High-Fidelity-1955-Nov.Pdf

November 60 cents

SIBELIUS AT 90 by Gerald Abraham

A SIBELIUS DISCOGRAPHY by Paul Affelder

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HIGH FIDELITY MAGAZINE

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T H E M A G A Z I O R M U S I C L I S T E N E R S

This Issue. Neither the late Premier Stalin Volume 5 Number 9 November 19 55 nor the late Field Marshal Baron Manner- heim had any special talents to constitute them musical taste, but in a arbiters of AUTHORitatively Speaking 5 sense they were. The ill -timed attack on Finland which Stalin launched in 1940 Letters 9 gave the music of Jean Sibelius a tremendous boost in popularity, at least in the Noted With Interest 19 United States. This popularity was short - lived, for when the Phony War gave way Swap -a- Record 26 to the Blitz, the Finnish army under Man - As the Editors See It nerheim lined up with the Germans. It did .. 33 so under duress, it is true, but nevertheless Sibelius at 9o, by Gerald Abraham 34 the result was an alienation of American The dean of twentieth- century composers is a straightforward affections. And the music of Sibelius large- man who lives simply, but there is an odd aspect to bis modesty. ly vanished from the concert repertoire. In his Sibelius discography, Paul Affelder ob- Aye Aye, Trovator!, by Gerald E. Martin 37 serves that the same effect can be perceived What is your reaction when the announcer discourses on Figaro's in the long- playing record repertoire. Many notch'', orMellisend's friends Pellius? major Sibelius works that were available on Take Pen in Hand by E. C. Wharfield shellacs are not available on microgroove. ..., 38 If you don't live near a metropolis, audio shopping by mail is an It is something that ought to be remedied, art you should master. for the music of the Finnish master is peculiarly effective on present day wide - Custom Installations ?, by Charles Rodrigues 40 range phonographs and records. A cartoon feature. Another American casualty, or almost, of World War II )was the dance band, jazz Bach to Brubeck ... and Back, by H. S. Rummell 42 and /or swing. There has been a renascence The jazz modernists have a vast and vocal following -but not of jazz and /or swing, but in different guise. quite everyone has joined it. Its followers today don't dance. They Muse in Search of a Racket, by Oliver Gilman couldn't, or they'd miss much of the point 45 A feat of whimsical whithering. of the music, which gets subtler and more complex all the time. Is this the path to Notes - Not Negotiable, by William J. Murdoch 46 eventual dessication? Among those who When you have a brilliant idea, always jot it down immediately! think so is Harry Rummell. See if you can follow him from Bach to Brubeck ... and Music Makers, by Roland Gelatt 49 Back. We'd like some opinions. Record Section 51 -87 Records in Review; Dialing Your Disks; Building Your Record CHARLES FOWLER, Publisher Library; A Sibelius Discography by Paul adder JOHN M. CONLY, Editor Microphones on Parade, Part II, by J. Gordon Holt 89 ROY H. HOOPES, JR., Managing Editor Tested in the Home 95 ROY F. ALLISON, Associate Editor Janssen Electrostatic Tweeter; Alter Lansing Control Preamplifier J. GORDON HOLT, Assistant Editor & Amplifier; Jensen Imperial Speaker System; Thorens Players Up- Dated; Electro-Voice Aristocrat Speaker Systems; Heath kit ROY LINDSTROM, Art Director WA -P2 Preamp & W -5M Amplifier; KAL Audette Speaker Miriam D. Manning, Editorial Assistant System; Bogen PR -zoo Audio Control; Vee -D -X Antenna Rotator; Bell Golden Twins Amplifier & Tuner. ROLAND GELATT, New York Editor Contributing Editors The Listener's Bookshelf, by R. D. Darrell 128 C. G. BURKE Audio Forum .. JAMES HINTON, JR. 135 CORA R. HOOPES Trader's Marketplace 139 ROBERT CHARLES MARSH MANSFIELD E. PICKETT, Director of Professional Directory 140 Sales Advertising FM Directory 141 WARREN B. SYER, Business Manager Index SEAVER B. BUCK, JR., Circulation Advertising 143 Director High Fidelity Magazine is published monthly by Audiocom, Inc., at Great Barrington, Mass. Telephone: Great Barrington 1900. Editorial publication, and circulation offices at: The Publishing House, Great Branch Offices (Advertising only): New York: Barrington, Mass. Subscriptions: $6.00 per year in the United States and Canada. Single copies: 60 cents Room 600, 6 East 39th Street. Telephone: each. Editorial contributions will be welcomed by the editor. Payment for articles accepted will be arranged Murray Hill 5 -6332. Fred C. Michalove, Eastern prior to publication. Unsolicited manuscripts should be accompanied by return postage. Entered as Manager. - Chicago: John R. Rutherford and Assoc- second -class matter April 27, 1951 at the post office at Great Barrington, Maas., under the act of March 3 iates, 230 East Ohio St., Chicago, Ill. Telephone: 1879. Additional entry st the post office, Pittsfield, Mass. Member Audit Bureau of Circulation. Printed Whitehall 4 -6715. -Los Angeles: 1052 West 6th in the U. S. A. by the Ben Franklin Press, Pittsfield, Maas. Copyright 1955 by Audiocom, Inc. The cover Street. Telephone: Madison 6 -1371. Edward Brand, design and contents of High Fidelity magazine are fully protected by copyrights and muet not be repro- West Coast Manager. duced in any manner.

NOVEMBER 1955 3

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www.americanradiohistory.com AUTHORitatively Speaking [NOW...ADD TAPE Had Gerald Abraham, author of "Sibelius at 9o," stayed with his original design for life, he probably now would be a music - to your hi -fi system! loving admiral instead of a musicologist with a fondness for the sea. (He spends his summers on the Isle of Wight.) His health forced him to abandon plans for a career with the Royal Navy and to make his chief pleasure his profession - music. He is now professor of Music at Liverpool University, consultant to the BBC, editor of Sound Supplement and the Musical Monthly Record, and widely considered the leading British authority on Russian music. However, there seem to be no national boundaries to his interests; to us he sounds remarkably authoritative on Finns, too.

E. C. Wharfield, known as "Chet' to his associates, has been with Allied Radio Cor- poration since 1946, when, as he says, high -fidelity amplifiers commonly had no tone controls. He sold home sound equipment from 1946 to 1949, then was promoted into broadcast and industrial sales, and became product manager in 1952. Since Allied was one of the first mail order electronics firms to discover the home hi -fi market, Wharfield probably knows as much about mail -order fidelity as anyone alive. He shares some of this knowledge with you on page 38.

H. S. Rummell, who blazes a trail from Bach to Brubeck and back on page 42, is a sales executive for a Utica manufacturing writings the 404 concern. His have appeared in many leading magazines, including this one, where he has discoursed earlier on the hazards of making one's own Yagi and the art of co- existing with Perry Como DAYSTROM (through the aid of a junior hi -fi rig). One guesses that his daughter now has is engineered to give highest shifted her allegiance from Como to Bru- beck and his progressive jazz compeers. quality sound at lowest cost As William Murdoch, the man who writes Now you can enhance the enjoyable hours with your "Hi -Fi" system himself notes, tells you on page 46, he by completing it with the greatest form of musical reproduction -true is a publicity man who free -lances on the high fidelity tape. And you can do it at a surprisingly low cost. side. He describes himself further as an The Daystrom CRESTWOOD 404- Tape Recorder alone, in its amateur musician and "minor league record price class, provides full "Hi -Fi" response (30 to 15,000 cycles at 7r/z collector," meaning, no doubt, that he inch tape speed), smoothest tape movement, freedom from vibration, hasn't as many records as he would like to the absolute minimum of wow and flutter (less than 0.3% at 7% inch have. Who has? tape speed) and two speeds (7% and 3g) for maximum versatility. Original sound quality is preserved by use of the finest components, Gerald Martin is a college instructor in and playback characteristics are not limited by a built -in amplifier. literature and languages (he's fairly good As a result, the full range of your "Hi -Fi" System is utilized. at Latin, Greek, French, German, Italian, Listen to the Daystrom CRESTWOOD 404 at your dealer's today. and Spanish, and passable at Japanese) Compare and let your ears tell you the difference! who asked us not to divulge his current whereabouts because it might identify and embarrass the FM good music stations he Audiophile Net Prices r takes to task on page 37. Model 404 with standard case . . $229.50 DAYSTROM ELECTRIC CORP. Model 404 less case $214.50 Dept. K20 and There is no such person as the Oliver Gil- Model 402 (companion power amplifier 753 Main Street, Poughkeepsie, N. Y. man whose name you will find on page extended range speaker) . . . $100.00 Please send me complete information (Prices slightly higher in Denver and west) 45, appended to a whimsy on ultra- on Daystrom CRESTWOOD Model 404. modern music. The real author is Richard DAYSTROM Would use in "Hi -Fi" System J Freedman, of Ithaca, N. Y., who is half of For use with 402 Amplifier and Speaker a team that used to collaborate under the Name of nearest CRESTWOOD dealer pen name of Oliver Gilman. The other Name half, Elliott Gilbert, plans to submit something soon, too, but under his own name, Street a so we will not have to repeat this explana- DAYSTROM ELECTRIC CORP. City statc- tion. POUGHKEEPSIE. N. Y. L

NOVEMBER 1955

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SIR: the I notice that Columbia has released "this Is Josef Hofmann Golden Jubilee disk without the Chopin A -flat Waltz, over high fidelity" which I waxed so lyrical in the Sep- tember issue of this magazine. May I in self- defense state that I worked the leading guide from test pressings much earlier this to an easy under- and that the A -flat Waltz was year, standing of Hi -Fi- among the music that Hofmann played? Cross my heart. I admit to plus the world's delirium after playing the music, but largest selection of not to the point where I was ready to home music systems go into a detailed analysis of a piece and components ... that wasn't there. Harold C. Schonberg New York, N. Y.

SIR: I enjoyed immensely the Copland Dis- cography by Mr. Berger in the July HIGH FIDELITY. I would like to note You'll want this invaluable guide to High that besides the two limited editions Fidelity. It shows you how to select a music released by Concert Hall (Piano Con- system or components at minimum cost. Tells certo and Danzon Cubano) Mr. Berger shows you you what to look for in each unit; illustrates mentioned, there is a limited edition in many handsome, practical installation ideas. 78 -rpm album in existence which I WHAT'S NEW Offers you the world's largest selection of com- happened to discover while rummag- Custom Music Systems plete systems and individual units from which ing through a used 78 -rpm album sale Amplifiers & Tuners to make your money- saving choice. To under- here in the city. It contains three rec- Speakers & Enclosures stand Hi -Fi, to own the very best for less, you'll ords; the first five sides are taken up Changers & Turntables want this valuable FREE book. Write today by the Violin Sonata performed by Cartridges & Pickups for copy. Louis Kaufman and Aaron Copland. Tape Recorders your I feel that this performance tops the Binaural Components Expert Hi -Fi Help: Our Hi -Fi consultants are other two available on today's market. High Fidelity Kits always available to help you select systems and Mr. Kaufman does a soulful perform- Custom Cabinets components to satisfy your listening desires at Hi -Fi Records & Books ance, one which I think tops the the lowest possible cost to you. Easy Terms Hi -Fi Accessories Fuchs -Smit performance. The sixth are available to fit your budget. side contains a work written in 1926: Nocturne, the first of Two Pieces for Violin and Piano. It is a quiet but in- RADIO l-ILM1k genius little piece which (as annotator ALLIED adl Moses Smith says) "is something between ... an American blues piece ALLIED RADIO CORP., Dept. 49 -L -5 and a Russian lullaby." The album is a 100 N. Western Ave., Chicago 80, III. nice collector's show -piece as it has the Send FREE 100 -Page ALLIED Hi -Fi Guide customary Concert Hall ,leatherette cover and bears signatures of the per- Name formers on the interior. Also, in my collection is the trio Address Vitebsk (1929) on a University of City_ _ Zone State Continued on page 12

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CALIFORNIA (continued) ALABAMA DISTRICT OF COLUMBIA MASSACHUSETTS MERPACO CRENSHAW HI -FI CENTER ELECTRONICS SHRADER SOUND, INC. CRAMER ELECTRONICS, INC. DIV. OF MERCANTILE PAPER CO. 3857-1 2 Santa Rosalia, Los Angeles 8 2803 M Street, N.W., Washington 7 811 Boylston St., Boston 138 -144 Commerce St., Montgomery 2 Phone: AXminister 4 -1110 Phone: Phone: 8341 ADams 4.4730 Phone: CO. 7 -4700 ELECTRONIC SERVICES 6941 -12 La Tijera Blvd., FLORIDA ARIZONA Los Angeles 56 Phone: ORch. 4 -4774 MICHIGAN AUDIO SPECIALISTS FIGART'S GRICE RADIO & ELECTRON. SUP., INC. AUDIO HOUSE, INC. SOUND UN -LTD. 300 E. Wright St., Pensacola 333 E. Camelback Rd., Phoenix 6320 Commodore Dr., 19771 Conant at St. Fair E., Sloat Phone: HEmlock 3 -4616 Phone: AMherst 5 -0447 Los Angeles 48 Phone: YO. 6218 Detroit 34 Phone: TWinbrook 3 -3358 HENRY K. L. A. LABORATORIES, INC. ELECTRICAL COMMUNICATION CO. RADIO GEORGIA 202 E. Fillmore, Phoenix 11240 W. Olympic Blvd., 7422 Woodward Ave., Detroit 2 Phone: ALpine 2 -8248 Los Angeles 64 Phone: BAKER FIDELITY CORP. Phone: TRinity 4 -1100 BRadshaw 2 -1440 ARizona 3 -0518 1140 Peachtree St., N.E., Atlanta R. L. KARNS ELECTRONICS Phone: EMerson 2156 CALIFORNIA MIDWAY ELECTRONIC SUPPLY 910 E. Fulton St., Grand Rapids 3 2817 Crenshaw Blvd., Phone: GL.8 -5869 AUDIO SHOP Los Angeles 16 Phone: REpublic 1 -2451 ILLINOIS 2497 Telegraph Ave., Berkeley 4 Phone: THornwall 5-7224 COAST ELECTRONIC SUPPLY CO. ALLIED RADIO CORPORATION MINNESOTA "STAIRWAY TO SOUND" 100 N. Western Ave., Chicago 80 AUDIO KING COMPANY BERKELEY CUSTOM ELECTRONICS 4166 Broadway, Oakland 11 Phone: HAymarket 1 -6800 Roosevelt at Bancroft, Berkeley Phone: OLympic 3 -7138 1827 E. Lake St., Minneapolis 7 ELECTRONIC EXPEDITERS Phone: PArkway 9 -7389 Phone: THornwall 3-4180 DOW RADIO THE HI-FI CENTER ECKCO SOUND EQUIPMENT GENE TAPIE 1759 E. Colorado St., Pasadena 4 2909 W. Devon Ave., Chicago 30 CO. -HIGH FIDELITY MART 116 N. Lyndale Ave., 120 Phone: RYan 1 -6683 SY. 3 -1196 Phone: RO. 4 -8640 Minneapolis 3 Broadway, Chico Phone: LIncoln 2414 Phone: FIreside 2 -8675 HIGH -FIDELITY HOUSE VOICE & VISION, INC. FLASH RADIO & 536 S. Fair Oaks Ave., Pasadena 1 Rush Ave. as Walton Pl., Chicago 11 TV SALES & SERVICE WHITE ENTERPRISES Phone: RYan 1 -8171 Phone: WHitehall 3-1166 423 S. 11th St., Minneapolis 6039 W. Washington Blvd., Phone: MA. 5555 Culver City Phone: DU. 9 -1719 SOUND SHOPPE 1910 16th St., Sacramento 14 IOWA TURNTABLE HI -FI Phone: Gllbert 3 -6660 WOODBURN SOUND SERVICE MISSOURI 116 W. Wilshire, Fullerton HAL COX'S CUSTOM MUSIC HOUSE 8 E. College St., Iowa City Phone: LAmbert 5 -0811 DAVID BEATTY HI FI SOUND & TV 2598 Lombard St., San Francisco Phone: 8 -0151 1616 Westport Rd., AUDIO Kansas City 11 VIDEO SERVICE Phone: WEst 1 -3134 Phone: JEfferson 3110 7518 Melrose, Hollywood 46 KANSAS Phone: WE. 3-7349 MONTCLAIR ELECTRONICS 12005 W. Pico Blvd., PHIL WOODBURY SOUND NEW JERSEY HOLLYWOOD ELECTRONICS W. Los Angeles 64 Phone: GR. 7 -0731 1103 Com'I, Emporia 7460 THE JABBERWOCK Melrose Ave., Hollywood 46 WHITTIER HI FI Phone: 20 Phone: WEbster 3 -8208 104 Somerset St., New Brunswick 1342 Carnell St., Whittier Phone: CHarter 9 -1900 PACIFIC HI FI HOUSE Phone: OXford 6 -4682 KENTUCKY JOHN J. 1320 Cahuenga Blvd., Hollywood 28 CASEY COMPANY J. M. HISLE AND ASSOCIATES 205 W. Engelwood Phone: H011ywood 2 -6767 Ave., Teaneck CONNECTICUT 405 -7 S. Upper St., Lexington Phone: TE 6-7761 DACKNEY ELECTRONICS DAVID DEAN SMITH Phone: 2 -7884 343 E. Market St., Long Beach 5 262 Elm St., New Haven NEW MEXICO Phone: 206 -491 Phone: UNiversity 5 -1101 LOUISIANA THE HI -FI HOUSE BUSHNELL ELECTRONICS METTLER PIANO SHOWROOM CUSTOM ELECTRONICS, INC. SOUND ENGINEERING i EQUIPMENT CO. 12026 Wilshire Blvd., Los Angeles 25 Westfair Center, Post Rd., Westport 813 Chartres St., New Orleans 16 3011 Monte Vista, NE, Albuquerque Phone: BRadshaw 2 -7537 Phone: Fairfield CLearwater 9 -8391 Phone: CAnal 4120 Phone: 5.1695 Free booklet of installation ideas available from

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Fleetwood models now on display at your dealers'. TV M Ask for a free demonstration soon. Notice the superb picture quality, audio outputs for playing through a hi fi system, and, of course, the fact that Fleetwood receivers are designed to install any- place you want them - in the wall, bookcase, room divider, or specially built cabinet. Get your copy of the free booklet, "A Fleeting Glance at Fleet- wood" for installation ideas. At your dealers' or write to the manufacturer. 9fEEfioocL Manufactured by C O N R A C. INC. J Department A Glendora. California

Export Division: Frazer d Hansen, Ltd., 301 Clay Street, San Francisco 11, Calif., U.S.A. Conrac is the Canadian name for Fleetwood television.

TEXAS (continued) NEW YORK OHIO (continued) PENNSYLVANIA WRYE CO., LTD. COMMERCIAL SOUND SYSTEMS, INC. AUDIO CRAFT CO. RADIO ELECTRIC SERVICE CO. 2915 Prospect Ave., Cleveland 15 HIGH FIDELITY SOUND STUDIO 2045 Welch at Shepherd, Houston 11 N. Pearl St., Albany 7 Phone: CHerry 1 -5560 709 Arch St., Philadelphia 6 Phone: JA 3 -7874 Phone: LOmbard 3 -7390 ADIRONDACK RADIO SUPPLY PIONEER ELECTRONIC SUPPLY CO. VIRGINIA 185 -191 W. Main St., Amsterdam 2115 Prospect Ave., Cleveland 15 TEN CATE ASSOCIATES INC. Phone: VI 2 -8350 Phone: SU. 1 -9410 6128 Morton St., Philadelphia 44 AUDIO CONSULTANTS, Phone: GErmantown 8 -5448 76 N. Glebe Rd., Arlington 3 HOUSE OF HI-FI RICHARD J. SAUER Phone: JAckson 5 -3355 CUSTOM ELECTRONICS, INC. 605 Plandome Rd., Manhasset, L. I. 9 1000 S. Main St., Dayton WASHINGTON Phone: MA 7 -1376 Phone: ADams 3158 TENNESSEE BLUFF CITY DISTRIBUTING CO. OLYMPIC ENGINEERING CO. ARROW AUDIO CENTER CUSTOM CLASSICS 1 234 East St., Memphis 2 2008 Westlake Ave., Seattle 65 Cortlandt St., New York 13421 Euclid Ave., E. Cleveland 12 Phone: 36 -4501 Phone: ELiot 4650 Phone: Dlgby 9 -4714 Phone: GL. 1 -4868 UNIVERSITY HI -FI SHOP HARVEY RADIO CO., INC. COUNTERPOINT 4111 University Way, Seattle 5 20971 TEXAS Phone: ME. 6000 103 W. 43rd St., New York 36 Westgate Shopping Center, Fairview Park 26 Phone: ED. 1 -6448 Phone: JUdson 2 -1500 MELODY SHOP WISCONSIN R. S. T. LABS 466 Pine St., Abilene LEONARD RADIO, INC. 14511 Rd., Maple Heights Phone: 4 -4848 THE AUDIO SHACK "AUDIO MART" Granger Phone: MOntrose 2 -3213 1208 Milwaukee Avenue, Janesville 69 Cortlandt St., New York 7 REEVES RADIO SUPPLY Phone: PLeasant 4 -7657 Phone: CO. 7 -0315 720 N. Stanton St., El Paso Phone: 3 -5752 THE HI -FI CENTER, INC. SUTTON AUDIO SYSTEMS OKLAHOMA 2630 No. Downer Ave., Milwaukee l l 970 First Ave., New York 22 HOME MUSIC ASSOCIATES, INC. Phone: WOodruff 4 -3344 RADIO SUPPLY, INC. 4518 N. Central Expressway, Dallas Phone: PL. 3-7224 N. 724 Hudson, Oklahoma City Phone: TAylor 1026 CANADA Phone: 2 -6128 TERMINAL RADIO CORP. CEntral TOWN NORTH MUSIC CORP. AVENUE RADIO & TELEVISION, INC. 85 Cortlandt St., New York 7 CUSTOM -CRAFT ELECTRONICS Lovers Lane, Dallas 9 4114 St. Catherine St., W., Montreal Phone: WOrth 4 -3311 5328 W. 1314 S. Peoria, Tulsa Phone: ELmhurst 6477 Phone: GLenview 6578 Phone: LUther 5 -5148 JERRY FINK CO. AUDIO ASSOCIATES PAYETTE RADIO LIMITED 644 Clinton Ave., S., Rochester 20 2804 Race St., Fort Worth 730 St. James St., W., Montreal 3 Phone: BRowning 3503 Phone: UN 6 -6681 OREGON Phone: Vlnewood 0260 PECK'S SEGEN ELECTRONICS SIGHT & SOUND CLIFFORD HERRING SOUND EQUIP. CO. E. Montreal 118 Glen Cove Rd., Roslyn Heights, 4325 S. W. 96 Ave., Beaverton W. Lancaster at Burnet Sts., Sherbrooke of Guy, Phone: F 1 -4685 L. I. Phone: ROslyn 3 -4950 Phone: MI 4 -6416 (Portland) Fort Worth 3 Phone: FO. 4877 TRUETT KIMZEY COMPANY JEAN PAUL GAGNON RADIO & TV W. G. BROWN SOUND EQUIP. CORP. HAWTHORNE ELECTRONICS 960 1st Ave., Quebec City E. St., Syracuse 2 700 S. E. Hawthorne Blvd., Portland 3515 W. Vickery, Ft. Worth 7 349 Onondaga Phone: 2 -1735 Phone: 2 -8979 Phone: FIlmore 9375 Phone: FAnnin 6145 ALPHA ARACON RADIO CO., LTD. L. D. HEATER MUSIC CO. GULF COAST ELECTRONICS 29 Adelaide St., W., Toronto 1 1001 S. W. Morrison, Portland 5 1110 Winbern St., Houston 4 OHIO Phone: ATwater 8455 Phone: JUstin 1551 HAWAII GEORGE F. EBEL COMPANY OTT'S RADIO, TV & HI FI STERLING RADIO PRODUCTS CO. JOHN J. HARDING CO., LTD. 3017 Cleveland Ave., N.W., Canton 9 3760 S. E. Hawthorne Blvd., Portland 1616 McKinney Ave., Houston 1471 Kapiolani Blvd., Honolulu 12 Phone: GL 5 -1000 Phone: FIlmore 5341 Phone: BL 1321 Phone: 991481 - 991593 your Fleetwood' dealer or write: Conrac, Inc., Glendora, Cal.

www.americanradiohistory.com LETTERS Continued from page 9 Oklahoma recording which Mr. Berger A Special Ampex could not obtain. It is derived from a song Copland heard in the play Dybbuk by Anski (given in New York City in 1927) which originated Christmas Gift near Vitebsk, Russia. The first and last of the three movements uses quarter tones, the last piece in which he uses this. Like the Passacaglia and Im- 10 You morality, this is a work of the im- mature Copland even though the folk tunes are handled ingeniously. you'll get a It is too bad these rarer records I have mentioned and the limited edi- Christmas bonus tions Mr. Berger mentioned could not be made more readily available to the certificate public. Newton Friedman worth $75 Chicago 17, III. toward the price ee See Mr. Friedman's "Swap- a -Rec- ord" list. - Ed. of a 620 3 SIR: '0 A vote of confidence should go to G. amplifier- speaker o A. Briggs for his letter [September 19551 concerning power in high fidel- when you buy ity use. It seems to me that the most important aspect mentioned was the your Ampex 600 listening factor involved. Many audio enthusiasts tend to confuse high fi- recorder delity reproduction with public address work where power, volume, and over- bearing noise are regarded. This unusual Christmas bonus is be- Pleasant music -listening circum- ing offered because Ampex wants more people to know just how good stances in normal living quarters rarely a good tape recorder can be. exceed the capabilities of a good to- or 20 -watt amplifier. High quality re- The superb Ampex 600 combines perfect pitch, brilliant tone, and production of musical instruments in rugged construction in a light small or large groupings depends more weight portable case. The 620 significantly upon the distortion -free Amplifier- Speaker matches it in performance of only a few watts, even portability and provides magnifi- with the larger, more complex speaker cent fidelity that's a real surprise. systems available. Together they can be yours for pure In any event, the advice of the more musical enjoyment, this Christmas musical -minded audio experts like Mr. and for many years to come. Briggs is invaluable to those seriously This is a special bonus offer that concerned with high fidelity. That is, expires December 24, 1955. After listen, and let your ears judge the that date the Ampex 600 and 620 quality of reproduction that you will combination will revert to regular expect in your living room. Quality established prices. and quantity are not necessarily synonymous. Gene Simpson AMPEX Indianapolis, Ind. CORPORATION SIR: SIGNATURE OF PERFECTION IN SOUND Much as I disagree with G. A. Briggs on many points, we evidently see 934 Charter Street near- Redwood City, California ly eye to eye in the matter of horse- Distribution in principal U. S. cities power requirements for good sound. (listed in your classified directory under in his letter (September 1955, p. 31- "Recording Equipment"); distributed in Canada by Canadian General Continued on page 14 Electric Company.

