High-Fidelity-1964-1

NEW TRENDS IN SPEAKER. DESIGN

The Haydn Masses a diicography

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These are the speakers of the finest yet simplest stereo system you can buy today. All the other components are shown life -size under this fold. -4

www.americanradiohistory.com XP -10 Woofer: 15" free-piston; 19 cps free -air resonance; 2" voice coil with exclusive eddy -current damping; 6 -lb. magnet structure. i Midrange: 8" cone; 1 " voice coil; 51/2-1b. magnet structure. Tweeter: 2" soft -cotton dome type; 51/2 -1b. magnet structure; 14,000 gauss flux density. Crossover: Full 3 -way LC -type network with air -core coils; crossover points at 200 and 2500 cps. Impedance: 8 ohms. Frequency Response: 28 cps to beyond range of audibility. Power Requirement: 10 watts minimum; 60 watts maximum (program material). Cabinet: 301/2" high, 243/s " wide, 143A" deep; Scandinavian walnut. Weight: 80 lbs. CIRCLE 37 ON READER -SERVICE CARD

DECEMBER 1964 1

www.americanradiohistory.com (V -15 AME -1 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 IIMEW AC -1 Most of you, no doubt are tracking lighter on the late model AUTOMATIC TURNTABLES and will use the Eff AT -1 Or if a professional type MANUAL TURNTABLE is your choice you'll need the even more compliant V -15 AM -1 And if it's unexcelled tracking ability you're seeking, you will demand the ELLIPTICAL STYLUS PICKUP V-15 AME -1 All four of these pickups are radically different from any other cartridge. 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 replace- able V -Guard assembly protects your record and diamond as it plays.

FOR THOSE WHO CAN HEAR THE DIFFERENCE PICKERING & CO., INC. PLAINVIEW, N.Y. Pickering

THE WORLD'S LARGEST AND MOST EXPERIENCED MANUFACTURER OF MAGNETIC PICKUPS CIRCLE 61 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Page 53

t 1

Page 48 high fidelity

Music and Musicians 48 From the Landowska Notebooks: excerpts from the late harpsichordist's previously unpublished journals Wanda Landowska 56 Gloria in excelsis Deo: The Haydn Masses H. C. Robbins Landon 63 Let's Play A & R Man Leo Haber 12 Notes from Our Correspondents: Paris, Amsterdam Sound Reproduction 31 High Fidelity Newsfronts: New York High Fidelity Show Norman Eisenberg 47 How To Play Santa Claus: an editorial 53 Stereo Reference Shelf: current audio literature R. D. Darrell 60 Anything But a Box -new trends in speaker designs 67 Equipment Reports McIntosh MA 230 Integrated Amplifier Orthophase Speaker Systems Bell Model 1000 Tuner /Amplifier Ortofon Model SPE /T Magnetic Cartridge Reviews of Recordings Feature Record Reviews 34 Shakespeare: Othello (Sir Laurence Olivier, et al.) 75 Verdi: Rigoletto (Moffo, Merrill, et al., Georg Solti, cond.; Scotto, Fischer -Dieskau, et al., Rafael Kubelik. cond.) 77 Debussy: Images pour orchestre (Pierre Monteux) 78 Other Classical Reviews 103 Reissues 109 The Lighter Side 115 The Sonic Showcase 117 Jazz 121 The Tape Deck

130 General Index, 1964 137 Index of Equipment Reports, 1964

D E C E M B E R 1 9 6 4 V O L U M E 14 N U M B E R 12

Published monthly of Great Barrington, Mass., by The Billboard Publishing Co. Copyright 1964 by The Billboard Publishing Co. The design and contents of High Fidelity Magazine ore protected fully by copyright and must not be reproduced in any manner.. Second -class postage Barrington paid at Great and at additional moiling offices. Authorized os tond -class moil by the Post Office Deportment, Ottawa, and for payment of postage in cosh. One -year subscription- Anywhere on Earth $7.00. 3e Indexed in the "Reader's Guide to Periodical literature." Change of address notices and undelivered copies (Form 3579) should be addressed to High Fidelity, Subscription Department, 2160 Patterson Street, Cincinnati, Ohio 45214.

www.americanradiohistory.com rl r\_.'IEI:: 2 1111 Fit

IT'S NO USE! I JUST CAN'T WRITE A 1200 FOOT SYMPHONY

Cover Photo: by Roy Lindstrom

Roland Gelatt Editor in Chief

Joan Griffiths Executive Editor Norman Eisenberg Audio Editor

Sue Severn Managing Editor Shirley Fleming Assistant Editor

H. C. Robbins Landon European Editor

Roy Lindstrom Art Director Nathan Broder John M. Conly R. D. Darrell Alfred Frankenstein 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, Ludvig, neither could Tchaikovsky, or A D V E R T I S I N G Brahms, or Mozart or Lerner and Loewe or any other composer for that matter. You simply can't write music to fit a Main Office Claire N. Eddings, The Publishing House reel of recording tape. It's up to the recorder owner to buy a Great Barrington, Mass. 01230 tape that will fit the music. Only American offers a selection Telephone: 1300 of 45 different recording tapes available in lengths of 150, New York 2.50, 300, .350, 450, 500, 600, 900, 1200, 1500, 1800, 2000, 167 West 46th St., New York 10036 Telephone: Plaza 7 -2800 2400, 3000, 3600, and 7200 feet. Be up to date. Insist on S, Resnick, A. Sobel, A. Spanberger recording American, the tape designed to fulfill your every Chicago need. Taylor, Friedman 333 N. Michigan Ave., Suite 314, Chicago 60601 Telephone: 332 -7683 Jerry Taylor, Ed Larson

Los Angeles 434 So. San Vicente Blvd. Los Angeles 90048 Telephone: Olympia 2 -2100 Robert J. Friedman, Mrs. Pat Kempler GREENTREE ELECTRONICS 2020 Placentia, Costa Mesa,. California CIRCLE 80 ON READER- SERVICE CARD 4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Citadel Record Club 545 Fifth Avenue, New York, N. Y. 10017 Please enroll me for one year as a member of the Citadel Record Club in accordance with the terms set forth in this advertisement. I understand that I am entitled to all membership privileges without any obligation to buy any- If you want to thing, ever. I am enclosing $3.00 for Record Division membership. I am enclosing $4.00 for Record and Tape Division membership. save?30 to3OO N 'tme Address

City_ tit 'ttc Zip a year on long-. H F-124 playing records,mail us$3.

For $3 a year. you become a member the event of a delay, partial shipments of the one record club that has every are made and your order completed single advantage and none of the as soon as the record or tape is available. disadvantages of all the others- includ- There is no additional cost to you for ing those advertised in this and similar this service. publications. (If you are also interested Specials! In addition to your regular in 4 -track recorded tapes, membership Citadel Club discounts, you will peri- costs $4.) odically receive lists of hit albums and Here is what the Citadel Record Club tapes in all categories of music, offered gives you for your $3: at super discounts. These are special purchases your Club can make through Discounts! As a member, you are its unusual buying power, and the entitled to unusually large discounts savings are passed along to all members. on the records you want -sometimes as Again, you are under no obligation high as 55 %! Your very first purchase to purchase any of these selections. virtually pays your membership dues in savings. And you can save $300 a year Free Schwann catalog! With your and more if you buy many records membership, Citadel immediately sends and get them all at Citadel discounts. you the standard reference guide to more than 25,000 long- playing records. No obligations! You can buy as few This comprehensive catalog has separate or as many records as you want, when sections for classical, popular, ballet, you want them. You are not obligated opera, musical shows, folk music, jazz, to buy any specific number of records etc., and another section for all new -or tapes. The choice is always yours releases. at top savings. Citadel has no "agree to purchase" requirement of any kind. 100% guarantee! Your records and tapes from Citadel are guaranteed All labels! Your choice is unlimited. factory -fresh and free of defects of any Virtually any record, album or tape by kind. If a damaged or defective record any artist on any label is available at or tape does get through our close a discount to Citadel members. This inspection, we immediately replace it includes opera, classical, jazz, pop, folk, with a perfect copy. spoken word- anything. You receive Citadel's periodic bulletins and catalogs that keep you abreast of the newest re- Satisfaction guaranteed! Try member- cordings. You never get a "preselected" ship in Citadel Record Club for 30 days. list -Citadel does not limit your choice. If at the end of that period you are not satisfied in every respect, your Promptest Service! Orders are usually membership dues will be immediately shipped the same day as received, refunded. No questions asked. rarely later than the next few days. In

CITADEL RECORD CLUB

CIRCLE 20 ON READER -SERVICE CARD DECEMBER 1964 5

www.americanradiohistory.com Capture the happy (preserve them permanently

There will be only one Christmas 1964. Only one exciting occasion when presents are opened, when sounds of happy surprise fill the air. You can save this priceless moment and relive it for years to come by recording it as it happens. Here's how many families do it: Set up the recorder in advance, with a full reel of tape; start the machine before the children enter the room to be sure not to miss anything; identify each gift as it is opened, asking the recipient to tell who sent it. Don't try to force any comments; natural reactions are best. One very important point: Make sure you use a quality brand -name tape on a base of MYLAR *.

CIRCLE 28 ON READER -SERVICE CARD 6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com sounds of Christmas on recording tapes of Myl ar ) Why MYLAR? Several reasons. Tapes of MYLAR can't dry out or become brittle with age...will preserve your precious recordings, no matter how long you keep them. Heat and humidity can't affect them either, so storage is no problem. In addition, MYLAR is extra -thin and extra- strong. It gives you up to 50% extra playing time per reel, yet can't break or stretch under normal use. So don't take chances. Prepare for the holi- only OU PONT makes day season by asking your dealer for your favorite brand of recording tape or pre -recorded tape s MYLAR® on a base of strong, durable MYLAR. "" T'"' "'`" t "'" POLYESTER FILM

*DJ Pont's register- S CIRCLE 28 ON READER -SERVICE CARD DECEMBER 1964 7

www.americanradiohistory.com AUTHORitatively Speaking

The author of the feature contribution which opens this issue (p. 48) needs no identification here. The memory of the great harpsichordist Wanda Landowska is still very vivid indeed in the minds of those who were privileged to know her, and there remains to delight -and inform -all of us the legacy of her work on records. To this testament is now to be added another memorial, with the publication, as Landowska on Music, of the private journals to which the artist confided the reflections of a profound and sensitive musical mind. It is HIGH FIDELITY'S great good fortune a that H V R to be able to present preview of EIILOO book in the excerpts printed here under the title "From the Landowska Note- books." The task of editing and trans- FRANCHISED DEALERS lating these writings has, most naturally, ARIZONA MICHIGAN Restout, Mme. Landow - The Music Center, Inc. fallen to Denise Phoenix Bruce's World of Sound Ann Arbor Hessler's Stereo Center Dearborn Lewis Radio -Television ska's musical assistant and companion Laboratories, Inc. Tuscan The Sound Shop, Inc. Detroit K.L.A. for a quarter of a century. For Miss Grand Rapids Electronic Sound Equip. Co. Restout's recollections of those years Mount Clemens Audioland Men of Music, Inc. CALIFORNIA Saginaw Radio Center we refer readers to "Mamusia: Vignettes Anaheim Henry Radio of Wanda Landowska," published in Azusa Rancho Sound MINNESOTA these pages in October 1960. Berkeley McDaniel's Hi Fi Duluth Mel's Sales and Service, Inc. Castro Valley Calbar Custom Electronics Minneapolis Audio King Company Equipment Fresno Jack Schiefer Sound Ken Kraft Hi Fi Hollywood Yale Radio Electric Co. To make in this column a public confes- Long Beach Scott Audio MISSOURI sion of private woe, we have few more Los Angeles Henry Radio Inc. St. Louis Hi Fi West difficult chores than trying to per- Sound Foyer Menlo Park McDaniel's Hi Fi NEVADA that they Modesto Radio Electronics suade our editorial colleagues Las Vegas Metcalfs, Inc. View McDaniel's Hi Fi Mountain Art Rempel Sound are not permitted to remain anonymous. Oakland Fisher Electronics, Inc. Reno is a vir- Pasadena High Fidelity House We don't doubt that reticence NEW JERSEY abject ignor- Sacramento Mal Sykes, TV and Hi -Fi tue on their parts, but San Diego High Fidelity House Montclair Perdue Radio Company ance as to our friends' current Lives & San Francisco Hal Cox, Incorporated Newark Bamberger's be as a vir- Eber Electronics Paramus Bamberger's Works can hardly regarded San Jose Alco- Paramount tue on ours. It is therefore in no very San Rafael Catania Sound NEW YORK the Van Nuys House of Sight and Sound Albany Seiden Sound kindly spirit that we announce here Visalia House of Sight and Sound Binghamton Audio Service Co., Inc. self- evident: Contributing Editor R. D. Buffalo F.M. Sound Equipment Corp. McNeil Music has us with a survey of COLORADO Cortland Darrell provided Garden City Macy's -Roosevelt Field current audio books (see "Stereo Refer- Denver Howard Sound Corporation New York Harvey Radio Company, Inc. ence Shelf," p. 53); European Editor Macy's -Herald Square CONNECTICUT Terminal- Hudson Elect. New York H. C. Robbins Landon has sent us an White Plains Macy's Bridgeport Hi Fi Center of Fairfield County on Masses (see "Gloria article Haydn's NORTH CAROLINA in excelsis Deo," p. 56). However, per- FLORIDA Durham Vickers Electronics Supply Co. haps we ought just to accept gracefully Clearwater Towers Distributing Co. Hendersonville Joy Record & Hi Fi Center Pensacola Grice Electronics, Inc. the happy circumstance that we number OHIO a -Fi Inc. among our associates 1) doyen of GEORGIA Cincinnati Hi Audio, audio specialists and 2) Cleveland Audio Craft discophiles and Atlanta The Stereo Center, Inc. Pioneer -Standard a foremost expert on music of the Augusta N and W Camera Exchange & Columbus Anderson High Fidelity Center eighteenth century. Hi -Fi Center Dayton Custom Electronics, Inc. Savannah Norwood's Record Shop Lima Acme Photo Supply, Inc.

New to HIGH FIDELITY this month is Leo HAWAII OREGON Haber, whom we are ready to promote as Honolulu The Audio Center, Ltd. Eugene Thompson's Pacific Music Center one of this country's more sophisticated PENNSYLVANIA IDAHO humorists (turn to "Let's Play A & R Philadelphia Sam Goody, Philadelphia Twin Falls United Electronics Wholesale Radio Electric Service Co. of Pa. Man," p. 63, and you'll see why). We're not sure that this is quite the guise in ILLINOIS TENNESSEE which our author sees himself, though. Champaign Radio Doctors Hi -Fi Kingsport Radio Electric Supply Company Chicago Devon Audio Center, Inc. Memphis Glenn Allen Company A teacher of English who takes his Mu sic raft profession seriously and a practicing INDIANA TEXAS Houston Audio Center poet (whose verse has appeared in such Indianapolis Graham Electronics Supply, Inc. Graham Electronics - Glendale journals as Commentary and Midstream ). UTAH Mr. Haber amuses himself by tossing off IOWA Cedar City Berrett Music Company Hi Fi Shop such jeux d'esprit as the one herein; but Davenport Wilson's TV Ogden WASHINGTON he is really engaged, as they say, in MARYLAND Seattle Electricraft, Inc. writing The Great American Novel - Baltimore Henry O. Berman Company, Inc five candidates for that role have already WISCONSIN been completed, and we expect to see at MASSACHUSETTS Green Bay Dean's TV and Radio Systems least one in circulation any day now. Cambridge Audio Lab., Inc. Madison Specialized Sound Fall River Modern Photo Supply Milwaukee Bradford's New Bedford Tutterow's TV Hi Fi Fo Fum Inc. Springfield Del Padre Supply Wausau Bob's Musical Isle i a dealer is not in your local area, write: SHU'RE BROTHERS, INC., 222 Hartreg Are., Evanston, III. CIRCLE 68 ON READER -SERVICE CARD 8 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Over two years ago, word leaked out (as it will) that The M100 embodies significant and unique engineer- Shure, one of the world's most respected manufacturing considerations, such as a solid -state pre -amplifier/ ers of high fidelity components, had embarked on an amplifier developed and produced by Shure with more epochal project: the creation of a perfectionist's com- than ample power to drive its two total- range, ultra - pact stereo system. A high fidelity system that conjoined compact multi speaker systems, also designed by Shure. optimum sound and minimal size. And, it features the renowned Shure Bi- Radial Elliptical A formidable and dedicated group of development and Stylus in the famed V -15 Stereo Dynetic 15° tracking design engineers was given carte blanche. cartridge. Naturally, it cannot scratch records. Dual's fin- Independent high fidelity authorities were flown in for est precision Model 1009 automatic turntable is standard. repeated consultations. Their The M100 can be used with recommendations and com- AM, FM, Multiplex tuners, or ments provided a demanding be used as a public address framework for Shure en- system. Ideally suited for every gineers. PERFEC TIONISM home -listening requirement, Prototypes were modified and improved ... the M100 is also recommended for use in and improved again ... and again. schools, hospitals, and other institutions. It is The monies and skills appropriated to the Undérwriters' Laboratories, Inc. listed. project were sizable - by ANY standards. IS HOT Space is not sufficient here to list all the Perfectionism is not inexpensive, M100's pertinent specifications. ever. They are for a system of this size, singular. We will be happy to send THE M100 SYSTEM complete specifications to techni- The result of this highly disciplined INEIPE N$IVE, cally oriented music lovers. creativity is Shure's M100 Maxi- LIMITED QUANTITIES mum Performance component high fidelity system. It is not just good, it is great. Because of the detailed craftsmanship, large amount of hand -labor, and rigid quality con- It re- create favorite records with a will your EV ER trol and inspection techniques involved, the sound that is remarkable in its natural- quality number of M100 systems manufactured will be few. ness and exciting in its impact. It is unlike anything They will be available only through a select group of the available in compact systems -save perhaps previously most experienced high fidelity consultants and dealers. a highly- inspired custom component rig costing two We cannot promise immediate delivery. For perfection- (or more) times as much. ism cannot be mass produced. Because of the singular standards for sound and for THE M1 OOL size that were set for the M100, few components were PORTATIVE SYSTEM judged to be satisfactory for inclusion in the unit. In two instrument cases. Recom- (that developed mended for serious listening among Consequently, the Shure design staff forces fi- music lovers on the go: armed the unique Dynetic cartridge which made true high members, boat owners, college stu- delity stereo a practical reality) designed many of their dents, school music directors, or any- own components. In addition, quality is controlled by body given to travel. Or summer the famous Shure Master Quality Control Program. cottage owners, of course. $389.00.

THE M1 00W LIBRARY SYSTEM Impressive solid walnut cabinetry designed to complement the decor of modest or magnificent homes and apartments. $450.00 complete.

cv- HURE x`.00 T111: SIIURE ENGINEER ED SYSTEM OF LABORATORY MAT( 'II ED II DM FIDELITY COMPONENTS Shure Brothers, Inc., 222 Hartrey Ave., Evanston, Illinois CIRCLE 68 ON READER -SERVICE CARD DECEMBER 1964 9

www.americanradiohistory.com The only tape recorder capable of recording/playing hi-fi stereo tape at 1 -7/8 Os!

Is this the year you get Long -Play Stereo Tape for your sound system?

If nobody will give you a Roberts Cross Field 770, The Roberts Cross Field 770 is a highly- sophisticated there's only one thing to do: Give yourself a 770 as a instrument with all the professional features you want. Christmas Bonus. You deserve one. So does your sound It costs $499.95. When you get yours, we'll add system if you want to bring it up -to -date. another Christmas Bonus: our valuable Collectors' With a Roberts 770, your recording technique moves Album, recordings by famous artists for playback at into the new era of LP stereo tape. Record up to 12 17/8 ips, the world's finest LP stereo tape, free ! See your hours of 4 -track hi -fi stereo on one 7" reel; record a Roberts Dealers, or write direct to: whole day's stereo broadcast; dub off 18 LP records with- Roberts Electronics, Division of Rheem Mfg. Co., out ever changing your reel. 5922 Bowcroft St., L.A., Calif. 90016. Dept. HF12 As for playback, you've never heard more brilliant stereo. It's the Cross Field concept that does it. Only Roberts has it. Frequency response at 71/2 ips is 40 to ROBERTS ®'"' 22,000 cps ( ±2 db) ; at 178 ips, it's 40 to 13,000 In Canada: J. M. Nelson Electronics, Ltd., 2149 Commercial Drive, cps ( ±3 db). Vancouver 12, B. C. Prices slightly higher in Canada. CIRCLE 66 ON READER -SERVICE CARD 10 HIGH 1-11)Eí ITY MAGAZINE

www.americanradiohistory.com If you think you can't afford the best high fidelity components available, bar none, check these three independent magazine surveys.* They agree on their choices of the best turntable and the best loudspeakers - moderately priced AR's.

TURNTABLE LOUDSPEAKERS

Popular AR two -speed AR 3's Science (Sept. 1963)

I 49 (Fall 1963) AR two -speed AR -3's The AR turntable -less AR -3 loudspeakers -less than r_ the cost of other than t/, the cost of other hi D /tape AR two speed AR 3's arm- turntable systems speakers over which they systems (1964) over which it was chosen. were chosen,

The Bravo survey introduced its selection of top components with: If music is so deeply your passion that it makes you intolerant of all compromise...you may enter that rarified area of audio where nothing matters but the dedicated pursuit of perfection." The Popular Science panel tried to eliminate frills, and limited its choice to compact speakers for reasons of practicality in the home,

but stated : "Where there was a more expensive component that produced a detectable improvement in sound, it was chosen." The Hi -Fi /Tape Systems survey referred to its choices as "the least expensive way to obtain state -of- the -art performance."

The Popular Science survey also recommended Roy Allison's High Fidelity Systems -A User's Guide (AR Library Vol. 1, $1). This book may be purchased at many AR dealers', or you may order it directly with the coupon below.

ACOUSTIC RESEARCH, INC., 24 Thorndike Street, Cambridge, Massachusetts 02141

Please send me Allison's High Fidelity Systems -A User's Guide. I enclose S1 in cash or check only, and or Please send me free literature on AR products, plus the complete lists of components chosen by each magazine.

Name Address

CIRCLE 2 ON READER -SERVICE CARD DECEMBER 1964 11

www.americanradiohistory.com No1LS QOM

CO1RTSPOWN IFr11s

The side entrance of without wishing to offer the slightest the Salle Wagram criticism of anyone. For this version of How Much Does PARIS gaped towards a noisy a fairly tricky, very atmospheric classic traffic jam. But a few had brought together an unusual number feet inside one could of international -star temperaments. Elisa- Fidelity almost smell that ex- beth Schwarzkopf, recording for the first High Weigh? pectant silence which time in Paris, has the role of Giulietta. is commanded by the red lights of re- Victoria de los Angeles is Antonia, and cording sessions. It deepened as one Gianna d'Angelo is Olympia. George went down the dark corridor, through a London sings two of the aspects of Hoff - set of padded doors, up the steps. around mann's evil genius: Coppelius and Doctor an inefficient barrier of piled chairs, Miracle. Another aspect, Dapertutto, is past a large sign reading "Silence!" and sung by Ernest Blanc. Add Gedda and on towards more padded doors. A Guiuselev. And remember that all of push on one of these, and out these artists always have intricate sched- floated the big tenor of Nicolai Gedda ules-in fact, they all happened to be in a French silence! followed by an in Paris on their way to various engage- orchestral crescendo and the roar of a ments in the United States. male chorus: "SEEELAANCE!" "Actually," Cluytens continued, "it Obviously, since they were working has been a pleasant gathering of old on the prologue, the long discussed friends. The only one with whom I have Angel recording of The Tales of Hoff- not worked before is Mlle. d'Angelo. I mann was practically on tape. No one directed Nicolai Gedda in his debut at in this business ever does the first part the Paris Opéra. Others I have worked of an opera first. with for long periods at Bayreuth, or in

NEW AKG K -50 HI -FI HEADPHONE SET André Cluytens, wearing checked recording sessions here and elsewhere. Imported from Austria, home town of music slacks, a large sweater, and headphones, Our only real difficulty was getting every- was conducting the Conservatoire Or- body into town during the same period. chestra and being followed on two tele- We had been trying for two years." vision screens by the relatively remote Gedda, humming to himself, went ...only 3.8 ounces! chorus. On stage, surrounded by wires, back up to his music stand and micro- microphones, photographers, and Pathé- phones, and hooked a finger preparatory Yes, that's all the weight you carry Marconi technicians, were Gedda, as to turning a page. As I slipped through when you listen to stereo or mono Hoffmann, and the young Bulgarian bass the padded doors he was announcing music with the New AKG K -50 Nikola (the spelling he prefers) once again, with undiminished emotion, in the role of Lindorf. that "the name of the first was Olympia." HEADPHONE SET ... Lightest Guiuselev, by "Everything," Cluytens assured me far and Highest in Fidelity. Rated after the break, "has been fine." Then, That Ceiling. The awkward thing about best by the experts in recent surveys. cheerfully but rather defiantly: "Why Marc Chagall's new ceiling at the Paris And there's considerably more to shouldn't it have been ?" the K -50 than pure comfort; there Well, one could imagine some reasons, Continued on page 16 are smooth frequency response from 20- 20,000 CPS, exceptionally low distortion and high acoustic efficiency. Slim and trim, you can wear it for hours without feeling as though your head were in a clamp! You can listen to its clean, bright treble and full, round bass in complete privacy and comfort. M'lady enjoys it, too. So compact and light, K -50 can't spoil her hair -do! $22.50 Ask your hi -fi dealer for a demonstration today. Write now for free descriptive literature. National Sales and Service: AUDIO APPLICATIONS, INC. 19 Grand Ave., Englewood, N.1.07631 Tenor Gedda and conductor Cluytens: old friends united. CIRCLE 8 ON READER -SERVICE CARD HIGH FIDEI -ITY MAGAZINE

www.americanradiohistory.com An even more "dangerous" loudspeaker ...with the world's largest elliptical woofer!

ta wwdwrdHq!iitlf rrri I; 44I 4 ts 11:,i1i61 f II. {1 l .jqli .

THE EMI 901 CONSOLE This new EMI console Model 901 loudspeaker system cal response. Cast alloy chassis have been used to give a is designed with one purpose in mind ... to provide resonance -free response. professional studio sound in a cabinet suitable for the All this is required of professional studio sound and home. The 19" x 14" elliptical loudspeaker has a low, this is precisely what you get in the new EMI 901. The low bass and a particularly smooth mid -frequency re- hand -rubbed, oiled walnut cabinet is well -constructed sponse so essential to any good high fidelity system. and mounted on concealed casters for easy room place- The four high- frequency units mounted within the ment. It measures 34" high, 28" wide and 193/4" deep center of the elliptical woofer are designed to give a and features EMI's exclusive woven metal grille for su- comparable high quality finish to the bass and midrange perior dispersion of sound. Listen to the new EMI 901 sections. The high frequency units at either end have a console at your dealer ... and get professional studio reduced sensitivity to those in the center ... to improve) sound for just $395.00* or $285.00* without the cabinet, the polar horizontal response and limit the polar verti- for custom installation. *All prices slightly higher in South, West and Canada.

(MakersEMI the of Dangerous Loudspeakers) SCOPE ELECTRONICS CORPORATION 235 East 42nd Street, New York, N. Y. 10017 Distributed in Canada by: llartone Electronics Industries, Ltd., 298 Bridge/and Avenue, Toronto 19, Ontario.

CIRCLE 67 ON READER -SERVICE CARD DECEMBER 1964 13

www.americanradiohistory.com This famous brand vacuum tube This f . `mous stereo receiver This a ons bra d brand' is $39995 ,. vacuum, tube vacuum tube stereo eiver stereo receiver is $38950 is $44950

*names cn request

www.americanradiohistory.com STEI CEN

Out... the last word in stereo receivers is Bogen solid state. The new RT6000 is $39995

According to the audio experts, the RT6000 shouldn't exist. Not at $399.95. Not for the kind of performance it delivers. Whether compared to vacuum tube or solid state receivers, the FM- Stereo 60 -watt RT6000, is the "dream receiver" come to life. Solid state power for precisely defined, truly transparent sound; unlimited control versatility; response above and beyond audibility; extreme FM sensitivity; reliability -on every standard, a consummate professional. And only Bogen -with its ten -year head -start in solid state technology -could have produced it at such moderate cost. Even costlier solid state receivers still use tubes (unadvertised, of course) -usually, in the RF stage. But Bogen has achieved the full potential of solid state. The RT6000 does not have a single tube to age, cause hum, noise or distortion; nor any output transformers to impair response. Listen and compare. See if the RT6000 doesn't produce the tightest, cleanest bass, highs and transients you have ever heard! The RT6000 also has the 'extras' you want. Private stereo headphone reception, tape monitoring, professional tuning meter -even automatic FM- stereo switching circuitry! Want to know more? Visit your dealer and ask for a demonstration. For complete specifications and the new Bogen catalog, write: Bogen, Dept. A -12, Paramus, N. J.

BOGEN ( j LEAR SIEGLER, INC. COMMUNICATIONS DIVISION i\ PARAMUS, NEW JERSEY

CIRCLE 14 ON READER -SERVICE CARD

www.americanradiohistory.com \OTLS FROM OUR CORRESPONDENTS

Continued from page 12

Opéra is that its almost certainly one of the masterpieces of twentieth -century painting. Also, the fresh, pastel blues, greens, yellows, and reds go unexpectedly and marvelously well with the gold, plush, and baroque pomp of the old theatre. Moreover, although the floating, often upside -down forms are all from Chagall's familiar repertory, and include a self - portrait and a small sketch of Cultural Minister André Malraux, they are quite musicianly and even operatic -or at least balletic. They pay tribute to Mozart, Wagner. Berlioz, Debussy, Ravel, Stra- vinsky, Tchaikovsky, Adam, Mussorgsky, Rameau, and Beethoven (from where 1 sat, the great chandelier may have hid a couple of composers). Moreover again, the charm of Chagall, as artist and person, is irresistible. The evening of the official unveiling began ith a dt;fi /é of the corps de ballet to the Marche: des Troyens. Then, to the Jupiter Symphony, the floodlights went on, and there was the painter, looking understandably nervous -the controversy had been so bitter that a hostile demonstration was possible. The applause began slowly, and then swelled until everyone was on his feet, while the old Iran smiled and smiled at his ceiling. Why is all this awkward? First, senti- mental admirers of the building feel the an admittedly inferior part Model 555. Stereo Record and Playback. loss of even friends of the Opéra as Less Than $350.00 of it. Second, opera feel that the money might have been put to better uses (although Chagaii A genius, really, this OKI Tape Recorder, in creating sound donated his work, the whole operation of magnificent dimensions, from the whisper of a flute to a was pretty expensive). One cannot help salvo from massed drums. regretting that M. Malraux, on that The OKI is solid state, with 27 transistors. But absolutely no famous night of the impulse to change tubes. It operates either vertically or horizontally with the something, was not listening to the music simplest individual push button controls. It weighs less than instead of looking at the ceiling. Rov MCMULLEN any other instrument of its kind. And yet the OKI costs less than any comparable stereo tape recorder in the world. Much, much less! OKI Tape Recorders, one of the world's most complete lines l %cry fall Holland's of distinctive recording equipment, start at less than $100.00. two biggest organi- AMSTERDAM zations of record manufacturers and importers -Bovema (representing Angel, English Columbia. Electrola, HMV, Capitol, Epic, and Pathé) and Phonogram (representing It's an and Philips, English Decca, Mercury, Argo) -hold a "Disco Dealer Day." This year more than eight hundred record assembled on September 7 in the GUARANTEED FOR ONE FULL YEAR dealers luxurious atmosphere of Hilversum's Ir No Hotel Gooiland to hear various officials describe future plans. The event, I might Now! You can listen to the OKI at your dealer! Know what a was a festive affair, with a lavish thrill it is! Send for more information about OKI Tape Recorders. add, buffet and a short appearance by pianist Name Claudio Arrau.

Address In Prospect from Philips. Interest was. of course, centered on Phonogram's City State Zip announcements of forthcoming releases from this country's own Philips Corn- CHANCELLOR ELECTRONICS INC., 457 Chancellor Ave., Newark, N.J. H 12 Continued on page 22 CIRCLE 19 ON READER- SERVICE CARD 16 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Meet the new Royal Grenadier ..... world's most perfect speaker system. Pretty soon every stereo system 'round will be featuring this revolutionary divergent lens speaker system. The first loudspeaker ever designed and engineered for stereophonic repro - duction. Lets you sit anywhere-hear everything.

f,ln.le N. 1011 rin u4ni ',own (,,.(f www.americanradiohistory.com Ps Featured At The World's Fair Pavilion of American Interiors

Model 9000M 1. 15" mass loaded woofer with floating The New Empire Royal Grenadier outstanding features: suspension and 4" voice coil. 2. Sound absorbent rear loading. Divergent Lens Speaker System Model 9000M 3. Die -cast mid frequency -high frequency full dispersion acoustic lens. 4. Hand rubbed satin walnut finish. Years ahead in design and engineering the Grenadier projects a majestic sound 5. Imported Italian Perlata marble. 6. Ultra -sonic domed tweeter. unlike any you've heard before. Its cylindrical shape creates a system relatively 7. Full presence mid range direct radiator. free from room standing waves and approaches acoustically flat frequency response. 8. Exclusive non -resonant rigidized heptagonal sonic column. Sound level and tone remain constant virtually anywhere in the room. Its three 9. World's largest (18 lbs.) speaker divergent acoustic lenses achieve unparalleled stereo separation. With the Empire ceramic magnet structure. 10. Front loaded Horn -360° aperture throat. Grenadier ... speaker placement becomes non -critical. 11. Complete symmetry of design with terminals concealed underneath. 12. Dimensions: height 29" - diameter 22".

ijl1iaQ11;

Bam. Mid. High...

WALK AROUND

Try this simple test.

You will notice no change in sound level of bass, mid range, and highs. Full frequency and separation is assured by Empire's exclusive divergent acoustic lens system. '... e :": mar . Try this same test with any other brand Empi+e 0enadier model 8000 of speaker. Some speakers will only have a narrow angle of high frequency Started a new era in speaker systems. sound propagation. Some may have 2 Measures 29" high with a 151/4" diam- or even 3 bands of high frequency Acoustically engileered to let you sit anywhere hear everything. The Empire eter. Its features are virtually the same sound. With these or other speakers, - Grenadier is decorator- designed to fit any decor from warm elegance to stark as the 9000 plus the exclusive Empire slight shifts of position, turning one's ... Q modern ... fit in corners or against walls. Dynamic Bass Reflex ... high reflex head, or even leaning to one side may tuned columns for in -phase low fre- cause sharp changes in the listening Its satin walnut finish is designed to blend with all furnishings. An imported Italian quency reinforcement. The scientific- tone and level. Not so with the Empire Perlata marble top is optional for added elegance on the model 9000. The Empire ally accurate gradients and vented Grenadier. Grenadier is a truly beautiful and functional achievement in sight and sound. ports provide unbel evably enriched base response.

For a sound demonstration of the Empire 880P Empire family of "most perfect" and,880PE Elliptical Cartridge products, go 'round to your dealer or Audio Magazine stated "...truly excel - write for complete literature. lent ...the finest cartridge tested." The model 498 - tailor -made for console or equipment cabinets ... the famous Frequency response 8 to 30,000 cps. Empire 398 - outstanding - too handsomely finished to hide behind cabinet doors. Compliance 20 X 10-6cm /dyne. Empire Fr EMPIRE High Fidelity reports on the Troubador: "... precision engineered product of the 880Pe comes with a biradial elliptical 'World's Most Perlent High Fidelity Components" highest quality ... one of the finest, handsomest record players available." hand polished .2 X.9 mil diamond.

Empire Scientific Corp. - 845 Stewart Ave., Garden City, L. I., N. Y. Export: EMEC, Plainview, L. I., N. Y. - Canada, Empire Scientific Corp., Ltd., 1476 Eglington West, Toronto Circle No. 108 on Reader Service Card. www.americanradiohistory.com by any other Tuner!" Audio, February,1964

M N ! 1 S T E R E O P M O N I C

need we say more?

$30 down and only $10 a month from most dealers!

McINTOSH LABORATORY INC. 4 Chambers St., Binghamton, N. Y. Send for FREE INFORMATION Please send me MR 67 information

MR 67 NAME 4 Chambers St. STREET Binghamton, N.Y. CITY STATE

CIRCLE 56 ON READER -SERVICE CARD DECEMBER 1964 19

www.americanradiohistory.com You can't hear the ADC Quiet Cartridge... All you hear is the music. Some cartridges sound smooth no matter what the orchestra is doing. No chance of sharp sounds; rolled -off high frequencies take care of things like that. Everything turns into a

soft, characterless .. blur, thanks to harmonic distortion. Remember when some listeners used to treasure cartridges like that, years ago? Today we know better. Or should. We want the musical truth as composer, conductor, and performers see it: Sometimes soothing and seductive. Sometimes electrifying and stark. But never overruled by y the coloration of any particular cartridge. The ADC Quiet Cartridge doesn't have a sound of its own. In fact, you can't hear it at all. All you can hear is the music as it exists on the record. No distortion to add to or subtract from the subtle colorations of composer and conductor. No response dips or peaks to exaggerate musical balance. The ADC Quiet Car- tridge faithfully follows the record without interpret- ing on its own. See for yourself ... Write for our free Curve Comparator Guide.

ADC POINT FOUR / E fit Dept. HF -1264 AUDIO DYNAMICS CORPORATION Pickett District Rd., New Milford, Conn. CIRCLE 10 ON READER -SERVICE CARD p HIGH FIDELITY MAGAZINE

www.americanradiohistory.com It sounded farfetched at first.

CARNEGIE FREE PUBLIC LIBRARY SIOUX FALLS, S. DAK.

Sounds es e e e great now! 111

The idea was to add a top -quality corn - a cabinet no larger than would be re- bandwidth 30cps to 12kc at 1% THD; ponent amplifier to the Miracord 10 quired for the Miracord alone. We call it volume, balance, treble and bass con- without increasing space requirements, the Benjamin Stereo 200. trols; tuner inputs, tape outputs and to actually combine both of them in one How good is it? Here are some vital function selector. CABINET: oiled walnut compact, easily manageable unit. statistics. MIRACORD 10: one of the finest with lucite lift cover. It sounded farfetched, but worth try- turntables in the field; plays manually Sound farfetched at $229.50? Hear it ing. Tube circuitry was out of the ques- or automatically; incredibly gentle to for yourself - through any medium to tion, so we turned to solid state. your records; equipped with stereo -mag- high efficiency loudspeakers. We suggest Result? Our engineers came up with netic cartridge with diamond stylus. a pair of matched Benjamin 208s, at one of the sweetest 'little' 36 -watt stereo AMPLIFIER: all- transistor; IHF music $49.50. Your hi -fi dealer will be happy amplifiers you've ever heard -so com- power, 18 watts per channel; harmonic to give you a dem- pact we could mount it directly under distortion, under 0.5% at rated output; BENAMIN i onstrationom- the Miracord, and enclose them both in response, 10cps to 20kc, ± 1 db; power STEREO 200: plete detailsils, write:

BENJAMIN ELECTRONIC SOUND CORP., 80 SWALM ST., WESTBURY,N.Y. SOLE U.S. DISTRIBUTOR FOR MIRACORD TURNTABLES, FLAC CARTRIDGES AND TRUVOX TAPE RECORDERS CIRCLE 13 ON READER -SERVICE CARD

www.americanradiohistory.com NOTES FROM OUR CORRESPONDENTS LAFAYETTE Continued frota page 16 pany. In addition to recordings of jazz, RADIO ELECTRONICS folk music, light music, and "gewijde nzuziek" (i.e., devotional music, a best- NEW! LAFAYETTE 70 -WATT COMPLETE selling field in the Low Lands!), a varied array of classical projects is on the docket. AM -FM STEREO RECEIVER Particularly gratifying to Wagner enthusiasts will be the news that the long Just Add Speakers and Enjoy FM, FM Stereo awaited Bayreuth Parsifal is soon to and High -Quality AM Reception materialize. Recorded in 1962 under Knappertsbusch, the performance includes singers Jess Thomas as Parsifal, Irene Dalis as Kundry, George London as Amfortas, Hans Hotter as Gurnemanz, and Gustav Neidlinger as Klingsor. Also keenly anticipated will be Monteux's last recording with the London Symphony Orchestra: a Ravel program made up of Bolero, La Valse. and .11a Mère l'Oye. Other orchestral albums on the way are Stravinsky's Orphie and .Symphony in Three Movements (the LSO with Colin Davis conducting) and a coupling of A powerful 70 -Watt Amplifier plus Complete Pre- 50 Tchaikovsky's Fourth and Manfred Sym- amplifier Control Facilities plus a Standard AM Tuner phonies (same orchestra, this time under plus a sensitive FM Tuner plus an FM Stereo Tuner- Igor Markevitch). Concerto recordings all on One Compact chassis Amazing FM "Stereo 99- 0005WX Search" Circuit Signals Presence of Stereo Broadcast, include a remake by Hubert Barwahser, Tuned Nuvistor "Front End" provides Greater Sensitivity, Lower Noise Bar -Type Tuning Indicator for AM and FM Variable AFC Control Imported principal flutist of the Concertgebouw, of Mozart's two concertos for that instrument, and a set of violin concertos NEW! LAFAYETTE (Mozart's Second, Vieuxtemp's Fifth, and riterion® 1000 - Saint- Saëns's Third) with Arthur Grumi- aux as soloist. Also from Grumiaux, in collaboration PROFESSIONAL 4 -TRACK SELF-CONTAINED with harpsichordist Egida Giordani- Sartori, will come Bach's six Sonatas for feat NT Violin and Clavier, S. 1014 -1019. 1 Musi- STEREO TAPE RECORDER ci will contribute a disc of pieces by old TEAK CABINETRY Venetian masters (including Galuppi and Vivaldi). After a too long interval, György Cziffra will record a Liszt recital; Adam Harasiewicz will present all 19950 Chopin's Nocturnes; and Ingrid Haebler Piano 99- 1501WX will continue her series of Mozart Sonatas. To round Philips' list off with Plays 2- and 4 -Track Stereo and something special: Gérard Souzay will 4 -Track Monaural Records 4 -Track Stereo and soon be heard in his first recorded ver- Monaural sion of Schubert's Die scluïne Müllerin. 3- Speeds: 17/8, 33/4 and 71/2 ips DE KRUIJFF 6 Pushbutton Tape Motion JAN Controls Records Sound with Sound Automatic Shut -off Electrically and Mechanically Returns Re- corder to Stoo Position Transistorized Stereo High Fidelity, December 1964. Vol. 14. No. Preamplifiers 12. Published monthly by The Billboard Complete with 2 Pvnamic Micro. Publishing Co., publisher of Billboard, phones, Cables, 7" Takeup Reel Vend. Amusement Business, American Art- Imported ist, Modern Photography, and the Carnegie Hall Program. Telephone: Great Barrington 1300. Member Audit Bureau of Circulations.

Editorial correspondence should be ad- LAFAYETTE dressed to The Editor, High Fidelity, Great FREE! Barrington. Mass. 01230. Editorial contribu- RADIO ELECTRONICS tions will be welcomed. Payment for articles Over 500 Pages 1965 CATALOG No. 650 accepted will be arranged prior to publication. Unsolicited manuscripts should be Featuring Everything r accompanied by return postage. in Hi -Fi from the Lafayette Radio Electronics Send me the FREE 1965 Lafayette Dept. WL -4 P.O. Box 10 Catalog 650 Subscriptions: Subscriptions should be ad- Syosset, L. I., N. Y. 11791 $ .. enclosed; "World's Hi -Fi & ri dressed to High Fidelity, Great Barrington, send me Electronics Center" Mass. 01230. Subscription rates: Anywhere (Prices do not include shipping charges). on Earth, I year, $7; 2 years, $13; 3 years, See the Largest Selection in $17. Single copies, 60 cents. Our 44 -Year History! Name Change of address notices and undelivered Mail the Coupon for copies (Form 3579) should be addressed to Address High Fidelity, Subscription Fulfillment Dept., your FREE 1965 Lafa- 2160 Patterson St., Cincinnati, O. 45214. City yette Catalog. L State Zip J CIRCLE 51 ON READER -SERVICE CARD 22 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ALTEC ALL- TRANSISTOR VI,iNBCx, STEREO AMPLIFIER

The Only All- Transistor Stereo Amplifier Backed by 6 Years of Leadership in Solid -State Circuitry!

"Professionals in the recording and ence made the Three Sixty possible. Over any integrated stereo amp /preamp on the broadcasting industries know that Altec five years ago, we designed the first all -tran- market today. The Three Sixty is priced at has been making solid-state amplifiers for sistor amplifier (the 351A) for high quality $389.00; matching cabinet $11.00 extra. some time now -for professional use only. applications. We also developed the first In addition to those shown below, other 9r/j reflects the experience successful all- transistor repeater amplifiers studio -users of Altec VLANBACK. Equipment Thew for use by telephone companies. We also were include: ABC, Universal Recordings, Colum- Altec has achieved in making these ampli- the first to combine transistors with vacuum bia, Sam Goldwyn, Glen Glenn, United Walton, fiers." Aunt() Magazine, April, 1964 tubes in the famous 708A "Astro ". and just about every major concert hall, At a time when most amplifiers were of the auditorium and theatre in the nation, includ- l/ All- transistor circuitry of the Three Sixty New York vacuum -tube type, we marketed our first all - ing all Cinerama Theatres. At the offers greatest possible durability because, transistor amplifier. Then, five years later, we World's Fair, some of the exhibitors who unlike heat -generating vacuum tube ampli- presented the Three Sixty. In the past year, selected Altec equipment include I.B.M., Du fiers, it always runs cool. Hence, there's no it has been proved again and again by satisfied Pont, Chrysler, Ford, General Electric, Heinz, deterioration of quality caused by heating and users. Because you asked for it, we have im- Cinerama, Billy Graham, Texas Pavilion, cooling vital circuit components. proved the styling of the instrument, making of Johnson's Wax, and many more. Visit your nearest Altec Distributor (Yellow it more modern, good -looking, more conven- The Three Sixty is a genuine Altec Pages) and hear the finest equipment in the ient to operate. PLAYBACK Component. It is part of a line world of sound: Altec PLAYBACK, Equipment. that has won acceptance by leading recording CHECK THESE REASONS. Be sure to ask for your courtesy copy of Altec and broadcast studios. There's a world of PLANVIACK Speech Input for YOU'LL SEE WHY THE difference between equipment designed for and Equipment Recording and Broadcast Studios. Although ALTEC Íii JÌ//(/ IS SO SUPERIOR. and used by professionals, and ordinary hi fi prepared specifically for the recording /broad - components made strictly for home use. Y Altec's wide experience in designing solid - casting industry, the conclusions to be drawn state circuitry for audio frequencies has given Y You'll like the looks as well as the sound of about your own home music center will be us a lead over other companies. This experi- the Three Sixty. And, its size is smallest of obvious. Or, for free copy, write DEPT. HF12B

Four extra -heavy heat sinks in Altec ThreeSixty make possible continuous operation with virtually no rise in temperature. e Internal -external heat is kept well below industry standards a to guarantee lifetime trouble - * is. free, service -free operation. 111:. as Two power output transistors .. (four per channel) on each .1í1N heat sink. Modular preamplifiers are completely shielded from output and power circuits to assure long life, mini- 6 ea mum maintenance. Another Altec exclusive! The Three Sixty iz _ised by Dave Sarser's and Skiich Henderson's famous "Studio 3" in New York.

.: f r100 :. Perfect partners! Rack -mounted Altec Three Sixty works with Altec 314A FM Multiplex Tuner at Sim - O -Rama Recording Studio, N.J. Plug -in facilities provide independent voltage out- Top view of Three Sixty. All- transistor ciru.,itry put to drive separate remote power or booster eliminates hum and hiss common with vacuum tube amplifiers (Altec all- transistor 351 B) for patio, pool - amplifiers. Features 3 automatic resetting circuit side, recreation room, other remote areas. breakers -one in main power circuit, one in each Impedance selector switch eliminates confusion speaker output circuit. about multiple speaker terminals. ALTEC LANSING CORPORATION -7 A Subsidiary of A[TE(® in17 The film production service at Virginia State Depart- Ling - Temco - Vought, Inc. LANSING CORPORATION ! ment of Education relies on Three Sixty for power in ANAHEIM, CALIFORNIA conjunction with other Altec PLAYBACK amplifiers ©1Y6. ALC and controls.

CIRCLE 5 ON READER- S -RVICE CARD DECEMBER 1964 23

www.americanradiohistory.com FOR THIS MUCH MUSIC ... with Altec Full -Size VIANBACx Speaker Systems ®®

"VOICE OF THE THEATRE"® Speaker Systems now come ALTEC 843A "MALIBU" fully clothed, ready for your contains the same speaker home or high quality appli- components as the new cations in public places where 844A Monitor & PLAYBACK both styling and excellent sound are the Speaker System (shown at far right) goal. Available as the A7W or A7 -500W for professional recording and models, these are the identical PLAYBACK, speakers used by leading recording studios. Dimensions: 46" H, 30" W, 24" D. broadcast studios: a pair of low reso- Price: A7W Speaker System, Walnut Finish A7 nance Altec 414A bass speakers, a cast aluminum sectoral -$384.00; -500W Speaker System, Walnut Finish -$411.00. horn powered by an Altec 804A high frequency driver, and a two -section dividing network. Dimensions: 40 "H, 25 "W, 18 "D. NOTE for do- it- yourself decorators and recording engineers: Price: $356.00 in Walnut. Low -boy model -the 838A "Carmel" The A7 and A7 -500 are available as usual in their economical -is also available. utility cabinets at $288.00 and $315.00 respectively.

ENJOY SOUND WITHOUT COMPROMISE WITH THESE NEW FULL -SIZE PLAIBACY., SPEAKER SYSTEMS FROM ALTEC:

These new Altec PLAYBACK, speaker systems contain all of DEBATE, mentioned elsewhere in this advertisement. the elements that are essential to give you no- compromise Both the 843A "Malibu" and the "Voice of the Theatre" big sound. Each is large enough to hold a low -cutoff sectoral Systems are full -size, floor- standing PLAYBACK, units with horn which permits the simplicity of a two -way system with in walnut. They are styled to do credit a single crossover. Use of a 90° horn provides perfectly con- impressive cabinets trolled, wide angle dispersion of both the mid and high fre- as an impressive furniture piece in any living room. In fact, quencies to achieve big sound. This subject of "big sound" these are loudspeakers that you can display proudly ...and is fully covered by both proponents in THE GREAT listen to by the hour.

