music 360 employs a Garrard changer fitted of tape. and drama festivals. including first -class with a specially designed arm and car- The company also has announced a hotel accommodations. meals. and air tridge combination that can track both new. low- priced line of video tape heads travel via Alitalia. Lesser prizes for stereo and mono discs at 2 grams pres- designed especially for recording and will runners-up consist of fifty albums. sure and -because of its "floating" fea- playback at speeds of 60 and 120 ips- each of the complete nine symphonies tures -makes record damage by the the two speeds most commonly men- of Beethoven in the Deutsche Grammo- needle virtually impossible. The pickup tioned for home video recorders. The phon /Von Karajan version. Whatever the itself is an advanced ceramic type fur- new heads are part of an expanded prod- outcome of the contest itself. which closes nished with two diamond styli -one with uct effort tinder way at Nortronics which a radius of 0.5 mil for stereo and recent will be aimed at professional and broad- mono records, the other with a radius cast users as well as the consumer mar- of I mil for older LPs and possibly some ket. For the do- it- yourselfer. Nortronics 78 rpm's. Each channel has three sepa- recently published plans and construction rate speakers which face sidewise from data on a solid -state recording amplifier behind the grille at either side of the (Customer Engineering Bulletin No. 9). cabinet. and are calculated to use the And for all tape recorder owners. Nor - reflections from a room's walls to en- tronics has been emphasizing that tape hance the projected "stereo image." The heads. like phono styli. eventually wear midrange and tweeter units are furthest out and must be replaced. The passage away from the listener to add a desired of the tape itself. over the heads. has degree of reflected sound to the pres- an abrasive effect that gradually wears entation. Bass response is improved when away the metal surface of the head until the lid over the changer is closed. form- optimum contact between the tape and ing an acoustical seal. The danger of the gap becomes impossible. or the tiny feedback- because woofers and phono gap itself grows too wide. The end re- pickup are installed in the same cabinet sult is erratic output and high -frequency -is overcome by interior panels that loss for which the only solution is a new divide the rear sound waves from each head. Details on these developments. and woofer and effectively put them out of recommended replacements for heads for phase with respect to the top and under- more than forty makes of recorders. are side of the record changer. This dodge available from The Nortronics Company, prevents the rear waves from triggering Inc., 8101 Tenth Avenue North. Min- Dr. Goldmark and Columbia 360. the unwanted feedback oscillations. The neapolis. Minn. 55427.

MARCH 1965 49

www.americanradiohistory.com You know you're a hi -fi expert ...now let your friends know it

(and earn a free Shure Stereo Dynetic stylus in the bargain)

HERE'S THE PROBLEM .. . HERE'S WHAT SIIURE DOES .. . We pity the poor audiophile. Besieged with questions We'll send you a "Shure M100 Expert's Kit" consisting a Help is here" lapel button, recom- from non -audiophiles, as to the kind of music system of "Courage! mendation cards, a list of they should buy. And, cruelest blow of all, after you Shure M100 dealers, and explain, precisely, the components they need, they Pocket Guides to the M100. decide it's all "too complicated" and wind up with Next time you're asked for a of that affronts the critical ear. "hi -fi" piece furniture high fidelity advice simply hand your friend an M100 HERE'S WHAT YOU DO... recommendation card Good news! You can, in all good conscience, rec- (and pocket guide) and ommend the M100 Shure Engineered System of your troubles are over. Laboratory Matched High Fidelity Components and you've solved their problem like the true aficionado HERE'S YOUR "REWARD" .. . To show you our appreciation, when your friend you are. True hi -fi sound. True components. Matched. sends in his M100 warranty card with your recom- The at $450.00 *, is comparable to components sound, mendation card attached, we send you the Shure costing significantly more, or "sets" costing two or Stereo -Dynetic replacement stylus of your choice. three times as much. Plug in the speakers and AC cord (You know your stylus should be replaced from time and it's ready. Their eyes and ears are happy. And to time because even at light tracking forces the you and your conscience are at peace with the world. diamond tends to wear.) Details on how to get your free stylus will be in your M100 recommendation '$450.00 For solid walnut library Model M -100W; kit. Now everybody's happy! $389.00 For portative luggage Model M -100L.

Mo Co) tif THE SHURE ENGINEERED SYSTEM OF LABORATORY MATCHED HIGH FIDELITY COMPONENTS WRITE FOR YOUR KIT: SHURE BROTHERS, INC., 222 HARTREY AVE., EVANSTON, ILLINOIS CIRCLE 52 ON READER -SERVICE CARD 50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Only Scott has the 10 vital features you need in a solid state amplifier After an exhaustive analysis of solid state design, Scott search. Now, as before, your choice of Scott assures you engineers have found ten vital design features which deter- of superior performance, long -term value, and unfailing mine the performance of solid state amplifiers. Only the reliability. For completely detailed information on this new Scott 260 80-watt solid state amplifier successfully amazing new solid state amplifier, write: H. H. Scott, Inc., incorporates all ten vital features resulting from this re- Dept. 226 -03, 111 Powdernlill Road, Maynard, Mass.

Less than $260

El Output Coupling Ca- pacitors prevent direct current from flowing to Direct Coupled Cir- your speakers. Other O Fused Output Stage cuitry using no trans- amplifiers pass direct prevents damage to formers, assures widest current into the output valuable loudspeakers. possible power band- signal, resulting in de- Special fuses stand mHigh Input Imped- width and lowest pos- graded performance, or guard should there be a © Zener- Controlled Pow- ance permits use with sible distortion. Other even destruction of the chance overload. Other er Supply assures top any tuner or tape re- amplifiers use driver voice coils. amplifiers do not use performance and lowest corder, whether of tube transformers, produci ng these protective distortion in the critical or transistor design. distortion and restrict- devices. preamp circuits by sup- Other amplifiers with ing frequency response. pressing line voltage var- low input impedance iations. Other amplifiers can not be used with have no such provision. subsidiary tube equipment.

O Massive instrument - type Heat Sinks keep ®FM Stereo Tuner output trànsistors run- matches the amplifier. ning cool, assuring top Baxendall Tone Con- Scott's famous solid performance and long- trols provide smooth re- state 312 stereo tuner er life under all condi- sponse adjustment, and perfectly matches the tions. Other amplifiers insure that the amplifier amplifier in looks AND use the chassis as a © Rugged Silicon output operates "flat" when con- performance. (Audio heat sink, making out- transistors assure long O Full control comple- trols are center -set. Other Magazine said of the puts far more vulnera- operating life and far su- ment includes BOTH amplifiers use controls 312: "... one of the fin- ble to breakdown. perior high frequency Scratch and Rumble fil- which change the entire est tuners anywhere. ") performance. Other am- ters; 3- position pickup frequency response as plifiers use low- perform- sensitivity switch; remote well as that portion over ance germanium transis- speaker provisions AND which control is desired. tors that are far less outlet for private stereo rugged. headphone listening; complete facilities for tape recording and monitoring.

260 /SOLID STATE BY 0 SCOTT® H. H. SCOTT, INC., 111 POWDERMILL RD., MAYNARD, MASS. Export: Scott International, Maynard, Mass. Cable HIFI. Prices slightly higher west of Rockies. Prices and specifications subject to change without notice. CIRCLE 100 ON READER -SERVICE CARD MARCH 1965 51

www.americanradiohistory.com Compatibility and the LAB 80... From its Garrard -designed, Garrard -built Laboratory Series' motor...

to its 12 inch cast and balanced turntable

... every part of this entirely compatible motor/ drive / turntable system contributes to the excellent performance of your records

To insure overall superiority, ship of the motor to the In the Lab 80, the non -magnetic features which distinguish the performing with the latest wide particular turntable /drive cast turntable is 12 inches in Lab 80... has established its range speaker systems and mechanism -plus meticulous diameter and extremely heavy. In compatibility with other ad- highly refined amplifiers (includ manufacturing -which deter- itself, it is an impressive example vanced components, and will ing solid state transistorized mines outstanding results. of precision craftsmanship. Each add to your satisfaction with equipment). the Lab 80 Auto- The Lab 80 is powered by the individual turntable is statical- the entire music system. matic Transcription Turntable is unsurpassed Laboratory Series" ly and dynamically balanced a Garrard built to an exceptionally high shaded 4 -pole motor (with dy- to eliminate any possibility of There's for order of precision ... each seg- namically balanced armature) wow (uneven musical pitch) or every high fidelity system. ment carefully inter -designed with designed and built entirely by rumble ...and to insure pre- the other related parts. Garrard. will keep its speed cise. constant speed through fly- It wheel action. Every detail has Separate though they may be within rigid NAB standards. in appearance and function. the even through the unlikely line been considered in its relation- Lab 80 motor. turntable. and voltage variation of 95 to 135 ship to ideal performance. loose lowly turntable mat drive mechanisms are actually volts. The assumption or Even the LAB 80 599.50 TYPE A70 $84.50 a unified system ...so meticu- contention that only a hyster- is an example. It is formulated lously engineered. and so si- esis motor can maintain speed from a remarkable new anti- lent. that they will not add the with such reliability is simply static material which tends to slightest noise or distortion at untrue. An ingenious suspen- dissipate the electrical charge any frequency or volume level. sion system of rubber anti - on records and prevent the ac- vibration devices and damping cumulation of dust. Dust is one Constant. reliable speed. of AT60 $59.50 MODEL 50 544.50 course. is the first essential. pads isolates the motor from of the persistent causes of rec- frees the Prices shown less base and Cartridge. Recent tests. now known to the the unit plate. and ord wear as well as unwanted entire industry. have confirmed Lab 80 from any vestige of vi- noise. and yet this obvious prob- the traditional Garrard view- bration which might affect rec- lem. until now. was not ap- point that the motor type (in- ord reproduction. proached in even the finest duction or hysteresis) is not the But performance which be- transcription turntables. key to fine reproduction. Actu- gins with an excellent motor must The meticulous attention to ally ... it is compatibility -the be carried through to completion precision in design and manu- correctly engineered relation- by an equally excellent turntable. facturing...apparent in all the

IMPORTANT READING: New 32 page Comparator Guide. For complimentary copy, write Garrard, Dept. GC -15. Port Washington, N.Y. Canadian inquiries to Chas. W. Pointen, Ltd., 66 Rac ne Rd., Re.dale, Ontario. Territories other than U.S.A. and Canada to Garrard Engineering Ltd., Swindon, Wilts., England. CIRCLE NO. 103 ON READER SERVICE CARD

www.americanradiohistory.com AS high fidelitySEES IT

Alarums and Excursions

IT Is with some amusement and a certain astonish- We believe that Landon, Marsh, Smith, and our ment that we have noted the disputation following troubled readers are all honestly groping towards our publication, last October, of a review by our understanding: we say "groping," for it appears that European Editor, H. C. Robbins Landon, of Leonard each contender would seem to be valiantly defend- Bernstein's recording of Haydn's Symphonies Nos. ing a part of the whole. Every work of art is like a 82 and 83: amusement, because the lengths to diamond; one turns it over, as it were, and another which the arguments have been pushed occasionally facet of its brilliance is revealed. We do not doubt have reminded us of the famous squabbling among that the "right notes" in a Haydn symphony are medieval theologians as to how many angels could part of the diamond, just as the "right style" is an- sit on the head of a pin; astonishment, first that so other. We think that our correspondents have, each many people are now interested in both the stylistic of them, seen and (for us, at least) illuminated one and scholarly aspects of Haydn's symphonies (a side of the diamond. We also believe that each is subject of concern only to a handful of specialists quite capable of turning the diamond around. No when HIGH FIDELITY began publication), and sec- one is infallible; and having (we hope) the agree- ondly, that what appeared on the face of it to be ment of Messrs. Landon, Marsh, Smith, et al. on a rather straightforward (and incidentally favorable) that point, we would add that Mr. Bernstein -who, review should have produced such a storm of in a sense, started this argument with his "correct" protest not only among our readers but also among reading of the Haydn scores -does not always prac- our own writers. Our valued reviewer Robert C. tice perfect consistency: as far as we can hear, Marsh. for instance, wrote, in the Chicago Sun - that new Columbia recording of Symphony No. 82 Times, a long and detailed criticism of Robbins omits the timpani part for two bars (33 and 34) in Landon's critique. and in the following pages our the Minuet. frequent contributor Patrick J. Smith takes close Personally, we don't much care about those two issue with the views our European Editor expressed. lost timpani bars. If Robbins Landon wants to point Indeed, we even feel a degree of alarm that the out that they are missing, it is appropriate for him whole affaire Landon -Marsh -Smith has gotten to do so: if Robert C. Marsh wants to say that their slightly out of hand. excision has nothing to do with whether Bernstein There is no doubt-and we are certain he him- plays the Minuet well or not, well and good; and self would be the first to admit it -that in the if Patrick J. Smith warns us that musicology and review in question our author deliberately over- music criticism are two separate and distinct things, stated the case; we happen to know that Robbins we are in agreement. A well -known theologian once Landon is a devoted admirer of the art of Sir said that trying to find the truth was like looking Thomas Beecham and that he has written (in the at a lofty mountain always partly covered with Austrian journal Phono) a series of articles on the clouds; it was given to most mortals, he added, to "Salomon" Symphonies praising Beecham's style see only parts of that mountain. Thus we feel that while regretting Sir Thomas' decision to use scores musicology, music criticism, and (in this case) criti- outdated by recent textual discoveries. We are equal- cism of criticism are all relevant to the exploration ly sure that in his more generous moments Patrick of a work of art, the ultimate truth of which we J. Smith does not really regard musicologists' search are quite convinced that all our disputants are striv-

for the truth as mere "cacklings of discord. . . ." ing to discover.

MARCH 1965 53

www.americanradiohistory.com A PORTFOLIO Of STE'REO MCOR~1965

54 HIGH FIDE I ITY MAGAZINE

www.americanradiohistory.com THANKS To THE combined efforts of audio installationist and interior designer, more and more listening rooms today create a pervasive harmony of effect, flattering the eye with their beauty of proportions and materials as they charm the ear with the beauty of superlative sound. On this and the following pages are portrayed a number of rooms, in various styles of décor, that exemplify this concept. Owners of fine music systems will he able to imagine what the systems illustrated here sound like; the visual appeal of their settings will be self- evident. The photographs themselves, we feel with some pride, equally demonstrate the wedding of science and art, of technique and insight. Taken by the distinguished photographer Ezra Stoller, whose award- winning work has been widely acclaimed by architects and designers as well as by other master cameramen, they invite the viewer to enter these rooms and to linger, with a perhaps heightened perception of the pleasures that refresh both spirit and senses -including, of course, the aural delight of stereo sound heard in a setting of comparable felicity.

At left is another view of the installation shown on our corer. The sliding panels have been moved back, and the speaker grilles removed, to show the placement of the equipment. This system, designed by Fred Kamiel of Sound Consultants, New York City, includes u Thorens TD -124 turntable with Orto /on arm und pickup, a Hadley 621 pre - amp, a REL Precedent tuner connected to a solid -state multiplex adapter built by Kamiel. Speaker systems, also built by Kamiel, employ Princeps woofers (from France) and midrange drivers fitted with dispersion domes. The tweeters are Neshantiny electrostatics. Each section of each speaker system is driven, via electronic crossovers, from 50 watts of amplifier power supplied by a trio of 100 -watt Kamiel basics. These are installed in the base- ment because of their hulk and need for good ventilation.

www.americanradiohistory.com Installation in the Ironie of singer Sergio Franchi was engineered by Michael Kay of Lyric Hi -Fi, New York City. The system includes a Thorens TD -124 turntable fitted with a Shure/SME arm and a V -1 5 cartridge. Preamp and power amplifier are by Acous- tech: speaker systems are Bozak Urhans. The cabinetry was designed by Franchi himself, an accomplished draftsman and water -colorist as well as a mellifluous tenor. An unusual décor note is struck by the turntable housing: partly supported by the wall, it serves as a decorative element, is at a height convenient for use, and is well isolated from effects of external shock and mechanical feedback.

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Asystem that has grown over the years to include stereo conversion occupies a prominent place in the living room of Dr. and Mrs. A. Frisch. A Fairchild turntable is fitted with an ESL arm and Shure cartridge as well as an ADC arm and cartridge. Dr. Frisch wired his own Lafayette KT -600 pre - amp and Citation II power anip from kits. His tuner is a Scott 330, updated with a Scott multiplex (FM stereo) adapter. The tape deck is a Concertone: speakers are Hegeman Professional systems, in walnut to match the custom -built cabinets. The entire family. including Kabi the Siamese cat, enjoys music- whether reproduced in stereo or live on the harpsichord.

www.americanradiohistory.com For Mr. and Mrs. John Avlon of New York, Michael Kay designed a storage wall that blends with the over -all décor scheme. Everything may be hidden or exposed, as desired. Equipment includes a Thorens turntable fitted with Ortofon arm and pickup, stereo preamp and Model 8B basic amplifier by Marantz, Karg FM tuner, the Ampex 1260 tape deck, Electro -Voice microphones, and a pair of Kay- designed three -way speaker systems.

58 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com MARCH 1965 5 ' o

www.americanradiohistory.com This superbly designed room is part of a floor - through, treated as internal architecture by Ed- ward J. Wormley Associates of New York City. Its owner, Mrs. M. Falk, can entertain guests with music played on the Steinway, or from the stereo speakers installed beneath the window sill hidden behind the full- length draperies at the far end of the raised floor. Installed by Liberty Radio, the balance of the equipment -a Fisher receiver and a Garrard player -rests on shelves in a walk -in closet at the near end of the room.

60 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Dr. and Mrs. Arnold Thompson of Ossi- ning. New York, wanted to have stereo in their living room but preferred to avoid a conspicuous display of equipment. Accord- ingly, Fred Kamiel divided each of his speaker systems and hung the tweeters on a draw drapery rod. Midrange and woofer units were housed in cabinets which he imbedded into the upper portions of opposite walls. A den, adjoining the listening room, is the repository for records and the other components: Fisher tuner, Marantz preump and pair of basic amps, Thorens turntable with Grado arm and cartridge, Miracord changer with Elac cartridge. The equipment storage cabinets and shelves share space with books and other possessions.

\ on, r, \ I i<< n I

www.americanradiohistory.com by Else Radant

THE STRANGE DEMISE WI1.MZATOF Was it a lethal dose of acqua toffana that carried off Wolfgang Amadeus? The autopsy by medical historians is still in progress.

EVEN 173 years after the fact, the shocking cir- ner of things." Mozart then complained of a coldness cumstances of Mozart's death remain a subject of in his bones, told Deiner to finish his [Mozart's] wine, and added: "Come tomorrow morning. Winter's speculation. While some of the more lurid details coming and we need wood. My wife will go with you and buy have proved to he fiction rather than fact and while some...." Deiner took Mozart's wine, sat down with it, authentic documents are now at our disposal (see. and said to himself: "Such a young man thinking of for instance, O. E. Deutsch's Mozart: Die Dokumente dying! Well, there's plenty of time for that. But I seines Lehens. published in 1961 by the Bärenreiter mustn't forget about that wood, for it's very cold for November." The next day, Deiner went to Mozart's Verlag), the popular versions of Mozart's last days flat. and when he knocked on the door. the maid let him still stand in need of revision. in and said that Mozart was very ill; during the night It transpires that many of the most colorful they had had to get a doctor. Mozart's wife took him anecdotes of the fatal year derive from a newspaper into the sickroom: Mozart lay in a bed with a white bedspread. and when he heard article published in the Vienna Morgen -Post on Jan- Deiner talking he opened his eyes and said, barely audibly, "Joseph. it's no good uary 28, 1856, the centenary of the composer's birth. today; today is for doctors and apothecaries." Deiner The newspaper said that its report was based on in- left. remembering that a year earlier he had come to formation given by "a man of the people" who had the Mozarts about wood for the winter. and when he been in "personal contact" with Mozart. Since the had arrived, he had found Constanze and Wolfgang dancing merrily around the study. Deiner asked if name Joseph Deiner appears in frequently the article, Mozart was teaching his wife to dance. and Mozart it was for a long time assumed that Deiner himself, answered. laughing: "We're keeping warm this way be- who is described as a Hausmeister (concierge), was cause we're cold and can't buy any wood." Deiner went the "man of the people" who told the tale. But and brought some of his own; Mozart took it and promised to well it when hold Deiner could hardly have been alive in 1856, and pay for he could get of some money. there are many bloomers in the article. The sub- On November 28 Mozart's doctors held a conference. stance is herewith condensed as follows: During Mozart's illness, none of his operas was performed. and everyone waited anxiously to find out how things would turn out. [In fact, The Magic Flute was On a "cold and unfriendly" November day in 1791. running at the Freihaustheater almost every night while Mozart appeared at the beer house "At ye sign of ye Mozart was ill.] Mozart's illness became more acute Silver Serpent." [The beer house was named "Golden every minute, and on December 5 his wife again fetched Serpent. "] Instead of his usual beer, Mozart ordered Dr. Sallaba, who came, followed by Süssmeyer Irecte: wine. [There is no other documentary evidence that Süssmayer], to whom Sallaba confided that Mozart Mozart ever went to the "Golden Serpent." either for would not live through the night. Dr. Sallaba then wrote beer or wine.] Haussmeister Deiner comes into the room. a prescription for Constanze. who was also feeling un- sees Mozart very pale and with his "blond and powdered" well. took another look at Mozart and departed. Süss- hair in disorder. Deiner says: "I hear you've been in meyer [again, thus] remained at the side of the dying Prague: the Bohemian air won't have done you any composer. At midnight Mozart sat up in bed. his eyes good. Probably you've drunk too much beer in Bohemia were glazed, and then turned his face to the wall and and ruined your stomach." "My stomach is better than appeared to be sleeping. At 4 in the morning he was a you think." said Mozart. "I've learned to digest all man- corpse. At 5 a.m. Mozart's maid. Elise. carne to the

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www.americanradiohistory.com "Silver Serpent" and rang loudly. Deiner opened the of subscribers for his subscription concerts in March door. "Herr Deiner, you're to come and dress the master." 1784 covers eight printed pages, we can see graphi- "To go for a walk ?" "No, he's dead, he died an hour cally the change that had come about during the quickly." Deiner found Mozart's wife in tears ago, come intervening five years. (It cannot, as has been sug- and so weak that she couldn't stand up. He did what that put was necessary to the corpse and placed it in the study, gested, have been Mozart's Freemasonry next to the pianoforte. Mozart's remains were conse- the court off: Joseph II himself was a Mason, as crated at 3 in the afternoon of December 7 [recce 6] at were many of the first families among the nobility.) the outside, at the St. Stephen's, not in the church but on Recently, Czech scholars have brought to light North transept, in the Kreuzkapelle [recce: Kruzifixka- of Mozart's position at court. pelle]. The night Mozart died it was dark and stormy further confirmation and during his consecration it began to blow and storm. It will be recalled that Joseph II took on Mozart Rain and snow fell simultaneously. . . . [In fact. the as Kapellnteister (at a salary which was not nearly for diary of Count Zinzendorf registers the following: as small as biographers have insisted -800 Gulden: 5 "tem[p]s dou.r. Troi[.s] uu quatre brouillards December in 1765, Haydn, at thirty- three, was earning 782 par jour depuis quelque tem[p]s." and on December 6 in a small "tent [pis doux. En brouillard frequent." Both days were Gulden, a good salary for a Kapellnteister in fact mild, with occasional fog or mist.] Only a few court). Joseph also interested himself in music and friends and three women accompanied the body; Mo- in Mozart, and while he cannot he described as a with um- zart's wife was not there. These few friends. real protector either of Mozart the man or Mozart's brellas, stood around the coffin. which was taken down music ( "too many notes, Mozart," said he of the Schullerstrasse towards the St. Marx Cemetery, but since the storm increased in vehemence. they decided to Seraglio; "not more than necessary," said Mozart), turn back at the Stubenthor [a town gate] and went to he seems to have regarded Mozart with a tolerant, the "Silver Serpent." !Iausnteister Deiner was also pres- if not very understanding, eye. Joseph was followed, went to Constanze and asked ent at the consecration. He however, by Leopold II, who on his succession her if she wouldn't like to set a cross over his body. dismissed Da Ponte and who seems "He'll get one anyway," she answered. Later she ex- immediately plained that she had thought the parish would provide to have taken a very suspicious view of Mozart. a cross. This is why [concludes the report] no one knows When Prague chose La Clemenza di Tito to celebrate the exact resting place of Mozart's ashes. the new Emperor's coronation, the officials met stiff opposition from the court at Vienna. The The man who invented this report was by no Empress, who arrived at the theatre with Leopold means uninformed. Many details are correct and long after the opera was in progress, is reported to others are, on the face of it, convincing; but there have described Tito as a "porche ria tedesca ' ( a are obviously serious inaccuracies and there are German swinishness). At the repeat performances, data not confirmed by any of the other, earlier it seems, the theatre was half empty, and the troupe documents. It seems evident that we shall have to wanted indemnity. As one of the reasons for Titó s consign a good proportion of the Morgen- Post's failure, one document turned up by Prague scholars story -and the biographies that have been based on notes: "Among the court, a strong distaste for it -to the ashcan. Mozart's composition was shown." This remark is repeated in another document in the collection of the Prague Central Archives. IT IS QUITE CLEAR that Mozart gradually came into This enmity, particularly from Leopold, is inter- disfavor with the court and with the nobility; it esting in view of what happened later. Mozart was is not at all clear just why Mozart was given the sick by the time he was in Prague. The official cold (or even icy) shoulder. Mozart's first sub- Prague "Coronation Journal" notes: "The composi- scription concerts in Vienna included among their tion [of Tito] is by the famous Mozart, and does patrons the flower of Austrian nobility, and Joseph him honor, although he did not have much time to II was one of the first to applaud. But before long write it and became ill just when he had to compose the court began to he deeply suspicious of Mozart. the last part." We now cone to the final chapter of In 1789, Mozart wrote to his Freemason brother Mozart's life, and it seems best to let the documents Michael Puchberg a pathetic letter-"Ah God! I speak for themselves. can hardly bring myself to send this letter. and yet Among the most interesting of these contempo- I must! If I weren't ill, I would not have to he so rary reports are the diaries of Vincent and Mary unashamed to my only friend; and yet I hope you Novello. who in 1829 went to visit Constanze and will be able to forgive me, since you know the good Mozart's sister Nannerl, both of whom were then in Salzburg. Novello. founder of the and bad sides of my present position. . . . Adieu - living quietly that name, had and for God's sake do forgive nie.. . . -in which famous British publishing house of he again begs for a loan. In this letter, he tells several long conversations with Constanze. and Puchberg how he had decided to give a series of both he and his wife wrote these down in diaries subscription concerts, but when he sent the list which were discovered in Italy shortly after the around, "at the end of two weeks it came hack with last war and published as A Mozart Pilgrimage one name: Swieten." (Baron Gottfried van Swieten, (transcribed by Nerina Medici di Marignano and for whom Mozart arranged Messiah, and who wrote edited by Rosemary Hughes; London: Novello & the texts for Haydn's Creation and Seasons, was Co.). Here is Mary Novello's entry of July 17, court librarian.) If we consider that Mozart's list 1829, based on information given by Constanze:

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www.americanradiohistory.com strongly,' he continued, 'it won't last long with me: surely they've given me poison! I cannot rid myself of these thoughts.' Like a stone, this conversation fell on his wife's heart... .

Later, many years after Mozart's death. his widow Constanze married a Danish diplomat, Georg Nikolaus Nissen, who wrote the first standard full - WA MOZART length biography of Mozart. He collected information for this biography with great care and rever- ence; among other sources, he asked Constanze's sister, Sophie Haibel, to send him a report of Mo- "Some six months before his death he was possessed with zart's last illness. This is the document which she sent the idea of his being poisoned -1 know I must die,' he exclaimed, 'someone has given me acqua toffana and and which, since Constanze of course saw it and has calculated the precise time of my death -for which allowed it to he used for Nissen's biography, is they have ordered a Requiem, it is for myself I am writ- obviously as near to the truth as we shall ever come: ing this.' His wife entreated him to let her put it aside, saying that he was ill, otherwise he would not have "D[iakovar in Slovania], 7 such an absurd idea. He agreed she should and wrote April 1825. . . . Now to Mozart's last illness. a Masonic ode [K. 623] which so delighted the company M. grew more and more fond of our [Constanze's and late for whom it was written that he returned quite elated. her] mother. and she too of him, and M. often rushed over to the ... But in a few days he was as ill as ever and possessed Wieden (where our mother and I lived at the 'Golden Plough') in a with the same idea. . Three days before his death great hurry, he received the order of his appointment from the em- carrying a little package under his arm. with coffee and sugar in peror of being music director at St. Stephen [Cathedral] it. and he would give this to her and say: you which at once relieved him from the cabal and intrigue 'Here are. dear Mama, there's a little snack for you.' of Salieri and the singers. He wept bitterly: 'Now that This pleased her no end. This happened very often. M. never came us I am appointed to a situation where I could please my- to empty -handed. Now, when self in my writings. and feel I could do something Mozart became ill, we both made him a worthy, I must die." nightgown which he could put on from the front, because he couldn't turn round on account of his boils [Geschwu/st]; and because we didn't realize Vincent Novello's notes are more or less the just how very sick he was. we also made him a lined dressing same: gown (for both these things his good wife, my dear sister, gave us the necessary material) so that when "It was about six months before he died that he was he got tip again, he'd be comfortable, and thus we impressed with the horrid idea that someone had visited him frequently; he was very pleased about that poisoned him with acqua toffana -he came to her one dressing gown, too. I went into town every day. and day and he complained that felt great pain in his loins once when 1 was there on a Saturday. M. said to me: and a general languor spreading over him by degrees - 'Now, dear Sophie, you tell your mother that I'm quite that some one of his enemies had succeeded in adminis- well, really, and I'll come next week to congratulate tering the deleterious mixture which would cause his her on her Name Day.' Who could have been more death and that they could already calculate at what pre- pleased than I, to bring my mother such good news. cise time it would infallibly take place...." since she was always wanting to hear the latest anyway: so I rushed home to calm her, because he really did Acqua toffana was a poison invented by Tofana, seem to be in very good spirits and well. a Neapolitan woman; a Roman scandal concerning The next day was Sunday: I was still young and -I too many sudden widows brought it to the notice of must admit -vain, and liked to make up. but I didn't like to go on foot, all made up. from the suburb into the police in 1659. Its principal ingredients are pur- town, and to drive cost too much money: so I said ported to have been arsenic and lead oxide; and if to our dear mother: 'Mama darling. today I won't go it were given in small doses, the victims were sup- to Mozart. yesterday he was so well and today he'll he posed not to have detected the poison and to have even better. and the one day more or less won't make any difference.' She said: 'You know what? me died after a considerable interval. (This information Make a cup of coffee, and afterwards I'll tell you what you is supplied in Miss Hughes's notes to the passages ought to do.' She was all set to have me stay at home. quoted above.) and my sister [Constanze] knows how often I had to The first "official" biography of Mozart, written stay home with her. So I went into the kitchen. The by Franz Xaver Niemetschek in Prague in 1798 and fire had gone out. so I had to light a candle and make the fire. I couldn't get Mozart out of my mind. My dedicated to Joseph Haydn, notes the following: coffee was ready and the candle was still burning. Then I saw how wasteful I'd been with that candle. letting "In Prague [1791]. Mozart began to he ill and he started it burn all the time. The flame was still strong and I taking medicine: his color was pale and his features stared into the candlelight and thought. I'd like to know sad.... As soon as he returned to Vienna. he took up how Mozart is, and as I was thinking this and staring work on the Requiem and composed with great diligence into the flame. the light went out. right out. and just and lively interest: but his illness grew constantly and as if it had never burned at all. There wasn't a spark made him most depressed. His wife followed all this in the big wick. but there wasn't a breath of air in with growing unrest. As she took him for a drive in the room. I swear there wasn't: I felt very creepy and the Prater one day, to take his mind off things and cheer ran to our mother and told her. She said: 'That's him up. and as they were sitting quite alone by them- enough. you go and get dressed quickly and go into selves. Mozart began to talk of death and asserted that town and come and tell me how he is. Don't stay there he was writing the Requiem for himself. Tears stood too long.' in the eyes of the sensitive man. 'I feel it all too I rushed away as fast as I could. Ah God, how

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www.americanradiohistory.com shocked I was when my sister, half desperate but trying had lost his job on December 5 -he too was in to keep herself under control, met me and said: Thank disfavor with Leopold II) seems to have been present, God you're here, dear Sophie; last night he was so sick and no one followed the coffin to its final resting I thought he wouldn't live to see the day. Do please that place, in a cheap unmarked grave in St. Marx's stay here, because if he's that bad again, he'll die this night. Go and see how he is.' I tried to pull myself Cemetery. Callous though all this sounds, to an together and went to his bedside, and he called to me: eighteenth- century Viennese death and burial were 'Ah, dear Sophie, good that you're here. You must regarded as unimportant things. Regarding the bleak stay here tonight. You must see me die.' I tried to make funeral, Constanze wrote many years later (in a myself strong and talk him out of it, but he said to 14, 1841) : "In me: 'I've already the taste of death in my mouth.' And: letter to a Viennese friend, October 'Who will look after my dear Constanze if you don't those days it was the custom for the corpse to be stay here ?' 'Yes, dear M.' [I said]. but I have to go to put in the death wagon, taken to be consecrated in our dear mother and tell her that you would like to the church, and then without further ado [ohne have me stay, otherwise she'll think something has Weiteres] to the cemetery. . . . My all too great happened to me....' 'Yes, do that' [said Mozart], but come back quickly.' -God, how I felt! My poor sister grief and my youth are things one will have to make ran after me and said, 'For God's sake do go to the allowances for, and shaken as I was in my whole priests at St. Peter and ask a priest to come as soon soul, and my brain numb as it was from this he I did that, but they refused to do so for as can.' shock, I just didn't think to have the grave marked." some time, and I had a lot of trouble to get one of a -class funeral those priestly beasts [Unmenschen] to go.-Then I ran In fact, Mozart died in debt, and third to mother, who was anxiously awaiting me; it was was all Constanze could have afforded: she paid a already dark. The poor thing was terribly shocked. I total of 8 Gulden 56 Kreutzer for the funeral serv- the late talked her into going to her eldest daughter, ices, and 3 Gulden for the death wagon. the night with her, and that's what Hofer, and to spend Europe received Mozart's death with mixed feel- she did, and I ran back as quick as I could to my inconsolable sister. ings. His true greatness was hardly known (for in- Sissmaier [ Süssmayer] was at M's bedside; the well - stance, none of the late piano concertos, from K. 466 known Requiem was on the bedspread and Mozart was to K. 595, was published before Mozart's death, explaining to him how he ought to finish it after his except for K. 595) . Yet there were many corners [Mozart's] death. He also told his wife to keep his death secret until Albregtsberger [recte: Albrechtsberger, who where we unexpectedly meet great sorrow at his did later become Chapel Master at St. Stephen's Cathe- death: not only from Joseph Haydn, who "was dral, which post Mozart had, as we have seen, just been quite beside [himself) for some time," but also in given] could be informed, because that man deserved the Capelle at Eisenstadt, where they wrote on the the post before God and man. The doctor, Glosett Graduale ad festutn Beatae Mariae, K. 273, "Mo- [recce: Closset; Mozart had at least two doctors in attendance, Dr. Nikolaus Closset and Dr. Matthias von zartt frantz / Bitt für ihm I Rosen- Krantz" (a rosary Sallaba -vide infra], was looked for all over, till they for "Franz " -to rhyme with "Rosenkranz"-Mo - found him in the theatre; but he had to wait till the zart), and where, on the tenor part. someone wrote piece was over -and then he came and ordered cold part of Psalm 133: 1 and "Mozart: Requiescat in [stress original] compresses to be put on [Mozart's] fever- ish brow, and these provided such a shock that he did pace' [1l792." The report in the Berlin not regain consciousness again before he died. The last Musikalisches Wochenblatt at the end of December thing he did was to imitate the kettledrums in his 1791 is slightly sinister; it says: "Mozart is-dead. Requiem; I can hear that even now. Then Müller from He came home sickly from Prague and grew steadily the Art Gallery came and took a plaster cast of worse: it was thought he had the water sickness, and [Mozart's] white, dead face. I just cannot describe to you, dear brother, how hopeless and pathetic his poor he died at Vienna last week. Because his corpse wife was, she threw herself on her knees and prayed began to swell up after death. it is even thought he for help to the Almighty. She couldn't leave him, as was poisoned." much as I begged her to: and if it were possible to increase her misery, the day after this frightful night, great mobs of people came trapesing through. weeping and sobbing...." AS THE YEARS after 1791 passed, the poison theory began steadily to grow. That Mozart had enemies Mozart died at fifty -five minutes after midnight, was well known. In the Niemetschek biography of on December 5. In the death register of St. Stephan's 1798, we read: "But Mozart also had enemies: Cathedral, the diagnosis, laconic as was usual in many relentless enemies who pursued him even the eighteenth century, is: "Hitziges Friesel Fieber": after his death." And there is that ghastly report (roughly: a violent grippe with high fever), which about the composer -everyone whispered that it means, medically, nothing. In the above- mentioned was Salieri -who said, the day after Mozart died, Niemetschek biography of 1798, there is the slightly "Good riddance, too, otherwise we would all have ominous note: "The doctors were not agreed as been breadless in a short time." Relentless enemies. to the exact nature of his illness." From the night . . . But relentless enough to administer acqua of December 5 to 6, Mozart's remains were appar- toffana to Mozart? The first question: could it he ently placed in the Sterbehaus of St. Stephen's: on done? Apparently in terms of physical circum- December 6 at 3 o'clock in the afternoon his coffin stances it could: in early June, Constanze left with was consecrated in the "Crucifix Chapel" at the one of the children for Baden, where she took the north side of the Cathedral: neither Constanze nor cure. In this month that Mozart was alone, he any of his best friends nor Baron van Swieten (who seems to have had his lunch served from a nearby

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www.americanradiohistory.com Gasthaus. The first two weeks of October, Con - In the last years of Mozart's life there is no evidence stanze was also in Baden. of a chronic sickness. Mozart could not have undertaken Time gasses. and Antonio Salieri. Mozart's enemy, the b'g journey to Germany in 1789. nor the trip to the coronation ceremonies at Frankfurt -am -Main lies ill. It is again whispered that Salieri has con- in the autumn of 1790, if he had been sickly or had had a fessed to poisoning Mozart, and Schindler comes chronic illness. Kerner quotes part of the Novello and tells this to Beethoven (the passage is in one diaries, in which Mozart says he was poisoned. When of the "Conversations- Het ie "). The AIlgenteine he was writing the last parts of the Magic Flute at the end of September, he suffered Musikalische Zeituns,' reports, on May 25, 1825 under frequent spells of exhaustion and occasional fits of unconsciousness; (from a letter written in April in Vienna): "In his yet he worked. though nervous, edgy, and afraid. most [Salieri's] fantasies he is really supposed to have of each day. From July to 4 December he produced admitted his part guilt as to Mozart's early death." music steadily. During the last four weeks of his life, Salieri died on May 7, 1824, and four years later, Mozart begins to have hallucinations; there are repeated attacks of dizziness. unconsciousness, vomiting, Vincent Novello notes in his diary: "Salieri first and a continual loss of weight. On 20 November tried to set this opera [Cos) fan tune] but failed. Mozart takes to his bed; there are boils on his hands and the great success of Mozart in accomplishing and feet, and he can barely move them, he vomits frequently; what he could make nothing of is supposed to have boils appear on his rump. as well. . . . There have excited his envy and hatred, and have been the been many diagnoses as to Mozart's death [continues Dr. Kerner]: none of them, first origin however, is of his enmity and malice towards able to support a serious clinical examination. Space Mozart." Mary Novello adds to this: "Salieri him- prevents a thorough analysis. but this much may be self confessed the fact [of poisoning Mozart] in said: those who have suggested a kidney ailment have his last moments, but as he was embittered all come closer to a correct clinical analysis. Yet a real, organic kidney ailment. the classical uraemia. cannot his life by cabals and intrigues. he may truly he have been Mozart's illness: otherwise he would have said to have poisoned his life and this thought. been unable to work for weeks, even months. ante linen( [Mozart's] son thinks, pressed upon the wretched and would have been unconscious many days before man when dying." death. In the many sicknesses Mozart had as a child there is One of the most interesting of these later docu- no reference to a kidney ailment which could in later years have led to a kidney failure: also there is ments is a letter by Dr. Eduard Guldener von Lobes no reference that Mozart complained of acute thirst. to Giuseppe Carpani, dated June 10, 1824. Guldener But in what can this kidney failure have consisted? seems to have been the friend of both Mozart's There is only one clinical answer to this: acute toxic doctors. Closset and Sallaba. and may have been failure. that is to say, the kidneys are suddenly unable to fulfill their normal function. consulted by both. Carpani, an early biographer In fact, Mozart's terminal illness shows all the signs of a chronic quick- of Haydn, was an Italian resident in Vienna silver poisoning: the details of such a poisoning have and a friend of Salieri. interested in clearing tap the only in the last half century been clinically investigated. reactivated scandal that his compatriot was respon- but they all fit the classical picture of mercurial poison- sible for poisoning Mozart. Dr. Guldener describes ing: apart from the fits of dizziness and fainting. we have the ability to continue work to the end. the lack Mozart's illness as a rheumatic- inflammatory fever of a long period of unconsciousness ante finetn. the which, he says, was then raging in Vienna and lack of acute thirst. the swelling of the body (toxic attacked many people. Closset told Guldener (who nephrosis) in the last stages. headaches. nausea. halluci- says he didn't go to visit Mozart but kept himself nations. a rapid loss of weight. and terminal cramps. as well as widely spread skin infection ( informed through his colleague) that Mozart was "Hit,.iges Friesel Fieber" had as a principal symptom acute changes of getting steadily worse and he (Closset) feared that the skin). from the very inception the illness would deposit itself in the head (cioè tan deposito alla testa). "One Dr. Kerner's article has. as might be expected. day I met him [Closset] and Dr. Sallaba, and they caused something of a controversy among medical said positively: Mozart is lost. it is no longer possible historians as well as Mozart experts. Bernhard Paum- to hold back that deposit in his head." Guldener gartner, with whom I have discussed the whole adds that Mozart's death was the object of general problem, is cautiously inclined to agree with Dr. interest, and it never even remotely occurred to Kerner; Paumgartner has also put the evidence anyone that he had been poisoned. After discussing before other leading doctors. who say that poisoning Closset's value as a diagnostician. Guldener adds through acqua toffana is entirely possible from the that not a few people who caught this virus infection clinical evidence (sparse enough) at our disposal. also died from it, just as Mozart did, and with the On the other hand. Professor Otto Erich Deutsch same symptoms. dismissed the whole Kerner theory out of hand. Thus, it seemed, matters rested. But since World Paumgartner, who admires Deutsch. has this to War II, the whole rumor has started again. Although say: that there are apparently well -founded rumors most doctors have diagnosed Mozart's terminal ill- that the Emperor Leopold II, who died less than ness as a protracted and infectious kidney ailment. three months after Mozart, did not die a natural Dr. Dieter Kerner of Mainz has recently (Acta death; he, too, had "many relentless enemies." So. Mozartiana. 1963. Volume I) dropped a bombshell. as Paumgartner points out, people were poisoned. His thesis is quite simple: Mozart was poisoned. A About Mozart's end. it is doubtful if we shall ever summary of his sensational article follows: learn the whole truth.

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www.americanradiohistory.com BY PATRICK J. SMITH

The astute music critic,

argues our author, should not

make mountains out of

musicologists' molehills.