I2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ' ,.. . GIVE AN AMPEX

EXCITING STEREOPHONY RIGHT IN YOUR LIVING ROOM

THE AMPEX 612 STEREOPHONIC SOUND SYSTEM Overwhelming! The startling realism of true stereophonic sound that only a superb tape machine can provide. And what a gift for the family. The 612 achieves vivid reproduction ... music that seems to have actual presence right in the living room. It plays full and half track tapes too. Complete Stereophonic Sound System, in custom designed cabinets, is priced at $699 -a lasting investment in listening and enjoyment.

SUPERB RECORDING ANYWHERE THE AMPEX PORTABLE 600 & 620 .. s Perfect! For the discriminating music lover ... hi -fi fan ... professional musician ... or talented youngster, the Ampex 600 is the finest tape recorder you can give. Its brilliant tone and precise pitch combine with rugged construction for years of trouble -free performance. The 600 costs $545. The matching 620 Amplifier- Speaker is priced at $149.50. Together, in handsome Samsonite carrying cases, they form a complete integrated system - portable perfection in sound.

Distributors in principal cities (see your local Telephone Directory under "Recording Equipment. ") Canadian distribution by Canadian General Electric Company. SIGNATURE OF PERFECTION IN SOUND

934 Charter Street, Redwood City, California Dept. F -2436

www.americanradiohistory.com Why choose between LETTERS a record changer and Continuedfrom page 12 32) he gives "The Well Adjusted Watt" by Irving Fried, June 1955, a a record player...when you creditable critique. Having personally used to -watt am- can have the convenience plifiers for some large gatherings, I have difficulty seeing the need for 6o; of BOTH in One instrument! having compared small with large on carefully controlled side -by-side tests, I still can't buy 6o watts. To misquote (or paraphrase) an old MIRACORD expression: "What this country needs is not a good 5-cent cigar, but a good 5 -watt amplifier," but to prevent infra- xp -goo sonic overloads from intermodulating with PUSHBUTTON CONTROL sounds in the audible spectrum it and the MAGIC WAND SPINDLE would be well to demand this 5 watts free of appreciable distortion down to about 12 cycles per second. On Fried's side, there are small amplifiers that are overrated; one amplifier purporting to be 8 watts gave forth with 6 fairly clean watts at Soo cycles, and 0.25 not -so -clean watts at 5o cycles. At the present writing the woods are full of good 20 -watt amplifiers; some good but heavy aid expensive. foreign to- watters are available. In selecting an amplifier it is suggested that 5 watts of "clean" power (say one percent or less distortion) be demanded at 12 cycles per second. This separates the good from the bad so far tested here. Paul W. Klipsch Klipsch & Associates Hope, Ark. 2 Instruments in One: SIR: Your "Swap -a- Record" feature is an 1. Pushbutton Automatic Record Changer excellent service for your readers. But 2. Pushbutton Manual Record Player many potential swappers must be re- luctant to use your columns because of ... for your complete enjoyment of All records! the uncertainty, inconvenience, and ex- No wonder the Miracord XA -100 is called "The Perfect 3Speed Record pense of mail swaps. Another ap- Changer" by engineers and high fidelity enthusiasts! The revolutionary Magic proach to the problem of getting Wand Spindle changes records quietly, allows you to intermix 10" apd 12" swappers together would be to print records at will. No pusher arms or stabilizer plates here-records are released quietly, without fuss or damage, and the Pausamatic allows you to select pause the names, addresses, and phone num- time between records ... up to five and one -half minutes. Or if you wish, you bers of those interested in swapping can repeat the entire record or any portion, at any time. A special Filter con- person -to- person. This way trol eliminates surface noise from old records. record collectors living close to each other could Now insert the Single -play Spindle -your Miracord XA100 becomes a manual player. Reverse the spindle and the record will repeat indefinitely. No other easily arrange to meet and exchange or changer brings you the wondrous Miracord versatility! loan records. Contacts so formed could Other Features: No wow, no rumble Ball bearing suspended turntable and lead to organizing local record col- tone arm 4 -Pole motor White rubber matted turntable Comes complete lectors' clubs and other much- needed with leads and plug. group activities for our hobby. MIRAPHON XM-110 3 -Speed Manual Player also available. Raymond E. Podolak See and hear the Miracord at your dealer Now! Or send for literature Dept. HF -11 Silver Springs, Md. We'll be glad to consider doing it AUDIOGERSH CORPORATION your way if readers indicate they 23 PARK PLACE, NEW YORK 7, N. Y. prefer it. Ed. EXCLUSIVE - DISTRIBUTORS IN THE U S FOR FLAC RECORD PLAYERS Continued on page 16

r4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Above, you see one example of what many discriminating people have pictured in their minds ... but have not been able to find. It is a beautifully proportioned cabinet of fine wood, craftsmanship, and finish ... engineered specifically for high fidelity! This cabinet is designed as scientifically as your amplifier, and, at the same time, its handsome appearance is in keeping with the finest living rooms, in place of inflexible or makeshift installations. There are more than 30 River Edge models, each offering two important features: 1) Scientific design by audio experts, so that components fit properly into their areas, are correctly ventilated, and (in leel the case of speaker enclosures), the tone is developed according to the best 2) to fit your of components, engineering practices. Panels factory cut choice o o o p so that you or your dealer con easily and quickly make the installation. Model 1636 (l:lustrated with tambour slide-away doors, holds many combinations of components also available os a matching TV lowboy. Finished units by River Edge With the help of your dealer, select from 30 basic styles and 11 finishes shown in the catalog. Then choose your hi-fi corn. portents. River Edge will supply your cab. inet with oll panels pr..cul or IVER Low cost kits by River Edge Though They cost little, those kifs offer the I

DGE me fine furniture features os River Ede. finished cabinets. Component and speaker enclosures are easy to assembl., without special tools. Sanded, ready for pointing. See your high fidelity dealer, or write for the complete River Edge catalog and dealers' names. A quality-endorsed product of the British Industries Group: GARRARD Record Players, LEAK Amplifiers, WHARFEDALE Loudspeakers, GENALEX Tubes, R.1 Enclosures. RIVER EDGE Cabinets. ERSIN Multicore Solders. BRITISH INDUSTRIES CORPORATION, Dept. HR31 -5, Port Washington, Now York

www.americanradiohistory.com Special trade -in allowances . . . LETTERS Continuedfrom page 14 at all BERLANT - CONCERTONE Distributors SIR: In the August edition of HIGH FIDEL- AKRON-Olson Radio, 75 E. Mills LOS ANGELES - eontinsad ALBANY -Edwin E. Taylor Co., 465 Central Ave. L.A. Portable Recording Enterprises ITY, Mr. Fred Grunfeld reviews a re- ALEXANDRIA, VA.- Certified Electronic 521 N. La Cienega Blvd. 1330 Powhattan St. Midway Electronic Supply Co. cent Columbia recording of Mahler s ATLANTA -Baker Fidelity Corp. 2817 Crenshaw Blvd. Kindertotenlieder as sung by the late 1429 Peachtree St., N.E. MEMPHIS -Bluff City Dist. Co.. 234 East St. Gates Radio Co., 13 and Spring Sts. MIAMI -High Fidelity Associates Kathleen Ferrier. From his remarks I BALTIMORE -High Fidelity House 3888 Biscayne Blvd. 5123 Roland Ave. MILWAUKEE -Wack Sales Co., Inc. quote: 3131 W. North Ave. BATTLE CREEK -Electronic Supply Corp. "Ferrier was a curiously unemo- 94 Hamblin Aye. MINNEAPOLIS -Paul A. Schmitt Music Co. BERKELEY, CALM. -Audio Shop 88 S. 10th St. tional singer; here and in Das Lied von 2497 Telegraph Ave. NASHVILLE- Electra Distributing Co. der Erde she BEVERLY HILLS- Minthorne Music Co. 1914 W. End Ave. came closest to passion, 230 N. Beverly Dr. NEWARK -Magnetic Recording. 528 Central Ave. but even in these instances she remains BIG SPRING, TEX. -High Fidelity House NEW BRUNSWICK, N. J. -The Jabberwock 503 Edwards Bldg. 104 Somerset St. reserved and somewhat sexless in tone." BOSTON -Lafayette Radio, 110 Federal St. NEW ORLEANS -Electronic Parts Corp. The Listening Post, 161 Newbury St. 223 -225 North Broad As someone who holds the opinion Radio Shack. 167 Washington NEW YORK CITY -Arrow Electronics that Ferrier was one of the greatest BROADVIEW, ILL. -Hi -Fi Unlimited 65 Cortlandt St. 1303 -05 Roosevelt Road Consolidated Sales, 768 Amsterdam Ave. singers that ever lived, both emotion- BROOKLYN-Benny Electronics Corp. Davega Stores, (See Telephone Directory) 485 Coney Island Ave. Federated Electronic Sales. Inc. ally and technically, I have to protest BUFFALO- Arrowlite Company, Inc., 326 Elm St. 185 Washington St. Buffalo Audio Center, 153 Genessee Gates Radio Co., 51 East 42nd St. vigorously these very curious remarks. Frontier Electronics, 1505 Main St. Goody Audio Center, 235 West 49 St. 124 Although I have not heard the Co- BURBANK Co., 2700 Grand Central Radio, Inc., East 44th St. -Collins Radio West Olive Hudson Radio & TV Corp.. 48 West 48th St. CAMBRIDGE -Hi Fi Lab Electronic Supply Leonard Radio, 69 Cortlandt St. lumbia recording of the Kindertoten- 1077 Massachusetts Ave. Milo Trading Co.. 215 Fulton St. lieder as yet, I do possess the London CEDAR RAPIDS- Collivu Radio Co. Radio Wire Television, 100 Sixth St. CHAMPAIGN, IU..-New Sound Recording Wire & Tape Co. recording of Das Lied von der Erde, 35 East Springfield Ave. 163 East 87th St. CHICAGO- Allied Radio. 100 N. Western Ave. Sonocraft Corporation, 115.117 West 45th St. and can find nothing wrong with the Electronic Expediters, 2909 West Devon Ave. Sun Radio & Electronics Co., Inc., 650 Sixth Ave. Musichron Corporation, 117 West Grand Ave. Terminal Radio, 85 Cortlandt St. emotional aspects of Miss Ferriei s Newark Electric Co., 223 West Madison St. Julius Weikers & Co., 307 Audubon Ave. interpretations of that oeuvre. I am Voice & Vision, Inc.. 53 East Walton NORFOLK, VA.- Electronic Engineering Co., Inc. CLEVELAND--Olson Radio Warehouse 316 W. Olney Road not sure whether Mr. Grunfeld fully 2020 Euclid Ave. PASADENA -High Fidelity House CONCORD, N. H. -Evans Radio 534 South Fair Oaks appreciates the emotional content of DALLAS -Town North Music Corp. PATERSON, N. J.- Magnetic Recording Mahlei s music as such. To quote 12 Inwood Shopping Village 344 Main St. DETROIT-Hi-Fi Studios. 8300 Fenkell PHILADELPHIA -Radio Electric Service Co. of Pa.. Martin Cooper: "The twin ideas which K.L.A. Laboratories, 7422 Woodward Ave. Inc., 701 Arch St. Pecar Electronic Services. 10729 Morang PITTSBURGH -- Wolk's Hi Fi Center give Das Lied von der Erde its emotional EAST ORANGE, N. J.- Custom Music Systems 308 Diamond St. unity are the ephemeral beauty of the 426 Main St. PORTLAND, ORE.- -L. D. Heater Music Co. FARGO, N. D.- Wolter Electronic Co. 1930 N. W. Irving St. visible, sensible world and the essential 402 N. P. Ave. PRINCETON, N. J. - Princeton Music Center GLENDALE- Glendale Electronics, 145 S. Brand 7 Palmer Square West tragedy of human life, autumn follow- GRAND RAPIDS, MICH. -Radio Parts, Inc. QUINCY, ILL. -Gates Radio Co. ing so soon upon spring, age upon 542 -548 Division Ave. S. RENO -Art Rempel Sound Service, 460 Wella Ave. HARTFORD, CONK.- Nathan Margolis Shop ROCHESTER -Jerry Fink Co., 644 Clinton Ave. S. youth and death, the last farewell, 28 High St. SALEM, ORE-Cecil Fames No. HEMPSTEAD, LONG ISLAND-Island Radio Distribu- Co., 442 Church St. closing all." A performance doing tor, Inc., 412 Fulton Ave. SALT LAKE CITY -Poll & Austin, 1651 S. 11th E. full justice to the philosophical depths HOLLYWOOD -California Sound Products SAN DIEGO- Breier Sound Center, 3781 - Sth Ave. 7264 Melrose Ave. SAN FRANCISCO-CA. Skinner Co., 239 Grant Ave. of this work, asks for a mature emo- Hollywood Electronics Supply, 7460 Melrose Ave. Eber Electronics, 160 10th St. Pacific Hi -Fi House. 1320 Cahuenga Blvd. San Francisco Radio and Supply Co. tionality which far transcends "sex" Recorders Distributors, 7115 Melrose Ave. 1282 Market St. HOUSTON -Audio Center, Inc., 1633 Westheimer SCHENECTADY -House of Harmony and a mature "passion" for which a Busacker Electronic Equip., 1216 W. Clay 1034 Eastern Ave. certain degree of "reservedness" is Gates Radio Co., 2700 Polk Ave. SEATTLE -Electricraft, Inc., 622 Union Wrye Co., Ltd.. 2045 Welch Seattle Radio Supply. 2117 Second Ave. not an obstacle but a definite asset. INDIANAPOLIS-Graham Electronic Supply SPOKANE -20th Century Sales, Inc. 102 South Pennsylvania St. West 1021 First Ave. The late Kathleen Ferrier possessed NGLEWOOD, CALIF.- Newark Electric Co. ST. LOUIS-Commercial Electronics Service Co. 4736 West Century Blvd. 2609 Olive St. these qualities to a degree which in JACKSON, T014.-- Carlton Wholesale Radio Van Sickle Radio Co., 1113 Pine St. my opinion has never found its equal 312 S. Shannon SYRACUSE-Morris Distributing Co. KALAMAZOO -Electronic Supply Corp. 1153 W. Fayette St. in any singer of her youth. We have 906 East Michigan Ave. TUCKAHOE, N. Y.- Boynton Studios be eternally for per- KANSAS CITY, MO. -David Beatty Sound 10 Pennsylvania St. to grateful the 1616 Westport Road WASHINGTON, D. C.- Electronic Wholesalers formances with which she has en- KNOXVILLE, TENN.-McClung Appliances 2345 Sherman Ave., N.W. 310 Georgia St., N.E. Gates Radio Co., 13th and E Ste., N.W. riched the musical world, and care- LAFAYETTE, IND.- Lafayette Radio Supply. Inc. Hi Fidelity Wholesalers Branch of Graham Electronics, 408 North St. 1327 Connecticut Ave., N.W. fully treasure the few high fidelity re- LANSING, MICH.- Offenhauser Co. Laboratory of Electronic Engr., 413 L St. N.W. cordings which preserve some of the 227 West Washtenaw St. WEBSTER GROVES, MO. -WBPA Sound Systems LAS VEGAS -Radio Sound Supply 132 West Big Bend greatest of these. 25 E. California St. WILDWOOD, N. J. -The Music Center LAWRENCE, KAN.-Snodgrass Electronics 239 East Oak Ave. J. de Heer 733 Missouri St. Boulder, Col. LOS ANGELES -Bushnell's Electronics CANADA 12026 Wilshire Blvd. Toronto -Custom Sound & Vision Crenshaw Hi -Fi Center, 385754 Santa Rosalia Dr. 390 Eglinton Ave. West Gates Radio Co., 7501 Sunset Blvd. SIR: Hannon Engineering Co., 5290 W. Washington MEXICO Justin Kramer Associates, 3112 W. Olympic Blvd. Ensenada, Baja California -DBA Custom Hi-Fi I have discovered that it is possible Kierulff Sound Corp., 820 W. Olympic Blvd. Installation, P. 0. 98, Riviera Pacifico to purchase empty record jackets from Columbia Records merely by listing the number of the record and enclos- ing 20 for each one. Audio Division of American Electronics, Inc. The address is Columbia Records. 4917 W. Jefferson Bled., Los Angeles 16, Calif. Continued on page 18

16 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Meet PAUL KLIPSCH pioneer audio engineer and manufacturer

Monica INSERT -Paul Klipsch at home. His complete sound system includes a Concertone 20 20 and, Paul Klipsch with his Concertone at Ihr Santa Airport of course, a Klipschorn, the world -famous speaker that bears his name. "She's never left my side FOR 27,000 MILES.. -"

says PAUL KLIPSCH as he boards his Cessna 190 at Santa 3 REASONS WHY AUDIO EXPERTS USE Monica Airport. His constant companion is a Berlant -Concertone tape BERLANT - CONCERTONE RECORDERS recorder. Like the best of traveling companions, it only speaks when spoken to! EXCLUSIVE 3 Heads - Provision For 5 Asked why he selects a Concertone Klipsch explains, "I need a portable Remarkable versatility in use of a single re- recorder that will hold up under rugged treatment. But portability is just one corder. Separate head for erase, record and rLöA1Cx : the Concertone delivers the full frequency OUSE WOO , factor. Most important to me, playback. Extra heads response necessary to demonstrate Klipsehorns." available for sound - onsound or stereo BERLANT_CONCERTONE...personal choice of leading recording. audio manufacturers EXCLUSIVE A -B Test Fader You want the saine performance, versatility and dependa- Compare original sound with bility in a recorder. . like my friend Paul Klipsch and other recorded sound on tape while recording. Set playback volume audio experts. Trade -up to a Berlant- Concertone professional desired while recording -inde- tape recorder now! THIS MONTH OUR DISTRIBUTORS ARE FEATUR- pendent of "Record level." ING SPECIAL LONG TRADE-IN ALLOWANCES ON THE NEW CONCER- TONE TWR -2595. This complete sound system includes a set of smartly styled portable carrying cases and a matched 10 -watt amplifier and extended range EXCLUSIVE Simplified speaker. The equivalent sound system with the Berlant Recorder (hysteresis Cueing and Editing synchronous motor) is specifically designed to meet the needs of the pro- Most precise system on any fessional recording studios and radio stations ..." tape recorder for locating exact point on tape and BART SEALANT. Prssldsnt, BERLANT -CONCERTONE editing.

Concertone TWR-2 - =445 Complete sound systems - Concertone TWR -2595 - issu Berlant BRX -1745 - $745

I WRITE DEPT. 4 -N OR FREE LITERATURE ON PROFESSIONAL TAPE RECORDERS. pp Püllll ttne Audio Division of American Electronics Inc., 4917 West Jefferson Blvd., Los Angeles 16, Calif. EXPORT DIVISION, 232 MADISON AVE., NEW YORK 16, NEW YORK, CABLE: SKYWAVE NEW YORK For military and industrial requirements , consult .Recordata Division, American Electronics,Inc.,2921 S.Fair fax, L.A.16,Calif.

17 NOVEMBER 195 5

www.americanradiohistory.com LETTERS Continued from page 16

1473 Barnum Ave., Bridgeport 8. 50 -Watt, Conn. All- Triode! Thomas Hudson, Jr. New York, N. Y. THE LABORATORY STANDARD SIR: I started a "Robert Weede Interna- tional Fan Club" last month and have been writing to old Air Force friends all over the world. Reason? Simple. I think Bob Weede is the very finest dramatic baritone in the world today, FISHER and since I live just sixteen miles north of Old Mexico, and can't easily MODEL journey to the cities to hear Bob AMPLIFIER 50 -AZ Weede, I must depend on phono records, radio, or TV for this pleasure, via "Of the very best !"-High Fidel- Capitol Records (get on the ball) ity Magazine. Will handle 100 Saturday Met -Texaco broadcasts (no peak. finest all -tri- watts World's Weede as yet), The Voice of Firestone ode amplifier. Uniform response within 1 db from 5 to 100,000 and Bell Telephone Hour (still no cycles. Less than 1% distortion at Weede). Now, if I am having this 50 watts. Hum and noise content trouble, I'm sure other "Bel Canto' 96 db below full output-virtually non -measurable! Oversize compo- lovers are running into the same stone nents and quality workmanship in wall and so figured that if we all wrote every detail. Includes FISHER one little postcard to each of the Z- MAT1C, at no additional cost. $159.50 above named, perhaps, like "Joshua and Jericho," the walls might be breached. This is the one and total aim of "The Robert Weede Interna. FINE ACCESSORIES tional." Those interested MIXER -FADER Model in helping me set 50 -M up area chapters, etc., please write to NEW! Electronic mixing or fading of any two signal me for free, pre -printed postcards sources (such as microphone, phono, radio, etc.) No and insertion loss. Extremely low hum and noise level. High stationery. impedance input; cathode follower output. 12AX7 tube. Donald R. Clancei Self- powered. Beautiful plastic cabinet. Only $1 9.95 805 S. 8th St. Edinburg, Tex. PREAMPLIFIER -EQUALIZER 50 -PR -C WITH VOLUME CONTROL SIR: 50 -PR -C. phis unit i, identical to the 50 -PR but is I would just like to inform you that equipped with a volume control to eliminate the need for a separate audio control chassis. It can be connected we recently celebrated an Audio Fair directly to a basic power amplifier and is perfect for a here in Camaguey and it was a corn - high quality phonograph at the lowest possible cost. plete success, and like Audio Fairs New. Low Price $19.95 everywhere, the volume level was ear HI -LO FILTER SYSTEM Model 50 -F shattering. Electronic, sharp cut -ui] filter system for suppression of In our own exhibition, called turntable rumble, record scratch and high frequency "Audiorama" and representing Tan - distortion - with absolute minimum loss of tonal range. noy, Marantz, Fairchild, Sherwood and Independent switches for high and low frequency cut -off. Use with any hi -fi system. several other fine components, volume New, Low Price $24.95 level was kept at a reasonable level, we PREAMPLIFIER Model PR -6 played good music and managed to at- A self -powered unit of excellent quality, yet moderate tract the majority of persons with good cost. Can be used with any low -level magnetic cartridge, taste. They said they came to our room or as a microphone preamplifier. Two triode stages. to rest their ears. We did not play High gain. Exclusive feedback circuit permits long output leads. Fully shielded. Uniform response, 20 to 20.000 weird sound -records; people who want cycles. The best unit of its type available. to buy equipment prefer to hear good Only $10.95 music, not sound effects. Prices Slightly Higher West of the Rockies . .. We expect to have a larger fair WRITE TODAY FOR COMPLETE SPECIFICATIONS next year. FISHER RADIO CORP. 21 -25 44th DRIVE L. I. CITY 1, N. Y. Rodolfo Melendez Camaguey, Cuba