CIRCLE 5 ON READER- SERVICE CARD 24 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com NEW FULL -SIZE VVANINACK SPEAKERS FROM ALTEC NEED ABOUT 3 SQ. FT. OF FLOOR SPACE TO GIVE YOU NO- DISTORTION MID -RANGE WITH LOWS & HIGHS TO MATCH

THE ALL -IMPORTANT MID -RANGE studios depend on Altec VIANBKCK August issue of HiFi /Stereo Review, Almost any good speaker has good lows speakers for monitoring and playback titled "IS A GOOD BIG SPEAKER and highs because so much attention in a continual comparison of the live BETTER THAN A GOOD LITTLE has been given to these extremes of the rendition to the freshly recorded version. SPEAKER ? ". If you haven't yet read it, frequency spectrum in recent designs. While listening, ask to hear a full just let us know and we'll gladly send But very few speakers have really good orchestration of many pieces perform- you this reprint giving both sides. mid -frequencies. Yet, it is the mid -range ing through a wide dynamic range. This Not surprisingly, is the acid test for good midrange. It we were asked to that holds the primary attention of the . ( (41011 ISR, W}:Ah}JI recording engineer because this region will quickly expose any existence of speak up for the embraces 90r/c of all musical material. "mid -range muddiness " -a distortion affirmative -that a Most fundamentals and all of the rich which has crept into many speakers of good big speaker lower harmonics are in this critical recent design due to the attention is indeed much BETTER THAN It is concentrated on highs and lows, with better than the range. the meaty part of music and A (4H1Ú LPrU.F: SIYAREB'. - is essential for life -like reproduction. little or no regard for the mid -range. best little speaker. When you judge one of the new Altec THE GREAT DEBATE ABOUT We are certain that VIANBACIL speaker systems through BIG VS. LITTLE SPEAKERS if you want the A -B comparison listening tests, we urge As was inevitable, the controversy about best there is in musical reproduction you will give up you to especially notice their clean, no- big vs. little speakers had to be settled some floor space for our good full -size distortion midrange. Their smooth, sooner or later. Now, the tiresome argu- speaker systems. Write Dept. HF -12. no- distortion reproduction in this region ment is over, with expert proponents makes a subtle, though readily dis- stating the case for each side. We're of ALTEC LANSING cernible, difference -a difference that course referring to "THE GREAT CORPORATION ALTE(® Á Subsidiary of explains why so many major recording DEBATE" which appeared in the L,ng- Temco.' ought, Inc. ANAHEIM, CALIFORNIA

TAKE A CUE FROM THE RECORDING & BROADCAST STUDIOS: SELECT A NO- COMPROMISE SPEAKER SYSTEM 14-, Professionals in sound - people whose careers as performers, directors, and recording engineers depend on the quality of their equipment - have for years relied on Altec 4IANBACiI equipment in their studios. In fact, in the days before the term "hi fi" was ever coined, Altec was already producing studio- quality VIANBACIL components. And, as another fact. high fidelity as THE we know it today was born right in those sane recording, broadcast, and motion picture studios. 604 "DUPLEX"® You can bet IS BACK! The your bottom dollar that the studio professional most famous sin- not only expects, but knows where to get sound quality that gle speaker in approaches the "live' : .. and no compromises tolerated. Perhaps history of high that's why so much of our income conies from the professional fidelity is back, and commercial sound industries. Here's an example of our packed with all latest design for the professional market: the new engineering knowledge that has been acquired since its original design two decades ago. The new SUPER "Duplex" 604E is an updated version of the original and famed 604A. B, C, and D Models (you'll find more of these speakers still in use in quality recording and broadcast P%AY9ACY, and monitoring than any other speaker ever made). The SUPER "Duplex" offers highest efficiency like all Altec speaker systems with full capability of reproducing the entire dynamic range of music with today's medium -power transistor amplifiers. Also check the 604E for purity of midrange, exceptional attack time, and no- distortion 20- 22,000 cycle frequency range. With a dual magnetic structure that weighs 26 pounds, NEW! SPECIFICALLY FOR RECORDING & BROADCAST USE. 13 ounces, the SUPER "Duplex" 604E is the most efficient STUDIO VERSION OF THE "MALIBU" & "CARMEL" Designed speaker offered to the home music market. Price: $199.00 especially for recording and broadcast studios, the 844A Monitor including two -section dividing network. & VIANBAC%, Speaker System contains the same speaker com- For optimum performance, we recommend the "Malibu" ponents as the 843A "Malibu" and 838A "Carmel ". Comes in furniture -styled enclosure for the SUPER "Duplex ". It is avail- studio grey cabinet with sectoral horn mounted below the low able as the 855A Cabinet and comes with pre -cut baffle for frequency speakers so that the unit may be mounted above the easy installation. The 855A is priced at $126.00 and is also observation window in studio control rooms. Dimensions: 24" H, recommended for use with any other 15" Altec speaker. 31" W, 16" D. Price: $327.00. CIRCLE 5 ON READER- SERVICE CARD DECEMBER 1964 25

www.americanradiohistory.com AND THE THREE SPEAKER SYSTEMS

nce upon a time, Jason Golden - for the bedroom! Certainly, it was O ears was wandering through the superior to larger and costlier sys- city in search of a miracle. To be tems he had heard. But could he precise, he was looking for a mod- afford it? erately priced speaker system free of As if he had read his mind, the distortion, coloration, peaking and dealer said: "It's only $49.50. And boom. it carries University's exclusive five - He was not having an easy time year warranty, just like the Classic of it. If his super- sensitive append- and the Medallion Monitor." The dealer, apprised of his prob- ages could not hear the bowing of And so Mr. Goldenears bought lem, said, "I have exactly what you're two Medallions, one Mini -Flex, and looking for. Listen!" And he began lived with them happily ever after. to demonstrate the new University Medallion Monitor. "Yes," mumbled Mr. Goldenears as he listened to it. "No distortion, no coloration or peaking. Instru- ments clearly defined. And feel that bass." "25 to 40,000 cps," said the dealer with a smug little smile. "It can fit the bull -fiddles, if brass did not bite, on a shelf and," he paused dramat- if drum -beats were heard as a blurred ically, "it's only $129!" This one was roll instead of well- separated beats, just right! For the complete story on all the he sneered. He was an acoustic "I'll take two, if you please," said "Goldenears- qualified" speaker sys- malcontent. Mr. Goldenears, and it was done. tems, send for the new University Because of his limited budget, he Almost, that is. On the way out, he catalog and the 1964 Component had been listening to dozens of "bar- heard the new University Mini -Flex Stereo Guide. Write: Desk P -12, gain- priced" off -brand systems. Now, II. Only 15" x 9" x 6", but it sounded LTV University, 9500 West Reno, sadder but wiser he vowed: "I will so big! And no distortion. Perfect Oklahoma City, Okla. no longer shop for price. If neces-

sary, I will sell the children into white slavery." New Medallion Monitor, 12" three -way professional In the very last store he entered monitor bookshelf speaker system. Oiled walnut, a he was met with sound to delight $129.00. the ears. "You're listening to the University Classic Mark II," said the dealer. It was magnificent, thought New Mini -Flex Il, ultra - Mr. Goldenears, and looked it, too, compact three-way speaker in its new Provincial cabinet. Though system. Oiled walnut, $49.50. only $325, it exceeded his modest budget. Nevertheless, had he felt Renowned Classic Mark Il, that his small living -room could ac- 15" three -way speaker system in its new Provincial commodate two Classics, our story cabinet. Fruitwood, $325. Modern (oiled walnut), LTV would be over. "The devil take mid- $295.00. dle- income housing!" UNIVERSITY thought Mr. A DIVISION OF LING- TEMCO -VOUGHT. INC. Goldenears. 9500 West Reno, Oklahoma City,Okla. CIRCLE 76 ON READER -SERVICE CARD 26 FIIGIL FIDELITY MAGAZINE

www.americanradiohistory.com The small one that sounds like a big one.

Introducing the Fisher 50 portable: 30 watts of stereo in a suitcase! Thirty watts is a lot of power. Even for a full -size, built -in stereo system or a big stereo console. In a portable stereo phonograph it is unprecedented. But then a portable by Fisher ( doesn't that sound almost like "a compact by Rolls Royce "? ) is bound to be unlike any other you have ever seen or heard. Close your eyes and you'll think you are listening to one of those stereo installations that take up half a house. Yet, when packed to travel, the Fisher 50 is about the size of a man's one -suiter. Fully transistorized; complete with famous Garrard automatic changer and Pickering cartridge; $229.50.* At leading department stores and hi -fi dealers; or write Fisher Radio Corp., 21 -40 44th Drive, Long Island City 1, N.Y. SLIGHTLY NIGHER IN THE EAR NEST. OVERSEAS RESIDENTS RLEsE WRITE TO FISHER RADIO INTERNATIONAL,Fisher INC., LONG ISLAND CITY, N. Y. 11101. CANADIAN RESIDENTS WRITE TO TRI TEL ASSOCIATES. LTD.. LOW DALE, ONT, CIRCLE 37 ON READER -SERVICE CARD DECEMBER 1964 27

www.americanradiohistory.com e e e

11 ANOTHER VIKING ... I

AND ANOTHER... ever felt confused about adding tape to play, or to play forward and reverse - your music system? automatically. It's really quite simple. Jaunt over to Then you pick the Viking model you like your Viking dealer. He'll cheerfully best with complete confidence because explain the virtues of tape recording. you know that each is MADE BY SKILLED And he'll show you a Viking model de- AMERICAN CRAFTSMEN. signed to play tape, or to record and

RP83 Amplifier PA94 Amplifier 88 Stereo Compact 87 Tape Transport Studio 96 880 Portable Stereo Compact Retro -Matic 220 78 Tape Transport I ng OF MINNEAPOLIS, INC. 77 Stereo Compact 770 Portable Stereo Compact Auto -Tape 500 9600 Aldrich Avenue So. Minneapolis, Minn.55420

CIRCLE 78 ON READER -SERVICE CARD 28 HIGH FIDFLITY MAGAZINE

www.americanradiohistory.com efore multiplex came along, you could get by with an average tuner.

Now you need a Fisher.

al. 00 9U92 1 94 96 39 133 61 198

The Fisher FM -90 -B The Fisher FM -100 -C FM- Multiplex Stereo Tuner FM- Multiplex Stereo Tuner

With STEREOSCANt, GOLDEN SYNCHRODEt front end, 3 IF stages, With STEREO BEACON t, Nut ' islOr -GOLDEN SYNCHRODEt front end, 4 IF 2 limiters, 2 pv sensitivity; $179.50* stages, 3 limiters, solid -state multiplex, 1.8 µv sensitivity; 5249.50*

. í fTIli t f I 'Ittll3iëL

i; ([ liî 'rl I[[ i09

The Fisher FM -200 -C The Fisher TFM -300 FM- Multiplex Stereo Tuner Transistorized FM- Multiplex Stereo Tuner with STEREO BEACON¡, Nuristor- GOLDEN SYNCHRODEt front end, 5 IF with STEREO BEACONt, Nurislor- GOLDEN SYNCHRODEt front end, 5 IF stages, 4 limiters, 1.8 µv sensitivity, solid -state multiplex, AUTOSCANt stages, 5 limiters, 1.8 µv sensitivity, AuTOScANt automatic stereo automatic stereo scanner, MtcRoTuNEO tuning; $299.50* scanner; $299.50*

In the good old days of strictly mono- design, low distortion and unequaled FREE! $2.00 VALUE! Send phonic FM, any reasonably well -engi- channel separation of a Fisher multiplex for your free copy of The New THE NEW neered tuner brought in at least your local tuner. Nothing less will do; the medium Fisher Handbook. This entirely FISHER new, revised and enlarged edi- stations with listenable fidelity. Of course, itself has become more demanding. tion of the famous Fisher high HANDBOOK a Fisher tuner still made quite a difference The seven stereo tuners currently made fidelity reference guide is a in sound quality; but it was a difference in magnificent 76 -page book. De- by Fisher feature ultrasensitive front ends, tailed information on all Fisher degree, not in kind. Multiplex has changed three to six wide -band IF stages, two to stereo components is included. all that. five wide -band limiters, wide -band ratio Even though FM- stereo has potentially detectors, multiplex circuitry of the 0112 much greater sonic realism than FM- superior time -division type, and - in six mono, a multiplex broadcast can actually models- automatic mono -stereo switching Use postcard on front cover flap. sound badly distorted unless received via the Fisher STEREO BEACON'''. The IHF through an absolutely first -rate tuner. And sensitivity of all models is in the range Fisher Radio Corporation 21 -40 44th Drive to hear a stereo program exactly as it was from 2 1.5 microvolts; to FM- stereo sepa- Long Island City, N. Y. 11101 monitored in the FM station's control ration at 1 kc ranges from 35 to 40 -plus db. room requires the sensitivity, wide -band Prices start at $179.50, less cabinet.

PATENT PENDING *CABINET ,. t $24.95 OVERSEAS RESIDENTS PLEASE WEI TE TO FSHEP RArr, IrITF Rr. , I.. , ,,I , N. Y. 11101. CANADIAN RESIDENTS WRITE TO TRr TEL ASSOCIATES, LTG., WILLOWDALE, ONT. CIRCLE 37 ON READER -SERVICE CARD DECEMBER 1964 29

www.americanradiohistory.com ...at the sound of your voice! Speak - and 905 goes into action. Pause - and Sony's amazing new Voice Command tape recorder also pauses- awaiting your next command! And whether you shout or whisper, near or far, the exclusive Sony AVC (automatic volume control) instantly adjusts to the proper recording level, without ever touching a knob! This incredibly versatile new Sony is self- charging, self - starting, self -powered, and truly portable. Perfect for business, school, family fun (and surveillance work). All the best from Sony for less than $159.50!

PARTABLE: The 905 Voice Command consists STARTABLE: The 905 built-in computerized PORTABLE: The 905 is completely solid- state, of an upper and lower unit: the upper unit is switching circuit automatically and instanta- extremely lightweight and compact for port - a complete portable recorder; the lower unit neously starts the recorder in motion at the ability. The upper, battery powered recorder is an electrically powered amplifier /speaker sound of your voice, and records up to two unit has a built -in monitor speaker, remote for home or office use which includes a built - hours on one reel. stop /start switch on the microphone and a in automatic battery custom leather case and charger for 'ready to go' shoulder strap. lifetime power for the For literature or nearest 905's nickel cadmium dealer write Superscope batteries. Inc., Sun Valley, Calif.

> ?' ...

The Tapeway to Stereo SUPERSCOPE a CIRCLE 72 ON READER- SERVICE CARD 30 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

N.Y. High Fidelity Show. If one counts ing occupations, ages, and technical and tweeter and cone woofer system. The the public exhibits of audio gear in New musical interests -in high quality audio Stanton exhibit used a pair of similarly York City that have taken place under for the home. designed, but larger, speakers, hand- various names since 1949, then the High The idea of public forums on audio somely housed: we could not learn when Fidelity Music Show held in October at is not new. For years, the British audio these will be available. A new full -range the New York Trades Show Building designer and author, G. A. Briggs, filled electrostatic was the twin- screen Acous- marks the fifteenth such annual display. halls here and abroad with lectures, tech X, which comes with its own solid - As befits a modern teen -ager, the "show" sometimes abetted with sonic demonstra- state basic amplifiers and two electronic this year tried some new things -and with tions, on the subject. A very successful crossover networks; announced price is mixed success. In addition to the ex- one -man "talk- and -play" show was staged $1,690. The most unusually shaped hibits of new equipment in the familiar some time ago by FM personality Skip speaker at the show was the Acoustica rooms on the third to sixth floors, there Weshner, who held a standing -room -only table lamp which uses the shade to help were, on the second floor, two novel at- audience fascinated for hours in a Man- radiate the sound. The smallest speaker tractions intended to add to the show's hattan auditorium. That this kind of in- was the UTC- Goodmans Maximum I, appeal. One was a discotheque and "fash- tense interest still abounds was proved less than one -quarter of a cubic foot in ion show" (dresses to wear when doing at the recent New York show; recog- volume and pumping away valiantly. the stereo twist). The other was a daily nizing and catering to it does credit to British Industries conducted a slide - series of panel discussions and lectures. the planners of the show. It is our un- and- lecture session at its exhibit, and The discotheque -whatever its social derstanding that at next year's show the United Audio showed its Dual 1009 and terpsichoric values in other environ- symposiums will move into the larger automatic turntable suspended upside ments- somehow didn't quite come off area of the second floor occupied this down and being raised and lowered in the atmosphere of an audio show. No- time by the discotheque -which leaves while playing. Except for these special body seemed to know quite what to the smaller area still unspoken -for display techniques, novelty in the rooms make of it. It didn't lure those who might "thematically." Our vote would be for was confined to the products themselves have wanted to escape momentarily the some sort of display, quiet and attractive -even in the AR room, no one was hit- melée upstairs to sit, relax, enjoy a drink, -perhaps even having to do with music? ting the turntable with a hammer to and chat with friends -something which As for the products themselves. most show how steady it was. When queried visitors seem to do at the Los Angeles of what was displayed was described in about the discontinuance of this fa- show and which, in our opinion. helps our October issue ( "New Products," page miliar gambit, an AR spokesman told establish the requisite atmosphere for the 101). Tuners, amplifiers, and combina- us: "Music is our secret weapon." civilized business of considering high tion units in general confirmed the quality music -reproducing equipment. It ascendancy of solid -state circuitry, with Grace Notes: With turntables and tone wasn't. we are told, a particularly good an accompanying upgrading of style. The arms that are suspended in air, we were place to pick up a ravishing (and audio - electronic components shown were, in not too surprised to learn of a new fan, minded) blonde: most of the ladies at fact, the handsomest yet seen. the Boxer, that is similarly designed. the show came escorted. What's more, Among units that we had not seen ear- In this compact unit the shaft -once the this particular discotheque lacked the lier or reported on before were walnut - fan has started -lifts away from its charm and mystique of the real thing, housed deck versions of the Revere -3M sleeve and rotates in a "bearing" of air and thus was hardly conducive to the tape cartridge system; a series of partly reportedly 0.00008 -inch thick. Intended, amenities of la vie en rose. One could solid -state components by Grommes: a among other uses, to help ventilate audio say, paraphrasing the poet, that here was versatile wall storage system of poles equipment, the Boxer is offered by IMC an idea born in the cellar and dead on and cabinets offered by R & G Affiliates Magnetics Corp., of Maywood, Calif.... the second floor. of New York City: and compact speaker The name of United Stereo Tapes has In contrast -and, interestingly enough, systems styled to match the new Ampex been changed to Ampex Stereo Tapes, sharing floor space with the discotheque recorders. Electro-Voice proudly revealed and this organization has expanded its (but separated. happily, by a soundproof its new electronic components as well as prerecorded tape library with the addi- wall!) -were the symposiums. One series, a luggage -style modular system and new tion of Mercury and Philips labels, bring- conducted by engineer -author Leonard speaker system and equipment cabinet ing to nineteen the number of participat- Feldman, constituted a "beginner's kits. Another new modular system was ing record companies. and to more than course" in audio. The other series. one the KLH -20. which includes FM- stereo 1,300 the number of selections available. evening of which I was privileged to as well as phono playback in a com- In addition to its musical repertory, the conduct, took up more advanced topics, pact wooden case: a pair of matching AST catalogue now includes what vice - ranging from the theory of solid -state compact speakers also are supplied. president John N. Latter terms "the first amplifiers to the aesthetic and acoustic A most novel item was the Marantz high quality foreign -language instruction differences between concerts and record- SLT -12. a turntable fitted with an in- courses ever offered in tape format." ings. These sessions, which offered noth- tegral tone arm that moves across a rec- Developed by the Cortina Institute for ing more nor less than information and ord in the sane radial line as that de- Language Study, the new series includes opinion delivered by responsible experts, scribed by a cutter. The unit, with a French, German, Modern Greek. Italian. proved far more popular. The overflow Marantz pickup, may be offered at a Russian, and Spanish courses. each on audiences, the tenor of the questioning, later date for somewhere between $250 two reels which run at 3'/ inches -per- and the range of comments they made and $300. second. The reels, plus a hardbound text indicated a deep and abiding interest - There were a few surprises in speakers. and a 5.000 -word dictionary, are priced on the part of men and women of vary- Neshaminy showed its latest electrostatic below $10.

DECEMBER 1964 31

www.americanradiohistory.com Getting only half the sound?

Hear it all with the new do you have a monkey wrench in your automatic turntable? OrlCal

Any spindle that permits the stacking of records on a turntable throws a monkey wrench into the entire system. The stacking of records varies the stylus angle - increases the load on the motor - creates flutter and wow -wears records - diminishes your listening pleasure. IS IT WORTH Elliptical Stylus ALL THAT JUST TO CHANGE RECORDS? You get all the fidelity your records can deliver - the full, rich sparkle of stereo sound - when you install the revolutionary new elliptical stylus by Ortofon. It has no equal anywhere.

This new elliptical stylus, called a "major break- TD -124 - Recognized as the finest performing transcrip- through" by one leading authority, obsoletes all tion turntable, the Thorens TD -124 features 4 speeds, previous cartridge ratings. It eliminates or sharply built -in illuminated strobe, flawless sound. Unmatched for mono or stereo reproduction. reduces the compromises and distortion factors Net $125 created by conventional spherical styli. It also re- TD -121 - If you demand top quality yet need only a single speed, see the Thorens TD -121. Converts to any duces record wear, minimizes surface noise and standard speed you select. Flawless performance, as in faithfully follows the configuration of the record all Thorens equipment. Net $85 groove. The result is a brilliance of performance never before expected from recorded music. Once you hear it, you will never be satisfied with any- TD -135 - Here is a precision 4 -speed transcription turntable with an integrated Thorens tone arm (BTD -12S), for thing less. those who prefer a complete, compact unit. Exceeds NAB standards for rumble, wow and flutter. Features 12 -inch The Ortofon Elliptical Stylus is priced at $75.00 non -magnetic table, variable speed control, precision mount- net. If you now own an Ortofon Stereo Cartridge, ing. Tone arm has amazingly low tracking error, and is you can trade up to the new Elliptical Stylus for designed for lowest possible inertia and friction. No other $25.00. Ask your dealer a demonstration. integrated unit approaches the professional standards and only for economy of the TD -135. Net $99.75 Hear the difference. Get the full sound your records were meant to deliver. You will find the experience richly rewarding. ID -224 - If you want highest performance plus convenience, see the amazing Thorens TD -224. There is no Model SPE /GT -Pre- mounted for Ortofon tone arms other instrument like it in the world. Combines the playback quality of a transcription turntable with the con- Model SPE /T- Unmounted for universal use venience of an automatic record changer. There is never a record stack on the turntable, yet records change auto- DON'T COMPROMISE! If your dealer doesn't matically. Overcomes all problems of "automatics." TD -224 qualify for an Ortofon Franchise, go to a dealer incorporates the BTD -125 professional tone arm, plus a whose standard of quality includes Ortofon prod- built -in record cleaner. illuminated strobe, variable speed control. A superb instrument with features never before ucts. You'll appreciate the difference. combined in a single instrument. Net $250 Ortofon RMG 212 arm - $55. net . most thoroughly professional 12" stereo arm on the THOREN5 Ortofon arms market. cover the pride range A sound RBcreation * Product from $20 to $60 net. If your dealer can not qualify for a Thorens Franchise -go to another one! ELPA ELPA MARKETING INDUSTRIES, INC., Dept. HF- 12,New Hyde Park, New York. Write for free catalog MMIN In Canada: Tri -Tel Associates Ltd., Willowdale, Ont. ELPA MARKETING INDUSTRIES, INC. Dept. H -12, Ortofon Div. New Hyde Park, N.Y. ran,,da, Tri -Tel Associates, Ltd. Willowdale, Ont. * sound R'creation -A Mark of Elpa Marketing Industries, Inc. In CIRCLE 33 ON READER -SERVICE CARD 32 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com from this day on, Audiotape will have a new formula. A formula unmatched by any other magnetic tape. Greater uniformity. Greater sensitivity. Greater durability. Greater clarity. Greater range. Hearing is Believing. Try a reel of today's most remarkable tape New Audiotape! 5sucliotape NeNIGH'PERFORMOgMPï

AUDIO DEVICES, INC., 235 East 42 Street, New York, N.Y.10017 CIRCLE 9 ON READER -SERVICE CARD

Di ( I. NI I R I 964 33

www.americanradiohistory.com Our new collection is now available ... equipment cabinets speaker enclosures consoles cabinets galore. Danish and Provincial Olivier's Othello- styles in new decorator finishes. "Coiling Power and Wounded Majesty" see your dealer or write for free brochure by Gordon Rogoff

ON THE EVIDENCE Of this remarkable Shakespeare's Cyprus. Where stereo has recording, reports from abroad have not so often been a trap, ruling the shape been exaggerated. Laurence Olivier's and sound of performance, here it is Othello is clearly an actor's creation, the servant of a life already formed.. a aca a triumph for the special quality of audio originals superbly managed eavesdropper of a theatrical occasion. There is a paradox human event. The listener 546 S. Meridian Indianapolis, Ind. stages the pray here: a recording, a moment for the in his mind's eye; the actors prowl un- ear, suddenly seems like theatre, a mo- observed, as it were, through the cor- ment for all the senses. It is a reminder ridors of Shakespeare's awesome imagi- that the ear can open worlds. It is, nation. indeed, a way of knowing. Othello has an odd history in the Although recorded in a studio, this theatre. Of the four major tragedies, it Othello has none of the defects sug- is meant to be the easiest to produce, gested by packaged and homogenized the one most available to comfortable studio recordings. A wise compromise interpretation, the one least likely to fail has been drawn between "live" and because of an inadequate actor, a dull hermetically sealed performance. Olivier design, or an uninventive director. Ham- and his National Theatre company. act- let, we are told, is a study in ambigui- ing before hidden microphones, freely ties, Lear an encounter with the heavens, used their original stage blocking, even and Macbeth a tragedy without a hero to the point of bringing props and -a hard, unyielding play which, in its costumes with them, reproducing as definitions, alienates the most funda- closely as possible the pressures and mental sympathies. Othello, in contrast, momentum of actual production. The is said to be a simple melodrama that absence of formal audience is scarcely hangs upon a handkerchief, a domestic felt: nothing is cool, nothing is detached; tragedy of the human heart, an immedi- never is the performance far away from ately gripping tale of an exotic but al- the urgency usually given to it by direct, ways recognizable jealousy. Yet for all human response. Whatever may have the deceptive simplicity of its plot, for been lost away from an audience, is all the transparent ease with which lago's recovered by the latitude and flexibility poison invades Othello's reason, the play offered by the studio: no accidents, no has had less success -at least in this lapses, indeed a firmness of outline, a century -than several Hamlets, Lears, driving confidence that literally seduce one into the heated extravagance of Continued on page 38 CIRCLE 11 ON READER -SERVICE CARD 34 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Scott's New Stereo Compact Not Only Sounds Like A True Component System IT IS ONE!

There's only one best way to achieve fine stereo ... and stalled in the Stereo Compact or added at any time. that's with separate components. So, when Scott, Amer- Features sensitive Scott nuvistor silver -plated front -end; ica's leading manufacturer of stereo components, decided time -switching multiplex circuitry; fully automatic stereo to build a compact stereo system, only the finest separate switching; silicon IF stages. Sensitivity is better than components were utilized: 3µv. This is a highly sensitive component, suited to the STEREO AMPLIFIER: Completely solid- state, with direct - finest systems. coupled transistor output stage. Preamplifiers on printed SPEAKERS: Unique Scott -designed systems, each us- circuit boards for optimum reliability, massive heat sinks ing two driver elements. Heavy -duty crossover assures for cool, conservative operation of output transistors. smooth response throughout the audio range. Sealed High fidelity specifications include: frequency response enclosures utilize acoustic- suspension design principles. 20 to 20,000 cps; distortion at normal listening levels These speakers produce truly amazing sound. less than 0.5 %; hum and noise level -80db below RECORD CHANGER AND CARTRIDGE: H. H. Scott rated output; inputs for magnetic phono cartridge and chose one of the finest component record changers, and extra high level inputs for tape recorder; front panel a superb magnetic phono cartridge with diamond stylus stereo headset output. Complete professional control to assure true component sound. facilities including separate bass and treble on each CABINET: A handsome walnut cabinet houses the channel, loudness -balance control, input selector, bal- tuner, amplifier and record changer. A unique view -lift ancing switch and stereo mode selector. lid covers the record changer and protects it while in use. FM STEREO TUNER: This tuner can be purchased in- Price only $299.95 With FM Stereo Tuner $129.95 extra. NEW SCOTT STEREO COMPACT -A superb component system assembled in a handsome cabinet.

. FREE! AND GUIDE TO STEREO :

H. H. Scott, Inc., 111 Powdermill Road : Department 226 -12 Maynard, Mass. Rush me complete information on the new Scott Stereo Compact. Please send me your new 20 -page full -color 1965 Stereo Guide and complete catalog. Send me complete information on new consoles by Scott . component quality in beautiful, hand -finished cabinets.

Name

Address

City Zone .... State OTT® Export: Scott Inte-national, Sc rii Powderreill Road, Maynard, Mass. Canada. Anas Radio Corp., 50 Wingold Ave., Toronto. Cable HIFI. Price slightly higher West of Rockies. Subject to mange without -otice.

CIRCLE 100 ON READER -SERVICE CARD llr(_ HER 1964

www.americanradiohistory.com Can you recognize these three great stars?

The first two are obvious to movie goers: Rock Hudson Concertone 800 is the only stereo tape recorder with and Doris Day starring in Universal's new comedy, double Reverse -o- matic® and six heads -allowing you "Send Me No Flowers." The third is ours and it's on to record and play continuously without reel turnover. the table. qt's the Incomparable Concertone 800. This The 800 (portable or tape deck) is priced realistically unique stereo tape recorder plays a vital role in this and provides an exclusive combination of features. It hilarious new movie. When the script called for a tape starts as low as $379.95. Send for a free Concertone recorder, Universal Pictures wanted the finest, most 800 brochure and the name of your nearest dealer. modern machine available. That's why they selected Write to Concertone, Box 3246, South El Monte, Calif. the Concertone 800 to appear. It's as modern and C O N C E R T O N E sophisticated as the live stars of the movie. The

ROCK HUDSON and DORIS DAY star in "SEND ME NO FLOWERS" CIRCLE 22 ON READER -SERVICE CARD 36 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com R THAN TUBES

New Scott Solid -State Amplifier Passes Rugged Torture Tests Now you can own a powerful 80 watt solid state amplifier life and showing up any components that might fail; constructed to standards unique in the high fidelity in- applying a unique "surge and cycle" test, normally per - dustry. The new Scott 260 uses rugged pre- tested heavy- formed only on rugged military equipment, to simulate duty components, including massive heat sinks, heavy stresses the amplifier may be subjected to under the printed circuit boards and new silicon output transistors. most severe home conditions; Critical elaborate pre -test and electrolytics are hand selected and have operating checkout of all components, including transistors, capabilities far to in- exceeding circuit requirements. sure that components will not fail in service. To insure the thoroughness of its quality control pro- As a result of these extensive procedures, cedures, the 260 H. H. Scott called in transistor specialists with now combines the amazing virtues of transistors ... their many years experience in the design of critical military compactness, cool operating temperatures ccmponents. and fine sound Rugged tests were devised to subject the ... with the ruggedness and reliability that the audiofan amplifier to conditions far more severe than encountered has come to expect of finest Scott vacuum tube com- in normal use. These "torture tests" include: Applying a ponents. Backed by Scott's "step-stress-test" unique 2 -year guarantee, the to a selected sample of all components 260 will give you countless hours of trouble -free fine used, simulating hundreds of hours of normal operating listening. Less than $260.

SPECIFICATIONS: Sine -wave power, 30 watts /channel; (8ohms); music power, 40 watts /channel all- transistor design with direct -coupled silicon output stage. Harmonic distortion less than 0.8 %. Frequency response 20 to 20,000 cps. Damping factor greater than 20; AND Load impedances: 4, 8 or 16 ohms; full tape facilities including FREE! GUIDE5TO STEREO tape head tape monitor and direct input. Operating features: Derived center channel output; rumble filter; scratch filter; impedance selector swiitch. Matches ail Scott tuners. H. H. Scott, Inc. 111 Powdermill Road Department 226 -12 Maynard, Mass. (1) Rugged silicon direct -coupled Please send me your new 20 -page full -colo transistor output stage (2) Pre - 1965 Stereo Guide and complete catalog. amps on separate modular -type Send me complete information on new con- printed circuit boards (3) Stereo soles by Scott . component quality in headset output (4) Master vol- beautiful, hand -finished cabinets. ume control (5) Separate bass and treble controls (6) Complete Name tape recorder input and output Address facilities (7) Massive power supply provides high power surges City Zone -... State when music demands it (8) Hand- some styling matches Scott Tran- sistor Tuner model 312 SCOTT® Export: Scott International, III Powderntill Road, Maynard, Mass Canada: Atlas Radio , Wingold Corp 50 Ave., Toronto. Cable HIFI. Price slign by higher West of Rockies. Subject to change without rot

CIRCLE 100 ON READER -SERVICE CARD DECEMBER 1964

www.americanradiohistory.com OLIVIER'S OTHELLO everything Continued from page 34 and even Macbeths. It has, in fact, con- but the sOu 11 /Ì founded the British in performance since Kean proved to be more adept with Iago than Othello. The most notable Moor, strangely, was Tommaso Salvini, touring in the part during the late nine- teenth century, and playing it, of course, in his native Italian. No wonder, then, that Verdi's Otello has often seemed a better drama. Olivier's achievement can be marked in a phrase: he has rescued the drama from lago. At the heart of the play's erratic theatre history lies the fact that Iago's villainy in action can easily be more subtly persuasive, more attractive even, than Othello's seeming nonre- sistance to it. "O fool, fool, fool," cries Othello when truth is upon him, and it is difficult -in most performances - not to concur. Here, however, balance is restored. One of the sources for this necessary reversal is the clear stress Olivier and his colleagues place on the play's military This Model Elevens background. This is the story of a Gen- eral, an enormously gifted leader born to command. But as leadership is the top of his virtue, so is it the root of Goes With You his flaw. What goes up and stays up- too high, almost, for its own good, too certain of its Olympian presence-must perforce come down. Olivier's Othello commands the play by giving it a fatal calm from the start, a jocular arrogance and casual assurance that clearly hide as much from himself as they hide from others. A voluptuary in love and war, a foreign sensualist living in a peace that others-Desdemona's father, for one -would like to deny him, he is doomed by the power of his senses. Absorbed in them as he is, it remains only for time and the insinuations of lago to turn absorption into anguish, to move hate. Model Eleven - $199.95 consuming love into unquestioned Such an Othello demands an lago away from custom. And this Frank This is the famous KLH Model Eleven Stereo- Finlay, no doubt urged by the directorial phonic Phonograph System. This is the component sense of John Dexter, provides. The con- could not be more all the other companies trast with Othello system in a suitcase that started striking. Where Othello is lofty, lago is trying to make a high performance portable. only haughty; where Othello commands Nobody has matched it yet, because nobody has in stately measures, lago grovels and yet matched the revolutionary long- excursion, full - sidesteps. It is like the difference be- earth and a weed. Evil here is we developed especially for the Model tween the range speakers unplanned reaction, a way of am- only an Eleven. Nobody has yet matched its solid state being ruled by the smallest events. plifier, designed with the speakers as an integrated Touched with the tongue of a rough team through the advanced technique of Frequency sergeant, Finlay's lago is an ordinary Nobody has matched the new automatic man, and as such, all the more terrifying Contouring. Charmless and arid, he with its unique and credible. turntable, made for KLH by Garrard, persuades by presenting so little to below mass tone arm. Or the Model Eleven's unprece- ware. This may not be a popular way dented five year guarantee. of playing Iago or of placing him in the but surely And no portable phonograph of even passable fabric of Othello's tragedy, the reality of the play than made the weight incredible pounds. it is closer to quality has yet -28 an lago of forced wit and open cruelty. If you want to take your music with you -a Perhaps more than anything else, this stereophonic portable that needs no apologies - there production suggests that the question of been is still no substitute for the KLH Model Eleven. action in Othello has previously answered only on surface evidence. lago acts, it has been said, whereas Othello it would seem: I I ELH RESEARCH AND DEVELOPMENT CORPORATION is acted upon. And so 4::' the master pulls the puppet's strings. But , ..... 30 CROSS STREET, CAMBRIDGE 39, MASSACHUSETTS CIRCLE 48 ON READER -SERVICE CARD HIGH FIDELITY MAGAZINE ZS

www.americanradiohistory.com neither Shakespeare nor existence rests so simplistically on such extremes. Othello, like so many of Shakespeare's heroes ( Hamlet, Cleopatra, Richard III, Timon, and Leontes), is something of an actor, a man aware of role, a creature caught by the pleasure and fantasy of acting out an emotion upon the slightest hint. When the acting becomes real, however, he is finished. It is this part of him, coupled with its corollary-his qualities as poet -to which Olivier rises with the most extraordinary, titanic force. With the invaluable support of Maggie Smith's Desdemona-sweet, delicate, yet with a voice that slices air, every inch a new woman -and of Joyce Redman's strongly assertive, passionately involved, and vocally ripe Emilia, Olivier rides the play as if he were on the crest of a huge tidal wave. now dipping, now soar- ing, but always holding fast to the heav- ing, forward surge. Hazlitt felt that to play the part "to the height of the poeti- cal conception," the actor must have the idea of "a majestic serpent wounded, writhing under its pain, stung to madness, and attempting by sudden darts, or coiling up its whole force, to wreak its This Model .Elerea vengeance on those about it, and falling at last a mighty victim under the re- doubled strokes of its assailants." Olivier's serpent, if we are to believe Stays Ho»te our ears, has the coiling power of a singer with three octaves in the voice, joined to the wounded majesty of a man whose nerves and senses, once exposed, can never be covered again. He seizes words and stretches sounds as if they were huge stones that had been waiting for centuries to be lifted from such a noble throat as his. From the resonant caress of his whisper to the towering commotion of his roar, he is never less than a splendid thoroughbred. But finally, it is his convulsive, strangled agony that hurts the most ( "O Desdemona, Desdemona dead!" or "The pity of it, lago "). Whether it be genius, instinct, planning or-as l believe -an indefinable Model 11-TV - $209.95 confluence of all three, this Othello is certainly the summit of a great actor's vaulting art. To hear it once is to remember it forever. To think of it at all is When you find that you can build a good com- to tremble. ponent system in about 28 pounds of weight, you naturally make it into a portable. That's how the Model Eleven was born. SHAKESPEARE: Othello But it seems that a lot of people have discovered Sir Laurence Olivier, Frank Finlay, that they couldn't buy this much performance at this Maggie Smith, Joyce Redman, members price in form, of the National Theatre of Great Britain; any other portable or otherwise. So John Dexter, dir. they've been buying Model Elevens for `non portable RCA VICTOR VDM 100. Four LP. use' in homes, offices, dormitories, apartments, etc. $19.92. RCA VICTOR VDS 100. Four SD. This being the case, we surrender. For $10 more $23.92. you can now have it in furniture. It's called the 11 -W. And there's a handsome matching dust cover in wood and smoked plexiglass as an optional accessory. Incidentally, it still weighs less than most of the other expensive portables. If you feel you must, you can even put handles on it and carry it around.

I NLH RESEARCH AND DEVELOPMENT CORPORATION f : 30 CROSS STREET, CAMBRIDGE 39, MASSACHUSETTS CIRCLE 48 ON READER -SERVICE CARD DECEMBER 1964 39

www.americanradiohistory.com stereomilk, coming -high fidelity's guide tu: BE SURE you see this sixth annual roundup of the latest developments in stereo components and systems ... plus a glimpse of what's ahead. STEREO 1965 Edition -which, like its predecessors, is published by HIGH FIDELITY Maga- zine- sparks ideas that help you achieve the best stereo reproducing system at the price you decide to pay. And it helps you get the most out of your present stereo system, if you are that far along. In sum, it's a blend of news and expert comment that covers such exciting subjects as these: -new and choice record playing equipment: turn- REc ORBS tables and automatic players, arms, cartridges including 15 degree angle and elliptical stylus, integrated designs, record wear and care COMPONEN -amplifier trends including solid state and amplifier requirements for high fidelity stereo INST reproduction, kits -tuners: what's needed for high fidelity reception of mono and stereo broadcasts plus insight into antenna problems, transistors, kits TAPE REGORi- -what you should know about tape and recorders HOW TO MAINTAIN EfIUIPk1E SHO?VEN6 HINTS -what's new in speakers, large and small, and some advice on how to select a speaker and enclosure, headphones; also room acoustics, center channel -decorating with a new stereo installation -elementary do- it- yourself maintenance There's much more, of course, including scores the -the year's outstanding stereo records and tapes of illustrations, but this gives you an idea of scope of this publication about the size of this HIGH FIDELITY. High Fidelity, Publishing House, Great Barrington, Massachusetts, 0'1230 And It's Yours for Only $1. As soon as published, send me STEREO: If you're particularly interested in the high 1965 Edition for the dollar enclosed. fidelity reproduction of music, can you afford to Name be without STEREO: 1965 Edition? Address If you wish a copy conveniently delivered to your home before the turn of the year, as soon as City State it is published, just fill in and mail the order form think - Zip Code with your dollar. Do it now-while you're ing about it.

40 HIGH FIDELITY MAGA7INE

www.americanradiohistory.com `Hey- who shrunk yer tuner?'

To lots of people, there's trauma in a small stereo Eighteen a pleasure to tune. With Zero Center Tuning, tuner. Traditionally, the multiplex tuner has been a big there's no `maybe area'. The meter tells you when you're heavy monster. It's hard to accept that a unit that sits tuned in and when you're not. The planetary tuning sys- easily in the palm of your hand can outperform most of tem we've used is mechanically the most accurate and its bulky and cumbersome predecessors. trouble free. The tuning vernier has the silky yet positive KLH's brand new Model Eighteen multiplex tuner feel that marks high quality engineering. The Stereo is just about nine inches long. And no matter how you Indicator Light automatically identifies multiplexing sta- look at it, that's small for a high performance stereo tuner. tions as you tune. But the Eighteen isn't small just so that you can But there is no vacuum tube tuner, at any price, amaze your friends. It's small so that it will be the perfect with the ultimate reliability of the Model Eighteen. Be- mate for the KLH Model Eleven, Model Fifteen, Model yond the fact that the Eighteen runs cool; beyond the Sixteen or any other good amplifier. It's small so that it fact that transistors don't age, the Model Eighteen has won't waste precious space in today's homes and apart- 4 IF stages employing transformers of extremely low ments. It's small so that it's less likely to be damaged mass. The slugs are less subject to jarring and misalign- or thrown out of alignment in normal handling and ment when the Eighteen is shipped from the factory, or transportation. handled, than with heavier instruments. As a result, And it's small because it works best that way. Model Eighteens in normal use will require substantially Judged on an absolute basis, the performance of the less maintenance and service than old fashioned tuners. Model Eighteen is comparable to that of tuners costing There's one more way the Eighteen differs from ex- much more. When its price is taken into consideration, its pensive tuners. It's not expensive. About $130. Hear it performance can be described as truly incredible. at your KLH dealer's and judge for yourself. Like the most expensive tuners, you'll find the Just don't call it cute. It's very sensitive.

iKLH IlIItIlIJ!!'I!1I1;I RESEARCH AND DEVELOPMENT CORPORATION I 30 CROSS STREET, CAMBRIDGE 39, MASSACHUSETTS CIRCLE 48 ON READER SERVICE CARD DECEMBER 1964 41

www.americanradiohistory.com NEW ALL -TRANSISTOR harman kardon STRATOPHONIC SERIES Audio (Oct. '64) says it's "in a category all by itself" Give yourself the thrilling new experience of Sound beyond the range of all other one -chassis receivers. What Unbound, yours only in the new STRATOPHONIC is more, not a single vacuum tube (not even a nuvistor) Series solid -state FM stereo receivers by Harman -Kardon. is used in any of the Stratophonic receivers. Never before have you heard such magnificent sound Stratophonic prices: Model SR900 (illustrated), $469; from a receiver. In full -power frequency response, FM Model SR600, $389; Model SR300, $279. At these sensitivity, freedom from distortion, and sheer listening prices, practically everyone can afford Stratophonic Sound. pleasure, Stratophonic Sound is unsurpassed. And this totally new sound quality is yours at prices SPECIFICATIONS, Model SR900 equivalent to those of ordinary tube receivers. IHFM music power: 75 watts Frequency response: 2 to 100,000 Harman-Kardon has extended the frequency response cps ±1 db at 1 watt (normal listening level); 5 to 60,000 cps ±1 db at full power Distortion less than 0.2% Usable FM sen- of the new Stratophonic receivers to include those sitivity: 1.85 µv IHFM All- transistor front -end FM circuit for frequencies at the bottom and the top of the spectrum optimum selectivity and sensitivity Damping factor: 40:1. which, though supposedly inaudible, have a profound effect on the living timbres of all music. At full usable power, response of the new Stratophonics reaches Philadelphia, Pa. 19132 its peak harman kardon A subsidiary of far below and maintains its utterly flat plateau far !!! THE JERROLD CORPORATION CIRCLE 39 ON READER -SERVICE CARD

www.americanradiohistory.com KLH Model Seventeen the speaker that will make us eat our words

"... a threshold beyond which advance for some time may be so difficult as to appear impossible. In the light of known technology, nothing further can be done to improve this performance without sharply increased costs. That's what we said in 1961 when we introduced the Model Ten, our first -speaker under $100. Now we are preparing for an extended diet of our own words. We are introducing a new speaker, the KLH Model Seventeen, which delivers a quality of performance we believed unattainable at a price we considered impossible just three years ago. You're going to hear a lot of comment about this astonishing new speaker. And you will undoubtedly hear the Model Seventeen for yourself. So all we'll tell you now is - It's a handsome speaker. It costs $69.95 *. It represents a threshold beyond which advance for some time may be so difficult as to appear impossible. In the light of known technology, nothing further can be done to improve this performance without sharply increased costs. It's at your KLH dealer's now. Bon appetit.

*Suggested retail; slightly higher on the west coast.

NLH RESEARCH AND DEVELOPMENT CORPORATION

30 CROSS STREET, CAMBRIDGE 39. MASSACHUSETTS CIRCLE 48 ON READER -SERVICE CARD DECEMBER 1964 43

www.americanradiohistory.com Fir] 3 COMPANY

IIIIIIIIII

THINK YOU HAVE A GREAT SOUND SYSTEM NOW?

REVERE -WOLLENSAK M -20 AUTOMATIC WOLLENSAK 1981 "SOUND ROOM" STEREO STEREO TAPE DECK The newest idea in music TAPE DECK Designed for the serious tape now for custom installation! This amazing ma- recordist, incorporating two new module -type chine threads, plays, rewinds, changes tapes recording and playback amplifiers which pro- automatically. Up to 15 hours of uninterrupted vide 22 watts output. Superb stereo or mono music just by touching a button. Dual record/ recordings can be made from any sound source. playback preamplifiers. Record in stereo or Vertical or horizontal operation ... 2 VU record- mono from any sound source, or choose from a ing meters ... convenient tab controls perform wide assortment of prerecorded tapes. Key- all playback and record functions ... sound board controls ... high speed search lever ... with sound ... dual speed ... automatic tape automatic and delayed shut -off ... unsurpassed lifters ... patented balanced tone control . sound -on tape reproduction. Also available in patented head demagnetizer . . . complete playback -only deck version, Model M -30. professional stereophonic sound advantages. 42 pounds. SIZE: 141/2" x 141/4" x 7 ". WEIGHT: 32 pounds. SIZE: 211 /a" x 133/4" x 95/,6". WEIGHT:

CIRCLE 64 ON READER- SERVICE CARD 44 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com WAIT TILL YOU INSTALL A REVERE-WOLLENSAK TAPE DECK! You're in for a musical revelation. In fact, you're in for several pleasant surprises when you see and hear the four different kinds of Revere -Wollensak tape decks. Want to make your sound system the most convenient custom installation in the world? Install one of the Revere -Wollensak AUTOMATIC Tape Decks that change tapes even more conveniently than an automatic record changer changes records. Want to make your sound system the most professional and reliable custom installation? Then use any of the three Wollensak reel -to -reel decks. You can't go wrong. Take your pick. At your nearest dealer. Reel -to -reel or automatic ... WHAT YOU WANT IS A REVERE- WOLLENSAK!

WOLLENSAK 1780 STEREO TAPE DECK For WOLLENSAK 1281 STEREO TAPE DECK Now the sound perfectionist who wants to incorpor- you can have the many advantages of a fine ate top quality Wollensak stereo recording and Wollensak amplified tape deck at a new low playback facilities in an existing sound system. price! The "1281" is a beautifully styled unit Can be installed either vertically or horizontal- that gives you true professional sound control: ly. Dual matched record /playback preamplifiers 4 track stereo and mono record and playback ... automatic head demagnetizer sound ...... horizontal and vertical operation ... 2 VU with sound ... instant pause control ... cad- meters ... 71 and 33/4 tape speeds auto- mium steel enclosure with ... chrome trim . . . matic cut -off ... convenient interlocking tab easy -to- operate tab controls ... volume con- controls ... instant pause control patented trol for each ... channel . . . automatic shutoff self- adjusting braking system automatic ... independent ... tape lifters ... many other out- volume and tone controls on each channel . . . standing stereo sound -on -tape features. many, many more quality "custom" features. SIZE: 133/4" x 14" x 51/2 ". WEIGHT: 15 pounds. SIZE: 101/4 "x 155/8 "x53/4 ". WEIGHT: 20 pounds.

CIRCLE 64 ON READER- SERVICE CARD DECEMBER 1964 45

www.americanradiohistory.com Photographs by Denise Restout

From the Landowska Notebooks

1 During the latter years of her long life, the great harpsichordist Wanda Landowska was in the habit of recording in a series of private notebooks her reflections on the art to which she had so completely dedicated herself. The material that follows - written during the 19406 and 'sos at her home in Lakeville, Connecticut, and never before in print- forms part of a book to be published this month under the title Landowska on Music (New

York: Stein and Day, $12.50). This collection of Landowska's writings has been edited and translated by her long -time companion, Denise Restout, with the assistance of Robert Hawkins.

FIDELITY MAGAZINE 48 HIGH

www.americanradiohistory.com HERE IS AN anguishing mystery for us inter- trary, nostalgia for that which we miss or that which preters, and also for composers. What does a lis- we are longing for? tener hear? What is he able to perceive? In what Sometimes the discovery of a most unexpected way does a musical text register in the listener's or superficial likeness is at the basis of our reactions. ear and in his brain? I think of this even before A phrase of Couperin may evoke the curve of a approaching the problem of taste, of attraction or Chopin melody; or certain progressions in Scarlatti aversion, it as is experienced by every listener. may remind us of a Beethoven period, or of a We now have microphones to capture and reproduce popular Spanish dance. We love to cling to these sound, but we shall never have an exact picture of associations. They are something to lean upon or what the listener perceives, and we shall never know, to spring from, and we feel their invaluable help even approximately, what he actually hears. when embarking upon the unknown. And who among us knows how to listen? This Is it because previously unknown music demands absolute sense of hearing, which, without preparation, a real investigation that the apprehensive listener can at once embrace an entity, perceive it, see is usually hostile to any novelty? The dauntless one, through it, and at the same time divide and sub- however, eager for originality at any price, under- divide it in all its components, is a rare gift refined takes this investigation at his own risk and peril by ceaseless practice. according to his capacity for absorption. The snob In my lifetime I have met very few people who alone, always oscillating between the most contrary could really hear. And hearing everything does esthetic movements, can put up with anything and not necessarily mean understanding everything. I come out safe and sound from any redoubtable do not ask a listener to be able to dissect all expedition. Yet timorous or dauntless, only he who there is in my playing, for instance; it would be knows how to listen will be able to follow through. too much to ask. But for pity's sake, do not re- But there is more to it than mere hearing. What place listening skill with general ideas! can be said about the innumerable impressions -so When one listens to a masterpiece for the first minute that they are hardly perceptible -which time, one is astounded, crushed, gripped, and un- a sound or an ensemble of sounds generates in us? able to understand or discern any detail. One sub- The meaning of these impressions grows as they in- mits passively and lets oneself be carried away by vade us, and they dictate a specific image or a its beauty. But little by little, through subsequent particular expression -that one and no other. hearings, one begins to feel, to distinguish, and Who shall ever understand what provokes these perceive fragments isolated at first and then to nuances in our joys and reactions? While one of follow them in the ensemble. The first contact us vibrates in listening to a certain melodic line with a great work of art is a shock comparable to or harmonic encounter, another will remain indif- what we experience when we first meet the person ferent. These reactions may correspond to those who is going to play an important role in our which touch us most in other human beings or in life. Little by little we dare approach, look closer, animals. For instance, the ingenuousness, or in- and by and by we become familiarized with this nocence, of a motive always touched my brother person's characteristic movements, looks, and ex- Paul because innocence in all its manifestations pressions. In the same way, ties -affectionate ties - always touched him. But what seems innocent to are formed between us and the masterpiece. They one person will be teasing, profound, or philosoph- make it become familiar to us. The richer the work, ical to another. Edmond Jaloux qualified the the more numerous and stronger are these ties. beginning of Mozart's G minor Symphony as "full I believe this is the kind of rapport my audiences of gladness," while Saint -Foix said it was "hasty now have with the Goldberg Variations. [This was and anxious." This does not represent solely the written in 1952 or '533 eternal and permanent misunderstanding between in- What is the cause of our emotive reactions to terpreter and listener. It goes much further and music? Is it the remote reminiscence of something much deeper. It is the misunderstanding between we have loved in our childhood? Is it because a the work itself and the interpreter. secret string in us is touched upon that this to- We often hear musicians discuss in earnest the tal delight blossoms out? Or is it, on the con- acoustics of a concert hall. Obviously it is rather

DECEMBER 19fí4 49

www.americanradiohistory.com important. But I confess that it never was one of my main concerns. A hall with an echo? Too bad for the listeners. who will have to hear me play a Bach fugue twice without having asked for it! If a hall has poor acoustics, amplification of the sound is not the solution. The task of an interpreter should be to open the ears of his listeners. What interests me above all is the degree and quality of the receptivity of those for whom I am playing or to whom I am speaking. It is for the good acoustics of the souls of my listeners that I care. For him who knows how to listen, music and words have a carrying power. You, my listeners, with your exceptional reactions to music, with your vivid and rich imaginations, you are like vibrating sympathetic strings; you represent the most beautiful spiritual acoustics. Her Pleyel harpsichord, used for many recordings. Knowing how to listen is a great art. Let us not be mistaken about that! We, the interpreters, are searching for intense, pathetic, moving accents, for ping, have a positive value equal to that of the notes refined sonorities, for a pure line, and an ideal themselves. ensemble. We are searching, and sometimes it Similarly, the last note is never the last. It is seems that we have reached our goal. Yes, but how rather a point of departure for something to cone. seldom we encounter listeners ideally understanding, Whistler went out at night trying to steep himself with keyed -up attention, cultivated taste, and re- into the mood of a nocturnal landscape before he fined ears. I shall never forget the days I spent at attempted painting one. Corot said, "After my ex- Tolstoy's home nor the hours I played for him. cursions, I invite my friend Nature to spend a few He adored music, and he knew how to listen ad- days under my roof. Once she is there, I give free mirably. While playing I observed this luminous rein to my imagination. Brush in hand, I start out old man with his silver hair, his sweet and penetrat- in the forest of my studio. I hear right there the ing blue eyes, and I could see, as though reflected songs of birds and the murmur of the branches in a mirror, the agitation music provoked in him. agitated by a ghost wind. . . . He drank it, was steeped in it. He purred with A landscape painter should be able to paint a pleasure or burst into sonorous laughter. He felt masterpiece representing the countryside without each piece with such intensity that it gave him a leaving his studio. new life. Tolstoy was a creator -listener. There is a very close rapport between the preceding examples and the way I work, or rather, let us say it is the sane thing. 1 consult as many docu- ments as possible. I do my best to understand and g assimilate them. Digested and assimilated, they work in me, tracing their own way. I do not think of IF EVERYONE knew how to work, everyone would be then any more. I let them act. The more my docu- a genius! I hate the word practice. Practice breeds mentation increases, the more I feel light and free. inurement. Instead of discovering, of distinguishing It is not that I am sure of everything-who can traits that are deeply hidden or merely veiled, one boast of such a thing? -but I have the feeling of ends seeing nothing. One ceases to be aware. being honest, of not cheating; and probably this How should one start to play? One has to con- gives me a quiet confidence. centrate and be entirely ready so that when the But most of all, I absorb or, rather, I let myself first note is struck, it comes as a sort of continuation become permeated by each musical phrase, slowly of a soliloquy already begun. Too often the value and for a long time. It is through playing it again and importance of the start in playing is belittled. and again that this phrase will unveil for me, a And yet all depends on its being carefully prepared. little at a time, its expression and its true character. Before I begin a phrase, between the preparatory Finally my fingers touch its core, so deeply hidden; gesture of the hand or of the finger, and the first I feel it with delight. note, there is an infinitesimal period of time, always The more I live with a work and absorb its sub- surprising because of its unpredictable duration and stance, the more I discover in it new beauties. Then because of its expressive impact. The listener can I amplify, augment my interpretation. I feel sub- never anticipate the exact dosage I apply to this merged, carried away by irresistible waves. rest. This silence preceding a phrase -be it the It is not the successful performance of a piece initial one or not -acts as a background upon which that counts, but it is this eager and patient struggle, the motive is sketched and set into relief. Breathings this stubbornness in facing each difficulty that and caesuras, especially those that precede a begin- bring an always renewed joy.