A QUESTION OF FUNCTION

IN THE November 1964 issue of this magazine, H. C. branches of what can loosely be embraced by the Robbins Landon, reviewing a record of two Haydn term "music criticism." These are the roles of the symphonies, made the following statement (I quote music scholar and the music reviewer. the paragraph in full): The music scholar or, as Mr. Landon correctly calls him, the musicologist, is the student of the his- It is no good playing Haydn or Mozart or tory music, both of its minutiae and of its larger Bach or Handel without a profound knowledge of trends. It is his job to tell us, the uneducated, what of their respective styles and also of eighteenth - were century performance practice in general. You trills and mordents in use in the eighteenth read. 'So- and -so wears the mantle of scholar- century, how their use differed from country to was a place ship lightly.' Balderdash! Scholarship is light country, how music played in specific a is his to pursue and run only if it is poor. Similarly, you read, 'Sir at specific time; it duty Thomas Beecham uses the wrong edition of to ground the varying editions of a composer's work Haydn's Symphony No. XYZ, but what does and to determine which is the nonspurious one, to that matter confronted by the Beecham wit and compile catalogues of the works of composers and scintillating verve.' etc.. etc. Well. I dislike to annotate them, using the full range of scholarly sounding dogmatic, but it does matter. When knowledge at his disposal; it is his duty to point Sir Thomas recorded Symphony No. 96, he used out the origin and development of musical techniques an edition with the wrong flute and bassoon and to trace musical influences. In short, the task parts throughout the work and with wrong of the musicologist is to clarify as much as possible trumpet and timpani parts for the first, third. the mists and fogs that shroud the history of music, and final movements; conversely, he omitted so that it may stand revealed in a light as close as the authentic trumpet and timpani parts for possible to the light of verity. At this point the role the slow movement: furthermore. his record- of the musicologist ceases. ing (or rather the score he used) has 10.000 The role of what we choose to call the "music wrong notes. wrong dynamic marks, and wrong critic" -that is, the daily, weekly, or monthly review- phrasing marks. People who overlook this just er of musical performances -covers quite a separate cannot read music: and if a critic says it all area. His role vis -à -vis that of the scholar has been, doesn't matter, he ought to take up a new pro- is, and will continue to be denigrated, for as a re- fession. viewer of performances, he makes a contribution I feel that the last sentence of this paragraph is that is by its very nature ephemeral. This, however, at hase mistaken, and I want to try and point out in no way lessens the importance of the critic: he is exactly why. in no sense an unnecessary middleman between the The source of Mr. Landon's error is his confusion musicologist and the public. His qualities and func- of the roles of two interdependent but quite separate tions are separable from those of the musicologist

MARCH 1965 67

www.americanradiohistory.com force means something at two or three removes from A QUEWIION OF FUNCTION fact. Performance, whether of a piece for solo violin or a Meyerbeer opera, involves endless shades of nuance and emotion, each purporting to reproduce the exact notes, markings, and, primarily, the intent but equally indispensable within the framework of of the composer. musical commentary. Ernest Newman, in common with a number of his colleagues, used to say that the best performances of music he heard were those at which he sat at home in his easy chair with the score in his lap. THE MUSIC CRITIC should have three qualities not The statement was and is something of a critical necessarily found in the musicologist: eclectic knowl- conceit. Newman must have meant that at home he edge, nonpartisanship, and common sense. By eclec- could "hear" the score as the composer intended it tic knowledge I mean a good general knowledge of to be heard, without cuts, transpositions, misplaced his field, fed constantly by the more specialized re- accents, wrong notes, and all the rest of the possible searches of musicologists, as well as a reasonable circumstance of performance. If he had meant that familiarity with related fields (an opera reviewer he actually heard, in his inner ear, the music he was should have some acquaintance of the theatre, for reading, then he would have been merely indulging instance). The cultivation of this quality could alone in the harmless (if a bit pathetic) egoism of the occupy a conscientious critic for a good part of his frustrated -conductor that all performers are con- life. Yet, important as it is, it seems to me not so vinced all critics are, at heart. He would have been important as nonpartisanship and common sense, doing only what any conscientious conductor would for here the music critic has the advantage over the say he was doing: playing the music as it was written. musicologist. The danger of the musicologist is that if Newman had actually meant that the notes and he will become dogmatic. Since he has done more markings on the staved page were in themselves a research in his chosen corner of music than anyone complete realization of the music, then he would else (or so he thinks). since he has (let us assume) have been wrong. made several -or even many -contributions to the The score, however fascinating it may be to a clarification of musical history in that corner, he student of music and however much of a gold mine begins to think of himself as an oracle, whose pro- it may be to a musicologist, is nothing as evidence nouncements must be unquestioned. Although a of the composer's work until it has been, quite musicologist may think that his findings are immune literally, "brought to life" in performance. We have from the vagaries of taste from age to age, since today lost sight of this simple truth because the mod- he deals with the unchangeable truths of history, ern composer, unlike his counterpart of earlier ages, experience has shown that even these truths are must work in a vacuum as it were, completing his susceptible to revision when viewed through the work in isolation from performing musicians and glasses of another age. hoping it will eventually be given a hearing. The It is one of the tasks of the critic, then. to evaluate eighteenth- century Kapellmeister, for instance, had as best he can the sometimes conflicting data of a band of musicians at his immediate disposal; the musicology in the light of his general musical knowl- notation of the work was a part of the performance edge and of his nonattachment to any "side." He is itself, in the sense that the notes were written down able to do this through the use of his common sense. only so that the musicians could see what to play. Common sense, a portmanteau word for a number The idea of an Urtext score of unimpeachable of qualities, has been all too little considered in authority would have been considered an absurdity: evaluating the role of the critic, yet it is of vital the notes on the stave were but means to an end, importance. It comprises the ability not to be carried not ends in themselves. The end was the sung song. away, either by pedantic cant or by emotional exuberance; the ability to see and hear, weigh and judge in the light of the totality of experience. In- WHILE the musicologist and the critic are not herent to common sense are flexibility and a sense of wholly separate species -indeed all critics are in humor (both often lacking in the musicologist), the part musicologists (Newman's Life of Wagner is sense (fatal to the musicologist) that basically noth- but one example), and probably most musicologists ing, really. is that serious. The hallmark of all the now and then write music criticism -the roles of greatest critics is their common sense. the musicologist and the critic should not be con- The crucial difference in the roles of the musi- fused. It is this confusion that we find in Mr. Lan - cologist and the music critic lies in their areas of don's review of the Haydn symphonies. To a musi- study. The musicologist studies facts and data which cologist, to ignore the evidence of a more accurate resolve into facts: the staved page and its annota- score and to say that the score chosen didn't matter tions, the documentary evidence of a man's life and would be arrant folly; it is his duty to determine times. The critic studies the performance: that is, which score is an accurate edition, to document the the expression and realization of these facts. Ex- proof of his contention, and to demonstrate why actly that sets the critic apart, for performance per- its use is mandatory. The duty of the critic, however,

68 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com is to weigh the evidence and decide-in the light If he were to be considered a "stylistic idiot" who of a specific performance -whether it matters or knew nothing about his own style, what would we not what edition is used. If he does not believe it think of a Mozart redivivus? Hermann Scherchen, does, I hardly think he should be counseled to "take one of the more scholarly of current conductors, may up a new profession." be closer to the mark than Mr. Landon when he Let me take a few examples. In the paragraph defends his performances by saying: "It is very fine quoted at the beginning of this article, Mr. Landon if a man knows absolutely how it should be. I don't states that a conductor should have as a prereq- know." uisite "a profound knowledge of [Haydn, Mozart, It might be thought, however, that if style is Bach, or Handel's] respective styles and also of not subject to being faithfully reproduced, at least eighteenth- century performance practice in general." the notes should be. Mr. Landon attacks Sir Thomas This, of course, is a criterion that many critics have Beecham (another conductor known for his scholarly postulated, for it is beyond question that each com- approach to music) for using the wrong edition of a poser has his own "style." In principle, it is a state- Haydn symphony. Mr. Landon obviously believes ment similar to one declaring in favor of God, that he knows what the right one is. But Robert C. Motherhood, and Country, and, like many such state- Marsh (also one of HIGH FIDELITY'S panel of re- ments, it carries with it a certain validity. But, if viewers) writes in an article on the Landon review one thinks further about Mr. Landon's assertion, it in the Chicago Sun -Tunes: "George Szell and I once becomes less transparently simple than it might first had a long talk about the Robbins Landon correc- appear. Without a doubt any conductor who truly tions in the finale of the Oxford Symphony. Szell had a "profound knowledge" of eighteenth- century thought that the traditional texts might represent performance practice and who employed it in giving Haydn's revisions, and that they should not be dis- a performance of, say, Mozart, would produce a carded because they cannot be traced to early sources. reading that would be quite unrecognizable to a I am inclined to agree." So now we have two well - twentieth- century audience. For Mozart, in con- informed people who dispute Mr. Landon as to formity with eighteenth-century performance prac- which are the correct notes in a Haydn symphony. tice, used his compositions as bases for great orna- What can decide the issue? The intent of the com- mentation and embellishment, the notes written serv- poser? The truth is that we manifestly do not know ing not as a limitation but as a starting point. While Haydn's intent. it is true that Mozart insisted on a greater degree of fidelity to the score than did most of his contempo- raries. we in our age of slavery to the printed note BUT WHY GO BACK to the days before the writing and of almost neurotic emotional reserve have in- down of notes was a commonplace? Consider the terpreted the composer's injunctions to permit only case of the symphonies of Anton Bruckner. Because the most restrained elaboration, if any at all. An- Bruckner had an abnormal inferiority complex and other age, with differing critical criteria, could just because his symphonies generated violent abuse as easily play Mozart's works with lavish interpola- (when they were not being totally dismissed as tions and appeal for sanction to the same standard of unplayable), he frequently consented to undertake "eighteenth- century performance practice." revisions or to permit others to do so. Which re- One recalls Wanda Landowska's discussion of "the visions-if any -are most reflective of his intent? liberties I take ": "... the fear of adding a note which Certainly he time and again defended his later re- cries out to be inserted, or of interpreting an orna- visions as "better," but musicologists as well as critics ment when its theoretical realization would be in- will always differ as to whether he meant what he sufficient is a misconception of the spirit of the said. Anyone can point to specific examples (a cut music of the past" IHGGH FIDELITY, December 1964, developmental section, a truncated coda), but whereas p. 52). Again, consider Harold Schonberg's statement to one student this is deformative (and therefore, in his book The Great Pianists about Beethoven's ipso facto, contrary to Bruckner's real, inner intent) playing of his own sonatas (and consider what a to another it is an improvement (and therefore. ipso tyrant for "perfection" Beethoven was!): "But there facto, an expression of Bruckner's real, inner intent). is only one thing wrong with playing those sonatas Thus the average reader can only ride the merry -go- [the way Beethoven did] in the year 1963. The pi- round until his head spins so much that he falls off. anist who tried it would be laughed off the stage as To the critic. wearied of these cacklings of dis- an incompetent. a stylistic idiot who knew nothing cord that resemble nothing so much as the quarreling there is an escape. about the Beethoven style. . . . Twentieth -century Jews' scene in Strauss's Salome, pianists know as much about Beethoven's pianistic That escape is in the actuality of the performance style as he knew about ours. We would consider his itself, for in performance all these differences be- performances sheer anarchism if he returned today, come trivial. Mr. Landon, despite his castigation of while he would listen to current Beethoven special- such an attitude, seems to be aware of its truth when ists and consider them dry, unmusical, and any- he says, a few paragraphs later in the same review: thing but expressive." And remember that Beethoven "Of course we all know that getting the trills and came almost a hundred years after the age of Handel mordents right does not make a great performance." and Bach, and a generation after Haydn and Mozart. Indeed so, and a Continued on page /35

MARCH 1965 69

www.americanradiohistory.com IN A PROPERLY WIRED HOME THERE CAN BE MUSIC WHEREVER YOU GO. EXT E

Too MANY people who have wonderful stereo but presents other problems. In the first place it sound appreciate its delights solely in the confines presupposes a driving amplifier with enough reserve of the living room. This is plain self -deprivation. power to handle the added load of several speaker The options for extending stereo to other parts of systems operating at once. (Even when extension the house are limited only by the number of rooms speakers are turned down, their level controls con- (including outdoor rooms) at your disposal. In tinue to draw amplifier power, which is dissipated fact, a whole family- dispersed in kitchen, bedroom, as heat; the resultant wattage drain could detract study -can enjoy a good measure of the sound from main speaker performance.) Furthermore, if that on other occasions fills the main listening room. the extension speakers are of very low quality, their The way to such expanded listening vistas lies not resonances can ripple through the wiring to produce in turning up the volume to a level audible from subtle distortions or loss of response in the sound one end of the house to the other but in setting of the main speakers. up new auxiliary sound paths, using extension speakers placed where you want them and wired back to the system's amplifier. This does not mean dupli- ASIMPLE BUT SERVICEABLE extension setup to cating the speakers you already have, although you operate independently -only can be achieved by fol- of course can do that if your budget permits. lowing the basic plan illustrated in Fig. 1. Note that Generally speaking, extension speakers will be of in addition to the extra speakers, you will need a a more modest kind than the main speakers; happily. change -over switch, L -pads on the remote speakers there are on the market a variety of reasonably for controlling their volume level, and interwiring. priced, compact, wide -range speaker systems that The switch is a common knife switch of the double - qualify for the ancillary service of providing satis- pole, double -throw variety. L -pads should be selected fying, if not spectacular, listening in rooms hitherto to match the impedance of the speaker each will unblessed by music. Outdoor speakers can be moved control (an 8 -ohm speaker requires an 8 -ohm L- indoors for additional use. Even small, inexpensive pad). The control may be mounted in a hole drilled "replacement" speakers-installed in modest baffles in the side of the speaker cabinet, or it may he -often make useful additions for secondary listen- positioned nearby. As for the wiring, ordinary lamp ing areas. And a single speaker -while it of course cord will serve in most installations. Its two con- won't deliver stereo -can provide some measure of ductors (No. 18 wire) dissipate little power up to listening pleasure wherever you want it. distances of about 100 feet. For concealing cables The techniques of setting up additional speakers under a carpet use the flat twin -lead wire customary and hooking them into the main system are by no for TV antennas or the new Scotchflex flat cable means beyond the ability of the average audiophile system (which also adheres neatly and unobtrusively if he limits his number of remote setups to three or to walls or woodwork). For really long runs, larger - four. (Remote speaker systems more numerous than size No. 16 wire will carry audio energy to about this are best handled by a professional technician.) 200 feet with negligible loss -or, again, the Scotch- If he is to get the most out of these additional flex cable can be employed, but with its double con- speakers. however-conveniently, and without de- ductor lengths paired to form one conductor. tracting from what the amplifier continues to feed Fig. 2 demonstrates how to wire the L -pad level the main speakers -he requires a little know -how. control. and Fig. 3 shows how the same speaker can In general, there are two approaches to install- be used in different rooms. If only one of a pair ing extension speakers: 1) they may be wired to of remote speakers is wanted, only one speaker is function instead of the main speakers; or 2) they wired. and the stereo amplifier is adjusted for its may he wired to function either instead of or mono function. simultaneously with the main speakers. The former If the extension speakers have an impedance approach demands less technical skill; the latter, approximately the same as that of the main speakers, while affording greater flexibility, not only involves the correct load is presented to the amplifier regard- relatively complex wiring and switch arrangements less of which system, remote or main, is in opera-

70 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com L by Len Buckwalter SPEAK E R be used two a difference between the simplicity, the parallel hookup may for l tion. When there is large This is the sanie as impedances of main and remote speakers, however. such extension speaker systems. the additional pairs of an impedance selector switch may be added, as shown in Fig. 4, except that after the change -over shown in Fig. 4. wires are tapped into the line speakers, To set the extension speakers into operation, switch. Strictly speaking. two extension to the 4 -ohm adopt the following procedure. With the knife each rated at 8 ohms. should connect listener is switch in the "Main" position, adjust the main terminal on the main amplifier. If the each speakers for normal balance and tone. The amplifier willing to reconnect wires on the amplifier to remote, a per- volume control is set somewhat higher than for the time the switch is made from main can be usual listening level. The reason is that this control fect match is attained. This inconvenience a small loss determines the loudest sound level at the remote eliminated if one is willing to tolerate A per- points: the L -pads can only reduce total power from in power, though not necessarily in quality. wires each the amplifier. Next, the change -over switch is thrown fect match, with no need to reconnect by from "Main" to "Remote." An important precau- time remote speakers are used. is made possible in Fig. 4. tion: no audio should feed the line as the switch using an impedance selector as shown three or more is operated. To assure this, temporarily turn the The stereo installation covering amplifier input selector to an unused input. Thus. rooms (in addition to the main area) heightens the wants during the change -over the amplifier is protected matching problem, especially when the listener play at against sudden loss of the speaker load. Next, the the option of having all extension systems just one sound levels at the remote speakers are adjusted. the sanie time. In the following examples, would Each L -pad control may be rotated to yield the channel is described (otherwise. the diagrams be understood desired over -all volume and stereo balance. If the be unduly complex), and it should speakers are highest setting of the controls does not provide that the other stereo channel and its ample loudness, the volume control on the main handled in identical fashion. The two basic match- one amplifier may be raised slightly. All tone control, ing systems are "series" and "parallel." Which impedance of the of course, is accomplished at the main amplifier. to use is largely a matter of the is that These settings may prove different from what you extension speakers. The rule -of-thumb if (4 have been using for the main speakers; some un- extension speakers are quite low in impedance to obtrusive markings may be made on bass and treble ohms or less). the series connection is selected a value found on the ampli- controls as a guide to their adjustment when listening build up impedance to in Fig. 5. the to the remote speakers. fier's taps. Wired in series, as shown speaker impedances add up to the necessary total. The four 4 -ohm speakers, therefore. are wired to 4 -ohm WTH THIS BASIC arrrangement of main speakers the I6 -ohm tap on the amplifier. If three and one extension setup, it is also feasible to extend speakers are placed in series. for a total of 12 ohms, the coverage to additional rooms. To employ the they may be connected to the lower of two possible same pair of extension speakers in different loca- amplifier taps (8 ohms in this example). tions. simply carry them to any desired spot, using A parallel wiring of speakers would he chosen impedance a quick disconnect, as shown in Fig. 3. A plug -and- for speakers of relatively high -e.g., de- socket arrangement is convenient, but keep away 16 ohms -inasmuch as the total impedance from AC plugs and sockets for this purpose (some- creases when units are connected in parallel. Thus. one could inadvertently insert the speaker into house four 16 -ohm speakers in parallel present a total of current -with disastrous results!). Other connectors, 4 ohms to the amplifier. A more common parallel speakers. shown such as those used in the Scotchflex system, arc example would be three 8 -ohm available for the purpose. wired in Fig. 6. Since in this case too high an im- When several remote speakers are to operate pedance (24 ohms) would be produced by a series simultaneously in more than one area, matching connection, the parallel configuration is used, bring- The considerations become important. In the interest of ing the impedance down to about 2.6 ohms.

71 MARCH 1965

www.americanradiohistory.com STEREO AMPLIFIER LEFT RIGHT

C 4 8 16 C 4 8 16 o 0 . 0 131511117 E10=11

Fig. 1. Wiring guide for adding o pair of extension speakers.

MAIN MAIN Fig. 2. How to wire ;-pad level control ;shown in MAIN SPEAKER SPEAKER Fig. 1).

LEFT RIGHT

Fig. 3. Some extension speaker can be used in different rooms with convenient plug-and- socket arrangement. CHANGEOVER SWITCH EXT

TO ON "C" LEFT AMP TO ' (' ON RIGHT AMP

EXT EXT

SPEAKER _O SPEAKER

LEFT IGHT LEVEL CONTROL LEVEL CONTROLO

TO "C" ON AMP EXTENSION SPEAKER TO O CHANGEOVER

SWITCH EXTENSION SPEAKER t

SPEAKER LINE SOCKET PLUG

o c J TO o 0 CHANGEOVER SWITCH BEDROOM PATIO

LEFT AMP RIGHT AMP

16 - 16

Fig. 4. An impedance selecto, permits choos- o- --o 8 ing different amplifier tops to match the output to whatever speaker (or 4 o- -C) 4 speakers) may be in use at any time. Switch shown here is o rotory type C Co- IMPEDANCE If it is a "non- shorting" switch, it SELECTOR instantaneously disconnects the lood from the amplifier during switching. MAIN MAIN On some amplifiers, even on in- stantaneous "no load" condition may SPEAKER SPEAKER cause circuit trouble; if in doubt, LEFT RIGHT consult the manufacturer or your dealer. Alternately, you con turn off the amplifier whenever you are using this switch, and turn it on again after making your speaker impedance selection. MAIN TO "C" AMP ON TO "(" ON AMP EXT L _ EXT SPEAKER: SPEAKER

LEFT L -PAD EXT 1-PAD RIGHT

CHANGEOVER SWITCH

www.americanradiohistory.com 4-OHM EXT. SPEAKER

l -PAD

CONTROL I TO OVER = SWITCH J1 TO 11 l-PAD CONTROL 1 CHANGEOVER SWITCH BEDROOM PATIO KITCHEN DEN

Fig. S. Series connection for extension speakers (one channel is shown).

Fig. 6. Parallel connection for three speakers (one channel is shown).

Fig. 7. Series parallel connection for four 8 -ohm speakers lone channel is shown).

speaker line connects to the amplifier's closest tap, described earlier. Where no more than two or three or 4 ohms. extension speakers are to be added on each channel, may A close match for four 8 -ohm speakers is pro- the simple series setup for the remote speakers vided by a series parallel system. illustrated in Fig. 7. give the best results. and remote speak- Two 8 -ohm speakers in series build up to The option of using both main is 16 ohms while the other (identical) branch halves ers simultaneously, or either set individually. by means of it hack to 8 ohms. The total load. then, is a perfect probably most conveniently arranged match for the amplifier. which will distribute power a speaker selector switch designed specifically for equally among all the extension speakers. Again. this purpose and available from audio dealers. It is the impedance selector shown in Fig. 4 takes care made to accommodate the two sets of lines for of mismatch between main and remote speakers. stereo speakers. The impedance selector switch is virtually a must in such setups. An individual remote speaker then may be controlled at its location by or ALt. OF THE preceding systems are predicated on means of the L -pad, or a plug -in arrangement, the use of the remote speakers instead of the main an additional off -on switch installed near it. speakers. the choice between them being determined A final refinement for an extension speaker by the setting of the change -over switch. If you system is a method of turning off AC power to the wish to play both the main and the remote speakers main amplifier from a remote point. Extension simultaneously, you may simply "jump" the ter- speakers. of course, can be turned off by their minals (indicated in Fig. 4) on each leg of the individual controls, but the amplifier remains on. To change -over switch. This places both the main and overcome the considerable expense of having AC remote speakers across the output of the amplifier. switches installed at various points throughout a Thus. when the switch handle is thrown "down" house. a clock -timer is a good compromise. Such (to the normal extension speaker position), all the a device, available for approximately $7.00 at most speakers will play; when the handle is lifted. only dealers', connects to the amplifier's AC plug and the main speakers will play. With this hookup. per- the wall outlet. The listener sets the timer to the fect impedance matching may not be possible in all desired switch -off hour for the system. Then speakers cases, and some power loss is to be expected. In located in a bedroom. for example. may be turned elaborate systems. using many speakers, it would off on the spot. while the automatic timer down- he best to follow the series parallel arrangement stairs shuts off the complete system.

73 MARCH 1965

www.americanradiohistory.com HOBSON'S CHOICE? NNEVER AGAIN!

If, in 1631, you went to rent a horse from Thomas Hobson at Cambridge, England, you took the horse that stood next to the door. And no other. Period. Hence, Hobson's Choice means No Choice.

And, as recently as 1961, if you went to buy a true high fidelity stereo phono cartridge, you bought the Shure M3D Stereo Dynetic. Just as the critics and musicians did. It was ac- knowledged as the ONLY choice for the critical listener. Since then, Shure has developed several models of their Stereo Dynetic cartridges -each designed for optimum performance in specific kinds of systems, each designed for a specific kind of porte -monnaie.

We trust this brief recitation of the significant features covering the various members of the Shure cartridge family will help guide you to the best choice for you.

r THE CARTRIDGE ITS FUNCTION, ITS FEATURES... IS YOUR BEST SELECTION , The ultimate! 15° tracking and Bi- Radial Ellip- If your tone arm tracks at 11/2 grams or less tical stylus reduces Tracing (pinch effect), IM (either with manual or automatic turntable)- and Harmonic Distortion to unprecedented and if you want the very best, regardless of lows. Scratch -proof. Extraordinary quality con- price, this is without question your cartridge. trol throughout. Literally handmade and in- It is designed for the purist ... the perfection - clividually tested. In a class by itself for repro- ist whose entire system must be composed of (luting music from mono as well as stereo the finest equipment in every category. Shure's V-15 discs. finest cartridge. $62.50.

Designed to give professional performance! If you seek outstanding performance and your Elliptical diamond stylus and new 15° vertical tonearm will track at forces of to 11/2 grams, kt tracking angle provide freedom from distor- the M55E will satisfy -beautifully. Will actually non. Low Mass. Scratch -proof. Similar to V -15, improve the sound from your high fidelity except that it is made under standard quality system! (Unless you're using the V -15, Shure's M55E control conditions. finest cartridge.) A special value at $35.50.

A premium quality cartridge at a modest price. If you track between 2/4 and 11/2 grams, the 15° tracking angle conforms to the 15° RIAA M44 -5 with .0005' stylus represents a best -buy and EIA proposed standard cutting angle re- investment. If you track between 11/2 and 3 cently adopted by most recording companies. grams, the M44 -7 is for you ... particularly if IM and Harmonic distortion are remarkably you have a great number of older records. low . cross -talk between channels is ne- Both have "scratch -proof" retractile stylus. M44 gated in critical low and mid -frequency ranges. Either model under $25.00.

A top -rated cartridge featuring the highly For 2 to 21/2 gram tracking. Especially fine if compliant N21D tubular stylus. Noted for its your sweet, "singing" quality throughout the audi- present set -up sounds "muddy." At less ble than $20.00, it is truly an outstanding buy. spectrum and especially its singular re- (Also, creation of clean if you own regular M7D, you can up- mid -range sounds (where grade most of the music really "happens ".) Budget- it for higher compliance and lighter priced, too. tracking by installing an N21D stylus.) If floor problem. A unique Stereo -Dynetic cartridge head shell reco ds. Modelss for Garrrard Labo atory Type assembly for Garrard and Miracord automatic "A ", AT -6, AT -60 and Model 50 automatic turntable owners. The cartridge "floats" on turntables and Miracord Model 10 or 10H counterbalancing springs ... makes the stylus turntables. Under $25.00 including head shell, M99 scratch -proof ... ends tone arm "bounce." .0007" diamond stylus.

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

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, . ..11l - .111, l, Pure Sonics Model 402 -C

lita thearstkohe Basic Amplifier

THE EQUIPMENT: Pure Sonics Model 402 -C, a stereo triode tubes (type 12AX7). Normally, such a tube is basic amplifier. Dimensions: 17 by 11 by 5 inches. used as two stages. each half serving an independent Price, $314. Manufacturer: Pure Sonics, Inc., 5707 W. function. In the 402 -C, the halves of the dual- triode Division St., Chicago, III. 60651. are connected in parallel, so that it performs as one ultra -big or "super" triode tube. In addition to permitting COMMENT: The 402 -C is a basic stereo amplifier, de- high gain, this type of hookup provides automatic signed to be used with a separate preamp- control unit compensation, without the need for adjustments, to help or indeed with any signal source supplying enough volt- maintain original levels of tube performance despite age to suit its input sensitivity. Inasmuch as it is supplied aging. It also serves as a fail -safe provision in case of with two level controls (one for each channel), it could deterioration of a tube element. A similar approach is conceivably be driven directly from an FM tuner, or found in the amplifier's power supply, where two full - from a tape deck that had its own preamps. The level wave rectifiers (type GZ34) are used instead of only controls as well as other controls and connections all one. Normally, the GZ34 -with two anodes -is con- are conveniently located on the amplifier's front panel. nected to serve as a full -wave rectifier: here, the two itself handsomely styled and featuring the "low sil- anodes are tied together to serve as one. houette" appearance common to many recent audio This amplifier clearly has been built to a very definite components. Speaker terminals -four binding posts per "design philosophy"-which was confirmed by tests con- channel (common, 4. 8. and 16 ohms) -are located at ducted at United States Testing Company, Inc. In either end of the panel. The level controls and a pair general. the 402 -C shapes up as a high- powered amplifier of "music- test" input jacks are next to the speaker posts. offering interesting. and in some respects superb, per- There also is an input sensitivity switch, a power off -on formance -but some care must be exercised in the switch, and a pilot lamp. Two fuses -one in the primary choice of speakers, more of which later. Power output circuit of the power transformer, and another in the "B vis -à -vis distortion was excellent: the wattage - per -channel plus" circuit -are located near the bottom of the chassis. exceeded the manufacturer's own rating, and harmonic The circuitry of the 402 -C, termed the "quadramatic." distortion at mid- frequencies was too low to be measured employs unusually high amounts of feedback to reduce accurately. The IM characteristic was generally quite distortion and improve linearity of response within the superior, except for a rise at the 20 -watt output level: audible range. Each channel has two voltage amplifier even so, IM was practically immeasurable up to 10 -watts stages and each stage consists of both halves of dual- output and was comfortably below the 0.5 per cent level

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

Al:ucctt I9(,5 75

www.americanradiohistory.com at the amplifier's full rated output of 40 watts. The the so- called "music" range; in fact, the manufacturer 402 -C's damping factor was a whopping 181, which is has stated that he regards 50 to I5,000 cycles as adequate the highest yet measured on any amplifier. response for a good music amplifier. This design ap- The amplifier's frequency response, measured through proach, however -while very successfully applied in the the "music" input, rolled off at the low end from about case of the 402-C--does at the same time make this 200 cps, and was down by 3 db at about 35 cps. Meas- amplifier stability- sensitive to its load. That is to say, ured through the test input, response remained perfectly oscillation may occur if the amplifier is loaded with a flat to below 10 cps. These characteristics are sub- speaker system having a considerable amount of capaci- stantiated by our square -wave response photos at 50 cps: tance, such as electrostatics or inexpensive conventional the one taken through the test input is virtually a replica speaker systems in which the crossover network is not of the input test signal and indicates superb bass re- of the "constant impedance" type. Should the amplifier sponse; the other, taken through the music input, shows go into oscillation, it most probably will occur at a the effect of bass rolloff. The extreme high end response supersonic frequency which, while not audible, in this amplifier could also is rolled off, though more gradual- damage a speaker. ly; this effect in -also keeping with the amplifier's The obvious solution would be to design aproach use the 402 -C to -again shows up on the 10 -kc square - drive only the better conventional speaker wave response. systems - with which it does perform admirably. According to the The input sensitivity switch was found to change the manufacturer, some electrostatics are supplied with amplifier's feedback circuit, and the position for lower isolation networks; these are described as "purely re- sensitivity ("high" on the switch) will produce best per- sistive" loads and are fully compatible with the 402 -C. formance. Thus. if possible, the 402 -C -while it can Alternately. he advises that other electrostatics may be be driven by relatively low -level signals- -will yield best used if connected to the amplifier through a series resis- performance when fed from a high quality preamp that tor about 25 per cent the value of the speaker impedance itself can deliver sufficient signal to use the 402 -C with (thus, a 2 -ohm resistor for an 8 -ohm speaker). This, its switch set to the "high" level input position. Signal - of course. will reduce the amplifier's damping factor. to -noise ratio, in either mode, was excellent. but it provides the necessary isolation. On the question The very high amounts of feedback used in the 402 -C. of conventional speaker systems, the manufacturer combined with its rolloff in the extreme highs, do result recommends those which employ LC -type networks (in in very linear response and very low distortion within which the capacitor is connected in series with an inductor

Pure Sonics Model 402 -C Amplifier Lab Test Data Performance characteristic Measurement

Power output at 1 kc into 8 -ohm load), chs individually Left at clipping 42.7 watts @ less than .05 °0 THD Square -wave response: Left at 0.5 °° THD 45 watts 511 cps through music Right at clipping 41.8 watts @ less than .05 °° THD Right at 0.5 °0 THD 44.1 watts input, then test input (upper left, right): Both chs simultaneously 111 kc, directly left. Left at clipping 33.2 watts @ less than .05 °0 THD Right at clipping 36.1 watts @ less than .05 °o THD

Power bandwidth for

constant + 2 0.5 °o THD 22 cps to 12 kc 0 -2 % Power Bandwidth Curve Harmonic distortion / n 0.5% THO 4 40 watts output less than 0.5 %, 24 cps to 7 kc; 6 1% at 8.5 kc 20 watts 8 output less than 0.5 %, 24 cps to 11 kc; THD d 20 watts 10 1 °o at 14 kc 12 THD a. 40 watts -, IM distortion, 8 -ohm load less than 0.1 % up to 10 14 watts Frequency Response a 1 Watt 16 output; rise to about Test Inpi ó 1.09% at 20 watts; 18 drop Music Input to 0.35% at 40 watts 20 PERFORMANCE CHARACTERISTICS 22 Zero DB 40 Watts Frequency response, 1 -watt level 10 100 1K IOK 100K test input: +0.2, -2 db, 7 cps to 24 kc; -3 db at 33 kc FREQUENCY, (PS music input: rolls off to -4 db at 28 cps INTERMODULATION DISTORTION Damping factor 181

Sensitivity high level, 2.85 v 0 low level, 1.47 v 6087000 cps, 4:1 ratio SIN high level, 96 db 1 1 4 7 10 15 20 30 40 SO low level, 92 db POWER OUTPUT IN WATTS

76 HIGH FIDEI ITV MAGAZINE

www.americanradiohistory.com it ought to to make the network effectively resistive rather than because of the amplifier's characteristics being used. only with the capacitive). Such networks are found on the better speak- he used. or indeed merits who are interested er systems: indeed. the manufacturer does not recom- best -designed speaker systems. Those mend mating his amplifier to "a small speaker system in the amplifier's general performance characteristics -in safe" in the $60 to $80 price class." and its special features -such as the built "fail- With all the speaker systems available on today's provision of its tube arrangement. or its unusually high diaphragm market. it would be out of the question for us to docu- damping factor for controlling speaker for ment which specific models would be suitable for use motion -probably ought to query the manufacturer with the 402 -C. although it seems fairly certain that his recommendations as to speakers.

Audio Dynamics

ADC 325 and 303A

Speaker Systems

tweeter is permitted to respond (at its lower range) along with the inner portion of the large cone tat its higher range). The net result is a very gradual crossover and a calculated overlap of frequency coverage. In both systems, the large and small speakers are mounted behind a grille cloth and are direct radiators. Cabinets are sturdily constructed, internally padded. and are equipped with THE EQUIPMENT: ADC 325, a full -range speaker completely sealed. The systems rear to adjust relative levels of midrange system in integral enclosure. Dimensions: 19 by 101 by switches on the highs. Input impedance of each is 8 ohms. The 8 inches: price. in oiled walnut. $49.50. ADC 303A, a and full -range speaker system in integral enclosure. Dimen- systems are of moderate efficiency. the Model 325. Caprice. indicated smooth sions: 23? by 13 by I13/4 inches: price. in oiled walnut, Our tests of cps. Some doubling was S95. Manufacturer: Audio Dynamics Corp., Pickett Dis- response down to about 50 at about 40 cps. trict Rd., New Milford, Conn. 06776. evident at this point. and increased depending on how hard the system was driven. Response highs was quite COMMENT: The Models 325 and 303A speaker systems upward through the midrange and peaks or dips. and an ap- (known respectively as The Caprice and The Brentwood) smooth. with no significant above 12 kc. Directionality are recent additions to the ADC speaker line in which parent rolloff beginning just 8 kc. very slightly pronounced the design effort has been to achieve multi- driver action was moderate up through at 12 kc. White noise re- without the use of an elaborate crossover network. at Ill kc, and fairly strong but had a hint of "hard- Accordingly. the lows and much of the midrange are sponse was moderately smooth handled by one speaker unit, but its cone is physically ness" and some noticeable directionality. divided into two sections. held together at some distance The Model 303A. Brentwood, had (as expected) a Bass held up cleanly to about 40 cps: from the apex by a compliant membrane. This serves as wider response. be induced here by driving the speaker a mechanical crossover or. as ADC describes it. a de- doubling could coupling device. The outer edge of the cone is held to very strongly. and if one accepts a slight rise in distor- volume. the bass could be said the speaker frame by a fairly loose. high -compliance tion or a lower output 40 suspension: the inner portion of the cone is treated and to be useful to somewhere between 35 and cps. was very smooth and ex- suspended in such a way as to m Ake it more responsive Response from here upward or dips. except for a hint of to a comparatively higher range of tones. There is. hibited no audible peaks was hardly dis- consequently. a fairly gradual "slope" or overlap of "brightening" above 6 kc. Directionality frequencies from one section to the other. In the Caprice. cernible up through 8 kc. At IO kc. the output was the was at the nominal dividing frequency is about 1.000 cps on a least hit more directive but this effect no poorer well six- inch -diameter speaker: in the Brentwood. this fre- 14 kc, and test tones at this frequency were audible was an apparent slope quency is about 6011 cps on an eight -inch cone. off axis of the system. There noise The gradual decoupling of a large portion of the above this frequency to beyond audibility. White cone with respect to rising frequency is intended to response was smooth but showed evidence of a strong present a fairly constant mechanical impedance to the midrange and treble component. voice -coil throughout the reproduced range: it also is On program material. both speakers impressed a wide designed to minimize phase shift in the interest of an number of listeners as satisfactory and representative of improved separation of complex signals. their respective price classes. The Brentwood provided The highs. in each system, are handled by separate a good sense of bass weight and heft and was very and highs. tweeters. In the Caprice. the tweeter is a two -inch cone clear and precise throughout the midrange that cuts in at about 2.500 cps. The tweeter in the The over -all impression was one of a very bright - Brentwood. of more sophisticated design. consists of a sounding speaker system and indeed. the preferred set- dome of Mylar of the same diameter as that of its ting of the midrange and highs level switches was the voice -coil: it cuts in at about 2,000 cps. The design "down" position. The Caprice. while not as full in the very approach used here is consistent with that of the two bass or as prominent in the highs, was felt to he parts of the larger cone. The tweeter. in either system. listenable in a more modest system, such as one installed is connected through a simple series capacitor, and the in a small room.

MARCH 1965 77

www.americanradiohistory.com Dynatuner FM-3

THE EQUIPMENT: Dynatuner FM -3, a stereo mono control (with its stereo mono switch), and power off /on FM tuner. Supplied with metal cover. Dimensions: switch comprise the full complement of controls. The chassis 131/2 by 73 by 37's inches: front panel, over- tuner presents an unusually neat appearance, and also is hangs chassis. 41/s by 131/2 inches. Price: kit, $109.95; about the easiest of the high -quality sets to use. The factory- wired. $169.95. Manufacturer: Dynaco Inc., 3912 rear of the chassis contains the stereo signal output Powelton Ave., Philadelphia, Penn. 19104. jacks. the AC line cord, a fuse -holder, and AC convenience outlet, and connections for both COMMENT: 300-ohm (twin - Dynacos new FM -3 tuner combines this lead) and 75-ohm (coaxial cable) antenna lines. company's original FM -I monophonic tuner and its Internally, the circuit employs a redesigned IF section subsequent FMX -3 stereo adapter into one improved with a new arrangement of certain critical parts, and and updated set. In addition to featuring Dynaco's improved coupling inside the transformer "cans." The recent change in styling. the FM -3 boasts new features parts' reorientation has been designed mainly to lower and circuit changes. For one thing, the set now has a the set's hum level with respect to its full output. stereo This defeat switch that enables the user to switch improvement is readily perceived, incidentally, readily in a from stereo to mono reception. This switch is direct A -B comparison with the older Dynatuner. incorporated with the volume control knob: when pulled In tests conducted at United States Testing Company, out, it disables the multiplex circuits in the tuner and Inc., the new Dynatuner confirmed the original impres- clears up monophonic signals: when left in, it recon- sion that this set is a "no- frills" but high -performing nects these circuits for the reception of stereo signals. instrument. As specified, IHF sensitivity averaged 4 pv An additional touch: the numbers on the station dial across the FM band. As explained in an earlier report match the color the of tuning and the stereo indicators. (November 1961) this is not the highest numerical These indicators, sensi- located at the left of the dial, are tivity ever measured on an FM tuner, but combined with two sections of a dual -purpose tuning -eye tube of the the set's very low distortion. effective noise rejection, maximum closure type. One half shows the signal and high capture ratio (better in the new model than strength of incoming stations: the other half lights up in the former one) the quality of reception proves, in the word "stereo' that is printed across it when a stereo actual use, to be comparable to some tuners with higher station is received. The station tuning knob, the volume sensitivity ratings. The FM -3 should provide excellent

-+5 Lab Test Data MONOPHONIC FREQUENCY RESPONSE 0 5 Performance th 20 50 100 300 500 1K 3K 5K 10K 20K

characteristic Measurement FREQUENCY, CPS

IHF sensitivity 3.9 pv at 98 mc; 4.1 pv at 90 mc; z 0 4 pv at 106 mc

Frequency response, mono +0.5, -3.5 db, 20 cps to 17.5 kc IHF USABLE SENSITIVITY CURVE THD, mono 0.38% at 400 cps; 0.59% at 40 cps; 0.48% at 1 kc IHF Usable Sensitivity ;n 98 MC 3.9 pv IM distortion Ñ -30 0.29% ó Capture ratio 4 z -40 5/N ratio 62 db =-50

1 10 10' 10' Frequency response, stereo ó 10' 10' left channel +0, -2.5 db, 20 cps to 15 kc RF INPUT LEVEL IN MICROVOLTS right channel +0, -2 db, 20 cps to 15 kc +5 THD, stereo 0- left channel 0.75% at 400 cps; 1.3% at 40 cps; 5 FM- STEREO FREQUENCY RESPONSE & CHANNEL SEPARATION 0.51% at 1 kc c -10 -15 right channel 0.9°,6 at 400 cps; 2.2 °o at 40 cps; z

0.7% at 1 kc ,;, -20' zo -25 Channel separation, either better than 33 db at 1 kc; better -30 channel than 25 db, 100 cps to 5.5 kc; -35 411 111MI better than 15 db, 20 cps to Left Channel :,a111111- 13.5 kc Right Channel -- --- vissivempopp 19 -kc pilot suppression -37 db 20 50 100 300 500 1K 3K 5K 10K 20K 38 -kc subcarrier suppression -43 db FREQUENCY, CPS

78 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com stereo and mono reception in virtually all locales. When dial is very good. Response. on both mono and stereo, fed from a relatively elaborate outdoor antenna, it is is uniform across the FM audio band. On stereo, both possible to pull in signals from distances much longer channels are very closely balanced. than normal. Channel separation on stereo is excellent: Using and listening to the FM- 3- played through ex- the usual rise in distortion over that of mono operation ternal amplifier and speaker systems -is a gratifying ex- is only moderate; the suppression of the unwanted stereo perience. It becomes apparent -from its quick response pilot and subcarrier signals is better than in the former to stations all across the FM band, from the positive Dynatuner (which was quite low to begin with). In action of its tuning indicator, and from the clean, open general, the new set puts out a little more signal, with sound it provides -that this disarmingly simple- looking less noise, than the older model. Calibration of the tuning set is one of the best FM tuners available.