18 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com They Want to Know

Its a known fact that good things are often taken for granted. We go along from day to day enjoying our sur- roundings, our ways of life, without feeling that there is any necessity to worry about their not being here tomorrow. And even if we do tend to worry about the durability of some things, there are other things which MODEL 80 -T MOST ADVANCED PROFESSIONAL TUNER WITH COMPLETE AUDIO CONTROL we feel there's nothing we can do ¡bout anyway - so why fret? This philosophical state of mind was brought about in us when we received a letter from a Mr. Howard THE SERIES 80 Schock, of Morris, Illinois. Mr. Schock, undoubtedly was relaxing in his home one evening, reading a good book and enjoying his homey comforts when all of a sudden, deciding nothing would be better than to have a little background music, he turned to his FM ISHER tuner and began whirling the dial for just the right station, giving just the right type of music. But just the right FM -AM TUNERS kind of music wasn't there. "Well," mused he, "if old WGN -FM were still Here are America's first FM -AM tuners with TWO meters for micro - in operation I'd sure know where to accurate tuning, just one of the many unique features that mark turn!" But it wasn't. So in the heat of THE FISHER Models 80 -T and 80 -R as the finest you can buy. They fol- indignation, Mr. Schock sat right low deservedly the unmatched reputation of their predecessors, Models down and wrote to Mr. Frank P. 70 -RT and 50 -R. The 80 -T and 80 -R are truly designed for the future. Schreiber, general manager of WGN, Outstanding Features of THE FISHER Series 80 and requested that WGN resume FM The 80 -T features extreme sensitivity (1.5 my for 20 db of quieting.) Separate FM and AM front ends, completely shielded and shock- mounted. Separate tuning broadcasting. Now this was a very meters for FM and AM 72 -ohm, plus reclusive. balanced 300 -ohm antenna inputs commendable thing for Mr. Schock to for increased signal -to -noise ratio. AM selectivity adjustable; AM sensitivity better than 1 microvolt. Inherent hum non- measurable. Distortion below 0.04% do, but it came a little late, for Mr. for 1 volt output. 4 inputs. including separate sape playback preamp- equalizer. Six record equalization choices. Two cathode follower outputs. 16 tubes. Schreiber's reply was: "WGN, Inc., (80 -R: 13 tubes.) 8 controls including Bass, Treble. Volume, Function, Equaliza- tion, Tuning, Loudness Balance, AFC. Self powered. Magnificent appearance discontinued its FM station because of and workmanship. CHASSIS SIZE: 123/4" wide, 8%" deep less knobs. 6" high of listeners (80 -R: 4" high.) NOTE: Model 80 -R is identical to the above, but is designed lack of interest on the part for use with an external audio control such as THE FISHER Series 80 -C. generally in FM transmission. It is true MODEL 80 -R FOR USE WITH EXTERNAL AUDIO CONTROL that there are several persons as you MODEL 80 -T who evidently have a keen apprecia- $19950 tion of high fidelity sound, but I am MODEL 80 -R sorry to say you are in the minority. There is no possibility in the near $16950

future, that I can see, that we will re- MAHOGANY OR BLONDE sume FM broadcasting ... " CABINET. $' 795 Mr. Schock goes on, in his letter, to Write For FULL Details say, "I think that it would be a won- FISHER RADIO CORP. derful gesture on the part of your 21 -25 44th DRIVE readers in the Chicago area, if they LONG ISLAND CITY 1, N.Y. Continued on next page

NOVEMBER 1955

www.americanradiohistory.com NOTED WITH INTEREST Continued from preceding page

will take the time to write Mr. Schrei- ber, or WGN, at 441 North Michigan Ave., requesting that WGN resume FM broadcasting. One of the leading FM broadcasters in this country has stated that this is the only way that an AM operator can be shown that FM isn't 'dead,' and that FM does have a listening audience." We heartily endorse Mr. Schock's suggestion that Chicago listeners let WGN know of their FM interest, but at the same time, we'd like to point out that such a plea might have had far greater impact on the FM station had the listeners shown their interest before the station had to close. If it's no more than a post card, FM broad- Immediate Sensation! casters do want and need this evidence of interest on the part of their listeners. They want to know what you want and whether you enjoy what you're getting. With this knowledge they can go to advertisers and THE, say, "Now look here, we do have an audience, and they want what we're giving them, so let's have your support." Mr. Schock's letter closes with an example of what we're trying to say: 1L.R . . One station in the Southeast an- H nounced FIS plans that they were going to discontinue FM broadcasting, but e. Ìf/GGdeit /(/,ic re,'%%4(f1 because of the many letters they received they decided it would be a very SERIES 80 -C poor thing to do." So for the sake of FM, let your favorite broadcasters know TOOK FISHER to improve on FISHER. When we introduced how they're doing. They'll appreciate our Model 50-C Master Audio Control three years ago it was IT it. immediately acclaimed the finest instrument of its type. Like its renowned counterpart, the new FISHER Master Audio Control, Another example of how much Model 80 -C, represents another milestone in engineering excellence, weight you carry with-FM broadcasters ease and flexibility of use, and workmanship of a quality normally was contained in an editorial from The encountered only in broadcast station equipment ... these are its Oregonian, August 29, 1955, edition, outstanding characteristics. It took FISHER to improve on FISHER. sent to us by Jon R. Skinner, of Port- Chassis Only, $99.50 Mahogany or Blonde Cabinet, $9.95 land. It seems that Portland's KPAM- FM had been broadcasting classical Remarkable Features of THE FISHER 80 -C music programs regularly for years Professional, lever -type equalization for all current recording character- (one of the nice things in life that istics. Seven inputs, including two Phono, Mic and Tape. Two cathode- follower outputs. Complete mixing and fading on two, three, four or five Oregonians doubtlessly expected to last channels. Bass and Treble Tone Controls of the variable-crossover feed. back type. Accurately calibrated Loudness Balance Control. Self- powered. forever, as who wouldn't? ) ; then with- Magnetically shielded and potted transformer. DC on all filaments; out prior announcement, on August 1, achieves hum level that is inaudible under any conditions. Inherent hum: non -measarable. (On Phono. 72 db below output on 10 my input signal; all day -time classical music was with- better than 85 db below 2v output on high -level channels.) IM and harmonic distortion: non-measurable. Frequency response: uniform, 10 to drawn and in its place "pop" music 100,000 cycles. Separate equalization and amplification directly from tape playback head. Four dual -purpose tubes. all shielded and shock- mounted. was offered. It didn't take the Portland Separate, high -gain microphone preamplifier. Push -Button Channel - populace long to appreciate what was Selectors with individual indicator lights and simultaneous AC On -Off switching on two channels (for tuner, TV, etc.) M Volume Control happening. As the editorial states: plus 5 independent Level Controls ow front post!. I1 Controls plus 5 pushbuttons. Three auxiliary AC receptacle.. SIZE: Chassis, 12%" z 7%" "The station has been engulfed with z 4%" high. In cabinet, 13.11/16 "z 8 "z 5%" high. Shippiwt weight, 10pouads. letters and telephone calls of protest. Prices Slightly Higher West of the Rockies Its startled manager has publicly con- WRITE TODAY FOR COMPLETE SPECIFICATIONS ceded that he underestimated the ap- FISHER RADIO CORP. 21 -25 44th DRIVE L. I. CITY 1, N. Y. predation of the Portland radio audi- 1 IIil II11111111111 I IIt11111 tilt ltl111t IlllilI111111ltlllt11t1111111t111IiIlI11I11111I IIIillItlI lttttt111i ence for good music. He plans to re-

2 rJ HIGH FIDELITY MAGAZINE

www.americanradiohistory.com store the program format which had set his station apart from the dreary sameness which characterizes most of the others broadcasting in the Portland area. "The reasons behind KPAM -FM's original decision were purely eco- nomic. Radio advertising representa- tives find classical music hard to sell to most sponsors. Businessmen who buy radio time to plug their goods and services have had the notion that listeners were interested only in the latest banalities from Tin Pan Alley, and that nobody much cared about concertos or symphonies or opera ...." The rest of the editorial was devoted to a "dress -down" of radio sponsors, asking why they thought teenagers "swooning over the deejay's puerilities and the latest rock 'n' roll platter" would be in a better position to buy AN EXCEPTIONAL, NEW THIRTY -WATT AMPLIFIER HANDLES SIXTY -WATT PEAKS! their products than the kind of people who support the Portland Symphony orchestra, invest in classical records, etc. But that's another story. .

The Votes Are In In our July "Noted With Interest" we asked you whether you'd buy - or rather, vote for - an inexpensive (about $r8) turntable (armless). that THE Your response leaves little doubt there's a real demand for such a turntable. The majority of responders would pay $25 to $30 to assure its being of good quality and many suggest that it be of only one speed - 331/3 rpm - to further cut costs; that ITSHEK it be belt- driven and reasonably free of grunts, groans and rumbles. There, manufacturers, what can you offer us? 30 -Watt Amplifier It has been suggested by many that we vote next for a tuner kit. So what MODEL 80 -AZ will it be, AM only, FM only, AM -FM? And for how much? Do you want a NOTZIER FISHER FIRST - our great new 30 -watt amplifier with high -quality one for around $loo or PowerScope, a Peak Power Indicator calibrated in watts to show new FISHER shall we sacrifice an item here and instantly the peak load on your speaker system. The is the first with a positive indicator to prevent voice there for a $5o one? We have in mind 80 -AZ Amplifier The Model 80 -AZ is magnificent in appearance and quality. the tuner only kit, no amp or pre -amp coil damage. attached. As before, you may use the Incomparable Features of THE FISHER Model 80 -AZ product information cards in this issue High output - less than 0.5% distortion at 30 watts; less than 0.05% at 10 watts. Handles 60 -watt peaks. Intermodulation distortion less than 0.5% at 25 watts and to mail in your votes. 0.2% at 10 watts. Uniform response 10 to 50,000 cycles; within 0.1 db from 20 to 20,000 cycles. Power output is constant within 1 db at 30 watts, from 15 to 35.000 cycles. Hum and noise level better than 96 db below full output! Three Wrong RCA separate feedback loops for lowest distortion and superior transient response. Unique cathode feedback circuit for triode performance with the efficiency of tetrodes. Output transformer has interleaved windings and a grain -oriented steel In our September "Letters" column we core. Three Controls: PowerScope, Z -Matie and Input Level. Handsome, brushed - installations.) Tube Com- a very amusing letter which was brass control panel (with sufficient cable for built -in ran plement: l- I2AT7, 1- 12AU7A, 2- EL -37. 1- 5V4-G, 1- PowerScope Indicator, undersigned by one Edward J. Smith 1- Regulator. H- and 16 -ohm outputs. Slzs: 151/2 X 41/4 x 61/4" high. WEIGHT: 22 lbs. whom we identified as Music Director of RCA Victor. The initials RCA are Price Only $99.50 correct but they refer to The Record Price Slightly Higher West of the Rockies Corporation of America, not RCA WRITE TODAY FOR COMPLETE SPECIFICATIONS Victor. Our apologies to all. FISHER RADIO CORP., 21 -25 44th DRIVE L. I. CITY 1 N. Y

, i t 1U tt Lttttt LULU Continued on next page 111111!Ií III11IIll t t lt 1111111 11111111110111111111111111U11111 trit

NOVEMBER 1:955 ?1

www.americanradiohistory.com NOTED WITH INTEREST Continued from preceding page

Fascinating Puzzlement

From the Hasting Sales Company in North Hollywood we recently received word that we would soon receive a SeeZak Starter Kit. That intrigued us, since we had absolutely no idea what might happen next. A few days ago, the kit arrived. It contained dozens of pre -punched pieces of aluminum and paper -plastic, none larger than about It by 21/2 inches. Also an assortment of bolts, tiny wire terminals, and more pre -punched plates, with holes for miniature and sub -miniature tubes. Its the most fascinating array of parts America's TOP Tuner! we've seen in a long time. We sit staring at it. The trouble is that in our -I' line of work (audio) we can't think of anything to do with it. Maybe you can; maybe we could build a transistorized preamp with it. To be serious for a moment, these THE, kits and components do have a very valuable application in experimental laboratories working with VHF and UHF components and all the other millions of tiny parts used in so many branches of the electronics industry FISHER Experimenters use them to speed up figuring out the best arrangement for MODEL components on a chassis, and so forth FM TUNER FM -80 Trouble is, audio components are so bulky! If we screwed together all the World's Bert by LAB Standards tiny aluminum chassis in this kit, we might have something big enough to 'Con almost two decades we have been producing audio equipment hold a single output transformer. of outstanding quality for the connoisseur and professional user. Well, we're going to stare some In the cavalcade of FISHER products, some have proven to be more; even if we have to develop a years ahead of the industry. THE FISHER FM-80 is just such a new type of audio equipment, we'll product. Equipped with TWO meters, it will outperform any ex- Ilse these parts somehow. isting FM Tuner regardless of price! The FM -80 combines extreme sensitivity, flexibility and micro-accurate tuning. Despite its full complement of tubes and components, the FM -80 features an un- The Latest from White usually compact chassis of fine design. Chassis Only,$1 39.50 White's Radio Log, mentioned origin- Mahogany or Blonde Cabinet, $14.95 ally in our July "Noted With Interest' column, is not available now on news Outstanding Features of THE FISHER FM -80 stands but may be ordered from C. Two meters; one to indicate sensitivity, one to indicate center -of- channel for micro -accurate tuning. Armstrong system, with two IF stages, dual DeWitt White Co., P. O. Box 142. limiters and a cascode RF stage. Full limiting even on signals as weak Bronxville 8, N. Y. as one microvolt. Dual antenna inputs: 72 ohms and 300 ohms balanced (exclusive!) Sensitivity: 11/2 microvolts for 20 db of quieting on a 72 -ohm input; 3 microvolts for 20 db of quieting on 300 -ohm input. Got Record -Indexing Problem? Chassis completely shielded and shock-mounted, including tuning condenser, to eliminate microphonics, and noise from otherwise accumulated You may have noticed from time to dust. Three controls - Variable AFC /Line -Switch, Sensitivity, and time in our "Letters" column that a Station Selector PLUS an exclusive Output Level Control. Two bridged number of people are faced with, and outputs. Low- impedance, cathode -follower type, permitting output leads up to 200 feet. 11 tubes. Dipole antenna supplied. Beautiful, perplexed by, the problem of indexing brushed-brass front panel. Self- powered. WEIOHT: 15 pounds. long playing records. We, too, took CHASSIS SIZE: 123 wide, 4" high, 81/4" deep including " control knobs. cognizance of this problem in our Price Slightly Higher West of the Rockies February 1955 article, "Is There an WRITE TODAY FOR COMPLETE SPECIFICATIONS Edison in the House? "Since then, apart FISHER RADIO CORP. 21 -25 44th DRIVE L. I. CITY 1, N. Y. from the commercial LP file cabinets lu we've heard of and reported on and

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com carried ads of, we've received numerous letters from readers who offer their solutions to the public. We herewith pass along to you the systems devised 4 by a few of our readers. Richard W. Lenk, of Paramus, N. J., who calls his system "The Lazy Man" index, claims there's no need, according to his plan, to cross -index records nor to place them in any particular order on the shelves. Recorded music, for his purpose, can be broken down into eighteen categories, ranging, alphabetically, from Ballet (No. 1), through Opera (No. 9), to Waltzes

(No. 18) . Thus, for instance, if you're indexing a record which contains a Saint -Saëns concerto on one side and ballet music on the other, you'd make two tabs to be affixed to the record e4i141 112 tile?! jacket: one marked, say, No. 3 (standing for Concertos) , and the composer's name, and the other marked No. 1 (Ballet) with the composer's name. You'd place the No. r tab at the very bottom of the record jacket and two paces higher the No 3. tab. If you use this system properly you should be THE, able to enjoy an evening of, maybe, keyboard music by looking down your shelf of records along the areas (a bit below halfway up, in an eighteen - category library) of record jackets reserved for No. 7 and extracting them FISHER, from that huge, baffling row of jacket spines. It may take you a little longer to locate a particular composer. AM TUNER Brud Goodman, of Youngstown, MODEL AM -80 Ohio, wants to know what's all the fuss about finding where you put a after the appearance of the famous FISHER FM -80 record? This is his solution: using his SHORTLYTuner, we received many requests for an AM counterpart of old 78 -rpm, twelve -slot albums, he the same blue -ribbon breed. The AM -80 was engineered in response marks each with a Roman numeral to those requests and we are proud of it - as its owners will be. In and each slot with an Arabic numeral; areas beyond the service of FM stations, users of the AM-80 will hence, Album I, slot r. Then in an discover with delight that it has the pulling power of a professional communications inexpensive loose -leaf binder he marks receiver, bringing enjoyable reception of ordinarily elusive, distant stations. AM -80 broad -tuning for high the pages with the composers' names, The offers fidelity AM reception, as well as medium and sharp tuning for alphabetically, then lists the selections suppression of interference where it exists; and it is a perfect corn - underneath with as much information panion for the FM -80. The specifications below speak for themselves. as he thinks necessary (which includes, in his book, by each selection the Outstanding Features of THE FISHER AM -80 Features relative- sensitivity tuning meter for micro-accurate station selec- equalization settings he used when last tion Sensitivity: better than one microvolt! Three -gang variable cond playing the record). Beside these en- One tuned RF and two IF stages. Thres-[,osition, adjustable band -width. Frequency response (broad position) -3 db at 8 Ke. Audio section: tries he marks the album and slot uniform response. 20 to 20,000 cycles. Built -in 10 Kc whistle filter. Dual antenna inputs. Loop antenna supplied. Three high -impedance inputs. numbers (III -4, for instance) and thus Cathode -follower output permits leads up to 200 feet. Completely shielded and shock -mounted construction. including bottom plate. Flywheel tuning. has no trouble finding what he wants. Slide -rule tuning dial with logging scale. Beautiful, brushed -brass control When guests want to pick the records panel. Four controls: Power %Sensitivity, Function. Tuning, Output Level Control. Tube Complement: Total of Eight. 3-6ßJ6. 1 -6BE6, 1 -6ALS, to be played of an evening he simply 2-6C4, 1 -6X4. Sae: 12%" wide. 4" high, Bt /s" deep, including knobs. hands them the binder. Simple, huh? J. D. Blatt, of Dallas, Texas, uses Price Only $139.50 the adapted library system. He assigns Mahogany or Blonde Cabinet: $14.95 a number to each composer, to each Price Slightly Higher West of the Rockies type of music and to the numerical WRITE TODAY FOR COMPLETE SPECIFICATIONS sequence of the record within that FISHER RADIO CORP. 21 -25 44th DRIVE L. I. CITY 1, N. Y. Continued on next page uuuuuuuuluuuuwuuuuunluuunuuufuuwuuuuuuuuuuuuuuuuuuuuun ti

NOVEMBER 1955

www.americanradiohistory.com NOTED WITH INTEREST Continued from preceding page type. These numbers he notes on CORNER HORN gummed index tabs which he sticks on LOUDSPEAKER SYSTEM the jackets. And it is assumed that he uses some sort of entry book to keep track of the numbers assigned these three categories, similar to Mr. Good- man's method noted above. ... the finest creation of Paul W. Klipsch, There you have three pretty good systems modeled to the individual fabricated individually under needs and purposes of Messrs. Lenk, Goodman, and Blatt, and which might his personal supervision. be a start in devising your own method. We hope so. Back Copies Nearly every day's mail brings a letter from a reader who wants to sell his complete set of back copies of HIGH FIDELITY for one reason or the other. We'd appreciate hearing from some of the below- listed barterers as to whether they were able to sell their copies and an idea of the number of responses they had to this notice. William Elliott, 649 East 14th St., New York 9: complete set with exception of Nos. 4, 5, & 6; index; $15, ppd. P. F. Popko, 40 Sheridan Rd., Wellesley Hills, Mass.: complete set through August 1955, $25, plus postage. Wes Peverieri, 1931 Cooley Ave., Palo Alto, Calif.: complete set with exception of No. 9 to the highest bidder. Calvin J. Kirchen, 1507 Abbott, Ann Arbor, Mich.; and Lt. Col. Ed- ward A. Podesta, 6516 SU, ROTC, Gonzaga University, Spokane 2, Wash., will sell complete sets for $25. For sale (or in exchange for good high fidelity records) Dr. Bertram Barry, 4 Mill St., Mount Holly, N. J., offers back issues 6 through 18. Complete set, with the exception of issues 1, 8, 13, and 15, is offered in exchange for cash or equipment by Irwin Pearl, 64 -85 Saunders St., Rego Park, Queens, N. Y. H. E. Schilling, Box 42, Delmita, Tex., offers the following back copies for $7: No. 2 (with covers missing), No. 6, and Nos. 12 through 3o. Write for the name of your Wanted: Klipschorn distributor and our latest literature on the Klipschorn Gordon G. Hughes, 2952 Montana Ave., Cincinnati 11, Ohio, wants to and Shorthorn speaker systems. swap copies of Nos. 9 & ro for one of No. 12. E. C. Garces, Box 702, Arecibo, Puerto Rico, needs copies of Nos. 7 & KLIPSCH AND ASSOCIATES r 3 to complete his set. HOPE, ARKANSAS

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Illustrated above . . . the Gray Viscous- Damped arm in action. Gray's viscous - damped (fluid control) suspr ssion principle HEAR THE LISTENING QUALITY Of The regulates vertical and horizontal movement Low Priced Gray 108C Hi -Fi Tone Arm of tone arm. Minimizes groove jumping and All-New ... skidding. Prevents damage to record if tone arm is suddenly dropped. For listening quality and low price, Gray leads the Hi -Fi field with the Vertical motion of arm descending on record ALL -NEW 108C TONE ARM. Like all Gray Tone Arms, is automatically controlled so that even o handle the Gray All -New 108C the 108C gives you true reproduction of concert quality High Fidelity child can Viscous -Damped Tone Arm. music. The Gray 108C Tone Arm is the product of advanced engineering technique, unusual application of new materials and unique production facilities. It guarantees the ultimate in performance RPM up to 16 for new and old recordings . 331/2, 45, and 78 ... inches in diameter, with perfect compliance for all records, new or old, at lowest stylus pressure ... virtually eliminating tone arm resonance. Instant cartridge change, Pickering, G -E, Fairchild, Electro Sonic with automatic adjustment to correct pressure. NOW . The Gray ALL -NEW you can own a Gray Tone Arm at a price you can afford to 108C Viscous -Damped Tone Arm pay. See your nearest High Fidelity dealer. Hear the amazing listening quality of the ALL -NEW Gray 108C Tone Arm.

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25 NOVEMBER 1955

www.americanradiohistory.com r

The following are lists of records for trade: if any records listed here interest you, write directly to the person offering them and give him your trade list. The records listed below are stated to be in good condition.

Leo Janos, 255 -A Forest Blvd., Park Forest, Ill., has the following LPs for trade, and particularly wants to obtain Bach's St. Mas - thew Passion under Mengelberg and the Concertgebouw, Columbia SL 179. Mozart: Horn Concertos Nos. 2 and 4, in E -flat major. Brain, Süsskind. COLUM- BIA ML 2088, t0 -in. Strauss: Death and Transfiguration; Don 1I Juan. Walter, N. Y. Philh.-Sym. COLUM- HEAR YOUR FAVORITE BIA ML 4650, I2-in. Bach: Suites Nos. r and 4. Koussevitzky, Boston Sym. VICTOR LM 1079, I2 -in. Tchaikovsky: Capriccio Italian; 1812 J""` V.á: Overture. Fiedler, Boston Pops. VICTOR LM 1134, 12 -in. Bruckner: Mass in E minor. Thurn, Hamburg State Opera Orch. and Choir. CAPITOL P 8004, 12 -in. Schubert: Symphony No. 7. Walter, IIIIIIIIWIIIIIII li N. Y. Philh-Sym. COLUMBIA ML 4003, using your existing HI -FI equipment 12 -in. Dvorak: Symphony No. 5. Stokowski, Symphony Orch. VICTOR LM 10 13, I2 -in. Mendelssohn: Symphony No. 3. Stein- berg, Pittsburgh Sym. CAPITOL P 8192, I 2 -in. Brahms: Symphony No. z. Toscanini, Now for the first time you can NBC Symphony. VICTOR LM 1702, 12 -in. enjoy true fidelity TV sound by adding In exchange for Copland's Danzon Cubano TUN -ET to your existing HI -FI system. and Four Piano Blues, with composer at TUN -ET is inexpensive piano (Concert Hall CLIC 51) , Newton - and as easy to Friedman, 10124 Van Vlissingen, Chicago install as your booster or converter. 17, Ill., will trade, on disk or tape: III IIIIIIIIIII IIIHI VIII Copland: Vitebsk (1929); Trios by All you need is your TV set, and TUN -ET Harris. Harrison Kerr. Univ. of Okla. 1. Copland: Sonata for Violin and Piano; Nocturne (1926) . Copland, Kaufman. Your own FM tuner Concert Hall Limited Edition C-jo, three 78 rpm. Copland: "practically any other record Your own Amplifier in catalogue."

HIH

.,.n IlIIII1I Your own HI -FI Speaker IIII R. T. LaBrecque, 9 Sharon St., Boston 18, Mass., wants to obtain a copy of Bee- thoven's Ninth Symphony under Koussevit- zky, Boston Symphony ( Victor LM 6001); any works conducted by Furtwängler; Japa- sound nese folk music; in exchange for which he TV offers the following LPs, with the Italian il f SS and Jupiter Symphonies, on "Music Treas- ures of the World" label thrown in: Ask your dealer ... or write to Berlioz: Symphonie Fantastique. Van Otterloo, Berlin Philh. EPic LC 3005,

1OOIOPHIIE S 12 -in. LIST Mussorgsky: Pictures at an Exhibition. Ansermet, Paris. Cons. Orch. LONDON LL 956, 12 -in. INCORPORATED Speed the Parting Guest. CooK 1041, 10 -i n. WEBSTER MASSACHUSETTS Continued on page 28

HIGH FIDELITY MAGAZINE

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Chávez: Toccata for Percussion; Farber - man: Evolution. Boston Sym. Percussion Group. BOSTON B 207, t 2 -in. Kabalevsky: Violin Concerto. Oistrakh, Kabalevsky, Nat. Philh. Orch.; Prokofiev: Violin Concerto No. r. Oistrakh, Proko- fiev, Nat. Philh. Orch. COLOSSEUM CRLP 123, 12 -in. Shostakovich: Symphony No. ro. Shos- takovich, Nat. Philh. Orch.; Kabalevsky: Colas Breugnon Overture. Kabalevsky, Bolshoi Theatre Orch. COLOSSEUM CRLP 173, 12 -in.