50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com How wrong it is to say that some pieces are of folly, of oblivion, of happiness-my hours of simple! There is no such thing. Everything has to work in the middle of the night! What intoxication ripen. Some people say, "For you it is a trifle." it is to play again and again what one loves-to But especially for me it is more difficult than for plunge into it! anyone else. The more I advance, the more I dis- One can postpone writing a letter, but work for cover that I know nothing. a concert? Never. The proper execution of a single One must have an immense perseverance and ornament is much more important than any business also be philosophical to avoid despair. It is true that or social activity. It is best to work the most difficult I am attempting the absolute, and this absolute parts in the evening because they will ripen during often resists me. But I must obtain it, and then will the night. come a divine freedom. One must play for hours Observe how much the undiscriminating audience and hours in a dimly lit room before one can feel likes the exaggerations of a performer. There are "this is it." probably two reasons. First, because it facilitates I know and I hear what I want to obtain from a for them the access, the understanding of a phrase piece of music. As long as I cannot obtain it, I which otherwise would have meant little to them. shall slave, fight, swear, and say, "Happy are those Exaggerated ritardandi, accentuations, etc., are, in who do not know what they want!" But I well know a way, some son of mask like those worn by Greek that would be a wretched happiness. actors and so conceived as to be seen even by the What I fear most is not the worsening of a piece, spectators seated farthest from the stage. And yet it but its being in a state of stagnation, which is a kind is in reducing and simplifying exterior gestures that of death. A break is necessary before resuming the one can intensify the expression. In any live per- course with freshness. Strength is renewed after a formance our impressions are divided between hear- rest. But it is a luxury that one can afford only if ing and seeing. Sight receives a part from the en- there is time ahead. semble of our sensations. With recordings, however, To play a phrase with relief and vivacity and hearing alone is impressed. then to perform it nonchalantly, as if one never How often after my concerts some small profes- had to study it, is difficult. There is a great dif- sional comes to me and asks me to teach him how ference between something solidly sewn and some- to play the most showy pieces of my repertoire! It thing timorously adjusted. reminds me of some fat and homely little bourgeoise One has to dominate matter in a regal way to who, after seeing an elegant aristocratic lady, runs allow oneself to forget and to make the listener to the same dressmaker; she thinks that in wearing forget the difficulty of a piece. the same dress she will acquire the same elegance. When I begin to dream up a new program, a It is interesting to observe the various transforma- fever of happiness seizes me. I want that concert to tions a work undergoes during the lifetime of its be an extraordinary event as the result of the at- performer. Take, for example, the Italian Concerto. mosphere I hope to create. I spin an enchanted I learned it first with Michalowski in the Bülow thread, a web that must envelop us all. I forget transcription. Later I reworked it all by myself at the everything, all previous pains and torments, and I piano. Then I had to forget everything I did previ- start anew. All day, all night I work, and I feel - ously and relearn it on the harpsichord. Finally it I always do -that I need many more days and was in my fingers and in my brain. For many years nights to modify, retouch, improve, and go deeper I played it all over the world. It was my warhorse. into the meaning of the works I play. Oh! the hours It became a little worn out in the process; dust

DECEMBER 1964 51

obviously authoritative and thorough, and each 227- to have been neglected, C,onttnnea on page 1,-7

DECEMBER 1964 55

www.americanradiohistory.com by H. C. Robbins Landon

1$3fvria in ercei ,Let) THE HAYDN MASSES

"Of my Masses, I'm rather proud," Haydn said to a friend- and history has confirmed his judgment.

1 ITH THE RECENT addition of the Missa Sancti Reutter was not only conductor of the famous St. Nicolai and the late Schöpfungsmesse to the pages Stephan's Cathedral Choir and Orchestra, he was of Schwann, all of Haydn's extant Masses are now on also Austria's most celebrated composer of church records -a total of thirteen works. (There is no music. The country's monasteries -where most of known copy of one Haydn Mass, the Missa Sunt the music of this period, both sacred and secular, is bona mixta malls, in D minor, though it appears preserved -contain dozens and dozens of Reutter in an entry in the composer's own thematic cata- Masses, written for every conceivable kind of orches- logue.) This is a grand achievement. Outside of tral and vocal combination. Southern Germany and Austria, it is not the tradition Austrian Masses of this period were divided into in Roman Catholic churches to use an orchestra two basic categories: the Missa brevis, or Short Mass, (except on very rare occasions), and the concert hall and the Missa solemnis, or Solemn (long) Mass. is not really the appropriate place for this music. The Missa brevis was generally scored for two vio- Thus it is only through recordings that most of us lins and bass only (by bass was meant cellos, double can become familiar with the marvelous riches of basses, and, of course, organ) and it had one peculi- Haydn's sacred works. arity which later earned the stern disapproval of As for all eighteenth -century Austrian Catholics, ecclesiastic authority: the Latin text was "tele- the Church and its music occupied a profoundly im- scoped" -that is, in the long Gloria and Credo the portant position in Haydn's life. He was about different parts of the text were sung simultaneously, seventeen when he wrote his first Masses (Missa with the obvious result that the words were hardly brevis, in F; Missa brevis, in G, Rorate coeli desuper) intelligible to the congregation. For instance, the and seventy when he finished the last, the Har- Gloria of a typical Reutter Missa brevis presents moniemesse. Haydn was one of the world's most four simultaneous texts (one each for the soprano, modest men, but he said to his biographer Griesinger, alto, tenor, and bass parts of the choir) and it often "Auf meine Messen bin ich etwas stolz" (I'm rather happens that the whole Gloria lasts only about two proud of my Masses). He had every reason to be. minutes. I once asked the Abbot of Göttweig about Haydn, as most music lovers know, received his this curious custom of "telescoped" texts, and I education as a choirboy at St. Stephan's Cathedral quote his answer: "Well, many of these short in Vienna-reading, writing, arithmetic (and Latin), Masses were for the Advent period, and it was taught, as Haydn later observed, to the tune of a jolly cold in St. Stephan's." hickory stick. The stick was wielded by the Domka- The Missa solemnis usually did away with these pelhneister (Cathedral Chapel Master), Georg "telescoped" texts; since it was a "long Mass," the Reutter the Younger, who was born in 1708 and writer did not have to save time in the Gloria and was thus about forty when Haydn was his pupil. Credo. If the Missa solemnis were composed for a

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com particularly festive occasion, it would include trum- Bach's B minor Mass, and the original parts of the pets and timpani, and was generally in C major. It Missa in tempore belli and stuck them up an unused is interesting to note the difference between Leipzig chimney. Years later, they were accidentally discov- and Vienna, anno 1740; whereas Bach (or Tele- ered during restorations at Eisenstadt: the servant had mann) almost always used his trumpets and drums in died meanwhile.) As far as the quality of the Mass D major, in Vienna the key of festivity and pomp is concerned, Haydn said, when he rediscovered the was C major. Statistically, the Abbot of Göttweig work, "Well, it has a certain youthful charm about and I once worked out that of all Solemn Masses in it which is quite undeniable." No one, I think, will the Göttweig Collection composed prior to 1800 want to challenge the composer's statement. seventy per cent are in C major. At St. Stephan's During the next years, after he left the Cathedral, they used trombones for these big Masses, and of Haydn was occupied with the birth of the string course there were the usual oboes, bassoons, and quartet and in composing piano sonatas, symphonies, horns. Flutes were used less often, and generally wind band divertimentos and serenades. If he wrote one flute in a solo movement; almost never were any Masses from c. 1750 (when his earliest were clarinets included, at least before about 1790. written) to 1766, they have not survived. In 1761 he had gone to Eisenstadt as Vice -Kapellmeister to Prince Esterházy, but there his predecessor, Gregor USING Reutter's short Masses as models, Haydn Werner, who had made a considerable reputation began his career with two such works. Both are as a composer of Masses and oratorios, was in scored for two violins and bass only; the Missa charge of church music. Werner hated his younger brevis, in F, has two solo sopranos and the usual colleague, and wrote a vicious letter to Prince choir, while the Rorate coeli desuper, in G, has no Nicolaus Esterházy, complaining that Haydn was soloists at all. A curious thing happened with the not fulfilling his duties properly: that music was latter Mass. Unscrupulous Viennese copyists (music being borrowed from the library and not returned, in Vienna was generally sold in manuscript copies that the music instruments were in a catastrophic rather than the more expensive printed editions) state of disrepair, and so on. This was 1765, and marketed the work not under the name of the un- the ensuing row (which Haydn managed to calm) known youth but under that of his well -known resulted in one happy event: apparently to convince teacher, Georg Reutter. The same thing was to his prince that he was an industrious man, Haydn happen conversely to Haydn later in his career; no drew up, with the help of his copyist, a thematic fewer than 129 Masses exist spuriously under the catalogue of all the works he could remember hav- name of Joseph Haydn. ing written up to that time. This work (known as There is little to distinguish either of these first the Entwurf-Katalog or Draft Catalogue) he kept two Masses from the music of Reutter or other up until about 1800, and it is the basis on which Viennese composers of the time. But in the G scholars decide whether a work is genuine or not. major work, two fine moments stand out: the middle Werner died in 1766, and Haydn was then free part of the Credo (from the words "Et incarnatus to write church music for the Esterházy services. est," where Haydn changes his quick tempo to That very year, he composed his first big Mass, a Adagio and introduces an enharmonic modulation Missa solemnis dedicated to the Blessed Virgin Mary. of startling power) and the Agnus Dei, which is of The work is in E flat major-an unusual key, espe- great melodic finesse, and which leads to a dark - cially since Haydn used trumpets and drums in it- hued "Dona nobis paten" and a curiously un- and has four soloists, a choir, and two obbligato Haydn-ish plagal cadence. (Haydn scholars are now (which meant the opposite of what it does now: inclined to think that this Mass is Haydn's earliest that is, you had to use them) English horns, instru- preserved work altogether.) ments of which Haydn was particularly fond. More- The F major Missa brevis was rather widely over, he wrote a brilliant organ concertante part for circulated in manuscript copies throughout the Aus- himself. This Great Organ Mass instantly put Haydn's trian Empire (it reached as far as present -day Ru- name on the map as a serious composer of church mania, for instance), but Haydn had forgotten its music. The work was circulated all over Europe existence completely when, about 1803, someone (as far as Spain), and almost every Austrian monas- from a Viennese monastery brought the little work tery with a music collection of any size still owns to the aged master's attention. Haydn was very an old copy. In recent years, this beautiful and in pleased to discover this (as he thought) long lost many ways intensely dedicated Mass has received work of his youth, and he "brought it up to date" something of a revival in Austria (there was no by writing wind and timpani parts for it. (Paren- modern edition of the work until the Haydn Society thetically, the score with these additions has a curi- printed the score in 1950). ous history. It was preserved, along with other A few years later, Haydn decided to write a pieces of Haydn's church music, in the music room Mass for the name day of his Prince (Nicolaus), at Prince Esterházy's Eisenstadt Castle. When the and the Missa Sancti Nicolai was first performed on Russians occupied Eisenstadt, a faithful Esterházy December 6, 1772, probably at the chapel in Eisen- servant hastily took this score, Haydn's copy of stadt Castle. This new work was in G major (with

DECEMBER 1964 57

www.americanradiohistory.com oboes and horns) and contains the extraordinary Haydn's next Mass was dedicated to St. John of innovation of a Kyrie in six -four time. It is a real God, Patron Saint of the Order of the Brothers of Christmas Mass, with a pronouncedly pastoral and Mercy (Barmherzige Brüder), with the Eisenstadt lyric character, and in Vienna you can hear it in chapter of which Haydn was on friendly terms. The a dozen different churches on Christmas morning. Missa brevis S. Joannis de Deo, or Little Organ Mass, is the last Missa brevis Haydn ever wrote. Clearly, it was conceived with the Eisenstadt chapel THE YEAR AFTER the St. Nicholas Mass, Haydn of the order in mind: the organ loft -with a beau- received an important and flattering commission. tiful baroque organ still extant -is tiny, and would The Brotherhood of St. Cecilia, a powerful Viennese accommodate at best fifteen musicians. Haydn had organization, celebrated the name day (November by now come a long way from the Missa brevis 22) of their patron saint (who is, of course, the form of 1750. We do not know the exact date of the protectress of music) in an enormous "cantata Little Organ Mass, but the watermarks of the paper Mass" at St. Stephan's Cathedral. Obviously, Haydn on which the autograph was written suggest 1775. was attracted by the idea of writing a huge and There are, apart from the organ solo, several fea- brilliant festive Mass -these so- called "cantata tures of interest in this B flat major Mass. The Masses" usually lasted over an hour, and such Kyrie is a whole slow movement (Adagio), and movements as the Gloria were subdivided into many from the very first bar the tiny orchestra (two violins different movements. One can imagine also his and bass) and the method of composition show that pleasure at the idea of returning, as a respected this will be a "chamber Mass," if we may coin a and famous composer, to the church where he had term. The radiant soprano/cum/organ solo of the been a choirboy. Benedictus (Haydn was presumably organist at the So Haydn began the composition of his longest first performance) made the little work very popu- and in some respects most impressive Mass: the lar: it shines with the same affectionate innocence Missa Sanctae Caeciliae. The basic plan, whereby of a baroque carved angel at the side of the altar. Kyrie, Gloria, and Credo contained several move- The finest moment is, however, the end of the ments each, was taken over from earlier "cantata Agnus Dei, where Haydn slides quietly into the final Masses." What Haydn did with the form was to take prayer for peace, "Dona nobis pacein," marked away its stiffness, to fill the movements with his "perdendosi" as the Mass finishes pianissimo. own warmth, and to wed polyphonic grandeur to Some seven years later, in 1782, Haydn was Austrian simplicity of melodic line. Although there commissioned by a retired military friend of his, are gorgeous fugal movements -certainly the finest one Anton Liebe, to write a Solemn Mass for the Haydn ever wrote -there is also a new severity of famous pilgrimage church of Mariazell (one of expression, particularly in the stern and somber Austria's most splendid baroque churches). This Benedictus, in C minor, where the trumpets and time Haydn decided to try his hand at a C major drums, which had shouted for joy in the "Et vitafn Mass, with trumpets and kettledrums. He called the venturi" fugue, now sound menacing and even work Missa Cellensis (Cell being the Latin name sinister. In 1773 (he must have spent most of the for Zell -Mariazell), and with it he made his name year on the work), Haydn had just emerged from an immortal in Central Europe. The Mariazellermesse, emotional crisis of startling dimensions, the fruit of as it is referred to in Austria, is one of Haydn's which were the famous symphonies and quartets in most popular works. In it, he brought to bear the the minor key. The great Missa Sanctae Caeciliae simple, folk -tune type of melody with which he had sums up the turmoils of the preceding year but scored European success in his symphonies and subdues them in a long hymn to the Almighty. quartets. The Kyrie begins with a solemn, slow

58 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com introduction; but later the soprano sings a melody the choir. (This juxtaposition of vocal soloists and which must always have gone straight to every chorus had also figured largely in the Mariazeller- listener's heart. In this Mass too, Haydn continues messe.) In these post-London Masses, the choir is the great tradition of the St. Cecilia Mass, and there used as the main staple, the generally static core of are stirring fugues, perhaps the finest of which is the whole structure; the strings (and wind instru- the concluding "Dona nobis pacem." Here the work ments, when present) provide the forward motion, closes in a blaze of contrapuntal glory, to which the while the brass and timpani enclose and punctuate trumpets contribute a wonderfully festive note. the whole with a rhythmic impetus. As in purely instrumental music, quick, moderately quick, and slow movements are alternated. The slow introduc- WITH THE FAMOUS Mariazellermesse we close the tion, so beloved in the symphonies, is often used, first chapter, as it were, in Haydn's career as a occasionally in a very extended form for such a composer of Masses. The Esterházys were not pro- movement as the Agnus Dei (cf. the Missa in foundly religious, at least at this period, and Haydn tempore helli). The Benedictus is usually a mod- "made do" with his own earlier Masses, and those erately swift movement, dominated by the solo vocal by other composers which he could acquire from quartet and gentle in character, while the beginnings Viennese copyists. In 1794, however, the head of of the Gloria, Credo, and "Dona" are always quick. the family became Nicolaus II, who -whatever his The "Qui tollis," "Crucifixes," and Agnus Dei are many faults- adored church music. He wrote to generally adagios, while the Sanctus is always di- Haydn (then in England) asking him whether he vided into two sections, slow and fast. would like to return and form a new choir and Choosing a favorite among the last six Haydn orchestra. All Nicolaus II asked from Haydn, apart Masses presents the same dilemma as making a from administrative duties in connection with the choice from Mozart's last six piano concertos. Ac- musicians, was that he write a Mass once a year tually, it seems that most people prefer the Nelson for the name day of the Prince's wife, the beautiful Mass, because of its particular urgency and power; and vivacious Princess Josepha Maria Hermenegild but the Mass in Time of War, and the Heiligmes.re, (a lady whom Haydn greatly liked and who did much and the Schöpfungsmesse are equally great. In to make the composer's old age a comfortable one). Austria, the most popular after the Nelson Mass has Filled with the experience Haydn had gained in long been the Theresienmesse, no doubt because it London, the last six Masses are among his greatest has melodies everyone can sing and is a much less works. They are as follows: Missa in tempore belli severe work than the Nelson Mass and less or Paukenmesse, in C major (1796) ; Missa Sancti intense, say, than the Mass in Time of War. Per- Bernardi de Officia or Heiligenesse, in B flat major sonally, I find the Theresienmesse a little too sweet (1796-97); Missa in angustiis or Nelson Mass, in for my taste; it lacks, for me, the solemn exaltation D minor (1798) ; Theresienmesse, in B flat major which one finds in sections of all the others. But (1799); Schöpfungsmesse or Creation Mass, in B there is no doubt that all Haydn's late Masses, in flat major (1801); Harrnoniemesse, in B flat major their steadfast unity of purpose and greatness of (1802). expression, are indeed a transfiguration of his style, These works are written for four and even six and it is right and proper that they should close the soloists, a four -part choir, and an orchestra which long half-century of his artistic life. varies a good deal with each individual work but includes, at its largest, two flutes, two oboes, two clarinets, two bassoons, two horns, three trumpets, kettledrums, and, of course, organ. Haydn conducted The author's account of from the organ and sometimes wrote concertante organ parts, as in the Nelson Mass and Schöpfungs- recorded versions of the Haydn Inesse. The soloists are used alone or together with Masses appears on page 105. the choir, and often one half of the sentence will be sung by one or more soloists and the rest finished by

DECEMBER 1964 59

www.americanradiohistory.com ANYTHING BUT A BOX

Assembled here are a variety of speakerP systems with one characteristic in common: they

are all housed in enclosures other than the conven-

tional rectangular box. A box, of whatever shape,

Acoustica's has long been coisïd red a sine qua non in the lampshade speaker high fidelity scheme of thirgs. It noi. only houses

the speaker (s) and such ancillary equipment as

the crossover network and level control, but its

At left,-he

Leonhardt lt{-í0C

A pair of globe speake-s

flank the Clairtone'ensembte Leonhardt LH -190; on top of it,

en Orthophase reproducing cell

www.americanradiohistory.com The KLH -9

electrostatic

The Quad electrostatic Boiak's Bard Err.p.r's Royal Grenadier; atop it, speaker for outdoor use the Tri -Planar offered by University

www.americanradiohistory.com design and size also relate directly to how the system of the LH -190 is the small reproducer cell used sounds. A well -functioning box will not confine the in the new "thin- frame" Orthophase speaker systems sound, or color it, or restrict its range. Thus, a para- (reported on in full elsewhere in these pages). mount aim of speaker design is to "get the sound out The gentle curve and striped fabric mark the of the box" even while depending on that box to British Quad, the first full -range electrostatic to house and "load" the speakers. have been offered commercially. This system is The better conventionally built speaker systems sold in the U.S.A. for about $300. The large pair come remarkably close to fulfilling this very difficult of screens in the background comprise America's assignment. But many designers are seeking new first full -range electrostatic, the KLH -9. For stereo, ways to avoid the "limitations of the box" -some by the panels may be separated and placed as desired. reshaping the box so that it assumes a new form, The Model 9 costs $1,140. Other full -range electro- with concomitantly new acoustic properties; others statics (not shown here) include the Harned, which by flattening it so that it becomes virtually a frame; in appearance resembles the Quad except for a more still others by working with new types of drivers elaborate walnut frame. Its cost is about $500. The which, inasmuch as they differ from the traditional Canadian -made Sigma electrostatic, which employs speaker cone, neatly sidestep the problems of the the tall screen design, retails for under $700. A full - conventional speaker enclosure. range electrostatic, incorporating a solid -state ampli- Visual as well as sonic factors have a bearing fier and crossover system, is offered by Acoustech. on the new unboxlike enclosures. Whether these In front of the KLH -9 is the latest cylindrical exotic shapes are more pleasing to the eye is a speaker, the Royal Grenadier of Empire Scientific matter of individual taste -but assuredly they are Corporation. A cone woofer faces downward inside different. They may be just the thing to melt the cylinder and radiates through a narrow opening milady's resistance to a new pair of stereo speakers. around the bottom. Midrange and highs are dispersed For example, the lamp illustrated in our photo is by two more drivers on the curved surface. This surrounded by a shade that not only serves the usual system, the Model 9000, is priced at about $210; purpose but actually is an electrostatic speaker de- a slightly smaller Grenadier model, the 8000, sells signed to have 360-degree dispersion. It is supple- for about $150. mented by a woofer hidden in the base of the lamp. (Parenthetically, two well -known British firms are Called the Omnisonic, it is produced by Acoustica also offering "cylindrical" systems, though these are Associates, Inc., of Los Angeles. Cost is about $210. not yet available in the U.S.A. A series of columnar The cylindrical piece on which the lamp rests is reproducers -some cylindrical, some rectangular -is itself another speaker system, the Model LH -500 made by Wharfedale. In these systems, a cone made by Leonhardt of Rockford, Illinois. In this speaker faces upward and radiates past a diffuser system, the drivers are arranged inside the enclosure plug. Its well -known designer, G.A. Briggs, describes to provide 180- degree dispersion. The LH -500 costs, the round structure as a "drain pipe." A series of in oiled walnut, about $160. oval -shaped columnar speaker systems is manufac- The console in front of the LH -500 is a complete tured under the Connoisseur label by A. R. Sugden stereo system, the Project G by Clairtone of Canada. & Co. Ltd. Again, the speaker faces upward.) Its speakers are the two globes at either end; this Resting atop the Empire speaker here is a novel shape, according to company president David H. thin -line, the Tri- Planar by University. This system, Gilmour, "is considered superior to flat cabinet fronts costing about $80, abandons cones as sound- gener-

in projecting the sound. . . ." Perforations on the ating elements in favor of a pair of thin wooden surface of a globe help diffuse the sound from the panels suspended in a frame. The Tri- Planar may drivers within, and the globes may be rotated to get be used in any position or location. different acoustic effects in varying listening environ- Our final variation on a theme is a speaker system ments. Cost of the entire Project G system is $1,600. that looks like a kettledrum stood on its side. This The speakers are not available separately. is the Bard, made by Bozak, and offered, at about Directly in front of the Project G is another $80, mainly as an outdoor speaker. Descended from model from Leonhardt, the LH -190, priced from $85 a similar design originally intended for indoor use, depending on finish. This speaker may be floor -based the unusual- shaped Bard may yet find its way back or suspended on a decorative chain. Shown on top into the listening room.

62 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com .._.stE »..

by Leo Haber

Let's Play A & R Man For some of the great recordings of the century that will never be heard, just follow the rules below..

AN ERRANT TUBE gave out in my friend's stereo dead and alive or those who may not even have system that evening and with it the sound from lived in the same era. The intensely mature dev- records, tape, and FM tuner. He had no handy otees to the cause of good music making confine replacement, and was almost ready to condemn his themselves to contemporaries and to live ones at that. household to the wasteland of the television set. Naturally, they make no pretense of honoring the But I saved the day. Innocently, I remarked: "How contractual claims of any record company. After would you like to hear a Gershwin Rhapsody in all, the companies themselves sometimes grant dis- Blue done by Richter and Kondrashin ?" pensations: Van Cliburn appears through the courtesy We were off! The potentially calamitous evening of RCA Victor. became a triumph. Television was forgotten, the Nor should the game be a mere exercise in wild, wayward tube forgiven, as the eyes of my dear wacky combinations. We'll allow for some levity, friend's wife opened lovingly on me and she purred with the warning that it actually detracts from the in reply: "What an idiotically conventional sugges- pleasure of the evening if the players yoke impossible tion! Why not, rather, the Gershwin Rhapsody done mates together in a loveless marriage- Mahler's by Wilhelm Backhaus with Otto Klemperer con- Resurrection Symphony done by Lawrence Welk and ducting the Vienna Philharmonic. There would be an His Orchestra and abetted by the Serendipity Sing- experience!" ers, for instance. This kind of boorishness may go I was ravished. Needless to say, we played this well in certain circles, especially after the fifth lovely game into the early hours of the next tubeless round of drinks, but it arouses little response from morning. No flawed record surfaces, no faintest hint the engagé music lover. He chooses only artists of tape hiss, no hysterical neighbor calling to ask capable of the repertoire. That's a sacred command- us to turn down the volume. . . . ment. To him, the real game oftentimes becomes "How about the Sacre?" I whispered. starkly serious. In his hands it usually turns into a My faithful friend leaped gently, softly, into blast at the powers- that -be in the recording world the breach, all highs attenuated. "Easy. Yehudi who lack the imagination and the soul to create Menuhin conducting the Bath Festival Orchestra." anew, to bring disparate but real worlds together And so it went. It's a wonder that no enterprising in a fresh vision. It becomes a critique of bourgeois businessman has seen fit to box this parlor game society, a veritable Weltanschauung, a manifesto à la Monopoly or Scrabble and to hawk it among hurled by the ultimately committed at the musical the record buffs of the nation. The rules are simple establ ishment. enough. The player chooses a piece of music and Here are some inspired examples from that then proceeds to project a team of performers. crucial evening in my friend's house. It ought to There are no restrictions. The child -minds among spur the leader to similar flights of his own: players usually spoil the game by combining artists 1. To stay for a moment or two with American

DECEMBER 1964 63

www.americanradiohistory.com music -a complete set of Copland's orchestral ef- Shostakovich do a Requiem Mass. It was decided forts, Robert Craft and Igor Stravinsky conducting. all around that this idea was totally unrealistic, 2. Charles Ives's Symphony No. 1, with Knapperts- that the text of the Liturgy just wouldn't do, that first busch and the Munich Philharmonic. As a filler, we would have to get Ilya Ehrenberg to put together Ives's Variations on "America" for organ, played a new text gleaned from the impassioned eulogies by Albert Schweitzer. delivered by Khrushchev, Beria, and company at 3. And now to beginnings. The complete Well - Stalin's funeral. tempered Clavier of Bach, with Artur Rubinstein My friends went back to recordings with a pas- at the clavichord. sion. The husband asked, rhetorically, whether 4. Mozart's Piano Concertos done by Vladimir David Oistrakh had not recorded Mozart's Sinfonia Horowitz, Horowitz conducting. concertante in E flat, K. 364, for Violin and Viola 5. Back to some modern composers. The Shostako- and Orchestra several times. Did he not do the vich Second and Third Symphonies, in scores edited violin part until the most recent recorded version, by H. C. Robbins Landon, conducted by Karl wherein he played the viola part opposite his son's Miinchinger. violin solo? Should not the next logical step in 6. The Chávez Toccata for Percussion done by the recording be the same Mozart piece, both solo parts Swingle Singers. (No, this is not a Mahler /Welk -type played by David Oistrakh through the magic of tape combination. The Swingle Singers have made a dubbing? Leonard Pennario once recorded piano specialty of vocal adaptations of Bach and other music four hands alone through the miracle of tape. baroque composers.) It can be done. 7. Prokofiev's Peter and the Wolf, Liberace speak- The eyes of my friend's wife were diamonds. "Isn't ing, Gunther Schuller conducting. Or the reverse. that the way," she cooed, "to ruin a lovely idea? (My friend's wife reminded us of the old Kous- Why stop with the soloists? Why can't Oistrakh sevitzky recording wherein Eleanor Roosevelt did père do the string section too? If this venture the narration. This inspired us to break our rule is too daring a start for him, he can begin his about invoking the ghosts of dead artists. How new career by being a little string quartet. The much some of us would have liked to hear a Peter divine Beethoven Quartet No. 14, Op. 131, done by done by Sir Thomas Beecham with Sir Thomas David Oistrakh. Then an octet, a double string Beecham speaking! A recent live performance with quartet. The Mendelssohn Octet by Oistrakh. Van Cliburn on the podium and Miss Luci Baines Naturally, if you consider Heifetz or Stern or Piati- Johnson narrating was no consolation whatsoever.) gorsky or Charles Mingus the greatest string player We did not neglect vocal music that evening alive today, you can even have a whole string orches- either. But in case you don't know, you should tra played solely by your favorite Tonkiinstler. The be warned that opera and Lieder fans are frightfully Tchaikovsky Serenade for Strings, overside the congealed in their views and don't ordinarily respond Barber Adagio for Strings, in a double pocket set to original suggestions. Imagine telling an opera with the Dvofák Serenade for Strings and the buff that it would be bracing to hear Renata Tebaldi Stravinsky Concerto for String Orchestra, played by do a Yum -Y um in The Mikado! The fact that she Joseph Szigeti. How about that ?" has done Butterfly he would consider completely This time my friend was not to be outdone. He irrelevant. Would he have the courage to hear out leaped into the thick of the battle and countered the rest of the cast? with a marvelous display of one -upmanship. "Why N anki-Poo Aksel Schi¢tz the prejudice in favor of string players ?" he in- Ko -Ko, Lord High Ex..... Boris Christoff sisted. "If Roger Voisin is the finest classical Birgit Nilsson The Mikado he do the complete Katisha Alfred Deller trumpet player, why shouldn't Conductor Leopold Stokowski brass section? Why shouldn't Richard Tucker sing Chorus Mormon Tabernacle Choir the full tenor section of the chorus in addition to The stalwart reader is invited to make his own all - his solo part? Only then will we reach the ultimate star cast in other vocal masterworks. perfection. Gustav Mahler's Symphony of a Thousand, the Eighth in E flat, for the largest orchestra, chorus, and soloists ever assembled, per- WHEN THE BLACK COFFEE was served that morn- formed by Jascha Heifetz and seven guests!" ing, several really avant -garde recording ideas were Nothing could top this. I staggered home in a proposed. I, in all modesty, began with the most state of complete intellectual intoxication, neglected daring suggestion -that we expand the game to in- even to put an impoverished recording of A.D. 1964 clude new works that ought to be written by our on the turntable, and sank into a living -room chair yet living composers. As a start, I suggested that yearning for unrelieved silence. The best I could do Stravinsky try his hand at a musical comedy for was to play -in my mind, naturally -a projected Broadway and that Bernstein leave the big things "Music Minus One" recording of Bach's complete for a while and attempt a string quartet or two. Sonatas and Partitas for Violin Unaccompanied. But I caused a tiny shudder when I proposed that All six sides. (I haven't as yet chosen the artist.)

64 HIGH FIDELITY MAGAZINE

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 separation throughout the whole audio band. In one sense, yes. The per- tion and other spurious interference. Mr. Marantz: The whole RF circuit is balanced -tuned, of is so dramatically formance this tuner using a precision tuning capacitor with Q. What is the purpose of the tuning and superior to conventional tuners that multipath indicator? needs FM four double sections, for further reduc- anyone who wants or perfect of has no but tion spurious images. Mr. reception today choice to use For the critical IF strip, we've devel- Marantz: This oscilloscope device is the model 10 -B. Its superiority, however, so versatile its single trace tells many does oped the first commercial application of when not necessarily obsolete conven- or phase fil- easily understood stories. It shows Rolls Royce, of course, the "Butterworth," -linear a station is tuned exactly to tional tuners. new concept a the center makes superior cars, but they haven't ter. This provides number of the passband. The height of the pat- of distinct characteristics essential for shows obsoleted Chevrolets. The passband, example, tern the signal strength. The in- good results. for dicator shows how much multipath is Q. Is this superior performance discern- is phase -linear for extremely low distor- 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 the station is creating distortion by over - Mr. Marantz: Very much so. The differ- at all signal levels. ence is quite dramatic. As you know, modulating. Also, technically informed Cutoff slopes beyond the passband are can conventional tuners have never been extremely steep, allowing unprecedented users check stereo separation of able to pick up and reproduce broadcasts transmissions, discs and other sources. selectivity ; it is much less subject to the 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. with ratory instrument of extremely high disc or a tape the same 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 has been quality is generally excellent. 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 conventional tuners will reach at 1000 microvolts. With a 25 microvolts station the Model 10 -B reaches a phenomenal 70 db quieting which is about 20 db better than most conventional tuners can achieve at any signal strength. This MARANTZ MULTI PATH /TUNING INDICATOR means that with the Model 10 -B there IF Passband retains Conventional mutually - Station tuning is simply Multipath (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 the tun- slopes at any signal change characteristics by centering the trace. tuning trace. Antenna is 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 con - cept with many technical innovations developed by Marantz engineers. Q. Can you give us some examples? WitZ "Btlk Mt AE Mr. Marantz: Yes. The RF section, for example, contains a balanced- bridge di- MARANTZ, INC., SUBSIDIARY OF SUPERSCOPE INC., SUN VALLEY, CALIF. CIRCLE 54 ON READER- SERVICE CARD DECEMBER 1964 65

www.americanradiohistory.com HOBSON'S CHOICE? `NEVER 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 acknowledged 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.

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 - dividually tested. In a class by itself for repro- ist whose entire system must be composed of ducing music from mono as well as stereo the finest equipment in every category. Shure's 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 /4 to 11/2 grams, tracking angle provide freedom from distor- the M55E will satisfy -beautifully. Will actually Lion. 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 3/4 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 present set -up sounds "muddy." At less sweet, "singing" quality throughout the audi- than $20.00, it is truly an outstanding buy. ble spectrum and especially its singular re- if you own regular M7D, you can up- creation of clean mid -range sounds (where (Also, it for higher compliance and lighter most of the music really "happens ".) Budget- grade tracking by installing an N21D stylus.) priced, too.

If floor vibration is a problem. Saves your A unique Stereo -Dynetic cartridge head shell records. Models for Garrard Laboratory 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.

A best -seller with extremely musical and trans- If cost is the dominant factor. Lowest price of parent sound at rock -bottom price. Tracks at any Shure Stereo Dynetic cartridge (about pressures as high as 6 grams, as low as 3 grams. $16.00) ... with almost universal application. M3D The original famous Shure Dynetic Cartridge. Can be used with any changer. Very rugged.

--v HVF?E GO

HIGH FIDELITY PHONO CARTRIDGES ... WORLD STANDARD WHEREVER SOUND QUALITY IS PARAMOUNT Shure Brothers, Inc., 222 Hartrey Ave., Evanston, Illinois CIRCLE 69 ON READER -SERVICE CARD 66 HIGH FIDELITY MAGAZINE

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

high fideli EQUIPMENT REPORTS

McIntosh MA 230 Integrated Amplifier

THE EQUIPMENT: McIntosh MA 230, a stereo Under the input selector preamp -power amplifier. is an unusually versatile Dimensions: front panel, 16 mode selector. In addition to positions for inches wide 5 stereo, re- by -7/16 inches high; chassis, 14 -1/2 inches verse stereo, and monophonic operation, deep, including connectors; clearance this control in front of mount- also can be used for feeding the combined left -and- ing panel including knobs, 1 -1/2 inches. Price: $349; right inputs to either the left or right speakers, useful optional walnut cabinet, $29. Manufacturer: McIntosh for balancing the amplifier and stereo speakers. It also Laboratory Inc., 2 Chambers St., Binghamton, N.Y. has positions which feed either the left input or the right input to both speakers. COMMENT: The MA 230 by McIntosh represents two A channel balance control is located at "firsts" for this well -known the lower audio manufacturer; it is right of the panel. Between it and the mode selector the first "Mac" to make use of transistors and it also are eight rocker switches. From left to right, these are is this company's initial entry into integrated amplifier for: compensation or design. equalization (RIAA and the older As such it demonstrates the audio adage of LP characteristic); tape monitor; phase reversal; "handsome is speakers as handsome does." One of the best - off or on; AC power; low frequency filter; looking pieces of high fre- audio gear we have ever seen, it also quency filter; loudness contour. Finally, the is one of the best front panel -performing. The MA 230 is well built has two stereo headphone jacks for direct connection too, in the sturdy McIntosh tradition; operates flawlessly; of low -impedance headsets. and should provide years of trouble -free service. At the rear of the amplifier is a barrier The front panel terminal is a high -polished panoply of black strip for 4 -, 8 -, and 16 -ohm speakers for each channel. and gold, on which a full complement of controls is There also is an output jack for feeding a derived logically arranged to facilitate operation and at the "L R" signal to an additional amplifier a same time to present a pleasant -for visual design. A knob center channel in the stereo installation, or for a mono- at the upper left is the program selector (aux, tape, phonic version of a stereo program in another room. tuner, phono 1, phono 2, tape head). To its right is a Output jacks for feeding a stereo tape recorder pair of dual- concentric also bass tone controls, one for each are provided. There are seven pairs of channel. These may stereo signal be operated independently or, input jacks -the six that correspond to the settings inasmuch as they are friction -coupled, simultaneously. of the program selector plus a pair for tape monitor. A small red pilot lamp occupies the center of the The rear also has a grounding post, a fuse -holder, and panel. Next is the pair of treble controls; to their right three AC outlets, two switched and one unswitched. is the volume control. The circuitry of the MA 230 is partly solid- state.

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

DECEMBER 1964 67

www.americanradiohistory.com was within about 2 db over the 20 -cps That is to say, the preamp section uses transistors, and o'clock position) was down only 3 db at 12 cps and the power amplifier section uses tubes and specially to 20 -kc range, and McIntosh output transformers. An inspection at 50 kc. IM distortion remained under 0.4% up to designed output, and was still under of the chassis indicates careful design and the highest the amplifier's rated power output. The 10 -kc square -wave re- quality of workmanship throughout: topside layout 0.5% at 40 watts for minimum heat interplay between the sponse showed no ringing and good transient character- is designed in the tubes and other parts; the underside shows istics; the 50 -cps response showed some rolloff output again, good transient point -to -point wiring and the use of high - extreme bass (below 20 cps), but, careful reserves and stability, grade components. The circuit contains individual DC action. The amplifier's power high damping factor of 10, bias controls for the output tubes, and an AC balance combined with its fairly for the driver stage. These are factory -set and would indicate its suitability for driving any type control models. need not be readjusted except after prolonged use or of speaker including the lowest efficiency the finest tube replacement. Without doubt, the MA 230 is one of both mag- The MA 230 is rated by the manufacturer at 30 watts integrated amplifiers available today, being It power output per channel at 0.5% distortion over the nificently constructed and a pleasure to operate. range from 20 cps to 20 kc. In tests conducted at handles program material with the ease and authority either United States Testing Company, Inc., it met these of the superior instrument. Not to be overlooked with room to spare, producing even higher power is the well -written and amply illustrated owner's manual, ratings we and lower distortion. The measured power bandwidth one of the most complete and easy to understand - inveterate hobbyist or about 11 cps to 60 kc -would be excellent for have encountered. And, for the from across the top any amplifier; in an integrated design it is quite remark- professional user, McIntosh has printed, a block diagram able. The normal frequency response of the amplifier of the front half of the chassis, detailed (tone controls mechanically flat; volume control at 12 of the amplifier's circuit.

-1-5 RIAA 0 -5 EQUALIZATION CHARACTERISTICS t5 NAB 0 -5 20 50 100 300 500 1K 3K 5K 10K 20K

FREQUENCY, CPS

response to 5(1 cps, left, and !0 kc. Square -wave Lob Test Data Performance +2 Zero DB ó 0 30 Watts (Power Bondwidth Curve at 0.5% THD characteristic Measurement - 2 -4 THD at 30 Watts Power output -6 0.5 (1 kc into 8 -ohm load) o - 8 Individual channels: THD at 15 Watts THD 10 Left at clipping 36.1 watts @ 0.14% (Bass Control at 2 o'clock) (Volume Control at max.) ó-12 Left for 0.5% THD -14 (rated distortion) 38.7 watts >-;:'---:.-Frequency Response at 1 Watt 0.18% THD -16 Right at clipping 34.4 watts @ me Control at 12 o'clock) \ for 0.5% THD 36.9 watts ;- 18 Right PERFORMANCE CHARACTERISTICS - 20 20K chs at once: 10 100 1K 10K Both Left at clipping 35.2 watts @ 0.1 % THD FREQUENCY, CPS Right at clipping 32.4 watts @ 0.08% THD

Power bandwidth for con- + 20 kc Bass Boost stant 0.5% THD 11 cps to 60 t 15 Treble Boost +10 Loudness Harmonic distortion 30 watts output under 0.4 %, 20 cps to 20 kc t 5 Compensation 20 kc 15 watts output under 0.3 %, 20 cps to low Filter - High\ IM distortion under 0.5% up to 40 watts Filter." Bass Cut Treble Cut Frequency response, db, 20 cps to 40 kc 1 -watt level +0.25, -2 153Q FILTER AND TONE CONTROL CHARACTERISTICS RIAA equalization +0, -4 db, 20 cps to 20 kc 50 100 300 500 1K 3K 5K 10K 20K NAB (tape head) equali- FREQUENCY, CPS zation +1, -4 db, 20 cps to 20 kc Damping factor 10 8 ohm load 60 and 7000 cps, 4:1 ratio Sensitivity, various inputs phono 1: 2.2 mv phono 2: 2.2 mv 2 tape head: 3.8 mv INTERMODULATION DISTORTION tuner: 440 mv

1 tape (amp): 440 mv aux: 440 mv

0 inputs phono 1, 2, tape head: each 57 db 10 15 20 30 40 50 S N ratio, various 2 4 6 8 tuner, tape, aux: each 72 db AUDIO POWER OUTPUT IN WATTS

HIGH FIDELITY MAGAZINE 68

www.americanradiohistory.com Orthophase

Speaker Systems

THE EQUIPMENT: Orthophase speaker systems - cells only (with this many cells the bass is reproduced Model OR -1 -W1: 27 -13/16 inches wide, 3 -3/4 inches without the aid of the cone woofer); the OR -12 uses deep, 20 inches high, on legs angled back; price in twelve cells. The woofers employed, incidentally, walnut, $236. are Model OR-3 -W1: 32 inches wide, 5 -3/4 expanded plastic foam types, also made by Orthophase inches deep, 24 inches high, on legs angled back: price, -and cells or woofers as well as matching network ele- $381. Model OR -12, 28 -3/8 inches wide, 7 inches deep, ments may be bought separately for individually as- 27 inches high, legs on angled back; price, $785. Ortho- sembled speaker system projects. An enclosure in the phase drivers are manufactured by Gé -Go of Paris; conventional sense is not required with these systems speakers, and drivers are assembled in the U.S.A. by merely some sort of frame to hold them in Orthophase, place, and a Inc., 516 Fifth Ave., New York, N. Y.; mounting baffle for the cone woofer (if used). the Thus, company also offers individual drivers. anyone assembling his own Orthophase system can install the drivers in a manner limited COMMENT: only by his The Orthophase speakers represent a new imagination and available structural elements (one New departure in speaker design, employing the small flat York enthusiast is reported to have filled an "induction entire wall cell" introduced in Paris three years ago by with cells). Alternately, Orthophase offers walnut wood the firm Gé -Go (the name derives from that of the frames separately; these are similar to the frames that French company's head, Georges Gogny). The Ortho- house the finished systems reported on here. phase cell is based on an earlier German design known The input impedance of one cell is only 0.35 ohm, as the Blatthaller, a speaker that required enormous which means that a special transformer amplifier is required to power and was suited mainly for out -of -door match a single cell, or group of a few cells, to the speech cone reproduction. The Orthophase version, made of woofer and to the output of an amplifier. These trans- more modern materials and improved in general design, formers also are available separately, and are of course has power requirements and response characteristics well incorporated in the complete systems offered by Ortho- suited for the high quality reproduction of music, as well phase. The price schedule for all the drivers and acces- as speech, in home sound systems. sories is quite long; some representative costs, however, The cell is essentially a "naked speaker" or driver. are: a single OR cell, $58.50; an 11 -inch woofer, $71.85; Its diaphragm is a thin, rigid, flat section of expanded, a transformer for use with one cell, $15; the walnut very lightweight plastic foam -resembling superficially frame for a three -cell and woofer system, $64.20. the De- kind of plastic sections found in modern packaging. tailed price information on all Orthophase systems and Roughly 4 by 5 inches, it is carefully molded so that parts can be obtained from the manufacturer. one surface has seventeen raised strips; on these strips The simplest system -the OR- 1 -Wl -is comprised of runs a continuous length of aluminum conductive tape one cell and a woofer which, together with the requisite in zigzag fashion, which terminates in connections for network and transformer, are housed in a walnut frame the amplifier. Bar -shaped ceramic magnets are fitted covered with grille cloth. Input impedance is 16 ohms. alongside the raised strips so that the conductive tape Efficiency is moderately low, and the OR -1 -W1 is effectively - rec- the "voice- coil" of this speaker -lies in a ommended for use with amplifiers capable of supplying strong magnetic field. When energized with audio at least 20 clean watts per channel. In our tests, the signals from an amplifier, the entire diaphragm vibrates response of the OR -1 -W1 went down to about uniformly, 30 cps, in a manner similar to that of an electrostatic with a gradual rolloff -or alternately, with the doubling diaphragm. The metal frame that holds it all together attendant on driving a speaker hard -apparent from is about 8 by 4 inches. about 70 cps. Response at the high end went to beyond The response characteristic of a single cell is such audibility. A 1 -kc test tone appeared to be nondirective; that its frequency output begins falling off appreciably a 3 -kc test tone was almost as widely dispersed; a 5 -kc below about 1,000 cps; at higher frequencies its response tone was a bit less omnidirectional; from about 8 kc continues to beyond audibility in a gradually narrowing and upward the tones were fairly directive. However, dispersion pattern. However, the more cells used, the inasmuch as the Orthophase is used somewhat away from deeper the response in the bass region and the wider the wall, and radiates as a doublet, there is a bounce - the dispersion pattern at the very high end. Cells also and- diffuse effect that helps spread the highs fairly can uni- be used together with a dynamic woofer. Thus, formly throughout a normal listening area, many combinations and the -of cells alone or of cells with directionality of the extreme highs is perceptible woofers only if -are possible. The type of combination de- one goes looking for it in an unlikely termines listening position how costly and high -performing a given speaker at a fairly extreme angle from the system. The speaker's system will be. As a result, Orthophase has devised (so response to white noise was very smooth and withdrawn, far) five different full -range systems. The nomenclature in fact among the cleanest yet encountered, indicating designates the drivers used in each system. Thus, the a minimum of coloration in the highs and midrange. OR-1 -W1 uses one cell with one dynamic woofer; the Handling program material, the OR -1 -W1 proved OR -3 -W1 to uses three cells with a woofer; the OR -6 -W2 be a very clean, transparent reproducer. The midrange uses six cells and two woofers; the OR -8 uses eight and highs were somewhat more prominent than the

DECEMBER 1964 69

www.americanradiohistory.com deepest bass. but the over -all balance was in general models and is best used with a very stable amplifier musically satisfying. The acoustic quality of this system capable of supplying at least 30 (clean, rms) watts could be described as tight and precise, with good tonal power per channel. The physical design, as well as the definition and an ability to separate timbres in massed acoustic benefit derived from the doublet -radiation ef- ensemble effects. fect, also implies that the system should be positioned at The OR-3-W1 (three cells and a woofer) had a similar some distance from the wall -an installation considera- range to the OR -1 -W1, but a somewhat broader sound tion which brings to mind full -range electrostatics. front that remained fairly widespread to beyond 10 kc. In various A -B tests, comparing one Orthophase with Its efficiency was about the same as the OR -1 -W1 and another, it was difficult to establish definite listener the same type of amplifier should be used with it, but preferences, probably due to the similarity among these the additional cells enable it to radiate what seemed to systems. It is, of course, a similarity of tonal purity, of us a greater volume of sound. White noise response was clean uncolored sound. At that, there was a feeling that not as subdued as that of the OR -1 -W1, though by no the difference between the OR -1 -W1 and either the means hard. Handling music, the OR -3 -W1 had a tonal OR -3 -W1 or the OR -12 was more apparent than the balance similar to that of the OR -1 -W1, again possibly difference between the latter two -which would indicate favoring the midrange and highs ever so slightly. The that the cells themselves are responsible for projecting sound, over -all, was more spacious than that of the a healthy amount of very listenable sound. All these OR -1 -W1, very open, effortless, and natural. systems have a sort of natural quality on instruments and The largest of the Orthophase systems (yet offered), voice; there is no favoring one family of instruments, no the OR -12, employs twelve cells and no woofer. Its honkiness, no sense of boxiness. One could say that the response, in our tests, proved to be the widest; the bass OR -1 -W1 would seem to be best suited for a smaller held up cleanly to just above 30 cps, with some doubling room than either the OR -3 -W1 or the OR -12; differences apparent at about 50 cps, depending on how hard it was between the latter two are too elusive to describe. They driven. The highs went smoothly and cleanly to beyond are best perceived by listening for oneself-and anyone audibility, and with a well- dispersed pattern that showed interested in high quality reproduction should do so. virtually no signs of narrowing until we approached 10 Assessing the quality of these systems in terms of kc, and then only slight narrowing. The white noise their cost would also be difficult. Orthophase has response was very smooth. stated that the design conception and the new materials Reproducing program material, the OR -12 had a needed for these speakers make necessary a price that superb top end, a healthy sense of heft at the low end, is admittedly higher than that of conventional speakers. and a very open, natural midrange. Its tonal balance was Whether this amount is warranted purely on perform- excellent; its handling of voice, various instrumental ance terms, vis -à -vis conventional speakers, is something groups, soloists, organ, and so on, quite exemplary. It best answered by the individual shopper. One thing does was, in a word, one of the best speaker systems we have seem certain: the claims of response and excellent sound auditioned. The performance of the OR -12 depends in made for these speakers by their manufacturer seem to large measure on the quality of the amplifier driving it; us quite justified and valid. The Orthophase systems are this system is of lower efficiency than the other two indeed among the very best available.