Thorens Model TD -224

Turntable and Record Changer

THE EQUIPMENT: Thorens TD -224, a four -speed installation, and a built -in spirit -level indicator. For turntable- and -arm assembly for manual (single -play) or manual use, without the changing mechanism, the fully automatic operation. Dimensions (on base): 271/4 TD -224 may be operated in much the same manner as by 143/4 inches; 9 inches high, including clearance for the TD -124: the machine is started when a speed is top of stacking spindle. Cost, $250. Walnut base, $30; selected, and the tone arm may be cued manually. alternately, may be installed in any suitable cutout The arm itself is the same as that incorporated on (template supplied). Manufactured by Thorens S.A., the TD -135 (reported on here in October 1962). It is Sainte-Croix, Switzerland; distributed in the U.S.A. by a metal tubular type, counterbalanced at the pivot end Elpa Marketing Industries, Inc., New Hyde Park, and equipped with an accurate adjustment for setting N.Y. 11040. tracking force. The arm has no major resonance above 10 cps, which is of course excellent. Bearing friction, COMMENT: Long regarded as one of the finest turn- while not as low as in the finest of separate arms, was tables available, the Thorens TD -124 now appears slightly about average for a good automatic. The pickup shell is modified, linked to an elaborate and somewhat fascinat- removable, has a convenient finger -lift for manual ing record -changing system, as the TD -224. It is supplied cuing, and can accept any known cartridge. The arm with an integral tone arm (the Thorens BTD -125, which comes with a stereo signal cable harness wired to it, also is used on the Model TD -135 manual player), and and ready to connect to the preamp. built -in record -cleaning brush based on a design of Cecil Wow and flutter of the turntable were measured at E. Watts, the British audio inventor. 0.07% and 0.04% respectively -very low figures and The operation of the TD -224 really must be seen to of no significance in performance. Rumble -unweighted be fully appreciated. Referring to the photograph: the by the NAB standard (that faulty one, but the only one stacking and changing mechanism consists of a two -piece we have so far to go on!) was 29 db. (upper and lower) stationary arm and, just to its right, a It is important, we believe, to recall that a weighted movable arm. Records are stacked initially on the upper rumble figure for the last Thorens turntable we reported platform of the two -piece arm. When the machine is on was -45 db. The wide discrepancy of these figures started, the one -piece movable arm lifts up and over, indicates the need for a new rumble standard (NAB, engages the top record, and places it on the table. The please note!) and -as is true of other turntables tested tone arm then senses the diameter of the record; the recently -- really is no indication of actual performance. record is dropped over the spindle, and playback begins. In any case, the rumble in the TD -224 occurs at a sub- During play, the cleaning brush -attached to the mov- sonic frequency; combined with the arm's very low able record- lifting arm -gently sweeps the entire surface resonance, it is of no importance in performance. This of the disc. When the end of the record is reached, the can be definitely verified in the most stringent of listen- tone arm is raised automatically and moved to its rest ing tests: the TD -224 is truly a silent turntable-auto- position. The record then is lifted from the table and matic or manual. moved to the lower portion of the two-piece stacking Workmanship throughout is of a high order and assembly. After depositing the disc here, the lifting arm shows every sign of precision craftsmanship. By ex- then swings back to the upper platform to engage the ercising a normal amount of care in its use, and fol- next record. (If there are no more records in the pile, lowing the well- written instruction manual that accom- the machine is shut off automatically.) The changing panies it, one can expect that the TD -224 should provide cycle takes about 23 seconds, is independent of turntable years of trouble -free, high quality service. speed, works silently and efficiently, and has proved - in tests conducted at United States Testing Company, Inc., and later in prolonged use tests -to be very gentle on the records themselves. REPORTS IN PROGRESS As in the TD -124, the turntable of the TD -224 has a fairly heavy (7 pounds, 3 ounces) platter and a Harman -Kardon SR 900 magnetic -type variable -speed control that permits varying the speed by roughly plus or minus 3 per cent from Tuner/Amplifier the nominal settings of 16, 33, 45, and 78 rpm. To facilitate exact speed settings, there is a built -in illumi- Futterman H -3 Basic Amplifier nated stroboscope that is both accurate and easy to use. The table has four knurled wheels to help level it during

MARCH 1965 79

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BEETHOVEN BY WILHELM KEMPFF. 6 Bagatelles, IIfNARD sM:nY 3 Rondos, 6 Andante DEßFLIEGENDE HOLLANDLS 111LL'll llri'LN: BAGATELLES Ecossaisses, Fur Elise, Variations, wrr Favori- Wilhelm Kempff, Piano .oMY. ..owis.r. LPM 18 934 SLPM 138 934 laryale ....d. o..et11011111¡n,, .

"THE FLYING DUTCHMAN " - HIGHLIGHTS. Kim Borg, Evelyn Lear, James King, Thomas Stewart, others - Bamberg Symphony, Berlin Opera Chorus / H. Loewlein (Leaflet of texts) LPEM 19 425 SLPEM 136 425

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www.americanradiohistory.com reviewed by HARRIS GOLDSMITH PAUL AFFELDER ROBERT C. MARSH NATHAN BRODER ccords CONRAD L. OSBORNE O. B. BRUMMELL ALAN RICH R. D. DARRELL `view DENIS STEVENS SHIRLEY FLEMING ALFRED FRANKENSTEIN 1 JOHN S. WILSON

by Conrad L. Osborne

From the final scene, as produced at Bayreuth.

A Stereo Parsifal -for the Faithful and New Converts

IF Die Meistersinger is the Wagner op- and Parsijal; this was. in fact, drama's tecedents were French. but on a more era for non -Wagnerites (as often seems vital function so far as Wagner was con - basic level they are Middle Eastern and to be the case), Parsijal is the Wagner cerned-he wanted a return to the Greek "pagan" -not surprising. in view of opera for Wagnerites only. I do not concept of drama not simply in terms Christianity's classification as a Middle refer to the work in its ill- fitting guise of form but in terms of a literally re- Eastern mystery religion. Jessie Weston's as an overlong Communion service, ligious function (the assembling of the From Ritual w Romance brilliantly clari- dutifully endured by Westchester ladies community for a ritual. consecrative re- fies the sources of the Grail legend, and at the Good Friday matinee. but in its enactment of its essential myths). of all the figures attendant to various truer position as the logical culmination In his music. Wagner strove to make versions of the Perceval story. From her and distillation of Wagners artistic meth- these experiences personally meaningful. work and other readily accessible stud- od. Indeed, Parsijal is a little like the As an artist, he struck out into territory ies, it is possible to reconcile what some- Grail itself-accessible only to the pure which has only since his death been the times seem to be mutually contradictory believer, something of a puzzle to every- subject of any intense analysis or intel- symbols and to clarify the connection one else. It can be apprehended only if lectual exploration. He assumed, instinc- between Parsijal and Wagner's previous one endorses Wagners highest and most tively. the connection between ancient works. difficult goal; otherwise. it is simply an myth and the lives of modern man -the The origin of the myth is found in extremely long opera with some churchy connection. in other words. between an- pre- Christian fertility rites. In its earliest associations. a few patches of extended thropological and psychological mean- forms, we already find the Infirm King lyricism, and almost nothing in the way ings. (re- pécheur or pécheur. both "Sinner of the overtly theatrical moments that Of all his works, Parsijal aims most King" and "Fisher King " -Amfortas, of can pull even an unsympathetic listener directly at this goal. Like the Ring, it is course) who reigns over a country where through Wagner's other works. an astounding amalgam of legendary ma- prolonged drought, identified with his By "highest and most difficult goal" terials. in this case the nominally "Chris- weakness or wound. has rendered his I mean that of encompassing and inter- tian" outgrowths of underlying Indo- people moribund. Amfortas' sexual en- preting the basic myths of the Western European myths. It is silly to speak of counter -the breaking of his brotherhood peoples, and of transmitting their mean- Parsijal and the Ring as antithetic, for oath of chastity- results in his incurable ings in theatrical terms-i.e., by means they are twigs of the same branch, in the wound and the low estate of the king- of an emotional reëxperience. It is this same sense that "pagan" is by definition dom, and the symbolic connection be- that the composer is constantly after, a Christian concept. In the case of tween his sexual expenditure and the inmost significantly in the Ring, Tristan, Parsijal, the immediate mythological an- fertility of the land is obvious. We also

MARCH 1965 85

www.americanradiohistory.com have the pre -Christian (frail symbol. the As for Parsifal. his innocence leads us only if one has no understanding of the he is chalice or cup %% herein the essence of astray. for the key to this figure is his things talking about (by "under- spiritual life is contained and which is understanding. or compassion. That is. standing" I do not mean simply a knowl hidden on a sacred mount from the im- he knowingly rejects Kundry -he is open edge of German). If Gurnemanz were pure. (It was not until relatively late in to her spell. to the recollected delights of listed in the program as Leader of the the Christian era that this was identified his mother's love. but he is open also to Chorus. one would not he bothered at with the bowl from the Last Supper which the sufferings of Amfortas. and the turn- all. for one doesn't expect "action" from Joseph of Arimathaea is supposed to ing point of the drama comes when (at a chorus-one expects narrative. expla- have held at the side of Christ.) " Amfortas! Die Wunder' ") he connects nation. comment, and this is what Gurne- Parsifal himself makes an entrance these two things. Remember that in Act manz provides. But because Wagner has long before the Arthurian legends in I he observes the entire Grail ceremony gone to the trouble of making a human which he plays an important part. The and the outcries of Amfortas without being of him and has put him to non - name has two fascinating etymological comprehension. only with a feeling of choral uses. people ask "Why is this derivations. One. from Gaelic (Peredur awe and sympathy. Now. in Act II. the fellow just standing there narrating for or Pergedur), means "seeker after the sudden stab of pain brings him to the fifteen minutes on end ?" (Granted. the basin ": the other. from the Arabic knowledge that Klingsor's world of illu- performers who can comprehend and (Parsch -Fal means "innocent fool." In sion and the allurements of Kundry (who vitalize Gurnemanz are few and far be- Wagner. of course. he becomes both. to him represents. above all. a return to tween.) though in the opera as in the various /lerzeleide) will doom him. too. Because I suspect that Philips' new recording forms of the legend his essential func- he rejects this. the spear cannot touch may win some converts to the work. If tion is the cure of Amfortas. (In the him, the illusion disappears. and Parsifal it does. the credit must go chiefly to legends, he effects this by means of a sets forth on years of wandering in Hans Knappertsbusch. whose interpreta- question which could he asked of Am- search of his own path to salvation. tion of the score. through the media of fortas only by a "fool " -"What ails (Many years pass between Act 11 and the magnificent Bayreuth orchestra and thee ?" But Wagner has introduced the Act Ill. when Parsifal returns as a chorus. is a profound experience: to the means of curing through touching the knight to the domain of the Grail.) He obvious intelligence and sincerity of the bleeding spear of Longinus to the wound, cannot comprehend the world of Mon - singers: and not least to the Philips engi- a brilliant dramatic solution.) salvat without an understanding of the neers. who have made this far and away Gurnemanz is an offspring of the magic garden. and vice versa. One could the most satisfying "live" recording I legendary hermit who shelters Parsifal formulate it this way: Parsifal, who has have heard. True. the 1951 Bayreuth (and still does. vestigially. in the Good seen suffering. rejects illusion. especially set (also under Knappertsbusch) is a Friday scene of the opera and in his the illusion of a return to mother -love, splendid achievement in its own right. defense of Parsifal to the esquires) and and sets off in search of the way to a and I do not suggest that anyone give who, in Chrétien de Troyes' and Wolfram full realization of himself. He is thus his copy to the Salvation Army. logical von Eschenhach's accounts. also acts as not doomed to ceaseless repetition. as as the gesture might he. In fact. one a tutor in knightly virtues (which paral- are Amfortas and Kundry, and when, could make a good case for the vocal lels his function in Act I of Wagner). after much time and many difficulties, superiority of the old set. at least in cer- Wagner's treatment of these figures, he returns to the domain of the Grail, tain roles: one would still he left with his dramatically apposite amalgamation it is with full understanding and com- the wonderful sound of the new one. so and humanization of them. and his use passion. But this would be psychoanalyti- rich and warm and clear. and this is of them in a ritual -drama which is cally derived. and I'm not out to pick of tremendous importance for this work. Christian in the profoundest sense but fights. Pages could be written on Knapperts- not in any dogmatic sense is the work To discuss the music of Parsifal as if busch. for he makes every bar into a of genuine genius. But the most incredi- it were separate from these and other revelation of beauty and meaning. every ble of all his achievements in Parsifal meanings of the drama. or from Wag- phrase into a long, even breath. As al- is in the character of Kundry. She is ner's mature concepts of the forms and ways with this conductor, the tempos essentially the embodiment of two fe- functions of drama. is impossible. One lean towards slowness. though not as male figures found in the legends -that may be led by the beauties of the music much as I had expected -I have surely of the wild Grail -messenger and that of into an investigation of the drama. but heard slower preludes. for instance. But the sorceress or temptress. Orgeluse. It one cannot fully understand and love nothing seems slow. for the movement. was the idea of combining these two the score without having made such an the direction are never in doubt. And characters into one anguished soul that investigation. To the true Parsifal -ite (I the sheer sound! The strings are soft gave Wagner the final key he needed am one) it is not a long opera at all, and beautiful, the woodwinds round and for the construction of Parsifal (see his nor a static one, nor an unvaried one. firm. the brass warm and plump -listen letter to Mathilde Wesendonck of May Gurnemanz's narratives are "undramatic" to the first statement of the Faith Mo- 30, 1859). He also uses her in her guise tive (p. 8 of the Peters vocal score) and as Herodias. though in the opera it is you will fall in love again with the Christ himself at whom she laughed and sounds of orchestral choirs. Yet nothing not at the severed head of John the is overrich or simply colorful. There is Baptist. In his invocation at the opening a luminous. cantabile quality about the of Act I1, Klingsor summons up most of whole reading. as if the score were one the incarnations under which Kundry long enchanted song. And there is the may be found: "Dein Meister ruft dich melding of sound. the elements at once Namenlose: Ur- Teufelin' Höllen- Rose! distinguishable yet united, that seems Herodias warst du. and was noch ? / possible only to great Germanic conduc- Gundryggia dort. Kundry hier:/ Hieher! tors leading great Germanic orchestras. you have any doubts, play the Act . . . ." Nameless. she -devil. rose of If Hades. Herodias. and Gundryggia, the Ill transformation music or the Good horsewoman of the Grail. And out of Friday Spell -if you can resist the shat- these embodiments Wagner has created tering weight of the combined trombones, a woman who incorporates nearly every gongs, and timpani in the former or the conceivable female duality, the tortured shining, soaring violins of the latter, Kundry who seeks only salvation in you're in trouble. death, but who is sentenced forever to Within this frame of great conducting, repeat the sin that has condemned her. playing. and choral singing, almost any She and Amfortas, between them, repre- competent cast would realize the essen- sent guilt through betrayal. She seeks tials of the work. Fortunately, we have expiation through service. He yearns to a first -rate group of artists who are able be made whole again. Both long for on page 1 i6 death. Hans Knappertsbusch Continued

FIDELITY MAGAZINE 86 HIGH

www.americanradiohistory.com by R. D. Darrell

Stokowski's Scheherazade Frone All of Phase 4's Twenty Channels Stokowski and men of the London Symphony.

MesTRO Stokowski and Phase-4-the phy, and this Scheherazade is its latest phere of the Ansermet and Beecham combination surely must have been pre- challenging embodiment. (Angel) interpretations, others may def- destined. It comes at the right time, too: While it's an oversimplification to initely prefer the present more emo- the recent invasion of the symphonic assume that multi -miking is essential to tional and "exotic" approach. Certainly repertory by Decca /London's special the "romantic" approach to recording, or it is Stokowski who comes closest to multichannel technology has been sadly that the use of a single microphone only meeting the ideal of the Scheherazade handicapped. musically at least. by the (or of course one per stereo channel) is conductor as once sketched by Philip lack of a top -rank conductor. It's also demanded in the "classical" approach, Hale: "A rhapsodist with admiration for high time that Stokowski should be these contrasting methods do effectively the wild fancy, the humor now gro- making audio headlines again after his represent the philosophical differences. tesque, now cruel. now Rabelaisian, for relative inactivity, phonographically, of There have been many examples in the the sensuousness that is at times sensuali- the last couple of years -inactivity high- past of recordings of the same work ty . with appreciation for the imag- ly uncharacteristic of a man who led demonstrating the rival approaches, but ination that peopled the air with slaves the very first electrical recordings of an I doubt that any previous pair provides of King Solomon's ring, hideous afreets orchestra nearly forty years ago. who such striking and consistently fascinating and space-annihilating genii... . conducted the first public demonstrations contrast as does the combination of Where the sound itself is concerned, of stereophonic sound (live in 1933, via London's new Scheherazade and the I must emphasize immediately that the film sound tracks in 1940), and who same company's famous Ansermet ver- Phase -4 technology is handled with no made a number of exceptionally impression (CS 6212) of 1961. less skill than in the earlier pops spec- sive contributions to the earliest stereo Interpretatively, the present Stokowski taculars and always within the bounds disc repertory. With such a master ma- release is not likely to provide any sur- of good symphonic taste. There are, of gician leading one of the best British prises to listeners who remember any of course. some special engineering novel- orchestras, and with Phase -4 engineering his earlier recorded performances, which ties: the use of one group of bassoons virtuosos presiding over a fabulous 20- include (after an acoustical -era coupling to sit with the cellos for part -doubling channel console mixer, the resulting of two heavily cut movements only) the purposes only while another group in sonic analysis and final synthesis of so first electrical recording of Scheherazade. normal location among the other wood- dazzling a display score as Rimsky- Victor M -23 of January 1928; a 1935 winds handles the more independent bas- Korsakov's Scheherazade could hardly re- recording. also with the Philadelphia soon passages . . . the presumably fail to achieve its express goal -a new Orchestra. M -269: and a 1953 mono LP. electronic repositioning of the ironic "landmark" in the recording art. RCA Victor LM 1732. recorded in Lon- muted trumpet which now echoes antiph It is indeed that. But the questidn of don's Kingsway Hall with the Philhar- onally the brazen trombone fanfare - whether or not the "landmark" repre- monic Orchestra. Stokowski's readings of call in the second movement (rather sents true progress is likely to be the this music never have been particularly than coming, as it normally does, from subject of hot controversy. Generally sensationalized. nor is this one. although almost the same brass -choir location). speaking, record listeners can be divided its tense grip and galvanic drive in the But for the most part these make very into two camps: those -- for whom the livelier sections give it perhaps even good musical as well as sonic sense. most accurate possible facsimile of actual more dramatic impact than before. But For that matter. so do some of the concert hall sound is the only aesthetical- in the slower parts his tendency always conductor's own touchings -up of Rim- ly valid aim of recorded music; and those has been to overstress the sensuous sky's score -such as the added cymbal who hold that the highest virtue of languor of the music. and he does so, roll in one spot (page 38 of the Eulen- recording is its potentiality for conveying more lushly than ever. here. Thus. it is berg miniature score) near the end of maximal sonic effects -what the com- undoubtedly the conductor who is re- the first movement and the added gong poser. freed from the restrictions im- sponsible for what may strike some strokes on pages 189 -90 of the last posed by a given number of players in a listeners as the oversuavity of Erich movement. I'm more dubious about what given acoustic environment, would Gruenberg's violin solos. or the massed sounds like a harp- doubling of the ideally have wanted. These antithetical violins' mannered phrasing and exces- clarinet runs near the beginning of the points of view might be called the sively juicy tonal qualities in the Young third movement (pp. 108 -09); and I "classical" or "realistic" vs. "romantic" Prince and Young Princess (third - can't see any real justification for what or "ideal" outlook. Stokowski often has movement) melody. Yet if some of us sounds to me unmistakably like a been a spokesman for the latter philoso- miss the more semplice fairy -tale atmos- xylophone italicizing the rhythm of the

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www.americanradiohistory.com woodwinds and violas on pp. 90-91 of the second movement. Elsewhere, it's a guess that the tamburo (i.e., drum) part in the third movement, beginning on p. 117, is played here by a side- rather by Alan Rich than the usual snare -drum. But what accounts for the singular "flapping" sounds on pp. 192 -93 of the last movement? The effect is unnecessarily discon- certing, indeed rather ugly. But except in this particular instance, neither the Stokowskian nor the engineer's idiosyncrasies are objectionable (I'm not sure they would be even noticeable without the printed score). More important -and truly admirable - is the superlucidity, the microscopic clarity with which practically every, even Carmina Burana (But Not by Orff) the most minor, detail of the scoring is captured and reproduced. The results can't be described as "spotlighting" in IN rHE Middle Ages traveling students is a purely twentieth-century production. the usual pejorative sense, for great attached to minor religious orders and All this is really a preamble to wel- pains obviously have been taken to pre- known as Goliards were the authors of coming the appearance of a perfectly deserve proper balances and proportions. poems which they set to music of their lightful collection of medieval songs, Yet the over -all effect is indeed one of own composition. These works-their worked out for performance -with an spotlighting -of everything's being ex- subjects ranged from praises of the imagination that closely approaches posed in incandescent illumination, as Virgin through paeans to wine and genius -by a young American scholar, if one were listening with almost abnor- wenching -were collected in many man- Thomas Binkley. Beyond the actual mal acuteness from right in the center of uscripts, of which today by far the best translation of the notes in the manu- the orchestra. And of course these over - known is the Carmina Burana (Songs of script, Binkley has provided a rhythmic lifesize sounds. while by no means dry Beuron), so- called because it was found shape for these songs and a disposition or entirely lacking in reverberation, are at the Benediktbeurn Monastery near of voices and instruments which -what- most definitely lacking in any normal airy Munich. The manuscript is now in the ever its actual authenticity -certainly ambience. Bayerische Staatsbibliothek in Munich, has the ring of truth. As such, his work Exciting? Most certainly! Natural? Of where scholars are still at work de- resembles that done by Noah Greenberg course not. but what matter! Satisfactory ciphering it. With the present Telefunken and Rembert Weakland on The Play of in the long run? Well, we go back to that release twenty of these songs have at Daniel. That too was a work by high - basic difference in listening tastes. For last made their appearance on records. spirited medieval students; the modern myself, a claimant to at least some de- The problem in leaching out the music Daniel and the Binkley Carmina Burana gree of philosophical impartiality, I ex- from the manuscript has to do with the capture beautifully a feeling of youthful pect to lind the Stokowski /Phase -4 musical shorthand used by the com- inventive exuberance. Scheherazade a permanent source of posers, a complex set of symbols appear- The songs themselves are, for the fascination. But I am also sure that it ing over the words, without staff lines most part, extremely simple and stanzaic. never will delight and satisfy me in the to orient the actual pitches. When a song The forms are not so complex as the way the Ansermet version does so richly. can be worked out, it is only because involved poetry- oriented settings by the At the time that recording appeared, I another version of the same work has French trouvères, and some have even hailed it as the most authentic home -re- been found, more completely notated, in simpler, repeated -word refrains. Melodi- production of true concert hall sound I other manuscripts. Even then, modern cally. they are extremely unsophisticated, had ever heard. That judgment, rein- transcribers must use their imaginations limited in range and mostly scalar. What forced by several years of frequent as to rhythmic interpretation and in- gives them most of their shape is the replaying and the more recent direct strumentation, relying more on infer- poetry, in medieval Latin and German, comparisons with the new Stokowski ences from other sources (e.g., paintings, and the rhythmic interpretation by Bink- version, still stands. descriptions by contemporary observers, ley quite wisely follows word rhythms. Close study of the Stokowski and etc.) than on anything buried in the Since most of the poetry is little more Ansermet (Beecham too. if possible) original pages. than doggerel, the rhythms become in Scheherazades provides some of the most The reason for the present -day fame this way quite catchy and dancelike, and illuminating listening experiences I know. of the Beurn manuscript is, of course, the effect is enhanced by the totally But for anyone in a hurry, I suggest the existence of the work by Carl Orff charming deployment of the accompany- listening to the final four bars of the also called Carmina Burana. (It is in- ing instruments (percussion, lute, fidel, third movement, first in the Stokowski, teresting and significant, by the way, that rebec, and several winds). then in the Ansermet version. In either in the copious notes accompanying the The performances are perfectly lovely. case, any competent music student proba- Telefunken album Orff's name does not Binkley himself is the lutanist and per- bly could notate every detail called for appear.) Orff set some twenty -four of cussionist, and several of the other per- in the printed score. including the deli- the poems, and his music certainly at- formers are Americans. The singers are cate percussive interplay of timpani, tri- tempts to re- create some impression of well trained, and their work makes one angle, tambourine, tambour, and cym- the kind of melodic line typical of the aware of what "devotion" really means. bals. But where each instrument is period. He does not. however, seem to A few of the songs use boys' voices, individually profiled in sharp -focus close - have used any of the actual music in singly or in groups, and the effect is not ups by Stokowski. they are blended more the Beurn Ms; at least the one poem on unlike the distant piping of shepherds. distantly in floating airiness by Ansermet. the record that also apears in his score Blessings galore on everyone involved! In audio, as in heaven, there are many (Chramer gip din rarne mier) is in no mansions. Take your choice! way related melodically. What Orff does ANON: Carmina Burana (20) to convey a medieval quality is to rely RIMSKY -KORSAKOV: Schehera- a great deal on the kind of percussive Andrea von Ramm, mezzo; Grayston zade, op. 35 accompaniment to the vocal line that Burgess, countertenor; Willard Cobb. the Goliards undoubtedly employed. tenor; Karlheinz Klein, baritone; Kurt Erich Gruenberg, violin; London Sym- Then too Orff follows the pattern of Rith, baritone; Münchener Marienknab- phony Orchestra, Leopold Stokowski, these songs in employing a simple, en; Ensemble of Ancient Instruments. cond. stanzaic form with exact repetitions TELEFUNKEN AWT 9455 -A. LP. $5.98. LONDON PM 55002. LP. $4.98. many times over of short (two- or four- TELEFUNKEN SAWT 9455 -A. SD. LONDON SPC 21005. SD. $5.98. line) verses. Otherwise, Orff's music $5.98.

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www.americanradiohistory.com too slowly nowadays. but his tempos do German text of the Cantata is given. It not differ greatly from the usual ones is to be hoped that in future releases of except in the finale of No. 3. where be- this sort Telefunken will bear in mind cause of the speed he misses the grace the needs of English -speaking listeners of the music. and the first movement who don't read German, and will provide of No. 6. In the Andante of No. 4 he bands between movements when there is Classical applies some mild dotting to the slurred room for them, as there is here. N.B. eighth notes. but everywhere else he follows the score faithfully. Except in one important respect: most of the time BACH: Sonatas for Flute he ignores the dynamic contrasts that Bach supplied this time: there is, for For Unaccompanied Flute, in A minor, example. no trace of the pianissimo pre- S. 1013. For Flute and Harpsichord: in scribed in No. 5. Otherwise the perform- ANON.: Carmina Burana (20) B minor, S. 1030; in E flat, S. 1031; in ances are quite acceptable. and in some A. S. 1032: in G minor, S. 1020; for places achieve eloquence. The principal Flute in C, S. /033; in E Soloists; Münchener Marienknaben; En- and Continuo: interest of this set. however. resides in minor, S. 1034; in E, S. 1035. semble of Ancient Instruments. the authenticity of its sound. N.B. Karl Bobzien, flute: Margarete Scharitzer, For a feature review of this recording, harpsichord: Sebastian Ladwig, viol; Emil see page 88. BACH: Cantata No. 208, Was mir Buchner. viol (in S. 1033). behagt ARCHR I ARC 3225 26. Two LP. $5.98 each. Concertos, S. BACH: Brandenburg Erna Spoorenberg. soprano: Irmgard ARCHIVE ARC 73225 26. Two SD. 1046 -1051 Jacoheit. soprano; Tom Brand. tenor: $5.98 each. Jacques Villisech, bass: Monteverdi Concentus Musicus (Vienna). Nikolaus Choir (Hamburg): Amsterdam Chamber All the flute sonatas written by Bach Harnoncourt. cond. Orchestra. André Rieu. cond. and several attributed to him are in- TELEFUNKEN AWT 9459 60. Two I.P. TELEFUNKEN AWT 9427C. LP. $4.98. cluded on these discs. The four whose $5.98 each. TELEFUNKEN SAWT 9-127B. SI). authenticity has not been questioned TELEFUNKEN SAWT 9459 60 -A. $5.98. (S. 1030, 1032, 1034, 1035) are based Two SD. $5.98 each. on attractive materials worked out with is a welcome to This cantata newcomer delicacy. and at least one of the doubt - The Bra,lenhures have certainly not the domestic catalogues. Written in 1716 ful sonatas (S. 1020) is very agreeable been neglected on records. There are for a hunting festival in celebration of work no matter who wrote it. nineteen complete versions listed in Sach- the birthday of Duke Christian of Karl Bobzien -presumably a German Schwann, and a number of others - sen-Weissenfels, it is Bach in a delightful. (the recording sessions took place in some of them excellent -have been re- lighthearted mood. The lovely aria Nuremberg)- differs from most of his corded on LP and later deleted from as usually known to us "Sheep nia European colleagues by playing a gold the catalogue. They have been done by is by no means the only safely graze" flute made in America. He produces a large ensembles and by small ones. by charming number here. The two choruses pleasant but tone, and his playing groups approximating the original in- cool are of a Handelian transparency and di- too is rather impersonal. Technically, it strumentation. The latter have used vio- movements. such as rectness. and some is admirable: he can roll off a long un- lino piccolo in No. 1. recorders in Nos. the soprano aria "Weil (lie wollenreirhen broken chain of fast sixteenths in one 2 and 4. and gambas in No. 6. but Herden." approach folk music in their breath. without the modern instruments for the rest. The gasping at end. and simple, pastoral melodiousness. As al- he is always accurate and in tune. Most present ensemble scorns such half - ways. whatever the occasion. Bach is the the is measures. In addition to violino piccolo, of time. however. playing the careful and inventive craftsman. merely businesslike. as etc.. it employs natural hunting horns. and occasionally. Everything is finely worked out. horns in the Andante of S. 1034. it becomes a small coiled natural trumpet. either scamper about in a hunting aria. a fine original baroque woodwinds or recon- pedestrian. The recording is well bal- piece for bass is accompanied by double anced. with even better character and structions of them. a violone instead of reeds only. and the pale glint of recorders definition in stereo than in mono. I think a double bass: the stringed instruments shines on the grazing sheep. that despite a slight inferiority in quality all have bridges. fingerboards, etc., of The singing too is simple and direct. the and are with of sound. there is more musical pleasure old proportions played Erna Spoorenberg is especially pleasing. baroque bows. Finally. all instruments to he derived from the old Wummer in an unsophisticated way. and Jacques Valenti recording of these works on are tuned about a half tone lower than Villisech handles his arias satisfactorily. states in Westminster. N.B. modern pitch. Harnoncourt So does Torn Brand. despite a rather his notes that no tricks were employed thin voice. The voice of Irmgard Jacoheit. in the was dis- recording. The orchestra who is entrusted with "Sheep may safely posed in the normal way in the baroque graze." is a little unsteady and pale on BACH. C. P. E.: Sonatas for Flute the in hall of Schönburg Palace Vienna, top. The sound is excellent. The notes are and Harpsichord two microphones were set up. and that in German and English, but only the layout was not changed. No. 1. in B flat: No. 2, in D: No. 3. in One improvement here over many G: rVo. 4. in D; No. 5, in B flat: No. 6. other recorded versions is that the bal- in G. ance between instruments is almost perfect. In No. 2, trumpet. recorder, oboe, Jean- Pierre Rampal, flute; Robert Vey - and violin have practically equal weight; ron- Lacroix. harpsichord. none of them covers the others. Similarly NONESUCH H 1034. LP. $2.50. in No. 5, where flute. violin. and harpsi- NONESUCH H 71034. SD. $2.50. chord are equal partners. The violino piccolo. well played. sounds frail but Carl Philipp Emanuel made no bones of pleasant and not squeaky; the trumpet the fact that the works he wrote on too is skillfully handled. except for a order were of an altogether tamer sort couple of uncertain trills; the horns are than those dictated purely by his own a bit distant. muffled. and not very fancy. There is little in these flute sona- steady. In general the playing is clean tas that would have jarred the comfort- and singing, the sound warm and lifelike. able evening assemblies at which Fred- Harnoncourt believes Bach is played erick was star performer. but at the same

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www.americanradiohistory.com movement. which here sounds a bit school are operative. Instead. under Rich- dogged and joyless. Still, Szell scores ard Bonynge's leadership, Norma is put over the recent fine (and similarly Tos- back into a true stylistic perspective. and caninian) Steinberg version by virtue of we are given a reading that may well be a certain positive. articulate, and incisive close in flavor to what Bellini heard in vehemence missing in the Pittsburgh con- 1831. ductor's reading. I also find Epic's sound In this performance the orchestral preferable to Command's: there is less fabric is consistently light, the dramatic distortion and a more centralized en- accents carefully considered yet under- semble tone. stated. Compared with Serafin's on the In sum. Szell has surpassed Toscanini 1960 Angel recording, Bonynge's inter- in one Beethoven symphony recording. pretation may at first seem overly small - and come within a hairsbreadth of scaled and even anemic. All heroics. equaling him in another -a pretty good sharply etched contrasts, and dramatic average! For stereo collectors, this rec- emphases are purposely avoided, while ord is not to be missed. H.G. Bonynge molds a quiet but expressively pliant accompaniment for his singers. I find a good deal to be said for this ap- BEETHOVEN: Symphony No. 6, in proach. The vocally conceived instru- Sutherland: Norma sung tenderly. F, Op. 68 ( "Pastoral ") mental lines breathe naturally under his 1Haydn: Symphony No. 100, in G hands. and the extended orchestral passages in the opera are made especially time the works prompt us to respect the ( "Military ") enjoyable. Although this is not executant achievements of the King a Norma - for everyone's tastes even though rumor kath it that his London Symphony Orchestra. Antal -especially for those who relish the tension and grandeur that rhythm was not of the best. Several of Dorati. cond. Serafin commands the fast movements are nothing short of MERCURY MG 50415. LP. $4.98. -it offers musical re- wards a very acrobatic, and the expansive melodic MERCURY SR 90415. SD. $5.98. of high order. slow movements must have brought Certainly Bonynge's conception of the forth the best he had to offer in sus- Although Dorati gives an unhurried per- opera provides a perfect framework for tained and even tone production. They formance of the Beethoven. complete Joan Sutherland's talents in the title role. surely bring forth the best Rampal has with a double exposition in the first That her performance is conceived pri- to offer. which is. of course, superb. movement and the repeat in the Scherzo, marily in vocal rather than dramatic Although the continuo part is properly Mercury's tight grooving finds room for terms will come as a surprise to no one. modest (confined to picking up tag ends a reissue of his earlier performance of Whatever the misgivings were that of the flute phrases and occasionally the Military. which now becomes avail- prompted the postponement of her New joining in a bit of imitation), much is able in stereo for the first time. York appearances as Norma, they could added by Veyron -Lacroix's sensitive reg- Bargain hunters may well delight that scarcely have been dictated by vocal in- istration. Sound is clear, warm. and well the disc is so full. and with reason. security. She sings the role as no other balanced. S.F. These are clean -cut, no- nonsense per- soprano could today: passage after pas- formances which remain cool and crisp sage is phrased with melting beauty and throughout. Dorati is interested in tight shaped with a gracious and meaningful BEETHOVEN: Symphonies: No. 1, in structure rather than sentiment (his musical line. Only two moments gave me C. Op. 21; No. 2, in D, Op. 36 Pastoral can he taken as the opposite discomfort: the repeated scooping on pole from Bruno Walter's) with even syncopated Bs in an otherwise superbly Cleveland Orchestra, George Szell, cond. meters and a general sense of balance done " Casta Diva." and a gratuitous E EPIC LC 3892. LP. $4.98. and control. Color is applied with re- flat interpolated at the conclusion of her EPIC BC 1292. SD. $5.98. straint. and dynamics. especially in the duet with Pollione -a curious lapse in Beethoven, are somewhat reserved. In taste. especially since elsewhere she is SzeII's account of No. 2 has a taut pro- music such as this. which is so frequently so careful to omit more traditionally pulsion. a magnificent rhythmic poise, overdramatized. these qualities can be sanctioned but superfluous high notes. and a tonal sheen which always promises taken as a mark of taste. But it must Dramatically, Sutherland is most suc- to burst into glowing song. One would nonetheless be noted that Dorati's pacing cessful in Norma's tenderer moments - have to go back to Toscanini on one of of the Haydn is just a little too fast the "Oh, rimembran :d' duet with Adal- his best days for a performance so abso- to communicate all the content of this gisa, where Norma recalls her past hap- lutely right in every respect (and SzeII's score. while his classicism and discipline piness with Pollione. is particularly mov- is far superior to the one that the Maes- in the Pastoral cannot rival the older, ing -and she is properly grand and ma- tro actually did record for RCA Victor but more imaginative and flexible ap- jestic in her official capacity as the in 1949 -51 ). Furthermore. we are given proach of Toscanini. R.C.M. Druid high priestess. The wrath of a gorgeous, lean. realistic recorded sound woman scorned is, alas. not captured at from Epic, and orchestral playing that all, and it is here that comparisons with is exemplary even by the Clevelander's BELLINI: Norma Callas cannot be avoided. own astral standards. Despite the availa- When Callas recorded the opera in bility of other fine versions of this work Joan Sutherland (s), Norma; Marilyn 1960, she was possibly in the worst vocal -Ferencsik. Scherchen (mono only), Horne (ms), Adalgisa: Yvonne Minton estate of her entire career, and much of Steinberg, Leibowitz, and Beecham, for (ms), Clotilda; John Alexander (t). Pol - her singing is painfully strained. Still, example -Szell has hit dead center with lione; Joseph Ward (t ). Flavio: Richard Callas is a fascinating artist and her this one. Cross (bs), Oroveso: London Symphony many -faceted characterization of Norma I suppose it is too much to expect Chorus and Orchestra. Richard Bonynge, is one of today's great operatic experi- that any living conductor could perform cond. ences. The hair -raising ferocity with the same miracle two times running. RCA VICTOR LM 6166. LP. $14.94. which Callas delivers such lines as "No, Sze11's No. I is not quite in the same RCA VICTOR LSC 6166. SD. $17.94. Iron tremare" is simply beyond Suther- class with his Second. In its impeccably land's capabilities and temperament. In tailored discipline, its kinetic phrasing, The first thing to be noted about RCA addition. Callas scores with her sharper its choice of tempos, and its general or- Victor's new recording of Norma is that rhythmic sense and superb diction. It is chestral philosophy, the reading is very it presents a view of the opera quite dif- Sutherland, however, who bests Callas much in the Toscanini -NBC tradition. ferent from that to which we are accus- during at least one important exchange: Every ingredient of a Toscanini perform- tomed. Here neither the sumptuousness in the final scene, as Pollione sees Norma ance is present, save one -the laughter. of the Wagnerian orchestra nor the dra- advancing upon him with drawn knife, This lack is especially felt in the first matic tensions of the Italian verismo he exclaims, "Whom do I see? Norma!"