Tom Latimer, 1369 Mt. Vernon Ave., Col- ton, Calif., offers the following for trade: Lure of the Tropics. Kostelanetz. COLUM- BM ML 4822, 12 -in. Mood for Love. Kostelanetz. COLUMBIA a-710 ML 4917, 12 -in. Music of Lecuona; String Time. Morton WHY Gould. COLUMBIA ML 4361, I2 -in. Mozart: Concerto in C for Oboe and SYSTEMATIC Strings. Miller, Saidenberg Orch. COLUM- BIA ML 4916, Schuman: Symphony No. 3. Ormandy, GROWTH? Philadelphia Orch. COLUMBIA ML 4413, I 2 -in. Because it is the only avenue to true high Walton: Symphony. Walton, Philhar- fidelity. As your music system grows, you monia Orch. HMV 1041, 12 -in. must have as your goal more than just per- Elgar: Symphony No. r. Boult, London fection of frequency response. No matter Philh. HMV 1036, 12 -in. how faithfully you recreate the audio spec- Mahler: Symphony No. 8. Scherchen, trum, origin of the sound in a point- source Vienna Sym. COLUMBIA SL 164, two 12 -in. will dissipate the subtleties that preserve Bruckner: Symphony No. 6. Swoboda, realism and the listening ease of "live" Vienna Sym. WESTMINSTER 5055/6, two music - the two essential ingredients of 12 -in. true high fidelity.

Only the Bozak B -310 adds, to precision of frequency response, a broad source of Phillip Nusbaum, 145 South loth St.. sound and wide -angle dispersioq. The size, Richmond, Ind., would like to trade the following range and placement of drivers on its 3 x 4 list of LPs: foot panel eliminate every suspicion of Liszt: Hungarian Rhapsodies Nos. r and "port -hole" origin. The cluster of four 2; Brahms: Hungarian Dances Nos. 2 B- 199A's provides a robust, enveloping bass and 5. Fiedler, Boston Pops. VICTOR LRM foundation; the B -209 above them is posi- 7002, 10 -in. tioned to retain the spaciousness of sym- Ravel: Bolero. Andre, Brussels Radio Sym. phonic sound without loss of the directional Falla: Three- Cornered Hat Dances. Krauss, quality essential to solos; and above them Vienna Philh. CAPITOL L 8096, to-in. all the B -200XA adds 180° coverage for a Saint -Saëns: velvet- smooth treble that is completely free Cello Concerto; Lalo: Cello of harsh or eerie intonations. The realism of Concerto. Nelsova, Boult, London Philh. LONDON LL 964, 12 -in. B -310 won a reputation as the II-302A the has Tchaikovsky: supreme accomplishment to date in the re- Piano Concerto No. r. Horowitz, production of sound. Toscanini, NBC Sym. VICTOR LCT 1012, 12 -in. If you cannot start with a B -3I0, you can Mozart: Violin Concertos Nos. 3 and 5. grow into it easily and systematically with Fournier, Horvath, Vienna State Opera the "building- block" Bozaks. Begin with a Orch. WESTMINSTER WL 5187, 12 -in. B -207A. Then, as space and budget permit, Schumann: Cello Concerto; J. C. Bach: progress to the unrivalled realism of the Cello Concerto; Bruch: Kol Nidrei. B -310 - enjoying at every step of the way, Schuster, Waxman, Los Angeles Orch. Soc. dollar for dollar. CAPITOL P 8232, 12 -in. Mambo Mania. Perez Prado, Orch. VIC- THE VERY BEST IN SOUND TOR LPM 1075, 12 -in. Tchaikovsky: Symphony No. 6. Bern- i stein, N. Y. Stadium Conc. Sym. Orch. THE R. DECCA DL 9718, t2-in. T. BOZAK SALES CO. Liszt: Concerto No. r; Mendelssohn: Concerto No. r. Iturbi, RCA Victor Sym. VICTOR LM 1734, 12 -in. MAIL ADDRESS: P.O. BOX 966 DARIEN, CONN. Puccini: La Bohéme (complete). Alba- nese, Peerce, Toscanini, Export Office: Electronks Manufacturers' Export Co., Hicksville, N.Y. NBC Sym. Orch. VICTOR LM 6006, two r2 -in.

28 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Sensational New Advance in AM -FM Tuners by Scott

330 PM -FM'6 inauralr Tuner, $169.95' ONLY really wide -range AM, plus super -selective FM gives super -selectivity to Now you can receive the lull Ill kc Ircquenc rank \cw wide -band FM design so close together you would broadcast by the better AM stations. Entirely new IF and let you separate stations over them. detector circuits make this possible for the first time. ordinarily pass right Wide -band design insures drift -free reception. New AM detector insures distortionless reception even if stations modulate to 100 %. Conventional detectors give TECHNICAL SPECIFICATIONS percentages. 2-megacycle wideband distorted AM above moderate modulation FM Section: 3 mv. sensitivity for 20 db quieting - strong detector - 80 db rejection of spurious cross-modulation response by AM Section: local signals automatic gain control - equipped for multiplex. - extended frequency response to 10 AM 1 mv. sensitivity 10 kc whistle filter - Three -position IF-bandwidth switch for perfect - beautiful accessory kc ferriloopstick antenna output jacks for binaural - - - er west of Rockies. reception under any signal conditions. $9.95' S lightlyB Y B

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Both bass turnover, and treble rolloff equalizers arc Finest tape recorder facilities ever offered, including continuously variable for precise compensation of any Playback- Monitor switch. and three tape inputs. record, past, present or future. Special input channel for playback of pre -recorded tape Amazing, patented DNS (dynamic noise suppressor) through your music system. eliminates record noise and rumble, but without losing audible music, as fixed filters do. Makes worn records TECHNICAL SPECIFICATIONS sound new again, protects record libraries. Hum more than 85 db below full output - frequency response flat from 19 cps to 35 kc - record distortion filter - 5 high-level input controls - pickup load and pickup sensitivity controls - automatic loudness control with loud- Two magnetic inputs, switched on panel, allow use of ness- volume switch - provision for monitoring right off tape with three-head recorders - new construction for easy panel mounting - beautiful accessory both changer and turntable. case $9.95' *Slightly higher west of Rockies.

Write for FREE BOOKLET kk. giving complete details SCott on entire H. H. Scott line.

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29 NOVEMBER 1955

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, Scott The Greatest Amplifier Buy You Have Ever Seen

99-B Transcription Amplifier $99.95* Imagine! 22 watts - complete controls - only $99.95 The famous "99 ", a complete amplifier, now with twice Special provisions for playback of prerecorded tape the power -a brilliant 22 watts. through your 99 -B. Complete equalizer -preamplifier with five -position rec- Continuously variable LOUDNESS compensation, with ord compensator. Equalizes virtually all records. volume -loudness switch, gives perfect tonal balance at all listening levels. New adjustable rumble filter and record scratch filter reduce record noise and rumble. TECHNICAL SPECIFICATIONS Input selector switch for two magnetic pickups, crystal or constant amplitude pickup, three high -level inputs, and NARTB tape playback - frequency response Two magnetic inputs, switched on panel, allow use of flat from 20 cps to 30 kc - hum better than 80 db below maximum output - harmonic distortion less than 0.8% - first -order difference -tone intermodula- both changer tion less than 0.3% - class A circuits throughout - easy panel mounting - and turntable. beautiful accessory case $9.95' Slightly higher west of Rockies.

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210.0 Dynaural Laboratory Amplifier, $169.95 Includes famous DNS - makes worn records sound new again Complete professional equalizer -preamplifier ith mag- Special provision for playback of pre -recorded tape nificent new 30 -watt power amplifier. through your 210 -D. Amazing, patented DNS (dynamic noise suppressor) Continuously variable speaker damping control. eliminates record noise and rumble, but without losing audible music as fixed filters do. TECHNICAL SPECIFICATIONS

Seven- position record compensator exactly equalizes Input selector for 3 high -level inputs, 2 low -level phono (magnetic), and one practically any record made. high -level phono (constant amplitude) - NARTB tape playback curve - frequency response flat from 19 cps to 35,000 cps - adjustable record -distortion Unique features for tape -recording, with three special filter - harmonic distortion less than 0.5% - first -order difference -tone inter. modulation less than 0.25% - beautiful accessory case $9.95' inputs for recording and monitoring. Slightly higher west of Rockies.

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3o HIGH FIDELITY MAGAZINE

www.americanradiohistory.com by L. Scott Revolutionary New Turntable Has Everything

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The 311 FM Tuner, $99.95 There are NO weak stations with this new tuner TECHNICAL SPECIFICATIONS Terrific 3- microvolt sensitivity makes distant stations 2- megacycle wideband detector - 2 stages of full limiting - 80 db rejection sound as clear and strong as those nearby. of spurious response from cross -modulation by strong local signals low - impedance output - equipped for multiplex - beautiful accessory case $9.95 west Rockies. New wide -band FM design gives super- selectivity, to 'Slightly higher of separate stations so close together you would ordinarily 310 FM BROADCAST MONITOR TUNER pass right over them. For perfectionists and connoisseurs, H. H. Scott offers the 310 FM tuner. High Fidelity Magazine says: The 310 Wide -band circuitry insures rock -steady, drift -free re- " is a tuner that seems as close to perfection as is prac- so you never need readjust tuning. ... ception, tical at this time." The Audio League Report says: "The Automatic gain control always keeps tuner perfectly 310 is the most sensitive tuner we have yet tested." Price, adjusted, no matter how the signal varies. including case $149.95 East Coast; $157.45 West Coast.

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NOVEMBER 1955 31

www.americanradiohistory.com Now -at a big saving, you can easily BUILD YOUR OWN S'k :tetroiCC High- Fidelity SPEAKER ENCLOSURE

THE ARISTOCRAT KIT. Folded -horn corner enclosure designed for 12 -in. speakers and separate 2 and 3 -way systems. EVERY PIECE PRECUT For use with Electro -Voice SP12 or SP12B coaxial speakers, 12TRX or 12TRXB triaxial reproducers, and 108, Ill 2 -way and 108A, 111A 3 -way systems. Smooth reproduction down to 35 in Ready- to- iiiademeee KITS cps, with remarkable purity and efficiency. Finished size: 29% in. high, 19 in. wide, 153/4 in. deep. Shpg. wt. 37 lb. Now you can have an acoustically correct Electro -Voice high -fidelity Model K06 Net, $36.00 speaker enclosure for your home music system and save up to one -half! Build it yourself ...seven models to choose from...wall types...corner types...for full range loudspeaker..,for separate two, three and four -way speaker.systems. THE BARONET KIT. Phenomenal reproducer for such small size. This folded - Every kit is completely ready for assembly, including glue, screws horn corner enclosure is designed for and nails. All use with E -V Model SP8B 8 -in. Radas parts are precut. Exterior surfaces are clear -grained birch - speaker. E -V T35 or T35B Super Sonax a hardwood that takes a beautiful furniture finish. These kits are UHF driver can be added for a sep- so carefully engineered that simply by following arate two -way system. Finished size: the easy step -by -step 23 in. high, 14 in. wide, 13 in. deep. instructions you can build an enclosure comparable to the Shpg. wt. 24 Ib. renowned Electro -Voice factory -built enclosures. Model K07 Net, $24.00 Soft satin or high gloss furniture finish in walnut, mahogany, red mahogany, honey maple, golden oak or jet black is easily obtained by using an E -V Finishing Kit.' The handles and metal trim from the THE EMPIRE KIT. Economical, folded - appropriate E -V Decorative Trim Kit* add the final touch for horn enclosure for use in a corner or a flat against one wall. Designed for smart, professional appearance. ('Available separately.) 15 -in. speakers and separate 2 and 3 -way systems. Particularly effective when used with SP15B coaxial speaker, 15TRXB triaxial reproducer, or 116 THESE "DO -IT- YOURSELF" BOOKS SHOW YOU HOW TO BUILD IT 2 -way or 116A 3 -way system. Recom- mended components for Regency kit Included Free with Each Kit ... or May Be Purchased Separately may also be employed. Finished size: Each book gives complete, easy -to- follow, step - Mode IBC -For Patrician $1.50 29% in. high, 32 in. wide, 16 in. deep. lb. by -step instructions, diagrams, and photos. Makes Mode 1B2 -For Georgian 1.50 Shpg. wt. 45 it simple to build your Hi -Fi Speaker Enclosure Mode 183 -For Centurion 1.00 Model KD5 Net, $48.00 with an E -V K -D Klt -or with your own materials Mode I84 -For Regency 1.00 purchased at your local lumber yard and hard- Mode 1B5 -For Empire 1.00 ware store. Get the book of your choice now from Mode IB6 -For Aristocrat 1.00 your nearest E -V High -Fidelity Distributor. Mode 1B7 -For Baronet .75 THE REGENCY KIT. Most popular lowboy style folded -horn enclosure that can be used in corner or flat against See your E -V Hi -Fi Distributor write one wall. Improves the bass range and -or response of any 15-in. speaker. Makes to Electro -Voice an outstandingly efficient reproducer for complete when used with E -V SP15 coaxial speak- information in er, 15TRX triaxial reproducer or 114A Bulletin No. 211. 2-way or 1146 3 -way system. Finished ELECTRO- VOICE, INC. BUCHANAN, MICHIGAN size: 2994 In. high, 331/2 in. wide, 19 In. deep. Shpg. wt. 70 lb. Export: 13 E. 40th St., N.Y. 16, U.S.A. Cables: Arlab Model K04 Net. $69.00

THE PATRICIAN IV KIT. An interior THE GEORGIAN KIT. An interior as- THE CENTURION KIT. Four -way system assembly kit for those desiring the sembly kit that creates authentic folded -horn, corner enclosure. Uses ex- finest. This augmented design of the Klipsch Indirect radiator type corner clusive E -V "W" type single -path in- Klipsch corner folded -horn bass sec- folded -horn bass section for 15 in. direct radiator for propagation of ex- tion delivers an added full octave of 4 -way speaker system. Exceeded in tended bass. Sealed cavity behind 15 bass. Designed for use with E -V range only by the Patrician IV. For in. low -frequency driver cone promotes Model 103C Patrician IV four -way use with E -V Model 105 or Model 117 superlative transient response, subdues driver components. For built -in in- package of 4 -way driver components. cone excursions, lowers distortion. For or stallations to be decorated as you For built-in installations or to be use with E -V Model 105 or Model 117 choose. Finished size: 571/2 in. high, decorated as you choose. Finished package of driver components. Finished 341/2 in. wide, 267/1 in. deep. Shpg. size: 381/2 In. high, 261Yí in. wide, size: 421/e in. high, 29 in. wide, 2242 150 lb. wt. 221/2 in. deep. Shpg. wt. 88 lb. In. deep. Shpg. wt. 75 lb. Model KO1 $99.00 Net, Model K02 Net, $51.00 Model 1103 Net, $79.00

www.americanradiohistory.com AS THE EDITORS SEE IT

THE RECORD industry, which tends to be hypertense father of "Lp" recording, and director of research for CBS. anyway, went through a brief spasm of anxiety this past For the benefit of people unwilling to face Chrysler - autumn over two new developments which, in principle, dealer salesmanship to satisfy their curiosity, the Highway were no newer than rock-and -roll. It was the magnitude of Hi -Fi player is a device of typically Goldmarkian neatness. their disruptive potential, this time, that was new. And it It plays seven -inch records, made by Columbia for was their magnitude, as undertakings, that kept them from the Chrysler label. These will yield up to forty-five breaking loose and disrupting things. "Things" in this case minutes of music per side, and up to a full hour of speech means the record market, which, what with subscription ( which may be significant) . The pickup arm is barely four clubs, price -cuts, and the like, has been a little shaky of late. inches long. It is balanced vertically and laterally against The developments were 161/4-rpm records and binaural shock, viscous -damped, and down -sprung to furnish a stylus disks. As readers of this magazine know, binaural disks pressure of two grams. The whole assembly has a shock - have been a commercial actuality since 1953, and 161/4-rpm mounting with a low time-constant, so that the car it graces records likewise. So what was the threat? may drive over a curb without disturbing the tracking. The threat amounted simply to this, that in the latest More important to the high fidelity enthusiast, however, instance the rumored backers of the two developments were are the records. Dr. Goldmark has been able to capture, (British) Decca, Ltd., and Columbia Records, Inc. These even within the limitations of a seven -inch diameter, a are not small, specialized companies. They are very big range up to o,00o cycles per second, which is very respect- ones, and each is part of a combine bigger yet. able fidelity. At least, it is respectable for some kinds of The significance of size may not be well understood. material, especially for what we usually, in these pages, refer People are inclined to think of an idea - twin -band stereo- to as the Spoken Word. phonic disks, for instance - as being self -propelled. Per- Few spoken records would suffer greatly from restriction haps it is, but the propulsion is very slow. A large part of of their tonal range to 10,000 cycles. And I, for one, would the reason that we listen to our symphonies today on micro- not object to it at all if, in recompense, I received twice the groove disks turning at 331/2 rpm is that in 1948 Columbia duration that my money bought previously. John Brown's was willing to invest, all at once, many millions of dollars Body would cost only five dollars, or thereabouts, and even in a large catalogue of "Lp" records, a mass -market record- Othello only seven or eight. Things like the wonderful playing attachment (sold at no profit whatever), and BBC dramatization of Jane Austen's Pride and Prejudice, facilities for cutting and printing 331/2-rpm disks for any eight hours long,_would become practical as recording pro - new entrepreneurs who wanted to come into the long -play- jxcts -P. & P. would occupy only two twelve -inch disks. ing business. As a musical medium, so far as the fi- brotherhood is con- It was through a comparable effort by RCA Victor that cerned, the long- long -playing disk seems unpromising. the accepted "pop" record today turns at 45 rpm and has Purists now seem disposed to object, even at 331/2 rpm, to a big spindle hole. British Decca ( London) has done noth- more than eighteen minutes of music per twelve -inch side, ing comparable, but probably is in a position to do so. on the grounds that tonal realism is sacrificed. But institu- London's binaural system apparently was ready for tional and industrial background music ought to fit the new launching at the end of last summer, so far as concerned the speed very well. engineering of the records, but the launching didn't take The main point is that, with the aid of the Chrysler place. The reason is London's secret, but part of it must Corporation, Columbia seems to have found a way to de- have been the hugeness of the task of perfecting and pro- velop a new departure without a vast and risky outlay of ducing low -price binaural pickup attachments, and selling irreplaceable cash. Whether the development will come off them by the thousands across two continents. It would take the highway and into the home, and at what cost to the a staggering effort. record industry and to our budgets, remains to be seen. Dr. Columbia's 161/4-rpm development was not thus simply Goldmark has done his part. withheld, it was routed through a by -road. Current adver- I wish I could think of a similar gimmick whereby Lon- tisements from the Chrysler Corporation clarify this. In don could painlessly launch its stereophony, but I can not. certain Chrysler automobiles for 1956, one may have as Be of good cheer, however. Technical and commercial optional equipment Highway Hi -Fi. This consists of a very ingenuity seems endless in this lively, jittery business, and ingenious small record -player which operates at 161/4-rpm. no doubt, in time, we will hear Carmina Burana and the The player and the records it plays are products of CBS- Nielsen Fourth Symphony in our living rooms in their full Columbia, and of the ingenuity of Dr. Peter Goldmark, multidimensional splendor. J. M. C.

NOVEMBER 1955 33

www.americanradiohistory.com i

PHOTO MY nouGLAs GLASS

34 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com SIBELIUS CELEBRATED his fiftieth birthday on December 8, Schubert had lived to celebrate his ninetieth birthday he 1915, by giving the first public performance of his Fifth might have been dragged over to Bayreuth to hear Parsifal Symphony. (In its original form, not that in which we and that, if he had survived the birthday by another week, he know it today.) Ten years later he gave the world Tapiola; might have read Hanslick's criticism of Otello in the Neue his Seventh Symphony had come the year before. The rest, f reie Presse; but I doubt whether he would have produced except for the Tempest music and a few odds and ends, is much after the 185os. So we should not fret overmuch at silence. Silence but not nothingness; the one thing we the blank years of a master like Sibelius who has given us know about the Eighth Symphony is that it is finished and richly of his plenty while at the height of his powers. lies waiting for performance after the composer's death, and Instead of these idle speculations as to what we may rumor speaks also of a Ninth in which Sibelius will speak have lost through his silence, let us rather consider what to us from beyond the grave. It is as if Wagner had lived we shall still possess even if the old gentleman has the till 1903, with the score of Parsifal locked up in his desk. whim of celebrating his hundredth birthday by lighting a This has been puzzling and exasperating to Sibelius ad- bonfire with the score of Symphony No. 8. To begin with, mirers, who have used such phrases as "incredible silence" I very much hope that at some time in the future we shall and pointed to his lifelong fertility. "From boyhood, he be allowed to possess some or all of those compositions, composed unceasingly and profusely," wrote Ralph Wood still in manuscript, which preceded En Saga: the Kullervo eight or nine years ago. "To believe that all the creative Symphony, the one -act opera The Maiden in the Tower, and activity, till then the overwhelmingly dominant factor in still more than these the various chamber works of which his life, year by year, month by month, day by day, could one - the String Quartet in B -flat of 1889 - was actually come to an abrupt end is next to impossible." Is there really numbered Op. 4. I confess I am really more interested to little beside the last symphony or symphonies folded in the know what Sibelius wrote when he was twenty than what master's portfolios? he may have written when he was eighty; I even think it If so, what are we likely to have lost? likely to have more permanent value. Of course, one longs The fact is that not many composers have given the to know how Sibelius came to work out that highly indi- world much after the age of sixty, though it is true that if vidual style with which he confronted the world at twenty- Bach and Handel had died or fallen silent at sixty we seven in En Saga. (By that age Schubert - to hark back to should have had no Musikalisches Opfer or Kunst der Fuge, him for a moment - had written all his symphonies except no Judas Maccabaeus (not a great loss) , Joshua, Susanna, the great C major and all his quartets except the G major Solomon, Theodora, or Jephtha. The second set of "Salo- and Death and the Maiden.) At present we know hardly mon" symphonies, The Creation, and The Seasons were the anything more than what we are told by Sibelius' biogra- work of a sexagenarian. One thinks of Parsifal and of pher Ekman, who apparently was allowed to look at the course the Verdi of Otello and Falstaff. And then one early manuscripts. According to him, the earliest youthful chamber works of which fragments have been preserved are in AT 90 the style of the Viennese clas- SIBELIUS a sics and already "exhibit respectable mastery of form." by GERALD ABRAHAM Then came the influence of Grieg's sonatas and by 1884 Here a noted British musicologist evaluates an enigma -a great composer who "the youth had developed has published only what he wrote between the ages of twenty -seven and sixty. from a devoted imitator of the classics into a composer capable of expressing himself in a musical language that he thinks, but in rather different terms, of all that Strauss could call his own." Next he discovered Tchaikovsky and wrote after 1924: much that is beautiful but little that was perhaps he learned something besides technical mastery fresh. Or Elgar; Elgar lived to be nearly seventy-seven but from his teachers Wegelius and Albert Becker. The Suite he really stopped composing at sixty-two, with the Cello for string trio of 1889 impressed both Karl Flodin and Concerto; after that came nothing but trifles, or sketches for Busoni; and, according to Ekman, the B -flat String Quartet big works that were never completed, and I do not think written the same year is "a work in which the young corn- the drying up was entirely due to a sad personal loss. A still poser's bright joy in creating glows like sunshine on the closer parallel with Sibelius' silence is Berlioz's: a career fresh foliage of the trees." We know that he was reserved closed at fifty-nine with Béatrice et Bénédict and then toward the contemporary idols Brahms and Wagner, and seven years spent waiting for death - "J'ai dit adieu aux his attitude to the young Strauss is unclear. We can deduce illusions musicales, je ne fais plus rien." Broadly speaking, the influences of Borodin and (I think ) Bruckner from the composers who reach sixty tend either to repeat later compositions; Sibelius himself has told us that ac- themselves or to rest on their fame. Even Haydn quaintance with Robert Kajanus' Aino Symphony was "of stopped at seventy. It shakes one to reflect that if thrilling importance to me." On the other hand, his studies