Bell Model 1000 Tuner /Amplifier

THE EQUIPMENT: Bell 1000, a combination FM manium diodes, and 3 RCA Nuvistors (tiny tubes) -the stereo tuner and stereo preamplifier -power amplifier on last -named being used in the RF section of the tuner. one chassis. Dimensions: 173/s by 1678 by 63/4 inches. The amplifier chassis is chrome -plated, the tuner chassis $499.95; optional walnut case, $29.95. Manu- is silver -plated, and both are polished to a mirror -finish. Price: alumi- Dage -Bell Corp., 6325 Huntley Rd., Columbus, The front panel, made of gold -colored anodized facturer: head- Ohio. num, contains ten knobs, six slide switches, two phone jacks.; the FM station dial, and a dual purpose COMMENT: The Bell 1000 combines a stereo tuner of tuning meter. up to a high sensitivity with a control amplifier of clean, wide The top portion of the front panel is given offered on one chassis that is hand- large tuning dial that includes station frequencies as response -both The somely and functionally styled. The unit is representa- well as a logging scale. The meter is at its left. the recent trend toward combination chassis. controls occupy most of the remainder of the escutcheon. tive of bottom in great measure by the development of transis- The low- impedance headphone jacks are at the spurred first tors and related solid -state techniques. The Bell 1000 left, followed by a row of slide switches. The meter, stereo incorporates 35 transistors, 15 silicon diodes, 4 ger- three switches, colored red, are labeled

MAGAZINE 70 HIGH FIDELITY

www.americanradiohistory.com 0 +2 Zero DV- 40 Watts IHF Music Power (Rated Power Level) 111F USABLE SENSITIVITY CURVE á 10 F_ -2 Power Bandwidth Curve at 0.8% 71.-NID 20 z

IHF Usable Sensitivity at 98 MC 1.9,uv 1 { THD Curve at 29.6 Watts ó 30 0.5

THD Curve at 14.8 Watts 0 ° 40 ó

Frequency Response at 1 Watt 50 °° -18 1 10 10' 10' ;0' 10' - 20

1 10 100 1K 10K 20K TUNER RF INPUT LEVEL - MICROVOLTS FREQUENCY, CPS

° }5 0 +5 RIAA EQUALIZATION 5 FM-MONOPHONIC FREQUENCY RESPONSE E 0 -5 20 50 100 300 500 1K 3K 5K 10K 20K a=° 20 50 100 300 500 1K 3K 5K 10K 20K

FREQUENCY, CPS

+5 0

-5 2 FM-STEREO FREQUENCY RESPONSE AND CHANNEL SEPARATION ó -10 INTERMODULATION DISTORTION

=-15 1 - 20 60 and 7000 cps, 4:1 ratio c-25 0

- 30 1 2 4 7 10 15 20 30 40

- 35 AUDIO POWER OUTPUT IN WATTS Left Channel - 40 Right Channel - 45 20 50 100 300 500 1K 3K 5K 10K 20K

LOUDNESS CONTOUR CHARACTERISTICS FREQUENCY, CPS A - (Volume Control at 12 o'clock)

filter, and AFC. When the meter switch is in the A Curve, Position }10 DB "indicate" position. the meter shows whether a station 10 on Dial is broadcasting in monophonic or stereo FM. When B Curve, Position 15 the switch is in the "tune" position, the meter indicates an Dial tuning accuracy. The next three switches. colored white, C Curve, Position 25 on Dial are for high frequency (scratch) filter, low- frequency 20 50 100 300 500 1K 3K 5K 10K 20K (rumble) filter, and for tape monitor. FREQUENCY, (PS The knobs are arranged in two rows of five each. The upper row, left to right, includes: a loudness contour control; a volume control (combined with the + 20 power OFF-ON switch); channel balance control; func- TONE AND FILTER CHARACTERISTICS tion selector: FM mono, FM stereo, tape, auxiliary, +15 +10 phono I (magnetic), and phono 2 c Treble Boost (ceramic); station +5 r/ tuner. The bottom row includes individual bass and High 0 treble controls for each channel and a muting adjust- z Filter ment to suppress interstation noise. When the balance -5 -10 control is pulled out, the amplifier is placed in the -15,. monophonic mode, and the program material is fed to both speakers. - 20 20 50 100 300 500 1K 3K 5K 10K 20K Five pairs of input jacks are located at the rear of the chassis. These include phono jacks for a magnetic FREQUENCY, CPS and for a ceramic cartridge, an auxiliary jack, a tape input, and a tape- record output. Speaker taps accommodate 4 -, 8 -, or 16 -ohm speakers. There are two AC + 20 convenience outlets, one switched and one unswitched; antenna terminals +15 for either a 300 -ohm or a 75 -ohm m-í10 line; and two fuse- holders which contain the fuses that o + 5 protect the output transistors in each channel. 0 In tests conducted at United States Testing Company, - 5 Inc., the tuner section of the Bell 1000 had extremely high FM - 10 sensitivity, among the best measured. Distor- TONE CONTROL CHARACTERISTICS tion was - 15 low, and the tuner's capture ratio was ex- PERFORMED INDIVIDUALLY - 20 cellent. Other characteristics, such as signal -to -noise ratio and frequency response in both stereo and mono- 20 50 100 300 500 1K 3K 5K 10K 20K phonic modes, were very favorable, and the set should FREQUENCY, (PS

DECEMBER 1964 71

www.americanradiohistory.com Bell 1000 Tuner /Amplifier

IM!) Test Data

Performance characteristic Measurement

Tuner Section Square -wave response to 50 cps, left, and 10 kc. IHF sensitivity 1.9 IL,/ at 98 mc and 106 mc; 1.8it vat80mc prove capable of fine reception in virtually all locales. response, mono +1.75, -2.5 db, 20 cps to 20 kc The tuning meter was highly accurate, and using Frequency it to tune in a station provided "on-the-nose" tuning and THD, mono 0.86% at 400 cps; 0.8% at 40 cps; minimum distortion. The AFC was very effective in 0.98% at 1 kc pulling in a station and did not raise the distortion IM distortion 0.1790 level. Channel separation was very good across the band. Distortion, on FM stereo, rose somewhat; its Capture ratio 2.7 net audible effect could vary from slight to negligible, ratio 55 db depending on FM signal strength. The pilot and sub - S/N carrier signals were suppressed low enough not to inter- Frequency response, stereo fere with the bias signal on a tape recorder. left channel +2, -0.25 db, 20 cps to 15 kc USTC's measurements of the amplifier section of the right channel =2 db, 20 cps to 15 kc Bell 1000 indicate that it is a clean, medium -powered and suitable for THD, stereo unit with ample power reserves stability left channel 2.6 °c, at 400 cps; 2.9% at 40 cps; any speaker system. Response was wide, and distortion 1.8% at 1 kc very low. The IM characteristic, for an integrated transis- right channel 1.5% at 400 cps; 2.2% at 40 cps; tor amplifier, was especially good (see accompanying 1.5% at 1 kc chart) in that it did not rise appreciably at low output separation, either better than -30 db at 1 kc; better response shows only a Channel levels. The 50 -cps square -wave channel than -20 db, 60 cps to 14 kc moderate tilt and generally low phase distortion; the 10 -kc square -wave shows a very fast rise time and a 19 -kc pilot suppression -38.5 db "flat top" with absolutely no ringing or overshoot, in- 38 -kc subcarrier suppression -41.5 db dicating excellent transient response and stability. The RIAA characteristic for disc playback was very accurate, among the best encountered. No NAB (tape head Amplifier Section playback) equalization is provided, which means that to play recorded tapes through the Bell 1000, a deck Power output (at 1 kc into that has its own preamp should be used. The amplifier's 8 -ohm load), channels control all performed individually: loudness contour, filter, and tone 29.6 watts @ 0.18% THD boost or cut, however, left at clipping satisfactorily; maximum treble left at 0.8% THD 32.9 watts could be obtained only if the bass tone control was not right at clipping 28.1 watts @ 0.19% THD used at the same time -a circuit design feature some- right at 0.8% THD 32 watts what unique to this amplifier and, in any case, of no great significance from a listening standpoint. both chs simultaneously clipping 26.2 watts @ 0.2% THD A well -constructed product, the Bell 1000 shows every left at right at clipping 24.8 watts @ 0.18% THD sign of careful workmanship. In addition to the features noted. it boasts a huge, enclosed power transformer; Power bandwidth for molded Bakelite filter capacitors; very large, sturdy constant 0.8% THD 11 cps to 23 kc heat -sinks for the output transistors; and a barrier Its Harmonic distortion terminal strip for output and antenna connections. 29.6 watts output less than 19ó, 20 cps to 20 kc design and performance put it in the front ranks of 14.8 watts output less than 0.6%, 20 cps to 20 kc the tuner /amplifier type of equipment, and should 1 watt to 3 watts recommend it for use in many a home music system. IM distortion less than 1.3 %, output; 1% at 6 watts output; less than 1% up to 30 watts output

Frequency response, 1 -watt level ± 2 db, 6 cps to 80 kc

RIAA equalization +1, -0.5 db, 20 cps to 20 kc REPORTS IN PROGRESS Damping factor 4 Sensitivity, various inputs magnetic phono 2.15 my Acoustic Research AR-4 ceramic phono 158 mv tape monitor 205 mv Speaker System auxiliary 205 mv S/N ratio magnetic phono 65 db ceramic phono 50 db Ampex 2070 Tape Recorder tape monitor 70 db auxiliary 70 db

FIDELITY MAGAZINE 72 HIGH

www.americanradiohistory.com Ortofon Model SPE /T Magnetic Cartridge

$15 for the spherical stylus; $25 for the elliptical. Ac- THE EQUIPMENT: Ortofon SPE /T, a stereo cartridge cording to Elpa, inasmuch as Ortofon styli are made fitted with an elliptical (0.7 -mil by 0.3 -mil) diamond of "prime diamond," they should never require replace- stylus. Price, $75. Manufactured by Ortofon of Den- ment in normal use. (Our original Ortofon, with spher- mark; distributed in the U.S.A. by Elpa Marketing In- ical stylus, is over three years old and seems to confirm dustries, Inc., Thorens Building, New Hyde Park, N.Y. this statement.) The recommended load impedance of the Ortofon COMMENT: The Ortofon cartridge, regarded as a top is 50K ohms, which is suited for the standard magnetic performer since its introduction some time ago, now phono inputs on today's preamps or integrated ampli- appears with an elliptical fiers. -radius stylus. This type of Tracking force is given as from 1 to 2 grams. stylus has been discussed in "Newsfronts" (May 1964, Rated compliance is 10 x 10 -6 cm /dyne, which -while page 31) and doubtless will be the subject of continued somewhat lower than that of other fine cartridges -is discussion in future articles and equipment reports. held by the manufacturer to complement the unit's very Briefly, it is designed to reduce or eliminate distortion low equivalent mass of only 1 milligram at the stylus caused by "pinch effect," "inner- groove mistracking," tip, and thus to reduce record wear to a minimum. and "bottoming." Pinch effect occurs when a portion (The earlier Ortofon, with the same compliance, has been of the record groove of relatively narrow width (caused used on and off for three years at 2 grams pressure, by the cutter head in plotting a waveform) forces the with nary a sign of contributing to record wear, again playback stylus upward. This vertical motion generates tending to confirm the unit's "design philosophy. ") a spurious signal in the cartridge when tracing a stereo In tests conducted at United States Testing Company, disc and shows up as a form of harmonic distortion. Inc., the new Ortofon was used at a tracking force of Inasmuch as an elliptical stylus conforms more closely 2 grams. Both vertical and lateral tracking were good, to the shape of the cutter than does a spherical stylus, with no breakup. Harmonic distortion was not evident it can more accurately retrace the actual path made by until about 10 kc, and was not severe. IM distortion the cutter along the walls of the groove. was low. A 1 -kc square -wave test showed very fast rise Inner -groove mistracking occurs when a stylus can- time and only a small amount of ringing that was quickly not maintain continuous contact with the walls of the damped. The SPE /T provided an output signal of 14 record groove at the correct velocity due to the modu- millivolts (measured on the right channel) at 1 kc with lation a of the record, which becomes relatively intense 5 cm /sec peak recorded velocity -an amount well suited as the groove spirals toward the label, or inner portion to magnetic phono inputs. As shown on the accompany- of the disc. Bottoming occurs when the record groove ing chart, the response characteristic of the Ortofon is not shaped correctly, or when the stylus is too small SPE /T is smooth and uniform across the audio range for the groove. In this instance the stylus, instead of with good separation and balance between the two chan- riding evenly along the walls of the groove, tends to nels. As compared with the response measured on the touch the very bottom of the groove, causing distortion earlier Ortofon, using a spherical stylus (HIGH FIDELITY, and a loss of the stereo effect. Dirt and grit at the January 1962), the SPE /T characteristic is quite similar bottom of the groove exaggerate this effect, and a stylus except for a smoother extension of the very high frequen- that is bottoming in a dirty groove will tend to increase cies above 15 kc. the audible surface noise of a disc. The listening quality of the SPE /T is superb. Hum The elliptical stylus used in the Ortofon, and in other pickup and needle talk are negligible, and the recent cartridge high- quality cartridges, is designed to overcome was able to track every record we tried it on, negotiating these problems and thus impart a cleaner sound to disc the most thunderous crescendos with ease and clarity. playback. Listening tests of these pickups indicate that It has a fullness and openness of sound that have always this indeed is the case; the elliptical stylus in sum can characterized Ortofon equipment. Of course, in a field be credited with superior ability to trace stereo records in which there has been as much recent development and with producing an astonishing sense of freshness as among cartridges, the lofty position once enjoyed and clarity from older monophonic discs. by a few top performers such as the Ortofon now is The Ortofon is a moving -coil design that contains a shared by other models, such as those reported on here tiny built -in transformer to step up the normally low in recent months. If, at any rate, the Ortofon must make signal voltage furnished by its moving coils. The re- room at the top for its new peers, it does not have to sultant assembly is somewhat bulkier than most car- take second place to any of them. tridges (it is 1 -9/16 inches long) but it will fit, of course. into the shell of an Ortofon tone arm as well as into +5 other models of similar shape and dimensions. Also, 0 because of the cartridge's strong magnetic pull, it is best used with a nonmagnetic or nonferrous turntable. -5 -10 FREQUENCY RESPONSE AND CHANNEL SEPARATION If a steel turntable is used, a mat of some sort (rubber, Left Channel cork, plastic, ó - 15 and so on) at least 1/4 -inch thick should be a Right Channel placed under the record. - 20 Zero DB 1 4.mv The stylus in the - 25 Ortofon (whether the new elliptical for left channel or the original spherical type) cannot be replaced by - 30 20 50 the owner; when replacement is indicated, the cartridge 100 300 500 1K 3K 5K 10K 20K must be returned to Elpa. The replacement is charge FREQUENCY IN CPS

DECEMBER 1964 73

www.americanradiohistory.com l.l l'T.l'Y`Trl7`lÌ`l lá°lìlil`lìïlÌI1iX4lI7"IZlxif °C'C'i'CT"'1'elÎ'1`Î i iái`á`Y'I'7"I`7C111 i.

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

Fischer -Dieskau: DGG's Rigoletto. Anna Mof f o: RCA Victor's Gilda.

Two Rigolettos -With a Surprise from Fischer -Dieskau

by Conrad L. Osborne

THE TWO NEW recordings of Rigoletto- one hears such passages as the normally discography includes several good Deutsche re- Grammophon's under the direc- cut portions of the Gilda /Duke "Addio" cordings of Verdi operas. Indeed, RCA's tion of Rafael Kubelik and RCA Victor'i duet or of the Gilda /Rigoletto "Veglia, version possesses excellent surface char- under Georg Solti -prove that there o donna," the more astonished one is acteristics, and for those interested in is sometimes considerable justice, artisti- that generations of musicians have un- nothing more than sharp execution and cally as well as commercially, in the questioningly assumed the opera to be fine vocal sound (and I am not be- duplication of operatic repertoire. Their better off without them. It is also littling such attributes), raison it may prove d'être lies not merely in technical encouraging to hear so many of the note satisfactory. Yet DGG's version, which currency, or in the opportunity for giving sequences restored to their original form. on paper threatened to outstanding be a fussy, artists a fresh crack at one Rigoletto's final "Ali! la maledizione!" unidiomatic one, full of unknown of the enduring works of the lyric is a prime example (though for some quantities, seems to me much more of an stage, but in their manifestly genuine reason Robert Merrill, while he does not absorbing experience. attempts It is not as pret- at striking through to some- tie into the traditional B double-flat, tily or richly sting as certain competing thing basic and true in the work. goes back up to F for the final syllable). versions. But by one means or another, RCA's is absolutely complete, while Both recordings clearly aim at pre- it becomes as honest and moving DGG's employs a Rigo- only one brief excision senting what the composer meant rather letto as we have ever had, the obvious -the repeat of the duet portion of "Deli, than what generations of dunderheaded choice for anyone wanting an up -to -date non parlare al misero" (bottom of p. 94 touring conductors and oafish provincial complete edition, or one that will again, to top of p. 96 in the Ricordi vocal tenors have deemed expedient and /or after lo these many seasons, make the score). There is precedent for these good showbiz. Both also have high - hair stand on end. restorations (London's edition under powered casts, and conductors of dis- The two big question marks in this Sanzogno is complete, Mercury's under tinction and experience. undertaking are the conductor, Rafael Gavazzeni nearly so-and the Duke's Offhand, the RCA line -up would seem Kubelik, "Possente and the singer of tie title amor" is now present on about the better bet: lavishly gifted singers role, Dietrich Fischer -Dieskau. half of the "complete" And it recordings), but known for their identification with the is the brilliant achievement the present indications of these that they may Verdi repertory, in the charge of a con- two artists that makes this performance become standard recording practice for ductor whose musicianship and serious- memorable. this opera is welcome; the more often ness are not open to doubt and whose From the opening of the Prelude, DECEMBER 1964 75

www.americanradiohistory.com Kubelik makes just about every point that his well -phrased, intelligent "Cortigi- ingly the performers create the scene; no of sword clanking is going to could be made about this score, and ani!"), but he is nearly always able to amount singing into mean- makes it with the naturalness of a great turn this to interpretative account. His turn pleasant, smooth opera conductor, a conductor who plays singing is full of passion and direct- ingful drama. not only in bars and phrases but in ness, as well as taste and musical ac- The quality of the approach is per- scenes, and scenes within acts, acts with- curacy, and his interpretation must rank haps best illustrated by the Duke's can - Alfredo in a boldly drawn dramatic frame. It with the very different ones of Gobbi and zone "Questa o quella," sung by is as- is none the less musicianly for this, for Capecchi -even with the classically Kraus, whose graceful lyric tenor it preserves an admirable integrity with noble one of Stracciari -as the most suredly capable of a splendid version regard to the printed text. But it does so interesting and compelling on records. of the song. A peculiarity of the piece without calling attention to itself, with- Renata Scotto effects a vast improve- is its scattering of accent marks, re- out special pleading or artificiality, and ment over her Gilda of the Mercury reproduced here with a grim, bumpy lit- above all without ever losing sight of cording. Some of her top tones are eralness that makes the singer sound living characters within a dramatic frame. shrill and tight, but by and large her like an amateur aiming for the downbeat. One phrase just falls into another, one vocalism is good, more relaxed than Kraus is held to the mark too on the scene into another, not interlocking, formerly, and her dramatic sensitivity turn at the word "infiora," where a but flowing. superb; the bite and imaginativeness slight ritenuto is usually allowed, and To analyze in detail for the purpose that is missing in many more warmly and at the end, where the usual little of praise would be tiresome, but a few limpidly sung Gildas is present in flourish is eschewed. The sum total is examples will serve to illustrate the Scotto's. Carlo Bergonzi brings his usual simply inexpressive. The musical inter- wonderful Italianate fire of this read- fine phrasing and smoothness to the pretation tells us nothing about the final dash and grace Duke, and what the text claims we can- ing: I ) The potentially trite transition Duke's music. The from the chorus' " Scorrendo uniti" to to make it memorable are missing, but not believe. I kept thinking of the the Duke's cabaletta (p. 188). Here this is a well -sung, tasteful Duke in the ancient Fernando de Lucia version, a mu- the alive, pointed chorus ends with a best tradition. sical monstrosity of no rhythmic profile, fine, tense orchestra crescendo, fol- Fiorenza Cossotto is excellent, par- overgrown with little interpolations and lowed by a springing, bounding allegro ticularly in her pleading with Sparafu- bits of filigree, but altogether quite from which the Duke's lines leap with cile before the trio, and No Vinco is suggestive of a self -indulgent decadent. complete freedom. 2) The churning stac- a good, rough -sounding assassin. A word, Of the two, the literal Solti /Kraus is cato thirty- seconds in the strings un- too, for the fine Scala chorus, here at really the one that is further away from der Rigoletto's "Solo per nie l'infamia" its impressive best. The sound has the what Verdi wanted the Duke to be. (from the più mosso on p. 233), building virtue of presenting this distinguished Not even Mr. Solti -it goes without to a boil at "Ah presso del patibolo performance with the utmost clarity. saying -takes everything as literally as bisogna ben l'altare!," then fading The RCA Victor set poses a problem, this. Merrill sings his high G at the through the morendo into a wonderfully for it presents the phenomenon of a per- end of "Puri siamo!" and another in easy change at " Piangi, piangi, fanciulla." formance with which little fault can be "Cortigiani "; Kraus gets off a wonder- This is great accompanying, with the or- found with regard to execution, but ful D flat at the end of the duet with chestra making its own statement while which does not add up to a very mean- Gilda and a D natural at the end of pointing the singer's and underlining ingful whole. "Possente amor "; Anna Moffo does the his mood. 3) The tremendous rhythmic Its only clear -cut failing is the con- normal heavy rewriting of "Caro nome." swing of the "Vendetta" duet, an allegro ductor's choice of tempos. And of And there are, to be sure, passages of vivo of a charging intensity from the course even this is a matter partly of strength: Monterone's curse, the "Ven- start, exactly with the singer, and with taste. I assume that Maestro Solti has detta" duet, much of the last act. But room left for the little increase at the tried to reproduce the music in fairly of tenderness, sadness, the expressive end. Immensely exciting. strict accordance with Verdi's metronome potential of the long Verdian cantabile, Enough. It is not the details that markings (I say "assume" because I am there is precious little. matter, or even the superb playing of not about to play the game of checking Within the context of this perform- the Scala orchestra, which sounds here the speeds against my Maelzel). It is ance, it is not surprising that the solo- like a major symphonic ensemble. It is clear that the markings are at many ists turn in work that is rich in sound the absolute consistency, the unchal- points significantly faster than the tradi- but skimpy in dramatic import. Merrill's lengeable "rightness" of the whole, tional tempos; it is equally clear that voice sounds fat, warm, beautiful. and springing from a real concept of the Solti's tempos simply do not work powerful, but he captures only the broad- work as a dramma per musica, in which at several key points. How on earth can est outline of the great role. Once in all the elements have been united. a singer put longing and sadness into a a while, there is an out -and -out error Fischer -Dieskau is tremendous. Here "Deli, non parlare al misero" that goes -the embarrassing "no's" during the there is not a hint of calculation, of at this clip? Or any tenderness into "Vendetta" duet, or the inflection of a color or dynamic contrast for its own this quickstep "Veglia, o donna "? And line like "A to the importa" (to Gilda sake. He is in the role every step of what are we to say of a conclusion to when she asks his name) as if he were the way, and everything proceeds from the second scene that sounds like back- about to beat her up. But most of the that. There are places, of course, where ground music for The Great Train time, there is simply the error of omis- one would expect him to do well -the Robbery? sion, of blandness sheathed in lovely sarcastic bantering of his opening lines, But Solti's tempos per se are not the sound. Incidentally, he goes through the end of the for instance, or the imitation of Monte - real difficulty; indeed, some listeners usual histrionics at the direction rone a few pages later -and in these may like the chosen speeds. The thing second scene, despite Verdi's he comes up fully to expectations. that does natter about this performance that he "vorrebbe gridare . . . no pug" But it is in the great challenges of the is its emotional blandness, its lack of (wishes to cry out, but cannot). There, part that he triumphs unexpectedly, so involvement, its failure to present a perhaps, is a clue: fidelity to the mu- that one quite forgets the fact that his drama. There is an air of literalness, sical text but not to the stated dramatic voice is by no means the sort of rolling, of hyperrationality about the proceed- intent. juicy baritone one generally wants for the ings- rather as though the personnel Moffo sings in a limpid, relaxed way role. The "Pari siamo!," the two long involved had assumed that if only the that is most attractive. There is little scenes with Gilda, nearly all the last act markings could be calibrated and trans- bite or urgency but an undeniable quality home" -for these he not only summons a tone lated into sound, everything would add in the lyric passages. The "Caro of surprising power and roundness but a up all right at the end. The sound of is as pretty, pure, sweet, and poised as total understanding of the long. simple Sparafucile's sword being drawn and then you will ever hear it. As for Kraus, he veder" and Verdian line, of a sort never required in sheathed is carefully inserted at the is superb in the "Parmi Schubert or Mozart. It is true that the opening of the second scene, presumably "Possente amor," and at least competent open, dry sound of his upper register for dramatic effect. But dramatic ef- elsewhere. His grace and facility on operates against him (for me, it cripples fect depends, of course, on how convinc- top are charming and exciting, but some-

76 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com times his energy or concentration seems to slack off, and he makes nothing special of the character. Rosalind Elias is quite a good Maddalena, with everything strongly outlined, and Ezio Flagello a rich -voiced Sparafucile who is, however, not especially unctuous or sinister. RCA deserves a cheer for the fine casting in the small parts: Piero de Palma as Borsa, Anna di Stasio as Giovanna, Robert Kerns as Marullo- all extremely good. David Ward, sur- by Harris Goldsmith prisingly, is no more than an adequate Monterone, somewhat dry of voice and unidiomatic, but the gesture of casting Pierre the role with a major singer deserves Monteux appreciation. The choral and orchestral work could hardly be bettered, and the sound is basically very fine, considering that the uncut opera has been crowded onto two records. I did hear In Debussy, a Special Valedictory echo, though, of both the pre- and post - varieties. I ani delighted to see that the translation provided IT is STILL extraordinarily with this album is the difficult the ones presented here that the phono- same swinging effort employed for two to accept the fact that Pierre Monteux graph was invented. previous RCA is no longer in Victor recordings of our midst. Who can The Images are, along with the Etudes Rigoletto. Although the whole thing has really conceive of a season of music for Piano, representative been making without of Debussy's reset in a new type face and little the jolly rotund little most advanced musical thought. For typographical man who always this errors have been corrected, somehow resembled a reason, they are also the most widely there has been no civilian Santa Claus? tampering with the Of all the great misunderstood of his compositions. In greatest single musicians of our time line in all translated opera he was (along these works, "Impressionism" is largely -Sparafucile's "A voi with Artur Rubinstein) the presente un uom most traveled, supplemented (and often supplanted) by di spada [sword] apparently the least sta," rendered here as exhaustible. He a terse linearity of texture and a rhyth- "You see before you a man with a seemed to be everywhere: at Lewisohn mic complexity almost Stadium, bordering on spade." For thirteen years now, RCA's at Ravinia, at Robin Hood Dell. the Stravinskyan. Indeed, although libretto at Tanglewood, few readers have had this magnifi- on the podium of the savoring the delightful swagger of the cent stage Concertgebouw, in picture conjured up for them; Israel. He was. in present performance would realize it, it is good to know that Sparafucile's addition, associated with some of the the second section, Ibéria, most is a vir- garden tending continues unabated. sensational events in the history tual "conductor's trap," beset with of music, all and yet he remained the most sorts of technical and musical hazards. unsensational, the most unassuming, of Probably the biggest problem of all in the great VERDI: Rigoletto conductors. Unlike Toscanini, this work is the negotiation of the many he was demanding in a benign rather intricate tempo relationships, the shifts than a fierce way. He was surrounded Anna Moffo (s), Gilda; Tina Toscano by of meter, into a seemingly unified totality. no mystique as Furtwängler was, nor (s). A Page; Rosalind Elias (ms), Mad- Most leaders refuse to take chances with was his geniality publicized in a manner dalena; Anna di Stasio (ms), Giovanna; this music, but Monteux, on this record- comparable to Bruno Walter's. And Corinna Vozza (ms), Countess Ceprano; he ing, does. As a result, one hears a mellow Alfredo was far from cultivating an aura of evocation of Spanish atmosphere Kraus (t), The Duke; Piero de austerity, -con- Palma as Klemperer has necessarily veyed with humor and subtlety- instead (t), Borsa; Robert Merrill (b), had to Rigoletto; do. To the citizens on the of the usual ruthless obsession with Robert Kerns (b), Marullo; streets of the Ezio Flagello San Francisco, he was simply letter of the score. Monteux's command (bs), Sparafucile; David "Pierre." His accessibility Ward (bs), was fortunate of the music was so thorough that he Monterone; Mario Rinaudo indeed. for through (bs), Ceprano; Enzo it he was able to could permit his excellent players to Titta (bs), A pass on much of his profound Herald; Chorus and musical loosen up metrically without sacrificing Orchestra of RCA wisdom to a younger Italiana, generation of seri- good ensemble. The detail that he un- Georg Solti, cond. ous musicians. RCA VICTOR LM 7027. Two LP. covers verges on the supernatural, and $9.96. Monteux made many recordings, and yet the total effect of his reading is one there are a great many of them still of RCA VICTOR LSC 7027. Two SD. to be spontaneous joyfulness. Gigues too is $11.96. released (performances of Beethoven and smartly phrased. and beautifully "right" Brahms among them). Nevertheless, from the standpoint of tempo, while the present release from Philips Rondes Renata Scotto has a de printemps has the captivating (s). Gilda; Catarina Alda valedictory flavor all its own. On vernal (s), A Page this freshness which this venerable and Countess Ceprano; Fio- beautifully reproduced disc. renza Cossotto the Maitre but yet so youthful chef d'orchestre un- (ms), Maddalena; Mirella bequeaths to us his final, Fiorentini (ms), definitive failingly obtained. Giovanna: Carlo Ber - version of the great Debussy triptych gonzi Ten years ago, Le Martyre de Saint - (t). The Duke; Piero de Palma (t). Images pour orchestre (which Borsa; he had Se ba.stien was a much talked about but Dietrich Fischer -Dieskau (b). done in part. then later in Rigoletto; its entirety, rarely performed work. There was one Virgilio Carbonari (b), during his San Francisco Marti llo; era), and he LP recording of it by Victor Alessandro Ivo Vinco (bs), Sparafucile; gives us his first recording of the sane Lorenzo Testi (bs), Monterone; and the Oklahoma Symphony Orchestra Alfredo composer's incidental music to D'Annun- (for Allegro), Giacomolti (bs), Ceprano: Giuseppe and an ancient shellac zio's play Le Martyre de Saint -Sc bastien. set of the suite conducted Morresi (bs), A Herald; Chorus and Or- by Piero It is superfluous to belabor the connec- Coppola. Times have changed. chestra of Teatro alla Scala, Rafael tion In 1954 between Monteux and his illustrious the late Guido Cantelli recorded Kubelik, cond. countryman: his suffice it to say here that supreme performance of the DEUTSCHE GRAM MOP HON LPM 18931/ his relationship orchestral with Debussy (as with suite (which had been winning plaudits 33. Three LP. $17.94. any major composer front Brahms on- for him in concert) on an HMV disc DEUTSCHE GRAMMOPHON SLPM ward) was deep, personal. 138931/33. and thus his- (ALP 1228), unfortunately never issued Three SD. $17.94. torical. It is for performances such as in this country, and that album was DECEMBER 1964 77

www.americanradiohistory.com catalogue is the appearance there followed in quick succession by more ex- Cantate worthwhile material that is seldom tended editions by Ansermet (London), of recorded. The aria on the present disc Munch (RCA Victor), Inghelbrecht - in Schmieder a case in (Westminster /Ducretet- Thomson), and not listed -is is known to have written Ormandy (Columbia). Although only point. Bach cantata of which the text has the last -named of these versions survives a wedding although the music is lost. A in the catalogue to offer any competition survived Bach specialist, Friedrich Smend, to the new Philips recording, many dis- German in 1950 that two portions of cophiles have become conditioned to look discovered text would fit the music of two on the suite alone ( "frag- the disdainfully the Ascension Oratorio (Cantata ments symphoniques" as the composer arias in even better than does the text preferred to call it). But even these No. 11) which the music is wedded there. listeners, will, I suspect, be forced to to then, is what is thought to admit that Philips has given us a gen- Unschuld!, version of "Jesu, deine erous bonus to its release of the Images. be the original from Cantata No. 11. It Interpretatively, Monteux is much less Gnadenblicke" with drawing shades of or- ARNE: Songs to Shakespeare Plays is a convincing piece of reconstruction, concerned fresh and lovely with tone color from his musicians the aria sounding chestral away, Death; of two flutes and oboe than Cantelli was. Here the attention is Where the Bee Sucks; Come its accompaniment Song; Blow, Blow, Thou continuo). on clarity, and the chief focal point of The Cuckoo da caccia only (no no Ladies; a wedding cantata for is on making the work Winter Wind; Sigh more, No. 210 is fine this interpretation long and While the texture is a Under the Greenwood Tree; Tell me, soprano and orchestra, rather understandable. deal of tender, and the phrasing a mite Where is Fancy Bred ?; The Owl; Corne difficult but with a good shade blunt reveals a "square," everything remains pliant and unto these Yellow Sands; Dirge in "Cym- lyric writing. Miss Buckel Ariel; which here sounds supple. beline"; Behold your Faithful bright, silvery voice, and accurate, at The London Symphony's contribution Sweetest Bard; Solemn Dirge from a little light but steady middle and upper registers, is a superb testimonial to the level of "Romeo and Juliet." its best in the at the bottom and being proficiency to which that group rose un- lacking presence Alexander at the very top. It is der its lamented musical director. Mon - Maureen Forrester, contralto; a bit pinched but does not have as teux is reputed to have praised British Young, tenor; Vienna Academy Chamber pleasant singing as Magda all, for their quick Choir and Radio Orchestra, Brian Priest - much warmth and feeling musicians, above recording responsiveness and generally cultivated man, cond. Laszlo's in the old Westminster surfaces on this musical intelligence. The present disc cer- WESTMINSTER XWN 19075. LP. $4.98. of No. 210. But the there is a lifelike tainly justifies that enthusiasm. Techni- WESTMINSTER WST 17075. SD. disc are noiseless, in the sound, and the West- this is orchestra execution on a $5.98. resonance cally, the Aria. N.B. very high level, with excellence apparent minster does not offer in every instrumental division. Roger From every standpoint this is a delec- horn playing in Gigues table record. Although Arne's Shake- Lord's English Geist und (the record jacket bills him as an speare songs seek more to decorate the BACH: Cantatas: No. 35, usual capacity texts than to analyze them, this was Seele wird verwirret; No. 42, Am "Oboist " -probably his Sabbats in the LSO) is tart and to the point, merely the spirit of the time and the good Abend aber desselbigen the unnamed concertmaster plays his Doctor caught that spirit admirably. His and tunes are sturdy, simple, sometimes naïve Teresa Stich -Randall, soprano; Maureen solos with wonderful freshnesss Young, touch he and never less than lovely, and the way Forrester. contralto; Alexander freedom. (The Elman -esque Vienna Acad- in the third they are set forth by Miss Forrester and tenor; John Boyden, bass; brings to the short cadenza Vienna Radio Ibéria of the high points Mr. Young is a model of everything emy Chamber Choir; section of -one Hermann Scherchen, cond. also on Monteux's older San Francisco good singing of any kind of music (and Orchestra, WESTMINSTER XWN 19080. LP. $4.98. a moment of true words!) should be. Brian Priestman, who version -provides WST 17080. SD. delectation.) The translucent sonorities will be remembered for the fine musical WESTMINSTER these musicians project would be bene- settings he put together for The Hollow $4.98. ficial to just about any kind of music, Crown two seasons ago on Broadway is new to the domestic catalogues, but they have special relevance here: (and later on records), adds considerably No. 35 not mistaken, and No. 42 fills forget that a third of the to the total effect with the elegance and if I am one must not RCA Victor cut out an upon, or at least in- point of his arrangements and conducting. a hole left when Images is based and other cantatas folk music. The per- It should be pointed out that not album containing this spired by, English the Robert Shaw Chorale. formance at hand thus has double au- all the words in these songs are by performed by in Pur- The latter work. for the first Sunday thenticity: this Gigues is the creation of Shakespeare. In Arne's time (as Easter, is an unusually fine one, man who probably discussed every cell's) it was considered fair play to after a high quality sustained throughout a of his interpretation with the com- interpolate all sorts of extra entertain- its point an aria for alto and one for poser, and on this disc it is realized with ments into some of the plays, whatever sinfonia, a duet for soprano and tenor, and superb point by players who have the havoc might eventuate. Thus, for ex- bass, is actually a final chorale. The duet and the alto idiom in their collective bloodstream. ample, the Cymbeline dirge Sweetest aria are well sung. But the sinfonia, can be little question that this is a poem by William Collins. There honor performed in businesslike fashion, lacks the finest set of the Images now avail- Bard is an ode in Shakespeare's the notes but the controlled ecstasy it has in Shaw's able. by a poet unidentified in to be reading: Mr. Boyden's voice does not A memorable accomplishment for all bad enough in his sycophancy Dryden. A.R. have the metal required to peal out the concerned. "Jesus ist ein Schild der Seinen" and his bravura passages are a little shaky; the wonderful final orchestre: BACH: Aria: Unschuld! Kleinod and Scherchen, in DEBUSSY: Images pour chorale, has the chorus sing the second 2, No. reiner Seelen; Cantata No. 210, 0 No. 1, Gigues; No. Ibéria; line softer and slower than the first de Le Mar- holder Tag, erwünschte Zeit - 3, Rondes printemps; a puzzling procedure indeed. In short, tyre de Saint -Sébastien: Symphonic those who are fortunate enough to own Fragments Ursula Buckel, soprano; Deutsche Bach- solisten, Helmut Winschermann, cond. the RCA Victor version will not need to one. London Symphony Orchestra, Pierre CANTATE 641217. LP. $5.95. replace it with this und Seele is for alto, obbligato Monteux, cond. CANTATE 651217. SD. $6.95. Gei.st and orchestra. It is a very inter- PHILIPS PHM 500058. LP. $4.98. organ, esting work, which gives Maureen PHILIPS PHS 900058. SD. $5.98. One of the attractive aspects of the

HIGH FIDELITY MAGAZINE 78

www.americanradiohistory.com Only the notes that Verdi 'wrote -but all 9f them goletto

knew recordin complete on two

ROBERT MERRILL as Rigoletto "Parmi veder le lagrime" and "Caro his role as the Duke. ... ANNA MOFFO as G i l d a . . . nome" in the freshness of their cre- ALFREDO Georg Solti: musical director of the KRAUS as the Duke ation. Even the famous "Quartet" Royal Opera, of Mantua ... ROSALIND Covent Garden, and ELIAS ends with restraint, as Verdi in- renowned conductor of Verdi as Maddalena EZIO FLAG - tended, rather ... than with the four whose galvanic direction extracts a ELLO as Sparafucile ... GEORG participants trying to outsing one high degree SOLTI, Conductor. of drama and excite- another. ment from the score. Robert Merrill: "one of the great RCA Recorded Victor invites you to redis- in RCA Victor's Rome baritones "(New York Times) heard cover Verdi's dramatic Studios, this new performance masterpiece of here in the most important bari- in what is believed to be the shape Verdi's Rigoletto presents the tone role in Italian opera. he envisioned. A Dynagroove al- opera as the composer conceived Anna Moffo: lyric -coloratura of in- bum which it complete, and includes notes by - devoid of the ternational fame whose youth, Ernest Newman and libretto. latter -day florid cadenzas and beauty and voice quality make her other embellishments which completely believable as Gilda. merely vulgarize the music. Alfredo Kraus: a fast -rising tenor Here the listener can enjoy the star of the European operatic stage, original beauty of such familiar whose vitality and bel canto style CcH Victor melodies as "E it sol dell'anima," The most trusted name in make him an excellent choice for sound R.

Moffo, Merrill: a declaration of love Thr Rom(' ,Strlrliot (lrc sccrinrt RIGOLETTO MOFFO MERRILL KRAUS ELIAS FLAGELLO SOLTI

Solti: conductor Moffo, Kraus: " with conviction ...as Verdi intended" CIRCLE 82 ON READER -SERVICE CARD DECEMBER 1964 7')

www.americanradiohistory.com is done skill- attractive lyric line, but the outer move- Forrester a chance to shine, and shine instrument. Usually this Cantata ments are built for the most part out she does, brightly. The voice has a fully, but in the Chorale from small, scrappy fragments that do not warm quality and conveys considerable 79 the organ is not a very good sub- of ignite one another. feeling; it is steady and accurate, capable stitute for the chorus and the piece Schuman's Song of Orpheus, of spinning long, florid phrases effort- sounds like a movement from a concerto William less immediately appealing, is a lessly. The elaborate organ part -its for two horns; also, Jesu, Joy of Man's although generally stronger work in this regard. wanderings in the first aria seem to Desiring comes out as a solo for trumpet Attractively and ingeniously scored, depict the bewilderment mentioned in with accompaniment. All of the selections again somewhat old -fashioned in its re- the text -is well played by Herbert (they include two from Cantata 142, the morale of its soloist, it is Tachez. The orchestra is quite good, as which is not by Bach) are what is called gard for are on the whole one of the few important is the sound throughout this disc. N.B. in the pop music field "upbeat ": they joyful, or confident, or peaceful. The modern -day additions to the cellist's music is magnificent. It is very well repertory. More than that, it may well expres- BACH: Concertos for Harpsichord played and recorded. If you don't mind be the most fluent and genuinely has produced thus and Strings: No. 1, in D minor, S. Sheep may safely graze played by an sive work Schuman 1052; No. 2, in E, S. 1053 English horn instead of sung by a far. soprano, or the duet from Cantata 146 Both soloists are the men for whom were conceived, and both were George Malcolm, harpsichord; Stuttgart done by two trumpets instead of by a the scores -made in some re- Chamber Orchestra, Karl Münchinger, tenor and a bass, you may enjoy this wise choices. Machine the music may be, both cond. disc. N.B. spects though performances of utmost LONDON CM 9392. LP. $4.98. works receive and the collabora- LONDON CS 6392. SD. $5.98. belief and sympathy, BARBER: Concerto for Piano and tion of Szell is brilliantly efficient and Columbia's own The recording director of a Bach harpsi- Orchestra, O. 38 somewhat more besides. is a chord concerto is faced with an unusual tSchuman: A Song of Orpheus (Fan- machinery, at top efficiency, further A.R. challenge and opportunity. Most of the tasy for Cello and Orchestra) enhancement. time he has a larger string ensemble than Bach was accustomed to or probably John Browning, piano (in the Barber); had in mind. Even if he hasn't, the Leonard Rose, cello (in the Schuman); BEETHOVEN: Overtures harpsichord is easily overwhelmed by a Cleveland Orchestra, George Szell, cond. few lustily played modern violins. Shall COLUMBIA ML 6038. LP. $4.98. Leonore No. 1, in C, Op. 138; Leonore Leonore No. 3, the director attempt to achieve a faith- COLUMBIA MS 6638. SD. $5.98. No. 2, in C, Op. 72a; in E, Op. 72c. ful reflection of how such a group would in C, Op. 72b; Fidelio, sound in a modern concert hall? This Both these works were first heard in Orchestra, Otto Klemperer, is no doubt a natural desire, and many New York during the opening -week fes- Philharmonia directors succumb to it. To the ex- tivities at Lincoln Center, and this cir- cond. tent that they succeed the sound will cumstance gives them more than an acci- ANGEL 36209. LP. $4.98. SD. $5.98. be unbalanced, with the harpsichord dental resemblance. That was a week of ANGEL S 36209. buzzing away somewhere in the back- homage to the contemporary musical Beethoven's or- ground whenever it is not playing alone. establishment in all its well -oiled glory, In its clarification of work here has The alternative to this is to avoid "con- and the musical programming -new chestration, Klemperer's and depth. cert hall realism" and arrange the micro- works and old -was chosen accordingly. characteristic sophistication for once, his choice of phones so that both harpsichord and As organization music goes, these And happily, deviate too far from the orchestra can be clearly heard without pieces are both superior examples. There tempos does not still occasionally both- one or the other hogging the stage. is nothing inherently wrong with profes- customary. I am emphatic touches, The latter approach, unfortunately, sionalism when meaningfully applied, and ered by this conductor's seem to run counter to the fierce is seldom taken, and the present disc it is in both the present works. Samuel which Beethoven's essentially re- is not one of the exceptions. The per- Barber has written a big, splashy, old - exuberance of Certainly the opening of formances are excellent. The D minor fashioned concerto that must have tre- bellious style. Overture or the coda to Concerto in particular is played with mendous appeal to a young-hearted old - the Fidelio III should lunge at the listener a fine sense of its drama and of the fashioned virtuoso (which Browning is Leonore breathlessness; but here the sweep of its themes; the dialogues be- rapidly becoming). There are many with fiery is somewhat quelled by Klemp- tween first violins on one channel and reminders, all pleasant, of its musical effect rhetoric. Nevertheless, this seconds on another are especially ef- ancestors. All the work really lacks, erer's broad record. The stereo ver- fective in this stereo recording. But, and the lack is only relative to some is a distinguished the more vivid in sonics. de- except in the slow movements, the harpsi- of Barber's other scores, is distinctive sion is far spite some annoying preëchoes. H.G. chord is frequently covered by the melodic substance. It settles too often strings. The same is true in the rela- for the gesture rather than the deed. tively unfamiliar but interesting E major The slow movement does develop an BEETHOVEN: Sextet for Winds, in Concerto. In both works Malcolm Two Oboes plays with spirit and impeccable tech- E flat, O. 71; Trio for in C, Op. 87 nique and receives good support from and English Horn, Münchinger. N.B. André Boutard and Henri Fruard, clarinets, Gérard Faisandier and André Dhell- Michel Berges and BACH: "Music of Jubilee" emmes, bassoons, Georges Barboteu, French horns (in the Robert Casier and André E. Power Biggs, organ; Columbia Cham- Sextet); oboes, Etienne Baudo, English ber Symphony, Zoltan Rozsnyai, cond. François, the Trio). COLUMBIA ML 6015. LP. $4.98. horn (in H 1025. LP. $2.50. COLUMBIA MS 6615. SD. $5.98. NONESUCH NONESUCH H 71025. SD. $2.50. The disc is subtitled "Bach Favorites an old cliché, never judge for Organ and Orchestra." In consists To paraphrase its opus number. Both of mostly of chorales and chorale fantasias a work by pieces are juvenilia dating from and other excerpts from cantatas. A few these Beethoven's early period; and to further of these are played as written, but in confuse the issue, the so- called "Op. most cases the chorus is replaced by 87" predates the "Op. 71" by two years. the organ, or a vocal line by an orchestral John Browning, with Szell, Barber

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www.americanradiohistory.com They have the widest While not the most interesting specimens superb aplomb. any of the four groups the genre, both the Sextet and the dynamic range of of rollicking finale abound in the awesome pyrotechnics -which makes the Trio well. And though which Beethoven loved to hurl at poor come off especially are generally noted wind players Indeed, the last two move- American musicians astuteness, both ments of the Trio are almost unbelievable for their musicological teams persist in the in that respect: even the nonperformer of the American of playing an appog- will sense the brilliance required of the outmoded practice note. before the executants here. giatura like a grace movement. Not so the The present edition swells the list beat, in the third recordings of the Sextet Parisians and Viennese. The Philadel- of available display Of these. that by the Phila- phians and New Yorkers also to four. by Woodwind Quintet is a garish characteristic American impatience delphia exposition arrangement of the score for conven- omitting the first -movement European teams find tional quintet (i.e.. flute, oboe, clarinet, repeat, which both and French horn) with all of time for. bassoon, Sonore the drastic revamping of parts that There used to be an Anthologie in which all three Sonya Monosoff: Biber specialist. would imply. Beautifully as the first - recording of the Trio, Pierlot. Only the desk Philadelphia musicians play from a parts were played by disc by a presence, but also considerably more technical standpoint, I find their smoothly played Westminster to end -of -side distortion in the Beethoven, chromium- plated style objectionable, and group of Viennese artists remains newest entry, which I again than its monophonic equivalent. H.G. I take drastic exception to the tinsely, challenge the flute -laden balance of the redistributed prefer. H.G. sonority. Westminster's version by the BIBER: Sonatas for Violin and Con- Vienna Philharmonic Wind Group is also tinuo (1681) out of the running so far as I'm con- BEETHOVEN: Trio for Piano and cerned, because of these players' ex- Strings, No. 1, in E flat, Op. 1, Sonya Monosoff, violin; Melville Smith, cessive refinement and preciosity. Fur- No. 1 harpsichord; Janos Scholz, viola da thermore. I dislike the typically Vien- 1- Haydn: Divertimento for Cello and gamba. nese legato, which in my opinion makes Orchestra, in D CAMBRIDGE CRM 812.'13. Two LP. for extreme blandness. Choice, then, t Rózsa: Tenia con Variazoni for Vio- $9.96. rests between the Counterpoint disc by lin, Cello, and Orchestra CAMBRIDGE CRS 1812/13. Two SD. the New York Ensemble led by Samuel $11.96. Baron and the new Nonesuch entry, re- Jascha Heifetz, violin: Gregor Piatigor- corded by Club Français du Disque in sky, cello; Jacob Lateiner, piano (in the Until very recently, the once celebrated Europe. Beethoven); Chamber Orchestra (in the Heinrich Biber (1644 -1704) was for My preference is for the Parisian Haydn and Rózsa). most of its merely a name in the refer- players. They do not quite have the re- RCA VICTOR LM 2770. LP. $4.98. ence books. Now. Schwann lists several finement of the American team, but they RCA VICTOR LSC 2770. SD. $5.98. recordings under his name, including a enter into the devil -may -care humor with collection of fifteen sonatas in editions An appropriate terse performing style from both Vox (reviewed in October) gives a feeling of adventurousness and and the Cambridge players represented biting energy to the E flat Trio, defi- in this new set of eight pieces. NEXT MONTH IN nitely in keeping with this early Bee- Each of the works here has a different thoven score. Whatever reservations I formal pattern, showing Biber to have have about the reading are restricted to been a composer of some imagination the slow movement. which is more and a violinist with a technique extreme- high fidelity andante con nioto than the specified ly advanced for his time. Published be- adagio -and not without some question- fore Corelli's Op. I, they demand even "A Mixture of Instinct able swooping in Heifetz's ph: asing. Aside from modern players very nimble fingers I prefer this interpretation to bow arm. Each And Intellect" from that. and a very flexible the excellent but rather too sober Isto- sonata contains an improvisatory section which Shop talk- between conductor min /Fuchs /Casals (Columbia). or two, and one or sometimes two sets more "correct" but is among George Szell and may perhaps be of variations on a ground bass, decidedly less spirited. The fiery As in her earlier Biber critic Paul Henry Lang. also other movements. tempos and wide dynamic contrasts em- album, Miss Monosoff shows herself ployed in the RCA Victor performance fully equal to all the demands. technical Masters, Matrices, are completely apropos. and musical. made by this music. She And Mass Production The Haydn Divertimento was originally tosses off the improvisatory sections with written for the baryton -an ancient in- temperament and bravura, and manages The step -by -step story of strument in the viola da gamba family - the multiple stopping with good intona- record manufacture. and has been arranged for cello by tion and almost no scratching. In Sonata Piatigorsky himself, with a reconstituted VIII. the violin part of which is printed by Shirley Fleming orchestration by Ingolf Dahl. It's a on two staves, she conveys fully the ef- charming composition, and is here perfect of a duet for one violin cleverly Stereo Cartridges - formed with charm -and with consid- planned by the composer. The sound is A Status Report erably less than letter -perfect intonation. first -rate in both mono and stereo. N.B. No matter: the piece still makes a de- by Albert Sterling lightful effect. Rózsa's work is the slow movement of BRAHMS: Concerto for Piano and The Cheerful Ghost a double concerto completed just this Orchestra, No. 1, in D minor, Op. of Eisenstadt year. The composer works tastefully in 15 an idiom akin to that of Quincy Porter. If you record Haydn in a plus occasional overtones of Bloch and Van Cliburn. piano; Boston Symphony -century church, sundry Hungarianisms. Pleasant enough. Orchestra. Erich Leinsdorf, cond. thirteenth $4.98. expect the unexpected. certainly, and highly effective in its vir- RCA VICTOR LM 2724. LP. tuoso color. The performance is all one RCA VICTOR LSC 2724. SD. $5.98. by John T. McClure could desire. the The stereo version has slightly more Van Cliburn has only recently added

HIGH FIDELITY MAGAZINE 82

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CIRCLE 21 ON READER -SERVICE CARD Decl:mioLR 1964 83

www.americanradiohistory.com BRITTEN: Mutinées musicales; Soi- had one curious feature in common: the rées musicales pitch was abnormally high (a quarter - VV. -Respighi: Rossiniana tone up). Was this the result of tape -to- disc transfer or ltalianate zeal on the Vienna State Opera Orchestra, Robert part of the piano tuner? (That it was Zeller, cond. not my machine running fast I am posi- WESTMINSTER XWN 19073. LP. $4.98. tive. for the stroboscope checked out WESTMINSTER WST 17073. SD. perfectly.) H.G. $4.98.