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www.americanradiohistory.com to which she replies with heartbreaking orthodox harpsichord -an unusual and removing the effect of dark brown sadness. "Yes, Norma." Here Callas is not unpleasing effect. Here. as in the treacle from the writing. In this new ver- still the tigress; Sutherland reveals the other pieces on the disc, all performers sion his rhythms are clipped and abso- woman of nobility and tragic resigna- are mirrored in a rather close -in record- lutely unambiguous. Furthermore, he tion. The moment is a very moving one. ing that plants them squarely in the consistently stresses the brighter instru- In their own separate ways the two per- living room. ments of the orchestra (i.e., high wood- formances are equally spellbinding and On the whole this recording adds winds, harp, plucked strings), and en- equally valid: Callas in the twentieth - up to an attractive harp collection. But livens the somber sections by permitting century tradition of dramatic truth. and it must be added that Grandjany plays the brass and timpani to sound very Sutherland in the nineteenth -century tra- the Debussy with greater suavity on a prominent in the balance. His entire dition of vocal perfection. For those who Capitol Paperback disc and that Zabaleta rendition is so unorthodox in its handling love this opera, both are indispensable. finds considerably more of interest in of detail. in fact. that a movement by Of the other singers Marilyn Horne. the Boieldieu in his DGG set. R.C.M. movement synopsis is in order. as Adalgisa, is wholly admirable. Al- The opening section begins very softly though her extremely high- ranging voice and gradually swells into audibility. The allows her to sing soprano roles. Miss BRAHMS: Ein deutsches Requiem, bright and rather distant sound lets de- Horne possesses a true mezzo quality of tails gently, but Op. 45; Variations on a Theme of fall unmistakably, on the the Stignani- Barbieri school full. rich -a Haydn, Op. 56a ear. Karajan's tempo is moderately brisk voice with a burnished metallic luster, and very intense. with a fine sense of completely even throughout the course Gundula Janowitz, soprano; Eberhard dolce intimacy. The harp is especially of her range. She matches Sutherland Wächter, baritone; Wiener Singverein; attractive. and so are the exquisitely their note for note during their duets and Berlin Philharmonic Orchestra, Herbert molded woodwind lines. voices blend most beautifully. Fine an von Karajan. cond. Karajan turns the second section into artist as Ludwig is on the Angel a Christa DEUTSCHE GRAMMOPHON LPM 18928/ processional by making the phrases set, she seemed at- never particularly 29. Two LP. $11.96. sound very clipped. and by letting the tuned to the Bellini idiom. Miss Horne DEUTSCHE GRAMMOPHON SLPM timpani rhythm punctuate with striking is. eagerly awaits more clearly and one 138928 '29. Two SD. $11.96. clarity. The syncopated woodwind of her work. emerges with telling effect in the trio Alexander as Pollione and Rich- John Karajan made the first complete record- section. Although Toscanini (in his 1943 ard Cross as Oroveso complete the cast ing of the Brahms German Requiem for broadcast performance. of which I have (which is. incidentally. identical to the heard English Columbia in the late 1940s, and transcriptions) took this movement one that appeared with Sutherland during at that reading demonstrated what was alan altogether slower pace and created her only stage appearances in the role. at a black, dirgelike effect any ready a good basic conception. Over the unlike other Vancouver in 1963). Mr. Alexander is a years. however, he has radically altered performance I have ever heard. Karajan's far more ingratiating Pollione than most his approach, and in my opinion per- comes closer to that strikingly individu- tenors who have assayed this role in fected it. alistic reading than any others known to recent times, and his attractive voice and For one thing, the conductor is now me. I am reasonably sure that had Tos- sensitive musical presence are always far more interested than in the past in canini himself returned to the German welcome. Although somewhat woolly of Requiem in his later years (he was voice. Mr. Cross presents an authorita- originally supposed to close his 1953 -54 tive Oroveso. and he makes his two solo season with the work) it would have scenes with chorus tell impressively. sounded very much the way Karajan's Norma is hardly ever cut to any con- does: since the speeding -up process oc- siderable extent in modern performances. curred in the Beethoven Misca Solemnis but Mr. Bonynge has made several small NEXT MONTH IN and Verdi Requiem, why not in the restorations: the repetitions to Pollione's Brahms work too? cabaletta and Norma's "Ah! Bello a me At the beginning of the third section ritorno" are taken, and the trio conclud- Wächter is far forward in relation to the ing the first act is heard in a slightly high fidelity orchestra. but the recording's resonant extended version. RCA's sound is gen- acoustics make his firmly centered. erally excellent, and there is some modest kinetic baritone sound less tight and but effective use of stereo staging. pugnacious than it has on other oc- PETER G. DAVIS The Honorable Tradition casions. The tempo moves ahead with square -cut angles and brightly focused Of Englishmen rhythm. The conductor produces a stirring effect of whispered mysteriousness BOIELDIEU: Concerto for Harp and For profusion and variety of music making, Orchestra, in C occasionally shattered by violent. explo- tHandel: Concerto for Harp and Or- London is unrivaled. sive passionate outbursts. Karajan scores chestra, in B flat by taking the finale at a slower than (Debussy: Danse sacrée: Danse pro- by H. C. Robbins Landon customary pace: this, again. is reminiscent of Toscanini's way with the music. fane with photos by Hans Wild The fourth section is. to my mind. the Marie -Claire Jarret. harp: Paul Kuentz high spot of Karajan's performance. Here he sounds exactly like Toscanini. ( Both Chamber Orchestra (Paris), Paul Kuentz, The City of Five Orchestras cond. conductors adopt a slow pacing which allows for all of the swaggering synco- Vox PL 12730. LP. $4.98. A look at London's five full -time Vox STPL 512730. SD. $4.98. pations and canonical entrances to symphony orchestras. emerge clearly.) Some of the plucked strings at the beginning are slighted by While Mlle. Jamet is a good harpist, by Edward Greenfield the microphone placement, but not by straightforward and accurate. she lacks Karajan. a distinct artistic profile of her own. Gundula Janowitz's flutelike soprano The same might be said of the orches- The British Audio Establishment cuts through the echt woodwinds with tral playing. striking purity and beauty. Karajan's in- The Handel is a harp version (or, terpretation is again in A traveler's report. like Toscanini's some claim, the harp original) of the its very lean intensity and spare animato work best known as the Op. 4, No. 6 by Norman Eisenberg tempo. Mengelberg's account. with Jo Concerto for Organ and Orchestra. In Vincent's luscious soprano as an ideal this performance the work sounds as if instrument, was equally intense and dedi- it were being played on a rather un- cated, though altogether dissimilar in its

MARCH 1965 91

www.americanradiohistory.com creamy repose and real adagio feeling. BRUCKNER: glass No. 2, in E Next to these three performances, those minor; Ave Maria; Locus iste of other conductors sound ordinary, flabby, or just plain sentimental. Vienna Kammerchor: Vienna State THE SOUND At the beginning of the sixth move- Opera Orchestra. Hans Gillesberger, OF GENIUS ment, Wächter appears to be having a cond. bit of difficulty vocally. The high notes LYRICHORD LL 136. I.P. $4.98. make him strain .Ind his voice loses at- LYRICHORD Ll_ST 7136. SD. $5.95. tractiveness. (This music really calls for Eugene Ormandy Conducts The Philadelphia Orche .tra the timbre of. say. Jerome Hines, who Bruckner's E minor Mass is certainly is unfortunately wasted on the undis- the most "religious" of the three he tinguished Ormandy presentation for Co- wrote: solemn, soft -spoken for the most u .s lumbia.) Karajan's incisive conducting part, built largely out of slow- moving propels the fugal passages ahead with and blocky sonorities. The orchestra con- magnificent force. and the forward tim- sists merely of winds and brass. and the pani and slightly dry brass attacks help scoring is largely organlike. The instru- immeasurably in making this movement ments double the choral parts much of the climax it should be. One really hears the time. giving the work added austerity. ML 6024/MS 6624' the triplets in the iremo /undo string fig- There are no solo vocal parts. One urations, and the steady tempo for the thinks at times of Parsifal. which is very final part of the movement is completely much to Bruckner's credit. _ BARTOK: CONCERTO FOR ORCHESTRA successful. Once again. Karajan has come This is the only available recording THE PHILADELPHIA ORCHESTRA closer to the reading Toscanini gave us at the moment. although some larger EUGENE ORMANDY conducting than has anyone else. shops may still have the superb Elec- A firm, resolute delivery of the final trola -Odeon disc under Karl Förster portion of the score concludes the (80010, mono only) which also includes Requiem on a note of confidence and a blazing performance of the Te Deum, devotion. The choral work here, as certainly a work of more consequence throughout the entire performance, is than the two short motets provided here. truly excellent. All considered, then, this Gillesberger's performance is not had, is a superb realization of a difficult and but that is about the highest rapture I ML 6026/MS 6626' elusive work. can summon. This is music that needs a The Haydn Variations which fill out powerful shaping force from the podium, Side 4 are masterfully done, with the and Gillesberger's rather prosaic phrasing possible exception of Variation II, which is of little help. The recording is MENDE LSSOMN reason- 'A MIDSUMMER sounds a mite lugubrious. Elsewhere, the ably clean, but even the monophonic NIGHTS DREAM 0 performance often reminded me of the sound of the Förster is richer. A.R. INCIDENTL MUSIC old Toscanini, New York Philharmonic ITALIAN version -the ne plus ultra for this music. SYMPHONY When von is good, he THE Herbert Karajan CLEMENTI: Sonatas for Piano: in G PHILADELPHIA is very, very good indeed. In this album, ORCHESTRA minor, Op. 50, No. 3 ( "Didone ab- EUGENE ORMANDY he is H.G. exemplary. bandonata"); in G, Op. 40, No. I ML 6028/MS 6628° John Newmark, piano. BRAHMS: Piano Works FOLKWAYS FM 3342. LP. $5.95. ® -ev. RAN I.PIANOCON[F.RIO MAJOR Capriccios and Intermezzos, Op. 76; Some years ago Vladimir Horowitz re- FALLA slum 1NTHFGARDFVSOI WAIN Capriccios and Intermezzos, Op. 116; vealed to the record -buying public that PHIUPPE EUGENE _ENIBEMQNL_QRMgSDY Intermezzos, 117; Fantasias, Op. 118; Clementi was something more than just Fantasias, Op. 119. a composer of sonatinas and students' exercises: the distinguished pianist gave us Julius Katchen, piano. remarkable performances of some big I LONDON CM 9396, 9404. Two LP. and musically substantial sonatas by this $4.98 each. Italian -English composer. publisher, and 1 LONDON CS 6396, 6404. Two SD. piano manufacturer. The present record- The PhiladelphiaOrthestra $5.98 each. ing affords us two more such pieces, ML 6029/MS 6629° showing Clementi as a man of ideas, at These discs offer a superb exhibition home in a Haydn -ish idiom. and even .411111111* at ease with of resourceful piano playing-and a counterpoint (the Minuet trtwQ awn rowaeRrr mum minimum of perceptive musicianship. and Trio of Op. 40, No. I are a couple !!@wso SWIM THE Katchen coaxes appropriately pearly of canons). The G minor Sonata is not BEAUTY WM MtrrcRACJEx sound from his instrument in the delivery graphic: it simply appears to aim cate pieces and storms mightily through at depicting the moods of the abandoned the bravura ones. Time and time again, queen, and this it does in a rather naïve however, he allows a line to grow impos- fashion -Clementi seems to have had no sibly limp by engaging in perverse little experience writing for the stage. Some hestitations and vagaries of tempo. His formal looseness in the G major Sonata dynamic shadings, moreover, obscure is offset by the interest of the materials heighten the cogency of the and the manner in which they are han- M3L 306/M3S 706 rather than (A 3Record Set) writing. Those who complain of archness dled. and treacle in late Brahms (I am not John Newmark has a tendency to- ON one) will certainly find chapter and wards romantic phrasing. but on the verse here to prove their point. Wil- whole his performances are smooth. ef- COLUMBIA' to helm Kempff has recently recorded much ficient, and musical in spirit. He plays RECORDS of this repertoire for DGG, and his on a square piano made by Clementi's beautifully poised, autumnal interpreta- firm about the time the sonatas were `Stereo tions are far and away preferable to written. Its tone, compared to that of ,...n 41vwCSPIG YRM'lDMUS the puerile accounts of which Katchen a modern grand. is somewhat thin and is guilty here. H.G. muffled, but it has some of the crispness

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www.americanradiohistory.com II II 11 III II

:ravo, e ix. a Ber n crit c wrote a ter hearing the Mendelssohn Concerto in A Flat Ma or for Two P anos and Orchestra. The occasion was Mendelssohn the first public performance of The Two Concertos the work in 1827. At the time Mendelssohn E hr Two Pianos and Orchestro was eighteen. For more than a century this exuberant, youthful A -thur Gold and Robert Tisdale concerto was forgotten and presumed lost. Then duo -pianists The Philadelphia Orchestra Gold Eugene Ormandy and Fizdale stumbled upon it, in addition to -he similarly neglected Mendelssohn tour de force, the Concertc in E Major. 41,, Now they have recorded these delightful t concertos with Eugene Ormandy and the Phila- delphia Orchestra on Columbia Masterworks. "What inventive sparkle and sureness of ft. touch," one critic wrote of their interpretation. "absolute perfection," exclaimed another. Bravo Gold and Fizdale! THE SOUND OF GENIUS ON COLUMBIA RECORDS Fe¡' ML 6081/MS 6681

FROM BRAVO TO BRAVO

www.americanradiohistory.com of the harpsichord together with an the musical style of Hanns Eisler. like ability to sing and a considerable dy- that of Kurt Weill in his early years. namic range. Altogether, a very interest- was deeply influenced by Brecht himself. ing disc. N.B. The irony, the biting wit, and the powerful tenderness of the latter's manner. expressed in language that partakes of COUPERIN: Mass for the Parishes the coarse crudities of the language of the people, worked its way deeply into Robert Noehren, organ. the consciousness of these composers. LYRICHORD LL 128. LP. $4.98. Weill lost some of this after he carne to LYRICHORD LLST 7128. SD. $5.95. America; Eisler kept it. Eisler is now two years dead. and COUPERIN: Mass for the Contents the political climate in this country allows us now to hear his songs without Robert Noehren. organ. pulling the shades. From a certain stand- LYRICHORD LL 129. LP. $4.98. point. these pieces are a kind of non - LYRICHORD LLST 7129. SD. $5.95. music: terse. satirical tracts employing popular tunes. marching rhythms. and These two works constitute all of the dances so simple that they are all but known compositions for organ by obliterated by the words. Eisler himself François Couperin. "Le Grand." Writ- enhanced this impression by setting his ten when he was twenty -one. they are texts in such a way that the musical uneven in quality but at their best phrase and the textual phrase seldom co- admirable in facture and evocative in incided. Eric Bentley has respected this mood. The more elaborate of the two, Eisler: songs of Brechtian irony. technique in his extremely artful trans- the Mass for the Parishes, contains a big. lations. rather striking Offertory, while the other mirable sense of foresight. (It is interest- Critic. teacher, and translator, Mr. Mass is at its most eloquent. it seems to ing. in this respect. to compare either of Bentley has recently taken upon himself me, in the section for the Elevation. a these versions with that of the Budapest the added role of performer of this kind of arioso. Both compositions are -which sounds almost immature in its repertory. His voice is hest described well performed on instruments built by more pronounced take- things -as -they- as eager, and this also applies to his the player. the Mass for the Convents come attitude.) The Janácseks do particu- work at the keyboard. This is hardly in an Episcopal church in Chicago and larly well by Dvoìák in allowing certain repertory for a sophisticated concert the Mass for the Parishes a on larger inherent contrasts to come forth: they singer. however. and it is remarkable in organ a Presbyterian church in Deer- are just as cryptic and forceful as the how much of the flavor comes across in field, Illinois. Although Couperin's own Kohons. for example, in the opening of these performances. A.R. instrument in St. Gervais was a five - the American first movement, but they manual affair, the registration he indi- give much more significance to the love- cated for these pieces is rather limited ly folkish second theme, which the HANDEL: Alexander's Feast and thus they do not show off Mr. Noeh- Kohons treat rather flippantly. My only ren's skill as an organ builder very well; complaint of the performance at hand Honor Sheppard. soprano; Max Worthley, but to judge is from the stops used, he concerns the first violinist's tendency at tenor: Maurice Bevan, bass: Oriana Con- as gifted in as he is in construction per- times towards ferocity. He might. I cert Choir and Orchestra, Alfred Deller, formance. Both instruments are re- think. have afforded an extra half -inch cond. corded clearly. N.B. of bow in order to avoid biting so VANGUARD BG 666/67. Two LP. $9.96. tightly into the swinging dance of the VANGUARD BGS 70666/67. Two SD.

American fourth movement -which is, $ 1 1.96. COUPERIN: Les Nations: L'Es- after all. a happy occasion. not a battle pagnole; La Piémontoise; La Fran- of wits. The sound is clear and bright, Handel added pomp to Dryden's circum- çoise-See Rameau: Concerts en with very little emphasis on stereo stance in his setting of the slightly rear- sextuor: Nos. 1, 4, 5, 6. directionality. S.F. ranged poem for St. Cecilia's Day. and its early performances were much ad- DEBUSSY: Danse sacrée: Danse mired in London and the provinces. profane -See Boieldieu: Concerto EISLER: Songs Numerous English composers before for Harp and Orchestra, in C. Handel had done this kind of thing Viennese Song; Und endlich stirbt; The (among them Purcell), producing a musi- DVORAK: Quartets for Strings: No. Love Market; Failure in Loving; There's cal form that emerged as a cantata. with 6, in F, Op. 96 ( "American "); Nothing Quite Like Loving; Change the alternating airs. recitatives. and choruses. No. 2, in D minor, Op. 34 World; Supply and Demand; On the Handel. however. was too deeply im- Sprinkling of Gardens; On Suicide; The mersed in opera to pen a merely pallid JanáZek Quartet. Wise Woman and the Soldier; Song of imitation of Alessandro Scarlatti. and in LONDON CM 9394. LP. $4.98. the Moldau; And What Did She Get?; Alexander's Feast he pointed up every LONDON CS 6394. SD. $5.98. Solidaritiitslied; On the World's Kindness; phrase of Dryden's that could be turned Berlin. 1919; Das Lied rom Trockenbrot; to dramatic account. The Janácek gives us a fine pair of Tree and the Branches; Easter, 1935; The principal singers here rcaliie Dvoìák performances here, which convey Ballad of Marie .Sunders; January 7, this as they should. and thanks to their (even more than the Kohon versions on 1937; To the Little Radio; A German excellent diction the listener experiences Vox. which 1 still admire) a sense of Soldier at Stalingrad; German Miserere; no difficulty in making out the text. If the long view of every movement. The Song of a German Mother; Homecom- the recitatives are on the dull side, it Kohons concentrate on articulating each ing. 1945; The Poplar on Karlsplatz; is less the singers' fault than that of the important voice as it emerges; and if Keiner oder aile!; Peace Song. anonymous organist. who provides singu- they are not particularly subtle in calling larly lifeless accompaniments. In Han - attention to the fact that a motive is Eric Bentley, tenor, accompanying him- del's day the composer's role was to moving from instrument to instrument. self on piano and harmonium. play the organ. the harpsichord. or they nevertheless make it worth your FOLKWAYS FH 5433. LP. $5.98. (Handel's favorite) the claviorganum. and while to sit up and take note. The present play it he did! That was what attracted players are less purposeful in spelling As this recording of songs written to the crowds to Covent Garden in 1736. out procedures step by step. but they texts by Bertolt Brecht and others sug- There was no conductor, for no con- build to gradual climaxes with an ad- gests, it becomes increasingly clear that ductor was necessary.

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www.americanradiohistory.com With Handel at the keyboard. the per- chase of the record. As a matter of fact. and. as might he expected. craftsmanlike formance took fire. and orchestra. chorus, though, both the Symphonies presented but not very serious. The Op. 20 series, and soloists would have given their last here are well played and the disc would on the other hand. is rather intense ounce of musical strength. In these be most welcome without the bonus of writing from the Sturm turd Drang period discs, there is a sorry lack of ornamen- Armida. This is the finest stereo version of the 1770s as the composer (in his tation in the vocal lines, for which the of the Trauer we have and the first to forties) first came into the full command flexible singers are surely not respon- put the movements in the right order of his dramatic powers. Often called sible. The chorus sounds robust enough, according to H. C. Robbins Landon's the Sun Quartets (after an ornament on but some of the vowels are oddly dis- view of how they ought to go. i take it the original title page), they are remark- torted. The orchestra gives fairly good that the performances follow the B &H able transitional works in which contra- support, though there are numerous edition with the Robbins Landon correc- puntal devices of the baroque are mixed spots where poor ensemble shows through tions. with an emotional freedom (two of the (e.g., in the tenor recitative, No. 25). in the slow movement of the Trauer slow movements are marked affettuoso) How much of all this is due to Deller's the line is allowed to unfold with a beau- that anticipates the passion of a young direction can only be guessed. Some of tiful relaxed lyricism, equal to Scher - Beethoven. his tempos are good, but there seems to chen's distinguished achievement of A stereo edition of this music has is not a long time. We have be a partial failure to grasp the mo- some years ago. but this level been overdue for mentum of the work as a whole. Never- quite matched in La Passione. where the it now. and it's a good one. Moreover, a series in theless, this album ranks as a welcome old Scherchen performance of the open- it is the first of ten -volume contribution to the growing number of ing slow movement remains the supreme which all the Haydn quartets will eventu- us. is something Handel's major works on record. D.S. one on records. ( The reference. you ally he brought to That will recall. is to Easter week rather than to look forward to- especially if the to amour.) However, in the fast sections promise of this first set is realized. Jones is preferable to Scherchen -es- The Dekany Quartet. Vox informs us, Harp and HANDEL: Concerto for pecially in the finale, which has a live- was formed about a year ago expressly Orchestra, in B flat -See Boieldieu: liness in the stereo version quite lacking for this project. The membership appears Concerto for Harp and Orchestra, in Scherchen's more solemn statement. to he of Hungarians now resident in in C. One must also add that Robbins Landon Holland. although the leader, Béla feels that there should be a keyboard Dekany. has served as concertmaster of continuo in this score. Jones has it, the London Philharmonic. Obviously the HANDEL: Psalm 109: Dixit Dominus Scherchen does not. When it is absent, group is made up of first -quality string I really don't miss it very much; and players. Equally obvious is the fact Ingeborg Reichelt, soprano; Lotte Wolf - when its present, it appears at times to that they have been working together Matthäus, contralto; Choir of the Church get in the way. Perhaps I am out of long enough to form the basis for a Music School, Halle; Berlin Bach Or- tune with all these nuances. But there notable ensemble and that they are chestra, Eberhard Wenzel, cond. you are: a nice job, a good buy. R.C.M. blessed with a fine hall in which to CANTATE 645204. LP. $5.95. record. On the technical side these rec- CANTATE 655204. SD. $5.95. ords are splendid. with agreeable depth, HAYDN: Quartets for Strings vivid presence, and a nice stereo spread. Written in Rome a few weeks after interpretatively. the group is not as There is Handel's twenty -second birthday (the Op. l: No. 1, in B flat; No. 2, in E suave as I trust it will become. MS is dated April 11, 1707), this Can- flat; Op. 20: No. 1, in E flat; No. 2, in a slight tendency to play things a little tata could easily he taken for the work C: No. 3, in G minor; No. 4, in D; No. too fast and impose a little more reserve of any number of skilled baroque crafts- 5, in F minor; No. 6, in A. than is always necessary for a classical men. Even so, it contains quite a few style. The dazzling fast movements. and interesting pages, especially in the first Dekany Quartet. there are several of them in Op. 20. Even so the part. and a stereo recording is welcome. Vox VBX 55. Three LP. $9.95. seem to come off best. The Fine The Cantate edition is not an ideal Vox SVBX 555. Three SD. $9.95. competition is easily matched. one -the florid singing, while reason- Arts version of Op. 20, No. 4 (the only and stuffy ably accurate. is strained and lacks zest, Everyone agrees that Haydn was one stereo rival) is rather slow old and some passages cry for stronger of the supreme masters of the string in comparison with this. and the as they rhythmic definition, bolder phrase out- quartet, but try to get people to agree Schneider mono sets, excellent age. Tf sound is a factor lines. and a greater sense of thrust. on how many he wrote or how those are. betray their help but be in this Happily, however, the essential qualities we have should be numbered! The com- (and it can hardly triumphs. are in evidence in some of Handel's monly cited total is eighty- three. and music) the Dekany group is the best passages of writing. such as the the brave folk at DGG actually issue A further attraction. of course, Box setting of the opening verse, and the Haydn quartet recordings with numbers very reasonable price of the Vox this merit stereo effects are nicely managed. that add up to that sum. But there are series. To he offered music of way for one's R.C.M. obvious grounds for dissent: Robbins at bargain prices is a sure sales resistance to be overcome. R.C.M. Landon believes that the six Op. 3 quartets are probably fake; and debate HAYDN: Armida: Overture; Sym- continues as to whether the quartet ver- phonies: No. 44, in E minor sion of The Seven Last Words (Op. 51) HAYDN: Svmbhonics: No. 16, in ( "Trauer "); No. 49, in F minor is to be counted as seven quartets in B flat: NO. 19, in D: No. 52, in ( "La Passione ") the space between Op. 50 and Op. 54. C minor There is the further issue that Haydn Little Orchestra of London, Leslie Jones, himself seems to have regarded the more Vienna State Opera Orchestra. Max Go- cond. youthful quartets as entertainment music, herman. cond. NoNEsucH H 1032. LP. $2.50. which would start us off with Op. 9, or LIBRARY OF RECORDED MASTER- NONESUCH H 71032. SD. $2.50. No. 1-Quartet No. 19 in the DGG PIECES HS 16. LP or SD. $8.50 on sub- sequence. If we take the number 83 scription: $10 nonsubscription. Opportunities to buy overtures to Haydn as a basis for our chronology, the Op. operas are few. Armida is a late work, 20 works, recorded here. are the Quar- There is available a stereo version of 1784, and the Overture is the last extant tets Nos. 31 -36 while the two Op. i No. 52 from Harry Newstone (Oiseau- composition in the form which we can works are Quartets Nos. 2 and 3 -an I.yre), but this is a considerably more accept as genuine without some scholarly anomaly due to the existence of a powerful performance with the subtle reservations. It's an attractive curtain Quartet Op. 0. distension of phrase and sustained line raiser in the eighteenth -century manner, However you work the problem it which make the Goherm:an editions so quite attractive enougo to justify the pur- conies out with Op. I being very early, consistently fine. The woi k is one of the

MARCH 1965 95

www.americanradiohistory.com most eloquent from Haydn's .Sturm and Essay for Brass and Winds. Chamber The soloists are efficient, the chorus Drang period, revealing fully the com- music for woodwinds is common enough competent. and the sound. except for poser's symphonic mastery and passionate and chamber music for brass is not some preëcho, quite acceptable. The nature. The two earlier works are num- uncommon, but chamber music for both disc is thus very welcome for adding. bered out of chronology. No. 19 shows is very rare indeed: offhand. the only enjoyably. to our knowledge of an aspect us little more than the skilled young other examples of such a combination of Monteverdi's output that is almost as craftsman, but Goberman does him jus- 1 can think of are Stravinsky's octet and important as his operas and madrigals. tice. No. 16. on the other hand, is a his Symphonies of Wind ln.ctru,ments. English translations (only) of the texts work from the Eisenstadt period with In any case. Mayer writes some very are given. and the liner notes, by the much of the charm of the "Morning. fetching counterpoint for brass and conductor, convey very little information Noon. and Night" series. It's worth dis- woodwinds. the performance is super- about the music. N.B. covering. R.C.M. lative, and the recording is excellent. Mayer's Country Fair is a little trio for trumpets and trombone which MOZART: Concertos for Violin und HAYDN: Symphony No. 100, in G doesn't sound much like a country fair. Orchestra: No. 1, in B flat, K. 207; ( "Military ") -See Beethoven: Sym- His Overture for an American was No. 2, in D, K. 211 phony No. 6, in F, Op. 68 ("Pas- written for the Theodore Roosevelt Cen- toral"). tennial and sounds all too devastatingly Yehudi Menuhin. violin: Bath Festival like the roaring. open mouth. the table Orchestra, Yehudi Menuhin, cond. pounding. the restless he-monism. and ANGEL 36231. LP. $4.98. KABALEVSKY: Concerto for Piano the flying coat tails of the TR stereotype. ANGEL S 36231. SD. $5.98. and Orchestra. No. 3. Op. 50 Siegmeister's work is a perfect ex- ("Youth")-See Prokofiev: Con- ample of the post -Harris. post -Copland, These pieces are not on the same high certo for Piano and Orchestra, No. post -Piston American symphony. There plane as the next three concertos by 3, i C, Op. 26. are loads of such compositions. This is Mozart. but they are well worth an neither the best nor the worst. A.F. occasional hearing. especially when they are played as beautifully as they are LOCKE: Music for Voices and Viols here. The performance is songful MONTEVERDI: Sacred Music throughout: in loud passages Menuhin Golden Age Singers. Margaret Field - can be vigorous without coarseness. in Hyde. cond.; Elizabethan Consort of Therese Haim. soprano: Marie Blanche soft ones his tone is finely spun but Viols. Dennis Nesbitt. cond. Guidicelli. soprano: Gladys Felix. con- never too thin. Especially striking. it WESTMINSTER XWN 19082. LP. $4.98. tralto: Saint Eustache Choir; Orchestra seems to me. are the way in which he WESTMINSTER WST 17082. SD. of the New Bach Society, R. P. Emile catches the playful spirit of the finale $4.98. Martin, cond. of No. I and the purity and simplicity MUSICAL HERITAGE SOCIETY MHS with which he sings the Andante of A friend of Ptircell's father and a char- 538. LP. $2.50. No. 2. Except for a moment or two in acter sufficiently noteworthy to he men- MUSICAI. HERITAGE SOCIETY MHS the Allegro of No. I. where the orches- tioned by Pepys, Matthew Locke was a 538. SD. $2.50. tra is a hairsbreadth behind the soloist, crusty fellow who became Composer in the conducting is as skillful as the solo

Ordinary to Charles 11. He wrote theatre Here are seven works that. so far as 1 playing. Menuhin's cadenzas in both music. choral music. and various other know, are not otherwise available in the first movements ::re rather long and. kinds. The present selection from his domestic catalogues. There are three to my ears. a bit out of character. but works includes four suites for a consort settings of psalms: Beams rir, a six - on the plus side are the little interpola- of viols, a sacred piece with Latin text, voice piece built on a curious sort of tions with which he introduces each some glees, a duet in dialogue form. and compound ostinato. a little repetitious return of the theme in the Rondeau of two other choral works. One of the most but frequently expressive: Laudate Domi- No. 2. interesting of them is the Dialogue Be- nion. in which melodious duets alternate With its fine sound in both versions. tween Thirses and Dorinda, a somewhat with massive chordal sections: and Laucla this performance of No. I is rivaled only Monteverdian duet that becomes thor- Jerusalem. sting by a three -part male by the Stern /Szell recording on Colum- oughly English in an arioso beginning chorus and full of word painting. The bia. The reading of No. 2 is superior, "There sheep are full of sweetest grass" other works include a fine six -part in my opinion. to the only other one and ends with a lovely chorus of con- Adoran,u.s tr, with poignant harmonies, now in the domestic catalogues. N.B. siderable expressivity. The Song of and the pleasing O belittle rise. sung by Echoes is an attractive madrigal -like soprano and alto solo with organ. its piece. though mostly chordal. I was effectiveness enhanced by the stereo sep- MOZART: Quintet for Horn and struck most of all, however, by the aration of the voices. Strings, in E flat, K. -107: Quartet suites for viols. modest but sweet music. for Oboe and Strings, in F, K. 370 The instrumental performances are excellent and the vocal ones entirely ac- Sebastian Huber. horn (in K. 407); ceptable. Good sound. N.B. Alfred Souls, oboe (in K. 370); Endres Quartet. Vox DL 1000. LP. $4.98. MAYER: Overture for an American; Vox STDL 501000. SD. $4.98. Essay for Brass and Winds; Cota, - try Fuir tSiegmeister: Symphony No. 3 MOZART: Quintet for Horn and Strings, in E flat, K. 407; Quintet London Philharmonic Orchestra, Russell for Clarinet and Strings, in A, Stanger, cond. (in Overture for an Amer - K. 581 ican): New York Brass and Woodwind Ensemble, Emanuel Balaban, cond. (in Pierre del Vescovo. horn (in K. 407); Essay for Brass and Winds): Robert Jacques Lancelot. clarinet (in K. 581): Nagel Brass Trio (in Country Fair); Barchet Quartet. Oslo Philharmonic Orchestra, Elie Sieg- MUSICAL HERITAGE. SOCIETY MHS 557. meister, cond. (in the Symphony). LP. $2.50. COMPOSERS RECORDINGS CRI 185. LP. MUSICAL HERITAGE SOCIETY MHS $5.95. 557. SD. $2.50.

The best thing here is William Mayer's Menuhin: Mozartean song and vigor. In the charming Oboe Quartet. on the

96 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com A Fantastic New Concept Of Musical Dynamism

1THE TEMPESTUOUS BEAT of today's new dancing rhythms 2 THE MAGNIFICENT MELODIES of Cole Porter 3 THE AMAZING DEFINITION AND DRAMA of COMMAND'S DIMENSION 3. PROCESS ENOCH LIGHT AND THE LIGHT BRIGADE A NEW CONCEPT OF GREAT COLE PORTER SONGS Cole Porter's songs remain hauntingly fresh in our ears not only because the right and left speakers - giving of their gorgeous, sinuous melodies, not only because of Porter's brilliant depth and fullness to sound reproduc- wit and individuality as a lyricist but also because he made more origi- tion that, for the first time, approaches - written total reality. nal and imaginative uses of rhythm than anyone else who had ever To show Porter's glorious melodies for the musical theatre. in the exciting emotional and rhythmic Sometimes he broke new ground with a specific rhythm - as he did context of our immediate, contempo- with the Beguine. Sometimes the rhythms that fascinated him on his rary life, Enoch Light has drawn on travels around the world were woven into his songs along with his own all these facilities that he has ac- distinctive way with fashionable contemporary rhythms. He also used cumulated over the years - his inti- rhythm as an integral part of his lyrics - in the verse of Night and Day, mate knowledge of Porter's music, his of the raindrop" sets up a rhyth- magnificent, unparalleled group of for instance, when "the drip, drip, drop musicians, the total knowledge of ad- mic pattern that helps to create the scene his lyric is describing. vanced sound reproduction developed by Command's engineers. We think that Porter would have rel- to interpret Cole Porter in terms of Light has conceived this album as a ished the flood of new rhythms that the fascinating new rhythms that have Por- music in recent years. varied set of treatments of Cole have come into popular music in the brightened our ter's songs as the intensely rhythm - Nineteen Sixties. One of the sad re- Along with his practical experience conscious Porter might want to hear sults of his death in 1964 is that we as the leader of an outstanding dance his music played today. Of course, no will never know the unique treasures band during those years that were one can say that these arrangements he might have found in the bossa nova made constantly exciting musically by are exactly what Porter would have or the swing waltz or the various out- the steady arrival of new toneful and envisioned himself. But, as Light growths of the twist. rhythmic creations from Cole Porter, dominate an that is points out, "the rhythms that Yet, through the skill and insight of Light now leads orchestra today's music are, I think,the kind of Enoch Light, we can hear how Porter unique in today's recording world. The rhythms that Porter loved." might have dealt with these new Light Brigade is a band that brings he very dis- "And," Light adds, "wouldn't rhythms. both exceptional skills and have had a wonderful time with them ?" Light is in a unique position to tinctive individual interpretations to And won't you have an incredibly understand the rhythmic views of Por- arrangements that are a constant chal- marvelous time listening to the incom- ter because he was the leader of a lenge to both musician and sound parably brilliant combination of Cole popular dance band all through Por- engineer. Light on Command. Beyond also commands Porter and Enoch ter's most productive years and was this, Light Selections: Begin the Beguine I've Got You unusually close to Porter's music. the unmatchable technological knowl- Under My Skin Just One of Those Things When Porter's first hit, Let's Do It, edge and skills of a pioneering engi- C'Est Magnifique Friendship I Get a neering staff which has developed a Kick Out of You Get Out of Town What was heard in Paris, Enoch Light, then Is This Thing Called Love Night And Day a fledgling band leader, was playing it succession of astounding advances in Easy to Love My Heart Belongs To in the smart clubs of the French capi- recording techniques for Command Daddy Let's Do It. tal and on the Riviera. All through the Records. These are the engineers who Command Album No. 979 Thirties, when Enoch Light and the made possible the first real exciting Available in Stereo, musical of sound separation Monaural and 4 Track Tape Light Brigade were attracting dancers treatment Write for FREE full -color brochure of all to the top hotel rooms and ballrooms in stereo recording, which was revealed Command releases throughout the United States, Porter's in Command's epoch- making Per- WORLD LEADER new songs were added to the band's suasive Percussion series. These are IN RECORDED SOUND repertoire as quickly as they appeared. the engineers who developed Com- RECORDS Today Enoch Light has an un- mand's Dimension 3 Process which matched combination of background, provides a third source of stereo A subsidiary of ABC- PARAMOUNT Records, Inc. understanding and technical facilities sound - a "ghost" channel between 1501 Broadway, New York 36, N.Y. CIRCLE 13 ON "EAGER- SERVICE CARD MARCH 1965 97

www.americanradiohistory.com Vox disc. the woodwind instrument is logue is in a real sense a part of business are gone from this character favored to such an extent that it some- of the score -we badly need breaks -but so are some good old ones; this times covers a countertheme, say in the between some of these numbers. and suicide scene has little flavor. viola. The whole work is made to sound some of them are so obviously initiated Neither of the two basses is, for me. like a solo with accompaniment, when by what on Broadway would be called really right. Gottlob Frick's timbre is it should of course sound like a string "lead -ins" that the music itself seems suited to Sarastro, and of course he quartet with the oboe replacing the first altered by the omissons. For me, a sings in a dignified way. but his bass violin. Add to this the fact that Alfred Zauberflöte that does not have at least does not have the sort of deep beauty or Sous plays at a practically unyielding enough dialogue to provide breaks. to flowing line wanted, and his notes below mezzo -forte throughout, and you have assure some continuity. and to create the stave are not easy or full enough. one of the less appealing versions of this dramatic contexts starts with a handicap. (This role is in fact a terrible problem work on records. In the Horn Quintet My second point concerns the general in an age when bassos are either of a the balance is generally better, but the atmosphere of Dr. Klemperer's reading. lighter cantante type or of the get- sound of the horn is sepulchral and Even though the aforementioned Bee- through-the-evening-somehow school of blurry. cham set deleted the dialogue, Sir par/ando bellowers. Frick actually comes On the Musical Heritage disc the Thomas' leadership had such life. the as close to a sensible compromise as horn has a sharper, cleaner sound. but characters such individuality. that we any, though Jerome Hines, consistently Mr. del Vescovo avoids many of the still got something of the spirit of overlooked by recording companies. is trills and his rapid sixteenths are not a merry and moving evening in the very fine in this role.) Some of the immaculate. The Clarinet Quintet is theatre. Dr. Klemperer works in a more same objections can be made to Crass more fortunate. It has had more mel- exclusively "musical" manner. His read- -an excellent singer, and a splendid low as well as more imaginative per- ing has astounding clarity. balance. struc- voice. but a little too tough and ponder- formances, but it is hard to spoil this ture; under his direction the soloists, all ous- sounding for Der Sprecher. Gerhard masterpiece and a good deal of its magic able, are careful and discreet. extremely Unger is a good a Monostatos as I comes through. The violin sound here, musical, but not always terribly invigor- have ever heard. as well as on the Vox, is a bit over - ating or "real." Little need be said about the accus- bright. The liner notes for the present And that is the feeling I have about tomed standards of the Philharmonia disc are unusually nonsensical. Sample: the set as a whole. It is full of beauty chorus and orchestra. They are up to "Mozart. like Ravel, but contrary to and lucidity; there are things I under- their usual high level and seem com- Beethoven, was one who was stimulated stand now about the score (why some pletely at one with Dr. Klemperer. I by the beauty of pitches...." N.B. numbers are placed as they are, how am less delighted by the sound, which one leads most logically to the next, has a somewhat hard, metallic quality, and so on) that I did not understand with little warmth. Balances are excel- MOZART: Die Zauberflöte before hearing this version of it. But I lent. C.L.O. do not much feel the sense of a drama Gundula Janowitz (s), Pamina; Lucia taking place, nor the presence of identi- Popp (s). Queen of the Night: Ruth - fiable people. NARDINI: Concerto for Violin and Margret Pütz (s), Papagena: Elisabeth The cast is exceptionally strong. Orchestra, in E minor -See Tar- Schwarzkopf (s), First Lady: Agnes Certainly the recruitment of Elisabeth tini: Concerto for Violin and Or- Giebel (s). First Boy: Anne Reynolds Schwarzkopf, Christa Ludwig. and Marga chestra, in D minor. (s). Second Boy: Christa Ludwig (ms), Höffgen as the Three Ladies. or of Karl Second Lady; Josephine Veasey (ms), Liebl and Franz Crass as the two Ar- Third Boy; Marga Höffgen (c), Third mored Men, is extraordinary largesse, PALESTRINA: Masses: Sine nomine; Lady; Nicolai Gedda (t), Tamino: Ger- and the quality shows -the trio of the Ecce ego boannes hard Unger (t), Monostatos and First ladies in the opening scene, complete Priest; Karl Liebl W. First Armored with its repeat. is practically a concert in Choir of the Carmelite Priory, London; Man; Walter Berry (b), Papageno; itself. Of the two relatively little known John McCarthy, cond. Gottlob Frick (bs), Sarastro; Franz female singers, Gundula Janowitz. the OISEAU-LYRE OL 269. LP. $5.98. Crass (bs), The Speaker. The Second Pamina. has an exceptionally pure, lovely OISEAU -LYRE SOL 269. SD. $5.98. Priest, and the Second Armored Man; voice and an extraordinary measure of Philharmonia Chorus and Orchestra, control. While there is about some of The Mass Sine nomine is for four voices Otto Klemperer, cond. her work a slightly "down" feeling that and is based on the chanson Je suis ANGEL CL 3651. Three LP. $14.94. makes for little personal projection and déshéritée. It is a fine work. performed ANGEL SCL 3651. Three SD. $17.94. a lack of incisiveness, there is no ques- here in a flowing style with definite con- tion of the beauty and focused ease of trasts in tempo and dynamics. The pace With the cast and conductor listed above. her singing. Lucia Popp, who seems to and intensity of the music are inflected this Magic Flute would seem to promise have materialized as mysteriously as the according to the meaning of the text. a near -ideal performance. In fact it is, Queen of the Night herself. sounds like which makes for variety and maintains musically, an extremely satisfying ac- an exciting singer in the making. Her interest, but in one or two passages this count of the score. and one that at cer- voice is free and full, with a true Hoch - seems overdone, as when in the Gloria tain points could hardly be surpassed. sopran quality in the upper -middle por- there is a marked slowing up and My own dissatisfactions with it relate tion. The high extension is firmly con- crescendo -diminuendo on the words primarily to my feeling that a recording nected to the rest of her voice, and "Jesu Curiste." Generally, however. the ought to reflect a work's form. Die while she does not exactly tear into the performance is as free of exaggeration as Zauberflöte has its faults of dramatic runs, she negotiates them clearly and of pallor. The chorus sounds rather siz- construction, but it is, nonetheless. an without pain. A find. able, but balances are excellent, and opera. a theatre piece, and in my opinion Nicolai Gedda sings cleanly and sen- the sections sung by a solo quartet a recording of it should convey the sitively, as always. In the Bildnisarie, I ( "Christe ") or trio ("Benedictus ") are feeling of an opera. Characters singing would like to hear a bit more vocal the more effective for the contrast. in a vacuum tend to add up to very fullness and stylistic flair -which is to In the six -part Ecce ego Joannes the little. say that Gedda is not Tauber-but he size of the group renders the texture a I am getting at two things here. The is never less than satisfying. and has bit thick. In mainly chordal passages, first is the omission of the dialogue, moments of exceptional strength and like the "Qui tollis," the sound is rich, making of Zauberflöte a series of musi- animation in the scene of the three por- but in contrapuntal ones it is often hard cal numbers. There is, of course, prece- tals and the succeeding search for to follow any lines except the principal dent. notably that of the remarkable old Pamina ( "Wie stark ist nicht dein Zau- one. High spots here are the beautiful Beecham set (which, however, can be berton," etc.). The Papageno of Walter "Christe," exquisitely sung by a high at least partially excused in view of the Berry is pleasant. musical, rather dark - solo quartet, and the soft, lovely singing exigencies of 78 -rpm recording). But voiced. With the dialogue gone and a of both settings of the Agnus Dei. Very in this opera in particular the dia- firm hand in charge, some bad old bits good sound throughout. N.B.

98 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com A MOVING PERFORMANCE BY THE BOSTON SYMPHONY UNDER LEINSDOR= PREIIERE RECOEDINU of ¶NOf[I'S NEW WORK The Death of the Bishop of Brindisi expresses the heart -wrenching guilt felt by the man who sanctioned the tragic Children's Crusade. For the première recording, George London sings the Bishop, Lill Chookasian, the nun. They, the chorus and the Boston Symphony under Leinsdo-f, give a deeply moving performance. This new recording also includes Schönberg's "Song of the Wood - Dove" from Gurre- Lieder, poignantly sung by Miss Chookasian. Recorded in Dynagroove sound.