NOVEMBER 1955 35

www.americanradiohistory.com of orchestration in Vienna with Robert Fuchs and Gold - Sibelius was a "nationalist" through and through not only mark were confessedly of little importance "for my inner in the sense that he was a patriot ( witness Finlandia) and development." Indeed Sibelius himself has been quite borrowed subjects from the Kalevala but in the narrowest conscious of his highly individual maturing: It is hard to musical sense: "His music shows the melody and rhythm say what influences affected me at that time. When I look of Finnish folk tunes as authentically as Grieg's derives back at my life, I see that in many respects it has been from the Norwegian." ( Which is quite untrue; the only different from that of other musicians ... Influences that noteworthy feature common to Sibelius and to Finnish can be pointed at directly, I cannot indicate in my case." folk music is a love of the melodic motive of a falling fifth And again he speaks of "the special style that I now began with the stress on the first note.) And Niemann then goes to realize was my strong point." on to indulge in some fine writing How right he was! No musi- about "music saturated with cian has ever expressed himself in nature -poetry," "gray veiled moods a more individual style - not a of infinity, gilded by the pale rays mere collection of mannerisms but of the midnight sun," "the land of individual thought uttered in a a thousand lakes," dark endless musical speech that perfectly winter and thundering waterfalls. matches it. The thought may be Admittedly he could then have profound and abstruse, the speech known only the first two sym- compressed and elliptical as in the phonies; admittedly Sibelius is Fourth Symphony, or thought and often a "nature- poet." Central and utterance may be almost common- Latin Europe have gone on think- place and cheerfully extrovert as ing of Sibelius in those terms. in many of the smaller pieces: it But twenty or thirty years ago is always equally Sibelian. Think America and Britain, to say noth- of the Pelkas et Mélisande music ing of Scandinavia, began to which is neither commonplace nor recognize him as something much profound but extremely slight in greater than a nationalist. Even substance - the prelude to Act I, what he himself once called his Scene 2, for instance, or the pas- "granite" orchestration, however torale in Act III; these are mere Nordic in origin, was seen to be wisps of music, undistinguished personal as the roughness of Bee- (one would say, glancing at the thoven's orchestra is personal and score without really reading it) in universal. The picturesque ele- material or method, yet each Sibelius' name on any news-bulletin in Finland ment in his music lost its interest; will stop passers-by. 1 his one is in Helsinki. transports one in a bar or two into it was the musical thought that the melancholy dream -world of Maeterlinck's play and both now fascinated us - the powers of structure, logic, and are unmistakably and utterly Sibelius'. Apparently this (still sometimes, though less than in the earlier sym- "musical language that he could call his own" was already phonies) the rhetoric - and always, of course, the wonder- beginning to be forged at nineteen; it is no mere superficial ful sound of it all. curiosity that makes one long to study and hear those early As Sibelius stopped composing, one began to see his scores; there is so much testimony to their intrinsic quality. total work in something like historical perspective. Some- What curious modesty has made Sibelius hide these thing very remarkable emerged: a symphonist such as the things away? Is it akin to that which has locked up practi- world had not seen since Brahms and Bruckner, perhaps cally everything after Tapiola? It can hardly be intense since Beethoven himself. After all the lyrical symphonists self-criticism - unless Sibelius' self -criticism functions only and program -symphonists of the Romantic age, here was a spasmodically - for he has passed for publication a lot of symphonic composer who could conceive germinal themes work produced in maturity which is well below the and work with them on a grand scale, who could intensify standard of his finest achievements. Whatever the reason, his power by compression, by economy of both language it is regrettable; the world would be the poorer if we and texture. Often even the scraps of motive and passage- possessed practically nothing of Beethoven's written before work and what we call the "musical logic" seem not so 1797, even though the general picture of Beethoven's crea- much to form the whole complex of thought and emotion tive personality would be no different. as to arise out of it, as in Beethoven's last quartets. Here In Sibelius' case, too, we undoubtedly have all that we was a music unquestionably "modern" in every sense yet need for a true picture even if we remain ignorant of every standing apart from most of the music of the 192os, which note written before En Saga or after Tapiola. But the was mostly experimental. This was not experimental at all picture looks different to different beholders. His great but fully accomplished, possessing all the qualities we sub- significance has changed. When Walter Niemann pub- sume under the word "classical." lished his book Die Musik Skandinaviens in 1906, he hailed Was, and still is. It is true we see now that Sibelius' sym- "Finland's greatest composer" as "head and leader of Scan- phonies were not quite unique in possessing those qualities dinavian neo- romanticism," a more virile Gade or Grieg. at that period; many of Continued on page 118

36 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Aye Aye, Trovator!

b Gerald E. Martini

WARE perfectionists. High fidelity means extreme of rules. Let us freely admit that this is no easy job. But it faithfulness, as close to absolute accuracy as human inge- is the job the announcer is supposed to perform. nuity - and our own pocketbooks - can attain. We want It is not surprising, then, if there are occasional slips, but music without distortion, either electroacoustic or interpreta- some slips are less excusable than others. Like the frequen- tive; we want to hear every overtone of the original per- cies not delivered by "low -fi" reproducers, these slips go un- formance; we want everything to be in proper balance. noticed by the uninitiate. It would be regrettable if a man Fortunately both record manufacturers and certain broad- who had never attended an actual concert were to form his casting stations are catering more and more to our refined whole concept of symphonic music from the sounds de- and demanding ears. They hire the best musicians, and the livered to him by a twenty- dollar radio. It is equally regret- best engineers to preside over microphones, tape recorders, table that many people who are unfamiliar with the pronun- and broadcasting equipment. They offer us factory- sealed ciation of foreign languages are learning from inadequately records and dustproof jackets to put them in. We are even prepared announcers to pronounce "Respighi" as if it vaguely flattered when the announcer declares that our rhymed with "squeegee." (I don't know what they are learn- favorite selection will not be played tonight "because the ing about this gentleman's first name, Ottorino. I have heard condition of the records is below FM broadcast standards." it pronounced four different ways in a single broadcast! ) Fine fellow, that announcer. A fellow perfectionist. Another variety of the same irksome error is found in the Or is he? What are his FM broadcast standards? reversal of sounds inflicted from time to time on the Chigi Who was the composer whose work we won't hear to- Quartet; instead of the correct KEEjee, we hear CHEEgee. night? Was it MAWriss RAvI, the Bolero man? Or pos- The most elementary knowledge of Italian spelling and sibly Hector Berlowitz, homme fantastique? And of course pronunciation would preclude such barbarisms. The new the obvious conductor for these French works is Pierre and expanding audience for classical music will learn its MONTyou. Are these mispronunciations exaggerated? No, pronunciations in large measure from radio announcers. It they are ones I have actually heard emanating from so-called would be a travesty on culture if these budding enthusiasts fine music stations in various parts of the United States. should be misled into telling their friends of a new -found Every example given in this article is an authentic instance delight in Joe Han Sebastian Batch. (I did hear this on the of the "low fidelity" - the unfaithfulness, the inaccuracy - air, but not from a "good music" station.) Of course, for of some "good music" announcer in the East, the Midwest, the cognoscenti such butchering of languages is productive or the Far West, the areas where I have been listening over of the most exquisite pain. After hearing poor Berlioz the last ten years. To be sure, the above examples are ex- called "Berlowitz" over and over during a lengthy introduc- treme. They are equivalent, in our own terms, to an upper tion to the Requiem, I was in such a state of agitation that limit of 5,000 cycles per second; or a Trout Quintet I turned off my radio and missed a performance I really with one movement missing. But perfectionists are dis- wanted to hear. The mood had been destroyed. The FM turbed by much slighter deviations from accuracy. The station was guilty of infidelity. whole matter needs investigation. Lest the reader think I am lashing out at everyone indis- Before we can judge an announcer's performance, we criminately, let me list the offenders in a descent from per- must know what is expected of him. In this respect Ameri- fection. At the top of the list are the real "hi -fi" announcers cans demand more than, say, Frenchmen. In France names - the faithful ones. While these may appear anywhere, the are generally Gallicized. Schubert becomes concentration is probably highest in New shüBAIR; Mozart is moZAR- without any York City. We might almost call these the t sound. As is the practice in Europe, operas "scholar- announcers." ( However, even the are often given in translation. If one knows loftiest and most erudite station ever heard French well, one can announce musical in New York once signed off with some broadcasts with some assurance. But for rea- weirdly fractured German. In the German sons which are not entirely clear -and this title of Mendelssohn's On Wings of Song the is not the place for speculation -an Ameri- word "Flügeln" rhymed with "Magellan" and can announcer is expected to know how to "Gesanges" with the River Ganges! I like to pronounce any language in which a song think this was done to pay off an election bet!) may be written. Russian composers, Ru- Below the first -rate scholar -announcers is manian conductors, French titles, Italian or the body of reasonably conscientious person- Greek soloists must all be taken in stride and nel of the better FM stations in our larger each pronounced according to a different set cities. They know Continued on page irz

NOVEMBER 1955 37

www.americanradiohistory.com by E. C. ¡J lut rfield / Take Pen in Hand...

The author is manager of high fidelity product merchandising for Allied Radio Corporation in Chicago, one of the first mail-order firms to get into audio sales. Here he tells how to shop by mail.

UNLESS YOU ARE lucky enough to live reasonably by mail. Always make sure that the mail order firm with close to a large city where there are high fidelity demonstra- which you elect to deal gives you a reasonable time in tion facilities, you will probably do your audio equipment which to test the components in your own home, and the shopping in your own living room, simply by filling out a option that, if you are not fully satisfied with their perform- mail order form. ance, you may return them for exchange or refund. How As a matter of fact, even people who do have access to many audio shops will allow you to take components home "hi -fi" listening studios very often do much of their actual for a week or two of testing and then give you your money purchasing by mail. back if you are not satisfied? Not many, I can tell you. Yet Studying mail order catalogues and purchasing merchan- this is not uncommon among large well -established mail dise by mail is an institution in this country. The distribu- order firms. tion facilities for many types of manufactured products, Now, what about the personal touch? Usually, when and especially high fidelity components, do not reach rural people go shopping for any major item such as a car, a communities and small cities and towns across the country. refrigerator, a piano, and, yes, even a high fidelity set, they Also, there are some very distinct advantages to purchasing seek the advice and guidance of the store salesman. The products by mail, especially from firms which have estab- salesman knows his product and is prepared to answer lished excellent reputations in their field. questions right on the spot. He can usually recommend a There are several mail order firms in the electronics field best buy for any particular needs and budget. To the shop- which do a very large business selling high fidelity com- per by mail, the services of the salesman are not available. ponents mail. by In fact, the volume of business which is But again, the mail order house is not at a loss. Most large done by these mail order firms constitutes a relatively large mail order firms employ staffs of audio experts who make percentage of the total sales of high fidelity equipment in it their business to know thoroughly every high fidelity this country. component their company sells. These experts almost al- Choosing high fidelity components can be difficult even ways will be able to answer every question that you may in a well -supplied listening studio, where the customer can have about your prospective home music installation. How- see and listen to a large variety of components. (Sometimes ever, before they can assist you effectively, they must have the variety may even enhance the difficulty - having been all the relevant information you can give them. And this exposed to the wonders of a $600 loudspeaker does not brings us to the second rule for purchasing high fidelity speed the decision of a man trying to choose between a $99 components by mail. When seeking the advice of the mail one and a $75 one.) But, in general and quite naturally, order firm before placing your order, always give as much trying to pick components by studying the specifications information as you can about your special needs. and descriptive blurbs in any high fidelity catalogue is an Some companies use questionnaires. The firm I work for even more difficult task. has published one four pages long that goes out to each in- I do not mean to suggest that the high fidelity enthusiast quiring customer. The brochure contains forty-four ques- should throw away his catalogues and take an airplane ride tions, about almost every conceivable phase of high fidelity to the nearest custom sound studio. With a little guidance home music installation. For example, one of the questions it is possible for the average music lover to make a reason- asks how much money you want to spend. This may sound ably sensible choice of components simply by studying the very direct and hard -boiled, but it is very important for the catalogue. It helps, of course, when the mail order firm salesman to know whether you wish to spend $ too, $Soo, offers complete satisfaction or your money back. or $r,000. Perhaps you may not even known how much And so this brings us to the first and most important rule money you want to spend. Perhaps you want to spend as that should be observed when purchasing audio components much money as it takes to provide you with a good high

38 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com fidelity set. This is very fine, but a system describable as and convenient accessories as a loudness control, an equali- "good" still could cost anywhere from $too to $2,oco. In zation control, a multi -input preamplifier, a tape recording order to help the high fidelity expert help you through this jack, a rumble and noise filter, and so forth, real complica- problem, he must have considerable information about your tions set in, and still higher costs. The moral is clear, I plans for your high fidelity installation. For example, he think. If you are going to judge and choose equipment by should know whether you are going to install the equip- reading specifications, read all the specifications, not just ment in a bookcase, a wall, a closet or a custom cabinet. the power and frequency figures. And what kind of cabinet - corner or wall, kit or Many mail order firms offer special bargains from time assembled, finished or unfinished. Our questionnaire is to time, and nearly all offer their own private -brand com- based on experience gained in many a tiring ten -letter ponents as a regular thing. Should the mail order purchaser correspondence. We don't have many now. consider these special bargains and relatively unknown Some mail order firms have devised another method to brands, or should he consider only the nationally advertised help customers choose the right high fidelity systems. This components? The answer to this question depends on the consists of a chart suggesting high fidelity systems in vari- reliability and reputation of the mail order firm in question. ous price categories. You can usually depend on such a Do not be afraid to purchase a bargain or a private brand recommendation because these combinations have been item so long as there is no risk involved. Make sure that to selected not by choosing components out of a hat, but by the same guarantees and return privileges which apply also apply to the bargain very careful listening tests. Very often recommended high the regular brand merchandise Very often high fidelity products of very high fidelity systems were originally selected by impartial au- merchandise. merit can be sold at substantial savings by the use of the thorities who first published their findings in magazine private brand label. This is made possible by large quantity articles and books. purchases, virtually no advertising costs, and very low dis- For those high fidelity enthusiasts who prefer to thumb tribution costs. through the catalogues and make their own selections, based The purchasing of radio tuners can present an especially on the specifications which are listed in great detail, a few knotty problem to the mail order purchaser. As he thumbs are in order. First of all, such specifications as the fre- hints through the catalogue investigating the specifications of the and the distortion figures for the various quency- response various tuners, he may wish that he had the first -hand ser- are not those of the mail order firm, but audio components vices of an audio salesman. Here is a good rule to follow by the respective manufacturers. are the figures published when purchasing a radio tuner. Look for a tuner which will This means that the comparison of specifications between work well in your locality. This means that you must con- possibly one manufacturer and another manufacturer can sider the sensitivity of the tuner in relation to the geo- lead to erroneous conclusions. For example, if speaker "A" graphical location of your home with respect to the radio is listed as reproducing the frequency spectrum from 20 broadcasting stations. For example, if you live in an area cycles to 20,000 cycles and speaker "B" is listed as repro- considered "fringe" for television broadcasting, you can ducing from 4o cycles to 12,000 cycles, this does not auto- also be considered a fringe -dweller for FM purposes. FM matically make speaker "A" the better speaker. A more waves and television waves are similar in that they both accurate analysis of the two speakers can be made by com- tend to travel in a straight line. They are both easily ob- paring such specifications as: a) the resonant frequency of structed by large man -made objects as well as natural ter- the cone, b) the weight of the magnet, c) the crossover rain. Check the sensitivity rating very carefully before frequency, if any, d) the power- handling capacity, e) the choosing a tuner. Here again, I cannot emphasize too type of tweeter and crossover, if any. strongly the importance of being able to return a tuner or In other words, the comparative an antenna when it proves to be use- differences between speakers must be less in your location. Many an un- considered not only in the light of wary mail order purchaser has found the published frequency response but himself with a high fidelity tuner also with reference to other impor- which incorporates both AM and tant factors. This is also true for FM, only to discover there were no every other component in a high fi- FM stations within his reach. An delity system. AM -only tuner would have saved It is very easy and fairly inexpen- him a lot of money. In fact, it is pos- sive to manufacture an amplifier sible that he could have used one of which will reproduce the full audio his present AM radios rather than frequency range. However, it is have invested in a high fidelity tuner much more difficult and considerably in the first place, since most AM is more expensive to manufacture one not high fidelity itself. which not only will reproduce the What about the question of ship- entire audio frequency range but ping high fidelity components around also do so with a strict minimum of the country? Isn't this a rather risky distortion. And, when such an ampli- method of purchasing such delicate fier must also have all such varied equipment? Continued on page 109

NOVEMBER 1955 39

www.americanradiohistory.com CUSTOM INSTALLATIONS? by CHARLES 11OI)RIC1 ES

Allergic to sameness, even in pictures of home music installations, the imaginative Mr. Rodrigues saunters down several walks of life in search of the well-known spice thereof.

40 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com e

\NN

NOVEMBER 1955 41

www.americanradiohistory.com The author of this article is a fearless man, and lives in Deansboro, N. Y. The editors of this magazine likewise are fearless men, and live in Great Barrington, Mass. It is to be noted that neither of these locations is ideal for picketing, or mass demonstrations. Otherwise, quite possibly, we would have hesitated before commit- ting to print Mr. Rummell's dreadful - but delightful - heresy. There must be limits to living dangerously.

IT WAS ENCOURAGING to hear "Pennies From Heaved' coming through the door of Uncle John's apartment. This tune was on an inner band of the record; I could never be sure that he'd get that far with one of my offerings. I knocked and heard the music stop as he lifted the tone arm. He opened, the door and bowed with his usual formality. "Glad to hear you playing it," I said, after settling myself Uncle John smiled enigmatically and sipped his drink. across the room from the Klipschorn that terminated the "Now let's talk about something else. Closed any big deals best high -fidelity system I'd ever heard, and lodging my since I saw you last ?" beer securely on the arm of the Morris chair. "How do you "No, and I want to talk about Brubeck." I got up, turned feel about Brubeck Time after living with it a week ?" the record over and set the stylus down in the middle of "I've played it a number of times. Its quite provocative." "Stompin' for Mili." "Listen to this." I thought the driving, When he did not go pounding ryhthm was tremendously effective. Uncle John on, a somewhat unusual listened impassively, let the record play through to the end development, I said, of the band and then lifted the tone arm. BACH "Please expand that "What about the counterpoint ?" I demanded. "Right comment, if you don't hand against left hand ...." mind." "Little girls do that in Bach's Two -Part Inventions," he It was a stilt of game with me, trying my favorite jazz said wearily. "If you'd like an evening of contrapuntal music records on Uncle John. He was a bachelor, a retired pro- we can arrange it." He gestured toward the five -foot row of fessor of English literature, in his late sixties but still keen records on the shelf. "We can start with Palestrina. The art and alive, rather courtly for these days, a good amateur was well established, you know, long before Bach - or pianist and a lover of what's usually called "classical" music. Brubeck." His broad tastes and open mind had enabled me to make "But Bach doesn't have any driving force. There's no real some surprising hits on these Friday night visits. rhythm," I insisted, "and no emotion." It was not easy to predict his verdicts, yet they all "Bach may be a trifle too -uh, cool. I hope," seemed to me to be perceptive and sometimes even he added, "that I haven't used your word inaccu- just. rately. Correct me if I have." Before replying, he picked up one of the maga- "You're doing all right. Cool jazz is the oppo- zines I'd brought along with the record, one con- site of the hot frantic type. Its intellectual jazz." taining a particularly deep -end pronouncement. (Uncle "Ah, yes - intellectual." John always liked to read about the players whose records "The Quartet," I persisted, "are trying to free jazz of its I brought him; I suppose this was a professorial habit.) old, worn -out forms. They're all trained musicians - "It says here -I don't know who the writer is - that studied with the best - and they approach jazz as an intel- Mr. Brubeck is the greatest improvisor on a theme since lectual adventure. They don't stay with the old written -out Bach. What more can be said about a man who's just un- arrangements full of clichés. They improvise under the horsed Mozart and Beethoven ?" inspiration of their own playing in front of an audience." "That may be a little extreme," I admitted. That ass of a "And get their clichés - or worse - out of the top of writer had got Brubeck and me off to a poor start. "But their heads ?" you've got to remember," I added, as cheerfully as possible, "That's a dirty "that Brubeck has that effect on his followers. They're way to put it. regular apostles, and he's got millions of 'em. They're And besides, enthusiastic. Don't forget your lecture last Friday night on you're missing enthusiasm. I BRUBECK remember distinctly that you approved of it." the point. Their "Certainly - for right things." He laid the magazine method keeps down. "I note, too, that these articles all emphasize the them fresh and free. They never play a piece the same way 'intellectual' content of Mr. Brubeck's music, and his twice - or hardly ever." mastery of classical form, whatever that is. Usually, they He shook his head. "That's a pity, for if they did, per- manage to drag in Bach somewhere." haps they could learn to play their pieces better. That must "That's right. He's a lot like Bach, or so the experts say. explain why young Mr. Desmond sounds so much of the That's why I was sure you'd like him." time as if he were at his wit's end, without a cliché to turn

42 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com he seems rather short- winded - the pain suddenly sharpens." "I don't follow you." "Then the saxophone comes in - Mr. Desmond. I wonder about that young man. Really. I wonder if he isn't so preoccupied with what to play next that he forgets he's blowing into a rather dangerous instrument. It takes some doing, you know, to be pleasing while blowing into a saxophone, which is hardly more than a marginal musical instrument at best. Blown indifferently, it can be downright painful when exposed for any length of time in a solo. I'm not referring to the musical line or content, which is a subject in itself, but to the tone of the damned thing. In short, I can't admire Mr. Desmond's flights into improvisations, for sheer embarrassment." I admitted to myself that Paul's playing was sometimes a his saxophone to." little on the snuffly side, but instead of admitting it aloud I "You're in a foul mood tonight," I said, beginning to finished my beer and twirled my glass glumly. feel a little grumpy myself. "While we're on this distasteful subject," Uncle John "Mr. Brubeck," Uncle John went on, "seems to have continued, "we may as well speculate on the reasons for Mr. some novel ideas about musical art - his approach to corn- Brubeck's peculiar limitations as a pianist. From the evi- posing, for example. He says that playing jazz helps him dence I can only conclude that he acquired his technique build up a backlog of ideas he can use later when he settles playing hymns on a down as a composer. Mr. Desmond agrees; he says that in parlor organ. I wonder a lifetime of playing jazz you can produce more music than if he can play a run, or in five hundred years of composing. I think these ideas are if he disdains all pass- BACK very interesting. Maybe I can use them myself. As you age work as too showy, know, I still do a bit of lecturing here and there. Maybe too hackneyed? At any if I just keep on talking under the influence of an audience rate, he plays as though handcuffed to Middle C." I testily. - who knows? - I may say something worth writing "I'll bring you over a record by Liberace," said down." "He loves to swoop from one end of the keyboard to the "Your snide remarks are unfair. These men other." are serious musicians. And they're taken seri- I decided to try another approach, the I -see- ously by some of the keenest critics in the coun- your- point -of -view one; it might at least get try. Brubeck fans are not teenage girls and him off the boys' most vulnerable points. "I morons. Take college men - they flock to his guess people just differ in their approach to concerts." music. To me it happens that Brubeck's piano "Probably fresh from a panty-raid. A few seasons ago is both moving and exciting. It's vital, driving and yet they'd have shown up full of freshly -swallowed goldfish. dignified. Keep in mind," I added, with somewhat shaky No, my boy, you've proved nothing there. I've been around indignation, "that our backgrounds are different." colleges too many years to be impressed. "That's the first thing you've said tonight I won't argue There's no one easier taken in by novelty than about." an undergraduate - God bless 'em all." "To me the counterpoint between Brubeck's piano and "Then you do admit that Brubeck offers Desmond's sax is as exciting as a Bach piece is to you. And something new ?" basically it's the same thing." "Possibly I was a little careless. There may "Its not the similarity but the difference that's important be others who've stumbled onto the same trick whom I - but let's not go into that. By the way, has that great non- don't know about. After all, I depend on you to keep me Bachian pianist Joe 'Fingers' Carr come out with anything current on jazz." new." "What do you mean - trick?" "Not that I know of, but it wouldn't sound new, anyway. "Why, the trick of keeping a running, unvarying, over- Same old ear of corn." powering rhythm going while the soloists noodle around - I'd never been able to account satisfactorily for my by the way, I like the word 'noodle.' I will admit, and learned uncle's liking for that ragtime piano player and his gladly, that Mr. Brubeck by the use of a few primitive, assortment of bells, whistles, gongs, rattles and pig grunts. time- proven devices, does occasionally augment the rhyth- Of course, I knew that Uncle John put a high value on mic effect, presumably while expounding on some theme vitality in music, which was the factor, I imagine, that made inspired by the title. But he does this within an extremely him receptive occasionally to the better Dixieland jazz, narrow range of invention. Too often it's only a heavy, most of which I felt I'd outgrown. Brubeck had come along opaque chording on the beat. at the right time for me. His Then, after a certain amount of by H. S. RUMMELL quiet, rhythmic style had captured this - not too much, usually, for my imagination completely, and I