The real composer honored in this set DEBUSSY: Images pour orchestre: is, of course, Gioacchino, whose work No. 1, Gigues; No. 2, Ibéria; No. is the source of the two sets of snippets 3, Rondes de printemps; Le from here and there culled and orches- Martyre de Saint -Sébastien: Sym- trated by Britten for ballets, and of phonic Fragments the more elaborated exegesis built by Respighi from a collection of songs and London Symphony Orchestra, Pierre piano works. And he is honored well. Monteux, cond. Britten's scoring is full of modern cheek and chic: Respighi dissects his For a feature review of this recording, fragile material thoroughly and recon- see page 77. Brahms D minor Concerto to his reper- structs it to fit his own rather tired toire. Indeed, it's rumored that the solo- chromaticism. And through all, the in- 8, in G, ist had not yet fully memorized the fectious melodic genius of Rossini DVORAK: Symphony No. work when the sessions for this record shines brightly. The performances under op. 88 were held. In purely pianistic terms. Cli- Zeller are lively and affectionate, and Wagner: Die Meistersinger: Prelude burn's credentials for this knotty opus Westminster's recording is positvely Royal Philharmonic Orchestra, Sir are impressive. His enormous hands can fiery. A.R. Thomas Beecham, cond. span a twelfth and reduce technical chal- ODEON ALP 2003. LP. $4.98. lenges to child's play (he is one of the few pianists who elect to play the more CHOPIN: Waltzes (14) Although a record company may. indeed, difficult double- octave alternatives in the provide comprehensive documentation of development of the first movement), and Artur Rubinstein. piano. the great performances of an age of great he can comfortably produce oceans of RCA VICTOR LM 2726. LP. $4.98. conductors, this is an incidental effect sonority from the keyboard. easily hold- RCA VICTOR LSC 2726. SD. $5.98. to its primary function, which is, of ing his own against the thickly scored course. to make money. The fate of orchestration. Leinsdorf's support is high- These performances of the Chopin historic recordings rests, therefore, not ly sympathetic, with surprising emotional Waltzes were recorded in Rome in a so much on their intrinsic musical value involvement for a leader who is custom- single session last year. They are quite as on their sales appeal. A record re- arily aloof and objective, and the orches- different from the pianist's earlier mono- viewer. in particular, is unhappily con- tral execution is beautiful. phonic recording, made in 1954. In al- scious of this fact; if his inability to But that, unfortunately, is about the most every respect. these Rome readings recommend a given historic disc con- most that can be said for this recording. are simpler and at the sanie time more tributes to its poor sales, the release of Cliburn's interpretative instincts here are sophisticated. Rubinstein no longer feels other, more interesting, material of the groping rather than searching. He seems the need to tease the middle section of same type may be discouraged. to miss the point of section after section. No. 1 as he used to, and instead of daz- These Beecham performances are a Who would ever suspect that the second zling the listener with brilliant, some- case in point. Drawn from broadcasts of subject of the first movement was full times brittle, fingerstrokes, he now be- the autumn of 1959, they are a valuable of canonical implications? The rapt ardor guiles with subtle and caressing nuance. addition to the discography of one of this of the slow movement (which Curzon What is lost in sheer physical abandon century's most influential musicians. realizes with such crystalline intensity) is more than compensated for by tonal But while they are characteristic of is loud, bland, insensitive. (Cliburn starts subtlety. I3eecham's skill in shaping a phrase and all of his crescendos far too soon). The Textually also, the new performances getting an orchestra to sing, they will all- important o.stinnto needed to impart show an improvement over the old. Now, not be numbered among the conductor's direction and animation to the finale is with the publication of the authentic G. great recordings. They are technically buried under a mush of sentimentality. Henle edition, it is possible to prune faulty in the familiar manner of broad- In short, this record does the copiously away all the rank editorial maltreatment cast by- products, suffering primarily gifted pianist a disservice. I am sorry to to which Chopin, perhaps more than any from audience intrusions and lack of see him recording important compositions other composer, has been subjected since intimacy in microphone placement. More- before he has fully digested them. his lifetime. Some of the restorations of over, Sir Thomas. in his last season Aside from a too close -up and clattery the original text, especially in Op. 69, but one, seems inclined occasionally to placement of the piano, the engineering Nos. 1 and 2, will be shocking at first. rush passages which in earlier years is excellent. It tends toward richness Ultimately, they are far more satisfying would have been accorded a more rather than brilliance (cf. London's sound to hear. But Rubinstein, be it noted, is spacious and relaxed treatment. for both its Curzon Szell and Katchen/ not an abject slave to the cult of Urtext. / Those whose primary interest is in Monteux editions). The orchestral strings In Valse No. 12 he combines the basic, benefit from RCA's procedure (the violas original text of the manuscript with and cellos reveal numerous details) more Julian Fontana's lengthier version -a pro- than the brass (trumpets are a bit reticent cedure that strikes me as altogether in- and unstimulating where they should telligent and satisfactory. I only wish blaze forth galvanically). The Curzon/ that Rubinstein had included some of the Szell and Fleisher / Szell editions remain additional waltzes in this collection: here supreme. H.G. he plays only the customary fourteen. The monophonic edition has basically good sound, with a bit of deterioration BRAHMS: Lieder: Two Songs with in loud passages. Stereophonically, the Viola; Mädchenlied; Des Liebsten piano tone emerges with more immedi- Schwur; Der Schmied; Stündchen acy and scintillating variety and there is -See Schumann: Lieder. less breakup in the fortes. Both pressings

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www.americanradiohistory.com the music would be wise to adhere to the 42 is topnotch Handel. extraordinarily Bruno Walter versions. both of them the expressive in its wonderful opening products of recording sessions and hence chorus and in the duet for soprano and marked by more beautiful sound (includ- tenor, light- footed in the beautifully ing stereo) and the finished quality that fitted counterpoint of the chorus "in is best achieved through retakes and the voice of praise," and brilliant in second thoughts. R.C.M. the final "Put thy trust in God," for tenor and choir. O Sing Unto the Lord is not so consistently impressive, but FAURE: Piano Music (complete) it too contains a fine duet and a brilliant chorus. Theme and Variations, Op. 73: Barca- Helen Boatwright's singing is as al- rolles (/3): Valse- Caprices (4): Pieces ways steady, dependable, and very musi- brèves, Op. 84 (on VBX 423 and SVBX cal. Charles Bressler does a great deal 5423). with limited equipment: he handles the "rage aria" in O Sing and the finale of Preludes, Op. 103: Nocturnes (13): Songs As Pants the Hurt with considerable Without Words, Op. 17: Mazurka. Op. bravura. The three -part chorus (tenors 32 (on VBX 424 and SVBX 5424). are not prescribed in these works) and the orchestra perform like competent Evelyne Crochet. piano. professionals, and the sound is excellent. Vox VBX 423/424. Six LP. $9.95 N.B. each three -disc set. Marga Höffgen: Martin's contralto. Vox SVBX 5423/24. Six SD. $9.95 each three -disc set. HAYDN: Divertimento for Cello and cious Ruslan and Ludmilla Overture and Orchestra, in D -See Beethoven: Jota Aragonesa (the latter derived from is a whose Trio for Piano and Strings, No. I, Evelyne Crochet young pianist the same Spanish folk dance which about in Paris and in E flat, Op. 1, No. 1. early training took place eighteen years later was to inspire the who went on to study with Edwin Fischer second section of Liszt's Rapsodie es- and Rudolf Serkin. She now lives in this pognole). The conductor's artistic stat- country. Remember her name, for from MARTIN: In Terra Pax ure is not enhanced, however, by his is a truly the evidence of these discs she bothering to play the tame piece of hack Miss is not Ursula Buckel, soprano; Marga Höffgen, remarkable artist. Crochet work known as the Valse fantaisie. a player: her tone is sharp, contralto; Ernst Hiifliger, tenor; Pierre massive The works here in Mussorgsky appear Mollet. baritone; Jakob Stiimpfli, bass; bright, intense; her accentuation decidedly the usual arrangements by Rimsky- mercurial. Her performances here com- Union Chorale and Choeur des Darnes de Korsakov. In Ansermet's hands A Night bine an exquisite feeling for coloristic Lausanne; Orchestre de la Suisse Ro- on Bald Mountain has lots of color, kaleidoscopic fingerwork. mande, Ernest Ansermet, cond. effects with though it would have sounded more dra- She commands a indeed, a LONDON 5847. LP. $4.98. formidable- matic and more eerie at a slightly faster seemingly infallible- virtuoso technique, LONDON 25847. SD. $5.98. tempo. and there is also plenty of atmos- yet she allows herself to be tempted never phere in the Khovanshchina excerpts. re- towards excessive speed. Rather she The combination of the conductor's Frank Martin composed this work in limpid under- lies on imagination and carefully prepared performances and Lon- 1944. on a commission from Radio statement to make her effects. It all don's engineering produces clean, trans- Geneva, in anticipation of the end of The works perfectly for Fauré. piquant parent, well -distributed sound. P.A. the war. The text, derived from the humor of this composer's music could Bible and in many passages employing not be more delightfully conveyed. verses set by Handel in Messiah and by Miss Crochet performs far more imag- Brahms in Ein deutsches Requiem, is di- inatively than Grant Johannesen in his HANDEL: Chandos Anthems: IV. O vided into four parts, the first dealing As pioneering Golden Crest records of the Sing Unto the Lord; VI, Pants with war as a divine scourge. the sec- same music (the solidly close -to sound the Hart ond with deliverance from war, the helps to make his readings sound more third with Christ as a teacher of peace, Helen Boatwright, soprano; Charles masculine and grandiose, of course). and the last with the promise of a new Held, bass; In- Moreover, her integral set boasts con- Bressler, tenor; Jerrold order on earth. In setting all this, Mar- Musicum of sistently excellent reproduction and the strumentalists; Collegium tin produced some of the grandest, most virtue of presenting the Nocturnes, Bar- Rutgers University, Alfred Mann, cond. majestic and moving religious music carolles, and Valse- Caprices assembled CANTATE 645201. LP. $5.95. since Berlioz. numerically rather than scattered about CANTATE 655201. SD. $6.95. Like his great predecessor, Martin at- in haphazard fashion. 1 am still aston- tains his impressive ends through an ished by the ravishing excellence of This is the first issue of an interesting indissoluble mixture of harmony, tone Miss Crochet's work on these discs and combination -the recording in this color. and tonal spacing. His harmony could hardly conceive of these interpre- country by American artists of works to is highly original and draws on the tations being bettered. H.G. be released and distributed by a German entire spectrum, from folk song to company. Cantate has been favorably Schoenberg. His mastery of the or- known for its recordings of German chestra and of voices as coloristic media GLINKA: Ruslan and Ludmilla: baroque music, done by carefully chosen is unsurpassed, and his spacing is as Overture; Valse fantaisie; Jota Ara - groups in a manner close to that in which magnificent as that of a Gothic cathe- gonesa the music was originally performed. and dral. The third section, emphasizing at f Mussorgsky: Night on Bald Moun- accompanied by notes written usually by first the agony and rejection of Christ tain; Khovanshchina: Prelude and experts in the subject. The present re- and then his mission of peace, is set as Dance of the Persian Slaves lease carries on this practice. Alfred a long contralto solo and is particularly Mann, who used to conduct the Cantate magnificent, thanks in no small part to Orchestre de la Suisse Romande. Ernest Singers, is an authority on Handel, Höffgen's superlative singing; but all the Ansermet, cond. among other things, and the perform- parts are beautifully sung and played, LONDON CM 9405. LP. $4.98. ances here -in the size of the forces in- and the recording engineers have taken LONDON CS 6405. SD. $5.98. volved, the instrumentation. and all other their roles accordingly. London provides respects -have the stamp of authenticity. the full text, in French and English, and Ansermet belies his eighty -odd years in As Punts the Hurt has the stamp of gen- that helps no end towards the under- these rousing accounts of Glinka's viva- ius. This setting of verses from Psalm standing of this great work. A.F.

86 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com MENOTTI: Arnahl and the Night either performance or recording. as the NICOLAI: Die lustigen Weiber von Visitors others. There is little sweep. and only Windsor (excerpts) a mild pathos. in the first movement bf Kurt Yaghjian (s), Arnahl; Martha King the D minor; the Romance begins at a Evelyn Lear (s), Mistress Ford; Kath- (ms), Mother; John McCollum (t), good pace but slows up thereafter; only arina Alder (s), Anne Page: Sieglinde Kaspar; Richard Cross (b), Melchior; the finale is entirely satisfying. The Wagner (ms), Mistress Page; Ernst Julian Patrick (b), The Page; Willis relatively unfamiliar K. 456 is, in its Häfliger (t), Fenton; Marcel Cordes Patterson (bs), Balthazar; NBC Opera fast movements, only 14 -karat gold. it (b), Ford and A Citizen: Franz Crass Chorus and Orchestra, Herbert Gross- seems to me, but gold nevertheless. In (bs), Sir John Falstaff; Bamberg Phil- man, cond. the magnificent Variations it assays 24 harmonic Chorus and Bamberg Sym- RCA VICTOR LM 2762. LP. $4.98. karats. Anda does it very nicely, on phony, Hans Löwlein, cond. RCA VICTOR LSC 2762. SD. $5.98. the whole, surpassing the only other DEUTSCHE GRAMMOPHON LPEM performance now in the catalogues, that 19421. LP. $5.98. It is rather late in the game to go nit- of Ingrid Hacbler in a Vox album. But DEUTSCHE GRAMMOPHON SLPEM picking into Arnahl -not because it has Anda is himself surpassed, in my opinion, 136421. SD. $5.98. been enshrined in the hearts of a large by the Casadesus -Szell version, unfor- so audience but because its faults are tunately no longer in the catalogue. A choice between this pleasant disc and clear. Musically, it is thin, superficial, The sound of the present DGG recording Angel's recent release (reviewed here and contrived, though never so tawdry is somewhat dry. N.B. in June 1964) is not easy. For me, I which as The Saint of Bleecker Street, think it is decided, though by a narrow it otherwise resembles. Heard with the margin. by the actual selection of mu- it be- visual attractions of television, MOZART: Six Sonatas for Flute and sic. This is almost identical. except so comes high art, which reflects not Harpsichord, K. 10 -15 that DGG gives us the whole long scene much on Menotti as on television. On between Falstaff and Ford and only a records it is agreeable but trivial. Jean -Pierre Rampal, flute; Robert Vey - snippet of the finale, whereas Angel from the The new performance, taken ron- Lacroix, harpsichord. includes a shorter version of the Fal- is adequate 1963 television production, EPIC LC 3888. LP. $4.98. staff /Ford interview and a longer one is ap- to the event. Kurt Yaghjian an EPIC BC 1288. SD. $5.98. of the finale. Since the tormenting of voice pealing Arnahl, although his Sir John inspires some of the finest quivers with approaching adolescence Flute sonatas by Mozart? Well, not ex- music in the score, while the opening Chet Allen's did on a little more than actly. When Mozart was nine years old section of the Ford /Falstaff scene is in the the previous Victor recording. Of his father published these works by the recitative of relatively low musical in- Cross is particularly others, Richard boy as sonatas for the harpsichord, terest, I think Angel has the better of and strong as Melchior. The orchestra "which may be played with the accom- the bargain. chorus under Grossman do their modest paniment of a violin or flute." The flute The two performances tend to com- duties well and the sound is clear and was clearly an afterthought. The ac- plement each other. DGG's women are full. And that is an improvement over companying part, as printed in the Col- much better. The lovely quality of Eve- A.R. television! lected Works, is obviously for a violin: lyn Lear's voice has already come to it contains occasional double stops and attention on previous recordings: here, sometimes goes below the lowest note she shows the high extension, the col- MONTEVERDI: Madrigals on the flute. In the original version the oratura facility, and the delicious sense harpsichord part is almost self -sufficient of fun needed to fill out the role of vio- Nuovo Madrigaletto Italiano, Emilio -though not entirely, because the Mistress Ford. She is obviously an art- Giani, dir. lin is sometimes given some telling ist of considerable imagination and per- NONESUCH H 1021. LP. $2.50 comments. sonality. head and shoulders above Ruth - NONESUCH H 71021. SD. $2.50. In the present edition, by the two per- Margret Pütz. Since Sieglinde Wagner formers, the flute helps himself to great too is a far firmer, more secure singer This disc contains three cycles: the gobs of thematic and melodic goodies than Angel's Gisela Litz, the whole Lamento d'Arianna and Lagrime d'aman- from the right -hand harpsichord part. grouping from the first act (the whole te al sepolcro dell'amata, both from Something is lost now and then. For scene between the two women, beginning Monteverdi's Sixth Book of madrigals, example, the "Menuetto en Carillon" with "Das ist wirklich doch zu keck" published in 1614, and Ecco Silvio, from of K. 14 had a point in the original, plus "Nun eilt herbei") goes far bet- the Fifth Book, of 1605. The ensemble where the harpsichord tinkles in its ter here. sings with the right sort of spirit and bell -like highest register, but the point On the other hand, Fritz Wunderlich good balance, but unfortunately there is is lost here, with the flute taking over is the more characteristic Fenton, ad- almost always someone -not always the the keyboard part. The music is aston- mirable though Häfliger is, and DGG's same person and sometimes more than ishing for an eight -year -old: the Minuet Katharina Alder cannot stand compari- one person -slightly out of tune. I thereof K. 13 has an interesting chromatic son with Angel's Edith Mathis as Anne: fore found listening to this record some- theme. there are traces of drama in the thus, the scene between the two lovers 15, finale thing of a trial, despite the clear and first movement of K. and the is distinctly better on the Angel disc. lifelike sound. N.B. of K. Il has an unusual structure. But Both Gottlob Frick and Franz Crass by and large these works are of interest have the right sort of voice for Sir mostly to specialists and historians. They John. Frick's experience and sense of N.B. MOZART: Concertos for Piano and are well played and recorded. character show, but Crass compensates Orchestra: No. 18, in B flat, K. somewhat with very warm, rich vocalism. 456; No. 20, in D minor, K. 466 Marcel Cordes is dramatically apposite, MUSSORGSKY: Night on Bald but vocally even less ingratiating than Géza Anda, piano; Camerata Academica Mountain; Khovanshchina: Prelude Angel's Ernst Gutstein; apparently the of the Salzburg Mozarteum, Géza Anda, and Dance of the Persian Slaves - German companies do not really consider cond. See Glinka: Ruslan and Ludmilla: this a "singing" part. Cordes is, though. DEUTSCHE GRAMMOPHON LPM 18917. Overture. extremely funny as the villager whom LP. $5.98. Falstaff drinks under the table in the DEUTSCHE GRAMMOPHON SLPM tavern scene. 138917. SD. $5.98. The chorus and orchestra are both good. Hans Löwlein has perhaps a trace This disc makes the fourth pair of Mo- more pep than Robert Heger, but the zart concertos that Anda has played and latter's reading has more warmth and conducted for DGG. It is not on quite mellowness -the "O siisser Mond" cho- as high a level, from the standpoint of rus, for instance, is more cushioned and

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www.americanradiohistory.com atmospheric under Heger. The sound is repertoire when each soloist was engaged sort of choral timbre. With its ékcellent excellent; texts and translations are pro- to play with the Boston Symphony sound, this seems to me the best of the vided. C.L.O. late in 1962. (The concurrent Cliburn- three versions of this work now avail- Leinsdorf Brahms No. 1 is similarly a able. N.B. freshly prepared rendition.) Friedman's PROKOFIEV: Concertos for Violin account of the Violin Concerto No. 1 - and and Orchestra: No. 1, in D, Op. 19; testifies to his professionalism SCHUMAN: A Song of Orpheus No. 2, in G minor, Op. 63 technical competence. The performance (Fantasy for Cello and Orchestra) - he gives is mechanically perfect and See Barber: Concerto for Piano and scrupulously correct. It is also rather violin; Philadelphia Orches- Orchestra, Op. 38. Isaac Stern, dogged and carefully gaited. The tempos tra, Eugene Ormandy, cond. are all just a shade too slow and the COLUMBIA ML 6035. LP. $4.98. phrasing is rather lumpish. In truth, COLUMBIA MS 6635. SD. $5.98. SCHUMANN: Lieder: Gedichte der the young artist sounds ill at ease with Königin Maria Stuart; Er ist's; this music. as if unable to relax and Marienwiirmchen: Friihlingsnacht; let it sing. Leinsdorf's analytical ac- PROKOFIEV: Concerto for Violin Der Sandmann; Widmung companiment and the phenomenally de- tBrahms: Lieder: Two Songs with and Orchestra, No. 1, in D, Op. 19; tailed recorded sound are the chief Concerto for Piano and Orchestra, Viola; Mädchenlied; Des Liebsten merits of this edition. Schwur; Der Schmied; Stündchen No. 5, in G, Op. 55 Hollander has far more luck with the difficult Piano Concerto No. 5. His is Helen Watts, mezzo; Cecil Aronowitz. Erick Friedman, violin (in the Violin a superbrilliant performance that gives viola (in the Brahms Two Songs); Geof- Concerto); Lorin Hollander, piano (in the not at all inappropriate impression frey Parsons, piano. the Piano Concerto); Boston Symphony of a pianist lunging at the keyboard OISEAU -LYRE OL 268. LP. $5.98. Orchestra, Erich Leinsdorf, cond. with an ice pick. The unyielding brit- OISEAU -LYRE SOL 268. SD. $5.98. RCA VICTOR LM 2732. LP. $4.98. tleness here is certainly more in keep- RCA VICTOR LSC 2732. SD. $5.98. ing with the tone of the work than was Samson François's romanticized account The outstanding taste and intelligence Miss previous During the 78 -rpm era, the two Pro - on an Angel release of a few months ago. distinguishing Watts's kofiev violin concertos were represented Nevertheless, I would still give pride recordings, mainly of baroque music, are in a pair of brilliant interpretations by of place to Richter's incomparably subtle also in evidence here, as she moves into Szigeti (in the First) and Heifetz (in reading of the piece for DGG. H.G. the area of romantic song. The material the Second). This listener would have is well chosen, especially the seldom liked to hear each artist's inimitable heard Schumann settings of haunting style applied to the other concerto as RESPIGHI: Rossiniana -See Britten: tragic words of Mary Stuart. Miss Watts well, but alas the wish has remained un- Matinées musicales; Soirées musi- is what I would call a cool singer. in the fulfilled to this day. Szigeti is now cales. noncolloquial sense: her voice has a in semiretirement and perhaps could no lovely, even timbre and it is used with longer muster sufficient technique to do restraint. Too much so, at times: one has the feeling that she is singing to justice to No. 2, but a Heifetz No. I ROZSA: Tema con Variazoni for Vio- is still within the realm of possibility. lin, Cello, and Orchestra -See Bee- herself, and her performances do not Each master did at least rerecord for thoven: Trio for Piano and Strings, completely come across to the listener. stereo his own Prokofiev concerto. No. 1, in E flat, Op. 1, No. 1. The work of pianist and violinist, while not the Szigeti's new No. 1, with Dorati and capable in itself, does alter the London Symphony, still awaits re- case. A.R. lease from Mercury; the Heifetz -Munch SCHUETZ: The Christmas Oratorio No. 2, incongruously coupled with the Mendelssohn, remains the exemplar for Edith Mathis, soprano; Georg Jelden. SIBELIUS: Symphony No. 5, in E that work (RCA Victor LM /LSC 2314). tenor; Claus Ocker, bass: Windsbach flat, Op. 82; Pohjola's Daughter, Isaac Stern was the first to include Boys' Choir; instrumentalists, Hans Op. 49 both works on a single disc. That fine Thamm, cond. pioneering effort has now been succeeded ANGEL 36211. LP. $4.98. Hallé Orchestra, Sir John Barbirolli, by a worthy stereo remake. Though ANGEL S 36211. SD. $5.98. cond. Stern has plenty of technique. he stresses VANGUARD EVERYMAN CLASSICS SRV the romantic lyricism of the writing (as The Historia von der Geburt Christi, or 137. LP. $1.98. opposed to the gaunt asceticism of Szigeti Christmas Story, as it is usually called VANGUARD EVERYMAN CLASSICS SRV or the sinuous diablerie of Heifetz). in English, is perhaps the most endear- 137SD. SD. $2.98. In general, his philosophy of violin ing of the oratorios by this seventeenth - playing is stylistically similar to that century master. The tale of the birth It is hard to realize in listening to these of David Oistrakh (whose excellent of Christ is told with a simplicity that noble, eloquent, beautifully proportioned readings of both concertos may be best conceals great art. The scenes are readings that their conductor is the same heard on two separate Angel discs). painted with only a few colors, but these Barbirolli whose performances of Sibe- Taking them as individual performances, are deployed so effectively that the sud- lius (and others) with the New York I think I slightly prefer Stern's earlier den appearance of a few viols, or Philharmonic were characterized as No. I, in which the soloist sounded trumpets, or trombones strikes the ear "brutal, soggy, and dull." Much time has more silken and which boasted a more with surprising richness. The whole passed since those days, and Sir John caustic and humorous accompaniment piece is chamber music, but it has the has put it to good use. The Fifth in his from Mitropoulos. In No. 2, however, same kind of direct appeal as those hands takes on a lyric breadth that may Ormandy easily surpasses Bernstein's un- beautifully colored and lovingly carved surprise some. Although the pacing of polished, if spirited, leadership on the wooden figures that were produced in the first movement in particular is on older record. As a totality, my preference Germany at about the same time to the slow side, this proves greatly to the goes to the newer coupling, but both depict the same scenes. advantage of the music. And the murky are excellent. Of the performers here, Jelden, the scoring of Po /tjola's Daughter has seldom Turning to the RCA Victor coupling, Evangelist, has an attractive voice, which been unraveled so successfully on rec- one seems to detect a new policy of re- he inflects intelligently. He sings with a ords. The orchestral playing is elegant, cording "hot off the griddle" interpre- pleasing unpretentiousness and lack of and the sound is rich and full -bodied. tations. The annotations for the pres- solemnity. Miss Mathis performs her To these merits must be added a bar- ent disc state that neither Friedman numbers well, and the boys' choir, prop- gain price, making the disc wholly irre- nor Hollander had these works in his erly balanced, provides just the right sistible. A.R.

90 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com STRAUSS: JOHANN II: Die Fleder- ter, but the characters disappear, which VERDI: Requiem Mass maus does. Orlofsky isn't even bored. Frosch is cut entirely ( admittedly, he is often Elisabeth Schwarzkopf, soprano; Christa Adele Leigh (s), Rosalinda; Anneliese a tiresome jackanape, but Kunz makes Ludwig, mezzo; Nicolai Gedda, tenor; Rothenberger (s), Adele: Risë Stevens him hilarious on other recordings). And Nicolai Ghiaurov, bass; Philharmonia (ms), Orlofsky; Sándor Kónya (t), Al- why cut this but retain Frank's solo Chorus and Orchestra, Carlo Maria fred; Erich Majkut (t), Blind; Eberhard melodrama in Act III? Giulini, cond. Wächter (b), Eisenstein: George London The excerpts disc. sung in English. is ANGEL 3649. Two LP. $9.96. (b), Dr. Falke; Erich Kunz (b), Frank; not badly done, but it is compromised ANGEL S 3649. Two SD. $11.96. Chorus and Orchestra of the Vienna at the start by an unworkable trans- State Opera, Oscar Danon, cond. lation of transcendent vulgarity and un- This set is a very fine achievement. It RCA VICTOR LM 7029. Two LP. musicality. It is evidently newer than has already been termed the best of $ 9.96. both the Martin and the Dietz versions, all recorded Manzoni Requiems by sev- RCA VICTOR LSC 7029. Two SD. and far worse. According to the libretto eral of my English colleagues, and I am $11.96. provided, Mel Mandel and Norman not prepared to call them wrong, though Sachs are the culpable parties. Into the there are other versions 1 hold in high arena with them. regard. Anna Moffo sings very warmly and The thing that is so impressive about STRAUSS, JOHANN II: Die Fleder- this interpretation is its unfailing maus (excerpts) prettily, if without any extra excitement mu- or blandishment. Jeanette Scovotti is ex- sicality, its determination to get through to both the letter and the spirit of every Anna Moffo (s), Rosalinda; Jeanette cellent, and so is John Hauxvell, who seems to have a voice of some roundness bar of the score. This we owe to Giulini's Scovotti (s), Adele: Risë Stevens (ms), superb sense of shape and balance; to Orlofsky; Sergio Franchi (t), Alfred: and richness. While Sergio Franchi is quite funny as Alfred, vocally he just the fact that these forces "prepared" Richard Lewis (t), Eisenstein; George the recording in a series of public per- London (b), Dr. Falke; John Hauxvell passes muster, and Richard Lewis, though happily a tenor, unfortunately sounds formances; and to the excellent taste of (10, Frank; Chorus and Orchestra of the all four soloists. One example of what Vienna State Opera, Oscar Danon, cond. dry and closed. London and Stevens are very the sanie as on the complete I mean by "musicality" should suffice. RCA VICTOR LM 2728. LP. $4.98. much London's It occurs on Page 9 of the Schirmer vo- RCA VICTOR LSC 2728. SD. $5.98. edition, and Mr. keys are again different from those of Mr. cal score. This is the point where the Strauss. chorus' final "luceat eis" turns us from Two more flittermice at hand -but I'm The recorded sound of both albums is the opening Requiem aeternam into afraid this increase in quantity is about all right but not by any means up to the Kyrie. The tenor's entry is marked the only gain these two releases register. Victor's best Dynagroove standard. animando un poco, which is precisely Signs of life amid the wreckage of the C.L.O. what we get. The bass's statement of "complete" German -language edition: the theme follows, and then the so- conductor Danon has the feel of the prano's, which maintains the tempo and music, and gives a schmaltzy reading with the legato until the very last line on considerable swing. He does not always TCHAIKOVSKY: Swan Lake, Op. 20 the page, where the turn on "eleison" get perfect execution -surprisingly, the (excerpts); The Sleeping Beauty, is marked "largo pesante," an instruc- Staatsoper chorus is sloppy more than Op. 66 (excerpts); The Nutcracker, tion that is almost never really carried once -but the intention of everything is Op. 71 (excerpts) through- hearing it as written in fact, oc- obviously right. The real trouble is that casions a small but definite surprise. musical considerations seem to have Philadelphia Orchestra, Eugene Orman- What is remarkable here is not the come last. Since Eberhard Wächter isn't dy, cond. observance of the markings per se, a tenor, large his music are which by group hunks of COLUMBIA M3L 306. Three LP. could be achieved any rewritten; since Erich Kunz can't cope $14.98. of industrious note readers, but their with Frank's rather high tessitura. his observance in a perfectly natural way, COLUMBIA M3S 706. Three SD. lines are ideas also altered; as George London $17.98. as if the conductor's interpretative is too bassish a baritone for Falke, his coincided, fortuitously, with those of the music is transposed; Risë Stevens' composer at every turn. What emerges " Chacun a son gnat" is down a minor Those who wish a fairly rapid survey of is a reading of such beautiful propor- third. All these compromises naturally Tchaikovsky's three great ballet scores tion, such an easy sense of "the way alter the character of the music. in no will find it in this set. The only trouble it ought to go," as to make most others case for the better, and there is one ab- is that sometimes it isn't rapid enough. seem forced and artificial by compari- solutely horrifying moment. just after In other words, Ormandy, seeking clarity son. Every section moves into its place, London's transposed Act H solo. where of inner detail and opulence of or- each with its own mood and color intact. everything is blithely switched back into chestral sound, both of which he achieves Not a page falls short, but I must men- the original key of F -one of the most admirably, sometimes loses sight of the tion especially the reverent fragrance of hair -raising nonmodulations I've ever fact that this is essentially music to the Requiem aeternam, both at the open- heard. be danced to. The result is an occasional ing and in its return near the end, and So far as individual performances go, sluggishness of tempo or lack of balletic the lightness -in the sense of weightless- there is a very charming Adele by Anne - buoyancy. This is most noticeable in ness and in the sense of luminosity - liese Rothenberger, and intermittent ef- the excerpts from The Nutcracker which, that invests the Sanctus. fectiveness from Wächter, though he incidentally, constitute the only new The other noteworthy quality of the seems to consider exaggerated inflec- part of this release -the Saran Lake and reading as a whole is one of devotion. tion a substitute for the notes at too Sleeping Beauty discs were issued a couple I say this as one who is fond of an many points. London sings suavely of years ago. Balletomanes may also ob- extroverted, operatic approach to the enough, as well he might in these keys, ject to a bit of juggling in the musical score, and suspicious of a "reverent" and Adele Leigh is a pleasant, smooth - sequence in The Sleeping Beauty and The one, which usually strikes me in roughly voiced Rosalinda, well inside the idiom Nutcracker. No one, however, can do the sanie light as Victorian attempts at but not really competitive with Elisabeth anything but revel in the beauty of the making a Sunday- school lesson of La Schwarzkopf or Hilde Gueden. Sándor orchestral playing and the richness and dirina concedio. Happily, this reading Kónya sounds strained and thin above fidelity of its reproduction. achieves a spirit of devotion without a the staff, and Miss Stevens is simply Actually, those who love this music sacrifice of the apocalyptic excitement past being able to give us even a mini- -and it is surely among the finest ballet inherent in the text; it makes the point mally satisfactory Orlofsky. music ever created and among the best usually missed by both the theatrical and One more quibble: the dialogue has of Tchaikovsky's compositions -would the churchlike approaches, which is that been cut so drastically that not only is do well to acquire these three works in the very act of presenting a Requiem is the plot submerged, which doesn't mat- their entirety. P.A. devotional, while at the same time the

92 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com content of the work may be- should be ioned, operatic sense of the term. Here curate intonation, and Little sees to it -charged with high drama. Here there is a rolling, open, fat basso cantunte of that the inner voices are heard in proper is never a hint of self -service. of display extraordinary beauty and power, pro- perspective. Excellent sound. N.B. or calculated emotive effect, and the duced with ease on the .basis of a mag- final result is correspondingly more nificently sustained legato line. He makes powerful and moving. light work of phrases above the staff, VIVALDI: Concertos for Various In- Execution on the part of the chorus yet does not sound, as do so many struments and orchestra is stunning and, again, good contemporary bassos, like a slightly seemingly effortless. Other readings opt shiftless baritone -low A flat is not For Two Mandolins, Strings, and Organ, for glossiness, richness, showiness of sing- the end of the world for him. I can think in G: for Flute, Bassoon, Strings, and ing and playing; this one makes all of no greater praise than to say that Harpsichord, in G minor ("La Notte''): the points without reaching, without between Ghiaurov and Pinza, it's close for Bassoon, Strings, and Harpsichord grinding any axes. to a toss -up. in G minor; for Strings and Harpsichord, This brings us to discussion of the In sum, a performance to cherish. in A: for Violin, Two String Choirs, and soloists, a matter in which personal taste Others are more exciting in the dra- Tno Harpsichords, in C. becomes particularly operative. From matic sections- Toscanini's, Reiner's per- the standpoint of sheer vocal sump- haps, and Markevitch's, though the last I Solisti di Zagreb, Antonio Janigro, tuousness, it is hard to argue with the is betrayed by poor soloists-and others cond. old Serafin line -up of Caniglia, Stignani, possess more glamorous solo quartets. VANGUARD BG 70665. LP. $4.98. Gigli, and Pinza; and the Reiner group- Yet in the Giulini version we have a VANGUARD BGS 70665. SD. $5.98. ing of Price, Elias, Bjoerling, and Tozzi reading that is dramatic without being certainly makes its points, too. Indeed, falsely theatrical, reverent without being For Piccolo and Orchestra, in A minor; one can't overlook the Toscanini quar- churchy, musicianly without being pe- for Piccolo und Orchestra, in C; for tet-Nelli, Barbieri, Di Stefano, and dantic, well sung and played without Violin and Orchestra, in A minor; for Siepi, all in good form. Where the cur- being self -indulgent, beautifully recorded Ttro Violins und Orchestra, in D minor; rent group shines with an unchallenged without being tiresomely stereophonic. for Three Violins and Orchestra, in F. brilliance is in the ensembles. There What more can one ask? C.L.O. is no doubt that in the Ingemisco and in Chamber Orchestra of the Saar, Karl the vaulting line of the first "Kyrie Ristenpart, cond. eleison," one could wish for a more VERDI: Rigoletto NONESUCH H 1022. LP. $2.50. juicy, ringing tenor than Nicolai Gedda's. NONESUCH H 71022. SD. $2.50. But one will look in vain for a tenor Anna Moffo, Alfredo Kraus. Robert Merrill, et al.; Georg Solti, cond. who contributes as well to the Quid stun The Vanguard album is one of the most miser trio, to the Pie Jesu, to the Hostias, diverting Vivaldi collections one could Renata Scotto, Carlo Bergonzi, Diet- which is stated with lovely tone, superb wish: four of the five concertos are quite rich Fischer -Dieskau, et al.; Rafael control of dynamics, and finally a fine out of the ordinary, and three of those Kubelik, cond. trill. Similarly, one can find lusher ver- four (whether by Vanguard's design or sions of the Liber scriptus than Christa no) reveal Vivaldi in an unusually For a feature review including these re- Ludwigs- throughout the opening sec- dramatic frame of mind. La Notte is cordings, see page 75. tions she is somewhat tremulous and a highly rhetorical, completely un- forced -soundnig, as if trying to be a predictable essay on sleep, beginning heavier, more Italianate sort of mezzo with a portentous slow introduction and iMissa than she in fact is. But by the time she VICTORIA: Alma redemptoris; then unleashing the whirlwind. (There is Nine Motets has arrived at the Quid sum miser. she to my ear a rather Telemann /Don has settled into some firm, well -con- Quixote-ish cast to the threats suggested.) Montreal Bach Choir, George Little, dir. trolled singing, and her renditions of The C major work for violin and two Vox PL 1090. LP. $4.98. the Recordare and the Agnus Dei are string choirs begins operatically but then Vox STPL 501090. SD. $4.98. extremely fine. relents to allow the violin to revel in a About Elisabeth Schwarzkopf there free -flowing, richly ornamented solo part. Victoria is best known for his dark and may also be some reservation. She has The bassoon. in the G minor Concerto, moving motets and other short sacred a very individual way of inflecting the sounds somewhat apologetic at the top works. Less familiar are his Masses. The text; when she enters with her "Salva of its opening scale passages. but proves present is a late work. for two me" in the Rex tremenda, one almost one fairly acrobatic in succeeding events: four -part choruses. The choirs are feels as if she were submitting a per- the mandolins -in their showcase (one of usually rather closely woven together, sonal request. At one or two points, this the nonoperatic ones) -are as trim and but the fact that they are recorded on kind of inflection strikes me false -it precise as they come, and in fine form separate channels helps clarify the pro- seems a device, as it sometimes seems in during passages involving quick repartee ceedings. This is a rich composition, her Lieder singing. Vocally too, there are (which are very nicely caught in stereo). cheerful in mood and with some precarious moments, and there is surprisingly The Solisti are in their usual excellent the simple fact that Miss Schwarzkopf lovely sections. but it sticks so closely form. to F that one be- is not the open, warm, Aida -type so- major throughout While the Piccolo Concertos on the gins to yearn for a little key contrast. prano we might, ideally, hope for. Again, Nonesuch disc are neatly tongued, Among other pieces on the disc is a however, it must be said of this artist, dauntlessly fingered, and quite remark- 5itientes. venire ad aquas, that like the others here, that she performs motet, ably executed, they remain, for me, sounds more like a madrigal, and four with musicianship and selflessness in more curiosity pieces than anything else. very expressive responsories the many ensemble sections. contributes bleak but No matter how flashing the roulades for Holy Week. The chorus sings with some lovely solo moments -as on the (and there is no question of the soloist's flexibility, good tone, and generally ac- piano high B flat at the conclusion of virtuosity here ), the possibilities of vari- the final Requiem aeternam, and rises ation in tone are simply too limited for to the difficult Libera nie Domine in sustained listening. Vivaldi knew his in- spirited fashion. On the whole I much strument. of course (which was not the prefer her work here to that on the modern piccolo), and he makes his slow old Angel set under De Sabata; it seems movements quite short. And in the fast more relevant. ones, he does not spare his man! Nicolai Ghiaurov should please every- The most unusual of the Violin Con- one. He has the virtues of the other certos in this set is the two -violin work, soloists -taste, musicianly care, a sense which makes much in the first move- of give -and -take in ensemble -but he ment of a pealing -bells figure quite un- is also a great singer in the old -fash- like anything I've encountered; and the

94 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "Until just recently, I have been somewhat skeptical about low priced transistor amplifiers. However, after testing and listening to the Heath AA -22, I feel it is time to revise my opinion. This remarkable amplifier can easily hold its own against any amplifier - tube or transistor anywhere near its price range." JULIAN D. HIRSCH, Hi Fi/Stereo Review, Nov. '64

Heathkit® 40 -Watt Transistor Stereo Amplifier $9995! Mr. Hirsch Went On To Say: "It is the gloves. I operated it at full power for long "WILL GET ANY STATION THAT embodiment of the so- called `transistor sound' periods, and frequently overdrove it merci- CAN POSSIBLY BE PULLED IN" - clean, sharply defined and transparent. lessly, without damage to the transistors, and It has the unstrained effortless quality that with no change in its performance measure- is sometimes found in very powerful tube ments" "One of the best things about amplifiers, or in certain expensive transistor the Heath AA -22 is its price, $99.95 in kit amplifiers." "The AA -22 is almost unique form, complete with cabinet." among amplifiers at or near its price, since Let's Look Closer! The it delivers more than its rated power over the AA-22 provides 40 watts continuous, 66 watts IHF music power Matching AM /FM /FM Stereo Tuner entire range from 20 to 20,000 cps" . at ± 1 db from 15 "The power response curve of this amplifier to 30,000 cps. Features 5 The above quote comes from July '64 issue of stereo inputs to handle mag. is one oftheflattest I have ever measured" ... phono, stereo- Radio -Electronics. mono tuners, tape recorders, & 2 a "Its RIAA phono equalization was one of the auxiliary The matching AJ -33 tuner features built -in sources. There are 4, 8 stereo volume; most precise I have ever measured" ... "In- & 16 ohm speaker demodulator; AGC for steady outputs plus tape recorder AFC for drift -free reception; stereo indicator termodulation distortion was about 0.5% up outputs; a 5- position selector switch; 3 light; stereo phase control for maximum separ- to 10 watts, and only 1% at 38 watts per position mode switch; ation, minimum distortion; filtered stereo out- channel, with both channels driven" dual- tandem control; bass & treble ... "The controls. puts; tuning meter; flywheel tuning; voltage hum and noise of the amplifier were inaudible" regulated power supply; illuminated slide -rule ... "Hi Fi /Stereo Review's kit builder reports Get Full Details Free! Simply use coupon dial; and pre- built, prealigned FM "front - that the AA -22 kit was above average in "build - below. Or better yet, order both the AA -22 end-' tuner and AM -FM I.F. circuit board ability" .. "In testing the AA -22, 1 most Amplifier & its matching AJ -33 tuner now! for fast, easy assembly. appreciated not having to handle it with kid Kit AA -22, Amplifier, 23 lbs $99.95 Kit AJ -33A, Tuner. 17 lbs 599.95 r HEATH COMPANY, Dept. 8-12 -5 Benton Harbor, HEATHKIT 1965 Michigan 49023 FREE 1965 CATALOG! In Canada: Daystrom, Ltd., Cooksville, Ontario See these and over 250 other Enclosed is j plus shipping. Please send Kit(s) Please send exciting Heathkits available in Free 1965 Heathkit Catalog. .If* easy -to -build kit form. Save 50% or more by doing the easy as- Nome sembly yourself! Send for your (Please Print) _ free catalog today! Address

City State Zip Prices & specifications subject to change without notice. HF -179 L J CIRCLE 44 ON READER -SERVICE CARD DECEMBER 1964 95

www.americanradiohistory.com Concerto for Three Violins builds up Prayer. Mellish: Drink to Me Only with to some riiging sonorities. In neither Thine Eyes. Molloy: Love's Old Sweet case, however, is stereo separation of r Song. Douglass: Annie Laurie. Brahms: any consequence. though the works are Cradle Song. made for it. The fiddling is highly competent without being especially sensitive; Marian Anderson, contralto; Franz soloists and orchestra tend towards ro- Rupp, harpsichord; chamber orchestra, bust, extrovert.:d playing that is almost Robert Russell Bennett, cond. relentless in its drive -and rather ex- ccitals 3 RCA VICTOR LM 2769. LP. $4.98. hausting to listen to for any extended RCA VlctoR LSC 2769. SD. $5.98. period of time. S.F. As reported in this journal in October (see "Notes from Our Correspondents," WAGNER: Die Meistersinger: Prel- p. 51), RCA Victor is issuing this disc ude-See Dvoiák: Symphony No. as one of a projected series to com- 8, in G, O. 88. memorate the singer's farewell year of concertizing. At sixty -two Miss Anderson has achieved a position of well- earned ZELENKA: Sonatas for Two Oboes, ADVENT AND CHRISTMAS IN distinction, both as artist and human Bassoon, and Continuo: No. 4, in ANCIENT HALLE AND LEIPZIG being, and the present collection of songs G minor; ivo. 5, in F; No. 6, in will undoubtedly be welcomed by her C minor vast and affectionate audience. One is Zachow: Von Himmel kam der Engel aware, sadly, that much of the rich oboes; Schur. Machet die Tore weit. Ray Toubman and Wilfred Burkle, Knüpfer: luster of the Anderson voice is gone - John Miller, bassoon; Daniel Pinkham, Hickmann: O tenlpus unuUrun. Kuhnau: only occasionally do we hear those high, harpsichord; David Carroll, bassoon, and Wie schiirr leuchtet der Morgenstern. clear notes or deep chest tones that used Olivia ' Tubman, cello (continuo). to send shivers through us; but she CAMBRIDGE CRM 1814. LP. $4.98. Rotraud Pax. soprano; Elfriede Vorbrig, approaches these popular favorites with CAMBRIDGE CRS 1814. SD. $5.98. soprano; Ortrun Wenkel, contralto; her accustomed dignity, and her enunci- Johannes Hoefflin, tenor: Jakob Stiimpfli, ation, as always, is a model of clarity To the list of baroque composers (im- baritone; Boys' Choir of the Eppendorf that could well be emulated by many portant or otherwise) "discovered" by High School; North German Choral So- another singer. It should be noted too the record industry, the name of Johann ciety; Instrumental Ensemble of the that Robert Russell Bennett's arrange- Dismas Zelenka must now be added in Archive Production, Gottfried Wolters, ments of the accompaniments for string capital letters. He was of Bohemian birth cond. quartet, flute, oboe, recorders, and ( 1679), studied for a time in Venice DEUTSCHE GRAMMOPHON APM 14827. harpsichord are always tasteful. P.A. and Vienna, and came ultimately to LP. $5.98. Dresden as court composer to King DEUTSCHE GRAMMOPHON SAPM Friedrich August I. He died there in 14827. SD. $5.98. FEODOR CHALIAPIN: Recital 1745, after composing a large body of choral and instrumental music, which No amount of authenticity in the use Rachmaninoff: Aleko: The Moon is has never been published. of old instruments can turn third -rate High in the Sky. Rossini: II Barbiere di From the evidence of this record, music into first -rate, and it is sadden- Siviglia: La caltutnia. Gounod: Faust: the first of Zelenka's music to appear, ing to see the usually excellent Archive Le veau d'or; Vous qui faites l'endormie. he was a composer of decidedly superior series devoting itself to very minor Ger- Ibert: Don Quichotte: Chanson du Duc; talents. Certainly these sonatas (three man masters when there is so much Chanson du dc-part; Chanson d Dulcinée; of a set of six) are wholly remarkable magnificent music in other countries Mort de Don Quichotte. Mussorgsky: works. They show a breadth of harmonic waiting to be heard. The works by Songs and Dances of Death: Trepak. inventiveness that often resembles some Zachow, Knüpfer, and Kuhnau have lit- Song of the Flea. Anonymous: Song of of Bach's inspired chromaticism. They tle more than academic interest, and the Volga Boatmen: Down the Petersky. avoid almost completely the regular, their slim cause is not greatly helped by Rubinstein: Persian Love Song. Malash- square patterning that makes so much out -of -tune wind instruments playing kin: O Could I in Song Tell My Sorrow. instrumental music of the time today rather loudly. The soloists are fairly Glinka: Doubt. Gretchaninov: Twofold sound tedious. if Zelenka were exposed competent. and Jakob Stiimpfli outstand- Litany: Glory to Thee, O Lord. to much of the mechanized Italian music ingly so, but they alone cannot redeem of his day, his own work does not show a poor program. Feodor Chaliapin, bass; Choir of the that influence: it is strong, genuinely The one exception is Esaias Hick - Russian Metropolitan Church, Paris (in individual, and quite often exciting. mann's cantata O trmpus amatitin, a the Gretchaninov ); various accompan- The Fifth Sonata, for example, begins strophic composition dating from 1681. ists and orchestras. with an extraordinary effect, a unison when it was first performed at Christ- ANGEL COLH 141. LP. $5.98. statement of the theme that seems to mastide in a school in Grimma. Saxony. evolve its tonality only gradually out There is a natural flow of melody here Here is a representative selection from of chaos, and which deceives the listen- that contrasts strongly with the clichés Chaliapin's repertoire. a good com- er several times along the way before of the other three works. and the per- plement to the Russian opera disc al- settling down. This is imaginative writ- formers seem to have sensed this su- ready in Angel's "Great Recordings of ing of a high order and one can only periority'. for they sing and play bet- the Century" catalogue. All are late re- wonder at the impression it must have ter in this item than in any other one. cordings (the earliest from 1926, when made on contemporary audiences (though D.S. the basso was already fifty -three), and one might note that Dresden was ap- all electricals. parently a rather sophisticated city: Vi- There is no arguing with Chaliapin's valdi wrote some of his most inventive MARIAN ANDERSON: "Songs at art. One can either swallow it whole concertos for the court there). Eventide" or reject it. but there is no point in The set of sonatas recorded here has worrying about note values or enuncia- now been published by Biirenreiter, and Dvoiák: Songs My Mother Taught Me. tion or stylistic purity; such consider- one can only hope that it will lead to Trad.: Believe Me, If All 77rose Endear- ations would he practically blasphemous. further Zelenka research. Meanwhile, ing Young Charms: All Through the I swallow it whole. I love the sound we have these three works, in loving, Night: Condit' Thro' the Rye; Loch of the voice, rolling and virile. True, elegant. and stylish performances, to de- Lomond. Kjerulf: Last Night. Spilman: it sometimes isn't pretty, but who wants light the senses and whet the appetite. Flow Gently, Sweet Afton. Humper- singing that is pretty when one can A.R. dinck: Hansel rend Grete!: Evening have singing that is joyous, moving,

96 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com terrifying? I do not much care that he as well as lesser chants and responses by COLLEGIUM MUSICUM: "Music in sings "que la bague goo -goo -goo -goo Gibbons and others, is only amateurishly Medieval and Renaissance Life" doigt" in Mephisto s Serenade, because sung (and quite unintelligibly enunci- both here and in his wonderful "Le veau ated) to nondescript organ accompani- Collet-441m Musicum of the University of d'or" he brings a theatrical figure to life ments. And on the "B" side, apart from Missouri. Andrew C. Minor, cond. in a manner challenged (from a very the Precentor's Prayers and a watered - UNIVERSITY OF MISSOURI PRESS different direction) only by Marcel down hymn adaptation from Purcell, an UMPR 1001. LP. $4.95 ($8.50 with Journet. incongruous Victorianism at its worst score). I am sorry that neither the "La caluu- takes over in a pretentiously squally nia" here nor the Song of the Flea is Parry Anthem and a blaring perform- The issuing of records by university Chaliapin's best version of those se- ance of the Widor Organ Toccata in F as music departments is an interesting de- lections, but everything else in this set a voluntary. velopment and shows the great strides is top -drawer. The beautiful Aleko cava- The reverberant stereo recording is that have been made in recent years in tina, so well done by Nicolai Ghiaurov atmospherically effective but is tech- extending the repertory of students in on his London recital, is equally affect- nically flawed throughout by a pervad- our schools of music. The University of ing in Chaliapin's somewhat broader but ing built -in hum. In short, this release Illinois has issued some professional - equally sincere interpretation. All the includes little to please -and much to sounding recordings of Ockeghem and of Russian songs are magnificently done, repel- lovers of good music and good modern American composers, and now with the Malashkin rendered in that sound. R.D.D. comes Missouri to show us what it can astounding, absolutely unintelligible Eng- lish. And the Gretchaninov "Glory to Thee" preserves its justified position as one of Chaliapin's most famous recordings. If every church had a Chaliapin, there would be no atheists. The Ibert songs are from the score he composed for the Don Quichotte film which starred Chaliapin. The recordings date from 1933, when Chaliapin was sixty, and betray some slight signs of vocal wear; but they also bear the stamp of a great artist in his maturity. Here the French is quite good, the texts delivered with great dignity and integrity. The songs are subtle, well crafted and closely built on the words, but would be dull listening in the hands of a lesser singer. The final one, the Death of Don Quixote, shows Chaliapin at his full height, and ends with one of those long held high pianissimos which were MEETS A such a unique feature of his technical GREAT ARTIST equipment. The usual careful Angel preparation has gone into the processing and into the accompanying booklet, which includes informative and entertaining little essays by Harold Byrnes, Ivor New- ton, and Neville Cardus. C.L.O.