Boston ;mhhOny / f.lzlt:h It.msíloRf mEnotti the 0sath of the Bishop or Balnòlsl geoaQc lonòon fill chookaslan

NC.\CICTUN tT14VipAl1Z

RC VICTOR The most trusted name ,n sound

CIRCLE 47 ON READER -SERVICE CARD MARCH 1965 99

www.americanradiohistory.com PERGOLESI: La Sèrva padrona valid structural account is unique. and ments into a superb unity. I urge every- it is well supported by Kondrashin. (For one to sample its manifold pleasures. Virginia Zeani t s). Serpina; Nicola an approach combining the Gilels brittle- A.R. Rossi -Lemeni (bs). Uberto: Musica et ness with the François nostalgia. Byron Litera Chamber Orchestra. George Janis' Mercury disc -also conducted by PURCELL: Suites for String Orches- Singer. cond. Kondrashin -is recommended.) tra Vox OPX 380. LP. $4.98. As you might infer from its subtitle, Vox SOPX 50380. SD. $4.98. Kabalevsky's Concerto is one of a series Abdelazer, or the Moor's Revenge; The of works which he wrote for young Married Beau; The Gordian Knot Untied; This is a quite enjoyable performance, people. It is doubtful whether the Soviet The Virtuous Wife. and vocal enthusiasts will be happy to Union's younger set are as "square" as find that Nicola Rossi- l.emeni. from Kabalevsky's opus would indicate. Cer- Chamber Orchestra of the Hartford Sym- whom we have heard little lately. is in tainly our own up- and -coming genera- phony. Fritz Mahler, cond. fairly good shape. In fact- though there tion would never accept such banalities VANGUARD SRV 155. LP. $4.98. is still too much spread, woolly sound with a straight face! H.G. VANGUARD SRV I55SD. SD. $5.98. in his voice -he sings better here than on many of his later Angel opera record- Just as we begin to feel that some progress ings. He also does a great deal to make PROKOFIEV: The Love for Three has been made in the matter of proper a funny and believable character of Oranges observance of performance styles and Uberto -one would like to hear him customs in music up to and including in more buffo roles of this sort. His T. Kallistratova (s), Ninette; N. Poly - that of Bach and Handel. a really poor only real failure here is in the difficult akova (s), Fata Morgana: N. Postav- specimen comes along and sets us back "Sono io gin," which sounds imbrogliuto nicheva Ims). Smeraldine; T. Medve- fifteen years. huffy and uncertain as to pitch. deva (ms). Nicolette: L. Rashkovets (c), Such a one is this Purcell disc con- Virginia Zeani. always an interesting Clarisse; T. Erofeyeva (c), Linette; V. taining Suites, or excerpts from Suites, actress with the voice. is an expert Ser- Makhov (t). The Prince; Y. Yelnikov that were played as incidental music to pina. vocally sufficient in the arias and (t), Truffaldino: I. Kartavenko (t), Mas- theatrical extravaganzas of the late - interesting in the recitatives. so that the ter of Ceremonies: 1. Budrin (b). Pan- seventeenth century in London. Some of play between the two characters always talon; V. Rybinsky (bs). King of Clubs; Purcell's best and most characteristic has a sense of motion. G. Troitsky (bs). Tchello; G. Abramov music was poured into these overtures A choice between this edition and (bs). The Cook; Y. Yakushev (bs), and dances. and a competent conductor Mercury's will depend mainly on one's Farfarello: M. Markov (bs), The Herald; usually experiences no difficulty in bring- singers. personal taste as to the Mercury Moscow Radio Chorus and Symphony ing out their baroque felicities. Never- does, though. have three marginal ad- Orchestra. D. Dalgat, cond. theless. a French overture. even when vantages: I ) the sound is somewhat UI.TRAP110NE ULP 121/22. Two LP. written by an English composer. demands clearer; 2) Renato Fasanó s tempos have $9.96. special handling. All it gets here is a a more variety than Singer's. who bit ponderously literal reading, in which the tends to push everything along at a Since the departure of Epic SC 6013 a typical upbeat figures sound turgid and briskness is little the uniform (there of recording of Prokofiev's dazzling and Teutonic instead of vivacious and excit- teasing "A Serpina languishment that hilarious fantasy has been badly needed. ing. Most of the dance tempos are hope- penserete" to have, for instance); ought Ultraphone's new album fills the bill lessly wrong, and boredom soon sets in 3) Mercury supplies the text, as against very nicely; it is well enough recorded when the listener finds that a three -beat Vox's synopsis. also like Mercury's I (mono only. however) to bring out the measure contains three accents. and a idea of indicating Vespone's presence. details of the gorgeous scoring. and the four -beat measure four accents. The all - in as guardsman /fiancé, by disguise the balance between the large cast and the important harpsichord continuo is omit- means of footsteps and stompings -a orchestra is splendid. The performance ted entirely. stereo "gimmick" that for once fits. is obviously from a radio broadcast Two of the Suites appear also in a the same. Zeani and Rossi - Just if rather than a staging. since the voices recording of Günther Kehr for Nonesuch Lemeni appeal, as opposed to the fine remain firmly on -mike throughout; and (reviewed recently in these columns) Renata Scotto and Sesto pairing of naturally a stereo version would greatly and a comparison of the two versions the Vox is a good Bruscantini, then enhance the opera's continual sense of proves without a shadow of doubt that choice. C.L.O. hectic movement. What we have here, Kehr's interpretation is far superior in however, is in itself a brilliant. mer- every way to that of Fritz Mahler. The curial, and thoroughly delightful pro- former plays the Overtures exactly as PROKOFIEV: Concerto for Piano duction of a work that merits nothing they should be. and his dance movements and Orchestra. No. 3. in C, Op. 26 less. Certainly this new set supersedes exude a charm entirely absent from Van- i Kabalevsky: Concerto for Piano and Epic's album by the Slovenian National guard's presentation. D.S. Orchestra, No. 3, Op. 50 ( "Youth ") Opera in every way. It is hard to realize that The Lore Emil Gilets. piano: Moscow State Radio for Three Oranges shocked audiences at RAMEAU: Six Concerts en sextuor Orchestra. Kiril Kondrashin. cond. (in its world premiere (Chicago. 1921) by the Prokofiev ). Dmitri Kabalevsky, cond. its modernity. Today, it seems stylisti- Jean- François Paillard Chamber Orches- (in the Kabalevsky). cally very mild, with most of its audacity tra. lean -François Paillard. cond. MONITOR MC 2061. LP. $4.98. merely a result of an extremely witty, MUSICAL HERITAGE SOCIETY MHS MONITOR MCS 2061. SD. $5.98. icy. and sophisticated use of the orches- 567. LP. $2.50. tra. Whatever its style, it is the work of MUSICAI. HERITAGE SOCIETY MHS These two performances from Soviet a master of the musical theatre. with a 567. SD. $2.50. tapes made in the mid- Fifties have been feeling for musical humor and satire reprocessed in electronic stereo for the remarkable in any era. In this setting the RAMEAU: Concerts en sextuor: Nos. present disc release. On the whole, the wry little fable of Gozzi sizzles and I, 4, 5, 6 a operation has been success. but oc- sparkles: the score is terse and nimble, 1 Couperin: Les Nations: L'Espagnole; casionally there is some stridency and without a moment's letdown. La Piénsontoise; La Françoise harshness in the sound. There are no great voices in the present Gilets' reading of the Prokofiev is performance, but there is something even Stuttgart Baroque Ensemble, Marcel steely, dryly diabolic, ironic. dynamic. more to the point: immense theatricality Couraud, cond. If you long for a vein of underlying and ensemble. Every role is beautifully MERCURY MG 50402. LP. $4.98. lyricism. you had better go to Samson filled by a singer -actor capable of dis- MERCURY SR 90402. SD. $5.98. François (Angel). for you will not find charging his task with skill and gusto, it here. In its fierce way, Gilelti perfectly and the conductor has welded all ele- The works by Rameau arranged by

100 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com collection is someone as stripe sextets. mostly from hear one of the legendary conductors of eighteenth century, this trios that had oegun life as harpsichord our day at his vintage peak. R.C.M. performed by a twertieth century pianist pieces, are delightful little suites, con- whose contemporary way with the instru- sisting of character pieces or dances or ment is decidedly colored by nineteenth- both, nicely contrasted in mood and ROUSSEL: Bacchus et Ariane: Suite; century attitudes. The Romanticism in by an occasional rhythm. Thus No. 5 begins with a fugue The Spider's Feast; Sinfonietta for Horowitz is represented (La Forqueray), continues with a rather String Orchestra languishing sigh, a few crashing fortis- deeply felt piece (La Cupis), and ends simo bass chords, the desire to "orches- du trate" on the keyboard, and a treatment with a kind of gavotte (La Marais). This Orchestre de la Société des Concerts that sometimes smacks of is all fine: rococo music, some of it Conservatoire de Paris, André Cluytens, of cantilena other grave, some of it graceful, and all of it cond. indulgent sentimentality and at the point elegant. The same may be said about ANGEL 36225. LP. $4.98. times is scaled down to of the other hand, the Couperin, the titles of which seem ANGEL S 36225. SD. $5.98. understatement. On is un- to have little relation to their content. Horowitz's "crew -cut" modernism men, on the Mercury re- Bacchus et Ariane and The Spider's Feast mistakable in his spare approach to tone, Couraud's for cording, play with warmth and evident are standard concert items which I have his steadfast rhythm, his predilection driving articulation, and his conservative enjoyment. In Rameau's Concert No. 1 never liked very much, but Cluytens' use sustaining pedal. he indulges in some discreet dotting. superlative performances and Angel's of the works Paillard, for Musical Heritage, seems to magnificent recording have won me over In most respects this approach exemplary rightness in Scarlatti. use fewer players and achieves a lighter completely. Cluytens brings The Spider's with has always held an affection touch. Aside from a romantic crescendo Feast precisely down the middle between Horowitz and on this disc (his in the second Minuet of No. 2. his per- Debussy and Ravel, with much of the for such music, album to be devoted to formances are stylish and a bit more former composer's impressionism and first Columbia he provides a nuanced than Couraud's. There is some sensitivity and much of the latter's clas- a single composer) piano playing. His distortion near the beginning of this disc. sical clarity and transparency. For the dazzling exhibition of is absolutely incredible in its but the sound of the rest of it, and of all first time in my experience, the extra- fingerwork and ability to maintain fluency of the Mercury, is excellent. N.B. musical implications of this ballet score evenness (it is based on Henri Fabre's widely at virtually any tempo. The tonal control read nature studies and its dramatis per- and execution of repeated notes are so perfect as to be almost impossible to -KORSAKOV: Le Coq d'or: sonae consists of worms. mantises. bee- RIMSKY tles, and such, all subject to the dread believe. There is also great beauty in Stravinsky: The Fire - Suite-See seem or the crisp, bouncing way Horowitz han- bird: Suite (1945). Spider's spell) do not bizarre forced, but charming and a little pathetic. dles some of the bass lines. He truly Bacchus et Ariane is a handsome, glit- scintillates here. RIMSKY -KORSAKOV: Schehera- tering, preening, full -dress ballet score, I am happy to say, furthermore, that zade, op. 35 full of vivid rhythms and magnificent the present selection from Scarlatti's color, and Cluytens brings out everything over 550 such Sonatas represents an Erich Gruenberg. violin; London Sym- it contains. The Sinfonietta for String imaginative and discerning taste. Every phony Orchestra, Leopold Stokowski, Orchestra, however, may well be the fin- one of the little gems provided here cond. est thing in the album. It dates from abounds with interesting harmonic tricks, 1934 -a time when Roussel had turned fascinating rhythmic asymmetricalities, For a feature review of this recording, his back on Debussy, Ravel, and D'Indy and decidedly pungent Spanish flavor. see page 87. and, under the influence of the much If you regard the composer as an elegant younger composers of The Six, had gone courtier incapable of rhapsodic fervor, in for a rugged, breezy, intensely poly- you would do well to hear this recording. ROSSINI: Overtures phonic neoclassicism. The Suite in F and The Sonatas were recorded in April, the Fourth Symphony are the most cele- May, June, and September of 1964. The La Gazza ladra: La Scala di seta: Gu- brated examples of this neoclassicism, sound throughout is exemplary. H.G. clielnto Tell: Semiramide; Il Barbiere di but the Sinfonietta is entirely their equal. Sirigla. It sweeps along in a marvelously tonic and invigorating fashion. It is the best SCHUBERT: Quintet for Piano and Rome Opera Orchestra, Tullia Serafin, cure for low spirits that has come my Strings, in A ( "Trout ") cond. way in years. A.F. DEUTSCHE GRAMMOPHON LPEM Louis Kentner, piano; Members of the 19395. LP. $5.98. Hungarian String Quartet. DEUTSCHE GRAMMOPHON SLPEM SCARLATTI: Sonatas for Piano (12) Vox PL 12690. LP. $4.98. 136395. SD. $5.98. Vox STPL 512690. SD. $4.98. In D. L. 424; in A minor. L. 241: in F, There are plenty of recordings of Rossini L. 188: in F minor, L. 118: in G. L. 349; Here is a large- scaled, bright -eyed per- overtures in the catalogue: but if you ask in D. L. 465: in E. L. 21: in E flat. L. formance of the Trout which misses some for first -class stereo and an Italian con- 203: in E minor, L. 22; in D, L. 146; in of the inherent charm of the piece but ductor, the number thins out rather quick- F minor, L. 187; in A, L. 391. offers in its place an admirable propul- ly. In fact. the present disc offers prob- sion and lack of fussiness. Georg Hört- ably the best Rossini performances by Vladimir Horowitz. piano. nagel, the assisting bass player, supports an Italian maestro since the retirement COI UMauA MI. 6058. LP. $4.98. the ensemble with admirable discretion of Toscanini. Not even a musician as COLUMBIA MS 6658. SD. $5.98. (and a minimum of lugubrious tonal impressive in his artistic range as Reiner grunting) and the internal balance is could record this music with the sense Devoted to timeless music written in the finely transparent. If the opening move- of stylistic integrity which comes from a ment seems a trifle ambiguous in its man of comparable artistry and horn to basic tempo, the variations are highly the idiom. effective in this briskly clean -cut, slightly Sonically. there is no Italianate com- detached statement. This is definitely a petition at all. Serafin. at eighty -six, reading for those listeners who want has made the Rome orchestra an instru- kinetic objectivity in place of Viennese ment on which he can play with ample languishing. expression of his skills. although it is Vox's stereo is well spread out, very obviously less than a great ensemble, and clean, but a shade sharp and thin. Some wide -range stereo spacing gives one a of the robust fullness of tone heard in remarkably bright and vivid sense of presence. The result is an opportunity to Continued on page 106

MARCH 1965

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www.americanradiohistory.com RECORDS IN REVIEW justice. Her voice is clear, well focused, For that matter. this is Le Coq d'or colored somewhat towards the dark side, to put in first place as well. Leinsdorf Continued from page 101 and in itself a remarkably attractive in- is not my ideal choice for this music - strument. But her singing seems cold, it really calls for the unique talents of the recent Horszowski /Budapest (Colum- somewhat timid. and not at all respon- Stokowski -hut if you can accept a cer- bia) production (less alertly executed) is sive to the big, soaring phrases de- tain lack of sensuousness, it's a fine per- missing, and also that record's generous manded by many of these songs. Werba formance with a lot of dynamic kick in bonus offering of the piano -string ver- is his usual dependable self at the piano, the Wedding March sequence. R.C.M. sion of Beethoven's Op. 16. In all other but the record on the whole seems more respects, though, this new Vox release than a little dull. A.R. is first -rate. H.G. STRAVINSKY: "Stravinsky Conducts Ballet illusic" STRAVINSKY: The Firebird: Suite SCHUETZ: Choral Works (1945) Jeu de cartes: Scènes de ballet. Tchaikov- tRimsky -Korsakov: Le Coq d'or: sky- Stravinsky: The Nutcracker: Blue- bird pas de Magnificat: Deutsches Magnificat: Herr, Suite deux. wenn ich nur dielt habe: Wie lieblich sind Cleveland deine Wohnungen: Singe: deut Herrn ein Boston Symphony Orchestra, Erich Orchestra (in Jett de cartes); neues Lied. Leinsdorf, cond. Columbia Symphony Orchestra (in RCA VICTOR LM 2725. LP. $4.98. Bluebird), CRC Symphony Orchestra Whikehart Chorale. RCA VICTOR LSC 2725. SD. $5.98. (in Scènes de ballet), Igor Stravinsky, cond. LYRICHORD LL 133. LP. $4.98. COLUMBIA LYRICHORD LLST 7133. SD. $5.98. Stravinsky has prepared three suites from Ml. 6049. LP. $4.98. his Firebird ballet, the first in 1910, when COLUMBIA MS 6649. SD. $5.98. The anonymously directed Whikehart the music was new, and later versions in Chorale sings works by Schütz with al- 1919 and 1945. He has written that these This disc opens with a piece of hack which most tangible enthusiasm and generally revisions are to be taken as "direct mu- work has hitherto escaped general excellent intonation. Occasionally the sical criticisms" of the original "stronger notice -an arrangement for small orchestra tenors are a little unsteady. but the than words." I have always accepted the of the Bluebird pas de deux from Tchaikovsky's choral tone as recorded sound comes over 1945 suite -that presented in this record - Nutcracker, written in impressively. especially in stereo. The ing-as such (it is the longest and best 1941, when large orchestras were hard opportunity to compare the two settings balanced of the three, contai. ing. in ef- to assemble and Stravinsky's European royalties had been of the Magnificat. one in Latin. the other fect, seven movements), which means 1 cut off by the war. in German. should he welcomed by all have deplored the remarks of those who This is a mere historical curiosity per- admirers of Schutz. and more's the pity infer that the revision was based more on formed in a perfunctory way, as if the that texts did not occupy the space taken matters of copyright and royalties than composer were a little annoyed with it. up by rather feeble jacket notes. The any artistic consideration. Stravinsky has He might well be. but why resurrect it? motets are marginally less convincing than full rights to royalties, and he also has Next is Jeu de cartes. one of the top - the Magnificat performances. since the full rights to second -or third -thoughts. ranking masterpieces of modern theatre dynamic level of the singing rarely drops This 1945 Firebird suite is preferable to music. here presented with the Cleve- below forte and the ear tends to tire the more familiar 1919 version. and I land Orchestra in the greatest recorded sooner than it would if a chance were have wanted a new recording that did it performance the work has so far re- given for really soft singing- which. by justice. We have. of course. a New York ceived. The music spurts. jets, and over- the way, is called for in several places Philharmonic disc with Stravinsky con- flows as ith wit, drama, and the sense by the words of the texts. D.S. ducting. but expert updating cannot oh- of musical gamesmanship which was so scure the fact that its origins were a strong in Stravinsky at the period of 78 -rpm set. The music calls for stereo, composition (1937) and which dictated SIEGMEISTER: Symphony No. 3- a great orchestra, and a high degree of the choice of subject. See Mayer: Overture for an Amer- sympathetic insight from both the con- Last of all is the . Scènes de ballet, ican; Essay for Brass and Winds; ductor and the recording director. We written on commission in 1944 for a Country Fair. have those elements here, and the result Billy Rose revue. It contains some is one of the best things to come from rather nice. coldly objective working of Boston in the Leinsdorf seasons -a disc rhythms and counterpoint, but its slow STRAUSS, RICHARD: Lieder that serves as a testimonial to both the movement is one of the worst pieces of ensemble and the Dynagroove technique. balletic Kitsch since Glazunov. Stravin- Schlagende Herzen: Allerseelen: Mein Surprisingly enough, there is not a sky agrees: in his notes he calls this work, Herz ist .stuntnt: Iclt wollt' ein .Strüus- line on the jacket, or label, to suggest or parts of it, "bad movie mu- .slein binden: .Siiusle, liehe Myrte: Die that anyone at Victor is aware that this sic." and says it is "featherweight and Georgine; Die Nacht: Stiindchen; Befreit; is the superior suite of later years rather sugared." But one may be grateful for .Morgen: Drei Lieder der Ophelia: Ruhe, than a routine remake of the old version. this recording if only because it affords meine Seele!: Leises Lied; Schlechtes (Jay S. Harrison's notes seem to have Stravinsky an opportunity to recall, in Wetter. been prepared without his being given an his notes. that Rose wanted to have opportunity to hear the recording.) The the score reorchestrated by Robert Rus- Evelyn Lear, soprano; Erik Werba, difference is worth some promoting. In sell Bennett. A.F. piano. both matters of text and realization, this is the Firebird suite to have. DEUTSCHE. GRAMMOPHON LPM 18910. fARTINI: Concerto for Violin and 1.P. $5.98. Orchestra, in D minor; Sinfonia DEUTSCHE GRAMMOPHON SLPM Pastorale, for Violin and Strings 138910. SD. $5.98. tNardini: Concerto for Violin and Orchestra, in E minor The good reports from Europe about the young American soprano Evelyn Jan Tomasow, violin: Chamber Orches- Lear, who has won considerable fame tra of the Vienna State Opera, Jan at Berlin. Salzburg. and elsewhere, are Tomasow, cond. unfortunately not fully substantiated by VANGUARD SRV 154. LP. $4.98. this recording. She has chosen a good VANGUARD SRV I54SD. SD. $5.98. representation of Strauss songs. including a number of out -of- the -way items, This disc calls attention to the fact that but she does not do them very much both Tartini and his most famous pupil

106 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com to Verdi's great- chose, at times. to ignore the customary Victrola performance by Monteux and acter in music -the icy emphasis on contrast between first and the BSO. H.G. ness as a musical dramatist. Certainly are second movements of a work: in Nardini's the two leading characters brilliantly score. in their duets E minor and Tartini's D minor the gentle set forth by the both the finales cast of both movements creates a unify- TELEMANN: Quartets for Flute, and in their solo scenes. and ing mood: one might be inclined to miss Violin, Cello, and Basso Continuo: to Acts I and II are legitimate ancestors finales a certain drama were it not for the fact No. 1, in D; No. 2, in B minor; of the tremendous ensemble- of that what does take place is so eminently No. 6, in E minor Trariata, Boccanegra, Aida. and Otello. involve listenable. This is particularly true of The opera's weaknesses -which with the witches Nardini. and is. I would guess. a reflec- Amsterdam Quartet. nearly everything to do severe, severe tion of his own temperament as a player: TELEFUNKEN AWT 9448. LP. $5.98. and murderers -are fairly Leopold Mozart comments in several let- TELEFUNKEN SAWT 9448. SD. enough to cripple it unless great care is ters on the "excellent" violinist's affinity $5.98. taken in production and in the casting of with- for the expansive legato line -and goes the leads. It really cannot succeed in big roles on to say that Nardini seldom played There is a curious blend of elements in out good performers both anything "difficult." But Leopold should these works from Telemann's set Nou- and tasteful handling of such problem and the battle. not be allowed to convince us that Nar- veaux Quatuors en Six Suites published scenes as the prophecies dini lacked spirit: the short, cocky finale in Paris in 1733. For one thing. the It seems a shame that a Callas /Gobbi of the present work indicates otherwise. rhythms of the old dance suite remain, Macbeth (hotly rumored about six years Tartini's Sinfonia Pastorale is in the though the designations are gone (no ago) never became an actuality, for their Corelli Christmas Concerto tradition and sarabandes or allemagnes here -only strengths fit the requirements of the op- even contains some uncanny echoes of such beguiling indications as "Flatteuse- era almost exactly. But in Birgit Nilsson the subject of that famous slow move- nent" and "Triste "). For another. the and Giuseppe Taddei. London has cone ment. But Tartini's piece is much more scoring alternates between a trio sonata up with a formidable pair, and the score adventurous: the solo violin goes off on style in which flute and violin are promi- proves a fine vehicle for the display of some beautiful tangents. and the transpar- nent over the sketchiest bass accompani- Thomas Schippers' best points. The re- ent scoring in places sets the tutti strings ment. and an almost classical trio consult is a fine, satisfying performance. forth to best advantage. Tomasow and cept in which the cello puts in some em- which could he unreservedly recom- his colleagues are completely at home phatic and individual statements of its mended were it not for the fact that here. The soloist approaches his part own. But for the most part the trio RCA Victor's own effort, now five years with a vibrant urgency which is modern sonata character prevails, and viewed in old. is also a successful one. in concept but, to my ears, not in the this light these works are quite diverting. Schippers is certainly splendid. Once least jarring. Sound is bright and just The most interesting is No. 6 -which in a while. he presses: the introduction Ricordi a bit thin, with stereo effects unobtrusive. offers. among other things. a movement to the final scene (p. 275 of the S.F. (marked "Gai" with a charming middle score, just before Macbeth's "Piet() ris- section in the major. and another marked petto, amore ") really strikes me as "Gracieusement ") which contains some rushed, and there are other points where TCHAIKOVSKY: Symphony No. 6, uncanny predictions of Mozart's B flat the conductor seems to put a certain irr B minor, op. 74 ( "Pathétique") Duo for violin and viola. kind of superficial flash ahead of any The performances. which move in high genuine penetration. But most of the Hallé Orchestra, Sir John Barbirolli. gear. are skillful. energetic. and stylish time. Schippers shows an impressive af- cond. rather than warm. In some staccato pas- finity for the kind of on -going cantabile VANGUARD EVERYMAN CLASSICS SRV sages. for example. the attacks on each that is the melodic heart of the work. The 148. LP. $1.98. note are so precise and brief that the beat is always firm -nothing fudgy about VANGUARD EVERYMAN CLASSICS SRV air holes between loom too large for these rhythms -and the wonderful de- 148SD. SD. $2.98. comfort. This is playing that commands scriptive detail in which the score rather than persuades. The balance of abounds (such as the beautifully evoca- With this release, Barbirolli and the sound is fine where the two prominent tive accompaniment to Banquo's recita- Hallé ensemble complete their integral instruments are concerned: the cello is a tive. "Oh qual orrenda notte," just before recording of the last three Tchaikovsky bit more distant than its share in the Duncan's murder) is well underlined symphonies for Vanguard. Here is a proceedings might warrant. S.F. and proportioned. The finales swing with sound. orthodox reading. with healthy a true singing impetus, and the execu- emotionalism always governed by intel- tion of the Santa Cecilia orchestra. not ligent musicality and kept within the con- VERDI: Macbeth always a thing of wonder on past record - fines of good taste. Sir John's choice of ings, is very sharp. tempos avoids any daring excesses which Birgit Nilsson (s). Lady Macbeth: Dora Application of the Nilsson voice to might tax his less than virtuoso outfit Carrall (s). Lady in Waiting: Bruno Verdian line will always be a matter of beyond its capacity to play well. If the Prevedi (t). Macduff: Piero di Palma (t). taste. In all objectivity. one can seldom swirling third -movement march. as he Malcolm: Giuseppe Taddei (b). Mac- say that she sings poorly: yet for me. at gives it. lacks some of the sheer incan- beth: Giovanni Foiani (bs). Banquo: least. she has never been wholly convinc- descence heard in the superb Giulini disc Giuseppe Morresi (bs). A Doctor: Vir- ing in this repertory. The sense of the (for British Columbia -still. hopefully. gilio Carbonari (bs), A Servant: Chorus music's line and flow seems unnatural to Ito be distributed here by Angel) and and Orchestra of Accademia di Santa her. and I miss the kind of warm, pas- Toscanini readings. there is precious little Cecilia (Rome), Thomas Schippers, sionate tone that a topflight ltalianate here for one to take offense at. cond. soprano will bring to it. But regardless The stereo pressing avoids the occa- LONDON 01. 5907. Three LP. $14.94. of one's preferences. it must in fairness sional blatancy encountered in the LONDON OS 25907. Three SD. be said that Nilsson's Lady Macbeth is monophonic parallel. and is therefore to $ 17.94. in many ways extremely imposing. The be preferred. In both versions the per- sheer size. range. freedom. and trueness cussion battery is more prominent than Macbeth has. it seems to me, won its case of her voice are hound to tell -the in any other edition save the old Tos- for the sanie sort of serious consideration cabaletta to "La lure lan,¢ue," for ex- canini: I rather like it that way, at least we accord the later Verdi operas. Nearly ample. has a splendid bite and sweep, in the march. all the early Verdi operas are at least and the decrescendoed B flats in the Among bargain versions. then, this re- fun. and some- Lui.sa Miller. Ernani. Sleepwalking Scene are breath -taking. She lease has much to commend it. So has Nabucco, Giovanna d'Arca, sections of also does more than one might expect the ultraemotional Talich monophonic I Lombardi -are. if well performed. ex- with the text, as with the chilling in- disc for Parliament. My favorite in this tremely effective. But of all of them, flection of "Duncan Sara qui? ... qui?" price category, however (and one of the Macbeth is the one that most successfully or the gritted -teeth determination of best at any price) remains the RCA comes to grip with the creation of char- "E necessario!" Nilsson is simply not the

MARCH 1965 107

www.americanradiohistory.com 00o r0000 on Callas sort of specific vocal actress, but Gone is the choral stretta in the first there is nothing dense or eccentric about scene; the repeat of Lady Macbeth's "Or this interpretation. tutti sorbete"; about half the music that There are reservations that must be accompanies Duncan's arrival; a couple of made. She simplifies and smears the runs; pages of the Act 11 finale; the ballet of STEREO HI -FI she cannot handle the turns and other spirits and devils in the apparition scene figurations of the Brindisi: the famous and the chorus and ballet that comes later piano and tape recording D flat at the end of the Sleep- in the scene (pp. 226 -234); and part of the walking Scene is thin and precarious, "La patria tradita" chorus after "Ah, la though this entire scene is an improve- paterno nano." A good deal of this mu- ment on her recent separate recording. sic is present in RCA Victor's recording. There is little doubt that Leonie Rysanek Many listeners may not much care that has a better sense of the music's move- large portions of the witches' music are r /ILL /ED ment, and more interpretative thrust; but absent, but as it happens, these choruses ELECTRONICS the sound of the compact, dead -steady are well done on the London recording, Nilsson tone cutting through the ensem- with none of the childish crone -tone that i FOR EVERYONE 1965 bles or soaring through the cabalettas is afflicts the Victor witches, and I don't worth a great deal. think the extra music would have hurt. Taddei, without doubt the best Italian Also absent is the death of Macbeth. "singing baritone" currently in practice, This cut is surely defensible, on the is thoroughly admirable. His vocalism is grounds that Verdi himself made it in consistently firm, rich, and fat, his inter- revising the score (the passage is not in pretation alert and positive. He has mo- the current Ricordi edition). To me, W-. ments of great force and authority, as in though, Macbeth's *WWII "Vil corona, e sol per the decision to murder Banquo at the te" is one of the outstanding opportuni- i - knlgM -áil' opening of Act 11, or the scene with the ties in the score, and i am sorry to see apparitions. Only on sustained top tones it omitted. ALLIED RADIO does some unsteadiness creep into his It has taken space to register these singing, but these are few and far be- complaints, none of which is of prime tween in this part, whose tessitura seldom importance, however relevant. They rises above E natural or F. Leonard War- should not obscure the fact that this re- ren was in good form for the Victor recording is in its essentials a positive suc- cording, and is certainly to be preferred cess, and a very solid realization of a in the last -act aria and at certain points rewarding opera. C.L.O. where he strikes through to something imaginative, as in the whispered "a to spezzar!" at the end of the Act 1 duet VERDI: Il Trovatore (excerpts) with Lady Macbeth. By and large, send today for your money -saving though, I find Taddei's Macbeth more Elizabeth Fretwell (s), Leonora; Patricia idiomatic and alive. Johnson (ms), Azucena: Rita Hunter The Macduff is Bruno Prevedi. a tenor (nos), Inez; Charles Craig (t), Manrico; 4111/Eli with a number of recent successes to his Peter Glossop Ib), Di Luna; Donald Mc- credit and a Met debut in his immediate Intyre (bs), Ferrando; Chorus and Or- 1965 catalog future. He has a ringing, solid voice chestra of Sadler's Wells Opera, Michael which is a bit harsh and a bit awkward Moores, cond. 490 Value- Packed Pages: See the world's around the upper -middle break. His "Ah, largest CAPITOL P 8609. LP. $3.98. hi -fi selection, including special la paterna mano" is not as liquid and CAPITOL SP 8609. SD. $4.98. buys available only from ALLIED. Save on polished as Carlo Bergonzi's, but the complete Stereo systems, famous-make voice components, everything in tape has clarity and metal. Giovanni This is the second highlights -in- English record- Foiani is a ing. Extra savings on exclusive KNIGHT® thoroughly adequate Banquo, disc to arrive from Sadler's Wells. (The components. For everything in hi -fi, for but a bit woolly and beset by a quick first, a couple of years back, was a everything in Electronics, send for your vibrato that is sometimes distracting; i Madame Butterfly.) The selection in- Free 1965 Allied Catalog. think Victor's Hines is to be preferred. cludes "Tarea la notte" and "Di tal l have two complaints about the set as amor," the "Anvil Chorus," "Stride la save most with build- your -own a whole -the engineering and the cuts. vampa." "Il balen" and a fair portion of I simply do not understand a theory of the Act 11 finale, "Di que /la pira," the knight -kits! recording in which soloists often sound Miserere. "Mira. d'acerbe lagrime," and See what's new -see over 90 great easy - three city blocks away from the micro- "Ai nostri monti" through to the end to -build kits: Hi -Fi, Hobby, CB, Shortwave, phone, or in which the acoustic ambience Amateur, Automotive, Intercom, of the opera. Test In- is strument- savings up to 50%. so echoey and reverberant as to blur The raison d'être of the thing, obvious- words and notes. How can they possibly ly, is the translation, which is by Norman allow Banquo's important "Ah! EASY l'inferno Tucker and Tom Hammond, and is TERMS: Use the convenient it ver, it Allied Credit Fund Plan. F ver parlò!" to be covered by the evidently the one regularly used at Sad - orchestra, or Macbeth's ravings in the ler's Well. Its sound is satisfaction guaranteed R almost Victorian or your money back Banquet scene (pp. 143 -44) to be only -it could easily be mistaken for a turn - E vaguely audible beyond a curtain of of- the -century edition. This sort of effort ALLIED RADIO orchestral sound? The ensembles sound is easy to make fun of, and indeed this E splendid -weighty and resonant -but the Troubadour throws a good many Gil - balance in solo passages is frequently ex- bertian moments in front of anyone I ALLIED RADIO, Dept. 9 -C V ecrable. Some aspects of recording tech- trying to take it seriously. But it's not 1 100 N. Western Ave., Chicago, III. 60680 nique are debatable, but i don't think the really any worse the El Send FREE 1965 ALLIED Catalog than colloquial position of the singer in early Verdi can coyness that infects most recent libretto Name be open to much doubt. Regrettably, translationese. The real problem lies in RCA Victor's production also leaves the fact that Tucker and Hammond have something to be desired in this respect - not been able to remold the bond be- Address Bergonzi, for example, sounds as if he is tween the meanings and sounds of the singing his aria from behind the curtain. words and the impulses of the music. City Zone State Infuriating. This difficulty exists even where the lines L J As to the cuts, they are considerable. are quite literal transpositions of the CIRCLE 3 ON READER -SERVICE CARD Ins HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Italian meanings; all one needs is a tremes being in accord with the music's approach changed word order, or the extra heavi- inherent meaning. Ephrikian's who occa- ness imparted by the very sounds of also influences the singers, English, to destroy the point, the impetus sionally do violence to the sense of the rirtrctis ( "the rod of thy of a phrase. Consequently, things don't text. Virgam sound quite in rhythm, the curves of power ") is sung as if the subject were a phrases are flattened out. Time and runcible fly swatter, and even the liner again. the listener has to wonder: Why notes enthuse about the "exquisite ten- those notes or those accents? Why that derness" of this duet, which in fact orchestral effect or dynamic change? I calls for dramatic declamation of un- just don't know if the problem is suscepti- compromising stability. The best of the ble of solution. four soloists is the tenor, Ugo Benelli. The performance is not without inter- whose expert control of the most rapid est. Michael Moores's conducting has passagework and the longest ntessa di considerable impetus and idiomatic feeling toce makes the entire disc worth having. for phrasing, and the chorus and orches- The Sinfonia is performed in a lack- tra sound larger and better than those of luster manner. without trace of any our City Center. Among the singers. Peter continuo instrument. D.S. Glossop, a rising young English baritone, makes the strongest impression -a firm, ringing voice with real cantabile line. and WAGNER: Der fliegende Hol- a good. manly projection of the music. länder (excerpts) Elizabeth Fretwell has a healthy. round voice which tends to spread: she does Marianne Schech (s), Senta; Rudolf nothing subtle or terribly individual. but Schock (t), Erik; Fritz Wunderlich (t), mov_s everything along and gives a satis- Steersman; Dietrich Fischer -Dieskau (b), fying, traditional account of herself. The The Dutchman; Gottlob Frick (bs), Leonora /Di Luna scene is on quite a Daland; Chorus and Orchestra of the high level, by far the best thing on the German State Opera, Franz Konwitschny, record. Charles Craig's tenor is on the cond. dry. colorless side, but he sings with some ANGEL 36213. LP. $4.98. force and understanding, and certainly ANGEL S 36213. SD. $5.98. encompasses everything without noticeable strain. Patricia Johnson's Azucena, This is a good selection from the com- though, is barely adequate-smal-sound- plete Angel set. released a couple of ing and lacking in much sense of per- years ago. It omits the overture, which sonal involvement. The sound is satisfac- seems sensible in view of the many avail- tory enough, not absolutely top- drawer. able versions, and gives us the opening I wish texts had been provided, since scene. including the Steersman's song and passages of some length go by pretty carrying through the Dutchman's mono- incomprehensibly. C.L.O. logue; then Senta's ballad; next the "Wie tats der Ferne" duet and part of the Daland /Senta /Dutchman trio; then the VIVALDI: Dixit Domi tuts; Sinfonia Act Ill dance and chorus, followed by al Santo Sepolcro the Erik /Senta scene and the finale. This means that the "highlights" left out in- Karla Schlean. soprano; Adele Bonay. clude the Spinning Chorus, Daland's aria, contralto; Ugo Benelli. tenor; Gastone Erik's cavatina from Act H, and the re- Chamber Choir and mainder of the Dutchman /Senta scene art Sarti. bass; Vienna Orchestra; I Solisti di Milano (in the at the end of Act II. Sinfonia). Angelo Ephrikian. cond. The present grouping of material seems AM WED AVRS 5016. I.P. $5.98. a logical one. maintaining some of the AMADEO AVRS 5016ST. SD. $6.98. opera's dramatic line and skipping most collector the hackneyed stuff. On relistening to of How's your tape collection sound? from the performances. I was again struck Prevented by a physical ailment Do your Ellington's sound like 'ell? the Red Priest himself by the very solid contribution of Mari- saying Mass. Does your Tchaikovsky sound tcheap-ski? regarded his liturgical anne Schech. particularly in the ballad, may well have Well don't blame that expensive equipment as a humble substitute offering. where her voice opens out excitingly on music if you're using a `bargain" microphone. a intrinsic qual- the high phrases at the end. Dietrich but it is music of high The finest home recording equipment in the composer ought Fischer -Dieskau still seems to me a bit ity and sponsors of the world can only record what to provide a substantial enough portion fussy in this music, but it is fussiness comes through the business end - the deluge of Vivaldi con- on a very high level, and no one will go to balance that's why it doesn't pay to cut corners the past decade. far wrong with his interpretation; in the certos recorded over when selecting your microphone. t)i.rit Dominus final scene he is powerful indeed. Rudolf Fnhrikian has recorded If quality counts with you. enjoy the his new version is at least Schock is in better than average voice; before, and magnificent reproduction possible with sonically. Antiphonal the others are quite solid; and the sound an improvement the Turner Model 500 Cardioid. for Vespers set in the spacious is excellent. In sum, a sensible acquisi- psalms With fine equipment. and the Turner 500 of Monteverdi and Handel really tion for anyone in the market for an manner every tape h a work of art. stereo for their full effectiveness, abridged Flying Dutchman. C.L.O. need Ask your dealer about it next time you're in. and here the impression is both realistic and musical. The musicality derives rather from Vivaldi than from Ephrikian, WAGNER: Parsifal Venice through rose - who sees baroque MICROPHONE COMPANY tinted nineteenth- century spectacles. Al- Soloists; Chorus and Orchestra of the THE though some of the verses are plausibly Bayreuth Festival (1962), Hans Knap- 942 17th Street N.E. Cedar brought off. there is far too much pertsbusch, cond. Rapids, Iowa evidence of indecision between swell - In Canada: TriTI Associates, Ltd., I Sheppard Me. West, Willowdota. Ontario a feature review of this recording, pedal techniques and sharply defined For Export: Ad Auriemo. Inc.. SS Broad Street. changes of dynamic, neither of these ex- see page 85. New York 4. N.Y. CIRCLE 66 ON READER -SERVICE CARD MARCH 1965 I 09

www.americanradiohistory.com indebted to the young Australian conduc- THE ENGLISH COUNTRY DANC- tor Richard Bonynge for having helped ING MASTER, Vol. 2 to resuscitate a number of operas from the age of bel canto for his wife, Joan Theodora Schulze, oboe and recorder; Sutherland. One wonders, however, if he Richard Schulze, recorders; Dorothy is performing a similar service in at- Walters, harpsichord: Telemann Society tempting to popularize some of the lesser Orchestra. kcitals ballet music of the nineteenth century. Vox DL 1140. LP. $4.98. Ludwig Minkus, Cesare Pugni, Daniel Vox STDL 501140. SD. $4.98. François Esprit Auber, Eduard Helsted, and Riccardo Drigo may have composed These country dance tunes have been miscellany pieces that were serviceable enough to edited and rearranged for small orchestra show off the virtuosic feats of ballet or wind soloists with harpsichord, and dancers. but without the visual pyrotech- very good tunes some of them are. The nics to absorb one's attention this music various items are better programmed than has difficulty standing on its own toes. in Vox's earlier disc, and the sequence of Those seeking more rewarding fare tunes makes for pleasant listening. Al- among ballet pas de deux would do well though some of the ensemble in the to investigate Capitol's six -year -old al- orchestral pieces tends to be a little MARIAN ANDERSON: "Farewell bum (of the same title) on which Robert ragged, Recital" this rough- and -ready effect ac- Irving conducts excellent performances tually contributes to the bucolic charm of excerpts from ballets by Adam, Cho- Handel: Siroe: Ch'io mai vi possa. of the music, which would be lost by pin, Delibes, Tchaikovsky, and Prokofiev. Haydn: The Spirit Song; My Mother too smooth and professional a per- Whatever the merits of the repertoire Bids Me Bind My Hair. Schubert: Sulei- formance. D.S. chosen for the present disc, though, it ka 1; Liebesbotschaft; Der Doppelgänger; should be added that one can have Erlkönig; Ungeduld. Quilter: Blow, Blow, only the highest praise for the balletically Thou Winter Wind. Anon: The Plough MUSIC OF MEDIEVAL FRANCE idiomatic fashion in which Bonynge pre- (1200 -1400) Boy (arr. Britten) ; Let Us Break Bread sents it. He elicits smart, crisp playing Together (arr. Lawrence); Oh! What a from the orchestra, and the reproduction Beautiful City (arr. Boatner); Ride On, Anon: Dic Christi ventas; Pater nosier is notable for its bright realism. P.A. conuniserans; Alleluia, King Jesus (arr. Burleigh ); Done Foun' Christus resur- gens; Hoquetas "In secuhun Amor My Los' Sheep (arr. Johnson); Lord, 1 "; potest conqueri; In seculum d'Amiens Can't Stay Away (arr. Hayes); He's Got DOMINICAN the Whole World in His Hands (arr. SISTERS OF FICHER- longuet: El mois de niai; La Manfredina; Forrest). MONT: Gregorian Chant Or sus vous dormez trop. Perotin: AIle- luia Nativiias. Vaillant: Par maintes Toys. Marian Anderson, contralto; Franz Rupp, Dominican Sisters of Fichermont Solage: Plusieurs gens voy. Matheus de piano. (France). Perusio: Ne me chant. Guillaume de PHILIPS PCC 212. LP. RCA VICTOR LM 2781. LP. $4.98. $4.98. Machaut: S'il estoit; Comment qu'a moi. PHILIPS 612. RCA VICTOR LSC 2781. SD. $5.98. PCC SD. $5.98. Matheus de Perusio: Andray sonlet. So- lage: Helay je voy. Grimace: Alarme, The sentiment on this disc is on two The dawn of the thirteenth century saw alarme. levels: one, that Miss Anderson is now the founding of the Order of Friars engaged on her farewell concert tour; the Preachers, whose rule, liturgy, and chant Deller Consort, Alfred Deller, cond.; other, that Constitution Hall, where this were adapted from Roman monastic Concentus Musicus (Vienna), Nikolaus particular concert was given and re- sources by St. Dominic and his brethren. Harnoncourt, cond. corded, is the hall which its governing The Order survived the critical period of VANGUARD BG 656. LP. $4.98. board. the Daughters of the American the Council of Trent. since it had been VANGUARD BGS 70656. SD. $5.98. Revolution. once barred to the singer in active continuously for more than two less enlightened times. That she sings centuries, and its present vigor and in- One side of this disc is devoted to church there now is somewhat her own doing. fluence remain uncontested. The music music, the other to secular repe.tory, all Unfortunately, sentiment is the record's of the Dominican rite is not generally ostensibly from medieval France. Two primary appeal, and to experience it one well known, and this disc, beautifully items by the Perugian composer, Ma- must also endure singing that is pinched sung by a choir of French nuns, might theus, are also included since they have in tone, uncontrolled in pitch and volume, have done much to improve the situation. French texts, though these items are not and in all a threadbare remnant of a There are unfortunately several draw- sung, but performed as if they were once thrilling instrument. Even so, one backs, which come as a surprise in an purely instrumental pieces. La Mccctfre- can experience the exaltation that still album described as part of "the Philips dina, an Italian composition almost cer- shines through occasionally, in the final Connoisseur Collection, a presentation tainly by an Italian, appears in the midst bars of Suleika and in the concluding of fine recorded music, accompanied by of a string of French songs. No credit spirituals. Franz Rupp, Miss Anderson's an informative text richly illustrated and is given to those responsible for primary noble partner from the beginning, figures documented." The chant, instead of being transcriptions of the music. though much both musically and sentimentally. A.R. sung by voices alone, is accompanied by of the material seems to derive from an organ. If done artistically, this kind Rokseth's monumental Polyphonies du of compromise can be acceptable in cer- Xllle siècle and Apel's French Secular RICHARD BONYNGE: "Pas de tain circumstances. But the organ is Music of the Late 14th Century. The in- Deux" (horribile dicta) an electronic one, and strumental realizations sound as if they somehow an electronic St. Dominic of- were the work of Nikolaus Harnoncourt, Minkus: Paquita: Pas de Deux. Pugni: fends the ear. The organ solo passages, director of the Concentus Musicus. On Esmeralda: Pas de Deux (arr. Drigo). short though they are, exhibit a sorrow- the whole these are imaginatively done, Auber: Grand Pas Classique. Helsted: ful imitation of late nineteenth -century though here and there his obsession with Flower Festival in Genzano: Pas de musical taste at its worst. The richly percussion instruments leads to q.iirky Deu.r. Drigo: Le Corsaire: Pas de Deux. illustrated text turns out to be a six - results. as in the song by Solage, where page brochure containing a sketchy and the insistent drummings obscure the London Symphony Orchestra, Richard unsigned account of the chant, a chopped - fluidity and beauty of the vocal line. The Bonynge. cond. off fragment of a page from a printed various members of the Deller Consort LONDON CM 9418. LP. $4.98. antiphoner, and a collection of texts perform this music with some success, LONDON CS 6418. SD. $5.98. which do not correspond with the ma- by far the most outstanding artist being terial on the label or the disc. Can Mary Thomas, whose lively singing of Countless thousands of opera fans are Philips not do better than this? D.S. the two bird songs should have inspired

110 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com can do very much to remedy to enunciate the French Whitsun Jones, singer and speaker: Des- composers her colleagues such a situation, especially when the re- with the clarity they deserve. mond Dupré, lute: Elizabethan Consort texts cording acoustic is a good deal drier pieces with secular French of Viols: Taylor Consort of Recorders: Several than the Arizona desert. texts are performed by instruments Leslie Pearson, cond. SOCIETY SRS Neither liner nor labels credit the alone, and though one regrets the loss SHAKESPEARE RECORDING idea to pro- 242. Three LP. $17.85. composers concerned, but their names of the words it was a good which The In seculum" SHAKESPEARE RECORDING SOCIETY can be found in a booklet of texts, vide some contrast. to correspond with what of course on the sacred SRSS 242. Three SD. $17.85. sometimes fails settings belong there is no way of and are merely frag- is sung. Moreover, side of the disc, which artists sing which item. large -scale setting of the This album is almost certain to disap- discovering ments of a the singers, presumably Paul Easter Day, Haec dies. In point genuine lovers of Shakespeare's One of Gradual for is guilty of very rough and the two conductus, plays and the music they inspired. The Whitsun Jones, the two Alleluias sometimes ac- is fairly high but singers and instrumentalists do their best and unvocal performances, the standard of singing sound effects. sounds odd here and there, with a tedious concatenation of tasteless companied by hideous the phrasing The real streak of lunacy here lies in works had been recorded in a arrangements, well described in the brief as if the the decision to arrange all the songs for relatively dead acoustic and then proc- liner note as "a bit of nudging." But mightily wronged old instruments -viols, lute, and virginals essed through a mechanical echo con- neither they nor the traption. Whatever the explanation may be, there is something about the sound that is not entirely convincing, at any rate to my ear. D.S.