NOVEMBER 1955 43

www.americanradiohistory.com was determined to win Uncle John over, too. Somehow I Time. On the other hand, your more knowing listener re- felt it important to have his approval. jects instinctively - unless at the moment he's full of beer "We need to get back to fundamentals," I began. "We and gemütlichkeit - such a crude assault upon his sensibili- must -" ties. Its all a matter of technique, of how the assault is "Agreed." managed. Crudely, it's the difference between Edgar A. "We must measure Brubeck against what he tries to do. Guest and Shakespeare expressing the same idea." His aim is to free jazz of its old stereotypes and, by impro- My rebuttal was deliberately stupid. "More people read vising, give it a completely free character -all within a Eddie Guest than Shakespeare," I said, and watched him framework that Bach himself would have approved." squirm unhappily. My uncle heaved a deep sigh. "Bach again. I don't think "One trouble with close relations is that you have to you realize what a cruel thing it was for Mr. Brubeck's ad- endure them, no matter how donkey -like." He got up and mirers to link his name with Bach. When you do that, son, stepped toward the record player. "Now, to show the depth you invite measurement against the highest standards we of my affection and forbearance, I'm willing to play one have. In this case we're so appalled by the ignorance that more of your pieces - just one. You name it." we overlook the arrogance." "Play any one you want." "Who's so ignorant - several million of the keenest "This is quite a decision." He tilted the record away minds in the country?" from him and squinted at the label through his bifocals. "I "I suppose," he continued, ignoring my question, "that do seem to have a special memory of this one called A Fine it's because music, probably uniquely among the arts, offers Romance." He put it on the turntable. We listened. approaches to the victim's sensibilities on so many levels, I was glad when the thing ended. It was dull and weak, from the drumming and bass plunking of your quartet to even irritating, and should never have been included in the the rarefied complexities of - well, of our old friend album. In too many places it seemed to say, "Look Ma, Bach. For example, you have to acquire a vocabulary before I'm improvising!" you can enjoy literature, but you need no preparation to Uncle John's voice was gentle when he spoke. respond to rhythm; the capacity to respond is inborn in the "With the utmost charity in my heart toward these race. Your musically unsophisticated college boys react to struggling young men, I must say that as a piece of sheer Mr. Brubeck in a direct, unreflective way. A voodoo drum- tedium I do not expect that effort to be surpassed in a life - mer would have the same effect on them if presented with time-my lifetime, anyway. For one thing, it illustrates the proper publicity - say his picture on the cover of too well an axiom about improvising: it's both fiendishly difficult and fiendishly deceptive. Consider. The player must cary on, must have a flow of ideas, preferably good ones, for immediate use. What happens, except to the CNCOIZCS authentic genius? Under this desperate urge of necessity, in this split second, he grabs what's available, and gladly. If May, 186e. it's flat and banal or inappropriate, he must use it anyway, St. Louis is the capitol of Missouri. and contains about two hundred thousand inhabitants. It is a must stagger on - and we get A Fine Romance. He forgets dull and tiresome town. Like all American cities that to the listener it makes little difference, really, whether of or Spanish origin, it is composed French of the musical idea was grabbed from the or heterogeneous elements which have not yet amal- air carefully gamated. Society is divided into separate cliques. shaped, re- shaped and polished before utterance. We judge The Catholics (old French Creoles from Louisi- what we hear." ana), who, as I have already said, at the end of the "That sounds all right in theory, last century, went up the Mississippi, and founded but don't you believe St. Louis, are in the majority, and are so much the that some exciting music can come from the inspiration of more fervent, as the Episcopalians (Anglo- Saxons), the moment, under impact of a sympathetic audience ?" very with also numerous, are animated the spirit of "Yes again from an authentic genius. proselytism, and make a bitter war on them, which - Certainly it the others return with interest. The Germans (they didn't come often enough or in sufficient volume to furnish are numerous here, as throughout the West) have the eight little pieces on this record. At any rate inspiration organized a Philharmonic Society, which performs alone is not enough; it must be followed the works of Beethoven, Mendelssohn, Schumann. by evaluation, and Wagner. I was introduced to an old German which is what the Brubeck- Desmond -shotgun method lacks. musician, with uncombed hair, bushy beard, in There's no certainty that what is new is good, but obviously like a bear, in disposition constitution the amenity these boys don't understand that. A competent of a boar at bay to a pack of hounds. I know this director type; it is found everywhere. It should be time could doubtless help them, but that's heresy. Another beer ?" that many great unknown musicians should be I nodded and he went to the kitchen. convinced that a negligent toilet is the maladroit "Isàt it a little ridiculous," he said, returning, "to imitation of the surly and misanthropic behaviour be of the great symphonist of Bonn, that it does not raking this so seriously ?" He filled our glasses and sat down. constitute a sufficient title to merit the admiration "Its senseless, really, to carp about details of their playing. respect of contemporaries. Besides, soap and their The big point is that, in my opinion at least, these boys are is not incompatible with genius; and it is now proved that the daily use of a comb does not exer- perverting their medium. Jazz is music in slang, and its cise any injurious influence on the lobes of the brain. range of expressiveness has the same restrictions as slang's. From Louis Moreau Gottschalk: Notes of a Its proper field, it's always seemed to me, lies at the ex- Pianist, Philadelphia; Lippincott, r88r. tremes of flip, nose thumbing Continued on page 120

44 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Muse in Search of a

by OLIVER GILMAN

THE FIRST AMERICAN performance of Edgar Varese's student, teacher and house composer at the Rancor Conser- new work, Deserts, combining tape - recorded "organized vatory had been a hollow farce. All the years I had spent with the performance of live wind and percus- sound" grinding foolishly away at conventional harmony and sion players, was the crowning sensation of Bennington College's recent Symposium on Music and Art ... . counterpoint ... wasted! As we got into the car to begin Deserts is a work of major proportions - it takes the long journey home I could barely look at Theodoric. something like twenty -five minutes to play - and its Wouldn't he that I had been cruelly wasting his time idiom is, as the phrase goes, "advanced." ... There are sense no tunes, no beat, and no key; but the sense of organiza- pretending to "teach" him music? As if anyone could tion - the presence of motives, of dissonant but recog- "teach" strokes of genius like that piston explosion. Indeed nizable harmonic combinations, of varying tensions - is I with M. Valise's "organized sound" to overwhelmingly convincing even on a first try. was too intoxicated Perhaps the most astonishing tour de force in this keep my eye on the road, so Theodoric drove. I asked my work is the unity established between the taped and the pupil what he had thought of the concert. as the piece progresses. "live" portions, which alternate he "But the greatest The taped interpolations, on two simultaneous tracks "It was wonderful, wonderful," said. played antiphonally by loudspeakers on opposite sides of thrill was when they turned up the volume to that excruciat- the hall, were assembled from recorded industrial noises ing pitch at the dress rehearsal. That flick of the dial re- grindings, friction sounds, enormous hammerings, - he is." the agonized wails of metallic saws, crashings of metal, vealed Varèse for the master and so on - transmuted by tape trickery and "organized" I felt a momentary pang of jealousy. "True, true," I said, over a period of many months of tape editing, according "those fifty-watt amplifiers provided the supreme dramatic to a complex, second -by- second working "score." The moment. If only there hadn't been so many damned philis- "live" music is scored conventionally - if that is the word - for woodwinds, ten brasses, piano, and a battery tines in the audience we might have heard the concert at of percussion instruments varying from standard tym- that volume too." There was a long, contemplative silence. pani, vibraphone, xylophone, assorted special rattles and "Do you think, Master," Theodoric broke in haltingly gourds, to a pair of green leather cushions - these last for a precise "thwack" (with a special set of wooden after a while, "do you think ... that some day ... if I really necessity, of course, in M. paddles) that was an exact work hard ... that I ... that I, too, might learn to splice Varese's minutely calculated effects. The musicians alternately sweated with anxiety as tape ?" they played their portions of the music, then relaxed in "Ah, my boy," I replied, "first you must learn the basic amused incredulity as the batteries of loudspeakers on elements of your craft. The baby does not run before it can with the factory noises, so oddly each side took over for similar to their own efforts. At the dress rehearsal in walk. First you must learn how to score effectively the big Bennington armory the audience shrank back in gourds and party noisemakers and bathroom plungers be- horror, hands over ears, as Varese enthusiastically turned fore you can hope to aspire to capturing the ineffable sound up the fifty-watt amplifiers to dramatize the mastery of man -made by machine -made sound! Fortunately, calmer of the electric buzz-saw." and more conventional minds prevailed at the actual Theodoric nodded sadly in agreement. concert and the volume level was at least endurable. At "For instance, that air -raid siren in your last exercise was the end of the performance the packed audience stood hear it coming four and stamped and whistled and shrieked for minutes - not frightening enough. You could so intense was the impact of this half -hour of fantasti- bars ahead." Theodoric sighed. cally organized noise. A good proportion stayed on for "I thought ... perhaps ... during that dry stretch in my an immediate repetition of the entire work. Varese, like Monteverdi in the seventeenth century, is Convulsions, I might liven it up a little by splicing in the the first big musical mind to take up the materials of a shriek of the noonday whistle at the Rancor Dog Biscuit new musical experiment and put them to really serious Works," he said. uses.... He uses the term "organized sound" in order to dodge the question, "Is it music ?" "Perhaps, we shall see," I answered. Theodoric's refer- - "The New Recordings," by Edward Tatnall ence to the noisiest factory in town set a train of thought Canby, Harper's Magazine, July 1955. going in my mind. Always it had been my worst problem as a composer to get from one theme to another without MY PUPIL, Theodoric Klabber, and I emerged dazed putting the listener to sleep. Now, as if in a lightning flash, from the Bennington armory. We had traveled all the way it came to me that such transitions were as bourgeois and from Rancor, Maine, to hear the première of Deserts, and academic as melodies themselves ... that there was a fool- our wildest expectations had been surpassed. At the same proof way of keeping the listener awake. Why just record time I was prey to a gnawing sensation that all my life as the sound of a trip- hammer Continued on page 124

NOVEMBER 1955 45

www.americanradiohistory.com NOTES--NOT NEGOTIABLE

hy WILLIAM J. MURDOCH

LAST YEAR, in a transport of unexampled folly, I moved Op. 73, No. 6, transcribed it for symphony orchestra, and I my family from Michigan to a city several states west where bought a copy. I don't know now why either of us I had taken a job writing publicity on the care of livestock, bothered, but that isn't the point. Why should I check the the attractions of State Fairs, and sundry similar subjects. record for trumpets? I tried it, and learned nothing. If you My mistake was in supposing that familiarity always own a copy of this record and have any idea what might generates interest. It doesn't. A good press agent must feel have stirred my creative instincts, I'd appreciate hearing for and with his clients. I waited patiently for the first stir- from you. rings of empathy, in vain. Finally I came to the conclusion And here, now, is a statement I copied from Robert that I simply was not a man who could identify with cows. Haven Schauffler's Beethoven, The Man Who Freed Music. I also came back to Michigan, bringing family, furniture, "In the scherzo of the B -flat Quartet (No. 6) we catch phonograph records, typewriter, and a brown paper bag Beethoven in the act of stealing the twentieth century's crammed with notes. It is these notes that now concern me. thunder by inventing the first piece of jazz," say Schauffler. I started collecting them before we moved west. We "For this scherzo is brimful of the subtle, catchy syncopa- were once more going to be strangers in town, you see, and tions, the bizarre wit, and the perversely independent part - I supposed we would be left to ourselves and I would have writing which most people imagine to be the popular in- every evening free to write. About music, of course. ventions of the 1920s." My reason for noting this unexcit- Write? By the searing Midwestern daylight I ground out ing observation escapes me. I might also have noted that stories about big cash prizes awaiting 4 -H heifers at the Bach was syncopating all over the harpsichord nearly a cen- Fair, and radiated somniferous advice to farmers on keeping tury before Beethoven, and that Franz Schubert was pretty their cattle out of sorghum fields. By night I stripped paper good at working in hot licks for piano and string bass, too, off walls and patched plaster and spilled incalulable paint, vide the Trout Quintet. But it still wouldn't be exactly before collapsing into sleep like a brain -washed drudge. earth- shaking. Now, if I had copied some comment to the Corelli, Gluck, Mendelssohn, and Brahms I had no time contrary effect - say, that Irving Berlin was really the com- for. None of them was a midway attraction, a Hereford poser of the Eroica, or Spike Jones had written the Mass in that had gone off feed, or a wall that needed redecorating. B Minor - then I might really have something. But I still kept my notes, and even jotted down another, And how about this? According to my notes, Athenaeus, now and then, and stuffed it into the bag. There yet would a Greek rhetorician in Rome about zoo A. D., wrote that come a day to open this trove and let its treasures in early times popularity with the masses was a sign of bad inspire me. art. I would guess I once planned to use this as the basis of This, as I have intimated, is the day. My notes are around an article consoling some of our unappreciated modern me. I can read most of them. I can even remember the cir- composers. I doubt that I would have gotten far, however, cumstances which prompted me to write some of them. because my very next note quotes another authority thus: But that's as far as I get. They must have seemed germinal for if we do nothing but pile dissonance upon dis- when I wrote them, but when I read them now, nothing sonance wherever there is place for it, it will be a much seems to germinate. greater fault than allowing only consonance to be heard." For example, do you care to know that we in the United A contemporary critic? No, Rameau said it 233 years ago States hear the works of Bach, Beethoven, Mozart, and in his Traité de l'Harmonie, stopping me in my tracks more others almost a half -tone higher than these masters wrote than two centuries before I even started. them? I find a note here that says their A shimmered away Next comes an item about Edward MacDowell and his at 415 to 429 vibrations per second - the so- called classical critical attitude towards his own work. Sometimes he toiled pitch - while A in this country has climbed up to 44o. I for days on a single page of music, it says here, only to have read nothing in the last six months that seems less throw it away. Once in Boston he did just that, my memo likely to grow into a sure -fire article. tells me. His wife retrieved the crumpled sheet from the On another scrap of stationery I have written four words: fireplace, looked it over, and persuaded him to save it. It "Check Solitude for trumpets." I was referring to one of was "To A Wild Rose." This is poor stuff for me to have our records. Stokowski took this Tchaikovsky composition, around. It sets me to Continued on page 122

46 HIGH FIDELITY MAGAZINE

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48 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com IYLiiS1C makers by ROLAND GELATT

THE GIFT of filling Carnegie Hall quality. There was a difference be- was just that kind of tingling excite- days be- with cash customers is one vouchsafed tween the live piano sound and the ment in Carnegie Hall a few to few musical performers. Horowitz recorded piano sound that manifested fore the Briggs' demonstration when and Heifetz and Rubinstein can do it, itself and made the change -over Emil Gilels, of the U.S.S.R., made his as with the so can the Boston Symphony and the audible despite the split -second timing New York debut soloist Philadelphia Orchestra, but not many of Mr. Hambro at the piano and Mr. Philadelphia Orchestra. He played the B -flat others. New Yorkers are a blasé and P. J. Walker (QUAD Amplifiers) at Tchaikovsky Piano Concerto in which miserly breed when it comes to buying the controls. minor. Now this is a work of concert tickets, and as a result some of Later in the program, Messrs. De I had had quite enough. Or so I the world's most eminent musicians Lancie, Gigliotti, Jones, and Schoen - thought. But Mr. Gilels, with the have played to rows of empty seats in bach, Philadelphia Orchestra wind virtuosity of a great re- creative artist, the Carnegie Hall. Knowing this, I could players, collaborated in another alter- persuaded me otherwise. From the not help but sound a discouraging note natingly live and taped performance. very first hammered chords of it was evident that when G. A. Briggs ( "Mr. Wharfe- This time the dovetailing was less opening movement, was a dale") proposed putting on a demon- difficult ( ambling Mozart is easier to this squat, red -haired Russian stration of sound reproduction in Car- co- ordinate than fast Chopin) and bravura pianist who would make you negie Hall modeled on the two hence less spectacular in effect, but to sit up and take notice. Later on, as he heard successful shows he had already given compensate for this there was greater proceeded to reveal seldom pia - in London's Royal Festival Hall. Mr. homogeneity of sound. In fact, with rhythmic ingenuities and delicate Briggs refused to be discouraged, how- eyes shut it was usually impossible to nistic figurations, as he took a perfectly effect before ever, and he was quite right; for the detect a break in quality when the timed pause for dramatic New York demonstration on Sunday, instrumentalists stopped playing on enunciating a melting legato phrase, into a October 9, was attended by a capacity stage and the loudspeakers took over. and as he rekindled the music had seemingly for- audience of the hi -fi faithful. Whether In addition to stunts of this kind, poetic glow that it grew that this news dismayed members of the Mr. Briggs played an assortment of ever lost, the conviction in the high concert management business, I do not commercial recordings. The results Emil Gilels was a pianist It will know; it obviously spoke well for the were varied. When the recordings Lhevinne -Hofmann tradition. hearing, and more current interest in fine sound repro- themselves embodied plenty of hall take more than one Tchaikovsky Concerto, to duction. resonance, the extra resonance added than the or reject this surmise. But The array of equipment on stage by playing them in Carnegie Hall was confirm whatever subsequent impressions Mr. and the general form of the program usually a bit de trop. On the other Gilds makes, his first concert was a followed precedents set in London. hand, recordings that would have stunner. Ormandy and the Philadel- And since the last Royal Festival Hall sounded dry and piercing in a small phians responded to the occasion with demonstration was described in these room became remarkably mellow and more than usually sensitive playing. pages by Robert Charles Marsh lifelike in the large hall. For me, the demonstration "proved" nothing be- ( "Yorkshireman in Festival Hall," THIS DEPARTMENT has suddenly is for yond what we already know: that the August 1955), there no need a been swamped with letters asking us best sound reproduction today ap- full reprise here. The chief innovation to publicize the recent formation in hardly ever quite dupli- at the New York demonstration was proaches but England of the Arnold Box Society, music. What the dovetailing of live and recorded cates the effect of live which plans to sponsor recordings of beyond performances in perfect, or near -per- the demonstration did prove major works by the late Master of the fect, continuity. Of these the most question was G. A. Briggs's ability to Queens Music. The Society has an with his imposing was Leonid Hambró s play- captivate a large audience eminent president ( Jean Sibelius) and ing, in person and on tape, of Chopin's modest charm and dry wit. many eminent vice -presidents. What Scherzo in B minor. During the four it needs now are one thousand mem- minutes that it takes to perform this NO MATTER HOW PERFECT the bers who will promise to buy copies of piece, the source of sound shifted back recordings of tomorrow may be, they the first recording (Bax's Fifth Sym- and forth from the Steinway to the will never conduct the full charge phony) to be sponsored by the Society. ~ loudspeakers about twenty times, and of electric excitement that sweeps Those interested should write to Mr. the total effect was of an amazingly through a hall when a musician of Clifford W. Gillam; Downsview, unified musical performance if not powerful temperament is heard at the Kings Barn Lane; Steyning, Sussex; always one of perfectly unified sound peak of his musical abilities. There England. Better use a big envelope.

NOVEMBER 1955 49

www.americanradiohistory.com at the sign of the "recording Angel"

R E L E A S E S Opera Violin ANOTHER GREAT DAVID OISTRAKH RECORDING PUCCINI: MADAMA BUTTERFLY Lalo: La Scala recording Symphonie Espagnole (recorded in London). Conductor: Jean Mart(non. Philharmonia. Cast: Maria Meneghini Callas. Lucia Danieli, Nicolai One 12" record Gedda, Mario Berriello. Angel 35205 Other AngelOistrakh records: Beethoven Conductor: Herbert von Karajan. Violin Con- certo (35162), Bruch G Minor and Prokofiev D Major 20 page beautifully illustrated book libretto. Concerti (35243). Cesar Franck and Szymanowski (35163). Three 12" records Angel Album 3523 C (35225 -6 -7) RICHARD STRAUSS: ARIADNE AUF NAXOS Klemperer - Philharmonia Cast: Elisabeth Schwarzkopf, Rita Streich, Irmgard See- fried. Rudolf Schock; also Anny Felbermayer, Grace BEETHOVEN: THE FOUR OVERTURES FOR FIDELIO Hoffman, Lisa Otto, ]fugues Cuenod, Karl Dönch, Otakar Leonore No. 1, 2, 3, and Fidelio Overture. Kraus, Helmutt Krebs, Fritz 011endori, llermann Prey, Conductor: Klemperer. Gerhard ('tiger. Otto Philharmonia. One 12tí record Angel Conductor: Herbert von Karajan. Philharmonia. 35158 Three 12 "records Angel Album 3532 C (35222 -3 -4) "Scotland The Brave" Other Strauss Operas: Capriccio ((losing Scene) and Four Last Songs, with Schwarzkopf (Angel 35084): THE SCOTS GUARDS: Arabella (The Great Scenes), with Schwarzkopf, REGIMENTAL BAND AND MASSED PIPERS Felbermayer, Gedda, Metternich (Angel 35194). The famous Scots Guards - now here on its first Ameri- can concert tour - in thrilling music of military band "Champagne" Operetta and pipes and drums. Including Garb of Old Gaul. Moray Firth. The Lochaber Gathering. Lilliburlero, The JOHANN STRAUSS: DIE FLEDERMAUS Wee Macgregor, Hielan' Laddie, The Corn Riggs, The Cast: Elisabeth Schwarzkopf, Rita Streich. Helmut Kilworth Hills, Scotland the Brave, etc. Krebs, Nicolai Gedda, Erich Kunz, Rudolf Christ. One 12" record Angel 35271 Conductor: Herbert von Karajan. Philharmonia Orchestra and Chorus. On the Blue Label Two 12" records Angel Album 3539 B (35263 -4) PIAF TONIGHT Other Johann Strauss Operettas: Wiener Blut (Angel Edith Piaf in 12 thrilling songs: C'est à Hambourg, Le Album 3519 -3s) and A Night in Venice (Angel Album 3530 B). chemin des forains, Miséricorde, L'Accordéoniste, La goualante du pauvre Jean, Et moi, Les amants de Vocal Venise, N'y va pas Manuel, L'effet qu' tu m' fais, Jean et SCHUBERT: DIE WINTERREISE Martine, Johnny tu n'es pas un ange, Bravo pour le clown. Hans Hotter, baritone and Gerald Moore, pianist. One 12" record A memorable and moving interpretation of thy great Angel 51124 song cycle. Note: last 8 songs also available in the 10 -inch record, Bravo le 64005). Two 12" records (3 sides) Angel Album 3521 (35160 -1) polir Clown (Angel OBERNKIRCHEN CHILDREN'S CHOIR: Piano CHRISTMAS SONGS (postponed from October) One 12" record Angel 65021 GIESEKING PLAYS MOZART PIANO SOLOS 4th and 5th of the series of 11 records. devoted to Mo- zart's music for piano solo, previously available only in On the Black Jazz Label complete luxe de Limited Edition. RHYTHM IS OUR BUSINESS Abum 4: Sonata No. 13 in B flat, K.333; 12 Variations More in E flat on La Belle Francoise, K.353; Fantasy in t' musical high -jinks from Svend Asmussen and His minor, K.475; Sonata No. 14 in C minor, K.457. Unmelancholy Danes. The Danish fiddler- leader and Angel 35071 his exciting. news- making ensemble, singing and playing Honeysuckle Rose, On The Sunny Side of the Street, Album 5: Sonata No. 1 in_C, K.279; 6 Variations in F Dois' The New Low on Ein Weib ist das herrlichste Ding, K.613; Sonata Down, I Found a New Baby, etc. "A first -class group No. 9 in D, K.311; Fantasy and Fugue in C, K.394. of jazzmen, More fun than a Angel 35072 barrel of monkeys," Douglas Watt, N. Y. Daily News. GEZA ANDA PLAYS LISZT One 1(1" record Angel 60010 Piano Concerto No. 1 in E flat major and Hungarian Fantasia. Conductor: Otto Ackermann. Philharmonia. One 12" record Angel 35268 Previously issued: Anda -Liszt record including Sonata in B minor, Mephisto Waltz, Concerto Etude No. 3. Campanella (Angel 35127). e1 KGCOg1S

ANGEL RECORDS, ELECTRIC & MUSICAL INDUSTRIES (U.S.) LTD., 38 WEST 48 ST., NEW YORK CITY a subsidiary of Electric & Musical Industries Ltd., Hayes, Middlesex, England

50 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com RECORDS

Records in Heriew,

Reviewed by PAUL AFFELDER NATHAN BRODER C. G. BURKE RAY ERICSON ALFRED FRANKENSTEIN ROLAND GELATT JAMES HINTON, JR. J. F. INDCOX ROBERT KOTLOWITZ HOWARD LAFAY JOHN S. WILSON i-

Classical Music, listed by composer 51 Music Between 69 Advertising Index 52 Folk Music 71 Building Your Record Library .. 63 The Best of Jazz 72 Recitals and Miscellany 64 -viii Dialing Your Disks 74 Spoken Word 68 A Sibelius Discography 79

works here appear on Mompou's disk. The BACH Scènes d'enfants are especially delightful, Italian Concerto; Chromatic Fantasia CLASSICAL and the six tiny Charmes (1921) , with and Fugue their rather cryptic titles (cryptic in rela- George Malcolm, harpsichord. have kind of in- tion to the music), the LONDON LD 9187. IO -in. $2.98. ALBENIZ triguing appeal that some of Satie s music Piano Music does. These miniatures, more than any of Bluff and hearty playing by a harpsichord his other works, underline Mompou's state- virtuoso hitherto unknown to this reviewer Op. 165, No. 2; Mala- Tango in D major, ment that "I am not a musician, but I I prefer more nuance in the Concerto and gueña, Op. 165, No. 3; Granada (Serenata); should very much like to be a music." more imagination in the Fantasia, but Sevilla (Sevillanas); Cadiz (Saeta); Tango Highly naturalistic piano sound. R. E. nevertheless found myself carried along by de in A minor, Op. 164, No. 2; Rumores the unflagging vigor of this performance, la Caleta (Malagueña). with its effective (and noiseless) changes ARIOSTI tMompou: Piano music of registration. Fine bright recording. Lezione V, in E minor -See Scarlatti: N. B. Caned i Dansa, No. 1; Scènes d'enfants; Su le sponde del Tebro. Charmes. BACH Musical Offering José Echániz, piano. BACH, JOHANN SEBASTIAN WESTMINSTER WL 5382. 12 -in. $4.98. Stuttgart Chamber Orchestra, Karl Münch- Cantata No. 17o: Vergnügte Ruh, be- inger, cond. liebte No. Mr. Echániz is at his best, which is very Seelenlust; Cantata 54: LONDON LL 1r8r. r2 -in. $3.98. good, in this attractive disk. The Albéniz Widerstehe doch der Siinde; Agnus pieces are less pretentious, technically Dei, from Mass in B minor. What an endlessly fascinating composition simpler, and just plain better than those in Alfred Deller, counter -tenor; Leonhardt this is! One never ceases to marvel at it, the same composers Ibéria, which the Baroque Ensemble, Gustav Leonhardt, not merely because of what Bach does with Cuban -American pianist recently recorded. cond. the theme supplied by Frederick the Great he stretches it, he contracts it, he stands Because they are not so exacting, Mr. VANGUARD BG 55o. I2 -In. $4.98. - Echániz plays them with more ease and it on its head, he works it backwards, he pliancy, with undeniable style, and with a These fine solo cantatas were probably per- builds a whole trio sonata around it, he definite sympathy for the evocative rhythms formed by a male alto in Bach's time, so subjects it to all sorts of fugal procedures and color of the Spanish idiom. Many that Alfred Deller's remarkable counter- - but because the result of all this con- listeners will find they know more of this tenor no doubt provides them with the trapuntal ingenuity happens to be deeply music than they might expect, since it has right vocal color. The astonishing purity affecting music as well. long established itself in the salon-chamber- and flexibility of his singing make it always Bach indicated the instrumentation for group repertoire as well as in the piano fascinating to listen to, but one wishes it only three of the thirteen sections. The repertoire. had more variety and intensity here, es- version used here is said to be arranged by The Mompou works come off equally pecially in the recitatives, which proceed the conductor but in most respects it fol- well, though Mr. Echániz plays with less in a uniformly calm mood. Those who lows the suggestions about instrumentation of the loving care and melting tone that prefer the more sensuous tone of a female made by Hans David in his admirable edi- Mompou lavishes on his own music in alto will find both of these cantatas (plus tion of the work. Another problem that his recent Angel recording. However, there No. 53 ) beautifully sung by Rössl -Majdan has concerned musicologists is the proper are only two duplications involved, the on a Westminster disk - where, however, order of the sections, which was not clear Cargo i Dansa, No. 1, and the "Jeunes a harpsichord is employed in No. 17o in- in the first edition. David's solution, sym- filles au jardin" (one of the movements stead of the obbligato organ called for by metrical and convincing, was to place the from Scènes d'enfants); none of the other Bach. Generally good recording. N. B. trio sonata in the center, flanked on each