CHOIR OF WESTMINSTER AB- BEY: "Evensong of the Feast of the Translation of Saint Edward, King and Confessor"

Sir William McKie, organ; Choir of Westminster Abbey, Sir William McKie, cond. LONDON 5800. LP. $4.98. LONDON OS 25800. SD. $5.98. PHYLLIS CURTIN applauds the "Better, Clearer, More Natural Sound" of The Evensong Service itself, mainly confined to the "A" side of this disc, is a RTandberg MODEL 74B historically fascinating one. It was Ed- 3 SPEED /4 TRACK STEREO MUSIC SYSTEM ward the Confessor who founded -and was buried in-the original Westminster As a dedicated artist who strives for perfection at all times, Miss Abbey structure in 1065; the "transla- Curtin prefers her Tandberg for many reasons . . . its unfailing tion" was the removal of his body to the dependability; ease of operation; trouble -free use. But, she finds the shrine east of the High Altar when the true mark of Tandberg superiority in its unparalleled record /playback abbey was rebuilt by Henry ill in 1269. frequency response, the lack of wow and flutter, low tape tension Anglican (or Episcopalian) communi- and these fine features ... FM Multiplex filter, built -in speakers and cants, and indeed anyone who has ever amplifiers, precision laminated heads, asynchronous motor, "free ' visited Westminster Abbey, well may tape thread, 2 built -in cathode follower outputs . . . and many more prize the present realistic documenta- quality extras! Ask for a free demonstration. tion of this service as it is celebrated One Year Guarantee At Franchised Dealers Everywhere . . . $449.50 including today. The Lessons (and the Prayers carrying case overside) are most beautifully read; but .Tandberg of America, Inc., P. 0. Box 171, 8 Third Ave., Pelham, N. Y. unfortunately the fine music, including two sections from Byrd's Second Service CIRCLE 73 ON READER -SERVICE CARD DECEMBER 1964 97

www.americanradiohistory.com do. Well, it can do a highly creditable Ciascun' lo dice. Puccini: La Rondine: job. Che bel sogno di Doretta; Fanciulla, e The selection here ranges chronologi- sbocciato l'amore. Verdi: Emani: Ernani cally from about 1200 to 1614, in char- involami. Gounod: Faust: Le Roi de acter from drinking songs to polyphonic Tlnclé; Air de bijoux. Mozart: Die Zau- hymns and motets, and the performing berfliite: Ach, ich füll's. Verdi: I Vespri forces from one singer to a veritable siciliani: Merce, dilette amiche. Korn- orchestra. Some of the pieces have been gold: Die tote Stadt: Mariettas Lied. recorded several times -for example the thirteenth -century Estampie and Senfl's Dorothy Coulter, soprano; Rome Sym- Das Glüut zu Speyer -but others are new phony Orchestra, Dean Ryan, cond. to discs, so far as I know. The singers PHOENIX 434. LP. $4.98. stand up well against professional com- PHOENIX 435. SD. $5.98. petition and, except in the Estampie, and she invests the well -known Glinka the players are accurate and in tune. Dorothy Coulter is a young American piece with an unforgettable lyric power. The sound is quite good in all but one soprano who has created something of Her voice is light, compared to many piece, Jakob Hand l's six -part Hodie a stir both in musical comedy and in who have worked with this repertory. Christus natus est, which was recorded opera; her Musetta at the Metropolitan One forgets this after a while, however, during a concert and sounds blurred and and her Milly in Douglas Moore's Wings because she colors her tones with so a little distorted. Perhaps the most of the Dove at City Center have won much genuine imagination. Erik Werba's elaborate work is Annibale Padovano's her praise. Even without having seen collaboration is never less than admir- Battaglia, here played by an orchestra her in person, or having looked at her able. All that really need be said, thereof strings, woodwinds, and brass. It photograph on the cover of this record, fore, is this: beg, borrow, steal, or other- sounds fine, but the annotator is mis- you could tell from her voice that she wise acquire this wholly exceptional rec- taken in saying that this sort of com- is an extremely attractive woman. ord. You will wear it out in short order. bination plus voices was used in a six- Her voice has that quality, and also A.R. teenth- century performance at Munich. a quite charming girlishness that comes The contemporary report to which he re- out especially well in the Donizetti aria fers mentions only cornetts and trom- and the song from Korngold's Dead City. EARLY MUSIC IN ENGLAND, bones for this work. Unfortunately, at this soprano's present FLANDERS, GERMANY, AND Available along SPAIN with the record is a nicely printed vol- stage of development that is about all ume containing the music, annotations, that does come across. Most of her sing- Anon: Estampie; Samson dux fortissime; and full texts of the vocal pieces, with ing, especially in weightier material, is Te Deum; Mij quant eyn hope; Ich spring English translations. N.B. rather immature and uncertain. Certainly she was ill advised to try "Ernani in- an diem ringe; Rodrigo Martinez; Dale volami," where she deals with the notes si le das; Venid a sospirar; El fresco but nothing else. ayre. Pierre de la Rue: Mijn fiert. FRANCO CORELLI: "Great Reli- Laurentius: Mil heeft een piperken. gious Songs and Arias" That Miss Coulter has talent is quite obvious. What she seems to need -as- Obrecht: lc draghe de maize clntze. suming this record is a recent production Waelrant: Als is u winde. Oswald von Trad: Adeste Fideles. Bach- Gounod: -is a lot of seasoning. The present Wolkenstein: In Surin ain praiten hal; Ave Maria. Mozart: Ave rerun, K. 618. recital merely marks an early milestone Gar wtmniklaich. Hans Sachs: Nachdem Rossini: Petite Messe solennelle: Domine in the artist's career, and points out David war redlich. Encina: Fata la parte. Deus. Bizet: Agnus Dei. Franck: Panis where she has still to travel. A.R. Angelicas. Stradella ( ?): Pietà, Signore. Andrea von Ramm. mezzo; Nigel Rogers, Schubert: Ave Maria. Handel: Serse: tenor; Sterling Jones. Thomas Binkley, Ombra mai fu. Tortorella: Ave Maria. NETANIA DAVRATH: Russian Art Hilde Friedrichs, Max Hecker, Konrad Wagner: Die Engel. Verdi: Requiem: Songs Hampe, various instruments. I ngemisco. TFLEFUNKEN AWT 9432 -C. LP. $5.98. Glinka: Doubt. Dargomijsky: I Am TELEFUNKEN SAWT 9432 -B. SD. Franco Corelli, tenor; chorus; orchestra, Grieving; Look, Darling Maiden. Glaz- $5.98. Rafaele Mingardo, cond. unov: Oriental Romance. Rachmaninoff : ANGEL 36208. LP. $4.98. Spring Waters; O Thou Billowy Harvest Ranging over four countries and four ANGEL S 36208. SD. $5.98. Field. Tchaikovsky: Whether Day Is centuries, this album offers to the con- Darning; Was I Not a Blade of Grass; noisseur of early music a sense of ex- You approach this record sure that it To Forget So Soon: Again, As Before, citement and involvement all too rarely cannot be as had as it looks and - Alone. Rubinstein: Night. Glière: Do experienced in present -day "realizations." ecco!-it turns out to be ten times worse. Not Braid a Flower. Rimsky-Korsakov: The sound is clear and bright, with a Everything about it is abominable: the On Georgian Hills: Song of the Sky- healthy balance between detail and at- choice of repertory (with Handel's lark; i Still Lore Hint. mosphere. The two vocal soloists suc- Largo and new words put to Wagner's ceed in penetrating the outer shell of the Die Engel somehow included in a re- Netania Davrath, soprano; Erik Werba, music, and reach the kernel of whatever ligious collection ), the syrupy arrange- piano. style is appropriate in a manner that ments by the conductor (which somehow VANGUARD VRS 1115. LP. $4.98. proves innate musicianship as well as manage to bring in an angelic choir ex- VANGUARD VSD 71115. SD. $5.95. long practice. Besides singing, they join actly where you most fear it will hap- in some of the instrumental pieces, thus pen), and the spirit in which it is all Netania Davrath is an enchanting singer, re- creating the role of the medieval sung. Merely as singing, there are some and weaves her spell more irresistibly jongleur. Most of the works have never superb moments. as fine as anything with each new record. For this one she appeared on discs before. others show a Corelli has put on disc. But the uses has chosen a program including a num- distinct improvement over earlier re- to which the voice is put, the sobs, the ber of unfamiliar songs and a few old corded versions. portamento, the audible drool, become friends, and shot all sorts of bright Or the three English items the longest a source of embarrassment. A.R. lights through each one of them through and most interesting is .Samson dux the simple and compelling artistry of fortissime, a kind of medieval oratorio her singing. If I were forced to choose a scored for the two main protagonists, DOROTHY COULTER: Operatic favorite, it would probably be the witty, Samson and Dalila, and a descriptive Arias folklike little Dargomijsky song. glisten- voice serving as commentator. Although ing and crackling as sung here. But Miss these three roles are sung here by only Charpentier: Louise: Depuis le jour. Davrath has passion and warmth for two voices. and some contrast is thereby Donizetti: La Figlia del reggimento: the tragic side of the repertory as well, lost, the spirit of the work emerges with

98 HiGH FIDELITY MAGAZINE

www.americanradiohistory.com such force that every stage of the story among the Golden Age Singers and a Benjamin Britten). Salutation Carol (arr. can be followed even without a text sharper ear for the right pitch on the Richard Rodney Bennett). Shepherds, (which Telefunken will apparently sup- part of their director. The vocal intona- Shake Off Your Drowsy Sleep (arr. Ber- ply on request). The instrumental sup- tion improves on the second side, but nard Naylor). Oldham: Remember, O port here is excellent and the stereo par- on the whole this is not among the most Thou Man; Good King Wenceslas (arr. ticularly helpful. The Estampie is the recommendable discs in its field. N.B. Malcolm Williamson). The Old Year well -known monodic piece that has a Now Away Is Fled (arr. Alan Ridout). coda in three -part harmony, and librari- Peter Naylor: Eastern Monarchs. O ans and cataloguers may like to know ELIZABETHAN SINGERS: "Sing Leave Your Sheep (arr. Kenneth Leigh- that the jacket information should read Nowell" ton). "Oxford, Bodleian Library, Douce 139" -not "London, British Museum, Harley God Rest You Merry, Gentlemen (arr. Simon Preston, organ; Elizabethan Sing- 978" (which is, however, correct for John Joubert). Infant Holy (arr. Edmund ers, Louis Halsey, cond. Samson). The single final verse from a Rubbra). Fricker: A Babe Is Born; LONDON 5809. LP. $4.98. thirteenth -century Te Deum sounds a Ding! Dong! (arr. Malcolm Williamson). LONDON OS 25809. SD. $5.98. trifle unliturgical in this version for Away in a Manger (arr. Hugo Cole). singers and fiddle, but the sound is quite Gardner: When Christ Was Born of The fourteen carols in this delightful attractive in its own right. Again, li- Mary Free; The Holly and the Ivy (arr. collection were selected from the fifty- brarians, this piece is from Gonville & Caius 334, not 332. The five Flemish compositions display considerable variety of style and texture, New Releases Folk Music Critics' Accolade the most immediately striking of them being the love songs by Pierre de la Rue and Waelrant. For sheer charm the prize must, however, go to the first of the German group, an improvised dance derived from a favorite medieval melody preserved in the Lochamer Liederbuch. In the Wolkenstein and Sachs songs the vocalists, either singly or together, bring out the freshness and beauty of the originals with persuasive skill. The Span- ish group also has its points: two items previously recorded by Safford Cape, rather coyly, as instrumental pieces, emerge here with complete literary texts, salacious and scandalous by turn. But Mahler the Spanish work with most to offer in First modern recording of DES KNABEN rhythmic subtlety is the anonymous two - Han del's mighty tribute to niusiç WUNDERHORN Maureen Forrester, con - part Rodrigo Martinez from the Palace Handel tratto: Heinz Rehfuss, Song -Book compiled during the reign of bass; Vienna State Opera ALEXANDER'S FEAST Orchestra; Felix Prohaska, Ferdinand and Isabella. This disc is conductor warmly recommended for its sound, its Honor Sheppard, soprano VRS -1113 & VSD -21545 "They (the songs) are all unusual repertoire, and its gracious and Max Worthley, tenor Bevan, superb and are lovingly effective performances. D.S. Maurice bass performed here by Miss Oriana Concert Choir IAN and Forrester and Mr. Reh- and Orchestra fuss and by the Vienna or- SYLVIA chestra under Mr. Pro - Alfred Deller, conductor haska's direction." ELIZABETHAN MUSIC: "Music for 2 discs in album -Full text - "NORTHERN R. Ericson, N.Y. Tintes Voices and in BG -666/7 & *BGS- 70666/7 JOURNEY" Handel Viols the Time of ODE FOR THE Shakespeare" First of a notable Vanguard You Were On BIRTHDAY OF music series by My Mind QUEEN ANNE & Chamber led Moonshine THREE CORONATION Age - Can Golden Singers, Margaret Field Alexander Schneider The Jealous Lover ANTHEMS Hyde, cond.: Elizabethan Consort of Honor Sheppard; Mary Schubert Four Rode By Thomas: Alfred Deller; Viols, Dennis Nesbitt, cond. Brave Wolfe Mark Deller; Maurice WESTMINSTER XWN 19076. LP. $4.98. THE VIOLIN -PIANO Nova Scotia Bevan: Oriana Concert Farewell Choir and Orchestra; Al- WESTMINSTER WST 17076. SD. SONATAS, OP. 137 Some Day Soon fred Deller. conductor BG -661 & BGS- 70661* $4.98. I Beggarman No. in D major Little "A valuable addition to 'No. 2 in A minor Texas Ranger the Handel discography Another of the anthologies designed to No. 3 in G minor The Ghost Lover and yet another example Captain Woodstock's of Alfred Deller's impres- celebrate the four -hundredth anniversary Alexander Schneider, violin Courtship sive skill as a conductor as of Shakespeare's birth, this disc offers Peter Serkin, piano Green Valley well as a singer." on records) Swing Down 1. Kipnis, madrigals and other vocal pieces to- (Debut Chariot HiFi /Stereo Review gether with some works played by viols, VRS -I 128& *VSD -71128 VRS -9154 & VSD-79154" J. S. Bach others on a lute, and still others on a THE MUSICAL Collaboration of Genius OFFERING harpsichord. The instrumental pieces in- Critics' accolade for The Wiener Solisten; Wil- clude a fine arrangement of Greensleeves, MAUREEN FORRESTER Ian and Sylvia's fried Böttcher. director by previous record. BG -658 & BGS -5070* a sad and lovely Fantasy by Alfonso accompanied "The greatest interpreta- Ferrabosco, and a beautiful transcrip- I SOLISTI DI ZAGREB; FOUR STRONG tion of this work I have ANTONIO JANIGRO, yet heard." H. Glass, tion of Morley's pavane The Earl of WINDS American Record Guide Salisbury. Among the vocal works conductor VRS -9133 & BAROQUE MUSIC are VSD -2149* an interesting version of Morley's It was IN SALZBURG FAMOUS ARIAS OF "I can think of no Works of Biber & Muffat a lover and his lass for two sopranos un- BACH AND HANDEL other folk :earn that The Concentus Musicus accompanied, a charming trio by William quite matches them." BG -652 & BGS- 70652* BG -669 & *BGS -70669 High Fidelity "If I had to get rid of ev- Cornysh, and the remarkable fantasy by ery record I have acquired * Stereo Richard Deering, The Cryes "In the front rank of this year except one, I of London. the new folk singers." should not hesitate before It must be said, however, that several HiFi /Stereo Review choosing this wonderful of the madrigals would have VANGUARD Bach Guild release." been more M. Steinberg, Boston Globe effective if there had been better voices Recordings for the Connoisseur CIRCLE 77 ON READER -SERVICE CARD DECEMBER 1964 99

www.americanradiohistory.com one comprising Sing Nowell, a book edited by Louis Halsey and Basil Ram- sey and published by Novello & Co. All n the pieces -the first seven are for the Feast of Christmas, the last seven for festivals associated with Christmas -are fery'`J of English origin, either arranged by A new recording by the Old North Englishmen or composed by them. Some Singers of Boston: Bach Cantata 61 and The Seven Words on the Cross are sung a cappella; others have organ by Schütz. CRM 417, CRS 1417'7 accompaniments-strikingly original ones (Hugues Cuenod is tenor soloist in the the Bach. It you prefer singers one they are, too. Most rewarding of at a time, he has recorded songs by twentieth -century compositions are Peter Schubert, CRM 703, CRS 1703' and A FULL HOUR OF Racine Fricker's modal, archaic -flavored Shakespeare. CRS 702, 1702') Also from Paul Revere's Church: Monte. LISTENING PLEASURE IN A Babe Is Born and John Gardner's verdi's Mass of 1651 and Gibbons' When Christ Was Born of Mary Free. a First (Short) Service. CRM 415, CRS EACH OF EIGHT NEW MERCURY 1415! catchy song with a syncopated Latin - "GREAT MUSIC" RELEASES! UPTO American rhythm. Most arresting and un- An unusual first from King's Chapel 35 MINUTES OF UNINTERRUPTED usual of the arrangements of traditional in Boston: 4 new works for chorus, material is Malcolm Williamson's han- soloists and strings by the distin MUSIC PER SIDE! THESE EIGHT quished young Americans, William dling of Good King Wenceslas. Flanagan, Ulysses Kay. Ned Rorem (AS WELL AS EIGHTEEN OTHER All of the carols are set forth with and Charles Wuorinen, CRM 916, CRS 1416' ALBUMS COVERING extreme clarity, sensitivity, and tonal finesse by the small choir and the always THE ROMANTIC AGE, discreet organist. The reproduction is THE RUSSIAN ( spacious, and the stereo edition dis- the various vocal sections effec- / f'4tnr0 AND tributes »' album should tively. This refreshing More conventional Christmas fare as FRENCH COM- definitely find a place among the more well as additional on the above in eluded in our all -season catalog, POSERS) REPRESENT lasting recordings of music for the Christ- mas season. P.A. THE MASTERPIECES OF 5

MUSICAL AGES AS INTERPRET- 0\11311 I_0 Ti RIVALS ED BY WORLD-FAMOUS ARTISTS. HAMBURG MONTEVERDI CHOIR: "In dulci 477 Washington St., Wellesley, Mass. 02111S AND TO ADD TO YOUR ENJOYMENT, jubilo" THERE ARE SPECIAL PROGRAM Osiander: Christum wir .sollest lobea NOTES ABOUT THE COMPOS- schon. Lasso: Resonet in laudibus. Mo- rales: Pastores dicite. Guerrero: Opd, CIRCLE 17 ON READER -SERVICE CARD ERS, THEIR MUSIC AND oyd una cosa. Scheidt: In dulci jubilo. THEIR TIMES. Agricola: Her, her, ich verkiind' euch neue Mur. Ockeghem: Afina redentp- loris nutter. Eccard: Von/ Himtmtel hodh. THE MOST Vulpius: Und alsbald war da bei deut Engel. Costantini: Pastores logsu'bantur. BRILLIANT Anon: Nous c$ion.s trois bergereues. Bo- MUSICAL denschatz: Joseph, lieber Joseph ei,,. Buxtehude: In dulci jubilo. Praetorius: COUPLING "GREAT MUSIC" OF THE CLASSICAL ERA Ist natali Domini; Psallite. Paminger: In OF ALLTIME! MOZART Serenades for winds and strings. Eine Kleine ist ein Nachtmusik (K.525); Serenade No. 10 (K. 361). Lon- dolci jubilo. Praetorius: Es Ros' don Symphony Orchestra/ Dorati; Eastman Wind entsprungen. Ensemble/ Fennell SR90412/MG50412 MOUSSORGSKY /RAVEL: MOZART Piano Concertos Nos. 20 and 23; Rondo in Instrumental ensemble: Hamburg Monte- A (K.386). Clara Haskil, pianist; Vienna Symphony! PICTURES AT AN EXHIBITION Paumgartner. SR90413/MG50413 verdi Choir, Jürgen Jürgens. cond. FIREBIRD SUITE HAYDN Symphony No. 55 "Schoolmaster "; Symphony TELEFUNKEN AWT 9419 -C. LP. $5.98. STRAVINSKY: No. 85 "La Reine "; Piano Concerto in D. Ingrid TELEFUNKEN SAWT 9419 -B. SD. GEORGE SZELL Haebler, pianist; Lamoureux Orchestra/ Benzi. $5.98. SR90414/MG50414 The Cleveland Orchestra HAYDN Symphony No. 100 "Military "; BEETHOVEN Symphony No. 6 "Pastoral ". London Symphony/ The presentation of this mostly unfa- Dorati. SR90415 MG50415 miliar Christmas music sung by fresh and lively voices will surely bring mu- "GREAT MUSIC" OF THE BAROQUE sical delights in abundance. The Monte- VIVALDI Concertos for Harpsichord, Guitar, Piccolo, verdi Choir of Hamburg does not give Harp, Violin. Soloists, Ensemble/ Duhamel 5R90401/MG50401 us, alas, even a single Christmas motet COUPERIN Les Nations; RAMEAU Concerts en Sex- by Monteverdi, but the range of com- tuor. Stuttgart Baroque Ensemble / Couraud. posers and styles is so wide that all but SR90402/MG50402 LC 3390/BC 1290 Stereo the most esoteric tastes should be satis- HANDEL, TELEMANN, DITTERSDORF Oboe Concertos; BACH Suite No. 5. Evert van Tricht, oboe; Vienna fied. Understandably enough, the Ger- TWO RUSSIAN ORCHESTRAL Symphony Orchestra/ Paumgartner; Pro Arte Or- man texts come off best of all, though Munich/ Redel. SR90403/MG50403 chestra of villancico with its rippling MASTERPIECES PERFORMED BAROQUE DANCES ANO DIVERSIONS. Works by Al- the Guerrero binoni, Clarke, Corelli, Purcell, Sweelinck, Telemann Spanish and the anonymous French BY "THE WORLD'S GREATEST and Vivaldi. Maurice André and Marcel Lagorce, Noël both sound convincing and vivid. trumpets; lean- Pierre Rampal, flute; Ensemble/ ORCHESTRA" NEW YORK TIMES B i rba um. S R90404 / M G50404 The violins in Buxtehude's In dolci jubilo produce a somewhat undernourished. /ice_ Lenten tone instead of the plump and _/ tÌ Christmassy sound we expect, and just EPIC_= the sags in pitch. HIGHEST FIDELITY occasionally choir RECORDS The general impression. however, is of RECORDS spontaneous music making and festive M "EPIC ". MARCA REG. T.M. PRINTED IN US.A. d -SERVICE CARD CIRCLE 57 ON READER -SERVICE CARD CIRCLE 34 ON READER HIGH FIDELITY MAGAZINE l l l ll

www.americanradiohistory.com harmony allied to excellent stereo recording. D.S.

LUCERNE FESTIVAL STRINGS: Concerti grossi

Geminiani: Concerti grossi, Op. 3: No. 2, in G minor; No. 3, in E minor; No. 6, in E minor. Festing: Concerto a 7, for Two Flutes, Strings, and Continuo, in D. Woodcock: Concerto for German Flute, Strings, and Continuo, in E minor. Baston: Concerto for Sixth -Flute, Strings, and Continuo, in D.

Lucerne Festival Strings, Rudolf Baum- gartner, cond. ARCHIVE 3196. LP. $5.98. ARCHIVE 73196. SD. $5.98.

This tidy package of concerti grossi will contribute fifty minutes of untroubled pleasure without, probably, stirring you to any new insights into the form. All the composers concerned had some connection with the British Isles: Geminiani died in Dublin; Michael Christian Fest- ing, possibly of German birth, was a prominent violinist in London during Handel's time; Robert Woodcock and John Baston were native Englishmen. Geminiani is obviously the most experienced hand, indulging in more complex scoring than Festing and less repetition than Woodcock. But Baston's sheer bra- vado (a good conjecture might be made that he knew Handel's music) in handling the sixth- flute, a D major recorder standing in pitch between the sopranino in F and the descant in C, is among the more winning assets of this rather conventional collection. Careful, rather than brilliant, transverse -flute playing marks the Festing and Woodcock performances, with capable work on the part of the Lucerne Strings. S.F. Triple ANDRE WATTS: Piano Recital

Chopin: Nocturne, in C minor, Op. 48, your tape recording No. 1. Debussy: Preludes, Book I: La Cathédrale engloutie. Haydn: Sonata for Piano, No. 52, in E flat. Liszt: fun (buy Tarzian Tape three reels at a time!) Etudes transcendentes après Paganini: No. 2, in E flat; Sonetto del Petrarca, There are some sounds that you plan to preserve. You know in advance No. 104. - "Here is something I will want to keep, permanently, on tape." You're ready Andre Watts, piano. for them. COLUMBIA ML 6036. LP. $4.98. There are other sounds, though, that you can't predict or schedule. They COLUMBIA MS 6636. SD. $5.98. just cone along, never to come again. Do you have an extra reel of tape on hand? Are you ready for the moment that cannot It was evident from young Andre Watts's otherwise recur? recording debut last year in the Liszt Why not take this good advice? When you buy tape, buy at least three reels. E flat Concerto that he was a capable And buy brand name tape, so you can be confident of its quality and certain technician. The present disc provides a it won't harm your recorder. clearer view of his talent, and what one Of course, we hope you'll choose Tarzian Tape. We sees is thoroughly test other all to his advantage. First of all, along with there is a prodigious ease. a tremendous brands our own -and the impartial equipment in our labs assures fluency about the way he gets around us that you can't do better. the keyboard. His showers of octaves in FREE. Our 32 -page booklet tells you how to get more out of your tape recordings. the Liszt Etude and gossamer runs in the Write for your copy. difficult finale of the Haydn Sonata could scarcely be bettered for unlabored SARKES accuracy. Nor is Watts one of those TARZIAN, Inc. World's Leading Manufacturers of TV and FM Tuners Closed Circuit TV Systems Broadcast slick, percussive players all too often Equipment Air Trimmers FM Radios Magnetic Recording Tape Semiconductor r]ev,ces heard these days. He never abuses his MAGNETIC TAPE DIVISION BLOOMINGTON, INDIANA pianistic sonority, which is big, lavishly Export: Ad Auriemo, Inc., N.Y. Conodo: E. J. Piggott Enterprises Ltd., Toronto, Ont. CIRCLE 79 ON READER -SERVICE CARD DECEMBER 1964 101

www.americanradiohistory.com colored. and never brittle. Furthermore, expressive vistas. The Bach performance he is obviously an interpreter of tremen- (of a work better known in its alternate dous sincerity and considerable musical form as the Partita No. 3, for Solo Vio- PETE SEEGER lin) demands the highest compliment BEST ON intelligence. His account of the Liszt AT HIS compositions shows considerable elas- one can pay -that it seems to set forth FOLKWAYS RECORDS ticity in tempo and phrasing, plus dy- every facet of the work with almost un- namic graduation aplenty, and, in the precedented clarity and meaning. We epic Chopin nocturne the young artist hear Bach's music first and foremost, proves that he is unfraid of an uncon- and only secondarily do we remind our- ventionally deliberate tempo. The clean - selves that we are hearing it on a guitar, cut articulation in the Haydn is nothing and that the nuances which we take for if not admirable, though here one could granted are being uncovered by an in- desire a bit more diversity in the phras- credibly skilled pair of hands and a deli- ing. That will, doubtless, come with cately analytical intelligence. Williams is time. Even now, his classical playing is very much aware of the harmonic shape anything but dull; this Haydn sparkles of each movement, but only in the Gigue and sings with ingratiating vivacity. does he seem to me to slight the melodic A truly remarkable talent, wonderfully aspect of the music by rushing too pre- to well served by Columbia's engineers. cipitantly from one harmonic pillar H.G. the next and paying perhaps too little attention to the decorative frieze con- FA 2320 American Favorite Ballads, necting them. Elsewhere he harnesses a Vol. 1 JOHN WILLIAMS: Guitar Recital whole array of tone shades to bring out FA 2412 Pete Seeger at complementary phrases -and even com- Carnegie Hall the velvet Bach: Fourth Lute Suite. Isaac Albéniz: plementary movements (note FN 2501 Gazette the harp - Sevilla. Tarrega: Recuerdos de la Al- covering of the Loure. following FN 2502 Gazette, Vol. 2 sichordlike clarity of the Praeludium). FC American Folk Songs hambra. Turma: Fandanguillo; Soleares; 7001 Williams, in short, has done everything for Children Ráfaga. Llobet (arr.): El Testamen de for Bach here that Bach could wish. FA 2456 Broadsides Amelia. Ponce: Scherzino Mexicano. The Spanish side of the disc combines FH 5233 Songs of Sagreras: El Colibri. plenty of fire and brilliance with just a Struggle & Protest dash of sophistication. Williams' sense Fl 8303 5- String Banjo Instructor John Williams, guitar. of rhythm is as keen as that of any native Fl 8354 The Folksinger's COLUMBIA ML 6008. LP. $4.98. born south of the Pyrenees, and he can Guitar Guide COLUMBIA MS 6608. SD. $5.98. a free- BR 302 Broadside, Vol. 2 let the pulse ebb and flow with dom lacking any hint of contrivance. It's 32 other Pete Seeger albums available This wonderful disc is particularly ap- Write for our free catalogue of 1,200 LP's hard to pick a high spot here. But one propriate as a sequel to Williams' record- RECORDS them, certainly, is the Tarrega Re- FOLKWAYS ing of studies by Sor (Westminster of 165 West 46th Street New York 36. N.Y. cuerdos de la Alhambra. where the 17039), for it opens the door to wide CIRCLE 36 ON READER -SERVICE CARD artist's feather touch lets the upper melody line drift lazily, while the accompaniment figure is ticked off in notes as fast and precise as the mechanism of a Swiss Following the international success watch. Superb recorded sound too. S.F. of the WAR REQUIEM . three superb new NICANOR ZABALETA: Harp Re- cital recordings by Bach: Suite for Harp. S. 1006a. Isaac Albéniz: Suite española: Malagueña. Matteo Albéniz: Sonata in D. Corelli: Sondt° in D minor. Handel: Theme and Variations in G minor. Fauré: "Une chátelaine en sa tour," Op. 110. Spohr: Variations for Harp. Beniam Dritto Nicanor Zabaleta, harp. DEUTSCHE GRAMMOPHON LPM 18890. * ALBERT HERRING LP. $5.98. Pears and Sylvia Fisher Recorded at Aldeburgh starring Peter DEUTSCHE GRAMMOPHON SLPM by the composer and conducted SD. $5.98. Stereo OSA -1378 Mono A -4378 138890.

* SYMPHONY FOR CELLO AND A sensitive and imaginative recital. The is none but the ORCHESTRA (and Haydn Cello Concerto) Bach "Suite for Harp" Violin Partita, trans- Mstislav Rostropovich -The English Chamber Orchestra - famous E major Benjamin Britten posed down a half step to the more rest- Stereo CS -6419 Mono CM -9419 ful signature of E flat and given a few bass notes. The manuscript for this. the THE YOUNG PERSON'S GUIDE TO THE ORCHESTRA notes inform us, was passed down from with SERENADE FOR TENOR, HORN AND STRINGS baroque times and is in keeping his Peter Pears; Barry Tuckwell-The London Symphony Bach's own practice of transcribing Orchestra compositions for different instruments. Stereo CS -6398 Mono CM -9398 As done on the harp, the piece has inti- rrodemerY, Reg. U. S. Pot. ON. macy and repose in place of the clarion brilliance that most violinists give it. Zabaleta's delicate, finely nuanced * World Premier Recording playing reminds me of Gieseking's work FULL FREQUENCY RANGE RECORD/NG on the piano in the E minor Keyboard

MAGAZINE 102 HIGH FIDELITY

www.americanradiohistory.com Partita. The rippling Fauré cascades with scintillant ease under the harpist's facile ..An Unusual fingers, and in fact everything played here offers rare delectation. Selection for the Fine, spacious room tone further graces Discriminating this much recommended anthology. H.G. kissues Music Lover Spoken Mrd on

JEAN ANOUILH EDWARD AN- HALT: Becket (excerpts) Recording from the sound track of the &41 YeafQL film, with Richard Burton, Peter O'Toole, BEETHOVEN: Symphony No. 5, in Peter Glenville as narrator; Peter Glen- C minor, Op. 67 ville, dir., Laurence Rosenthal, cond. Vivaldi : The Four seasons w, Amsterdam Ruggiero Ricci. RCA VICTOR LOC 1091. LP. $4.98. Concertgebouw Orchestra, Erich Kleiber, RCA VICTOR LSO 1091. SD. $5.98. Cond. from London LL 912, 1953]. RlctiMoNo B Recordings of this nature always raise 19105. LP. $1.98. what must be called moral issues. On For all its dozen years. this remains an the principle that a film is made first exceptional Fifth for the eyes and only incidentally for the and an extraordinary specimen of recorded sound, notable for ears, there can be only one test for a its richness and clarity recording of its sound track: if the movie of detail. Klei- ber's interpretative approach is unique is good as a movie, then it is probably and interesting. He sets a mood of re- not worth doing in sound; if it isn't very served classicism and intellectualized good as a movie, it can't be worth doing VIVALDI: THE FOUR SEASONS fury. The opening movement (Violin Concertos, Op. 8, Nos. at all. However, there are no doubt (taken. of course, with exposition is 1 -4) RUGGIERO RICCI, violin people who, in the absence of the real repeat) headlong and concise. Unlike most soloist and conducting The Stra- thing, find enjoyment in having Richard con- divarius Chamber Orchestra ductors who adopt a fast tempo, Burton and Peter O'Toole in their living Klaiber Featuring Fourteen Rare Stradi- allows little or no reduction vari Instruments rooms, even if invisible. For them, this of pace for the lyrical DL 9423(M), DL 79423(S) recording from Becket's sound track will second subject. Indeed. he have obvious meaning and irreplaceable generates restlessness by minimizing all value. of the many fermatas present in the score. The antiphonal effect Furnished with a narration by Peter between strings and woodwinds in the Glenville, the film's director, several key coda section scenes between the principals are pre- is superbly realized (the majority of sented against Laurence Rosenthal's skill- conductors obscure this by permitting fully executed echo of William Walton the accompanying timpani too much Frederic Waldman 111111.1.FMrnk,1117,111-111 /11.1.1, in his Olivier /Shakespeare mood. The prominence in the balance). A pellucid ponderous and self -important structure serenity permeates the slow movement. Though it has urgency and forward mo- collapses, however, when it becomes tion in this reading, the prevailing kineti- clear that Anouilh (by way of a transla- cism never impairs the underlying no- tor and Edward Anhalt's screen play) is bility of thought. (The più /,lasso con- not Shakespeare. The play itself is only clusion, however, does disturb me an echo. And where its strongest interest SCHUBERT: MASS NO. 6 IN E slightly in its lies -in the unspoken under- and -over- precipitate haste.) The FLAT MAJOR Helen Boatwright, scherzo is soprano; Betty Allen, mezzo -so- tones of Henry 1l's relationship with notable for audacious linearity. Double basses in the trio are sharply prano; Alva Tripp, tenor; Leo Becket -a recording cannot possibly do Goeke, tenor; Chester Watson, incisive in attack but do not quite gen- it justice. Burton, in consequence, con- bass; MUSICA AETERNA ORCHES- erate the powerful electricity that Tos- veys the sound of only a mildly per- TRA AND CHORUS; FREDERIC canini tapped in WALDMAN, conductor turbed, rather ordinary man; and O'Toole his 1952 performance (RCA Victor LM 1757). Kleiber obtains DL 9422(M), DL 79422(S) issues the noise and rant of only a petu- a beautifully hushed transition to the lant, rather spoiled boy. The moral issue finale; for once, one feel turns itself on them: good actors that can the timpani heartbeat without its becoming too tangi- Busoni: Indian Fantasy,o it they are, they serve themselves and the Bortkievich: Piano Concerto.. eri,.0 0.. bly audible. A deliberate tempo is set film best in their eyes and in their Marjorie Mitchell, for the final Allegro, one closely akin Opera silences. GORDON ROGOFF ii'b Y w ic 1.na. to that employed by Toscanini in the y .om.m. deleted 1939 recording (LCT 1C41). if SHAKESPEARE: Othello without quite the overwhelming vehemence and sense of cumulative fulfill- Sir Laurence Olivier, Frank Finlay, Mag- ment experienced in that unforgettable gie Smith, Joyce Redman, et al. reading. Kleiber's reserve here impresses me as just a shade pompous and For a review of this recording, see page statuesque. 34. For the most part, the Concertgebouw, BUSONI: INDIAN FANTASY FOR contribution to all this is notably punctili- PIANO AND ORCHESTRA, Co?. 44 ous. The very occasional lapses (such as BORTKIEVICH: PIANO CON- CERTO IN B FLAT MAJOR, the strident brass attacks, tremulous first - Op. 16 movement oboe solo, and just slightly MARJORIE MITCHELL, piano; Vienna State Opera Orchestra; less- than -unanimous string articulation) William Strickland, conductor stand out in much sharper relief than DL 10100(M), DL 710100(S)

Continued on page 107 (M) Monaural (S) Stereo CIRCLE 23 ON READER -SERVICE CARD DECEMBER 1964 1113

www.americanradiohistory.com DVPJ* Q Ares errts A STEREO TAPE RECORDER DESIGNED FOR RECORDING

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The DYNACO BEOCORD 2000 ZS the American version (to

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Console model (shown above) this sensational machine. including plastic cover $498

Portable model with charcoal gray and stainless steel case including monitor speakers (not illustrated) $525

mike Here is a stereo tape recorder which not only plays provision for slide synch low impedance tape superbly but also permits making professional inputs separate record and playback balance con- quality tape recordings with unique flexibility. It is an trols premium quality low impedance heads (3) instrument of superior design, outstanding crafts- all plug -in electronics Synchronous motor. manship, and unequalled performance. TECHNICAL SPECIFICATIONS A deck -and a hi fi or PA unit including 8 watt Frequency Response: monitor amplifiers ± 2 db, 40 to 16,000 cps at 71/2 ips i 2 db, 40 to 14,000 cps at 33/4 ips cps at 17/e ips A recording console with slide type fader con- 2 db, 50 to 6,000 to Peak RMS use of three stereo inputs (6 Wow and Flutter: Peak trols permits 71/2 ips 0.2% < 0.075% (0.00075) channels) 33/4 ips < 0.3% < 0.11% (0.0011) flexibility for sound on sound, lan- 1'/e ips < 0.5% 0.18% (0.0018) Unlimited Values listed are for reproduction equalized according to normal guage training, electronic music composition as listening weighting (wow frequencies > 4 cps attenuated 3 db/

as conventional record -playback octave 1 . well (V Here are a few of the important features, many of Channel Separation: better than 45 db. which are exclusive to this recorder: Signal to Noise Ratio: better than 50 db. low impedance headphone jack monitor switch 1/4 track heads sound on sound echo pause control all solid 100 kc bias state with exclusive electronic transistor protection Dimensions: at Console: 18" wide, 141/2" deep, 9" high 38 lbs. RIAA magnetic phono input automatic shutoff Portable: 18" wide, 14" deep, 10" high 41 lbs. end of tape, with broken tape, or at preset points

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www.americanradiohistory.com by H. C. Robbins Landon DYNA The Haydn Masses on Records MIKES Professional ribbon microphones Missa brevis alla cappella (" Rorate coeli Missy Sancti Nicolai. The only recording desuper "). The first performance in is Lyrichord 114, or 7114, led with great by B &O modern times of this rediscovered Mass charm by Hawaii's chief conductor, took place on Trinity Sunday 1957 at the George Barati. It was made in Vienna at realistic prices Göttweig Abbey Church and was record- with the Akademie Kammerchor (used, ed on Swiss Discoclub DC 11. The 12- unless otherwise stated, for all the Vien- inch LP also includes Haydn's Cantilena nese recordings mentioned in this discog- The choice of microphone af- pro adventu and his Offertorium "Non raphy). Good, clear sound. fects the naturalness or accuracy of sound recording nobis, Domine," a marvelous work in more than any other factor, with even the D minor for choir and basso continuo Missa brevis S. Joannis de Deo. The least expensive tape recorders. in the "severe" style. The entire perform- Gillesberger disc including also the The superiority of ribbon micro- ance is conducted by veteran Haydn Missy brevis, in F (Lyrichord 30, cited phones has long been acknowl- musician Hans Gillesberger and is highly above) has three advantages: Heiller's edged in affording full fre- atmospheric. Organist Anton Heiller. immaculate playing on a seventeenth-cen - quency response and maximum tury organ; the radiant innocence of Hed- dynamic range without the harshness or stridency often crit- Missy brevis, in F major. Again, the da Heusser's soprano solo; and Gilles - only icized in far more expensive available recording is under the berger's sympathetic conducting. Soni- microphones. competent direction of Hans Gillesberger cally, however, DGG's edition with (Lyrichord LL 30). The two soprano Schrems (also discussed above: cf. The finest soloists are particularly sounding ribbon mi- well matched Missy in honorent B.V.M.) is the one to crophone is the Model 200 (Hedda Heusser and Anni Berger). Oc- have. A Haydn Society recording, with DYNAMIKE. This compact, cupying the overside of the disc is Missy the Copenhagen Boys' Choir and a boy versatile instrument is ideal for brevis S. Joannis de Deo. soloist singing the Benedictus, conducted natural stereo recordings with by Mogens Wöldike, will soon be re- minimum effort. Two identical Missa in honorem B.V.M. ( "Great Or- issued by the Haydn Society. Historically, ribbon elements may he rotated up to 90° gan" Mass). There are two recordings of it is now certain that, though boys were to each other for either conventional or MS stereo this sonorous E flat work, an old one always used in the choir, the difficult (formerly pickups with optimum separa- on Vox, now available as solo parts were given to women, and tion and precise instrument lo- Lyrichord LL 84) and a new one personally I prefer a woman's voice to calization. The top element is (Deutsche Grammophon LPM 18756 or the kind of sound made by Wöldike's removable for mono use. These SLPM 138756). On the Lyrichord, Fer- boy soprano. This is clearly a subjective precision elements are renowned dinand Grossmann leads a good, solid matter, however, and admirers of for extraordinary range and Viennese performance, but the recording Wöldike will be pleased to know of the smoothness (unfortunately, re- now shows its age (though time has not disc's forthcoming availability. Coupled sponse specifications are mean- perceptibly diminished the delightfully with the Mass, the Haydn Society pro- ingless, since cheap mikes ad- vertise far wider range silvery quality of the solo organ part). vides some part songs which are not vin- than the best ones), a perfect figure 8 The DGG disc is undoubtedly a better tage Haydn. pattern, buy all the way around. and uniform polar re- The perform- sponse over the range. Profes- ance is by the Regensburger Domspatzen Missi Cellensis ( "Mariazellerntesse "). sional low impedance 200 ohm (literally, the Regensburg Cathedral Current plans call for the reissue of the output enables long cables with- Sparrows, a silly name for a magnificent old Haydn Society recording, with out hum or interference . . . German choir), the Bavarian Radio Or- Gillesberger -a classic of its time. The $149.95. chestra, and soloists (who are superior record is still available in Austria on the to those heard on the Lyrichord version). "Music" label. For over a decade B &O Theobard ribbon micro- Schrems conducts. For good phones have been the choice of broadcast measure, a neat and highly musical per- Missy in tempore belli ( "Kettledrum" stations, recording studios formance and record of the Missa brevis S. Joannis Mass). Gillesberger's famous old re- manufacturers on both sides of the At- de Deo is included. cording for the Haydn Society is now lantic wherever a premium quality micro- available again on HS 9055, in compe- phone was demanded. DYNA believes Missy Sont bona mi.rta malls. The score tition with three more recent versions. they offer the amateur recordist the same of this Mass has been lost. Gillesberger's admirers can have almost value which has characterized DYNAKIT the same performance, but with much amplifiers and tuners. Ask to hear the htissct Sanctae Caeciliae. The famous better recording. on Vox 850 or 500850, Model 200, or other DYNAMIKES from old Haydn Society recording, with Gilles - but the latter's soloists are inferior both $59.95 at your high fidelity specialist, and berger, is expected to be reissued by the to those on the Haydn Society disc and watch for the new DYNA -B &O tape re- Haydn Society shortly. It's still worth on the other two sets. On Vanguard corder-a home machine which can take having. The recent DGG recording (two 1061, or 2075, Wöldike leads a beauti- full advantage of the performance of discs, 18545/46 or 13828/29) perhaps fully recorded performance (too much these fine microphones. lacks some of the excitement of Gilles - first trumpet at times, however), less berger's reading, but it is a fine, digni- brilliant than Gillesberger's readings. The fied interpretation, under Eugen Jochum, newest version is from DGG (LPM Write for detailed specifications. and offers as a filler a beautiful Handel 18881 or SLPM 138881) with two Eng- Organ Concerto which, if I may para- lish soloists (Elsie Morison and Mar- phrase my British colleague Roger DYNACO I NC. Fiske, you can't not like. Continued on nest page 3912 Puwclton Ave., Phila., Pa. 19104 CIRCLE 29 ON READER -SERVICE CARD DECEMBER 1964 105

www.americanradiohistory.com THE HAYDN MASSES ON RECORDS

Continued from preceding page

jorie Thomas), two German soloists Haydn Society disc): Club du Disque, (Peter Witsch and Karl Christian Kohn), with fine soloists. At the present tinte and the Chorus and Orchestra of the the preferred version is a well -produced Bavarian Radio conducted by Rafael London disc, 5731 or 25731, recorded High Fidelity Magazine Kubelik. Splendid though this record under David Willcock's competent di- on New Acoustech is on the whole, I have several reserva- rection at King's College in Cambridge. Solid State Kit: tions. Kubelik (like the other conductors If you can afford to buy only a single in this matter) does not incorporate the Haydn Mass, this London disc of the beautiful supplementary clarinet parts Nelson Mass is probably the best in- "...MAGNIFICENT printed in the Appendix of the Bären- troduction to Haydn's work in this form reiter miniature score: a pity, if only you could have. for that glorious octave sweep at the PERFORMANCE... beginning of the Gloria. Secondly, I find Missa, in B flat major ( "Theresien- too much violin in the DGG sound: messe"). Though the old Vox record surely those dancing strings must always (700) with Clemens Krauss is still avail- accompany, and never dominate. Third- able, it shows its age: it was made about ly, Kubelik makes a serious mistake with fifteen years ago with a group of Vien- the drum part in the Kyrie: those half nese soloists, the Vienna Symphony, and ...ri.- notes with two little lines through them the Academy Chamber Choir. Recently, are not only abbreviations for sixteenth the work has been recorded by Ferdinand notes but also denote rolls (tr) in the Grossmann and the famous Vienna Boys' timpani -to spell them out as slow six- Choir, with a Viennese chamber orches- teenths, as Kubelik does, is quite ridicu- tra (Ariola EURO 70342 or 70342S); lous. It is from many details such as the soprano and alto soloists on this this that great recordings are, or are disc are boys -a historical, and in my r altai not, made. Apart from these minutiae, opinion, musical mistake -but otherwise moreover, I do not find that either Grossmann 's is a good, solid reading ri n -s- Wöldike or Kubelik achieves the solemn without exceptional finesse. 6 rapture in the "Et incarnatus" which makes Gillesberger's reading so intensely Missa, in B flat major ( "Schúpfungs- moving. Altogether, none of the three messe"). The Musica Sacra (35 or newer discs quite matches the excite- stereo 35) recording, made in Salzburg of the ment and the depth of the old Haydn by Ernst Hinreiner, is a fine achieve- "...`state art'... Society recording, but there is no gain- ment, but so much music has been one of the saying that the Haydn Society record is crowded on the first side that the disc truly now about fifteen years old. suffers from end -of -side distortion. In `perfectionist' any case, fine though Hinreiner's per- units..." Missy Sancti Bernardi de Offida ( "Heilig- formance is, Gillesberger has just re- Here are further comments from the Novem- nusse "). The only recording ever made corded a beautiful performance for Vox ber, 1964 report on the new Acoustech IV of this great and dignified Mass was that (DL 1020 or STDL 501020) which is solid state stereo control center kit (reprinted of the Haydn Society (now available tauter (Gillesberger takes ten minutes with permission): again on HS 9061), with the Copen- less!) and which affords a much better . harmonic distortion was literally too low hagen Boys' Choir and the Danish State orchestra (Vienna State Opera). There to be measured ... IM at the 2 -volt level was han- a mere 0.05% ... These figures are among Radio Orchestra under Wöldike. There are also details that Gillesberger the best ever obtained ... Frequency response are two schools of thought about this dles better: for example, Hinreiner per- was literally a flat line over the audible range finely wrought and thoughtful perform- petrates an inexcusable ritard at the . the 50 cps and 10 kc (square waves) were ance. Some critics, such as the veteran words "Qui Collis," while Gillesberger virtually replicas of the input test signals ... starts the Adagio as the score superior, professional grade construction .. . Haydn scholar Jens Peter Larsen, think (rightly) later. I should point listening quality , .. 'wide open,' clean, ut- it is the greatest performance of a directs, a few bars terly transparent and noise free. The Acoustech Haydn Mass on records. Others feel that out, however, that some of Hinreiner's IV, in a word, does credit to its designers ... Wöldike, in his cool, Northern, Protestant slower tempos lend an awesome majesty admirably in the finest of and should serve which one does not always music -reproducing systems." approach, misses the rapture and physical to the music in the Vox record. For the complete report plus detailed specifi- excitement that the Viennese bring to find cations of the Acoustech IV ($149) and its com- music of this kind (e.g., Gillesberger, It may interest readers to know, by panion power amplifier kit, the Acoustech Ill whose performance of the work is thrill- the way, that a splendid facsimile of the ($199), mail coupon below. ing). In any case, no one who loves autography of the Scltüpfungsmesse, great music should miss this wonderful which is now owned by the Bavarian and majestic Mass. State Library, has been printed in Ger- many by G. Henle (Munich and Duis- Ii/ Missa in angustiis ("Nelson" Mass). The burg, 1957). No one who loves Haydn ACOUSTECH, INC. Haydn Society performance with George and is willing to spend $10 on him ought Dept. H -12, 139 Main Street, to be without this score. Cambridge, Mass. 02142 London and Lisa Della Casa (who sings the solo part more beautifully than FREE anyone else on record) is available again Missa, in B flat major ("Harmonie - on HS 9016, but the sound, never very messe "). Much though I admire George Please send free booklet "Why Solid State Ampli- fiers Can Sound Better" and full information on good, now seems intolerable. There is Barati's new recording of the St. Nicholas Acoustech solid state kits to ;t had Italian recording which may hap- Mass (Lyrichord 111 or 7I 11 ), I fear Name pily be ignored. Mario Rossi's perform- the interpretative demands of this last ance on Vanguard 470 is very fast and most inward of all Haydn's Masses Address_. moving and with a lot of timpani. For are not met here. The Benedictus is

;City Zone State___ - years, the classic performance of the taken far too quickly, and the long slow work was a French set conducted by Kyrie needs a more subtle hand than arm------Jonathan Sternberg (who also led the old Barati shows.