LEONARD PENNARIO: "Humor- esque" Beethoven: Albumblatt "Fiir Elise." De- bussy: Children's Corner: Golliwog's Cakewalk. Dvofák: Humoresque, Op. 101, No. 7. Falla: Spanish Dances: No. 4, Andaluza. Grieg: Lyric Pieces, Op. 43: No. 1, Butterfly; No. 6, To Spring. LISTEN TO THE Gershwin: Preludes (3). Rachmaninoff: March Humoresque, Op. 10, No. 5; Polichinelle, Op. 3, No. 4. Rubinstein: Romance in E flat, Op. 44, No. I. Schubert: Moment Angels musical. No. 3, in F minor, Op. 94, No. 3. Tchaikovsky: Humoresque, Op. 10, de Falla: The Three -Cornered Hat. de Beethoven: Sonata No. 13 in E Flat No. 2; Troika en traîneaux, Op. 37a, 27, No. 1; No. 14 No. I. Falla 's music depicts the rich character Major, Opus Sonata of Spain- earthy, passionate, haunting, in C Sharp Minor, Opus 27, No. 2 piano. Leonard Pennario, beautiful. And Victoria de los Angeles ( "Moonlight "); and Sonata No. 15 in D RCA VICTOR LM 2731. LP. $4.98. 56) RCA VICTOR LSC 2731. SD. $5.98. brings it to life, as only a true Spaniard Major, Opus 28. (COLH can. de los Angeles, and The Philharmonia Leonard Pennario is rapidly becoming Artur Schnabel's legendary performances conducted by Rafael Friihbeck the pianistic counterpart to Arthur Fie - Orchestra of Beethoven's piano music are milestones Pops. He plays these short Burges. (S 36235) dler's Boston de in the history of recordings. His "mastery pieces with admirable care and impec- Symphony No. 5 in E cable taste. A generation ago, every con- Tchaikovsky: of this music was one of the glories of the cert recitalist used to bestow these Minor, Opus 64. The lonely loveliness of past generation." (High Fidelity, Philip vignettes on an appreciative audience, this great symphony has never been ex- Recordings of the Century but today most performers consider such Hart) (Great in this stirring practice démodé. Pennario does not quite pressed more movingly than albums, in mono only.) awaken the bygone days with any special new recording. The New Philharmonia will available flashes of temperament, but he doesn't Orchestra conducted by Georges Prêtre. All these new releases be recoil in horror from the "corn" either. the week of March 8. Ask your record He uses a bit too much pedal in the (S 36259) dealer for them. Ask him also for "The Schubert, and perhaps his Beethoven, Couperin: Lecons de Ténébres; Scarlatti: Gershwin Preludes, and Golliwog's Cake- Angel World of Classical Music " -a com- On the Cantata: Infirmata Vulnerata; and Tele- walk are a shade cut and dried. plete, cross -indexed, 224 -page catalogue whole, though, this is an attractive re- mann: Cantata: Die Hoffnung Ist Mein of 700 Angel albums, plus biographies of cital. Leben. Dietrich Fischer -Dieskau, bari- The piano sound has a strangely un- famous artists, and other special features. natural, "all middle" effect as if one tone, with the Chamber Group. Fischer - were cupping one's hands over one's ears. Dieskau is "one of the supreme vocal It is not at all an unpleasant tone, but artists of the century. I know of no other Advance Notice: Angel's eagerly -awaited it is a type of sound which, for some reason or other, seems restricted to RCA singer -even among the giants of bygone new stereo recording of Tosca -with Victor discs. Is their equalization differ- times -who could command such a wide Callas, Gobbi, Bergonzi, and Prêtre -will ent from that of other companies'? H.G. range of vocal colors, or who could apply be released later this month. them with such imagination. "(!nigh Fidel - This album is destined to he SONGS FROM THE PLAYS OF ity, C. L. Osborne) (S 36237) one of the most cherished SHAKESPEARE Beethoven: Sonata No. 11 in B Flat opera recordings in history. Angel Jennifer Vyvyan, soprano; John Whit- Major, Opus 22; and Sonata No. 12 in A (SBL 3655) worth, countertenor; Wilfred Brown, tenor; Maurice Bevan, baritone; Paul Flat Major, Opus 26. (COLH 55)

MARCH 1965 111

www.americanradiohistory.com (player unnamed). These instruments, as went so far as to use a steel -strung bow everybody knows, fell into disuse soon to achieve that effect. Moreover. he was after the Restoration of the Monarchy a playeu of impelling temperament who in 1660; but here they are made to ac- liked headlong tempos and driving company songs, catches, and glees by rhythms. The Kreutzer is music that Purcell, Chilcot, Arne, Boyce, and even can take the sort of rendition Huberman modern composers. The results are ac- kissues gives it here. Of contemporary violinists, cordingly unhistorical and frequently only Heifetz succeeds in making the ludicrous, and one soon begins to bemoan giant work sound comparably angry. The the wasted talent of such fine artists as breadth, spirit, and flaming control of Jennifer Vyvyan and Wilfred Brown. Huberman's playing are simply fantastic. The extraordinary thing is that the And one is forced to notice his intona- album could have been properly put to- tion-he plays so remarkably in tune! gether by any one of several acknowl- BEETHOVEN: Sonatas: for Piano, Friedman, unfortunately, does not play edged experts on Shakespeare and Music No. 14, in C sharp minor, Op. 27, in this work as well as Huberman (or as -such names as Cudworth, Brennecke, No. 2 ( "Moonlight" (A); for Vio- well as he himself did in the less de- and Sternfeld spring to mind at once lin and Piano, No. 9, in A, Op. 47 manding Moonlight Sonata). In the dif- because of their fine and authoritative ( "Kreutzer ") (B) ficult development section of the first publications in this field. As it stands, movement. the pianist comes close to this production is little more than a Bronislaw Huberman, violin (in Op. 47); breaking down in a few spots. He also sorry mess. D.S. Ignaz Friedman. piano [(A) from Co- loses control of the dotted tarantella lumbia 1818/19 and M 54, 1929 -30; (B) rhythm of the finale. The impact of his from Columbia LOX 75/78, M 160, and playing is further weakened by the ex- VARIOUS INSTRUMENTALISTS: Decca 23305 /08, 1929 -30]. tremely backward balance, in the re- "Dances and Diversions" MuzA XL 0148. LP. $6.98. cording sound, of the piano in relation to the violin. No, this Kreutzer is Huber - Albinoni: Sonata in A; Suite. Corelli: These are two valuable reissues indeed - man's show. Suite. Telemann: Divertissement. Vi- arresting performances by two iconoclas- As these are very old recordings, one valdi: Suite. Purcell: Trumpet Tune; tic but sovereign instrumentalists of a cannot expect much in the way of sound. Hornpipe. Clarke: Trumpet Voluntary. bygone era. Even if this disc serves no The transfers are capable enough, al- Sweelinck: Variations on "Mein junges other purpose than to reintroduce these though a glaringly bad side -to -side splice Leben hat ein End." masters to a generation who did not in the finale of the Kreutzer should know them, it will be serving a vital never have passed muster. (The music Jean- Pierre Rampal, flute; Maurice An- cause. pauses momentarily and then resumes at dré and Marcel Lagorce, trumpets; In- Fortunately. there is far more than a slightly different pitch.) Some of the strumental Ensemble, Armand Birnbaum, mere historical reason to own this record, highs have apparently been removed in cond. for both performances are real interpre- order to reduce the surface noise. H.G. MERCURY MG 50504. LP. $4.98. tations in addition to being strikingly dif- MERCURY SR 90404. SD. $5.98. ferent from those one is apt to hear today. lgnaz Friedman. a pupil of BIZET: Carmen Knowledgeable baroque-buffs may look Leschetizky and a noted Chopinist. gives askance at some of the above titles, an enthralling account of the Moonlight Janine Micheau (s), Micaela: Denise aware that the term "suite" was seldom Sonata. His first movement is gravely Bowsin (s), Frasquita; Suzanne Juyol if ever used by Vivaldi and Albinoni and slow. full of singing line and color. and (ms), Carmen; Jacqueline Cauchard never by Corelli. What this record actu- (for its time) rhythmically conservative (ms), Mercédès; Libero de Luca (t), ally contains is a rather heterogeneous in its respect for pulse and continuity. In José: Serge Rallier (t), Remendado: collection: a few separate short works, its daringly slow tempo, the second Julien Giovanetti (b), Escamillo; Jean sonatas from various collections and a movement is reminiscent of another Vieuille (b), Dancaïro; Marcel Enot (b), culling of individual movements from Pole's -- Paderewski's. But where the Morales; Henri Medus (bs), Zuniga; Corelli's Chamber Sonatas. The arrange- latter worked havoc on the music by Chorus and Orchestra of L'Opéra - ment for winds, brass, and percussion, applying all sorts of rubatos and rallen- comique (Paris), Albert Wolff, cond. as well as some of the grouping, is the tandos. thereby causing it to sound re- [from London 4304, 1951 -52]. work of an anonymous editor. dundantly sentimental, Friedman un- RICHMOND RS 63006. Three LP. $7.47. The music is all quite pleasant, and compromisingly adheres to the pace he the arrangements, as well as bearing a has set. In his interpretation, the music 'This recording is in the same boat as surface resemblance to other baroque moves along in a measured minuetlike many other Richmond complete operas: pieces, have a titillation value that form, with an unusual pattern of ac- as a good buy for the price, si; as the actually enhances some of the music. I centuation (a strong accent on the third No. 1 version, no. doubt, for example, whether the Albinoni note of the repeated cadence, quickly fol- The principals are all in the serv- pieces would be nearly as effective with lowed by a sharp diminuendo) adding all iceable- but -nothing -memorable category. strings, since they are rather ordinary the needed inflection of phrase. The Janine Micheau, a distinctly solid Mi- up-and -down stuff. finale goes at a real gusty Presto, and as caëla (far better than in her later effort The performances are lively and noisy in the second movement, one can hear for Angel under Beecham), is perhaps in the best sense. It is a little unsettling all sorts of dynamic distentions without the best of the lot. Suzanne Juyol is a in these enlightened times, however, to any bothersome changes of basic tempo. traditional, unsubtle Carmen; at her find the trumpets taking the ornaments One can notice the tension being screwed best, she sings out satisfyingly, but her in the Trumpet Voluntary from the lower even tighter as Friedman chooses to intonation is not of the sharpest variety note; besides being unauthentic, it doesn't bring out a syncope in the left hand, or and she casts little light on the role. sound good. A.R. make some other such adjustment in the Libero de Luca is an unobjectionable tonal balance. With finger independence lyric tenor, better in the first two acts like his, such feats were second nature. than in the more dramatic portions later All told then, this is a tremendous per- on, but always competent. Julien Gio- formance of a much battered opus and vanetti, the Escamillo, is not at home one which can be wholeheartedly ac- around E and F, but observes the grace cepted once the raised eyebrows have notes in the "Toreador Song" better returned to their proper place. than anyone else on records. Huberman was a master of the slash- And so on. Wolff's leadership is ing school of violinism. He always not of virtuoso rank, with both choral tended to favor a slightly ferocious and orchestral execution sometimes sound from his instrument. and even slovenly (the chorus, especially, is an

112 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Vogelgesang: Walther indolent -sounding lot). But it must be balances arc sotnctintes off, and the David Thaw (t), Zorn; Franz Klarwein (t), said that everything sounds idiomatic and sound is not very faithful to reality. Carnuth (t), Ostertag Moser; natural. Small parts are competently and The A major, on the other hand, is one Eisslinger; Karl (t), Sachs; Hans Hotter knowingly taken, and everything is of a of the best readings of that great work, Otto Wiener (bs), Hans Bruno Ernst (bs). piece -which is more than can be said though the sound here does not have the (bs), Pogner; Watchman; Benno Kusche (bs), of some more glamorously cast albums. warmth, clarity, and definition that the Night (bs), The sound is fair. Not a soul -searing original LP had. (Epic named the con- Beckmesser; Josef Metternich interpretation, but, at the bargain re- ductor in this work as Paul Sacher, by Kothner; Carl Hoppe (bs), Nachtigall: Keil (bs), Ortel; Georg Wieter issue price.... C.L.O. the way.) In no part of this "stereo" Adolf disc is there any directionality to be (bs), Schwarz; Max Pröbstl(bs), Foltz: heard. N.B. Chorus and Orchestra of the Bavarian DEBUSSY: Sonata for Cello and State Opera, Joseph Keilberth. cond. Piano, in D minor (A) [from Eurodisc 70850 XR, 1964]. tLa1o: Concerto for Cello and Or- WAGNER: Die ¡Meistersinger von RCA VICTOR LM 6708. Five LP. chestra, in D minor (B) Nürnberg $24.90. RCA VICTOR LSC 6708. Five SD. Maurice Maréchal, cello; Robert Casade- Claire Watson (s). Eva: Lillian Benning- $29.90. sus, piano (in the Debussy); Orchestre sen (ms), Magdalena: Jess Thomas (t), Symphonique, Philippe Gaubert, cond. Walther; Friedrich Lenz (t), David: This is a domestic reissue of the Euro- (in the Lalo) [(A) from Columbia LFX 85/86, 1930; (B) from Columbia LFX 282/84, also M 185, 1932]. PATHE COLC 99. LP. $5.98.

Maurice Maréchal, who died last year at the age of seventy -two, had a celebrated career and was involved in the premiere performances of many important works, among them the Ravel Duo Sonata for Violin and Cello. His playing on these -f ancient but still serviceable recordings shows him to have been a musician of New Releases VANGUARD EVERYMAN CLASSICS temperament. He had a big, full tone Rossini- Respighi "Devoted to the proposition that it is possible to put with the characteristic nasal vibrato often out quality records at low prices." H. Kupferberg, found in the French school of string LA BOUTIQUJE N.Y. Herald Tribune playing. There is prodigious technique FANTASQUE $1.98 for Mono and Stereo in evidence here and an intriguing New Releases the ROSSINIANA propulsiveness (occasionally on BEETHOVEN: SYMPHONY NO. 3 IN E FLAT, " EROICA" in the Orchestra of the CORIOLAN OVERTURE verge of getting out of control Vienna Festival cer- Sir Adrian Boult conducting the London Philharmonic Prom- Concerto). Of course one will find Antonio Janigro, enade Orch. SRV -127 & SRV-127SD tain slides and dubious shifts in the conductor BEETHOVEN: SYMPHONY NO. 7 IN A MAJOR artist's work, for revolutionary things EGMONT OVERTURE VRS -1127 & VSD -71127 Sir Adrian Boult conducting the London Philharmonic Prom- have happened to the playing of stringed enade Orch. SRV -147 & SRV -147SD instruments since the early Thirties when Prokofiev "Boult, more than any other conductor, gives me back what I have synthesized in my mind as the ideal performances of my these discs were made. All things con- SYMPHONY NO.3, favorite symphonies." Atlantic Monthly sidered, however, enjoyment of Maré- THE GREAT WALTZ COMPOSERS OP. 44 Lanner: Hofballtänze chal's interpretations will probably re- Joh. Srauss, Jr: Seid umschlungen, Millionen! quire less forbearance on the listener's LE PAS D'ACIER Josef Strauss: Dynamidcn; Waldteufel: Tres Jolie Utah Symphony Ziehrer: Faschingskinder: Nedbal: Kavalier Waltzes part than would the work of most cellists Anton Paulik conducting the Vienna State Opera Orchestra Orchestra SRV-150 & -150SD of the period, save possibly Casals. Maurice Abravanel SRV the Debussy hand- SCHUBERT "TROUT" QUINTET IN A MAJOR Casadesus supports conductor Denis Matthews, piano, and Vienna Konzerthaus Quartet somely, with firm, slightly inflexible VRS -1122 & VSD -71122 SRV -l51 & SRV -151SD rhythm and brisk, sharp outlines. The BACH: CANTATA NO. 4, "CHRIST LAG IN TODESBANDEN approach works well. Gaubert's lead- PHYLLIS CURTIN CANTATA NO. 140, " WACHET AUF" ership in the Lalo has fiery verve, but Soloists, chorus, orchestra; Felix Prohaska, conductor sings SRV -152 is handicapped by the unresonant studio CANTIGAS Y BACH:EASTER ORATORIO sound of the recording, well transferred Soloists, chorus, orchestra: Felix Prohaska, conductor CANCIONES SRV -156 though it is. OF LATIN AMERICA MADRIGALS OF MORLEY AND WILBYE There are several excellent modern The Deller Consort SRV -157 & SRV -1S7SD Ryan Edwards, piano MOZART: STRING QUINTET IN C MAJOR, K. 515 editions of the Debussy Sonata, and an VRS -1125 & VSD -71125 STRING QUINTET IN G MINOR, K. 516 admirable Starker/Skrowaczewski one of The Griller Quartet and William Primrose, viola SRV-158 & SRV -158SD the Lalo Concerto (for Mercury), but JAN PEERCE ON HAYDN: MASS IN TIME OF WAR the present revivals have undeniable in- 2ND AVENUE Davrath: Rössl- Majdan, Dermota. Berry: Chorus and Orch; Mogens Wöldike, cond. SRV -153 & SRV -153SD terest. H.G. Love Songs from the VIVALDI: 4 VIOLIN CONCERTOS FROM "LA CETRA" Golden Era of the Paul Makanowitzky, violin; Vladimir Golschmann, conductor Yiddish Theatre SRV-159 & SRV -159SD for MOZART: Concertos Piano and with orchestra Critics' Accolade for Vanguard Everyman Records Orchestra: No. 20, in D minor, K. conducted by BEETHOVEN: PIANO CONCERTO NO. 5 IN E FLAT, 466; No. 23, in A, K. 488; Rondo Gershon Kingsley -EMPEROR" Mindru Katz, piano; Barbirolli, conductor. VRS -9166 & VSD -79166 SRV -138 & SRV -138SD for Piano and Orchestra, in A, "An Emperor to share first place with Rubinstein/Leinsdorf, K. 386 Fleisher/Szell and Schnabel /Sargent." H. Goldsmith, High HEDY WEST, Vol. 2 Fidelity SIBELIUS: SYMPHONY NO. 5 & POHJOLA'S DAUGHTER Clara Haskil, piano; Vienna Symphony VRS-9162 & VSD -79162 Barbirolli cond. the Halle Orch. SRV -137 & SRV -137SD "Offered at a price that is anything but an accurate indication of Orchestra, Bernhard Paumgartner, cond. its value... from the very outset one is aware of an expansive- [from Epic LC 3163, 1955]. ness and majesty unencumbered by pretentiousness or induced solemnity... the sound is excellent by any standards." R. Freed. MERCURY MG 50413. LP. $4.98. Saturday Review MERCURY SR 90413. SD. $5.98. VANGUARD VAUGHAN WILLIAMS: A LONDON SYMPHONY Recordings for the Barbirolli cond. The Halle Orchestra SRV -134 & SRV -I34SD "One of the best records of the year ... a glowing performance." The D minor presented here is a good Connoisseur David Hall, RiFi/Stereo Review enough performance, but the orchestral CIRCLE 60 ON READER -SERVICE CARD MARCH 1965 113

www.americanradiohistory.com disc album (reviewed in these pages last and cheaper than. the Fischer -Dieskau/ September) recorded at the reopening of Seefried performance on DGG. which the Munich National Theatre in Novem- found these artists on one of their self - ber 1963. It is on the whole an excellent indulgent days. A.R. performance, marred only by a little stolidity on the part of Otto Wiener, the Sachs, and Joseph Keilberth, the conductor. RCA has mastered the tapes so that each side is more broadly spread on the disc. This makes for even better sound ARTUR RUBINSTEIN: "Rubinstein than the original. which was already Plays Bach to Villa Lobos" superb. The accompanying booklet includes some. but not all. of the excellent Bach -Busoni: Toccata in C: Prelude. material on Wagner included in the Albéniz: Navarra: .Siviglia: Triana. Eurodisc album, plus an English transla- Chopin: Barcarolle in F sharp. Op. 60: tion (very stilted) by John Gutman Polonaise No. .1, in A. Op. 40. No. I along with the original German. The ( "Military "). Debussy: Pour le Piano: KL /PSCH album itself is not so elegant as the Prelude. Ravel: Le Tombeau original de Cort- release, but is smaller and easier perirc Forlane. Schumann: Arabeske. ON to handle. A.R. Op. 18. Villa Lobos: Prole do Bébé: More ka: Pohresinka: Pulcinella. WOLF: Italienisches Liederbuch (A) KLIPSCH Artur Rubinstein, piano [from various tBrahms: Vier ernste Gesänge, Op. HMV recordings, 1930s1. 121 (B) "IT TOOK ME 24 YEARS ODEON QALP 10363. LP. $5.98. TO Frna Berger. soprano (in the Wolf); BUILD THIS LITTLE This album is no less a historical one Hermann Prey, baritone; Günther Weis - merely because Rubinstein's perform- SPEAKER AND IT STILL senborn, piano (in the Wolf); Martin ances are theoretically still replaceable: ISN'T AS GOOD AS MY Mälzer, piano (in the Brahms) [(A) the artist is a changed man today, and from Odeon 80565/66S or S 80565/66S, LARGER ONES!" would doubtless find it as hard as any- 1959; (B) from Odeon CX 1682, c. one else to duplicate his interpretations No one build a 19601. can small speaker as set forth here. system which produces 30 c.p.s. bass Vox LDL 532. Two LP. $9.96. tones without creating serious forms of FM The Rubinstein of the 1960s is a Vox SLDL 5532. Two SD. $9.96. distortion' in the system. remarkably lyrical and subtle player. one This distortion is heard by the ear as a with a newly found lucidity and con- muddy quality or as some people say, an t-he magnificent Prey -Berger perform- tinency of phrase. The series of reissues inability to clearly hear the individual in- ance of the complete Italian .Songbook struments of the orchestra. here under review presents the erstwhile has been in limited circulation on im- Since our Klipschorn is considered the showy, flamboyant pianistic dazzler. the reference standard for all high fidelity ported discs for about five years. and essential extrovert as he was before he speakers, we developed our small speaker, hopefully its domestic reissue will win it came to America and permitted that ex- the Model H, to come as close to Klipschorn new friends. It should. because this troversion to get specifications as is humanly possible. How- out of hand as it did collaboration between a veteran soprano ever, the laws of physics cannot be violated, in many performances given in the late regardless of what certain advertising and a brilliant. rising (at the time of re- 1940s and early 1950s. The Albéniz and claims may lead you cording) young baritone is one of the Villa Lobos are scintillating in their to believe. No small great poetic treasures on records. speakercan perform taut -spun nervous energy and slightly up to Klipschorn The reissue has several advantages percussive attack. The Bach -Busoni is stand a rd s...not over the original; price is one. and massive and regal. very similar to the even our Model H. English texts of the songs is another. A freewheeling Bach transcription per- We do know that third is the inclusion of the brilliant and formances of Percy Grainger. the Model H will out- penetrating essay by perform any and all Ernest Newman on The brusque energy admirably binds other small systems Wolf in general and on the songs in together the Chopin Polonaise. always (and a good many particular. taken from the lavish book- a Rubinstein specialty (this performance large ones, too). lets prepared for the old Hugo Wolf is also reissued on the recent Odeon If you are limited Society albums on HMV. by space or budget, disc containing five other Polonaises but still demand the finest in high fidelity The Prey performance of Brahms's plus the Andante .spianato), but seems musical reproduction, you will want to own Serious Songs is not so well known in misplaced in the tender Barcarolle and a Model H. this country. From its sound I would the Schumann piece. Rubinstein has Please without don't buy first listening judge it to he a little later than the never had much luck with the Bar- carefully. Compare Model H the with other Wolf: Prey's voice is speakers. You will then know why all other darker and even carolle. He is generally a superb small speakers are judged to have less more secure, and he sings this bleak and Chopinist. but that composition (as well fidelity to the original sound than ours. fascinating music with marvelous poetic as the Ballades) is atypical of Chopin's insight. Mülzer is a capable but merely writing in certain ways. Lipatti played Please send me complete information on the KLIPSCHORN. HERESY AND CORN- routine pianist. not up to the qualities the Barcarolle with lyricism and lack WALL speaker systems. Also include the of Weissenborn in the Wolf set. but not of ostentatious rubato, while Rubinstein name of my nearest Klipsch Authorized Audio Expert. bad. gives it the "traditional" treatment with In any case, the combination of these all the underscorings and exaggerations Name two cycles in a single issue. in perform- thus implied: it sounds overwrought. Address ances of this quality. stands as a major just as it did on the pianist's two more City State accomplishment. If you do not know the recent recorded performances of the Wolf songs by themselves. and have not piece. (Were he now to make a fourth Occupation Age _ encountered the remarkably satisfying attempt, he might be able to capture. KLIPSCH & ASSOCIATES experience of hearing all forty -six of finally. the strong serenity of this elu- BOX 96 -HA Hope, Arkansas them in succession -tiny. aphoristic. and sive L masterwork.) The Schumann. simi- self -sufficient sketches which still seem larly. is marred by 'ln Klipsch speakers all forms of distortion sentimental retarda- to pass a are minimized especially FM and AM dis- on spark from one to the next tions at the end of practically every tortion which are many times as objection- -you owe it to yourselves to investigate phrase: it too should flow more simply. able as simple harmonic distortion. this superb album. It is far preferable to, The Ravel and Debussy come off CIRCLE 33 ON READER -SERVICE CARD 114 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com fairly well. Both sound a trifle "fancy" the effulgence perhaps, but prevailing WOLFGANG AMADEUS MOZART: Mass in C Major K.317 is most attractive. "Coronation ". Vesperae Sole n nes de Confessore All of the transfers are excellent. The in C Major K.339. Teresa Stitch-Randall, soprano; sound, though of course limited, is Bianca Maria Casoni, alto; Pietro Bottazzo, tenor; solid and agreeable, despite a fair Georg Littasy, bass. Chorus of the Sarrebruck Con- amount of flutter in the piano tone. H.G. choice servatory under the direction of Herbert Schmolzi. Chamber Orchestra of the Sarre conducted by Karl Ristenpart. H -1041 Mono H -71041 stereo HELENE WILDBRUNN: Operatic NEW ANTONIO VIVALDI: Six Concerti for Flute, Strings and Con- Recital tinuo Op. 10. lean- Pierre Eustache, flute. Collegium Musicum de Paris under the direction of Roland Douatte. H -1042 Mono H -71042 Stereo Gluck: Alceste: Divinités du Styx. releases Mozart: Don Giovanni: Or .coi chi l'on- GIOVANNI BATTISTA PERGOLESI: LA SERVA PADRONA. ore. Beethoven: Fidelio: A bscheulicher! Mariella Adam, Leonardo Monreale and the orches- n o eilst du Irin? Weber: Oberon: tra " Pomeriggi Musicali" del Teatro Nuovo di Ozean, du Ungeheuer! Wagner: Tristan on Milano under the direction of Ettore Gracis. und Isolde: Liebestod. Die Walküre: H -1043 Mono H -71043 Stereo war ich. Ho- jo- to -ho! Siegfried: Ewig ROBERT SCHUMANN: Konzertstiick for 4 Horns and Or- Gütterdiinunerung: Starke Scheite. Verdi: chestra in F Major Op. 86. Georges Barbateau, Ballo in maschera: Ma lall' arido stela Michel Berges, Daniel Dubar, Gilbert Coursier - divulsa: Morrò. ma prima in grazia. horns Konzertstück for Piano and Orchestra in Puccini: Tosca: Vissi d'arte. G Major Op. 92. Roger Boutry -piano. Chamber Or- chestra of the Sarre under the direction of Karl Ristenpart. N -1044 Mono N-71044 Stereo Helene Wildbrunn, soprano: orchestras

[from various originals. 1920 -25]. FRANZ JOSEPH HAYDN: Sonatas for Flute and Piano in C Rococo 5220. LP. $5.98. Major and G Major. Jean-Pierre Rampal, flute; Robert Veyron -Lacroix, piano. H -1045 Mono H -71045 Stereo Here is a marvelous singer. not pre- nonesuch, viously represented on LP. so far as I can determine. According to Leo records Significant Recordings at Sensible Prices Without Riemens' notes. Wildbrunn sang pri- Compromising Quality. marily in Berlin and Vienna after a lengthy apprenticeship in Dortmund and A PRODUCT OF $2.50 each, either mono or stereo Stuttgart. She did make foreign excur- THE ELEKTRA CORPORATION Send for complete NONESUCH listing sions (Paris, La Scala. Covent Garden, 19 Teatro Colón) during a career lasting 51 W. 51st Street, N.Y. from 1907 to 1932. and later taught CIRCLE 22 ON READER -SERVICE CARD at the Vienna Conservatory. Her career was begun as a contralto, with the switch to dramatic soprano coming in 1914. This Superb Recording The voice is very full and beautiful. always round and poised. The top is in of BAROQUE MUSIC sharp focus, and is sometimes attacked head -on after a cutoff on the lower is yours for ONLY `I °" tone -a device also employed by Birgit Nilsson. It certainly sounds like a powerful instrument, one which. like all the really great dramatic voices. rides ¡SEND NO MONEY NOW through everything without ever sounding GEORG PHILIPP TELEMANN (1681.1767) extended or stretched. Hayes Sturges. Concerto for Trumpet and Orchestra in D Major a some who contributes memoir of of Concerto for Flute and Orchestra in D Major

her performances, recalls her voice as "a Concerto for Oboe and Orchestra in E Minor combination of the Mmes. Destinn and Concerto for Viola and Orchestra in G Major Matzenauer at their best " -a descrip- The Pro Arte Chamber Orchestra of Munich tion which. on the recorded evidence. Kurt REDEL, Conductor sounds very apt. Winner of the Grand Prix du Disque Interpretatively, she is straightfor- of France ward and traditional. She knows how to MHS 518 -Available in MONO or STEREO, please specify steer the music. and puts plenty of temperament into her work; unlike many The Musical Heritage Society issues about recordings each year of 17th good Germanic sopranos. she seems to 30 and 18th Century music. All recordings have as fine a sense of Italian vocal are only $2.50 each plus a small shipping line as of Wagner's or Weber's. One can Arn,.,.do (.bit.11 charge. Complete details about our So- imagine, I suppose. a more rapt ciety and its endeavors will be sent to atmosphere in " Ozean!" a more spe- or It' enough to persuade Gabriel to turn in his you along with the trial record. cific emotional message at other points badge, this eloquent recording by the grand old - n (Monteu i the grand young men and we are hearing her without having seen (GhitIla, Frberm.n). All prejudice aide THE MUSICAL HERITAGE SOCIETY. INC. (hh'), if you do not own thi record, you're 1991 Broadway. New York, N. Y. 10023 her. of course. But there is not a single ut the pleasure .nA -.'II b. out of but.. ,I II,.t .otrl < to your at u,t selection here that is not immensely b. Please send me the 12" Long Playing Record MHS 518. Within ten days after receipt I'll re- satisfying. and certainly the Don Gio- Armando Ghllaila - 3 Trumpet Co n<.nos by Hammel, mit $1.00 as payment in full or return the Albre

everything is in German. The sound is 477 Washington St., Wellesley, Mass. 02111 ZIP CODE fir 3 excellent for the vintage. C.L.O. CIRCLE 9 ON READER -SERVICE CARD CIRCLE 42 ON READER -SERVICE CARD MARCH 1965 115

www.americanradiohistory.com PARSIFAL dinary interpretative intelligence and balance that besets so many dramatic sympathy, he makes an unforgettable mezzos, and she tends to an exaggera- Continued front page 86 impression. This is a Gurnemanz so tion. both in the music and in the text. tender, so noble and manly, that the that robs her Kundry of some of the to bring individual distinction to their listener utterly forgets the bullyish wind- stature it could otherwise have. But as roles. In some ways, the most remarka- bag he can seem. The description of the singing. most of her work is really very ble achievement is Hans Hotter's, and dead swan, the questions to Parsifal, the solid: and if her interpretation is some- this despite many passages which find whole of the Good Friday scene, but times a little overstated and externalized, him producing spread, unattractive tone especially from the magical "Das ist it is nonetheless clear and "right." The or mashing the words beyond recogni- Chartfreitagszauber, Herr" to the end - Parsifal of Jess Thomas is also impres- tion. He is in much the same vocal these passages could not be more mov- sive. particularly in its more lyrical mo- form he brought to London's Siegfried ing, and from them emerges a Gurne- ments: certainly the Good Friday music recording -clearly near the end of a manz who justifies his important posi- has seldom been sung so beautifully or career which has never been noted for tion in Acts I and Ill. sensitively. At this time, at least, his vocal purity. Yet it is still a significant This is Irene Dalis' first complete Parsifal lacks the extra imagination and voice. sometimes most imposing and opera recording, and she makes quite a passion that would make it glow -the authoritative, nearly always beautiful at good thing of it. Her voice is tending second -act scene with Kundry is good, low dynamic levels. Through his extraor- these days towards the bottom -heavy im- steady singing, but it is not memorably expressive. One hates to invoke the ghost of Melchior, especially in comparison with the most satisfying Parsifal we have had for some years. but that is the sort of interpretative projection (not to mention the juice and ring of the voice EXCITING NEW MARCH RELEASE itself) that separates a great Parsifal from an extremely good one. But KARL MÜNCHINGER- STUTTGART CHAMBER ORCH. Thomas we have. and he is fine. Bach: St. Matthew Passion with Peter Pears, Hermann Prey, Tom Krause, etc. George London's Amfortas is another The Stuttgart Hymnus Boys' Choir sturdily sung, intelligent interpretation, Stereo OSA-1431 Mono A-4431 sometimes rather self -conscious and ISTVAN KERTESZ- FERNANDO CORENA stiffly enunciated. but always resonant Donizetti: Don Pasquale -complete recording with Sciutti, Oncina,.Krause and believable. His competition on the The Vienna Opera Orchestra old recording is himself. rounder and Stereo OSA -1260 Mono A-4260 more open of voice. but not so sharply MARIO DEL MONACO projected at some points. The Klingsor, Italian and German Arias: La Boheme (Leoncavallo), L'Arlesiana, Isabeau, Gustav Neidlinger, has a dark, steady Francesca da Rimini, Gianni Schicchi, Die Walkure, Lohengrin voice and sensible interpretative ideas; Stereo OS-25894 Mono 5894 Hermann Uhde. though. was the more LORIN MAAZEL imaginative and compelling interpreter. shows a very solid Tchaikovsky: Symphony No. 3 in D Major ( "Polish ") Martii Talvela firm, The Vienna Philharmonic Orchestra bass in the short role of Titurel. The Stereo CS -6428 Mono -9428 CM Flower Maidens are not. surprisingly, a JAMES McCRACKEN- SANDRA WARFIELD very distinguished group. though there - Duets from Samson et Dalila, Otello, Carmen, Aida is some pure. lovely singing from Gun Stereo OS -25899 Mono 5899 dula Janowitz as the First Maiden in the First Group. MAGGIE TEYTE I have not seen the completed pack- A historic program of songs in French, German and English many of which have age that will be released domestically. never before been released. Mono 5889 but 1 and told it will contain text and LORIN MAAZEL translations. plus the very good running Tchaikovsky: Symphony No. 4 in F Minor -The Vienna Philharmonic Orchestra synopsis that is in the European booklet. Stereo CS -6429 Mono CM -9429 With every note of the score present and with excellent sound provided, this JOAN SUTHERLAND-RICHARD BONYNGE Parsifal has been gotten onto five rec- Bellini: La Sonnambula -Highlights with Monti, Corena, Stahlman, etc. Orchestra of the Maggio Musicale Fiorentino ords rather than the six required for the Stereo OS -25887 Mono 5887 old version. GEORGE LONDON Wagner: Great Scenes for Bass-Baritone- excerpts from Die Fliegende Hollander, Die Meistersinger, Die Walkure Stereo OS -25897 Mono 5897 WAGNER: Parsifal

WILLI BOSKOVSKY Sona Cervena (s), First Esquire; Mozart: Complete Dances and Marches -Vol. I -The Vienna Mozart Ensemble Gundula Janowitz (s), Anja Silja (s), Stereo CS-6412 Mono CM -9412 Else -Margrete Gardelli (s), Dorothea CHOEUR DES MOINES DE L'ABBAYE Siebert (s), Rita Bartos (s), Flower SAINT -PIERRE DE SOLESMES Maidens; Irene Dalis (um), Kundry; Gregorian Chant: Holy Thursday -directed by Dom Joseph Gajard Ursula Boese (c), Second Esquire and Stereo OS-25832 Mono 5832 A Voice: Jess Thomas (t), Parsifal; Niels Moller (t), First Knight; Gerhard RAFAEL FRUBECK DE BURGOS GONZALO SORIANO - Stolze (t). Third Esquire: Georg Pas - kuda Fourth Esquire: Lon- Albeniz -Halffter: Rapsodia Espanola; Espla: Don Quijote Velando Las Armas (t), George The National Orchestra of Spain don (b), Amfortas; Hans Hotter (bs), Stereo CS -6423 Mono CM-9423 Gurnemanz: Gustav Neidlinger (bs). Klingsor; Martti Talvela (bs), Titurel: TradnorY, lip Li S P. 04 Gerd Nienstedt (bs), Second Knight: Chorus and Orchestra of the Bayreuth Festival (1962), Hans Knappertsbusch, /07P0T ffi-Y cond. FULL FREQUENCY RANGE RECORDING PHILIPS PHM 5550. Five LP. $24.90. PHILIPS PHS 5950. Five SD. $24.90.

116 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ide$. .i. l `j p" \!/Y.

"Radio's Aces." The Coon -Sanders Nighthawks. its dance arrangements with colors and devices RCA Victor LPV 511, $4.98 (LP). adapted from jazz. Sanders' kaleidoscopic arrangements constantly passed the lead line of a tune be- THERE ARE eras in popular music that can be tween sections and soloists with a variety of in- summed up by the work of a single individual genious breaks. The saxophones used a voicing just or group. In both its style and material Benny Good- as distinctive as Glenn Miller's and their phrasing man's band encompassed the Swing Era period of was as unique as that developed by Hal Kemp. the Thirties. Similarly, the prime representative of In addition to Sanders' piano, the distinguishing popular music during the Twenties is another band, ingredients of a Coon -Sanders performance were one that has been almost as neglected as Goodman's Rex Downing's unusual, hollow, muted trombone has been overattended- Coon -Sanders Original solos and the forthright singing of the two leaders Kansas City Nighthawks. in close harmony duets. These last were part of the The Coon -Sanders band was a happy mixture of period bouillabaisse that made the band so repre- talents that had a tremendous following in the Mid- sentative of the Twenties, giving it its very wide west from the middle Twenties on, first through popularity -they titillated their listeners with barber- their broadcasts and appearances in Kansas City at shop harmony, sentimental ballads, novelties. hot the Muehlbach Hotel, and later at the Blackhawk solos, fancy riffs, and a pervading good -time feeling. Restaurant in Chicago. Their records and late Although this band was a landmark land even Saturday night coast -to -coast broadcasts quickly today a mere mention of Coon -Sanders in print brought them into national prominence. In fact they brings enthusiastic mail from all over the country), were so popular that, as Paul F. Karberg points out none of their records has ever been reissued on LP in his informative notes for this disc, a Western until now. Finally RCA Victor's Vintage series has Union ticker was installed on the bandstand so Joe issued a superb collection of sixteen Coon -Sanders Sanders and Carleton Coon could acknowledge all performances ranging from 1926, when its style was the wires that reached them during each program. not entirely set, to 1932, just before the band broke Coon was a drummer, singer, and jovial front up after the sudden death of Carleton Coon. The man while Sanders, who had had training as a choir set is vintage Coon -Sanders (I even accept the singer and concert pianist, was the band's hard - inclusion of two routine ballads because they were driving, two- fisted pianist, a vocalist who could part of the over -all picture of this band), brimming shake the rafters without the help of a microphone, with titles that make the late Twenties come alive: the and an arranger who developed the band's unique stomping Shtefoot: What a Girl! What a Night! with style. This group was a dance band, of course, but Sanders' all -out vocal; the strange scat duet in unlike most white bands of the period, it spiced Roodles, compounded of growls, shouts, and a vo -do- deo ending: an easy, relaxed 1 Ain't Got Nobody with a Coon -Sanders close harmony vocal; the very smooth and airy saxophone ensemble on Alone at Last; one of the band's great novelty hits, Here Comes My Ball and Chain; After You've Gone, offering a duet between whistler and tenor saxophone. There are others, full of bounce and high spirits, and all are recorded remarkably well. The sound is full and clean; so clear, in fact, that the gentle brush accompaniment on Coon's drum is clearly audible. By 1932, the band was losing its individual touches and sounding like just another good ensemble. For- tunately, we have the present records to remind us The Twenties' famous Coon -Sanders Nighthawks. that it had been a really great band. J.S.W.