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side by five canons, with the three -part WESTMINSTER 18003. I2 -in. $4.98 (or not consequentially better than versions on ricercar at the beginning and the six -part $3.98) Vox or Westminster. C. G. B. ricercar at the end. Münchinger lumps the three -part ricercar and all ten canons on In the spring London issued a ravishing BEETHOVEN one side of the disk and the trio sonata and version (LL 1 191) of this potent serenade, Symphony No. 5, in C minor, Op. 67 six -part ricercar on the other side. The a more supple interpretation than the pres- Fidelio: "Abscheulicher! . . . Komm performance is live, intelligent, and musi- ent, which impresses first and most by the Hoffnung" cal; the recording is excellent. N. B. symmetry of its mobile architecture. It is Philharmonia - to be suspected that more people will favor Orchestra, Herbert von Kara jan, Elisabeth the London way than the Westminster way, cond.; Schwarzkopf, soprano. BACH ANGEL 12 -in. but there is a complication invidious 35231. $4.98 (or $3.48). Sonatas for Viola da Gamba and Harpsi- to an assured preference. It is this, that while chord, Nos. 1 -3 (BWV 1027/29) Some people must own Columbia RL 3068, the sonics of both editions are truly out- a smoky old recording of two performances August Wenzinger, viola da gamba; Fritz standing in the reproduction of a difficult on fire with the heat of evangelistic energy. Neumeyer, harpsichord. instrumental combination, Westminster has The works on that astonishing and disap- ARCHIVE ARC 3009. I2 -ln. $5.98. surpassed London - and everyone else - pointing disk are Beethoven's Symphony in the full living boldness of that superb The gamba sonatas are nicely performed No. 5 and Mozart's Symphony No. 39. In hellion the horn. The unprecedented in- their frank assertions of driving power these (though the fast movements could have tegrity of its presentation transfigures our problem of projections met all the requirements of the been crisper) and the ticklish hope of what a disk of this kind can be. and the right - critical biases here, and they initiated a con- balance between the gamba C. G. B. hand harpsichord part is closer to a satis- viction that the youngish conductor (then factory solution here than in some other BEETHOVEN struggling with the embarrassment of Nazi recordings of these works. N. B. Trio No 4, in D ( "Geister"), Op. 7o, affiliations) was musically qualified to con- No. 1 tinue the grand German line in conducting. Trio No. 4, in E, K. 342 His records continue to confirm this BALAKIREV Mozart: conviction, the few bad ones being Trio di Trieste. bad in an in- blarney telligent way. tLiszt: Hungarian Rhapsody No. 12, in LONDON LL I177. I2 -in. $3.98. The Fifth Symphony issued by Angel is C -sharp minor A few years ago London's chamber record- a rouser but not the same as the one led by Julius Katchen, piano. ing was the poorest among the major com- Prof. von Karajan in the Columbia record- LONDON LD 9175. IO -in. $2.98. panies. The silken competence of this ing of seven or eight years ago. The tem- neatly balanced registration (of a difficult perament has changed and some of the fire An entertaining Russian counterpart to the combination) culminates a reform that now has gone. The stresses are less peremptory, Rhapsody, the Liszt- inspired blarney still permits London chamber records to be the climaxes less an assault by storm than a makes a useful applause- catcher with which considered not as a tribe apart and below series of inevitable conclusions. The ex- to end piano recitals. Mr. Katchen, bril- but sonically on a level with London cited pulse of the earlier version has become liant technician that he is, gives whirlwind orchestral records. a strong and steady beat. Passion is subor- performances of both works, but he does The sound is not melodramatic nor dinated to conviction, which is less spectac- not seem to have grown into them yet are the performances. Tempered poise ular. musically. Some of the effects he strives dis- tinguishes both. By no means weak, Not that intensity is in short measure for sound calculated, and he has an annoy- the - stroke is yet feathery even when it is under a different kind of ing habit of punching chords. The only the accent control. Here is determined and the phrase hardy. The it is broad and progressive, while there it other LP recording of blarney that I know softness of the texture, because it is so was lean and spasmodic. Music -lovers of, Alfred Brendel's, has comparable bra- pliant, are calls attention to invited to invest in the vura, with more poise and suppleness. The the strength of the Bee- $1.98 old version thoven design in a way no if they are given to comparisons London piano tone is gratifyingly mellow other record has of style, or succeeded in doing. K. 542, Mozart's most if they wish a Fifth Symphony not and close -to. R. E. much appealing trio, accorded a similar lambency like any other recorded effort. by players and engineers, is excellent but Angel's is of course a far better disk. BEETHOVEN Angel orchestral records of this season have Concerto for Piano and Orchestra, No. more substance, sweep, and accuracy than 4, in G, Op. 58 the Angels of a year ago. Only the Kleiber Noel Mewton -Wood, piano; Utrecht Sym- ADVERTISING INDEX disk for London is in the same rich class of phony Orchestra, Walter Goehr, cond. sonics, and the calculated performance there MUSICAL MASTERPIECE SOCIETY 24. IO- Angel Records 5o is less likely to please. Everything esti- in. $1.65. Beyland Engineering Co. 84 mated, the new Karajan achievement may Capitol Records 64 -iii, 75 be said to have no superiors. It is extraordinary how this concerto has Columbia Records 57, One would not have supposed the soprano escaped severe maltreatment on records. Of 65, 81 Decca Records, Inc. ... 64 -vii, 71, 77 of Elisabeth Schwarzkopf to have the the thirteen heard by this department, at Dublin's breadth required, or the strength in the lower least ten versions still sound good, includ- 85 Epic Records 64 -v tones, to satisfy the demands made by Leo- ing the present, the only one in ten -inch Esoteric Records nora s tremendous aria in Fidelio. In fact, form. The late Mewton -Wood 76 has a Leslie Creations the recording seems to substantiate that it limpid, discerning refinement very pleasant- 85 Lippincott, J. B., Co. 53 has not. But some forcing of the lower ly joined to a distinctness of fingering that London International, Inc. .., 76 voice hardly matters in the consummate does not admit angularity. Plenty of force London Records realization of the complicated humanity of too, when required; and the veteran con- 644 Mercury Record Corp. 78 this vast inclusive song. It is a conscientious ductor contributes a responsively poetic Music Box 84 musical intelligence that guides the voice orchestral counterpart. Some of this will Nuclear Products Co. into emotion the rage, hope, and deter- be missed in a recording that has the or- 8o - RCA Victor Division 59, mination being communicated by an artful chestra at a greater distance than 67 the piano Record Review Index command of mobile inflection of a sensi- and thus more conglomerate than detailed. 83 Record Market 85 tivity seldom encountered. Nature did not This, of course, is true to the modern con- Robins Industries build this soprano for this aria, but Nature cert hall; but then modern Corp. 85 concert halls San Francisco Records herself would smile at Nature's frustration are too big for this kind of music. 82 Schwann, W. 82 here. Stirring accompaniment and expan- C. G. B. Smith, H. Royer 85 sive sound, even if the horn quartet as usual fail to convey themselves fully. BEETHOVEN Sonotape Corp. 8o C. G. B. Septet in E-fiat, Op. 20 Stereotape 85 Vox Productions, Inc. BIZET 69 Les Pécheurs de Perles Barylli String Ensemble and Wind Group Westminster Recording Co. 83 from the Vienna Philharmonic Orchestra. Martha Angelici (s), Léila; Henri Legay (t),

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Nadir; Michel Dens (b), Zurga; Louis Emmanuel Bondeville, who has long been Noguera (bs), Nourabad. Chorus and Or- a power in the musical life of Paris, es- chestra of the ThEatre National de l'OpEra- pecially as a conductor and administrator, Here's the book you've Comique, André Cluytens, cond. here makes his debut on American records ANGEL 3524. Two is-in. $10.98. as a composer. Madame Bovary is a symphonic suite from an opera, Les Illumina- been asking for ... An early work and not a thoroughly ac- tions is a cycle of three short tone poems credited major one in the sense that Carmen after Rimbaud, and L'École des Maris is an is, Bizet's Les Picheurs de Perles is an opera of operatic comedy after Molière. All are in exceptional purity and grace in the writing a melodious, expertly contrived, unadven- for voices; it has scoring that is at its best turous vein, with some moments of charm sensitive and always effective; three arias but not many moments - charming or and two duets of memorable melodic quas- otherwise - that one would care to experi- i y, and a pseudo- Oriental romantic plot ence a second time. Of the two disks, the at needs only tropospheric suspension one containing selections from L'École des f disbelief for the listener's sympathies to Maris makes much the better case for e engaged. Without being unreasonable, Bondeville, partly because his light talent what more could be demanded? Well, a seems best suited to light subjects and really first-rate performance would be a partly because it is decidedly superior in help. Unfortunately, none of the three now performance and recording. A. F. to be heard on LP is quite in that category, though each has some good elements. In the Renaissance set, which takes up BORODIN three disks, Mattiwilda Dobbs sings with Prince Igor a freshness and beauty of tone that make Valeria Hebalova (s), Jaraslovna; Melanie Her the most positively attractive of LEila Bugarinovich (ms), Konchakova; Biserka the lot, Jean Borthayre is strong and Tzveych (ms), Polovtsian Girl; Noni Zhu - dramatic as Zurga, and René Leibowitz netz (t), Vladimir; Drago Petrovich (t), an interesting reading of the score. gives Ovlur; Nicola Janchich (t), Eroshka; Du- However, the tenor's bleaty singing becomes shan Popovich (b), Igor; Zharko Tzveych more and more trying each time it is heard. (bs), Prince Galitsky and Konchak; Drago- Set are the recent Epic and the against this mir Ninkovich (bs), Skula. Chorus and the High Fidelity new Angel sets, each of which is on two Orchestra of the Belgrade National Opera, disks, both of which hold performances Oscar Danon, cond. RECORD ANNUAL r they more consistent in quality. In view LONDON XLLA 30. Five 12-in. $24.90. or the apparent present state of French 1955 o era on its native soil, no particular guaran- Borodin's Prince Igor was begun by its com- 6y Gelati i of excellence attaches to the fact that poser in 1869 in response ro the urgings of edited Roland the singers in both the Angel and Epic Vassily Stassov, artistic patron of The Five casts sing their roles at the Opéra -Comique. and one of the great seminal influences in Don't fail to get the first volume record re- Martha Angelici sings LEila, in the Angel the history of Slavic music. It gave its (containing High Fidelity views from July 1954 through July r ording, as one familiar with the role, but composer no end of trouble and was left 1955) in what is planned as a permanent n without some tired -sounding tone as his death. It was completed t unfinished at and continuing series - the only one ll as some that is quite pretty. In the by Rimsky- Korsakov, with an assist or two which will keep you up -to -date with the E is set, Pierette Alarie has as many virtues, from Glazunov. As Ernest Newman quotes thousands of long- playing records re- a d her light voice gleams more steadily. a puzzled British compatriot: The funny leased every year. e Angel tenor, Henri Legay, has a small - thing about these Russian operas is that These are the reviews that one b re voice of sweet quality, some style, they're all written by somebody else." reader called "marvels of literacy" - b t a rather blank personality. In the Epic For all its varied genetic strains, Prince delightfully readable as well as fair and s , Leopold Simoneau has the same type Igor is a work of great color and excitement accurate audio and musical criticism. of voice but more skill and a surer sense of and, in certain scenes, a serene beauty as Edited by Roland Gelatt, the re- vocal character. Of the baritones, Michel moving as it is unexpected. Listeners who views have been entirely rearranged and Dens is more sure and decisive for Angel think of Russian opera in terms of Boris organized for easy reference. In per- than is René Bianco for Epic - in fact, his Godanov may find Prince Igor less imposing. manent form they will be a treasured your library as well as an is the best performance in the Angel set. On the other hand, listeners who find Boris addition to invaluable shopping guide. There is little to choose between the basses. heavy going may find in Prince Igor a corn - Both André Cluytens and Jean Fournet give mon denominator between the familiarly Composers (from Albeniz to Zeller) good, routine readings of the score. All and the mysteriously Slavic. operatic are arranged alphabetically; per- told apart from the handsome Angel is and simple. - The story, if long, quite clear formers are indexed. packaging and, not least, the excellent li- Leaving his wife in care of his brother -in- is for the Epic bretto - my own preference law, Igor sets out to campaign against the More information about more set, mainly because of the better tenor cast - Polovtsi, a nomadic people from the East. records for less money than in any other ing. Both recordings are clean in sound and He and his son are captured, and Galitsky, record review collection - only $4.95. cdmmendable in balance. J. H., Jr. his wife's brother, conspires to usurp Igor's Published by J. B. Lippincott. throne. After various adventures (which include watching the famous " Polovtsian SEND FOR YOUR COPY NDEVILLE Dances" and having his son fall in love with Les Illumina- NOW ame Bovary - Suite; the Khan's daughter), Igor makes his way tions home to regain his throne from the disso- Magazine O chestre National Belge, George Sebas- lute Galitsky and is greeted affectionately HIGH FIDELITY The Publishing House , by his wife and his people. And so the ti cond. Great Barrington, Mass. NDON TW 91023. 12 -in. $4.98. opera ends pretty fair adventure story, -a Please send me, by return mail, a copy up by a score with plenty of meat backed of The HIGH FIDELITY RECORD L' tole des Maris (excerpts) the bone. on ANNUAL -1955. $4.95 enclosed. There are now two putatively full- length M o Robin (s); Agnes Disney (s); Jean Sorry, no C.O.D.s G raudeau (t); Louis Musy (b); Robert versions to be heard on LP - the new Lon- Massard (b); Xavier Depraz (bs); Chorus don set, very well recorded on location in NAME and Orchestra of the Opéra -Comique, Al- Belgrade by a team of British engineers ADDRESS bert Wolff, cond. educated in the arcana of "ffrr" standards, NDON TW 95024. 12 -in. $4.98. and a Soviet performance released here on

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the Period label. The values are rather unnarrated Dorati- Minneapolis version of different, and the prospective buyer of a Britten's work is available on Mercury MG Prince Igor recording will do well to make 50047, coupled with Alberto Ginastera's certain that he knows what he is getting. Variaciones concertantes.) The Nutcracker Suite The London set has the advantages of on the other side, has been extracted from completeness and of engineering that, if Mercury's complete recording of Tchaikov- not the best London has ever done, is sky's ballet. As if the music doesn't speak thoroughly modern and efficient. The per- for itself, someone has written a feeble and formance is that of a first -class second -class entirely superfluous narration for Mr. company, or a second -class first -class com- Taylor to read. He reads it. pany, working hard and conscientiously Brandon de Wilde, the young stage and but getting results that are only occasion- movie actor, narrates the text in Vox's really really noteworthy. cording of the Guide. His fresh, piping voice As Igor, Dushan Popovich is a good deal has an eager quality to it, as if he is both more than a lay figure, and he manages his enjoying his job and the music, and he solid baritone voice well most of the time. manages to sustain the listener's interest in Zharko Tzveych doubles in the bass roles the narrative to the very end. I should of Galitsky and Konchak, thus making off imagine that children will particularly enjoy with two of the best arias in the opera, both his intimate sort of "me and you" approach. of them made famous on 78s by Chaliapin. Peter and the Wolf, on the reverse, is perhaps His voice is dark and strong but not very even more engaging, as De Wilde seems to mobile. He makes heavy weather of fast relish the story more. Vox's recording is passages and sometimes fails to hit pitches decidedly less brilliant than the Mercury square on the nose. It is rough, rather wild (which even so leaves it well up on the list); singing, but it does have personality and the sound is not as forward, nor as clean. vigor. The tenor is nothing special, the so- Moreover, the playing does not always seem prano on the shrill side; but Melanie Bugar- Brandon de Wilde ably assists Britten. to me to be very noble; certainly the instru- inovich, the Konchakova, does some ex- mental solos are not the equal of those traordinarily lovely singing, juxtaposed with offered by the Minneapolis musicians. The London has in preparation an elaborate some in which she is not quite steady on the Prokofiev fantasy sparkles more, both Prince Igor libretto, which in stave. The orchestra plays satisfactorily should be ready sound and performance. by November and can be had by returning a for Oscar Danon, and the chorus while Neither of these narrated versions is the - card enclosed in the album box. J H., Jr. lacking the enormous vitality of the big equal of the Markevitch- Philharmonia Or- Soviet groups sings commendably. -Peter Pears - BRAHMS chestra recording on Angel The Period recording is technically one 35135, which I find hard to fault. J. F. I. of the more satisfactory to have come out of Variations on a Theme by Haydn - See the Soviet Union, though by no means up Hindemith: Nobilissima Visione. to the London standard of engineering, and BRITTEN it has a cast of impressive caliber the BRITTEN The Turn of the Screw - The Young Person's Guide to the Orchestra, very fine baritone Andrei Ivanov in the title Jennifer Vyvyan (s), The Governess; Joan role; Alexander Pirogov, in top form, as Op. 34 tTchaikovsky: Nutcracker Suite Cross (s), Mrs. Grose; Arda Mandikian Galitsky; Mark Reizen, one of the most im- (s), Miss Jessel; Olive Dyer (s), Flora; posing of Russian singers to be heard on Deems Taylor, narrator; Minneapolis Sym- David Hemmings (treble), Miles; Peter records at all, as Konchak; Sergei Leme- phony, Antal Dorati, cond. Pears (t), Prologue and Peter Quint. Eng- shev as Igor's son Vladimir; Eugenia Smolen- MERCURY MG 50055. 12 -in. $4.98. lish Opera Group Orchestra, Benjamin skaya as Igor's wife; and Veronica Borisenko Britten, cond. as Konchakova with Alexander Mclik- The Young Person's Guide to the Orchestra, - LONDON XLL 1207/8. Two 12 -in. $9.96. Pashaev conducting the Bolshoi Theater OP. 34 ensemble. Aside from some soprano trouble, tProkofiev: Peter and the Wolf, Op. 67 No amount of admiration seems excessive the performance is absolutely top- drawer, Brandon de Wilde, narrator; Pro Musica for the enterprise of London in issuing this with first -rank singers working together in Symphony (Vienna), Hans Swarowsky, very fine recording of The Turn of the Screw; an ensemble tradition that deserves the ut- cond. for, fascinating little work that it is, it has most respect. There are cuts here and there, VOX PL 9280. 12 -in. $4.98. yet to be presented in this country at all and Act III is entirely missing. However, and can be known even by name only to a it ought to be remarked in this connection Deems Taylor is a well -known musician, relatively small number of people who keep that the omission of this act is supported author, and lecturer, factors which would themselves informed of British musical by tradition. When Prince Igor was first seem to qualify him well for his job as activity, added to a probably rather more given, it was thought too long and clumsy narrator in The Young Person's Guide to the numerous group who know the chilling for practical purposes, and the Maryinsky Orchestra. But somewhere along the way, Henry James story (or novella) on which Theater decided to make extensive cuts, Mr. Taylor seems to have acquired a strange the Benjamin Britten opera is based and then to omit Act III entirely; this, apparently, professorial dullness. He reads in a drab, from which it takes its title. There are has been standard Russian practice ever colorless monotone, without enthusiasm faults that can be picked with the opera; since. So the fairest statement of difference and seemingly without realization of the or, at least, doubts that can be raised pend- between the two recorded versions is that humor in Eric Crozier's script. His enuncia- ing an opportunity to see it as well as hear the Period is, essentially, the one usually tion is often slovenly, occasionally indistinct. it. Since it is the business of a reviewer to given in repertoire circumstances, while the The text has admittedly been altered, with review, not to turn out advertising copy, London includes much music of value that permission, for the benefit of American these can scarcely be ignored. But there is customarily cut. listeners; it is certainly no improvement on should be no mistake on the main point: It all comes to this: For those listeners to the original. Doubts or no, The Turn of the Screw is in all whom literal completeness is of first im- The musical performance is preceded, in the ways that matter most a very superior portance and for those listeners to whom this Mercury recording, by the sound of an piece of musical theater- craft, and the Lon- engineering quality is a touchstone, the orchestra tuning up, a nice atmospheric don recording is one that can be recom- London Prince Igor is not challenged on LP. touch. The performance itself is of great mended with no hesitation whatever. For listeners most interested in hearing a brilliance. Dorati is brisk, efficient, and at Composed in 1954, to a libretto by My- great national opera done perhaps incom- all times in full control, particularly in the fanwy Piper (whose name, to settle the pletely but with the style and resources of final fugue. Mercury's engineers deserve curiosity of readers whose command of the most famous opera house of its own considerable praise for not succumbing to Brythonic combinations of letters is shaky, country, the Period set, decently engineered, the temptation of "bringing up" the solo ought be prefixed by "Mrs. "), The Turn of has in its favor qualities that London -Bel- instruments, and thus ruining the texture the Screw was first presented in the fall of grade can not match. and perspective of the whole work. (An that year by the English Opera Group, the