CIRCLE 1 ON READER -SERVICE CARD l(1¡, HIGH FIDELITY MAGAZINE

www.americanradiohistory.com REISSUES Stadt raid Land, Op. 322; Ritter Prizmaín made his debut in 1930.) About his Csaírdds.; Waltz: Morgenbliitter, Op. 279. musicianship, taste. and dramatic under- Continued frota page 103 Josef Strauss: Polkas: Feuerfest, Op. 269, standing there was never any question. Moulinet, Op. 59; Waltz: Dorfschwalben, The young Siegfried was probably his they would in a less painstakingly exe- Op. 164. best role. dramatically believable and cuted performance. more than adequate vocally, and his Richmond's transfer has an even Vienna Philharmonic Orchestra, Clem- singing here is youthful, strong, and cleaner sound than did the original (first - ens Krauss, cond. [from London LL 683, clear, with only occasional touches of class) London edition, and surfaces are 1952]. strain or overopen rawness. It is hard improved. Of course, as this performance RICLIMoNU B 19106. LP. $1.98. to put the unique fervor and ring of takes up a full twelve -inch disc, as op- Melchior out of mind, but if one can posed to the many one -sided editions, This is the fourth of the legendary Strauss judge Svanholm's performance on its own the Kleiber reissue can hardly be re- series by the late Clemens Krauss to be terms, one will find it admirable, pos- garded as in the "bargain" category. reissued under the Richmond label (the sibly the best since Melchior's. Nevertheless, the reduced price does en- earlier ones are: B 19066, the first New Eileen Farrell, still mainly a radio able it to compete with other topflight Year Concert, 1952; B 19089, Johann singer at the time of this recording Fifths. II's Fledernutus Overture and four best - (1950), sings beautifully. warmly, freely, While reevaluating this memorial to known waltzes; and B 19090, waltzes by and with no special penetration; hers is Kleiber's great gifts. let me seize the Johann II and Josef), and it is an abso- a very enjoyable piece of singing, but opportunity to plead for two further lute must for every specialist in Viennese not a great Briinnhilde. Her opening "memorial editions" of this symphony. musical traditions. One hearing of it will lines demonstrate why this is not an Some company should rightfully honor explain better than a thousand exegetical Immortal Performance. She belts out the late Guido Cantelli by issuing one of words why Strauss connoisseurs esteem "Heil dir, Sonne" with good. healthy his outstanding "live" performances - Krauss's performances so highly -for tone, and the horn chord plonks in, the possibly the one he did with the NBC their uniquely individual harmonization timing just off. The whole rapt mood of Symphony on February 21, 1954. (Can - of precision and Geniiitlichkeit; their the awakening and greeting go right telli's studio recording of the Fifth was delicate rhythmic and coloristic piquan- down the drain. Throughout, the Roches- left uncompleted by his tragic death in cies; for their complete eschewal of ter Philharmonic sounds like just what an air crash). Pierre Monteux never melodramatics: and perhaps above all it was and is: a good. thoroughly pro- had a chance to record the symphony for for the sense they convey of a highly fessional second -line orchestra. perhaps Philips, but an earlier version with the personal involvement on the part of both not quite big enough for this music. London Symphony (made at the same conductor and players. Leinsdorf conducts musically, cleanly, inspired sessions which produced the re- The present processing happily elimi- but with no real theatrical command. cently issued Beethoven Seventh) still nates the built -in background hum of Everything just goes along; there is no reposes in RCA's vaults. Surely it de- the original London pressings. It also mystique. serves to see the light of day. H.G. provides quieter surfaces and gives some In short. this is a perfectly good, well - indications of cleaner fidelity to the sung studio rendition of forty -five min- original recording -which ranked among utes of Wagner's greatest music. But HAYDN: Concerto for Organ, in London's best achievements in its own Easton /Melchior /Heger -there's an Im- C; Sinfonia concertante, in B flat; time and still sounds impressive today. mortal Performance! C.L.O. Notturnos: No. 2; No. 6 R.D.D.

Chamber Orchestra of the Saar, Karl JOHN McCORMACK: "Songs of Ristenpart, cond. [from Music Guild WAGNER: Siegfried: Act 111, Scene 3 Sentiment" 25/S 25, 1962]. NONESUCH H 1024. LP. $2.50. Eileen Farrell (s), Briinnhilde: Set Svan- Dear Little Shamrock; The Low -Back'd NONESUCH H 71024. SD. $2.50. holm (t), Siegfried; Rochester Philhar- Car; Mother o' Mine; The Lost Chord; monic Orchestra. Erich Leinsdorf, cond. When You and I Were Young. Maggie; All of this is interesting Haydn of the [from RCA Victor LM 1000, 1950]. Beneath the Moon of Lombardy; At sort rarely encountered except on rec- RCA VICTOR LM 2761. LP. $4.98. Dawning; Goodbye, Sweetheart. Good- ords, and these performances (in the bye; Take, Oh, Take Those Lips Away; present transfer of the master) dominate I have enjoyed listening to this recording, Within the Garden of My Heart; Be- the limited listings. Eva Hölderlin, the which I hadn't heard in years, and am cause; The Vacant Chair; Mary of Ar- organ soloist in the Concerto, has a happy to see it back in circulation. I gyle; The Barefoot Trail; Any Place Is better instrument than that employed in hardly think. though that it belongs in Heaven If You Are Near Me; Come the Paillard version on Musical Heritage anyone's Treasury of Immortal Perform- Where My Lore Lies Dreaming. (or, more likely, it has been provided ances, where Victor has placed it -it is with more flattering treatment by the simply a well -sung, fairly well -played John McCormack. tenor; chorus; orches- engineers). The interplay of orchestra rendition of the scene, quite satisfying tra [from various 78 -rpm originals, and organ is quite vivid here and makes but with no particular light to shed. and 1910 -22]. for an enjoyable performance of this no Great M "ments of History patina. RCA VICTOR LM 2755. LP. $4.98. early work. The real interest, I think, lies with the The rest of the scores are late, with late Set Svanholm. Sometimes the mem- The wonder of McCormack, beyond the Sinfonia concertante a gilt -edged ory of the dry, rather bumpy singing such obvious considerations as the ravish- masterpiece of the London years. There which characterized his last years (the ing beauty and purity of his voice, was is a lively quality to this version setting sort that is, unfortunately, preserved on the intensity of his all -embracing musical it apart from some of its dutiful and the complete Gütterdiimmerung) makes intelligence. To hear his Mozart is lesson dreary predecessors, a liveliness en- one forget that his voice possessed con- enough in pure vocal elegance, but to hanced by clear, open stereo textures. siderable freshness and ring when he first hear him apply the same care and ob- Those growing weary of "the fifty came to the Metropolitan. (He was al- vious affection to the simplest kind of famous pieces" ought to find this a real ready in his mid -forties then, having salon ballad is the object lesson for all buy on the bargain table. R.C.M. time in how to respect music, any music. However slender the musical worth of the material, this record is high art. The STRAUSS FAMILY: "New Year sound may be a half -century old, but Concert No. 2 (1953)" the singer is right at your side all the way. Johann Strauss II: Perpetual?? mobile, The performances are all new to mi- Op. 257; Polkas: Auf der Jagd, Op. 373, crogroove. A.R.

DECEMBER 1964 107

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CIRCLE 15 ON READER-SERVICE CARD

www.americanradiohistory.com frequently in miscellaneous fashion, there was no organized, annotated survey of his work until two devotees, Bill Borden and Steve Marvin, produced "Through the Years with Vincent Youmans." This two -disc set contains thirty -six songs that trace Youmans' career from his first musical, Two "Through the Years with Vincent Youmans." Ever- Little Girls in Blue, written in 1921 with Ira Gersh- green 6401/02, $9.98 (Two LP); S 6401/02, $11.98 win when Youmans was twenty -two, to his last songs, (7 wo SD). composed for the 1933 film Flying Down to Rio. (It was in this film that Fred Astaire and Ginger ALTHOUGH Vincent Youmans stands with Jerome Rogers first appeared as a team.) Along with the Kern, George Gershwin, and Richard Rodgers famous Youmans songs -Carioca, Great Day, Rise as one of the topflight composers who brought a 'n' Shine, Orchids in the Moonlight, in addition to bracing freshness to the musical theatre in the the others mentioned above -the collection includes Nineteen Twenties and the early Thirties, his con- less frequently heard gems such as Keepin' My- tributions are often overlooked today. (Cole Porter self for You, Why Olt Why, Through the Years is more apt to be included in the group, though he (Youmans' personal favorite), and Drums in My was a relatively late arrival; he was, in fact, just Heart. In addition, there are ten songs never before establishing himself when Youmans' career was recorded in full, and one, More Than Ever (written coming to an end.) Yet songs such as Tea for Two, for Smiles but dropped from the score in Boston), I Want To Be Happy, I Know That You Know, that has not been previously published. Sometimes I'm Happy, Time on My Hands, Wild - The ten less -known songs indicate the depth of Flower, More Than You Know, Hallelujah, With- Youmans' talent. The lovely melodic lilt and the out a Song -just to skim the cream of Youmans' unpretentious simplicity of Tea for Two and I best -known work -have proved as memorable as the Want To Be Happy flow through everything he best songs of any of his contemporaries. wrote -Tie a String Around Your Finger from Lolli- Youmans has received less than his due partly pop, Who Am I? which was cut from Rainbow, because his name is not so closely associated with and My Lover, dropped before the Broadway his songs as are the names Rodgers or Gershwin premiere of Take a Chance. These qualities are just with theirs. And this, in turn, may be due to the as evident in Youmans' first score, Oh, Me! Oh, My!, fact that he neither lived the full, productive life as in one of his last songs, Flying Down to Rio. of a Kern or a Rodgers, nor died dramatically This wonderful flow of melody is presented at the height of his career, as Gershwin did. He in a clean, uncluttered fashion that would probably simply disappeared -or so it seemed. At the age of have delighted Youmans, who had a great scorn for thirty -five, only eight years after he achieved inter- fussiness. There are four capable singers -Ellie and national success with his score for No, No, Nanette, Bob Quint, Millie Slavin, and Nolan Van Way - Youmans fell victim to tuberculosis and spent his all of whom concentrate on the music with com- remaining thirteen years as a semi -invalid, com- mendable self- effacement. An additional sparkle to pletely unable to compose. the set is the light- fingered two -piano work of Paul During the past decade, the songs of this com- Trueblood and Rita Segree, who take off on their poser's contemporaries have been collected in disc own on several selections (shades of Ohman and sets in a variety of fashions, providing an increas- Arden!) and provide accompaniment on all the ingly informative account of the musical theatre of others. They have the assistance of a bassist and of the Twenties. This one glaring omission from the drummer Lou Gatti, whose sensitive and rhythmic period has been the music of Youmans himself use of brushes adds a delightful flavor to the Though his most familiar songs have been recorded proceedings. J.S.W.

DECEMBER 1964 109

www.americanradiohistory.com does the show. Julia Migenes, as one of and teen -age favorites. was the first star Tevye's daughters, reveals a pleasant in this new constellation, but he now voice, and there is a wildly comic night- has a strong competitor in Johnny Rivers. mare sequence. The record, in short, is Each is backed by instrumental groups rewarding. but it conveys only part of consisting of rhythm guitar, bass guitar, the experience of Fiddler on the Roof. and drums (with a steady use of the J.S.W. cymbal), and both favor a medium tempo and a strong, sinuous beat that Martin Walker: "From Scotland with lends itself as readily to handclapping Love." ABC Paramount 483, $3.98 as it does to foot, hip, and shoulder (LP); S 483, $4.98 (SD). twisting. Rivers' "Here We a Go Go The Scottish singers we hear in this Again!" is a foot -tapping series of selec- country usually fall into either the char- tions, which stirs enthusiastic audience acter-comedian mold of Sir Harry Lauder participation. His songs are drawn al- or the sturdy seriousness of a Kenneth most entirely from the teen -age reper- McKellar. The sweet, high tenor and tory (Mavbelline, Dung Me, High Heel the pop repertory of Martin Walker, Sneakers), but their blatant edges are therefore, come as a distinct surprise. smoothed and polished by Rivers' suave His irrepressible Scottish burr brings delivery. The other two Rivers discs ap- a delightful freshness to such standard pear to be products of a slightly earlier songs as Me and My Shadow, That Old period, when his musical direction was The magnificent Zero Mostel. Feeling, I'll Take Romance, and As not so firmly set. On the Capitol re- Time Goes 13v. The first of these is a cording he gives occasional hints of his "Fiddler on the Roof." Zero Mostel and gem of casual. softshoe singing; and later style, but most of the pieces are Original Cast. RCA Victor LOC 1093, As Time Goes By, aside from fitting done in the teen -age routine, with $4.98 (LP); LSO 1093, $5.98 (SD). admirably into the lilt of Walker's dubbed -over voices and a group of girls Fiddler on the Roof is a rarity among Scottish cadence. contains an unforget- chanting behind him. The United Artists Broadway musicals: it manages to be table rendition of the line "No matter disc is even more strongly teen - both very moving and very amusing what the future brings " -in which the oriented, and Rivers' vocal exaggerations, without resorting either to melodrama or singer manages to avoid direct contact particularly his stretching of vowels (a to caricature. This is all the more re- with a single "t." Walker's simplicity habit he has since tempered), is given markable in that its setting -a Jewish en- and directness. combined with the un- free rein. clave in a remote village in Czarist Rus- expected twists provided by his accent, Trini Lopez's latest disc focuses on sia, burdened with poverty and the lend this disc a special charm. the Spanish songs that form only one threat of pogroms, held together by element of his repertory but which religious mystique -is an open invita- Dean Martin: "Everybody Loves Some- exemplify the musical background from tion to the melodramatic librettist. But body." Reprise 6130. $3.98 (LP); which he came. They are not representa- Joseph Stein's book, based on the stories S 6130, $4.98 (SD). tive of the blithely. bouncingly rhythmic of Sholem Aleichem, focuses on Tevye, Even though Martin's arrangements here Lopez of today, for he has included a pious but highly individualistic dairy- involve such currently overpopular several plaintive tunes typical of the man with five daughters, a man of vast sounds as twangy guitars and tinkly popular Spanish repertory. Many of optimism and warmth who is on as piano triplets, this is a varied and at- these lack the compelling beat of Lopez's familiar terms with God as with his tractive collection. Martin is a master more recent material; but when his cur- neighbors. The development of this very of the easygoing, Crosby -derived sing- rent style makes complete contact with engaging who reveals the character, ing style -a manner which, as its origina- a Spanish song -Granada is an instance to us through his Jewish community tor proved in his own heyday. cannot -the sparks really fly. own eyes, avoids any hint of melodrama. only adapt to almost every conceivable The plot grows out of fundamental sit- musical situation, but can enable a Max Morath: "Oh. Play That Thing." uations: the precariousness of existence singer to sneak around some situations Epic 24106, $3.98 (LP); 26106, $4.98 in these surroundings, and the resistance he Martin is in full can't face head on. (SD). of a new generation to unquestioning ac- control, ranging from the romantic Morath's one -man revival of the ragtime ceptance of the traditions of the old. crooner to the bouncing rhythm singer. era television, in night clubs. and Zero Mostel achieves a magnificent per- And he is aided by imaginative use of -on on discs a new on this formance as Tevye, and with the addi- what might have been rather common- -takes direction recording. Until recently, he has worked tional assets of richly ethnic music by place accompaniment. Most of the songs and idiomatic lyrics by Jerry Bock. apt are fresh and relatively unfamiliar, Sheldon Harnick, the colorful staging by although in addition to the current hit Robbins, Fiddler on the Roof Jerome title tune there are such old standbys fills the theatre with a glowing warmth. as :\lv Heart Cries for You and Corrine Transferring this aura to a recording Cotrina. has proved to be difficult, though let me say at once that Mostel's color and vigor Rivers: and whimsicality come through bril- Johnny "The Sensational." Capitol S 2161. liantly. But in the theatre, the over -all 2161. $3.98 (LP); $4.98 effect of Fiddler is the cumulative result (SD). "Go. Johnny, Go." United of bits and pieces of dialogue and song Artists 3386. $3.98 (LP); 6386. $4.98 and dance; and though on the recording (SD). "Here We a Go Go Again!" an effort has been made to supply some Imperial 9274, $3.98 (LP); 12274, of this background through dialogue, the $4.98 (SD). Reprise script is not memorable either for style Trini Lopez: "The Latin Album." or delivery. One's sense of involvement in 6125. $3.98 (LP); S 6125, $4.98 the life of the community, so acute in (SD). the theatre, is missing here. The development of adult rock 'n' roll Still, there is some stirring music, and in discotheques has been accompanied Mostel gives us treasurable moments by the rise of singers whose styles fit when he burbles sounds and words about the dancing requirements of this new his prospects If I Were a Rich Man, or night club fad. Trini Lopez, who roars out the glories of Tradition. For- specializes in easygoing but strongly tunately, he dominates the disc just as he rhythmic treatments of both folk songs The irrepressible Martin Walker.

110 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com alone, playing piano rags and singing period songs. In this collection he has added a small instrumental and vocal group, and the result is a delightful mixture of catchy vocal numbers (Hello. Ma Baby, The Cubanola Glide, and If You Don't Hare Any Money), and piano rags (Climax Rug, Euphonic Sounds, Original Ro .c ) -all apprecia- tively treated. For all its merits. however, the disc could have been much better. Instead of forming a group of his own for recording. Morath went to Nashville and picked up an unidentified guitarist. bassist, and drummer, plus the Jor- danaires (an all- purpose commercial : New York's vocal group which has frequently backed Elvis Presley). After the present re- (GOVERNOR CLINTON) cording was made, he formed a regular group in New York. His appearances HOTEL with his Original Rag Quartet at the OPPOSITE PENN STATION Village Vanguard revealed how much flair and style could he achieved -much more than with the pickup ensemble A KENTON HOTEL heard here. D:spite this drawback, however, this is a charming revival gay of UNDER and NEW OWNERSHIP. New modernization pro- appealing music. and Morath ob- gram under direction of America's leading decorators viously enjoys every note he plays. -1200 deluxe accommodations with private shower/ bath, TV. Most rooms Air -Conditioned. Outstanding convention and banquet facilities for 10 to 500 peo- Robert Horton: "The Very Thought of ple. Completely new Coffee House; Coral Room for You." Columbia 2202, $3.98 (LP): formal dining, Circle Lounge and Bar. Con- 90()22. $4.98 (SD). venient to all transportation and shopping. What has become labeled in my mind Victor .1. Giles, General Manager as "the Robert Horton problem" seems TELEPHONE: PE 6-3400 . TELETYPE: NY 1-3202 to be resolved in a fairly satisfactory fashion on this disc. The problem started when Horton. breaking his mold as a non - singing actor in the Wagon Train series on television. appeared on Perry Como's CIRCLE 46 ON READER -SERVICE CARD program as a sing :r. The venture led him to take on the principal male role in one of last season's Broadway musicals. / /ft in the .Slade, and there his MORE and BETTER previous experience proved totally inadequate. Now. freed of the need to 00000"00000 portray a character, cosily nestled before a microphone. and supported by BRITAIN'S FOREMOST FM Stereo Multiplex the very helpful arrangements of Marty Manning in a program of strong and RECORD CRITICS seductive songs (Love Is Here To .Stay, BROADCASTS The Very Thought of You. Tinte After WRITE EVERY MONTH Time), Horton proves to have a singing FOR YOU style that is a valid mixture of intimac. IN and virility. His knowledgeable way with with a a microphone allows hint to treat these songs easily. and he is just enough of a 00000'000H ham to shake off the woodenness that often hampers a baritone with a pop COMPREHENSIVE CLASSICAL REVIEWS FINCO song. AWARD -WINNING FM Antenna

JAll AND SWING REVIEWS Sheila: "The Yé Yé Girl." Philips 200144, $3.98 (LP); 600144, $4.98 * (SD). Model FM 4 MUSIC FROM STAGE AND SCREEN $24.90 List Sheila is France's entry in the teen- age rock 'n' roll scramble. Unlike most * of her competitors on either side of the EQUIPMENT TESTS AND REPORTS World's Most Complete Atlantic, however, she manages to em- ploy the customary trademarks of the line of HI -FI Phased style without the usual monotony. She accomplishes this feat partly by the O00OOOOQ lovely lilt in her voice (which is oc- ANNUAL SUBSCRIPTION $5 casionally edged by just a touch of the cry one heard in Edith Piaf), and partly 379 KENTON ROAD, KENTON, by her good fortune in having varied THE FINNEY COMPANY and relatively unhackneyed accompani- HARROW, MIDDLESEX, ENGLAND 34 W. Interstate St. Belford, Ohio ment. I suspect that Sheila will be shed- WRITE FOR FREE SPECIMEN COPY ding the teen -age trappings very quickly: Dept. HF CIRCLE 38 ON READER -SERVICE CARD CIRCLE 35 ON READER- SERVICE CARD DECEMBER 1964 .N I

www.americanradiohistory.com even in the present context a ringing cording is, at lest, only adequate; it personality glows through, and it will fails to project the sense of style so im- soon outgrow so limited a musical fad. portant in carrying a work of this type. Bob Wright's Prince Dando is sturdy "The Merry Widow." Patrice Munsel, and full- bodied, but there is little color Bob Wright. RCA Victor LOC 1094, or real vitality in his singing; and $4.98 (LP); LSO 1094, $5.98 (SD). Patrice Munsel takes a bravura approach At this late date, there is no point in she cannot always live up to. There is, raising one's eyebrow at the choice of too, a disturbing conflict in recording The Merry Widow as one of the two approaches- Wright is heard in a productions to inaugurate the first sea- close -up, microphone- boosted technique son of the New York State Music which lends a casual, almost pop air Theatre at Lincoln Center. The record - to his style, while Miss Munsel stands breaking box -office receipts indicated back and cuts loose. Still, there is no its popularity. Yet one cannot help won- denying the captivating charm of Lehár's dering why it seemed worthwhile to re- music, and some of it conies through. cord the Lehár score once more. This re- JOHN S. WILSON

CIPHER VII: a 4 -track stereo recorder with detachable speakers and 2 dynamic microphones; tape speeds 71/2, 33/4 and I7/9 ips; 2 VU meters; automatic shutoff: plays horizontally or vertically; $274.95. (Also available as the VII -D deck.) My Fair Lady This is Revisited one of the

YET ANOTHER RECORD has been broken Much of the credit for the success of amazing by My Fair Lady: it is now repre- the Broadway version must go to con- sented by an unprecedented total of ductor Franz Allers, who drew from four original cast versions -those of both the singers and the musicians per- Cipher tape Broadway (Columbia monophonic OL formances that were clean, precise, and 5090), London (Columbia stereo OS tremendously alive. He achieved an inter- 2015), the Mexico City cast singing action between cast and orchestra that recorders the show (in Spanish, as Mi Bella Dama, contributed immensely to an excitement Columbia WL 155), and now that of that is missing in the other versions. the new film production (Columbia Meantime, the premiere of the film from Japan. KOL 8000; KOS 2600). What's more, has brought on an epidemic of recorded Rex Harrison and Stanley Holloway treatments of the songs that ought to are heard on all editions but the Spanish. please every taste or lack of taste. Nat Of the two English- speaking stage ver- King Cole tries to sing them with a sions, only the London (1959) was touch of Rex Harrison's style and suc- recorded in stereo; the 1956 Broadway ceeds only in sounding stilted (Capitol Don't wait opening predated the technique. W 2117; SW 2117). Andy Williams A comparison of the three MFLs in oozes into them as though they were English leads one to the unhesitating pop songs, and blurs the characteriza- conclusion that the original Broadway tions involved (Columbia 2205; 9005). for those version remains far and away the best Shelly Manne and André Previn, who of the lot. Rex Harrison, though never were two -thirds of a trio which made less than polished, sounds hurried in a very successful jazz disc of the score expensive spots on both the London and Holly- back in 1956, are at it again -but wood discs, and misses nuances of tim- separately: Previn's piano variations have ing that were extraordinarily effective more substance this time (Columbia imitations. on Broadway. Stanley Holloway, who 2195; 8995), but Manne is involved with began his Fair Lady career with great a tasteless and limited singer named lustiness on Broadway, pales a bit as Jack Sheldon who manages to reduce he skims the surface of the songs in the songs to utter banality (Capitol London, and ages perceptibly to a less 2173; S 2173). Ferrante and Teicher have vital old gaffer in Hollywood. And the given the score a big, sweeping two - role of Eliza Doolittle, so emotionally pianos- with -orchestra treatment (United warm and vocally appealing in Julie Artists 3361; 6361); Percy Faith offers orchestral arrangements Your Cipher dealer will be glad to give Andrews' New York and London per- some capable you the full story. Or write Inter -Mark formances, is not matched in either (Columbia reissue CL 895; CS 9004): and Corporation, 29 West 36th Street, New respect by the visual Audrey Hepburn Sammy Kaye plays it in an easy dance York, N.Y. 10018. In Canada: Inter -Mark (on the screen) or the audible Marni tempo (Harmony reissue 7321). There Electronics Ltd., 298 Bridgeland Ave., Nixon (whose singing voice is dubbed is even a discreet rock 'n' roll version Toronto 12, Ont. on the sound track). An added handicap by The Gallants (Capitol 2134; T 2134), to the film recording is the fact that and a big -beat vocal ensemble attack it catches Harrison's voice with a harsh, by the Kirby Stone Four (Warner Bros. metallic edge, and causes all the solo- 1556; S 1556) which rides roughshod CIPHER ists to fade in volume occasionally. over everything. J.S.W. CIRCLE 47 ON READER -SERVICE CARD MAGAZINE 112 HIGH FIDELITY

www.americanradiohistory.com Some plain talk from Eastman Kodak about tape: base characteristics, surface smoothness and sound brilliance.

Visualize a roll of sandpaper t/.t -inch AC ripple superimposed on the DC DUROL 0 wide. Now thread it into your tape motion of the tape, if we may be allowed recorder and run it awhile. Devastating an electronic metaphor. The result is thought? Sure is. Some poorly made the generation of sidebands that de- tapes seem just about like that. Here's stroy the timbre of the music. Lubrica- TRIACÉTATE

the story: Iron oxide is actually liarder tion does effectively control the gen- DIACETATE than many types of sand. And each eration of these sidebands. Trouble particle of this destructively liard ma- with sidebands is that they peak way terial can exert thousands of pounds up. Lubrication also suppresses the of pressure, cutting a recorder head peaks while reducing friction. brutally. Luckily, that sort of thing can't happen here. We incorporate our lubricants into the magnetic o to 20 coating. And we lubricate ELONGATION, °I And for two good reasons. The first the base as well. In that way, all bets The above is our "R- type" binder. This resinous are covered. You might have noticed chart shows what happens when you material has a number of unique ad- from time to time how some tapes simulate tough rewind conditions. vantages. It covers each particle of iron smear their lubricants all over your Tape was put under sudden oxide thoroughly. It can be critically equipment. Because our lubricants are stress until it snapped. The end of the controlled, and coated to a glass -like stable, you'll never get that sort of curve is the breaking point. Note that smoothness. No other binder can be "gunking" from a Kodak tape. the Durol base samples are 40% handled like our "R- type" binder. This stronger than the conventional acetates. How much permanent stretch remains means that Kodak tape gives you a A dilemma: smoother, more friction after breaking is known as residual -free surface to Polyester or Acetate? begin with. elongation. With Durol base tape this is less than 2 %, while conventional We take this super -smooth surface Base materials have their problems too. acetates average 8 -10%. This means and to make certain that They must not stretch, or sound dis- your recorder that Durol base tapes can be spliced heads 'will get tortion will result. They must be strong tender treatment, we with virtually no loss in recorded ma- take the extra precaution of lubricat- so that they won't break. But they terial. Next time let's dig a bit further must be "short" enough to break ing the entire thickness of the binder. clean into general tape technology. without necking down and losing re- A lubricant must lubricate, corded material. They must be supple but not too well. enough to be head- clinging but not so floppy they behave like wet spaghetti. Here are the requirements. Tape must Basically, two different materials are SOUND RECORDING TAPE slip over heads (and pressure pads if used in tape bases. Acetate and your recorder has them) , but there polyester. These two materials are so must be no slippage at all over the cap- different that they are used for entirely stan, otherwise constant speed will different applications and do give us suffer. The ideal lubricant has a com- sufficient versatility to solve most base bination of characteristics that allows problems. it to glide friction -free (relatively, of Polyester is a really tough material. course) in certain places and hold fast It is a first choice when it comes and not slip at all in others. Designing to superior strength in thin coatings such KODAK lubricants that give this sort ofperform- Choose Sound Recording Tape, as IA mil materials. Where really long Type 31A, for all general -purpose ap- ance is difficult. After a few thousand play is needed, polyester is the ticket. plications. Choose tries, we hit it and got some big rewards Type 34A wherever Acetate is a different in terms of performance. story altogether. high output characteristics are called Especially our unique type of acetate for. For long -play applications choose For example : The length of tape from which we have named Durol. Durol new Type 12P -so thin you get 3600 idler to capstan, is not just in forward base is outstanding in its yield feet on a 7 -inch reel! KODAK Sound motion. It is in longitudinal vibration strength and elasticity characteristics. Recording Tapes are available at all as well. About 3000 CPS in some re- Under emergency loads it will break normal tape outlets -electronic supply corders, maybe 5000 or 6000 CPS in clean with virtually no permanent stores, camera stores, specialty shops others. This acts as a sort ofinechanical deformation. ... everywhere. ®Eastman Kodak Company, MCMLXI

EASTMAN KODAK COMPANY, Rochester, N.Y. CIRCLE 30 ON READER -SERVICE CARD DECEMBER 1964 113

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www.americanradiohistory.com "Virgil Fox Plays the John Wanamaker taste) much more favorably than those in as a straight pops- repertory soloist touted Organ, Philadelphia." Command CC the earlier program. This in itself - as "He's the King! " What's more, he 11025, $5.98 (SD). quite apart from the tripartite localization has produced a whole series of best-selling "The Mighty Pipe Organ." Richard and over -all sonic luminosity -is enough releases. And give Al Hirt due credit: Ellsasser, John Hays Hammond Mu- to account for one of Light's most dis- he hasn't been changed by such triumphs seum organ. Kapp KT 1404, $3.98 tinctive triumphs to date, one in which or by the present honor of costarring (LP). the fifty -man assembly of virtuoso in- with Arthur Fiedler and the Boston Pops Do you have an apartment lease to strumentalists achieves several genuine Orchestra; his style is as slapdash as break, or a mammoth speaker system of symphonic -pops masterpieces: the Tom ever, his bravura improvisations just as unexplored capabilities? For either pur- Iones main theme and Love Theme, cliché- ridden, and his tonal qualities pose there are ideal materials in these Mondo Cane No. 2, It Had To Be To- just as pinched in the higher registers, recitals on two of the largest -and night, 1 Could Have Danced All Night, just as vulgarly flatulent elsewhere. loudest-American pipe organs. What among others. Most of the present program is ap- listeners can expect on the Command propriately devoted to uninhibited mu- disc is candidly proclaimed by the jacket "Film Spectacular." Vol. 2. London sical sideshow displays (including such notes: "Virgil Fox has always ... stood Festival Chorus and Orchestra, Stanley old -time Bostonian tearjerkers as the for the virile performance of 'red - Black, cond. London LL 3327, $4.98 Jacchia arrangement of Eili, Eili and blooded' organ music." And on Kapp, (LP); ST 44031, $5.98 (SD) -For a Jungnickel's of The Lost Chord), but "the listener can be guaranteed a concert review of this recording, see "The Tape there is one bold essay in art music too: of awesome splendor. The entire building Deck," p. 126. the Haydn Trumpet Concerto -which seems to vibrate with titanic sound ...." doesn't daunt (or restrain) Hirt in Well, the music itself is red -blooded, "Fireworks!" Philadelphia Orchestra, the slightest. The recording itself is all right, but with the exception of Fox's Eugene Ormandy, cond. Columbia MS super -Dynagroove with what sounds to Vierne Carillon and Mulet Byzantine 6624, $5.98 (SD). me like lots of artificially contrived re- Sketch, all of it has been arranged from This dazzling demonstration spectacular verberation behind the mike -crowding such symphonic orchestral warhorses as by Ormandy is surely as energetic and soloist. If it weren't for a single dis- the Elgar Pomp and Circumstance No. 1 shatteringly melodramatic as any in ex- arming example of the primordial Hirtian (in both programs); Fox's Tristan Love - istence. The pieces are all warhorses "effectiveness" in Java, I'd have to nomi- death and Parsifal Good Friday fanfares, (Ride of the Valkyries and Lohengrin nate this program as an ideal candidate the Fauré Shylock Nocturne, plus the Act III Prelude, Samson et Dalila Bac- for enshrinement in some phonographic organist's own monstrous inflation of the chanale, Snow Maiden Dance of the Tum- museum chamber of horrors. originally simple Bach song Kommn blers, Peer Gynt In the Hall of the Moun- siisser Tod; Elisasser's Great Gate at Kiev tain King, Khachaturian Sabre Dance, "Ravel/ Borodin Program." Ravel's Bo- from the Mussorgsky Pictures, Samson et Kabalevsky Comedians Galop, etc.), lero and Borodin's Polovtsian Dances Dalila Bacchanale, Bartered Bride Dance banged out with extroverted enthusiasm from Prince Igor. London Festival of the Comedians, plus the strictly pops and brash vehemence. But while most of Chorus and Orchestra, Stanley Black, Phantom Regiment by Leroy Anderson the materials can withstand such stren- cond. London SPC 21003, $5.98 (SD) and March of the Siamese Children by uous galvanization well enough, the ap- -For a review of this recording, see Richard Rodgers. proach is simply graceless and tiresomely "The Tape Deck," p. 126. So it's only sound qualities that are noisy when applied to the normally meaningful here. In the Kapp release, charming Sorcerer's Apprentice by Du- "Broadway Marches." Fennell Symphonic the sonics are thick, gusty, and blaring - kas. The recording itself is so phenomenal Winds. Frederick Fennell, cond. Mer- yet lacking in true depth and authentic- for sheer vividness and biting power that cury SR 90290, $5.98 (SD). ity. Quite possibly the stereo edition, few listeners are likely to complain about This is Fennell's first recording since his which I haven't yet heard, is more the unbalanced direct- versus -reflected departure from Rochester and it is some- effective. The Command disc, on the sound ratio, or about the fact that sonics thing of a surprise: its dominant shaping other hand, is not only the most thun- like these are never heard in real life force proves to be less the personality of derously floor -shaking organ recording except right up on the orchestral stage the conductor than that of the arranger, I've yet to encounter but also one in itself. And even there I'm sure the John Krance. Working with familiar cur- which simply tremendous sonic weights celebrated Philadelphia tone would exude rent Broadway hit tunes, plus the peren- and palpabilities are achieved with as more warmth than it does here. nial Gershwin Strike Up the Band and much clarity as is possible for such mas- Wintergreen for President (and a min- sive sonorities. Properly reproduced, this " `Pops' Goes the Trumpet (Holiday for strel medley of his own devising), Krance disc has to be heard -and "felt " -to be Brass)." Al Hirt, trumpet; Boston Pops has provided what surely must be the believed. Orchestra, Arthur Fiedler, cond. RCA most elaborate, virtuosic, and zestful of Victor LSC 2729, $5.98 (SD). contemporary band scores -especially "Great Themes from Hit Films." Enoch Once upon a time there was a brawny, amusing and sophisticated in its frequent Light and His Orchestra. Command RS bearded Dixieland trumpeter who just saucy, yet always extremely apt, quotes 871, $5.98 (SD). wouldn't believe even so authoritative from well -known symphonic masterpieces. The second "Dimension -3" release con- an evaluation of his talents as that by For the rest, Fennell's old -time fans may firms the evidence of the first (June John S. Wilson in The Collector's Iazz be just a bit disappointed, not so much 1964) in indicating that Command's of 1958: "Hirt ... has a slapdash style in his customarily high- spirited readings latest technology succeeds remarkably that is effective in ensembles but unpre- as in the somewhat slapdash perform- well in locating centered sound sources as dictable on solos." Continuing to blow ances by the ensemble -presumably new- precisely as those well left or right. More just the way he always had on a variety ly organized. Mercury's ultratransparent importantly, though, the present arrange- of small labels, he somehow sold himself recording is a bit bodiless in stereo. ments reveal Lew Davies' skills (and to RCA Victor for exploitation primarily R. D. DARRELL

DECEMBER 1964 115

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CIRCLE 52 ON READER -SERVICE CARD 116 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com John Coltrane: "Coltrane's Sound." At- is some first -rate swinging on Terry by Tommy Newsom. Bill Holman, Joe lantic 1419, $4.98 (LP); SD 1419, Gibbs's Tippie, where the ease of both Lippman, and Gerald Wilson. Newsom, $5.98 (SD). "Crescent." Impulse 66, Gibbs and guitarist Kenny Burrell is an a relatively unheralded saxophonist and $4.98 (LP); S 66, $5.98 (SD). important element in giving the piece its arranger who was in the band that Good- Coltrane's predominant mood on both momentum. Charlie Mingus is repre- man took to the Soviet Union, writes these discs is reflective and brooding, sented by one of his revival -meeting in a manner reminiscent of Eddie an approach which gives more scope pieces, which involves a moaning vocal Sauter's when he worked for Goodman to his melodic qualities than was ever ensemble, a recitation by Mingus (who in the early Forties. (That was the permitted in his faster, driving pieces. manages to blur most of what he has to second and, in the view of some Good - He plays both tenor and soprano saxo- say), and some typically Mingusian in- manites, the finest flowering of the band. phone in a haunting, singing style that strumental mutterings and climaxes. The Its success was due largely to Sauter's is sometimes exotic (in Equinox on At- other selections -by Count Basie and a arrangements and to the finesse and lantic), sometimes remarkably fresh and small group, and by Shirley Scott, John imagination with which Goodman him- airy (Central Park West on the same Coltrane, Clark Terry, and McCoy Tyner self was playing then.) Goodman can disc), and sometimes warm and prob- -do not match the pieces mentioned still return successfully to the Sauter ing (Wise One on Impulse). Even in above, but they have their moments. style, and he does it particularly well the more strongly stated selections he on a Newsom original, La Boehm, and exhibits less blatancy than in the past, Buddy De Franco -Tommy Gumina: on an arrangement of People. He is less and he shows a capacity for a flowing "The Girl from Ipanema." Mercury interesting when he tries to reach back development of lines -even when they 20900, $3.98 (LP); 60900, $4.98 (SD). to his King -of -Swing days on the Hender- are broken by runs, pauses, and cries The clarinet /accordion combination of son arrangements. Still, the arrange- (Crescent on the Impulse disc). He still Buddy De Franco and Tommy Gumina ments hold up remarkably well. They has a tendency to go on and on, how- has become one of the most consistent swing strongly, and are in striking con- ever. Even though most of these pieces and rewarding pairings in contemporary trast to the work of the other arrangers are short by his standards (running from jazz. The dark, exotic colors in ensemble on this disc -arrangers who (unlike three to eleven minutes), his solos and passages (particularly those with the im- Newsom) have often been called on to those of pianist McCoy Tyner seem posing "organ" effects produced by provide big -band orchestrations during needlessly extended. Gumina) are used with fascinating effect the past decade. Compared to the work all through the disc. Most of the selec- of Henderson and Newsom. theirs is "The Definitive Jazz Scene, Vol. 1." tions, ranging from the current Girl stodgy and lifeless, lacking either the Impulse 99, $4.98 (LP); S 99, $5.98 from Ipanema to the standard Round open sweep of the former or the delicate (SD). About Midnight are moderately paced, balance of the latter or the easy swing Although this is a collection of previ- and the two musicians prefer to work of either. There's obviously plenty of ously unreleased performances from a together rather than to take off on life left in Goodman, particularly when variety of recording sessions, it is by individual solos. The result is a succes- playing sympathetic arrangements. no means a ragbag of leftover odds and sion of beautifully formed, reflective ends. Included are two brilliant -and performances that are quite distinctive Glen Gray and the Casa Loma Orches- almost diametrically opposed- perform- in tone and character. Two exceptions tra: "Sounds of the Great Bands in ances by Coleman Hawkins. One is a to this pattern are pieces which show Latin, Vol. 9." Capitol 2131, $3.98 beautifully simple and direct develop- off Gumina's virtuosity, one of which (LP); S 2131, $4.98 (SD). ment of Solitude, with Duke Ellington (Lunar Lunacy) contains an unaccom- Glen Gray is dead and the Casa Loma backing him on piano; Ray Nance sets panied solo that is both incredible and Orchestra was broken up long, long ago, a mellow, relaxed atmosphere on violin exhausting. but both names are being kept alive on before Hawkins' entrance, and then this series of discs started by Gray moves in behind him to carry the melody Benny Goodman: "Hello Benny!" Cap- several years ago. It was through this while Hawkins works around it. On the itol 2157, $3.98 (LP); S 2157, $4.98 series that he, in turn, kept alive the second piece, Hawkins is backed by a (SD). arrangements and styles of the big -band superb rhythm section (Hank Jones, Although this disc is made up of recent era. A survivor of the Casa Loma days piano; George Duvivier, bass; Shelly recordings, it offers both an interesting is Larry Wagner, an arranger who Manne, drums) as he roars through retrospective view of Benny Goodman worked with Gray on earlier discs in the Avalon with a swinging drive which is and some clarification of the big -band series; it is he who conducts most of almost overpowering -a drive amplified dilemma of recent years. It includes the selections here. He also writes some by the rhythm section and carried out three arrangements by Fletcher Hender- of the arrangements, though many of in an excellent solo by Duvivier. There son never before recorded (Great Day, them are the famous standards played is additional superior saxophone playing The Lamp Is Low, and Then: There by Glenn Miller (A String of Pearls), in Ben Webster's treatment of Single Eyes), all in that classic early -Goodman Harry James (The Mole), Woody Her- Petal of a Rose, a performance full of style which Henderson established. There man (Early Autumn), Benny Goodman graceful Websterian phrasing. And there are also arrangements of current tunes (King Porter Stomp), Artie Shaw (Star

DECEMBER 1964 117

www.americanradiohistory.com Dust), Gray (Casa Loma Stomp), and Wells, the trombonist). There are un- others set over a sinuous Latin rhythm. familiar group names behind which lie -FI The blending is very attractive in most familiar talents -the Get Happy Band HI cases, and frequently brings fresh sparkle with Sidney Bechet taking some glorious are to be found at your EICO distributor who to that offers you a wide selection of professional qual- selections have begun to wilt soprano saxophone breaks; the Gulf ity EICO high fidelity equipment. Buy it through overfamiliarity. The re- creations, Coast Seven with a lusty Jimmie Harri- in semi -kit form to save money and at the like those on earlier discs in this series, same time become familiar enough with it to son trombone solo and Willie "The service it yourself. Or, you can still save money capture the feeling of the originals re- Lion" Smith at the piano; Te Roy Wil- by buying factory-wired EICO products with the markably well. assurance you are getting the best Hi -Fi value liams' orchestra, a very Hendersonian at any price. Complete EICO line of tuners, group with Rex Stewart on cornet; Leroy amplifiers,speakers and tape recorders headed Billie Holiday: "A Rare Live Record- Tibbs's Connie's Inn Orchestra with Ed by the new solid state 3566 FM -MPX automatic stereo tuner/amplifier. ing." RIC 2001, $4.98 (LP). Cuffee playing a rich, languorous trom- These performances, taped while Billie bone; Johnny Dunn's band with Jelly Holiday was working at the Storyville Roll Morton at the piano, and Dunn Club in Boston (presumably in the early showing the trumpet style that made 1950s), are a valuable addition to the him the top player in New York until Holiday discography, for they present Louis Armstrong showed up. And, of 3566 SOLID STATE FM MPX AUTOMATIC her in a far more favorable light than course, there are the big names-Fletcher STEREO TUNER /AMPLIFIER. do most the recordings released Henderson, Bessie Smith, Louis Arm- Finest all- transistor kit value, equal to $500 -600 of dur- class instruments. Kit comes with pre -wired and ing the last decade of her life. The strong, Duke Ellington (recording as prealigned RF, IF & MPX circuit boards plus quality of the recorded sound is not Mills Ten Blackberries), Fats Waller in transistor sockets. Outstanding 2 UV IHF sen- particularly good, but the ear adjusts a 1931 demonstration of the sly vocal sitivity, automatic FM stereo -mono switching, - muting, 40 db FM stereo separation. Total 66 and when it does one hears the latter - and piano styles he capitalized on later watts IHF music power, only $229.95 semi -kit day artist in excellent form. This is not, in the Thirties, Cab Calloway, Claude (recommended to beginners!); optional walnut Hopkins, Chick Webb, Billie Holiday, cabinet $14.95 -also $349.95 factory wired in- of course, the blithe young singer with cluding cabinet. the easy, flexible voice who recorded Teddy Wilson (with his short -lived big in the 1930s. The voice is rough and band), Jimmie Lunceford, and previ- weathered. It sometimes moves towards ously unissued discs by the big bands goals that it cannot quite achieve. But of Benny Carter and Cootie Williams. Miss Holiday uses it with artistry, with It was a wonderfully fertile musical understanding of its limitations, and with period, and the flavor implicit in these a knowledgeable appreciation of the ways recordings is amplified by George to get around those limitations. She is Hoefer's unusually painstaking and de- gentle but very moving on I Loves You, tailed annotation (which includes, as 2536 FM MPX STEREO TUNER /AMPLIFIER Porgy; more directly dramatic but equal- a bonus, a unique descriptive and illus- combines a superb -FM -MPX stereo tuner ly moving on My Man; bright and trated list of the Harlem jazz spots from with a virtually distortion -free 36 -watt stereo amplifier. Kit $154.95, wired $209.95. solidly swinging on Ain't Nobody's Busi- the 1920s to the present). The set is a ness If I Do and Them There Eyes. model of reportage through records, and ST 70 70-watt integrated stereo amplifier kit $99.95, wired $149.95. The program is made up of songs that it is a thorough credit to everyone in- have been closely associated with her: volved in its production. Lover Mat, Strange Fruit, I Corer the Waterfront, Miss Brown to You. Yet Hank Jones: "This Is Ragtime Now!" it is unusual to hear them in perform- ABC Paramount 496, $3.98 (LP); ances of the Fifties, as most of them S 496, $4.98 (SD). came into her repertory much earlier. Jones is an accomplished and highly ST 40 40 -watt integrated stereo amplifier kit The accompanying pianist, uncredited, versatile pianist whose association with $79.95, wired $129.95. is particularly helpful. jazz has usually been on the modern side. This is his first venture into rag- ST97 FM /MPX STEREO TUNER Ultra -sensitive tuner for use with external stereo amplifier. "Jazz Odyssey: The Sound of Harlem, time, and he has done remarkably well Kit only $99.95, wired $149:95. Vol. 3." Columbia C3L 33, $11.98 despite the handicap of a tack -hammer (Three LP). piano used on one side of the disc to Having gathered representative record- create the tinkly sound of commercial ings of jazz in New Orleans and Chicago ragtime, and despite the unnecessary in the 1920s and 1930s in his first two addition of accompanying drums. On collections, Frank Driggs's "Jazz Odys- an undoctored grand piano, though fight- sey" has moved on to Harlem. This is ing the thump and clump of the drum- an astonishing collection, which under- mer, he presents some very attractive scores the bubbling musical activity char- performances of Sensation Rag, Ragtime acteristic of Harlem during these two Nightingale, The Cannonball, Content- decades. A remarkable number of rec- ment Rag, and two of his own composi- 12 -watt Hi -Fi system HF90A FM tuner, kit $44.95, tions of which, Bag o' Rags, shows wired $69.95. HF12A amplifier, kit, $39.95 wired ords have been dug out of the darker -one $59.95. BOTH for only $84.90 kit, $119.90 wired. corners of Columbia's vaults, many rep- how deeply he has become immersed in resenting work by performers who have this archaic style. Jones plays at the RP -100 solid state moderate tempo apparently favored by 4 -track stereo tape fallen into obscurity. But the over -all recorder deck Top pro- level of the music is distinctly higher ragtime composers, and in his hands it fessional quality and Chi- is easy to see how this relaxed pace 3 -motor drive 3 high than that in the New Orleans performance heads. Kit cago sets. Some fall into the classification helps achieve the lilting grace so basic only $299.95, wired and so charming in this music. $450. of vaudeville entertainment, but seemingly everything heard in Harlem had a strong element of jazz in it. And so Jacques Loussier Trio: "Play Bach. Vol. the blues shouters Mamie London 3365, $3.98 (LP); 365, EICO Electronic Instrument Co. Inc. there are 4." 131.01 39th Avenue, Flushing, N.Y. 11352 Smith and Edith Wilson, the high- voiced $4.98 (SD). Gertrude Saunders of Shuffle Along, the The fourth volume of this trio's jazz Send new 1965 catalog featuring 11F -12 more than 230 EICO products softer, smoother voices of Ethel Waters variations on Bach differs from the and Alberta Hunter, Buck and Bubbles, others in that Loussier plays the organ Name Coot Grant and Kid Sox Wilson, and a in addition to the piano -an arrange- Address delightful kazoo band called Dicky ment which necessitates double tracking, Shammers (the name is as the instruments are heard simul- City Zip Stete Wells's Shim Add 5, in Vies!. not to be confused with that of Dicky taneously. The two tracks have been CIRCLE 31 ON READER -SERVICE CARD 118 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com skillfully mixed and balanced. and the organ gives the group a sturdy founda- FOR CHRISTMAS? KOSS STEREOPHONES! Non lacking previously. (And incidentally, it lends the performances an aura of authenticity.) The general pattern of the five selections -three chorale prel- (T-'1 received a set of (-"I have been given (."Santa brought us udes plus the Fantasy and Fugue in Koss Stereo headphones a pair of your a set of Koss G minor and the overture from Cantata for Christmas and Stereophones for Stereophones for No. 28- places the organ in a straight immediately realized Christmas. I cannot Christmas. If you never role while the trio develops jazz varia- they are the answer to remember when heard recorded tions around it. There are more pos- a dream I've had for anything has met with stereophonic music via sibilities for variety in this setup than over 30 years. They such enthusiasm in our headphones, you are fulfilled a need that has Loussier a house. My son, who is a real belcre, and it gives decided been gnawing at me due for listening advantage over the Swingle Singers. For a serious oboe student, experience, With all since I first played my those who have a limitless capacity for grandmother's Victrola listened to several extraneous noise jazz variations on Bach. this disc should and sat with my head disks and remarked blocked out, your skull he quite satisfying. But it seems to me inside the horn. 'until now we had not becomes the living the time has come to give Johann Se- They so delighted my been hearing stereo'." room, or concert hall. bastian a rest. wife (who doesn't The sound is fantastic." particularly care for Otto J. Svejda New Buffalo, Michigan T. music) that I had to Harold Flartey "1.a Storia del Jazz. ": "The Blues " :: buy her a pair or go Dover. N. J. "Traditional Jazz"; "Swing ": "Modern " without mine. A RCA Victor 10041 '44, $4.98 each musician friend of mine (Four LP). bought two pair as The basis of this four -disc history of soon as he heard mine. Thanks again for jazz appears to be a set of twelve records. developing Koss distributed through American supermar- Stereophones they're kets several years ago. called "The RCA great and my Victor Encyclopedia of Recorded Jazz." landlord is pretty This was a collection of varying quality glad I have them too." drawn from the Victor files: its basic Fred J. Dehler merit was that it included a lot of Brooklyn, New York material not reissued before then on l_P. The editors of this Italian compila- tion have chosen fairly judiciously from that earlier set. and have filled out their survey with other -and often better - selections. The "Traditional Jazz" and "Swing" discs have drawn most heavily on the Encyclopedia. The first covers the Original Dixieland Jazz Band, Louis Armstrong. Red Nichols. Jelly Roll Morton, and Muggsy Spanier. among others (mostly recorded in the '20s and '30s); the second is a predominantly big -hand set ( Ellington, Lunceford, Moten, Henderson, Goodman, Basie. Shaw), with small -group representation from Fats Waller, Lionel Hampton. John Kirby. Johnny Hodges. and the Goodman Trio. Both are sound and solid discs. although almost everything on them has appeared at some time on microgroove. The "Modern" and "Blues" sets venture into less worked - over territory. Victor. until recently. has been woefully weak on modern jazz. and this attempt to assemble a representative disc from the company's catalogue reflects this weakness. Parker. Gillespie. Tristano. Garner. and Bud Powell are here. but- except for Gil- lespie -not heard under particularly favorable conditions. All things considered, the "Blues" disc is the most interesting of the lot: it is not. as such collections are apt to he, devoted entirely to vocalists. It presents Sleepy John Estes. Jimmy Witherspoon, Louis KOSS PRO -4 STEREOPHONES $45.00 Armstrong, Maxine Sullivan. Helen Humes, and Lee Wiley side by side with instrumental blues by Morton. Oliver. Bechet, Mezz Mezzrow, Ellington, Arm- also manufacturers of famous Itek O -Kut turntables strong. and Red Norvo. This mixture provides an unusually broad view of KOSS REK-O-KUT the blues. through a variety of tempos and styles running from the primitive Estes to the highly sophisticated Miss 2227 NORTH 31st STREET Wiley. Jortry S. WII.soN MILWAUKEE 8, WISCONSIN o CIRCLE 50 ON READER -SERVICE CARD

DECEMBER 1964 I 19

www.americanradiohistory.com now you can use a triple play tape... without loss of output

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Triple play recording tapes require thinner oxide coat- on Soundcraft Triple Play Tape. Write for literature. ings. Ordinarily, tapes with thinner coatings lose output or volume. This is not so with Reeves Soundcraft Triple TYPICAL RECORDING TIMES PER T' REEL. Play Tape! A special magnetically active oxide coating 17/8 IPS 71/2 IPS on the durable DuPont Mylar base does it! Extra output is at least 5 db more than other Mono single track 6 hrs. 24 min. 1 hr. 36 min. built into the coating ... dual track 12 hrs. 48 min. 3 hrs. 12 min. triple play tapes! Even when you splice Soundcraft four track 25 hrs. 36 min. 6 hrs. 24 min.