MARCH 1965 117

www.americanradiohistory.com "The Secret Life of Walter Nutty." Marc some of her consonants. Otherwise this London. Cathryn Damon. Eugene is a most remarkable and unheralded Roche, Original Cast. Columbia OL talent to stumble upon. She sings an NEW 6320. $4.98 (LP): OS 2720. $5.98 imaginative program, too -including (SD). Sara Cassey's enchanting Warm Blur If the rest of the musical version of Stream; a wildly atypical treatment of James Thurber's short story could have Dearly Beloved; a Charles Aznavour been as attractive and inviting as Leon song. Formidable: a beautiful treatment EICO Carr's music. this might have been quite of the bossa nova. Meditation; a strong. a show. The attempt to expand on Thur- folkish song. Angelitos Negros. Good ber's basic idea (without his very special arrangements. too. by Don Sebeskey. creativity) proved the undoing of the This is an unusually promising beginning. 3566 musical's book. and it is only fair to assume that this contributed to the pedes- Eddie Cantor: "Sings 'Ida. Sweet trian as level of Earl Shunian's lyrics. But Apple Cider' and His Other Hits." the tunes have a bright. SOLID clean. melodious RCA Camden CAL 870. $1.98 (LP): charm (underlined by Ray Ellis' ar- CAS 870. $2.98 (SD). rangements), when and the lyrics don't Hard on the heels of an Eddie Cantor get in the way Marc London. Rudy STATE disc released by Decca ( reviewed last Tronto, Eugene Roche, and Cathryn month) comes this one from RCA sing Damon them in such a way as to repeating many of the same songs. make one feel that this has to be a Judging by the texture of Cantor's voice. ... - ...... 4. show. delightful On the disc, it is quite the Camden disc must have been made often precisely that, particularly in the as late é F6 'ern e. l.. in his career as the Decca. De- earlier stages before plot developments spite this superficial similarity. the pres- interfere too much. ent record is a far more interesting col- AUTOMATIC lection than was the Decca. He is accom- Yves Montand: "Paris." Columbia CL panied by a lively hand which. as led by FM -MPX STEREO 2234. $3.98 (LP): CS 9034, $4.98 (SD). Henri René. frequently reduces its TUNER -AMPLIFIER If one were to have only a single Yves number to a small and rousingly rani - Montand disc. it might well be this bunctious Dixieland group. adding a one. Displayed here are the many fas- merriment of its own to several songs Enjoy high reliability all- transistor equip- cinating personalities of Montand -the and. in general. carrying Cantor along ment RANGE in the HIGHEST QUALITY of stirring balladeer. the coaxing. inviting on its momentum. But the prime today's tuner -amplifiers at half the price troubadour. the jaunty man about Paris, points of interest on this disc are three of instruments. comparable the brilliant invoker of a dramatic songs in which Cantor injects spoken New all- transistor front -end is not over- setting. The songs are classics of the comment- Ra / /in' the Jack. a number he loaded by even very strong local signals French chanson- Paris canaille. La rie first sang in 1913 in Houston on a while providing low noise unequalled by en rose, Le chevalier de Paris, Sous vaudeville hill with Ed Wynn and which tubes. Semi -kit requires little more work le ciel de Paris, Les feuilles mortes. inspires his priceless imitation of Wynn's than building a stereo amplifier alone, since C'est si hon. A Paris clans chaque Fire Chief: Wallin' for the Robert E. all stereo tuner sections are supplied pre - faubourg, and still more. There is, of Lee. with memories of Al Jolson as a wired and pre -aligned (front end, 4-stage IF course. danger in assembling a pro- Cantor catches Jolson's conversational strip and MPX circuit board). gram of such familiar material. but inflections: and Isla. where Cantor in- this would overlook Montand's artistry dulges in some disarmingly sentimental and the personal touch he has with a memories of his early days as an enter- 112 WATTS INTO 4 OHMS, song. making it all his. His varied accom- tainer starting married life with Ida 72 WATTS INTO 8 OHMS, paniments could scarcely be better - Tobias. IHF MUSIC POWER. some use an orchestra whose contribu- 2 UV IHF SENSITIVITY tions range from unobtrusive but highly Morgana King: "Winter of My Dis- effective backgrounds to bursts of viable 38.40 DB SEPARATION content." Ascot 16014, $3.98 (LP): Dixieland es gaiety (on Mon manège S 16014. $4.98 (SD). 5-60,000 C/S RESPONSE "toi); on others. there is just the simple, Alec Wilder is almost unique among NONFALSING STEREO evocative sound of an accordion. Al- popular song writers in that he has together, is a INDICATOR LIGHT this remarkable parlay. created a distinctively personal body of AUTOMATIC STEREO SWITCHING work. while managing an occasional Sylvia Copeland: "The August Child." popular success in the process (he is INTERSTATION NOISE MUTING Mainstream 56030. $4.98 (LP): 6030. only "almost unique" because Willard 0.15% HARMONIC, 0.3% IM $5.98 (SD). Robison. in his own fashion. did much DISTORTION AT NORMAL Miss Copeland. who has had consider- the samt thing ). A Wilder song is apt LISTENING LEVEL able background in night clubs and in to be gentle. reflective, and melodious, musical theatre awry from Broadway. surrounded with a pleasant nostalgic makes her recording debut with this disc. is made BUILD IT YOURSELF AND SAVE halo. This disc up of twelve And quite a debut it is. For Miss Cope- Wilder songs. $120. KIT ONLY $229.95. WALNUT most of them with lyrics land seems daunted by nothing. carrying CABINET $14.95. WIRED $349.95 by William Engvick, and including two off practically everything she attempts. INCLUDING CABINET. palpable hits. While We're Young and She has an amazing range for a singer it's So Peaceful in the Country. and three SEND FOR CATALOG who deals essentially with popular ma- marginal hits. Who Can I Turn To. The terial. ranging from Yma Sumac -like Winter of My Discontent. and The Lady trills to low. dramatic growls. She sings Sings the Blues. I can't imagine any EICO Electronic Instrument Co. Inc. HF -3 131.01 39th Avenue, Flushmp, N.Y. 113152 in English. French. and Portuguese. contemporary vocalist singing them bet- She belts. she croons. she is slickly ter than Morgana She has a Send new 1965 cetdoa leeturing King. more then 230 EICO products sophisticated. she does strong folk ma- lovely lyrical style slightly reminiscent terial. She is just as successful at pro- AIM -- -- of Mildred Bailey. although her voice Nerve jecting emotional involvement as she has more body than Miss Bailey's did Addrese is with catching the slightly satirical (and she. incidentally, was a superb in- nostalgia of a song such as Those Were terpreter of Wilder). The accompani- C.tr 2.p $Ute - Add 5% in West the Days. Her only real limitation is ment is suitably quiescent and wood - a slight tendency toward hardness in windy. punctuated at times by a rich CIRCLE 21 ON READER -SERVICE CARD

I I 8 HIGH FIDEI.ITY MAGAZINE

www.americanradiohistory.com trombone ensemble or a gently soaring "Oh, What a Lovely War." Charles trombone solo. Chilton and London cast. London You can't 5906, $4.98 (LP); 25906, $5.98 (SD). a ironic Ella Fitzgerald: "Sings the Jerome Kern This musical is brilliant yet Songbook." Verve 4060. $4.98 (LP); commentary on war in general and tell the in as seen 6 -4060, $5.98 (SD). World War I particular songs of the period. From Miss Fitzgerald has. in the past, recorded through the "songbooks" of Cole Porter, Rodgers and the initial introduction of "the ever difference Hart. George Gershwin. and Harold popular War Game." and the assurances it Arlen; but the composer most compatible that "war is unthinkable" and that the world." we between the with her own direct. gentle, and melo- "would mean the ruin of proceed and logically to war. dious style is Jerome Kern. The proof, directly Then follows the baiting of patriotism if it is needed. is contained on this disc Oki 555 where the charm of Kern is blended with sex. lightly at first as seductive Want with the skill of Miss Fitzgerald and girls sing Your King and Country the eminently suitable arrangements by You. and then more pointedly as an and any other Nelson Riddle. She has always been a assertively Dietrich type murmurs I'll ,44ake a Man of You. The picture is superb ballad singer. a talent amply filled in by contrasting starry -eyed home stereo tape displayed here on All the Things You Are, Remind Me. and The Way You songs and cynical troop songs. When sex has run its course, religion steps up Look Tonight, and she reveals a growing recorder ability to handle light lyrics on A Fine as a motivational force-accompanied Romance, I'll Be Hard To Handle, and by soldier parodies of Onward Christian You Couldn't Be Cuter. Perhaps it Soldiers (Joe Soap's Army) and What We might be more accurate to say that a Friend Have in Jesus (When This Miss Fitzgerald can cope more readily Lousy War Is Over). As detail is piled until: upon detail, the total effect becomes with the light lyrics of Kern's songs than You lift it. It's the lightest she can with the worldly witticisms of devastating. But this is not merely a Porter. Hart. or Ira Gershwin. In any tract -it is an exceptionally good en- portable stereo tape system in event. Kern and Miss Fitzgerald are semble production in which music and the world. Under 25 lbs. most happily met. characterization blend to create an atmosphere in which the comment de- You check for tubes. It has velops and spreads with complete none. solid (all tran- Nancy Wilson: "The Nancy Wilson spontaneity. This recording was made It's state Show." Capitol KAO 2136. $3.98 by the original English cast. many of sistors ... 27 of them). (LP); SKAO 2136. $4.98 (SD). whom appear in the current American If one has followed Miss Wilson's prog- production. You hear it. It has 2 unique ress from putative jazz singer to night two-way speaker systems for club entertainer through her records, Anthony Newley: "Who Can I Turn To." this disc can be a stunning revelation. It cleaner stereo sound RCA Victor LPM 3347, $3.98 (LP); is a recording of her night club per- LSP 3347, $4.98 (SD). reproduction. (4 speakers.) formance at the Cocoanut Grove of the The songs written by Anthony Newley Hotel Ambassador in Los Angeles. and, You check its dependability. and Leslie Bricusse for Newley's latest unlike most such "live" recordings. it show The Roar of the Greasepaint (they It's guaranteed for 1 full year.t serves a very definite purpose: it allows also wrote the songs for Newley's Slop Miss Wilson to present the full body of the World Want To Get Off) are a her performance instead of the una- -I varied lot, designed to touch on a little dorned songs which made up her earlier bit of everything while being both discs. These performances include spoken dramatically serviceable and contempo- material leading into recitative verses rary in sound. The disc begins with the which, in turn. lead into the song proper. carefully calculated dramatic effects of Miss Wilson has become a brilliant per- Who Can / Turn To? (a logical suc- former. She has tremendous presence, a cessor to What Kind of Fool Ant / ?, a glittering style. and a keen sense of song which Tony Bennett established as pacing. both in her development of a a hit long before Newley's show opened). song and in the construction of her Then follows a gay jazz waltz, Where show. The temptation is to compare her Would You Be Without Me ?; an unusual to Lena Horne. but this would he unfair use of a samba as a setting for a dream to Miss Wilson since the parallel rests interpretation; a very effective twist primarily in the dazzling, theatrical sur- treatment of the Pagliacci ploy; a con- face that they both project. Beneath this, versational sort of song Look at That Miss Wilson is very much herself with Face, (which could become a standby as a timbre and sound quite her own. And its price is less than you'd ex- intimate night club material); and sev- Although every inflection is obviously pect to pay. $349.95 *. eral other adaptations of current popular contrived and interpreted in a very other solid song styles and uses. Newley is a Oki has a fine choice of stylized manner, the style is of the somewhat voiceless singer but his skill- state tape recorders, starting at highest and the contrivings are carried delivery, when working $129.95 *. See and hear them now at out beautifully. She overplays occasional- ful particularly for a strong theatrical effect. and the your Oki dealer. ly but this is a minor distraction in view colorful qualities of his broad accent of the success she has with the varied *manufacturer's suggested list price are a great help in sustaining his per- tone year parts, 6 months labor program. Included on the disc is a formances. strong treatment of a lovely song from Funny Girl (The Music That Makes Mc r - -- Dance). several good pop standards, and "Bajour." Chita Rivera, Nancy Dussault, HFM 365 I I Electronics, Inc., I even a miraculously original approach Herschel Bernardi, Original Cast. Chancellor to that old chestnut Bill Bailey. Her act Columbia KOI 6300, $5.98 (LP); KOS 1 457 Chancellor Ave., Newark, New Jersey is carefully and specifically designed for 2700. $6.98 (SD). I Name I the big -time night clubs. It fills this ob- As long as Babonr is focusing on robust I Address I ject brilliantly and comes across on the and colorful urban gypsies it is a lively City State Zip_ disc exceptionally well. and entertaining show. Walter Marks, CIRCLE 43 ON READER -SERVICE CARD

MARCH 1965 I I 9

www.americanradiohistory.com who wrote both music and lyrics. has quite a while wor! :ing the smokier and Dizzy Gillespie used the flavor and devices of traditional later type of night clubs, has a striking gypsy music as the basis for several and almost surprisingly effective way spirited songs. Unfortunately, gypsy tra- of dealing with familiar pop songs. She dition has not offered him a similar has a hoarse voice -a sort of whisky guide for his lyrics. which are occasion- contralto -and a raucous delivery. Com- has switched- ally clever but more often routine. Still bining this with an astute sense of when Chita Rivera or Herschel Bernardi phrasing and her own solid piano accom- are singing. Marks's songs are enlivened paniment, she can belt any song into a with so much zest that lyrical deficiencies woozily nostalgic haze. On this disc she are beside the point. There are other Is matched with accompaniment that is deficiencies. however. which cannot be just the complement she must have been escaped. The primary one is a plot de- looking for all these years -a big beat, vice involving Nancy Dussault as a a twangy guitar. and an organ -based college girl who becomes entangled with hand headed by the jazz- oriented Shorty the gypsies in her research for a degree Rogers. It all blends together in a mar- in anthropology. Miss Dussault works velously bleary, rocking fashion, partic- hard at the role but all the aspects of ularly on Corvin' Honte Baby, Sweet her part of the musical -her romance, Georgia Brunet, Cureless, Just a Gigolo, her mother. and the songs that involve and Glory Glory Hallelujah ( The Battle then -are trite and trivial. merely di- Hymn of the Republic). This assort- luting the joyful presence of the gypsies. ment gives an inkling of the catholic Even so. the disc has the great merit of expanse of Miss Faye's material. It presenting Bernardi. a veteran of films comes from everywhere but the results and the Yiddish theatre. in his first all have the lurid Faye brand. musical role. As a personality. if not as a voice, he is a sheer delight. Helen Merrill: "The Artistry of Helen Merrill." Mainstream 56014, $4.98 Rusty Dedrick: "The Big -Band Sound." (LP): 61)14. $5.98 (SD). Four Corners 4207, $3.98 (LP); A completely new and very welcome view S 4207, $4.98 (SD) . of Helen Merrill is offered on This very attractive disc has been pack- this disc. Heretofore. she has been aged in such a manner as to obscure known as a jazz singer -or what is com- its real merits. The catchall title scarcely monly accepted as a jazz singer. i.e.. suggests that the specific big -band one who twists and tortures notes and sound heard on some selections derives phrases. removing them as much as from the magnificent Isham Jones band possible from their original condition of the early Thirties. There are also while simultaneously creating vocal and some arrangements in a relatively anony- facial impressions of great pain. All that mous swing -era style (which is what is swept aside in this set which is made "the big -hand sound" can usually be up largely of folk songs from a variety taken to mean these days). as well as of countries. Miss Merrill is accom- four selections by a septet which. by panied by Charlie Byrd's unamplified its very nature, does not produce a big - guitar. with unobtrusive bass and drums uuaflramatic band sound. Moreover. one has to delve added on a few selections (on one. a ballad. a quintet backs her). Miss Mer- "Zero Distortion" Amplifiers into the liner notes before discovering that the entire disc is devoted to the rill has a warm. lyrical voice with "I have heard them all and Pure Quadramatic songs of !sham Jones. a composer more touches of a husky timbre that add is really the greatest. If any amplifier is given honored by performance of his tunes very appropriate color to her perform - the privilege to use the term 'zero distortion', than by celebration of his name. He ance. Her approach is simple and direct this is it!" wrote l'll .See You in My Dreams, It and her interpretations are sensitive As a jazz artist, I feel it is the technique Had Be and the without overreaching. Byrd is immacu- and sound, as well as improvisation which char- To You, On Alamo (all late in his accompaniments and he acterizes the individual musician. And if, through of which are included here). as well as throws in a few briefs solos in the process of reproduction, this sound is such memorable but slightly less ubiqui- ap- blurred. or distorted, then that artist has lost tous songs as Su'ingin' Donn the Lane, propriate spots. Miss Merrill's program a part of his identity." You've Got Me Crying Again, If You covers both the familiar (a bossa nova. Dizzy Gillespie has been recording for years Were Only Mine, and Why Can't This Quiet Nights, Handy's Careless Lore, and has heard himself almost neutralized by the Night Go On Forever? (all also present). the currently repopularized House of inability of amplifiers to reproduce the full sound the Rising Sun, and England's John of his original recording. Bill Borden has written big -band arrangements for four of the tunes, catch- Anderson, My Jo) as well as fresh "Those days are gone ", says Dizzy. 'With ing some of the feeling the and less well -known songs in Italian. Pure Quadramatic amplifiers I can now hear the of old Jones Portuguese. and. surprisingly, Japanese. subtle shading of both big and small notes. It band performances. Four more big -band is is an exciting experience to hear that little extra arrangements by Rusty Dedrick owe This neither purist folk nor pop folk that 1 have put into a recording come out through nothing to Jones but do justice to the but falls in an attractive area between perfect amplification." tunes while providing Dedrick on trum- the two. It is possible that the jazz Although electronic engineers can theoreti- pet. Peanuts Hucko on tenor saxophone. feeling Miss Merrill tried to express in tally prove that "zero distortion" is an impos- and Lou McGarity on trombone with her earlier work has found a productive sibility, they have yet to develop testing equip- outlet in these highly colored perform- ment sensitive enough to detect suitable settings for several good solos. any distortion ances. JOHN S. WILSON within the range of audio frequency in the Pure The small -group pieces are compact Quadramatic amplifiers. If you are considering a head arrangements which. in one in- new amplifier, be your own judge. Hear the Pure stance (The Wooden Soldier and the Quadramatic sound before you buy a standard China Doll), turn one of Jones's less brand. We are sure you will join with Dizzy inspired tunes into a delightful bit Gillespie and hundreds of others who are switch- of ing to Quadramatic amplifiers. tightly knit combo jazz. See and hear the new Quadramatic line at one of our many franchised dealers, or send 25c for Frances Faye: "You Gotta Go! Go! Go!" the Quadramatic Story and Literature Regina 315. $3.98 (LP); S 315, $4.98 Pure Quadramatic Promotions Inc. (SD). 9 E. Ohio St., Chicago, III. 60611 Miss Faye, who has been around for CIRCLE 45 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE

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Richard Dyer-Bennet: "Songs of Ships, Mrs. Whitney's When I Was Still a letarian poet. Although many of his Bell, songs are embarrassingly bad, some Seafaring Men . . . And One Edible Young Girl, The Monotonous Little - Rat." Dyer- Bennet Records DYB 12, and l Planted the Little Garden Myself like Deportee and The Reuben James- $4.98 (LP). rank with any Russian folk song inter- represent folk poetry of power and Richard Dyer -Bennet: "Stories of Songs, pretations on vinylite. Two final obser- imagery. for Children and Their Parents." Dyer- vations: the guitar -mandolin accompani- Alan Lomax, who recorded this im- Bennet Records DYB 13, $4.98 (LP). ments of Jerry Silverman and Walter portant set in March 1940, describes Beset by the endless flood of folk combos Raim provide marvelously atmospheric Guthrie, then twenty -eight, as "slight of belting out their frenetic counterfeits, settings; Monitor includes complete build. windburnt. Apache -eyed. thin - one turns with gratitude to the pure Russian texts both in Cyrillic and lipped, wiry, and with a curly bush of freshet of these releases. Richard Dyer - transliteration along with translations. dusty hair." Guthrie never ventured far Bennet, a veteran balladeer of superlative from politics; he sang of hard -eyed gifts and solid integrity. subtly trans- The Kingston Trio: "The Folk Era." bosses and cruel bankers, tough sheriffs, mutes traditional songs into art songs; Capitol TCL 2180, $11.98 (Three LP); anonymous wetbacks, outlaws, and -most in each case, he illuminates the song's STCL 2180, $14.98 (Three SD). notably in This Land Is Your Land - emotional soul. For example, in Songs of In retrospect, the three young men of the of America's natural glories. Twenty - Ships, he makes no pretense of re- creat- Kingston Trio have much to answer for. eight ballads, sandwiched between bio- ing the work tempo of sea chanteys; but In spite of the long -time efforts of such graphical fragments, figure in this three - by emphasizing the dark poetry of excellent groups as The Weavers, no folk record album. Alan Lomax fashioned Shallow Brown -easily blurred by the ensemble ever caught the public imagina- the recording session with a radio show iterative rhythm of the capstan chant - tion -until the Kingstons' 1958 recording in mind. Guthrie's sociology is grossly he movingly evokes the masked poign- of Tom Dooley which. as a single. sold simple, but this merely echoes his age. ance of the seagoing life. This album more than a million copies. This smash- After all, in 1932 the American Commu- admirably displays the gifts of this great ing success ushered in the folk song ren- nist Party racked tip a million votes on artist: the high, pure tenor voice, the aissance with its myriad mediocre com- just such simplistic evaluations. flawless enunciation. the meticulously bos. its meretricious commercialism, and Guthrie's voice, nasal and flat, never crafted accompaniments. In this latter its swift pollution of traditions that had was his forte. But as an uncommonly context, note particularly the brilliance survived seven centuries. But the King - vital and magnetic performer, he ranks of his guitar in The Roving Gambler. stons were originals and they still gen- as the chief germinal influence on today's On Stories and Songs for Children, erate excitement. Listening again to Tom folk singers. his songs figuring in every Dyer- Bennet brackets a selection of en- Dooley, you recognize the dynamism that repertory. Elektra's reprocessing of the chanting Georgian (USSR) folk tales informed their early efforts. Perhaps it 78 -rpm originals strikes me as nothing with equally enchanting ballads such as was the trio's reorganization in 1961 or short of an electronic miracle. Voices The Soldier and The Lady and The Old the massive erosion of twenty LPs. but stand out lucidly and background noise Gray Goose. Of the tales, the ingenious today's Kingstons fail to strike the same is at a minimum. For the serious folk - chicaneries of one Vanno will divert the fire. In any case, here -in splendid stereo nik, this is virtually a sine qua non. most cynical as well as the most innocent -is a panoramic account of the musical audience. Both releases are sonically career of a group that changed the world The Dubliners. M -G -M E 4262, $3.98 flawless; both are highly recommended. of recorded folk music. (LP): SF 4262. $4.98 (SD). This quartet. obviously patterned upon Yulya: "Yulya Sings Kalinka and Other Woody Guthrie: "Library of Congress the preeminent Clancy Brothers and Russian Folk Songs." Monitor MF 422, Recordings." Elektra EKL 271/72, Tommy Makem -even to the odd penny - $4.98 (LP): MFS 422. $4.98 (SD). $9.95 (Three LP). whistle obbligato --isn't really had: it's just Yulya -in real life Julie Whitney, Rus- Woody Guthrie was the first American too glaringly derivative for comfort. The sian -born wife of an American journalist troubadour to draw his material from Dubliners' arrangements of I'll Tell My -has done as much for Russo -American the hopes and fears and failures of his Ma and The Holy Ground. for instance. musical acculturation as any of the highly compatriots of low estate. He came of smack of outright musical plagiarism. touted artists that have come our way age in the Great Depression and he Their every mannerism -save for their via the cultural exchange program. Her chronicled in some one thousand songs outrageously ragged harmony -so patent- records embrace an inordinately broad the turbulence of that era and the holo- ly apes Makem and the brothers Clancy spectrum of Russian popular song. from caust that followed. Born in Oklahoma in that I occasionally had the disturbing cabaret melodies to the bittersweet gems 1912, he hit the road with the Dust Bowl thought that 1 was listening to that puck- of Alexander Vertinsky. Now she has refugees, often literally sang for his sup- ish foursome satirizing itself. given us a splendid set of fourteen folk per. appeared for $1.00 a throw on a songs, and I think it the most appealing Los Angeles radio station. and ultimately "Fernanda Maria: Fadista." Monitor MF of all her releases to date. The ballads, journeyed to New York where he found 425, $4.98 (LP); MFS 425, $4.98 (SD). reflecting the Slavic scheme of things. a measure of fame. Guthrie's story is Fernanda Maria, to my mind the finest oscillate between tears and smiles. be- disquietingly like a legend -a legend de- of Portugal's newer generation of tween joy remembered and joy regretted. tailing the genesis of a profoundly pro- fadistas, presents a recital of fados that

MARCH 1965 121

www.americanradiohistory.com is all somber flame. The fado, a syn- and the islands of Torres Strait, Geoffrey copated song of unkind fate. is indige- N. O'Grady of the University of Alberta nous to Lisbon. and nothing evokes the taped tribal songs and chants. The good cobbled alleys of Alfama and Bairro offices of Indiana University and Folk- Alto with a greater pang of nostalgia. ways Records now make them available In her program of latter -day staples, on disc. Here is music straight front our DYNACO Menina Fernanda shines particularly in neolithic past. chanted to the accompani- Ve/ha tipoia (Old Coach), Fado das ment of simple percussion, a droning in- touradas (Fado of the Bullfights), and strument called a did%eridu, or nothing STEREODYNE III Recordacao (Remembrance). Francisco at all. The words of some songs, ap- Carvalhinho on the Portuguese guitar parently very ancient, have lost all and Martinho de Assuncito on the Span- meaning. Scholars and initiates of ethnic stereo phono cartridge ish guitar provide a plangent background. music will find endless fascination in Portuguese texts are included, but no this material, and the accompanying English translations. O sen/or näo Pala booklet -complete with transliterations, by B &0 Portugués? Tough. translations, and musical notation -is a model. Pete Seeger: "I Can See a New Day." Columbia CL 2257, $3.98 (LP); CS The Leon Symphoniette: "Musical Mem- 9057. $4.98 (SD). ories of Japan." Kei Kubota, soprano; Pete Seeger's appeal stems not from his Hibari Girls Choir. London Interna- voice -it is narrow in range and rather tional TW 91314, $4.98 (LP); SW undistinguished -but from the enthusiasm 99314, $5.98 (SD). and conviction of his performances. He Basically, the theory behind this record - has also earned respect by standing up ing -one of a series of world -wide mu- to be counted when it hurt to do so; his sical portraits-is quite sound. London roughhewn integrity has rem:tined intact hopes to present authentic, but not too for almost a generation. This album folkloric, performances of native artists one of the truly offers a cross section of the man -his and instrumentalists on their home musical pickups" exuberance and wit, his sensitivity and grounds. This sample fails, however, for moral commitment. Vividly recorded in two reasons. The Leon Symphoniette is live concert, he sings spirituals (Oh What far too slick and cosmopolitan in its With the exception of loud- a Beautiful City), hymns (How Can I treatment of Japanese themes that were speakers, no part of your Keep from Singing), work songs (Go created for spare, simple presentation, music system affects its Down Old Hannah), along with a sea and vocalists clutter up the proceedings chantey, and ballads from Ireland, Tur- with nonsinging -i.e., mouthing mean- quality as much as the choice key, and Wales. For me, however, the ingless notes. If this is a fair exemplar, of a phonograph cartridge. most memorable selection was Viva la London's new project is stillborn. quince brigada, a Loyalist relic of the Specifications and test re- Spanish Civil War that I first heard Pete Frank Sinatra and Bing Crosby: "Amer- ports, while helpful, cannot sing some twenty years ago on the de- ica, I Hear You Singing." Fred Waring substitute for a thorough funct Stinson label. Now as then, his and the Pennsylvanians. Reprise F listening evaluation in mak- Spanish accent isn't much, but the fire 2020, $3.98 (LP); S 2020, $4.98 (SD). of that lost and tragic cause still smolders A massive dose of patriotism that, inad- ing so crucial a decision. in his voice. vertently, teeters on the knife -edge of The Stereodyne HE is the comedy throughout. Both Frankie and "The Sparrow: King of Calypso!" M -G -M Bing are soft -voiced vocalists of limited latest refinement by E. R. E 4259, $3.98 (LP); SE 4259, $4.98 range, and it is faintly embarrassing Madsen of Bang and Olufsen, (SD). here to listen to their ill- starred striving who first recognized the im- Back once more to regale us is Slinger for the clarion effect. All the faults of portance of standardizing on Francisco, the Mighty Sparrow, who may the disc culminate in the Bing Crosby not quite be the once and future king of Waring collaboration on This Land Is a 15° stylus angle. In sepa- calypso (are you listening, Duke of Iron Your Land. Waring swings the accom- rate arms, as well as in the and Lord Invader ?), but who is clearly paniment, Bing's tongue never quite better changers, its clearly a worthy claimant to the crown. Sparrow seems to escape his cheek-you keep superior sound will be peppers the landscape with his songs, waiting for the deprecatory aside -and apparent. riddling communism in He Can Handle the chorus chatters in the background Thera, adultery in Take Your Bundle and like so many restive Rhesus monkeys. Go. upper -class sexual mores in English Woody Guthrie should sue. Wide, smooth response Society. Taped in live performance beside Lower distortion the pool of Jamaica's Sheraton -Kingston Glenn Yarbrough: "One More Round." Hotel. the Sparrow is vital and swinging. RCA Victor LPM 2905, $3.98 (LP); Less crosstalk The fun is infectious but unfortunately LSP 2905. $4.98 (SD). Lowest hum (by a mile!) the crowd and /or orchestra occasionally Another step in Glenn Yarbrough's meta- Replaceable stylus mask his words. morphosis from folk to pops singer -in fact, only three or four of the selections 15° vertical angle "Songs of Aboriginal Australia and on this recording have even the remotest just $19.95 Torres Strait." Folkways FE 4102, folk affinities. Yet some of the implica- $5.95 (LP). tions are disturbing: in his years with Be sure you listen to When Europeans first discovered Aus- The Limeliters, Yarbrough served the tralia two centuries ago, some 300.000 world of traditional balladry well, and this cartridge at your extremely primitive aboriginals ranged now one wonders what happened to the audio spe'cialist's showroom the vast continent. The onslaught of sure programming touch of that era. civilization and its diseases reduced the Once again this fine tenor has handi- population to 45,000: extinction no longer capped himself with a dismal group of DYNACO INC. threatens, but the old languages and ballads: a puerile little tearjerker con- 3912 POWELTON AVENUE customs are in irreversible decline. In the cerning a child's bedtime prayers called course of six years of linguistic studies I Wonder sets the tone of this unfortunate PHILADELPHIA, PA. 19104 among the natives of Northern Australia effort. O. B. BRUMMELL CIRCLE 19 ON READER -SERVICE CARD

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www.americanradiohistory.com Sidney Bechet: "Bechet of New Orleans." guished point in his career in 1953. been applied to Snoopy. Guaraldi is a RCA Victor LPV 510, $4.98 (LP). shortly before his death the following good melodist, both as composer and is Bechet is heard in a variety of different year. The most finished performances performer, and although this very combinations on this recording which occur on four selections recorded in lightweight stuff, it is appropriate to covers the years 1932 to 1941. But no 1949 with Al Haig on piano, Tommy the occasion. matter what the setting, he is always Potter, bass, and Roy Haynes, drums. gloriously and positively himself. Bechet On these, we can hear several aspects The Happy Jazz Band: "Jazz from the was one of the supreme romantics of of Gray's technique -not only his debt San Antonio River." Happy Jazz 86, jazz -his tone. his sound. his concep- to Young but his warm ballad style $4.98 (LP); S 86, $5.98 (SD); Happy tions (and his vibrato) were consis- (more akin to the playing of Don Byas Jazz Records, 110 Oak Park Drive, tently larger than life and, fortunately, or a gentle Coleman Hawkins), and San Antonio, Tex. often twice as exciting. Although he his ability to swarm all over a figure One of the most impressive aspects of frequently fell into a routine of clichés on an uptempo swinger. There are also the Happy Jazz Band, a group of San of his own making, he used them with some excellent glimpses of Al Haig Antonio amateurs devoted to traditional such passionate conviction that he almost both as soloist and as a very perceptive jazz styles, is the remarkably easygoing, forced a listener to accept them as accompanist. On another set of four relaxed quality of its playing. Contem- inspirations of the moment. He was tunes recorded in 1950 Gray is in porary traditional groups have a tend- such a strong musical personality that equally good form, but his accom- ency to lapse into a stiff -legged style he could successfully carry even the paniment is not quite of the same that creates a lumbering. static effect. most routine group. He does exactly caliber. He is heard in jam session sur- These San Antonians step into every- this on a selection with that studio group roundings on two long, driving pieces thing, at whatever tempo, in a casual, Henry Levine led on the fondly remem- done in 1950, one of which is further effortless, old -shoe manner, producing bered radio program The Chamber Mu- enhanced by the challenging presence a most effective and propulsive brand of sic Society of Lower Basin Street. But of Dexter Gordon. A 1951 group led swing. This is even more noticeable here Bechet is also heard with his peers- by Gray, and including Art Farmer and than on the group's first disc. And where with Jelly Roll Morton, Tommy Lad - Hampton Hawes, is represented by half clarinetist Jim Cullum. Sr., easily stood nier, Red Allen, J. C. Higginbotham, a dozen unpretentious, quietly effective out on that last release, the rest of the Willie "The Lion" Smith, Sidney De performances. The only disappointing group is closer to his standard on this Paris. Earl Hines, Charlie Shavers, and group is the set dating from 1953. Vibra- disc. Trombonist Gene McKinney and Rex Stewart. The collection includes two phonist Teddy Charles and Gray pro- pianist Cliff Gillette are particularly explosive 1932 performances by the New vide what good moments there are on effective, while Willson Davis, who puffs Orleans Footwarmers: a sterling instance these four selections. a delightfully light- footed sousaphone, of Bechet's rich low register clarinet on gets a chance to shine on The Pearls. Egyptian Fantasy (a part originally Vince Guaraldi Trio: "Jazz Impressions The program is a good mixture of played by Bechet's teacher, George Bac- of 'A Boy Named Charlie Brown.'" rarities such as Bogalusa Strut, Peculiar quet, with the Original Creole Band); Fantasy 5017, $4.98 (LP). Rag, and The Chant with warhorses like and an unusual treatment of Save Jt. Guaraldi's piano performances of tunes Clarinet Marmalade. Sister Kate. and Pretty Minna with Earl Hines and Rex he wrote for a television documentary Royal Garden Blues. It is a pleasant Stewart. As lagniappe. there is a previ- about the comic strip Peanuts (and its surprise to hear these latter tunes. which ously unissued take of Bechet's multiple creator, Charles Schulz) are taken from have been battered to pieces by the dubbing of The Sheik on which he the sound track of the film. They are ramrod traditionalist groups, played with plays clarinet, soprano and tenor saxo- pleasant, melodic, and frequently catchy such easy gracefulness. phones, piano, bass, and drums -a real little tunes with titles that will have followers of Charlie challenge before the days of tape. significance to all Billie Holiday-Teddy Wilson: "Once Brown Good Grief, Freda (with -Oh, Upon a Time." Mainstream 56022, the Naturally Curly Hair), Schroeder, Wardell Gray: "Memorial Album." Pres- $4.98 (LP). and so forth. I miss one of Schulz's tige 7343, $9.96 (Two LP). The title of this disc may possibly be most brilliant inventions, Snoopy, the Wardell Gray was one of the most a shade misleading. The conjunction dog, although a piece called Lints and effective of the numerous tenor saxo- of Billie Holiday and Teddy Wilson Lucy has a theme that might well have phonists in the Forties who drew a flow- immediately conjures up the wonderful ing sense of swing (and sometimes tone series of discs they made together for and phrasing) from Lester Young. It Brunswick. If this title raises hopes for is a style that is still heard today in more examples of this exciting collabora- the playing of Zoot Sims and, to a tion, they are doomed to he dashed. lesser extent, Al Cohn. This two -disc Although both Wilson and Miss Holiday set shows Gray at his peak in 1949 are heard (and heard to decided advan- and 1950 as well as at a less distin- tage), they are not heard together. On

MARCH 1965 125

www.americanradiohistory.com one side Miss Holiday sings with Eddie three by a 23 -piece group including Heywood's sextet ten Können Sie Deutsch? or his trio, recorded strings. and three by a septet. For in 1944. Her voice Then you'll find "phono" still had its early, Hubbard, Shorter's arrangements give mag- open, sparkling quality which, combined him azine a fascinating Source of an opportunity to be heard in with her very individual intonation and settings that are more developed information about recordings her than buoyant way of phrasing. formed the blowing sessions in which and musicians! the original he is basis of her great appeal. usually recorded. Hubbard's big, lustrous She finds a remarkable amount of depth tone fits in well with a large group, and and beauty in pop ballads such as I'm the arrangements provide him with Yours, a As Time Goes By, and, particu- strong background. The three selections larly, Host, Am / To Knorr. On the rare with strings (Skylark and Ellington's occasion when she sang a blues, she Chocolate Shake and I Got It Bad) was are inclined to belt it out with bright, done at such slow tempos that. in two finger- snapping vigor, as she does here instances, the effect is dragging and with 1 Lore My Man. Wilson is heard ponderous. However, on Chocolate in five quartet pieces that were origi- Shake, originally a fast piece. the slow- nally issued under Edmond Hall's name down brings out some unexpectedly (Hall on clarinet. Billy Taylor, bass, glowing qualities in the melody. Of the and Art Trappier, drums, completing three small group pieces-a ballad, a the group). Wilson was playing in rela- blues, and Body and Soul- Hubbard tively smooth, long, flowing lines at shows his true mettle on the last one. this time (1944), while Hall's wriggling, Although it has been played over and bouncing, dancing style with its warm over and is "owned" by several estab- intonation and looping. offbeat phrasing lished jazz stars, including Coleman was in full flower. Despite Trappier's Hawkins, Hubbard manages to make it stolid drumming, Hall makes these per- very much his own. From Vienna, recording capital of formances swing all the way, while the world, you'll receive the latest Wilson brightens them with his light- Harry James and His Orchestra: "New news six times a year in "phono" fingered ornamentation. Versions of Downbeat Favorites." magazine, edited by Kurt Blau - M -G -M 4265, $3.98 (LP); S 4265, kopf. Keep ahead through a sub- Freddie Hubbard: "The Body and the $4.98 (SD). scription to "phono"-send your Soul." Impulse 38, $4.98 (LP); S 38, Harry James just about sums up his check or an international money $4.98 (SD). era in this program of great hits from order for 53 -today for a years Both trumpeter Freddie Hubbard and the swing period. The tunes are all subscription to tenor saxophonist Wayne Shorter break associated with various bands-Senti- into new and encouraging territory on mental Journey (Les Brown), Cherokee p1--lono this disc. This represents Shorter's first (Charlie Barnet), Harlem Nocturne attempt to write for a large group Konzerthaus Vienna 3, Austria - (Randy Brooks), Sophisticated Lady three selections are by a 16 -piece band, (Duke Ellington). to mention a few- CIRCLE 70 ON READER -SERVICE CARD

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www.americanradiohistory.com and while the arrangements Thad Jones He makes a lovely waltz of I Should has written for James do not copy the Care, plays Alone Together with un- originals, they rarely stray very far away. expected freshness, dances airily through One exception is King Porter Stomp. Something Missing. and gets into a voice- This piece, played at a moderate tempo, superb after-hours vein on Rainy Day loses part of its original, lusty exuber- Love. He gets admirable support from ance, although Jones has provided some George Tucker on bass and, on most activate strong ensemble writing for the James selections, has a very congenial drum- saxophones. James has a superb saxo- mer in Sonny Brown. Jazz piano records phone section and his protégé of twenty are generally a dime a dozen but this years ago, Corky Corcoran, is an able one is unusually satisfying-except for am soloist. The band is a solid swinging the surfaces which are inexcusably noisy. group and James himself plays with his customary lustrous sound. These per- Jelly Roll Morton. Mainstream 56020, formances offer no real challenge to $4.98 (LP). taue recorder the originals (almost all of which are Both as one aspect of early New Orleans available on LP), but this disc is a jazz and as an example of the art of handy and concise bit of nostalgia. Jelly Roll Morton, this is a basic collection of jazz performances. Originally Gildo Mahones: "Soulful Piano." Pres- recorded for General Records in 1939 tige 7339, $9.96 (Two LP); S 7339 and later reissued on LP by Commodore, The only device in the world that will $9.96 (Two SD). it has been unavailable in recent years. convert any tape recorder into a voice - who has been One side is devoted to Morton's piano actuated unit. Tape recorder records Mahones is a pianist when you speak ... turns off when you around a long time (seventeen years) solos of Original Rags, The Naked stop. Permits complete operation of and in the past has worked with such Dance, The Crave (misspelled The recorder from a distance or when hands prominent groups as Lester Young and Grave on both liner and disc), Mister are busy. Ideal for conferences and Joe, and Morton's own King Porter group activities. Installs in seconds Lambert, Hendricks and Ross /Bavan, without tools . no soldering. Has among others. Yet he never emerged as Stomp. Although they all bear the dis- pause and sensitivity controls to meet a distinct musical personality on his tinctive Morton stamp, they are as de- all requirements. Can be used as on -oft of the sporting house switch to control hi -fi. CB or ham trans- own. This two-disc set, on which he finitive evocations mitters, electrical appliances, etc. In plays all but two selections with an Professor's style and repertoire as we leatherette case, complete with cord accompaniment of just bass and drums, are likely to hear. Morton's equally dis- for battery -operated and transistor tape reveals not only a definite personality tinctive manner of singing is also fea- recorders. Made In USA Under $35.00 but a decidedly charming one. His per- tured, including his inimitable Mamnie's See your tape recorder dealer or write: formances, even at slow tempos, flow Blues as well as Michigan Water Blues, DEPT. H -3 with a consistent sense of movement. Buddy Bolden Blues, Winin' Boy Blues, inc. In addition he has a strong feeling for and Don't Leave Me Here. Both as re- kinematix, 2040 West Washington Boutevari melody, simply stated but phrased in cordings and performances, these are Chicago, III. 60612 Arca 312 666.0066 unusually attractive rhythmic patterns. far superior to the Library of Congress CIRCLE 40 ON READER -SERVICE CARD