Triple Play with quality standard play tapes, you won't Stereo dual track 6 hrs. 24 min. 1 hr. 36 min. hear any change in playback level between the two! A four track 12 hrs. 48 min. 3 hrs. 12 min. 7" reel of Soundcraft Triple Play contains 3600 feet of tope ... gives you triple the playing time of a reel of FOR YOUR VERY SPECIAL RECORDINGS TRY standard tape. REEVES GOLDEN TONE -the world's most impress- If you want the convenience of greatly extended ive tape ... for the discerning ear and most exacting recording time without sacrifice in performance, insist equipment. REEVES SOUNDCRAFT 1. DIVISION OF REEVES INDUSTRIES INC Main Office: Danbury, Connecticut New York Chicago Los Angeles Export: C.B.S. International, N.Y.C. Canadian Reps: Vancouver Toronto U.N. Reps. Soundcraft Magnetic Ltd. CIRCLE 63 ON READER -SERVICE CARD 120 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com by R. D. DARRELL

The following reviews are of 4 -track realistic sound and stereo effects as back to 1958 in mono and to 1960 in 7.5 -ips stereo tapes in normal reel form. genuinely contribute to the dramatic ac- stereo, but in the present immaculately tion and atmosphere. Happily too, the processed taping it still sounds completely BRITTEN: Peter Grimes present tape processing is admirably satisfactory. quiet- surfaced and free from preëchoes. The most publicized aspect of Ives Claire Watson (s). Ellen Orford; Peter -as the pioneering experimenter who Pears (t), Grimes; Owen Brannigan (bs), anticipated many of the revolutionary Swallow; et al.; Chorus and Orchestra GROFE: Grand Canyon Suite tonal devices usually credited to Stra- of the Royal Opera House (Covent Gar- vinsky, Schoenberg, and others -is best den), Benjamin Britten, cond. New York Philharmonic, Leonard Bern- revealed in the New England triptych, LONDON LOR 90083. Two reels: ap- stein, cond. with its impressionistic /primitivistic evo- prox. 75 and 67 min. $21.95. COLUMBIA MQ 639. 33 min. $7.95. cations of landscape and atmosphere. Indeed, the bitonal clashes of two criss- The success of the War Requiem has un- Long since discouraged with the vulgar crossing marching bands in Putnam's doubtedly prompted the belated tape treatment so often accorded Grofé's now Camp provides irrefutable evidence of transfer of the Peter Grimes recording sadly aging tonal travelogue, I was de- Ives's premature mastery of the poten- which won such enthusiastic praise when lighted to discover that Bernstein takes tialities of stereo. This is an extraor- it appeared on stereo discs in 1959-60. the naïvely depictive score quite seri- dinary work beyond any doubt. Yet The opera, which first established Brit - ously, and performs it with straight- despite the fact that it is so much more ten's fame, is all the more welcome to forward expressiveness and evident relish. novel (and so much more discussed) the 4 -track reel repertory in that the And he is recorded with striking trans- than the Third Symphony, it is the latter composer has been so scantily repre- parency and vividness. (The simul- work -wondrously taut, intricate, and sented heretofore. Yet it remains doubt- taneously released stereo disc edition is eloquent -which to my mind is the more ful whether the music itself can ever win modulated at a considerably higher level rewarding. Subtitled The Camp Meeting, so appreciative an audience in this coun- and is perhaps just a shade more glitter- most of its melodic materials are drawn try as it has long enjoyed in England. ing in its stratospheric highs; the tape from old -time hymns, interwoven with Personally, I suspect that Peter Grimes version, however, has a more natural imaginative sublety and endowed with is less likely to appeal to orthodox opera spectrum balance and better all -round a poignance to be approached later by fans than to symphony fanciers (thanks sonic authenticity.) Of course, not even the Copland of Appalachian Spring. In to its superb seascape and storm evoca- Bernstein at his best can make a musical short, here is a real essential to every tions). Yet any of the former who are silk purse out of what remains aestheti- serious tape collection! adventurous enough to explore the un- cally a sow's ear; but his Grand Canyon familiar will discover some extraordi- Suite at least sounds far pleasanter and narily intricate ensemble scenes here, less contrived in this recorded perform- MOZART: Symphony No. 36, in C, some magnetically appealing choral pas- ance than in any other except the little - K. 425 ( "Linz "); Serenade for sages and, if no conventional arias. at known Fjelstad /Oslo Philharmonic tap- Strings, No. I3, in G, K. 525 ( "Eine least very their moving modern equiva- ing for Camden. kleine Nachtmusik "); March No. l , lents in Ellen's lyrical "Embroidery" air, in C, K. 408 Peter's eloquent soliloquy "The Great Bear and the Pleiades," and his haunting IVES: Symphony No. 3, in B flat; Vienna Philharmonic Orchestra, Ist an "What harbor shelters peace ?" Surely Three Places in Neu, England Kertesz, cond. there will be a considerable -though mi- LONDON LCL 80146. 45 min. $7.95. nority- segment of the American audi- Eastman- Rochester Symphony Orchestra, ence whose affection as well as admira- Howard Hanson, cond. The extraordinary engineering qualities tion will be won by this genuine, if MERCURY STC 90149. 39 min. $7.95. which Nathan Broder praised in the disc flawed modern masterpiece. edition of this program (last September) The performance. starring Peter Pears It is to the shame of the tape medium are no less enticingly evident in its quiet - in the title role which was created for that the music of Charles Ives has been surfaced, if not entirely preëcho -free him, is well -nigh ideal, and the record- so long unrepresented in the 4 -track tape processing. And since the Viennese ing remains one of the outstanding tri- repertory. Mercury fills part of the players have seldom demonstrated their umphs of English Decca soundstage tech- lamentable gap by this transfer of what famous tonal glow more Persuasively, nology. It is notable particularly for its has long been acclaimed one of the discreet but always telling use of such finest of all Ives disc recordings. It dates Continued on next page

DECEMBER 1964 121

www.americanradiohistory.com THE TAPE DECK

Continuer/ from preceding page

the aural attractions here are irresistible in themselves and completely true to concert -hall sound at its best. Young Kertesz too is at the top of his form in performances which combine his familiar exuberant vitality with a new sense of mature authority. His Linz is so deliciously Mozartean in both its Even if the new conception and execution that I doubt whether its many- faceted appeals can Uher 8000 by Martel be fully matched even by the widely acclaimed Jochum /Philips version. The did not have the exclusive Dia-Pilot" it latter, however, is more reasonably would be a great tape recorder. coupled with another symphony (the still Prague), whereas Kertesz's reel is filled Why? Because only the Uher 8000 offers: out with the familiar Kleine Nachtmusik, plus a hitherto untaped but scarcely very machine records you stop "Akustomat" -you simply speak and the ... consequential little March in C. On the speaking and machine stops. No wasted tape. Fully transistorized, 4 speeds other hand, there is nothing routine -4 heads -4 track stereo -4 track mono with built -in mixer control for about these performances, which are both channels; synchronous sound with sound recording, multiplay sound marked by a delectable clarity in inner - on sound, plus echo effects; automatic end of reel shut -off; Console sound voice details and stereogenic antiphonies. -featuring two built -in speakers for perfect separation or can be used as a tape deck ... and the exclusive Dia- Pilot *, a built -in impulse transmitter for fully automatic control of slide projectors and animated displays. TCHAIKOVSKY: Symphony No. 4, ira F minor, Op. 36 No wonder Audio Magazine reported, "... practically any use that can be imagined is possible with the Uher 8000 by Martel." Pittsburgh Symphony Orchestra, William Steinberg, cond. dealer or write for complete See and hear the Uher 8000 Martel at your COMMAND 11021. 41 min. $7.95. literature.

City:1199 Broadway If no Tchaikovsky Fourth taping to date MARTEL ELECTRONICS Chsc goe111412Merchand et Man Plazark has been completely satisfactory, Stein - berg's at least boasts more merits than any of the others. Interpretatively, it is CIRCLE 55 ON READER -SERVICE CARD directly competitive with Monteux's straightforward reading for RCA Victor rather than with the more passionate but also far more idiosyncratic Bernstein /Co- lumbia version. Steinberg is notably less tense than Monteux, however, and his over -all conception of the work is better proportioned and integrated than Bern - stein's. If the listener is never swept completely off his feet (a deed which perhaps d only the fabulous Koussevitzky at the height of his powers could accomplish), HOW FAR WRONG CAN YOU GO FOR $1 A YEAR! at least he is made vividly aware that none of the work's dramatic values is Eager to sell, buy or swap used high fidelity speakers, slighted -nor, for that matter, is any de- amplifiers, cartridges, turntables, tuners, records, etc.? tail of the scoring. Above all. Steinberg Turn to our monthly bulletin: The BUY- SELL -or- enjoys the advantages of decisively supe- SWAP NEWSLETTER. rior recording, characterized by more ex- pansiveness and auditorium authenticity If you want to SELL -classified listings of used equip- that Monteux's, by more luminous trans- cost $1 per ad 30 words ment and records only -limit parency than Bernstein's. This well - including name and address. No dealer ads accepted. processed tape ranks in every respect If you want to BUY -lots of bargains offered in the with the best previous releases in Com- 50 or more ads that appear here every month. Sub- mand's outstanding Pittsburgh series. scription price: only $1 a year!

` Greatest Hits." The Swingle If you're audio -minded, how far wrong can you go for Bach's Singers. Philips PTC 600097, 33 min., $1? Fill in and mail the form below today! $7.95. It's too bad that the tape transfer of HIGH FIDELITY, Dept. CE Enclosed is my payment for $ this novelty program has lagged so far Great Barrington, Mass. Insert the following 30 -word adver- behind the hullabaloo raised by its ap- Start my subscription to your BSS tisement (including name and address) in pearance on discs. But to anyone who Newsletter with the next issue. (Only $1) the next issue of the BSS Newsletter. hasn't heard it before (and is too young (Type or print plainly.) ($1) to remember some comparable vocal- Name izations by the German "Comedian Harmonists" of two or three decades Address ago), it will be great fun -and at its best a perceptive italicization of the innate City State zest in much of Bach's fugal writing. A

122 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com little of this saucy horseplay goes a long way, to be sure, but I for one have no patience with any sourpuss purists who denounce it for 'jazzing up the classics." Actually, the Swingiers' readings are quite straight as far as the scores are concerned: the only mildly jazz elements are the light, extremely catchy rhythm section accompaniments and the use of scat- singing syllabications. Not surprisingly, the livelier pieces (such as the fast and florid Fugue in D from Volume I of the Well- Tempered Clavier) are generally the most effective, but one notable A studio control room where the exception is the haunting fugue in the programmes are passed through a QUAD control unit for special bal - same key from Volume II. The lucidity ancinc. of the performances themselves is well matched by that of notably transparent stereoism, beautifully captured in quiet - surfaced tape processing.

"The Best of Mancini." Orchestra, Henry Mancini, cond. RCA Victor FTP 1195, 32 min., $7.95. "The Concert Sound of Henry Mancini." Orchestra, Henry Mancini, cond. RCA BRITISH Victor FTP 1271, 43 min., $7.95. The first of these is an anthology drawn from earlier programs of Mancini TV BROADCASTING and film themes, ranging from the Peter Quality Check Room. Programmes Gunn of 1958 to the Charade of 1963; originating from abroad are here In Britain and many leading and almost every piece in it reminds one passed through a QUAD control unit anew of the composer- arranger -conduc- and power amplifier where they are European countries several thou- filtered and balanced for optimum sands of QUAD products help tor's inexhaustible imaginative skills. For quality prior to transmission. to listeners unacquainted with Mancini's provide the best in broadcasting scores (if indeed there are any such to- and recording. This same equip- day!), this is an ideal introduction; to ment is used in many more his old friends it will be a delightful reminder of the genuine staying power of thousands of homes where people his best works. listen to music. The other reel, though an equally good example of tape processing, is an only Ask for full details of the QUAD range, too frank venture into outright commer- cialization. The robust Dynagroove recording is scarcely faithful to the very large ensemble's tonal qualities, or to that of the piano, either. Much worse, though, is the pervading conventionality in both the arrangements and perform- Off the air monitoring. QUAD tuners provide a continuous check on trans- ances of four long medleys devoted re- mission. spectively to Academy Award, Victor Young, David Rose, and Mancini hit tunes. There's some effective mood music here and lots of extremely rich orchestral sound (replete with the inevitable lush strings and Tchaikovskyan French -horn obbligatos), but little of the Q true Mancini. for the closest approach "Chansons Américaines." Les Djinns Singers. ABC Paramount ATC 837, to the original sound 33 min., $7.95. If there has been any listener in the past so stonyhearted as to resist the naïve charms of these sixty young French The Quality Monitor room. QUAD used for a final check on the overall girls singing their typical native folk and quality of British Broadcasting. Photographs by kind co- operation of the British Broadcast ng Corporation pop -song repertories, he must surely succumb to the present performances of American favorites. I don't know why Oland l'amour est entré should be more disarming than When Love . and in Walked In, your own THE ACOUSTICAL or Joue cì jorre than Cheek to Cheek, or home, too, Ftn tée aux vetrr than Smoke Gets In QUAD for MANUFACTURING Your Eyes when sung so in- the closest -but, approach genuously and accompanied so gracefully, to the CO. LTD. the French versions transcend the origi- original nals. A truly delightful reel. sound. Huntingdon, England.

Continued on page 126 CIRCLE 3 ON READER -SERVICE CARD DECEMBER 1964 123

www.americanradiohistory.com General Index, 1964

Feature Articles Listed by Author

Anderson, John. A Portfolio of Stereo Décor. Feb., Salzman, Eric. Music from the Electronic Universe. p. 38. Aug., p. 54. Salzman, Eric. Portrait of Robert Craft. July, p. 24. Berger, Ivan B. Microphones Make the Difference. Aug., Smith, Patrick J. Everyman's Guide to Discmanship. p. 47. Oct., p. 17. Breuer, Robert. A Case of Hard -earned Bread: Richard Smith, Patrick J. Lulu, Daphne, and an Uncertain Sky: Strauss's tours in America. June, p. 42. opera at Santa Fe. Nov., p. 68. Brummell, O. B. The Sound of Saudade: Portugal's Smith, Patrick J. The Paradox of "Late Strauss" I: fado. Oct., p. 106. Sweetness, Serenity, Sentiment .... June, p. 36. Buckwalter, Len. A Guide to Stereo Shelving. June, Sterling. Albert. Distortion -the Eternal Enigma. Sept., p. 50. p. 50. Sterling, Albert. Headphones Up to Date. Apr., p. 52. Cuenod, Hugues. Remembrances of an Enchantress: Stevens, Denis. A Soupçon of Vibrato. Jan., p. 53. Mary Garden. July, p. 36. Stevens, Denis. The Struggle for Perfection: conductors' rehearsals on record. Oct., p. 80. Darrell, R. D. Organs Without Pipes. July, p. 27. Darrell, R. D. Stereo Reference Shelf. Dec., p. 53. Tebbel, John. The Hardy Independent: Vanguard Rec- Downes, Edward. The House That Wagner Built: Bay- ords. Feb., p. 46. reuth Festspielhaus. Feb., p. 49. Weaver, William. Franco Zeffirelli. Mar., p. 30. Eisenberg, Norman. New Products. Oct., p. 101. Weaver, William. Mr. Handel Slept Here Too: a mu- Eisenberg, Norman. The Pros and Cons of Wideband sical ramble in Rome. Apr., p. 47. Response. May, p. 39. Williamson, Audrey. The Dramatic Accent: the sing- Eisenberg, Norman. Tape Up to Date. Aug., p. 42. ing- actor. Mar., p. 53. Wilson, John S. A Kook from Madagascar: Barbra Fleming, Shirley. The Case of the Disappearing Strings: Streisand. May, p. 43. the shortage of orchestral string players. Sept., p. 42. Fleming, Shirley. A Change of Chairs: an interview with & Leonard Burkat and Roger Hall. Jan., a r men Listed by Title p. 28. Feature Articles Greenfield, Edward. The Art of Maria Callas. Mar., Anything But a Box -new trends in speaker design p. 42. (Picture spread with text). Dec., p. 60. Greenfield, Edward. The Method and Manner of Elisa- The Art of Maria Callas. Mar., p. 42. beth Schwarzkopf. Nov., p. 60. Bartók on Stage. Nov., p. 74. 111. Haber, Leo. Let's Play A & R Man. Dec., p. 63. A Budget for Stereo. Oct., p. Hart, Philip. Reiner in Chicago. Apr., p. 42. earned Bread: Richard Strauss's tours Helm, Everett. Bartók on Stage. Nov., p. 74. A Case of Hard- The Universal Musician: Paul Hindemith. in America. June, p. 42. Helm, Everett. Disappearing Strings: the shortage of 36. The Case of the May, p. Sept., p. 42. Heyworth, Peter. Shostakovich Without Ideology. Oct., orchestral string players. of Chairs: an interview with a & r men p. 96. A Change Leonard Burkat and Roger Hall. Jan., p. 28. H. C. Robbins. Gloria in excelsis Deo: The Landon, Enigma. Sept.. p. 50. Dec., p. 56. Distortion -the Eternal Haydn Masses. the singing- actor. Mar., p. 53. Landowska, Wanda. From the Landowska Notebooks. The Dramatic Accent: Dec., p. 48. and a Joy ": Bruno Walter at work. Jan., Lawrence, Robert. A Reprieve for Massenet. Mar., p. 47. "An Education p. 40. Oct., p. 17. Marcus, Leonard. FM on the Threshold. Nov., p. 65. Everyman's Guide to Discmanship. R. The Paradox of "Late Strauss" II: Marek, George and composers. July, Pose, Pretense, Pomposity .... June, p. 39. Fie Upon Freud!: psychoanalysis Marsh, Robert C. The Heritage of Bruno Walter: a p. 31. Nov.. p. 65. discography. Jan.. p. 44. FM on the Threshold. Joseph. Thrust, Dust, and Friction: record Franco Zeffirelli. Mar.. p. 30. Marshall, from discs to tape. Mar., wear. Jan., p. 49. From 78 to 7.5: dubbing Myron A. Sound for Your Screen. Aug., p. 51. p. 50. Matzkin, Dec., p. 48. McClure. John T. "An Education and a Joy ": Bruno From the Landowska Notebooks. Walter at work. Jan.. p. 40. The Haydn Masses. Dec., p. 56. Edward F. A Budget for Stereo. Oct.. p. 111. Gloria in excelsis Deo: McIntyre. June, p. 50. Moor, Paul. Munich and Its (Sometimes) Favorite Son: A Guide to Stereo Shelving. Richard Strauss and his native city. June, p. 46. The Hardy Independent: Vanguard Records. Feb., p. 46. Conrad L. From 78 to 7.5: dubbing from discs Headphones Up to Date. Apr., p. 52. Osborne, Jan., to tape. Mar., p. 50. The Heritage of Bruno Walter: a discography. p. 44. Pirie, Peter J. Fie Upon Freud!: psychoanalysis and The House That Wagner Built: Bayreuth Festspielhaus. composers. July, p. 31. Feb.. p. 49. 136 Rich, Alan. Wilhelm Furtwängler. Sept., p. 47. Continued on page

HIGH FIDELITY MAGAZINE 130

www.americanradiohistory.com This Christmas Shopping Guide is designed to make your Holiday gift buying easy ... use it to make your gift selections. You will find something for each and every music listener on your Christmas list. Your favorite high fidelity or record shop is the best place for filling every Christmas stocking.

CHRISTMAS SHOPPING GUIDE

Fisher XP -5 Free -Piston Speaker Sys- Fisher 600T, 110 -Watt Transistorized Fisher 75 Custom Module. 30 -Watt tem. 38 cps to beyond audibility. 8" Stereo Multiplex FM Receiver with ex- Transistorized Stereo Master Control Woofer; 21/2" Tweeter. Crossover at clusive Stereo Beacon and Golden Amplifier; Garrard 4 -spd Auto Turn- 2000 cps. Impedance: 8 ohms. Size: Synchrode front -end. Wide -band solid table; 2 detachable Dual Speaker Sys- 10" x 20" x 9 ". Wgt.: 15 lbs. Fisher state IF strip; 5 IF stages; 5 limiters; tems. Walnut veneer case. Only 53 lbs. Radio Corp., 21 -21 44th Drive, L.I. d'Arsonval tuning meter. Fisher Radio Fisher Radio Corp., 21 -21 44th Drive, City, N.Y. (1) Corp., 21 -21 44th Drive, L.I. City, L.I. City, N.Y. (3) New York. (2)

Fisher 50 Portable. 30 -Watt Transistor- Fisher 500 -C 75 -Watt Stereo Multiplex Fisher KX -100 StrataKit, 50-Watt Stereo ized Stereo Master Control. Amplifier; FM Receiver with Stereo Beacon, Master Audio Control- Amplifier. New Detachable 2 -way Speaker Systems; Golden Synchrode Front -End. 1.8 Micro- Novar type 7868 output tubes. Unique Garrard 4 -spd Auto Turntable. Durable volt sensitivity; 4 IF Stages; d'Arsonval assembly design eliminates all possi- Royalite carrying case. Only 35 lbs. Tuning Meter. Hvy -duty transformers; bility of error. 14 front-panel controls; Fisher Radio Corp., 21 -21 44th Drive, grain- oriented laminated steel cores. 10 tubes. Fisher Radio Corp., 21 -21 L.I. City, N.Y. (4) Fisher Radio Corp., 21 -21 44th Drive. 44th Drive, L.I. City, N.Y. (6) Long Island City, N.Y. (5)

Advertisement 131

www.americanradiohistory.com Girl 4 Deluxe Kit ME -99 Magnetic Bulk Tape Eraser. RB -88 Clean- Sweep. Camel -hair brush Gibson Stereo -for Clears entire reel in seconds without sweeps entire record tracking surface easy professional tape editing. Con- rewinding; removes unwanted signals; and grooves free of dust each revolu- tains splicer, tape, threader, clips, reduces background noise from 3 -6 db tion. Protects stylus; improves fidelity. head cleaner and lube, index labels below normal erase head level. Takes Pressure sensitive base for easy, se- and illustrated book on Tape Editing. up to 101/2" reel, l/" tape. $43.50. cure mount. Only $5.95. Robins In- . TK -8DLX. $16.75. Robins Industries Robins Industries Corp., Flushing 56, dustries Corporation, Flushing 56, N.Y. Corporation, Flushing 56, N.Y. (9) New York. (7) (8)

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Head- Complete Story in Thrilling Stereo HA -8 Stereo Headphones-adds per- Incomparable HA -10 Stereo reproduc- Sound ... enhanced by some of the fection to enjoyment. Selected as an phones. Features: Dynamic most startling realistic rain, thunder accessory by more hi -fi equipment ing element, boosted bass response; and and lightning ever captured on discs. manufacturers than any other head- combination noise attenuation cup harmonic 12" LP Stereomonic & Polymax. Order phones. Frequency: 20- 15,000 cps, cavity cup divider with direct: Mobile Fidelity Records, PO impedance: 8 ohms per phone. Only damper. $43.50. Sharpe Instruments, Box 336, Burbank, Cal.-or see your $24.50. Sharpe Instruments, Inc., 965 Inc. 965 Maryvale Drive, Buffalo, record dealer. $4.98 (13) Maryvale Drive, Buffalo, N.Y. (14) New York. (15)

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www.americanradiohistory.com Biggest bargain in Stereo Headphones! Decorator -designed for current fashion Unique new chain lamp- speaker com- CM -4 for only $14.50. Plug into TV, trends ... exciting new ceramic vase bines true elegant appearance with Hi -Fi or radio and enjoy sound in lamp- speaker. Handsome stoneware or flawless 360 sound. Styled to comple- silence. A must for thin -walled apart- glazed finish. 18" dia. translucent ment any room; in off -white and gold. ments or those who have lively chil- shade is electrostatic speaker, less From 50 to 30,000 cps. Acoustica dren. CM -4's are light, sturdy, safe. than 1/4" thick, radiates 360 sound. Associates, Inc., 5331 W. 104th St., Sharpe Instruments, Inc. Buffalo, Acoustica Assocs., Inc., 5331 W. Los Angeles, Cal. (18) New York. (16) 104th St., Los Angeles, Cal. (17)

Acoustica FM -AM -FM Stereo Receiver. All New "No- Noise" Tape -Reco Head R- Columbia type A headphcne . . . All transistorized tuner -amplifier. 50- Cleaner reduces residual noises; elim- superbly engineered and styled at a

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www.americanradiohistory.com Ramsey Lewis Trio w Strings Ahmad Jamal 'Naked City Theme' Johnny Nash 'Composer's Choice' 'Sound of Christmas' ARGO LP & LPS 733 ARGO LP & LPS 4038 ARGO LP & LPS 687X Jamals first new album in many One of America's best "pop" singers Since its release a few seasons ago. months and well worth the wait! In performing great tunes by great this album has become a Christmas this "live" recording. the pianist plays writers. Johnny Nash. through his spe- perennial. SOUNDS OF CHRISTMAS is with all the consummate skill and art- cial talents makes each tune his per- his performance a different kind of Christmas album- istry that earned him a large follow- sonal property and it swings! (27) ing. (25) the definite one. 1261

Records itt 110 Review

Ampex 2000 Series Stereo Tape Re- JBL Ranger- Paragon = D44000 Inte- Records in Review 1964 Edition, like Features: exclusive Auto grated Stereo Reproducer. Exclusive its eight predecessors, offers hun- corders. and reverse, dual capstan convex acoustic refractor panel creates dreds of illuminating records reviews threading spd.. auto full stereo regardless of listener's which have appeared in HIGH FIDEL- drive. no pressure pads, 3 -classical ex- lifters. solid state power supply and location. 351/4" h, 103 -58" w. 24 1 16" ITY. Classical and semi specs. Start at $439. Ampex d, in dk. mahogany, tawny walnut. oiled clusively. Hard cover. 539 pgs. $6.95. guaranteed Corp.. 2201 Landmeier Rd.. Elk Grove walnut or ebony. Net $2250. J. B. Wyeth Press. Great Barrington, Mass. III. (301 Lansing Sound. Inc. (28) Village.

"The Townsend," lowest priced quality From its award winning "66" series For the most demanding audiophile: turntable. oiled walnut base. brushed Weathers offers the K -66 turntable Weathers TP -2225 Professional T.T. light. Feather aluminum trim. walnut tone arm. Ad- with Feather Lite Deluxe Integrated with Auto Cut -off, Pilot justable for all recommended stylus Tone Arm and top rated "LDM" Stereo Lite DeLuxe lntrg. Tone Arm and Pro- with All - pressures. Speed: 3313 rpm. comb. Cartridge. Lightweight. low mass con- fessional Cartdg.. complete wow flutter - .065 °ó rumble: minus struction for which Weathers is fa- Transistor Polarizer Pre -Amp. $149.50. TelePro Ind.. Cherry 50 db. $59.95. By Weathers Div.. mous. $99.50. Weathers Div., TelePro Weathers Div.. (33) TelePro Ind., Cherry Hill. N.J. (31) Ind., Cherry Hill, N.J. (32) Hill, New Jersey.

134 Advertisement

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www.americanradiohistory.com GENERAL INDEX, 1964

Continued from page 130

A Kook from Madagascar: Barbra Strei- sand. May, p. 43.

A Last Look at Italy: Toscanini at his summer home. (Picture spread.) Apr., p. 57. Let's Play A & R Man. Dec., p. 63. Lulu, Daphne, and an Uncertain Sky: opera at Santa Fe. Nov., p. 68.

The Method and Manner of Elisabeth Superior Speaker. Trend setting cy- Scarlatti; 2 manuals: CC to ff. Lower Schwarzkopf. Nov., p. 60. lindrical shape, Leonhardt LH -190, keyboard 8', 4', lute, coupler; upper Microphones Make the Difference. Aug., p. 47. since 1960. Walnut with cane grille keyboard 8'. 64" long; wgt: 218 lbs. Mr. Handel Slept Here Too: a musical and brass trim $89.50. Chain hanging Suitable for large solo work. $2150 ramble in Rome. Apr., p. 47. kit for ceiling suspension, $12.50. in Elm or Walnut. Harpsichord & The Monte Carlo Opera. (Picture Leonhardt Engineering Company, 920 Baroque Insts., 453 N. Orange Grove spread.) Nov., p. 72. Ninth St., Rockford, III. (43) Ave., Los Angeles, Cal. (44) Munich and Its (Sometimes) Favorite Son: Richard Strauss and his native city. June, p. 46. Music from the Electronic Universe. Aug., p. 54.

New Products. Oct., p. 101.

Organs Without Pipes. July, p. 27.

The Paradox of "Late Strauss" I: Sweet- ness, Serenity, Sentiment .... June, p. 36. The Paradox of "Late Strauss" II: Pose, Pretense, Pomposity .. June, p. 39. A Portfolio of Stereo Décor. Feb., p. 38. Portrait of Robert Craft. July, p. 24. The Pros and Cons of Wideband Re- sponse. May, p. 39.

Md. 3000 Grommes President Line American Artist. Most widely circulated Reiner in Chicago. Apr., p. 42. 100% solid state stereo preamp /am- art magazine in the world. Enriches Remembrances of an Enchantress: Mary plifier. 120 -watt, 60 -watt per channel. understanding of the visual arts. Garden. July, p. 36. Freq. Response: 20- 20,000 cps at 50- Focuses on ideas, techniques and A Reprieve for Massenet. Mar., p. 47. watt; Distortion: Harmonic- 0.3% at methods in drawing, painting, design, 1000 cps, Intermodulation- 0.5% at sculpture, the drafts. Free announce- Shostakovich Without Ideology. Oct., p. 96. 50 -watt. $299.95. Grommes- Precision, ment card, 1 yr. $7. American Artist, Sound for Your Screen. Aug., p. 51. Franklin Park, III. (45) 2160 Patterson St., Cincinnati, Ohio The Sound of Saudade: Portugal's fado. Oct., p. 106. A Soupçon of Vibrato. Jan., p. 53. Stereo in a Suitcase. (Picture spread with text.) May, p. 46. Stereo Reference Shelf. Dec., p. 53. The Struggle for Perfection: conductors' rehearsals on record. Oct., p. 80. Mail this coupon now for 1 11 21 31 41 additional information on 2 12 22 32 42 Tape Recorder Guide. (Supplement.) any items featured in HIGH 3 13 23 33 43 Sept., p. 95. FIDELITY's Christmas Shop- 4 14 24 34 44 Tape Up to Date. Aug.. p. 42. ping Guide. Just circle the Thrust, Dust, and Friction: record wear. numbers corresponding to 5 15 25 35 45 Jan., p. 49. each item and mail to: 6 16 26 36 7 17 27 37 The Universal Musician: Paul Hinde- HIGH FIDELITY Magazine mith. May, p. 36. Publishing House 8 18 28 38 Great Barrington, Mass. 9 19 29 39 Wilhelm Furtwängler. Sept., p. 47. Dept. CSG 10 20 30 40

Name

Address

City State Zip

136 Advertisement

www.americanradiohistory.com Index of Equipment Reports, 1964 PURCHASING A HI-FI AMPLIFIERS (Basic) Orthophase Systems Dec., p. 69 Dynakit Stereo -35 Jan., p. 61 University Tri- Planar July, p. 44 SYSTEM? Fisher K -1000 (kit) June. p. 57 TRADE -INS OK -TIME PAYMENTS Harman -Kardon Citation TAPE RECORDERS AND DECKS Up to 2 years to pay! B (kit) Nov., p. 79 Ampex F -4460 Feb., p. 57 Altec Lansing Korting TR -3000 Mar., p. 59 Electrovoice AMPLIFIERS (Integrated) Revere M Cartridge Series July, 34 Send Us Jensen Hallicrafter p. USL Citizen Band Altec Three Sixty Oct., p. 117 Roberts 770 May, p. 52 Texas Crystals Dynakit SCA -35 May, p. 54 Sony /Superscope 500 Apr., p. 59 Internat'I Crystals 57 Sony /Superscope 600 p. Your List of University Heath AA -22 (kit) Sept., p. Sept., 59 Acoustic Research Leak Point -One Preamp; Tandberg 74 July, p. 45 Janszen Viking Stereo -60 Basic Feb., p. 55 Uher 8000 Aug., p. 61 Wharfedale United Audio Dual TG Components Concertone McIntosh MA 230 Dec., p. 67 Bell G.E. H. H. Scott 299D Mar., p. 57 12 SK Jan., p. 57 Weathers Viking 88 June, p. 55 Harman -Kardon For A Eico Pilot ARMS Sherwood' IMF "London" Summation TUNERS Crown Recorders` Fisher R -200 AM /FM/ Sup erscope (incl. cartridge) July, p. 43 Package Dual Changer* Rek -O -Kut S -340 May, p. 51 MPX Aug., 63 Bogen RCA Stanton 200 Oct., p. 120 Paco ST -55 FM /MPX (kit) Ma., p. 61 Dynakit Fisher H. H. Scott 4312 FM 'MPX Sept.. p. 55 H. H. Scott Leak' Quotation ECI Roberts CARTRIDGES De Wald National TUNER /AMPLIFIER UNITS AIREX WON'T Sony Challenger ADC Point 4 & 4/E p. Oct., 119 BE UNDERSOLD Browning Empire 880P Sept., p. 56 Bell 1000 Dec.. p. 70 Garrard Miracord Fairchild F -7 Apr., p. 61 Bogen RT -1000 July, p. 41 All nlerJinn(' ise Fisher 500 -C Feb., p. 59 is brand new, General Radio IMF "London" Summation July, p. 43 Rek -O -Kut Ortofon SPE /T Dec., p. 73 Harman- Kardon FA3OXK factory fresh & Polytronics Shure M44 -5 & V -15 (kit) Apr.. p. 64 guaranteed. Norelco Finco Aug., p. 65 Fairchild Kenwood KW -70 Visit our N. Y. Showroom. Stanton 48IAA Oct., p. 120 June, p. 58 Pickering Sonar Free cabinet brochure Sherwood S -7700 Jan., p. 59 ADC Cartridges 8 Hi -Fi Catalog MODULAR SYSTEM Audio Tape TURNTABLES Magnecord* Shure M -100 Nov., p. 81 AIREX Rockford Cabinets Rek -O -Kut R -34H May. p. 51 ADC Speakers KSC Speaker PREAMPLIFIER- Stanton 800B Oct., p. 120 CONTROL UNIT RADIO Systems* Acoustech IV (kit) Nov., p. 83 MISCELLANEOUS CORPORATION Fair Traded All- 85-HF Cortlandt St., N.Y. 7, WO 4-1820 SPEAKER SYSTEMS Channel Rembrandt Antenna Feb., p. 35 Electro -Voice Two & Six; Antronics Multitron CIRCLE 4 ON READER-SERVICE CARD 15TRX Speaker Apr., p. 62 Antenna Feb., p. 35 Fisher XP -10 & XP -5 Oct.. p. 121 Electro -Voice Sonocaster JansZen Z-600 Mar.. p. 59 Outdoor Speaker Aug., p. 37 Jensen TF -4 & X -11 Jan., p. 62 Fedtro Remote Control June, p. 32 KSC Systems KSC -1 May, p. 56 Rotron Fan Jan., p. 35

STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (Act of October 23, 1962; Section 4369, Title 39. United States Code). 1. Date of Filing: October 1, 1964. 2. Title of Publication: High Fidelity. 3. Frequency of Issue: Monthly. 4. Location of Known Office of Publication: Great Barrington, Massachusetts 01230. 5. Location of the Headquarters or General Business Offices of the Publisher: 2160 Street, Cincinnati, Ohio 45214. Patterson 6. Names and Addresses of Publisher, Editor, and Managing Editor: Publisher, Warren B. Syer, Great Barrington. Mass. Editor, Roland Gelatt, Bridgewater, Conn. Managing Great Barrington, Mass. Editor, Sue Severn, 7. Owner: The Billboard Publishing Company, 2160 Patterson Street, Cincinnati, Ohio; J. W. Ross Sr., Trustee, Fort Thomas, Ky.; R. S. Littleford Jr., Trustee U W Mariana W. Littleford, deceased, Port Washington, N. Y.; William D. Littleford, Custodian for Michael Littleford, Roslyn Estates, N. Y.; William D. Littleford, Littleford Custodian for Anne Littleford, Roslyn Estates. N. Y. R. S. Jr., Port Washington, N. Y.; Marian H. Littleford, Roslyn Estates, N. Y.; W. D. Littleford, Roslyn Estates, N. Y.; Jane L. Stegeman, Fort Thomas, Ky.; Marjorie L. FREE L. M. McHenry, Fort Thomas, Ky. Ross, Fort Thomas, Ky.; 8. Known Bondholders, Mortgagees, and Other Security Holders Owning or Holding 1 Per Cent or More of Total Amount of Bonds, Mortgages or Other Securities: None. 9. Paragraphs 7 and 8 include, in cases where the stockholder or security holder appears upon the books of the company as trustee or in any other fiduciary relation, the name of the person or corporation for whom such trustee is acting; alsc the statements in the two paragraphs show the affiant's full knowledge and belief as holders to the circumstances and conditions under which stock- and security holders who do not appear upon the books of the company as trustees, hold stock and securities in a capacity other than that of a bona fide owner. Names and addresses of individuals who are stockholders of a corporation which itself is a stockholder or holder of mortgages or other securities of the publishing bonds, corporation have been included in paragraphs 7 Fill in coupon for a FREE One Year Sub- and 8 when the interests of such individuals are equivalent to 1 per cent or more amount of the stock or securities of the total scription to OLSON ELECTRONICS' Fantas- of the publishing corporation. tic 10. This item must be Value Packed Catalog - Unheard of completed for all publications except those which do not carry adver- LOW, LOW PRICES on tising other than the Publisher's own and which are named in Sections 132.231, 132.232 and 132.233, Brand Name Postal Manual (Sections 4355a, 4355b and 4356 of Title 39, United States Code). Speakers, Changers, Tubes, Tools, Stereo Amps, Tuners, CB, Hi -Fi's, and thousands of other Electronic Values. Credit plan Average No. Copies available. Each Issue During Single Issue Nearest Preceding 12 Months to Filing Date NAME A. Total No. Copies Printed 149.659 149,400 ADDRESS B. Paid Circulation 1. 7'o term subscribers by mail, carrier delivery, CITY ZONE STATE or by other means. 106.164 106.065 2. Sales through agents, news dealers, or If you have a friend interested otherwise. in electronics 15.804 15,162 send his name and address for a FREE sub- C. Free Distribution by mail, carrier delivers, or by scription also. other means. 27.691 28,173 D. Total No. of Copies Distributed. 149.659 149.400 OLSON ELECTRONICS, INC. I certify that the statements made by me above are correct and complete, (Signed) John W. Ross, Secretary 320 S. Forge Street Akron, Ohio 44308 The Billboard Publishing Company CIRCLE 60 ON READER- SERVICE CARD DECEMBER 1964 137

www.americanradiohistory.com ADVERTISING INDEX

Why? Key No. Page No. Key No. Page No.

DO THOUSANDS OF HI -FI 1 .... Acoustech, Inc. 106 41 .... Heath Company 89 ENTHUSIASTS BUY FROM 2 .. Acoustic Research, Inc 11 42 ... Heath Company 91 3 .... Acoustical Manufacturing 43 ... Heath Company 93 AUDIO UNLIMITED Co., Ltd., The 123 44 .... Heath Company 95 4 ... Airex Radio Corp. 137 45 .. Hi- Fidelity Center 126 5 Altec Lansing 23-25 It's Obvious! ... Corp. .. 46 ... Hotel Governor Clinton . 111 6 81 LOWEST PRICES .. Angel Records .. 53 ... Hotel Leamington 129 FAST SERVICE 8. Audio Applications, FACTORY SEALED UNITS Inc. 12 47 .. Inter -Mark Corp. 1 1 2

FULLY INSURED SHIPMENTS 9 . Audio Devices, Inc. 33 UP TO 2 YEAR MANUFACTURERS' 10 .. Audio Dynamics Corp. 20 48 _ .. KLH Research and Development WARRANTY 11 Audio Originals 34 Corp... PACKAGE DEALS-SAVE MORE 38, 39, 41, 43 12 Audio Unlimited, Inc. . 138 FRANCHISED DISTRIBUTORS .... 50 .. Koss Electronics, Inc. 119 Your opportunity to win a VESPA SCOOTER-except where prohibited 13... Benjamin Electronic Sound Corp. 21 51 .. Lafayette Radio by state or local law. Electronics 22 Write today 14 .... Bogen Communications Division 14, 15 52... Lansing, James B., Inc. .. 116 Write for FREE Catalog Today 15 .. Bozak, R. T., Mfg. Co. 108 Sound, London Records 102 SEND US YOUR LIST 16 . British Industries Corp. 46 FOR OUR AIR MAIL 17 .... Cambridge Records, Inc. 100 54 ... Marantz 65 QUOTE TODAY 18 .. Carston Studios .. 129 55 .. _ Martel Electronics 122 Visit Our Showrocm and Warehouse 19 .... Chancellor Electronics, 56 .. McIntosh Laboratory, Inc. 16 Inc. 19 CI AUDIO unlimited, inc. Christmas Shopping 57... Mercury Records 100 -136 126 715 -F Second Ave. (Nr. 38) New York 16, N. Y Guide 131 58 Miller International Co. 3 blocks from the U.N. 20 ... Citadel Record Club .. 5 Minnesota Mining & Mfg. Co. 124, 125 21 .... Command Records .... 83 CIRCLE 12 ON READER- SERVICE CARD Mosley Inc. 127 22 .. Concertone 36 59 Electronics 137 23 Decca Records . . 103 60 Olson Electronics, Inc... NOW ...PERFECT FM 25 .... Deutsche Grammophon ELIMINATE Gesellschaft 74 61 Pickering Sc. Company, Inc. 2 26 - Dixie Hi -Fi 128 27. Dressner 129

FM 62 . Rabsons -57 St. Inc. 128 75 .. Dual 114 INTERFERENCE! 82 RCA Victor Records 79 28 ... Du Pont "Mylar" 6, 7 63 Reeves Soundcraft Div. 120 With the Sensational 29 - . Dynaco Inc. 104, 105 ra 64 Revere- Wollensak Div. 44, 45 Mew! FINCÓ 30 ... Eastman Kodak 66 Roberts Electronics 10 Company 113 FM BAND PASS FILTER 31 ... Eico Electronic 79 ... Sarkes Tarzian, Inc. 101 Instrument Co., Inc. 118 67 Scope Electronics Corp. 13 32 Electro- Voice, Inc. Cover III 100 .. Scott, H. H., Inc. 35, 37 33 .. Elpa Marketing 65 ... Sherwood Electronic Industries, Inc. 32 Laboratories, Inc. Cover IV 67 EMI, see Scope 68 Shure Brothers, Inc. ...8, 9 Electronics 69 ... Shure Brothers, Inc. - 66

108 . Empire Scientific ENGINEERED TO 70 .. Sonotone Corporation 85 Corp. 17, I S 71 Sound Reproduction, Inc. 126 34 .. Epic Records 100 Get only pure FM signals. Use a Stereo 1965 Edition .... 40 Finco FM Band Pass Filter to stop 72 ... Superscope, Inc. 30 interference and block out un- 35 Finney Company, wanted signals frcm T.V., Citizens The 111, 138

Band and Amateur transmitters, 37 ... - Fisher Radio Corp. 73 .. Tandberg of America, motors, autos and fluorescent Cover 11, 1, 27, 29 Inc. 97 lamps. Size: 41/4" x 2" x 11/2". 102 74 Ton Magazin 129 Available at your Finco Hi -Fi 36 .. Folkways Records ... dealer. Satisfaction guaranteed! 16 ... Garrard 46 75 .. United Audio 114 Model 3007 Only $6.95 List 38 .. Gramophone 111 76 University Loudspeakers 26 THE FINNEY COMPANY 80 .. Greentree Electronics 4 Records 99 34 W. Interstate St Bedford. Ohio 77 .... Vanguard 39 .. Harman- Kardon, Inc. 42 78 Viking of Minneapolis, 40 Heath Company 87 Inc. 28 CIRCLE 35 ON READER- SERVICE CARD HIGH FIDELITY MAGAZINE 1 38

www.americanradiohistory.com Which end of this popular hand tool is the handle?

(Pass this test and you've qualified to build any of these handsome Electro -Volee Pref inished Kits!)

Coronet 8' Speaker Systems $47 to $E2; KD9A 12" Enc osure $69.69; KD10 Equipment Console $86.88; KD6A 12" Corner Enclosure $65; E.V TWO KD 12" Acoustic Suspension Speaker System $101.25

)Do it yourself? Why not! We Most important, there's no "kit prefinished kit that fits your budget and e guarantee you'll be proud of what sound" either-not with genuine listening preference. (And if your answer you see and hear when you assemble Electro -Voice component speakers to our little test above was (B), ask your any E -V prefinished kit. inside these acoustically correct enclo- E -V dealer to help you choose one of our Instructions are clear, and simple as sures. No short cuts -no compromise factory -assembled speaker systems. 1, 2, 3. Every panel is pre -cut to fit with sound quality (after all, that's what He'll understand.) exactly,. And mitered corners are perfect high fidelity is all about)! (we give you nylon dowel pins, just to And don't overlook our new equip- ELECTRO- VOICE, INC. be sure). ment console. It matches the KD6A and Dept. 1244H, Buchanan, Michigan 49107 Even easier is the finish. It's done. KD9A exactly. Most popular equipment Every visible panel already has a rich will fit, and it blends handsomely with oiled walnut finish before you open the any decor. carton. No brushes or steel wool needed Don't put off better sound another -and no "kit look" to any E -V cabinet. day. Build it yourself with the new E -V acz SETTING NEW STANDARDS IN SOUND CIRCLE 312 ON READER -SERVICE CARD

www.americanradiohistory.com Should Sherwood's new solid -state amplifier be rated at 150 watts? ... 300 watts? ... or 100 watt

Audio power should be one of your major criteria of amplifier performance. The important thing is to use the same yardstick of comparison. Among responsible component manufacturers, the commonly- accepted expression of audio power today is "MUSIC POWER"- the amplifier's output capability across the full spectrum of orchestral sound. If you simply like to play with bigger numbers, multiply tin } MUSIC POWER by two ( the way some manufacturers do) WSherwooait c', glewoc; and you get "PEAK POWER ". It's exactly the same rating speaker but it looks twice as powerful. Each s system But the really important measurement is "CONTINUOUS watts material SINE -WAVE POWER" with both channels operating sign of simultaneously. This is the meaningful measurement, used u. achievnif1ee in laboratory work. It separates the wheat from the chaff. dente closed nance. Sherwood's new S -9000 delivers 150 watts of MUSIC sponse POWER ... 300 watts of PEAK POWER ... and 100 cps watts of CONTINUOUS SINE -WAVE POWER at less than 1/2% harmonic distortion. (At normal levels, distortion never exceeds 0.15% ) . Unequalled power - by any standard - is just one of the important engineering advances built into the new Sher- wood solid -state amplifiers. Here are some more :

Military -type Silicon Transistors. Used exclusively throughout Sherwood circuitry. Twice the heat -reliability of ordinary ger- rj manium transistors. Safe for even the most confined custom installations. Exclusive transistor short- circuit protection. (Pat. Pend.) New system virtually eliminates transistor failure or fuse replacement due to shorted speaker terminals or other improper operation. Additional features: Phono input noise less than -65db., with no microphonics or hum / Professional Baxandall tone controls / Tape monitoring and tape -head playback facilities / Stereo headphone jack with speaker disabling switch / Glass epoxy circuit boards / Compact size -14" x 4" x 121,2" deep.

sou ed1A4 AAtAVo. 5-VU0? 151) w77 tA.M/ 11., 4.1161 ti1ti,xWOOD M 'row -.0.4 ,o...w ' c

Model S -9000 / solid- state, integrated stereo amplifier $299.50 Also available in a 50 watt Music Power version as the Model S9500 / $179.' Walnut- grained leatherette cases for either model, $8.50 P.iceS siren

For complete specifications and new catalog, write Dept. H -12.

SHERWOOD ELECTRONIC LABORATORIES, INC., 4300 NORTH CALIFORNIA AVENUE, CHICAGO, ILLIIC1-

CIRCLE 65 ON READER -SERVICE CARD