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www.americanradiohistory.com records made a year earlier. Except for on two aptly titled selections. Mumbles a bit to remove the misconceptions about Sweet Substitute, which he recorded a and Incoherent Blues, producing a form ragtime built up by glib. commercial week after the last of these sessions. of scat singing that is a cross between a honky- tonkers, and a further step has the work on this disc proved to be mutter and a shout. His ability to bend been taken by Toni Shea. He not only Morton's last hit of recording glory. and squeeze notes to excellent musical plays the standard rags. but has written effect is evident all through the disc, a number of new ones, opening up what Oscar Peterson: "Trio Plus One." Mer- balanced by occasional glimpses of the had become a static repertory. On this cury 20975, $3.98 (LP); 60975, $4.98 rich, mellow tone he uses on a properly disc he plays four of the classic rags (SD). singing melody. (Mississippi Rag, Alu Ragtime Baby. The "Plus One" on this set is trumpeter - Swipesy Cakewalk. and Creole Bells) flugelhornist Clark Terry. He is a con- Tom Shea: "Prairie Ragtime." Ragtime as well as seven of his own compositions. siderable plus. for it is his wry and some- Society 2, $5.00 (LP); The Ragtime At least four of Shea's pieces can hold times raucous instrumental humor as Society, P.O. Box 8, King. Ontario, their own with the standard works, well as his intensely lyrical playing that Canada. which is a pretty high percentage of lifts the disc out of the routine. Terry Spurred by Max Morath and such organ- success. His Pegtonn Patrol is a light not only brightens the collection with izations as the Ragtime Society, the and airy cakewalk, involving an inter- his instrumental contributions but be- piano rag seems to he enjoying the begin- esting assortment of breaks. Rosebud comes a very amusing vocalist of sorts nings of a revival. Morath has done quite Rag rides along in rollicking fashion while Oliver Road Rag and Trillium Rug are gentle. graceful. and extremely melodic. Shea's spirited playing catches the jauntiness of some of the tunes, although his positive attack occasionally veers into stiffness, a more noticeable trait on the standards than on his own pieces. On the whole, he seems more at ease in slower, gentle tempos than at a fast pace. The disc has been well recorded and. because of this. may prove a more i. inviting introduction to genuine ragtime 1 ,. than recordings of piano rolls or hap- hazard discs which preserve the work LI: of earlier piano rag performances. Discs of this type are such rarities that the M N ~ f i present one should be a basic part of a 2 J ) N ragman's collection. The Southampton Dixie, Racing, and Clambake Society Jazz Band: "Re- corded Live at Charlie Bates Saloon." íTd Y14,1 t (`-) I 75r) ThrYP, Tiana I130. $3.95 (LP). This colorfully named band is a semipro group that has been working the society YYec.) \ L .3,1 J "d\ circuit on Long Island for a decade, and is now a twice -a -week attraction for the eternal collegiate set at Charlie Bates Saloon in New York (1487 First Ave., IN JEDER SPRACHE, NUR andberg where this disc was recorded and can be bought ). On the basis of these per- BIETET BESSEREN, KLAREREN formances, it rates as one of the better contemporary traditional groups. It has a good front line -a strong, crisp cornet- UND NATURTREUEN TON! ist with touches of Wild Bill Davison in Bill Barnes, a rugged trombonist in Skip Strong, and a satisfactory clarinetist, Joe Ashworth. Pianist Ted Prochazka -1--7T has a vigorous, two -handed attack, and ftk"->NUFF the rest of the rhythm section -Tiger Taggert on tuba, Connie Worden on banjo, and Stan Levine on drums - ft- keeps the beat light and lively. The group's main weaknesses are a tendency to into some pieces too - v-5 &I dive at break- neck a pace -Snake Rag and The Chant are reduced to slapdash exercises by this -and to sing. Still, their fast pieces are TRANSLATED FROM ANY LANGUAGE: better than most oversped efforts of similar bands, and their singing is far "ONLY TANDBERG TAPE RECORDERS OFFER less distasteful than this sort of thing BETTER, CLEARER, MORE NATURAL SOUND" usually turns out to be. When they are not making too obvious an appeal to . . the last word in stereo and monaural excellence the world over. At franchised dealers every- their juvenile audiences. they play with where from $208.60 to $498.00 vim and spirit. JOHN S. WILSON ONE YEAR Gl AR,tNTEE

t 'Tandberg Or AMERICA INC. t P. O. Box 171, 8 Third Avenue, Pelham, N Y. CIRCLE 57 ON READER- SERVICE CARD ti HIGH FIDELITY MAGAZINE

www.americanradiohistory.com by R. D. DARRELL

The following reviews are of 4 -track fabulous earlier recordings of the Bee- cratic taping of Fidelio, Knappertsbusch's 7.5 -ips stereo tapes in normal reel form. thoven Concerto with Bruno Walter, and glacially slow one. Now comes one they may be disconcerted too by the characterized by generally excessive BEETHOVEN: Concertos for Piano technical flaws in evidence here. Yet speed. Maazel's high -voltage galvanism is and Orchestra: No. 2, in B flat, anyone of genuine musical sensibility by no means wholly regrettable: there Op. 19; No. 4, in G, Op. 58 must surely appreciate that this is an are moments here of more sheer dra- interpretation quite sui generis, superbly matic excitement than any other con- Julius Katchen, piano: London Sym- imaginative in its conception and often ductor since Toscanini has been able to phony Orchestra, Pierino Gamba, cond. ineffably moving, both in its poignant develop in this opera. Unfortunately, LoNUON LCL 80142. 52 min. $7.95. moments of "linked sweetness long however, there are a good many other drawn out" and those more expansive moments that seem decidedly outré - Can there be enough Katchen fans in ones of noble eloquence. And not the for example, an almost jauntily lilting the United States to justify this release? least of its special attractions are those "Prisoners' Chorus." And I am not very Certainly more objective collectors are of the unfamiliar Busoni first -movement enthusiastic about the recording itself, unlikely to find much in it to admire, cadenza: an extremely interesting one, which seems rather dry to my ears beyond the soloist's considerable techni- more Bachian and songful than showy. (partly perhaps in comparison with the cal dexterity. The tape itself is excellently Over all, of course, and despite the cavernous echo -chambering used. not processed and I can't fault the clean, purity of the floating stereoism and the without justification, in the Dungeon strong recording. but the frequent heavy - competence of Dorati's admirably bal- Scene ). The balances between soloists handedness of both Katchen and Gamba anced (if somewhat overobjective) or- and the not too far forward orchestra is scarcely conducive to tonal attractive- chestral collaboration, this version offers are. however, quite effective. ness. In the great Fourth Concerto the no direct challenge to the favorite "stand- The disadvantages of this set, particu- sometimes slapdash, sometimes affected- ard" tape editions of the music: those larly its jarring tempo choices, are ly expressive interpretation proffers no by Heifetz and Munch for RCA Victor particularly unfortunate in that they competition to the Cliburn /RCA Victor / and by Francescatti and Walter for Co- detract so much from the fine perform- or Backhaus /London versions, let alone Ni lumbia. These remain preferred choices ances-topped, of course, by Miss Nils - the top -ranked taping by Fleisher and too over the somewhat belated Angel son's Leonore but also featuring a SzeII for Epic. Katchen's Second is less tape transfer of the best of David Ois- generally excellent supporting cast, mannered, but it never captures the trakh's numerous disc versions. This per- chorus, and orchestra. All things con- music's essential gusto or seriously chal- formance will appeal most strongly to sidered, most listeners will be best served lenges the only other available tape those who play the violin themselves by the far more restrained, subtle. and edition, that by Backhaus and Schmidt - or to those who relish ultrasensuous tonal eloquent taping by Klemperer for Angel Isserstedt for London (April 1961). qualities and magisterial accuracy of in- (reviewed here in April 1963) which tonation. Cluytens' accompaniment is is well worth its slightly higher cost. BEETHOVEN: Concerto for Violin somewhat methodical when it is not and Orchestra, in D, Op. 61 overvehement, the impressively big -hall BEETHOVEN: Symphonies: No. 1, in stereo recording is rather dense, and the C, Op. 21; No. 8, in F, Op. 93 Joseph Szigeti, violin: London Symphony interpretation itself lacking in personality Orchestra. Antal Dorati, cond. -at least until the final movement, which Orchestre de la Suisse Romande, Ernest MERCURY STC 90358. 42 min. $7.95. is a breathlessly exciting display of elec- Ansermet, cond. trifying virtuosity. LONDON LCL 80144. 55 min. $7.95. David Oistrakh, violin; Orchestre Na- tional de la Radiodiffusion Française, BEETHOVEN: Fidelio These are not. as one might suspect, André Cluytens, cond. merely recoupled reissues of the recorded ANGEL ZS 35780. 45 min. $7.98. Birgit Nilsson (s), Leonore; James Mc- performances first released in 1961, Cracken (t), Florestan; Hermann Prey which on tape coupled the First Sym- I can't remember, offhand, any pre- (b), Don Fernando; et al.; Vienna State phony with the Fifth, and the Eighth vious tape by Szigeti, whose distinctive Opera Chorus; Vienna Philharmonic with the Eroica. There are no really artistic personality may well be unfa- Orchestra, Lorin Maazel, cond. major interpretative changes. except miliar to today's young music listeners. LONDON LOS 90085. Two reels: ap- perhaps for the repetition of the first- The latter of course cannot be expected prox. 58 and 59 min. $16.95. movement exposition (omitted before) to welcome the present release as will older collectors who remember Szigeti's We've already had one highly idiosyn- Continued on next page

MARCH 1965 129

www.americanradiohistory.com THE TAPE DECK TELEVISION Continued from preceding page

in the Eighth, but the new readings are at once more restrained and more pre- H i.Fi: STEREO cisely controlled -generally slightly slower in tempo yet more resilient in inflection. Technically, however, there is a considerable advance: the present sonics 446 C.B. RADIO are more transparent and natural, and the tape processing now is completely satisfactory. Thus, Ansermet's readings TELEVISION are reinforced as first tape choices for Are you planning to Build? Re- both these delectable "little" symphonies, although his version of the Eighth is model ? Add- A- Room ? I f so, you r hard pressed by the somewhat larger - will want built-in convenience and scaled one by Krips in the latter's versatility, even your TV and FM. series of all nine Beethoven symphonies Now you can! How? Mosley has recently reissued by Concertapes. a complete line of accessories for completely installing your antenna GILBERT & SULLIVAN: The Yeo- lead within the wall and termin- men of the Guard ating in a decor harmonizing wall Elizabeth Harwood (s); Ann Hood outlet. Convenient ? Versatile ? (ms); David Palmer (t); John Reed (b): You Bet! With two or more Mosley et al.: D'Oyly Carte Opera Chorus, Royal outlets installed throughout your Philharmonic Orchestra, Sir Malcolm Sargent, cond. room or home, even a console be- LONDON LOH 90086 comes portable. (double -play). 93 min. $12.95.

HI FI /STEREO Seventh of the G & S operettas to achieve tape representation, Hi Fi and Stereo is a great source this Yeomen is easily the most successful of them all of family enjoyment and company (if there are not as many memorable entertaining. Here too, a versatile passages here as elsewhere, those present and convenient system is needed. must be ranked qualitatively very high Mosley has switch plates, remote indeed). The absence of spoken dialogue speaker outlets, attenuator plates (as in the earlier releases of The Pirates of Penzance. Mikado. and Ruddigore) and many more, each expertly de- will be regretted by Gilbertians, but the signed to harmonize with room de- lack of public enthusiasm for the inclu- cor and give positive performance sion of spoken passages (in the earlier wherever installed. releases of 11. M. S. Pinafore, to /antáe. and Patience) seems to have convinced London that most listeners prefer a no- COAX TERMINATION OUTLETS dialogue policy. FOR What gives the present set its most potent appeal is a combination of exceptionally fine voices with even better or- Citizens Band /Business Band chestral playing than heretofore. The D'Oyly Carte company's young succes- sors to the RADIO famous stars of the past come into their own here, with John Reed Here is a NEW, COMPLETE line perhaps outstanding for both his comic acting of coaxial termination accessories and lilting vocalization. Ironically, though, the "straight" singing that enables your antenna lead -in honors are stolen by a ringer-the limpid to be concealed within the wall, A-r soprano Elizabeth Harwood. And other and terminated in a decor harmo- ringers, Sir Malcolm Sargent and the nizing wall outlet. A convenient, Royal Philharmonic Orchestra, are responsible for the work's instrumental low cost way to add a professional superiority: skillful as Isidore Godfrey touch to your two -way communica- and the D'Oyly Carte Company's own tions. orchestra always have been, there can be no question but that this performance is far more excitingly varicolored and FILL OUT AND RETURN FOR vir- E] TELEVISION ACCESSORIES. tuoso than the others' best efforts. Add El HI Fl /STEREO ACCESSORIES. London's customarily clean, brightly CATALOGS AND LITERATURE n COAX TERMINATION OUTLETS. "ringing" recording and its flawless tape processing -and we have in this produc- NAME ADDRESS tion a new standard for G & S reel CITY STATE excellence. osoy HANDEL: Giulio Cesare (excerpts) M.L. 4610 NORTH LINDBERGH BLVD. - BRIDGETON, MISSOURI, 63044 Joan Sutherland (s), Cleopatra; Marilyn Horne (ms), Cornelia; Margreta Elkins CIRCLE 41 ON READER -SERVICE CARD 130 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com (c), Giulio Cesare; Monica Sinclair (c), Ptolomeo; Richard Conrad (t), Sextus; New Symphony Orchestra of London, Richard Bonynge, cond. LAFAYETTE LONDON LOL 90087. 49 min. $7.95.

London gives us enough more than a RADIO ELECTRONICS Sutherland aria recital in this first major tape representation of Julius Caesar to sharpen regrets that it didn't go further NEW! LAFAYETTE 70 -WATT COMPLETE and give us the complete score. Happily, though, there is at least a wealth of AM -FM STEREO RECEIVER well -varied excerpts from one of Handel's finest operas to gladden every- Just Add Speakers and Enjoy FM, FM Stereo one who shares my relish for Handelian and High -Quality AM Reception melodiousness. Miss Sutherland gives us not only the two most familiar Cleopatra arias. "V'adoro. pupille" and "hanger() la sorte mia," but also the poignant, indeed quite Bachian "Se pieta," the viva- ciously bravura "Da tempeste," and two others only scarcely less distinctive. Moreover, Corneliá s (Miss Horne's) " Priva son d'ogni conforto," with flute obbligato, proves to be one of Handel's noblest arias, and there are other welcome, if less outstanding, contributions by Elkins, Sinclair, and Conrad -not all of which are done in their entirety, A powerful 70 -Watt Amplifier plus Complete Pre- however. amplifier Control Facilities plus a Standard AM Tuner My only real quibble with this re- plus a sensitive FM Tuner plus an FM Stereo Tuner- 19950 all on One Compact chassis Amazing FM "Stereo 99- 0005WX lease is that the Sutherland enunciation Search" Circuit Signals Presence of Stereo Broadcast, continues to leave much to be desired, Tuned Nuvistor "Front End" provides Greater Sensitivity, Lower Noise at least in comparison with the bravura Bar -Type Tuning Indicator for AM and FM Variable AFC Control Imported skill of her coloratura singing. But helpful texts and translations are provided in THE WIDELY ACCLAIMED LAFAYETTE RK -137A the annotation leaflet; Bonynge's orchestra and the continuo harpsichordist, TAPE RECORDER FEATURING A - TRACK STEREO PLAYBACK Hubert Dawkes, supply consistently vi- - TRACK MONAURAL RECORD vacious and brightly colored accompaniments; and the recording is beauti- PLAYBACK fully pure and spacious- indeed perhaps With Electronic Track Selector a bit too open, for there are occasional post- echoes. Switch, VU Recording Level Meter and Pause Switch FDr RACHMANINOFF: Concerto for Pi- Instant Editing ano and Orchestra, No. 2, in C minor, Op. 18: Rhapsody on a Includes Lightweight carrying ccse, Theme of Paganini, Op. 43 dynamic microphone, output cable, 7 inch empty tape reel. Gary Graffman, piano; New York Philharmonic, Leonard Bernstein. cond. COLUMBIA MQ 657. 57 min. $7.95.

tape proves 8950 Graffman's first Columbia Two Speeds -33/4 & 71/2 ips Pause Lever 99.1511WX to be unexpectedly attractive on several Provides Instant Stop for Editing Record - counts. For one, the readings reveal the Erase Safety Switch Fast, Rugged Shift Lever than soloist in less coolly objective form Control Extension Speaker Jack High Im- TAKES REELS I in his Victor releases of pedance Monitoring Jack VU Meter Recording any of RCA UP TO 7" some years ago. For another, the rela- Level Indicator Electronic Track Selector tive restraint and precisely controlled Switch Specially Designed Heavy -Duty 6x4 " PM Speaker Separate Erase and Record Heads to vigor of Bernstein's collaboration (in- $adaptablestereo Imported playback comparably superior to that given En- tremont in the Columbia MQ 325 of 1961) are vital elements in performances LAFAYETTE that on the whole must be ranked near FREE ! the very top of Rachmaninoff recordings. The present reel is also unusual in Over 500 Pages 1965 CATALOG No. 650 that it is the only non -double -play ver- Featuring Everything r sion to present the Second Concerto Lafayette Radio Electronics Send me the FREE 1965 Lafayette in Hi -Fi from the Catalog 650 complete on a single tape side. Dept. WC -5, P.O. Box 10 "World's Hi -Fi & enclosed; the fact that the score is Syosset, L. I., N. Y. 11791 o send me I emphasize Electronics Center" # complete in view of the typographer's (Prices do not include shipping charges). deletion of the word "decibel" in disc See the Largest Selection in reviewer Harris Goldsmith's reference Our 44 -Year History! Name (January) to "a slight decibel cut." But Mail the Coupon for Address whereas a reduction of modulation level your FREE 1965 Lafa- yette City State Zip Continued on next page Catalog. L CIRCLE 36 ON READER -SERVICE CARD MARCH 1965

www.americanradiohistory.com THE TAPE DECK ances, while the stereo recording is close to ideal (I'd prefer a shade more hall Continued from preceding page reverberance to heighten the inherent theatricality of the music) and the tape for a single -side disc recording of some processing quite ideal. 34 minutes is understandable, there is no reason for it on tape and the level here VERDI: Rigoletto does seem a bit lower than usual nowadays, thus detracting slightly from the Anna Moffo (s), Gilda; Alfredo Kraus immediacy of the broadspread, rich stereo (t), The Duke; Robert Merrill (b), Rig- recording. In this respect the Janis/ oletto; et al.; Chorus and Orchestra of Dorati Mercury taping of the Concerto RCA Italiana, Georg Solti, cond. has more sonic vividness. Interpretative- RCA VICTOR FTC 7008. Two reels: ly, the more recent Ashkenazy /Kond- approx. 53 and 59 min. $15.95. rashin London version also is very much in the running. But if the choice among Povero Rigoletto! The opera is still un- these three versions of this work is lucky on tape. Like the London version perhaps a tossup, Graffman's release with Joan Sutherland (October 1962). has the advantage of a coupled Rhap- this one rates high praise for its eschewal sody that is easily the best available on of score cuts, for consistently attractive 4 -track tape. vocalism, and for bright (if here a bit echoey) recording with unexaggerated RIMSKY -KORSAKOV: Capriccio es- stereogenic and sound effects. But, also pagnol, Op. 34 like the earlier version, the present one t'Tchaikovsky: Capriccio italien, Op. is enacted with bland propriety instead 45 of the melodramatic forcefulness that the story -and score too -demands. Alfredo London Festival Orchestra, Stanley Kraus makes a fine Duke in the con- Black, cond. ventional Italianate pattern and sings LONDON LCL 75004. 35 min. $7.95. with exceptional verve; Moffo is a charmingly girlish Gilda in both voice The tape transfer of the most suc- and manner; but all Merrill's mellifluous- cessful release to date in the Phase -4 ness cannot compensate for his lack of pop- concert series boasts even more sub- personal involvement in the title role. stantially solid and warm sonic breadths Another dramatic weakness, Solti's -if perhaps not quite as brilliant ex- frequent choice of overfast tempos, has treme highs -as the disc edition which ambivalent results. On the one hand, I reviewed (under the title "Capriccio! ") it permits this taping to be priced at in the "Sonic Showcase" last month. Yet $5.00 less than its competitor. On the despite this reel's supreme tonal lucidity other, it negates the usual advantages of and the decided improvements in Black's the tape medium for larger works: what conducting, the preferred tape coupling were four long disc sides are transferred of these favorite orchestral showpieces here to four relatively short tape sides. remains that by Kondrashin for RCA But since the total time would have been Victor (FTC 2009). That release dates ten or twelve minutes too long for a back to 1960 to be sure, but the years single very full double -play reel, and haven't dimmed either the big -hall re- probably few collectors care for large - verberant realism of its sound or the scale tapings with fourth -side encore in stereo high fidelity at 17/8 ips zestful spontaneity of Kondrashin's fillers, the present layout is probably the on Roberts Cross Field 770 readings. best compromise. Andre Previn, Supervisor and Conductor of TCHAIKOVSKY: The Nutcracker, Music, "My Fair Lady," perfects his per- Op. 71 (excerpts) formance long before an audience ever hears "Academy Award Winners." Roger Wil- liams, piano; orchestra, various conds. it. He needs completely faithful sound Philadelphia Orchestra, Eugene Ormandy, reproduction -and the ultimate in con- Kapp KTL 41082, 35 min., $7.95. cond. While Roger's faithful fans won't find venience and dependability. Mr. Previa COLUMBIA MQ 689. 49 min. $7.95. knows that in addition to his professional anything new in this anthology (appar- requirements, only Roberts Cross Field 770 ently drawn from earlier releases, some The long awaited third entry in the of which, I'm sure, have been available gives 18 hours of full frequency stereo Ormandy series of major Tchaikovsky response (36 hours of monaural) on one on tape), they well may want to recom- ballets is-like the others -incomplete, mend it as an engaging introduction to 7 -inch reel! Only the 770 with the Cross and in my opinion any program of ex- Field head reproduces 40- 13,000 cps at their favorite pops pianist. For me, cerpts loses something of this music's Days of Wine and Roses, l'/s ips. Speeds: 71/2, 33/4, l'/s ips. $499.95. Gigi, and marvelous balletic and evocative dis- others of the more sentimental perform- I Try the Roberts 770 at music and photo tinction. However, the present release ances have lost some of their first - centers -Others from $269.95 to $699.95. does go considerably beyond the familiar hearing interest, but the livelier selec- orchestra suite to include the Forest in tions have enhanced appeal, especially ROBERTS-1î Winter and Waltz of the Snowflakes the zestful treatments of Buttons and scenes (the latter without chorus), the Bows, Zip a Dee Doo Dail, and a swing- Spanish Dance (Chocolate), Dance of Send for FREE BOOKLET: "40 and more ing Call Me Irresponsible. The recording ways to use a Roberts Tape Recorder" and Mother Gigogne and the Buffoons, Pas varies considerably but is mostly brightly details on the new Roberts Cross Field 770. de deux with variations, Final Waltz and effective. Roberts Electronics, Dept. trr Apotheosis -all interspersed with the 5978 Bowcro!t, Los Angeles te, Calif, in which NameN suite items to follow the order "Artistry in Voices and Brass." Chorus, Address the selections appear in the ballet. Need- Trombone Quintet, and Rhythm Sec- City State less to say, especially to anyone who tion, Stan Kenton, cond. Capitol ZT In Canada: J. M. Nelson Electronics, Ltd., enjoys the Ormandy Swan Lake and 2132, 37 min., $7.98. 2149 Commercial Drive, Vancouver 12, H.C. Sleeping Beauty tapings, "sumptuous" is The notion of fitting swing instrumentals (Prices slightly higher in Canada) the only word for the present perform- with lyrics for choral performance is CIRCLE 50 ON READER -SERVICE CARD 132 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com one that leaves me queasy -and what I can hear here of Milt Raskin's verses unsettles me further. Yet one must give credit to the combination of first -rate DISCOTECA 18 -voice choral singing, superb trombone FOR playing, and remarkably clean, open, WRITE recording (plus tape proc- ungimmicked the authoritative Italian -language essing of admirably quiet surfaces, if review of records and music QUOTATION also with some preëchoes). Pete Rugolo's FACTORY SEALED CARTONS ingenious scorings are particularly effec- published monthly in Milan FRANCHISED DISTRIBUTOR arrangements of what tive in the new QUICK SHIPMENT the Concerto To End once were entitled edited by: All Concertos, Artistry in Rhythm, Artistry in Bolero, and Collaboration. S. p. A. Krachmalnicoff

"At the World's Fair." Mormon Taber- distributed by: the nacle Choir, Richard P. Condie, cond. S. p. A. Messaggerie Italiane 'MOST' IN Columbia MQ 650, 42 min., $7.95. My personal objections to this program Via Lomazzo 52 - Milan (recorded July 26, 1964, in commem- oration of the thirty -fifth year of the recent contributors have included: DISCOUNTS Mormon Tabernacle Choir's Sunday Rodolfo Celletti, Mario Rea, Alberto ON ANY HI -FI broadcasts) are considerable: e.g., the COMPONENTS omission of texts (more than ever needed, Pironti, Giorgio Vigo lo, Gabriele since the choir's enunciation is often so Baldini, William Weaver, Goffredo inexcusa- mush -mouthed); the even more Petrassi, Roman Vlad, Fedele d'Amico. ble omission -in this tape edition -of composer and arranger credits; the non- annual subscription $11 descript organ accompaniments; the generally pedestrian performances; and in- SOUND Advertising, subscriptions, specimen sufficient tonal body in the apparently on request c o Italian Publications, REPRODUCTION closely miked yet reverberant recording. copy Yet I have to concede that the present Inc., 132 West 43rd Street, New York, INC. processed the stereo N. Y. 10036. tape is better than 34 New Street, Newark, N. J. (01102) disc edition, and that it is often hard Via Paolo Lomazzo 52 to resist completely the singers' sincere (201) Mitchell 2 -6816 fervor even in music (such as a Bach Milan, Italy cantata excerpt) for which they have no interpretative understanding at all. And several other selections are better CIRCLE 16 ON READER -SERVICE CARD CIRCLE 54 ON READER -SERVICE CARD suited to the ensemble's powers: the gentle Czech folk song Waters Ripple and Flow, Berger's The Eyes of All, Thomp- son's grave Paper Reeds by the Brook, and Shire's One of God's Best Mornings.

"Ballads, Blues and Boasters." Harry Belafonte; Chorus and Orchestra, Howard A. Roberts, cond. RCA Victor FTP 1288, 39 min., $7.95. Except in the eloquent and authentically bluesy Black Betty and Blue Willow Moan. which surely rank among Bela - HOW FAR WRONG CAN YOU GO FOR $2 A YEAR! fonte's finest recorded performances, and Eager to sell, buy or swap used high fidelity speakers, in the proud Back of the Bus, the soloist cartridges, turntables, tuners, records, etc.? seems uninspired by most of his mate- amplifiers, to our monthly bulletin: The BUY- SELL -or- rials here and tends to lapse either into Turn oversentimentality (in Four Strong SWAP NEWSLETTER. Winds, My Love Is a Dew Drop, Boy, /f you want to SELL -classified listings of used equip- etc.) or into overvehemence (as in ment and records cost only $2 per ad -limit 30 words Ananias and John the Revelator). The including name and address. No dealer ads accepted. accompaniments (other than those featuring a squally electronic organ) are If you want to BUY -lots of bargains offered in the usually effective and occasionally, as in 50 or more ads that appear here every month. Sub- those for Boy and Pastures of Plenty, scription price; only $2 a year! first -rate. All in all, though, this vividly wrong can you go recorded, flawlessly processed tape is If you're audio -minded, how far for most safely commended to convinced $2? Fill in and mail the form below today! Belafonte fans only. HIGH FIDELITY, Dept. CE Endosad is my payment for $ Great Barrington, Mass. "The Best of the Limeliters." RCA Insert the following 30 -word adver- Victor FTP 1269, 43 min., $7.95. Start my subscription to your BSS tisement (Including name and address) in With Gottlieb, Yarbrough, and Hassilev Newsletter with the next issue. (Only $2) the next issue of the BSS Newsletter. going their separate ways nowadays, (Type or print plainly.) ($2) RCA Victor presents now an anthology Name drawn from the ensemble's 1960 -63 tape and disc releases. The more con- Address

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MARCH 1965 133

www.americanradiohistory.com THE TAPE DECK I I I f ° hi GET Continued from preceding page -fi OUR COMPONENTS & TAPE RECORDERS ventional selections, including Yar- Easy -Pay -Plan -Up to 24 months to QUOTE brough's tremulous -voice romantic bal- Pay. lads, stand up reasonably well 115 -day money -back guarantee. ROCH on re- Full 2 -yr. warranty -parts & labor. hearing, while there is livelier entertain- Franchised all lines. We ship from ment than stock. ever in the humorous skits Trade -ins - highest allowance -send (Max Goolis, Madeira M'Dear, Funk. your list. Shipments double packed & fully and perhaps especially Gunslinger). insured. Gottlieb's introductory spiels too have 20th yr. of dependable service-World Wide. lost none of their engaging qualities. So. We guarantee "we will not be under- if you don't already own a complete sold. ' Otto Write for our price-You'll be glad file of the Limeliters' reels, you STEREO HIGH FIDELITY can't you did. go wrong with this enticing sampler. we own the sharpest pencils in the U.S.A. "Great Violin Favorites." Isaac Stern, violin; Columbia Symphony Orches- tra, Milton Katims, cond. Columbia RECORDING TAPE MQ 688, 42 min.. $7.95. The Most Trusted Name in Sound

I suppose the tape repertory I I 3- +1 P ICES should in- I 11112 PLUS THESE RABSONS EXTRAS a reel clude light encore 1 of -favorites 110A 1 3" 225' Acetate ea. .391 .35 Established 1905 58 Years of Reliability for the fiddle -especially one featuring 1 Franchised Protection Plus 703C1 5" 1 900' Acetate ea. .95 I .84 I Rabsons Special Two Year Guarantee so skilled a player as Isaac Stern -but 1 702C1 17" 1 1200' I Acetate I ea.1.35 1 1.29 I Easy Payment Plan Up to 24 Months to Pay 1 myself regret the comparative waste of Each Component Double Packed to Insure 1708C1 7"11800' Mylar ea. 2.491 2.291 Safe Arrival ... At no extra charge his talents on trifles. Among those here Rabsons 15M -24 7" I 2400' Mylar Sells ONLY Factory Fresh Merchan- I really relished only the vibrant Jamai- ea. 2.75 12.591 dise in Original Factory Sealed Cartons Minimum order -$10.00. All prices include ship- SO WRITE RABSONS can Rumba and the lusty hoe -down ping USA, APO. Whatever your HI -FI requirements and receive from Copland's Rodeo. The rest are Any assortment permitted for 12 price. Deduct add. 5% 100 tapes or over. such sweetmeats as Greensleeves, Humor- A $1.00 geuwne Miracle Rec- Please write for price on tapes not listed. ord Cleaning Cloth with esque, None But the Lonely Heart, EVERY Quotation from Rab- Schubert's sons on a component or sys- Ave Maria, and the like, tem of your choice. many of them in new and quite skillful HI- FIDELITY FR arrangements by Arthur Harris. The 57 ST. INC. recording is robust but overdose; the CENTER "The Mouse of Low Low P'.[es" RABSONS tape processing. on the "A" side at 119 West 57th St., New York 19, N Y least, is plagued by preëchoes. 1797 -H 1st Ave. Area Code 212 Circle 7-0070 New York, N. Y. 10028 D.ogonolly opposae Carnegie Holl i "The Incomparable Mantovani " Manto- CIRCLE 29 READER -SERVICE CIRCLE 46 ON READER -SERVICE CARD ON CARD vani and His Orchestra. London LPM 70088, 35 min., $6.95. r------Incomparable indeed, at least in the gen- SAVE MONEY on tle art of musical tear jerking. The NATIONALLY present materials are a blend of old ( Yes- ADVERTISED BRANDS terdays, As Tinte Goes By, etc.) and 000í0000 new (More, I Left My Heart in San Francisco, etc.); the sounds are so super - BRITAIN'S FOREMOST saturatedly mellifluent as to be constantly on the verge of actually crystal- COMPONENTS lizing out of the air in a dense fall of RECORD CRITICS sugared snowflakes. TAPE WRITE EVERY MONTH "In Europe." Miles Davis and His Quar- tet. Columbia CQ 645. 62 min.. $7.95. IN RECORDERS "It's Monk's Time." Thelonious Monk Quartet. Columbia CQ 644, 49 min., $7.95. 000DÒ00000 "Miles and Monk at Newport." Miles Davis Sextet; Thelonious Monk Quar- COMPREHENSIVE CLASSICAL REVIEWS TAPES, tet with Pee Wee Russell. Columbia * ACCESSORIES CQ 647, 42 min., $7.95. JAll AND SWING REVIEWS SLEEP LEARN KITS Avant -garde jazz connoisseurs will welcome all three of these reels, of which MERITAPE one -the vividly big -sound documentary Top Quality Recording Tape of Davis at the Antibes Jazz Festival MUSIC FROM STAGE AND SCREEN Franchised Distributors of 1963 -is sure to rank as a jazz Factory Sealed Cartons classic. I certainly have never heard EQUIPMENT TESTS AND REPORTS Up to 2 yrs. Mfgr. Warranty him play with more éclat than he does here, or costar a more talented sideman than the outstanding young drummer Write for our Tony Williams. For fascinating compari- VERY LOW QUOTATIONS 000îi0000 son, the Newport program called "It's Monk's Time" goes back to the Davis ANNUAL SUBSCRIPTION $5 FREE CATALOG Sextet of 1958, with Cannonball Adder - ley and John Coltrane. in much more 379 KENTON ROAD, KENTON, slapdash performances. which in the re- HARROW, MIDDLESEX, ENGLAND DRESSNER cording unduly favor Jimmie Cobb's 1523 Jericho Tpke. New Hyde Park 32, N.Y uninhibited din on traps. WRITE FOR FREE SPECIMEN COPY Visit Our Showroom The other Newport program among CIRCLE 18 ON READER -SERVICE CARD CIRCLE 26 ON READER -SERVICE CARD 14 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com these releases, this one from 1963, is to favor unduly the string bass part , . . particularly interesting for its unlikely but one soon realizes that if this is so, inclusion of Pee Wee Russell. He picks it is more than justified. up Monk's materials and styles with surprising skill but he scarcely sounds Developments at 334 Ips. Apparently the Why? at home with them. And Monk himself recent slow -speed musical releases were DO THOUSANDS OF is more effectively his puzzling, provoca- entirely too modest in offering only the HI -FI for equivalent of two normal LP /SD or tive self in CQ 644, remarkable both ENTHUSIASTS BUY FROM its two long piano solos and four long 7.5 -ips single -reel programs. Capitol's outings for the Quartet, topped by an second 33/a -ips list includes one triple - especially engaging Stuffy Turkey and play reel (Y3W 1613, $14.98: "The AUDIO UNLIMITED one of the most distinctive of all the Nat King Cole Story ") and two quad - enigmatic Monk masterpieces, Shuffle ruplers. Of the latter, one (Y4T 2201, It's Obvious! Boil. $19.98) features four Paul Weston programs: "Music for Dreaming . . . The LOWEST PRICES Romancing "; "Trio '64." Bill Evans Trio. Verve Fireside ... Memories ... FAST SERVICE VSTC 313. 36 min.. $7.95. the other (Y4P 8607, $19.98) features The unpretentious improvisatory music some thirty -five "Melodies of the Mas- FACTORY SEALED UNITS given me exceptional ters" by various conductors, pianists, making here has FULLY INSURED SHIPMENTS satisfaction-not only in Evans' own etc. These reels have been processed by imaginative lyric invention but also in what Capitol calls its "new Biasonic UP TO 2 YEAR MANUFACTURERS' the bass playing by Gary Peacock, which process." Roberts Electronics' first 33 -ips WARRANTY strikes me as just about the best I've release, the four -play "Tapeotique" (an- PACKAGE DEALS -SAVE MORE heard in years. Don't judge this program nounced in "High Fidelity Newsfronts" by the titles of the individual selections. last month), features the Marterie, FRANCHISED DISTRIBUTORS The unlikely materials are completely Holmes. Rodrigues, and other dance most eloquently of bands (Roberts RLPT 3, $14.95). For transcended, perhaps Write for FREE Catalog Today all in Everything Happens to Me. The the concisest possible comment on this flawlessly transparent recording seems, trend, I surely need say only, "Muzak, SEND US YOUR LIST in the very first moments of listening, move over!" FOR OUR AIR MAIL QUOTE TODAY A QUESTION OF FUNCTION Visit Our Showroom and Warehouse Continued from page 69 AUDIO unlimited, inc. not not yet able to convey spon- performance can be great in spite of it 715 F Second Ave. (Nr. 38) New Yolk 16, N.Y. taneously owing to an insufficiently getting the trills and mordents right. 3 blocks from the U.N. Deryck Cooke, the widely respected expert technique. Whatever the reason, the effect is to bring into English critic, once wrote in Tite Gramo- CIRCLE 4 ON READER -SERVICE CARD Mahler's music a completely alien phone of attending a Furtwängler con- element- frigidity. cert, score in hand, and being surprised at the number of times the conductor Whether one agrees with Mr. Cooke's ignored or abused what was in the score. final judgment or not is immaterial. Yet. Mr. Cooke says, after the piece was What matters is that he has put his FLY HIGH finished he found himself on his feet finger on the life pulse of the work - shouting "Bravo!" because he knew, which is not the notes and the dynamic within himself, that Furtwängler had or metronome markings but the per- WITH given perfect expression to the music formance itself, the expression of the and to the intent of the composer. The composer through the conductor -and DIXIE critic elaborates on this point in a review that he has commented on this with all written for the July 1964 Gramophone: his knowledge of the composer at his command. Anyone who has sat through HI-FI In short, Bernstein is technically a rendition, in ticktock time, of an "ab- right. and Walter technically solutely authentic" performance of some SAVINGS wrong. . . . Why is it, then, that classic (Handel's Messiahs comes imme- one so warms to Bruno Walter's diately to mind) must surely recognize record of the [Mahler] Fifth Sym- that perfect fidelity to a score does not Bernstein's ultimately phony, while necessarily produce a meaningful musi- all, leaves one cold? Is one, after cal experience. Largest discount High Fidelity not the 'perfect Mahlerite' that Bernstein would seem to be? I Ideally, of course, we want great, component distributors in the think the answer is this. Given that moving performances-at one with the South. Wholesale prices on Walter's approach to Mahler un- composer's intent -of uncut unimpeach- derplays this nervous element, it able editions played exactly as written. package or individual compo- is nevertheless a spontaneous and We do not live in this dream world, nents. Latest models in Thctory deeply felt approach of a great however; and this is to our advantage, for sealed cartons shipped imme- conductor, which reflects Mahler's it makes us use our minds and our emo- music through a more stable and diately from our warehouse. tions to what exactly is balanced temperament; whereas judge to be Bernstein's approach, even if it emphasized among the variables we have. Special attention given to Audio concerns itself with the nervous By thus being forced to use our full Clubs, Churches and Schools. element in the music, seems to do selves, we cannot help developing both so with the conscious and careful as critics and as thinking human beings, For Special Price Quote -Write calculation of a less than great con- in a way that would be impossible if ductor who is no nearer to the all answers could be prepackaged and nerve -ridden Mahler in his inmost prepared for instant ingestion. There are self than Bruno Walter is. Every- no answers: we must make the answers. DIXIE thing seems conscientiously ap- We must the note and listen plied from the outside-though it read to HI FIDELITY WHOLESALERS may be, of course, that Bernstein the song. The codification of song is con- 703 HORTON DRIVE stant. but the song will ever change. This does have some strong affinity SILVER SPRING, MD. with Mahler's neurotic self, but is endless change is music. CIRCLE 17 ON READER -SERVICE CARD MARCH 1965 135

www.americanradiohistory.com PURCHASING ADVERTISING INDEX A HI -FI SYSTEM? Key No. Page No. Key No. Page No. 1 Acoustic Research, Inc. 41 69 TRADE -INS OK -TIME PAYMENTS KLH Research and Up to 2 years to pay I 2 Airex Radio Corp. 136 Development Corp. 19 Altec Lansing 64 KLH Research and 3 Allied Radio 108 Electrovoice Development Us JensenHallicratter Corp. 80 -83 Send USL Citizen Band Angel Records 111 Texas Crystals 33 Klipsch & Associates . 114 Internat'! Crystals 62 Audio Dynamics 29 -38 Your List of University 34 Koss 24 Acoustic Research 8 Audio Originals Corp. 8 Janszen Viking Wharfedale 4 Audio Unlimited, Inc. 135 Lafayette Components Marantz 36 Radio Bell G E. Electronics 131 Weathers Harman -Kardon 5 Benjamin Electronic 37 Lansing, James B., For A Eico Ampex Sound Corp. 27 Sherwood Sound, Inc. 124 Crown Recorders' Superscope 6 Bogen Communications London Records 116 Package Dual C anger Division 21, 23 Bogen RCA Dynakit Fisher 7 Bozak, R. T., Mfg. Co. 22 65 Magnecord Sales Dept. 126 H. H. Scott Leak' Quotation ECI Roberts 103 British Industries Corp. 52 De Wald National 38 Marantz 48 AIREX WON'T Sony Challenger Browning 39 McIntosh Laboratory, BE UNDERSOLD Garrard 9 Cambridge Records, Inc. 115 Inc. .. . 26 All merchandise Miracord is new, General Radio 10 Carston Studios 136 Minnesota Mining & brand Rek -O -Kut factory fresh & Polytronics 1I Citadel Record Club 11 Mfg. Co. 42 guaranteed. Norelco Finco 41 . Visit our N. Y. showroom. Fairchild 12 Columbia Records 92, 93 Mosley Electronics Inc. 130 Free cabinet brochure Pickering Sonar & Domestic and'or ADC Cartridges 42 ... Musical Heritage Society, . ,ert Hi Fi Catalog. 13 . Audio Tape Command Records 97 Magnecord' Inc., The .. . 115 AIREX Rockford Cabinets 15 ADC Speakers Deutsche Grammophon KSC Speaker Gesellschaft 84 43 .... OKI- Chancellor RADIO Systems* Electronics 119 CORPORATION ° Fair Trader! 16 Discoteca 133 85-HF Cortlandt St., N. Y. 7, WO 41820 17 Dixie Hi -Fi 135 70 Phono 126 2 18 Dressner 134 CIRCLE ON READER -SERVICE CARD 44 . Pickering & Co., Inc. 2 58 Dual 46, 47 45 Pure Quadramatic

19 . Dynaco Inc. 122, 123 Promotions Inc. 120 ELLING HI -FI 21 ... Eico Electronic 46 ... Rabsons -57 St. Inc. ... 134 ORLD WIDE Instrument Co., Inc. 118 47 RCA Victor Records ... 99 30 .. Electro- Voice, Inc. Cover III 48 Record Club of America 5 NCE 1948 22 Elektra Corp., The 115 49 Rek -O -Kut .. 25 23 .. Elpa Marketing 50 . Roberts Electronics 132 COMPONENTS RECORDERS Industries, Inc. 18 KITS SPEAKER SYSTEMS TAPE 51 Rotron Mfg. Co., Inc. 40 24 EMI, see Scope LOWEST PRICES Electronics 24 .. Scope Electronics Corp. 20 ALL BRAND NEW 108 .. Empire Scientific 100 Scott, H. H., Inc. .. 51 FACTORY SEALED Corp. 13 -15 CARTONS 63 Sherwood Electronic Lab- oratories, Inc. Cover IV MFRS. GUARANTEES 25 Finney Company, The 127 UP TO 5 YEARS 52 Shure Brothers, Inc. 50 35 Fisher Radio Corp. FAST, INSURED Cover II, 1, 43, 44, 45 53 Shure Brothers, Inc. 74 SHIPMENTS 54 Sound Reproduction, GET 'QUOTES' ON 103 Inc. 133 PACKAGE DEALS Garrard 52 AND SAVE MORE 26 Gramophone 134 55 Superscope, Inc. 8, 9 SAME DAY REPLY 20 Greentree Electronics 4 TO YOUR HI -FI 57 Tandberg of America, Inc. 128 INQUIRY 27 Harman- Kardon, Inc. 10 PARKING METERS 66 . Turner Microphone Co. 109 AT PREMISES 28 .. Heath Company 102 -105 29 .. Hi- Fidelity Center 134 58 United Audio 46, 47 SPECIAL STEREODYNE il DIAMOND 59 University Loudspeakers 6, 7 STEREO CARTRIDGE - $7.25 ppd 68 ... Inter -Mark Corp. 44 Send for FREE "MONTHLY SPECIALS" on other Cartridges, Tapes, and Components. 60 Vanguard Records 11.3 31 Kenwood Electronics, Inc. 12 WRITE FOR MONTHLY SPECIALS 61 Viking of Minneapolis, 40 Kinematix, Inc. 127 Inc. 28 r'/f CAR 5' TON 32 KLH Research and 125 T East 88 St , New York 28. N Y Development Corp. 17 Wyeth Press 16 CIRCLE 10 ON READER- SERVICE CARD 136 HIGH FIDELITY MAGAZINE

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CIRCLE 30 ON READER -SERVICE CARD

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CIRCLE 63 ON READER -SERVICE CARD