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in same ensemble that is to be heard in the transpositions upward as the excitement Van Otterloo is a persuasive conductor here, warmly recording. It is in the category of chamber grows more feverish; their impalpably horrid Bruckner, and his interpretation opera scored for ten string and wind "Praise ye the Lord" in the churchyard; recorded, is altogether praiseworthy. Still, - than players (with some doubling on instruments) and, above all, even above little Miles's it is a trifle slower and less dramatic by plus harp, percussion, and piano and celesta. ambivalent "You see, I am bad ... aren't the superbly revealing performance for London. Also, the As those who are familiar with the James I ? ", the overwhelming melancholy of his Eduard van Beinum orchestral portions story will have thought already, librettist little mnemonic song: latter offers the complete the fourth side, and composer set themselves a problem of of César Franck's Psyché on Malo, I would rather be, early, quasi - a very difficult sort in deciding to work it whereas Bruckner's relatively Malo, in an apple tree, in minor, on the into an opera, for it is a story of horror, a Wagnerian Overture D Malo, than a naughty boy, a little ghost story to be precise, of extraordinarily final side of the Epic set, runs only Malo, in adversity. as individual temper and construction. more than ten minutes, and is not cleanly symphony. P. A. In it, James tells - in a manner even more The performance is very fine all down the reproduced as the oblique than his usual - of a young gover- line: Jennifer Vyvyan intense as the Gover- with the of two young ness, if occasionally a little tight and metallic ness charged care CARISSIMI management of a country when she has to make fast climaxes at the children and the See Monteverdi: Lamento of the top of her voice; Joan Cross finely firm and Jephte - house whose owner, the guardian d'Arianna. children, forbids her to trouble him with sturdy and right as the housekeeper; Olive any messages whatever. As time passes, she Dyer and David Hemmings at once sweet gradually comes to realize that the house and sympathetic and terrible as the thorough- CHOPIN children; Arda Mandikian is haunted - not by ordinary, garden variety ly uninnocent Waltzes, Nos. I -14 ghosts, but by the presences of one Peter lost- sounding and singing very beautifully Quint, the master's former valet, and Miss as Miss Jessel; and Peter Pears thoroughly Artur Rubinstein, piano. Jessel, her predecessor as governess. At at home in the high, florid music of Quint. RCA VICTOR LM 1892. 12 -in. $3.98. Then, The ensemble is excellent under the com- first she catches glimpses of them. Any disk by Artur Rubinstein is welcome describing them to the housekeeper, poser's hand. Very good analytical notes by - after a Chopin disk doubly so, though there are they Donald Mitchell and a copy of the libretto she realizes that they are not flesh, that gaps other than the Chopin Waltzes in his way bent on holding are included. J. H., Jr. are in some mysterious recorded repertoire that I would like to have and somehow the children in their power seen filled first. As usual, Mr. Rubinstein are well corrupting them - and that they plays these works as if they were second on the way to succeeding. Nothing is ever nature to him perhaps even with an oc- if even - more explicitly stated than this - casional perfunctoriness - with perfect ease this much. All is left to the imaginings of and control and with the aristocratic air read in the reader. Simply as a story to be that makes his Chopin style so bracing. The the night it is a masterwork of the unde- better the music, the more penetrating the finably evil, a story of horror and something performances. He plays the last waltzes And that is of a horror in its own right. more gravely than others do, giving them it to be. what Tames intended an unusual, somber quality. Neat, fine - a stage The difficulty with trying to make grained. clean sound from Victor. Cer- a literary torture - piece out of such cunning tainly, these performances are as good in depends precisely device is that the effect their way as the more colorful ones by Novaes is made explicit. on the fact that nothing and the incomparably winged ones by the This puts a tremendous burden on Lipatti. Mr. Rubinstein does not play the adapters, who must decide whether to make delightfully trivial fifteenth waltz, in E the presences of Quint and Miss Jessel major, which turns up in the Novaes set. actually visible, and whether to make them MULLER COLLECTION, N. Y. PUBLIC LIBRARY R. E. audible. In the story they are silent as the Anton Bruckner on his deathbed. they cannot rest in, and so they were graves CORELLI in the play called The Innocents, in which, Sonata in D minor, Op. 5, No. 12 See it was finally decided BRUCKNER - after much debate, Strings in F major Scarlatti: Su le sponde del Tebro. to make them visible but not audible. Since Quintet for Mrs. Piper and Mr. Britten were making an Koeckert Quartet; Georg Schmid, second they took the final DEBUSSY opera and not a play, viola. Etudes; D'u,, cahier d'esquisses plunge and made the presences audible as DECCA DL 9796. 12-in. $3.98. well. How this would seem on the stage Walter Gieseking, piano. music by a man it is impossible to say without having ex- If the thought of chamber ANGEL 35250. 12 -in. $4.98 (or $3.48). ideas as Bruckner perienced it. In the recording, the effect is with such massive musical music itself sounds Etudes decidedly strange - but in what way or sounds strange, the degree strange necessarily depends on the even stranger. There are some pleasing pas- Hans Henkemans, piano. sages in the work, but most of it cries out imagination of the particular listener. EPIC LC 3104. 12 -in. $3.98. The Koeckerts All of the voices are, in fact, divorced for the symphony orchestra. with the music, the more I am from the corporeal, and anyone who chooses and Schmid do what they can The more I hear the Etudes, to lift it off the relatively neglected if he is able, regard Quint as merely a but it is almost impossible convinced that these can, among De- sound from the shadows. But he can hardly ground. Recording is well balanced, if not pieces deserve to be classed P. A. They are his ignore the fact that Quint has a great deal overly bright. bussy's highest achievements. written in 1915, and to sing, and in singing to Miles woos him, last works for piano, expression, draws him, with visions of an order that may BRUCKNER they embody the economy of the em- not match imagination. In spite of some Symphony No. 7, in E major; Overture in the abrupt twists and turns, and sake that so often wild, wonderful words, the visions do not D minor phasis on style for style's period" production of match mine. Vienna Symphony Orchestra (in the Sym- characterize the "late artists. Although unmistak- Be that as it may, it is a libretto with phony), Hague Philharmonic Orchestra (in great creative the Etudes look forward many very striking moments, and the score the Overture), Willem van Otterloo, cond. ably Debussyan, to the brusque, percussive piano style of - cast in the form of a theme and fifteen EPic SC 6006. Two 12 -in. $7.96. variations of the most wonderful variety Bartók; they are not a rehash of Clair de lune. when the and precision of ordering - is a superbly Together with the Fourth, and possibly the Gieseking, as always, excels made thing, even though the ghost -music incomplete Ninth, the Seventh is the most music calls for subtly shifting sonorities In the second étude, is a little conventional for such unconven- accessible and richly rewarding of Bruckner's and liquid legato. tional ghosts. The finest moments are very symphonies, one whose mystery and no- for example, he evokes the full poetic im- bars that De- fine indeed - the children's game of "Tom, bility grow on the listener with repeated plications of the Pelllas-like Tom, the piper's son," with its skipping hearings. bussy marked murmurando; and the coruscat-

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ing sixth etude could not be more sinuously ing tempo of this Enigma would seem too GLAZUNOV performed. On the other hand, he rather slow, but Beecham has the knack of allow- Ruses d'Amour, Op. 6z; Valse de Concert, de- emphasizes the hold, Bartókian elements ing slow tempos to "breathe" (witness the No. r, in D major, Op. 47; Valse de of these pieces, and there are times when second movement of the Prague Symphony) Concert, No. 2, in F major, Op. 5z his playing becomes muddy. The Dutch and thereby making them sound marvel- Bolshoi Theater Orchestra, Nicolai Golova. composer -pianist Hans Henkemans does ously effective. This performance, then, nov, cond. not command Gieseking's tonal magic, but gets off to a good start, and it never loses COLOSSEUM CRLP 165. 12 -in. $3.98. there is greater clarity, precision, and dra- momentum. The prevailing mood, I hasten matic contrast in his interpretations. He has to add, is not one of deliberation. Accord- Ruses d'Amour is charming if somewhat repo. also been better recorded. All told, Henke - ing to the character of the music, Sir Thomas titious and conventional ballet music, quite mans' is the better record. R. G. lavishes all the nobility, refinement, and fire a bit in the tradition of Tchaikovsky. The at his command - which is a lot. Has the two Valses de Concert are delightful works, DEBUSSY "Dorabella" variation ever sounded so be- and it is good to have them both together Images pour orchestre: Gigues; Iberia; witchingly delicate or the "G.R.S." so on LP for the first time. Golovanov obvi- Rondes de printemps brilliantly gusty? Perhaps yes, under Tos- ously knows his way around this music, canini, but his was Amsterdam Concertgebouw Orchestra, Ed- Enigma not nearly so well which he invests with ample fire and rhyth- recorded as uard van Beinum, cond. this. Columbia's English en- mic verve. There is nothing to brag about, gineers did not let Sir Thomas down here; EPIC LC 3147. 12-in. $3.98. however, in Colosseum's rather muddy re- the recording is excitingly live and spacious, production. P. A. Although music is adjudged an interna- and the drum thwacks at the beginning of tional language, there are certain works of "Troyte" are enough to blow you out of your is the nineteenth and twentieth centuries that chair. This the Enigma to buy. GRIEG are commonly believed to yield their inner- I was not quite as taken with the overside. Lyric Pieces: Book I, Op. 72; Book II. The fragile Serenade, most secrets only when interpreted by the especially, rather dis- Op. 38 countrymen of their composers. Ordinarily, appointed me; I have heard more magical there is good ground for this belief; we find performances. But this is a minor matter Menahem Pressler, piano. special qualities in a Fledermaus of Viennese and in no way detracts from the record's M-G -M E 3196. 12 -in. $3.98. origin, in a Czech interpretation of Dvorak major attraction. R. G. Grieg compiled ten books of Lyric Pieces or an English one of Delius. But it is FRANCK during his lifetime, of which the first was dangerous to lay down a general rule to this Psyché issued in 1865, when he was twenty-two. effect, as the above recording of Debussy 's It contains eight short, Schumannesque Images amply testifies. Debussy with a Dutch Netherlands Chamber Choir and Hague works, distinguished by typically Griegian. accent would not, on the face of it, seem Philharmonic Orchestra, Willem van Otter - Norwegian folk flavor. The second book. very promising. One expects sober stolidity, loo, cond. following by a few years, offers more and instead one finds that Van Beinum and EPIC LC 3146. 12 -in. $3.98. mature and frequently lengthier works in his men have transformed themselves into Franck wrote Psyché, a symphonic poem in the same basic style. They all have con- quasi -Gallo- Iberians. This is resplendent six movements, in 1888. Three of these siderable poetic appeal, if little intellectual playing of fine style and polish, with an movements make use of a chorus without weight, and it is good to have them appear abandon and sparkle entirely apposite to basses and contain music of lofty, ethereal on records in full, orderly fashion instead the Mediterranean cast of the music. The beauty; yet it is only the purely orchestral of one here and one there in assorted col- engineering (by Philips) is also first -rate. An sections that one is likely to encounter in lections of Grieg music. Mr. Pressler plays outstandingly good record. R. G. concert. This marks the first appearance of the music lovingly, though a little heavy - DEBUSSY handedly, and with less poetry and volatility than Artur Rubinstein does Préludes, Book II on his Grieg disk. The reproduction is serviceable. Walter Gieseking, piano. R. E. ANGEL 35249. 12 -in. $4.98 (or $3.48). When the effect is of shimmering moon- HANDEL light, Gieseking is incomparable. Nobody Water Music else today coaxes such misty tones from the Berlin Philharmonic Orchestra, Fritz Leh- piano. But not all of Debussy lies in an mann, cond. iridescent haze. In Book H of the Préludes, ARCHIVE ARC 3010. 12 -in. $5.98. for example, there are taut, jerky pieces like General Lavine and La Puerta del Vino The performance, the second on LP of the (which Debussy asked to be played "with entire suite, was given to tape in June sudden oppositions of extreme violence and 1951, and shortly thereafter appeared as a passionate softness "). In such as these, twelve -inch Decca LP over which no one where Gieseking tends to file off sharp has ever manifested an ungovernable en- corners, the less languid, more incisive ap- thusiasm. One bowed to a pioneering proach of Casadesus is preferable. Else- bravery while observing that the water of where, Gieseking's penumbral mastery goes the Thames was not in Handel's festive unchallenged. Just to hear the way he music intended to be anywhere muddy shapes and colors the opening melody of The conductor, commended for a per-

Canape is reason enough for acquiring the spicacious energy united to rhythmic sus - ception, was chided for the absence of light record. R. G. Fritz Lehmann: Handel's glint renewed. and color from a celebration in which they DONOVAN are indispensable. the complete work on records, and it is Now someone has re- Suite for String Orchestra and Oboe examined the tape - indeed a welcome addition to the catalogue. of the Water Music in See Ives: Symphony No. 3. the Berlin Philharmonic's Franck's haunting music is performed with playing. Its con- extreme sensitivity and inner glow by Van tents have been again transferred to a disk, ELGAR with the new Otterloo and his forces, the delicate shad- developments in transference Enigma Variations, Op. 36; Cockaigne applied. ings of the chorus adding much to the over- Overture, Op. 40; Serenade for String Hence these apologies all effect. Top quality reproduction helps to conductor and Orchestra, Op. 20 orchestra. That was not mud to make this an important release. P. A. after all. It Royal Philharmonic Orchestra, Sir Thomas was a clouded lens, and the scene clears the Beecham, cond. GLAZUNOV moment the lens has been changed. There COLUMBIA ML 5o3í. I2 -in. $4.98. Concerto for Violin and Orchestra, in A is a transformation of the nebulous into minor, Op. 81 - See Paganini: Concerto the distinct. With almost any other conductor the open- for Violin and Orchestra, No. z. Primarily notable in the strengthening

56 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com TH J'i SOU ND OF GENIUS . . .

PHOTOGRAPH BY FRED PLAUT

"1.p" Rec- comes from a family whose members have been Recent Columbia Masterworks Robert Casadesus ords by Robert Casadesus include: musicians for generations tradition which extends to his wife and -a Debussy: Piano Music. Available as 3 single elder son, both pianists like himself. Within this singularly musical "Lp" records IML 4977 -79) at $5.95 each environment there has grown an artist of rare quality and of or in deluxe set (SL 222) specially priced at $14.95. complete dedication. His recent recordings of piano works by this wonderful passion for music. They Ravel: Complete works for piano (NIL 4518- Ravel and Debussy bespeak 20). Each $4.98 are truly the sound of genius. We are proud that Robert Casadesus We will be pleased to send you a copy of has chosen to record exclusively for Columbia Records. the above photograph, suitable for framing. Send a post card to Columbia Records, Avenue, New York City. CUI.UMl3IA RE CORDS Room 11HF. 799 7th

t "COLUMBIA" m "MASTERWORKS" (ß T M. PRICES ARE SUGGESTED LIST.

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of the orchestra and the great extension of fect in sound. How the Brahms on the other Amazing that so masterly a work should be its voices, the transformation illumines the side compares with the dozen other record- an Opus 2! To be sure, the quartet, which agile responsiveness of playing in fine ac- ings of the same work in the catalogue I do dates from 1907, reflects more the tradition cord with the alterations of power and not know, nor am I tempted to find out, of Brahms and Dvorak than the new style, frolic that Handel put into his score. This since Klemperer's performance is one of the based on Magyar folk music, which Ko- becomes the best recorded Water Musics, most magnificent I have ever heard. Klem- daly was to develop; still and all, it is bold and by a comfortable margin. Some excess perer seems to think that the Haydn Varia- in outline, magnificent in melody, adroit in of bass is easily subdued, and there are no tions are by the same Brahms who wrote the structure, and all but incomparable in the other difficulties in the way of first -class symphonies and not by some academician radiant clarity of its texture. Part of this reproducton of a demanding instrumenta- bent on displaying his ability to write in- latter quality, to be sure, can be credited to tion. vertible counterpoint. A. F. the Roth Quartet's fine performance and It would be interesting to know how Mercury's equally fine recording thereof. many other tapes of outstanding perform- IVES A. F. ances are available for rescrutiny. C. G. B. Symphony No. 3 LISZT HANDEL tDonovan: Smite for String Orchestra and Oboe Concerto for Piano and Orchestra, No. 2, Concerto for Viola and Orchestra, in B in A - See Rachmaninoff: Concerto minor (arr. Henri Casadesus) - See Baltimore Little Symphony, Reginald Ste- for Piano and Orchestra, No. r. Mozart: Sinfonia Concertante. wart, cond. VANGUARD VRS 468. 12 -in. $4.98. LISZT HINDEMITH Hungarian Rhapsody No. 12, in C -sharp Nobilissima Visione It is really an event when a second record- minor - See Balakirev: Islamey. ing of a major work by Charles Ives makes tBrahms: Variations on a Theme by its appearance. Haydn, Op. 56a Stewart's interpretation of the quiet, small -scaled Third Symphony, MENDELSSOHN Philharmonia Orchestra, Otto Klemperer, with its recollections of the choir loft, the Six Children's Pieces, Op. 72 tTchaikovsky: Op. cond. camp meeting, and the organ console, is Children's Album, 39 ANGEL 35221. 12 -in. $4.98. a little less varied in pace and accent than Menahem Pressler, piano. the one by Richard Bales (on WCFM 1, M -G -M E 3204. 12 -in. Nobilissima Visione is the score for $3.98. a ballet now dropped from the catalogue), but about St. Francis of Assisi that Hindemith this newer performance is nevertheless Mendelssohn's Six Children's Pieces, written composed for Leonide Massine in 1936. skillful and sympathetic and has been ex- in 1842 and intended as a Christmas gift The title is ambitious, but the music fulfills tremely well recorded. for some child, is the sort of music fond it. It is much indebted to folk song and The crisp, sec, beautifully organized suite Victorian mothers presented in a bound, medieval polyphony; it is strong in line, by Richard Donovan on the other side is clasped album to their musical offspring rather quiet in color, reaches climaxes of delightful. When are we going to get on sixty years ago. It was duly mastered and great dignity and power, and is, on the whole, disks one of the bigger works of this dis- then forgotten quite properly, being com- a perfect musical counterpart to the Italian - tinguished composer? A. F. pletely inconsequential. Pressler plays it primitive painting with which Angel has with more affection and care than it deserves. adorned the record jacket. Klemperer's KODALY More interesting, and infinitely more pleas- interpretation stresses the meditative aspects urable, is the Tchaikovsky Children's Al- Quartet No. r, Op. 2 of the music; the competing recorded ver- bum. Here, in a series of twenty -four sion, by Ormandy, is more dramatic in its Roth String Quartet. sketches, the composer has managed to handling of rhythm but is old and less per- MERCURY MG 80004. 12 -in. $3.98. evoke startlingly realistic scenes of a child's The Welcome Renovation of Haydn's "Nelson" Mass

RECORDING this music in 1949, the admirable, ambitious, and with the microphones disputing each other and the grooves over- honorable Haydn Society had a success from it proportioned to loaded. The record never sounded good even to ears accustomed to the vivacious devotion of the Mass and the honor of the Society, the excesses of early LP, but its success was indisputable, encour- but far above the merits of the performance and the recording. aging the Haydn Society to proceed with the recording (more That performance had solo singing of beauty and appeal not ex- prudently supervised) of other Haydn masses. Further, despite its celled, perhaps just equaled, by the four solo voices of the new blemishes, this Nelson Mass was a double revelation to thou- edition, but no other conspicuous virtues, whereas the instrumental- sands with its startling proof that trumpets and drums are not ists played raggedly, the chorus was uncertain, and the beat was blasphemous and that church need not be suffocating. But its work laggard. Reproduction was bravely enthusiastic, not to say reckless, has now been done: kiss it good -bye, with nostalgia for the beautiful singing of Lisa della Casa in spite of the affronts the microphone has given to her. For Vanguard in replacing the Haydn Society milestone has profited enormously by its example. Where the original shone, in the solo quartet, the successor shines no less, and without the corn- petition of microphone bleating. It is not necessary to insist on the points where the original did not shine: it is enough to say that Mr. Rossi's attack is nervous and varied, his cadences crisp, his organization decisive, beyond experience in the preceding version. The chorus is excellent in discipline and plain competence, while the balance of all elements - so important in choral music with orchestra - brings immediate gratification. (It takes character to keep soloists in their place, and facile if thoughtless acclaim could have been obtained by giving extra rein to the trumpets.) This new Nelson Mass is not duplication but renovation, and commendation springs spontaneously. C. G. B. HAYDN: Mass No. 9, in D minor ( "Nelson" or "Imperial ") Teresa Stich -Randall (s), Elisabeth Hängen (c), Anton Dermota (t) , Frederick Guthrie (bs) ; Akademie Chamber Chorus and Vienna State Opera Orchestra, Mario Rossi, cond. Left to right: Hängen, Dermota, Rossi, Stich -Randall. VANGUARD VRS 47o. I2 -in. $4.98.

58 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com MILANO-V. BARBIERI BJOERLING WARREN CHRISTOFF PERLEA conducting the Rome Opera House Chorus and Orchestra

RCAVICTOR ,-,r ih-tGuphopi 1M -8122 h1,I.d;Ih RHO BEA, Verdi:

THE ALBUM YOU'VE WAITED A LIFETIME FOR... with the greatest operatic cast ever recorded Complete on three Long Play records with Italian- English libretto, story of the Opera, and notes by Olin Dowries. (LAI -6122) Only $11.98 in triumphant "New Orthophonicn High Fidelity sound. RCAVICTOR Nationally Advertised Price

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realm of fantasy. This is Tchaikovsky at and therefore belong in the Archive Produc- rate throughout. Original texts are supplied, his simplest, which may well be his best. tion series, but in the Lamento the directors but no translations. N. B. Pressler plays it with taste, delicacy, and of the series have for once departed from imagination, and M -G -M has recorded the their policy of historical authenticity and piano with considerable veracity. J. F. I. given us not something as close as possible MOZART to the original but a free transcription by Concerto for Piano and Orchestra, No. 12, in A, MOMPOU Carl Orff. Now this has its interest as an K. 414 Sonata for Piano, No. it, in A, K. 33t Piano Music - See Albéniz: Piano indication of how an eminent modern com- Music. poser thinks Monteverdi should sound, Heinz Scholz, piano; Camerata Academics but Orff's realization of the accompaniment, of the Salzburg Mozarteum, Bernard Paum- with its open fifths and modern accentua- MONTEVERDI gartner, cond (in the concerto); Fritz Neu - tion, is hardly Monteverdian in style. Nor meyer, piano (in the sonata). Lamento d'Arianna; Sonata sopra Sancta is the performance on a par with others in ARCHIVE ARC 30I2. I2 -in. $5.98. Maria ora pro nobis the series that have been reviewed here. tCarissimi: Jepbte Miss Höngen sings with warmth, but her Fritz Neumeyer, the pianist in the Turkish Elisabeth Höngen, mezzo-soprano; Ferdi- pitches are sometimes only approximate. March Sonata, plays on an eighteenth-cen- nand Leitner, Rolf Reinhardt, harpsichord; The Sonata, on the other hand, a fine in- tury instrument in a style of such quaintly Alfred Graeser, double bass (in the Lamento). strumental work based on a snatch of plain- roguish simplicity that we shall all feel Chamber ensemble, sopranos of the Choir of song intoned by a group of sopranos, is better if it is forgotten. Although the con- St. Hedwig's Cathedral (Berlin), Carl Gorvin, very well performed; and authenticity is certo, too, is performed in simple style, by cond. (in the Sonata). Johannes Feyerabend, courted to the extent of using the exact another pianist on a mellow old instrument tenor; Lisa Schwarzweller, soprano; Clau- instrumentation called for by Monteverdi, and by a small orchestra trained to cunning dius Lipp, harpsichord; Johannes Koch, including two cornetti (not cornets but discretion by a conductor adept in music viola da gamba; Josef Lippert, double bass; conical wooden tubes). The disk is further of this sort, it will on the contrary win Norddeutscher Singkreis, Gottfried Wolters, redeemed by a competent performance of nothing but praise if volume of reproduc- cond. (in Jephte). Carissimi's most famous oratorio. Here the tion is kept on the low side, to preserve the ARCHIVE ARC 3005. 12 -in. $5.98. expressive solos, in a kind of heightened intimacy of the statement and the soft at- recitative, and the impressive choruses pre- traction of the orchestral tone. This con- These are important and representative sent a varied and often lively interpretation certo is often played as if it were a Roman works of seventeenth -century Italian music of the Biblical story. The recording is first- candle, and it has a resilience to withstand

Everybody's Happy About Figaro's Nuptials . . .

SURELY such a work as Le Nozze di Figaro into making the performance come out as building and resolution of the most com- could be listened to for a lifetime without it does. Rather, it is a clear, consistent, plex ensembles; and how crisply and pre- its ever ceasing to arouse wonder and sheer always musical reading, with all the per- cisely are the smallest ornaments executed! delight each time it was heard from a fresh forming elements utilized to - and some- Against this are set three earlier recordings, point of vantage, each time a different per- times, it seems, beyond - the limits of all of which have certain merits, none of formance kindled it into fresh life. It is their capacities, but with each fitted into the which can be classed as competition. The this capacity for infinite renewal that makes total conception by the justest of persuasions. most recent and perhaps most controversial music the baffling, endlessly fascinating re- Considered after the fact, it is an awesome of these is the Columbia set. Made in creative art that it is. There are four recorded job that has been done. Yet while the per- Vienna, it is conducted - very fast indeed - versions of Nozze di Figaro, none truly formance is being heard there is no sense by Herbert von Karajan, with a good cast negligible but none truly eligible for com- that a job is being done at all. What more that includes Elisabeth Schwarzkopf, Irm- parison with the new one just issued by can be said? It may be possible to find fault gard Seefried, Sena Jurinac, Erich Kunz, London. It is the only one that is really with this singer or that, to disagree with cer- and George London. Competently sung complete; it is the best engineered of the tain details. But, considering it very seri- always, very finely sung at best, it has lot; and, much more important in the long ously, this is certainly one of the finest of all much about it that is of lasting value. Un- run, it has, in spite of imperfections, a kind operatic recordings so far as the musical happily, it also has the crippling disability of total artistic quality rarely heard either in whole is concerned. of having almost all recitative, pruned away. actual performances or on records. In fact Those who are interested in Figaro in The sound is full and plummy. - admitting that a week is not long to minute detail can have a fine time playing The old RCA Victor set, made at Glynde- have lived with an opera recording - it these records over and over and collating bourne in 1935 and now available in the seems to me to be one of those rare record- score markings with the tempos, dynamics, Lcr list, holds a performance that is excellent ings that have such deep -rooted strength and over-all plan of the Kleiber reading. At in ensemble and not so hard -driven, al- and integrity that the listener is not likely first listening, some of the tempos seem very though (for all that Willy Domgraf -Fass- ever to tire of them. brisk, if not so headlong as those taken by bänder was a good Figaro) not the best When such a recording does appear, it Herbert von Karajan in the Columbia set. sung of the Mozart series conducted by the seems almost always to be the conductor However, the more the set is listened to the late Fritz Busch. But recitatives were cut whose presence is the deciding factor. And righter the tempos seem - not because they with a cleaver, and what was good sound so it is here, for Erich Kleiber gives one of have in some mysterious way become slower, twenty years ago sounds merely historic the supreme demonstrations on contem- but, I think, quite simply because they are today. Often slighted on the popular, but porary records of how a truly magnificent so wonderfully well articulated relative to not very reasonable, theory that Italian conductor - there never have been many each other and to a steady, underlying pulse, Mozart is per se bad Mozart, the Cetra set is, in the world - can work the miracle of and, above all, because they always let the to my mind, much better than it is generally bringing the elements of a performance score sing, not only in the vocal parts but in given credit for being. There are heavy cuts together into a whole that is worth more the exquisitely delicate playing of the Vien- (including, most damagingly, the Count's than any possible sum of all its parts. In a na Philharmonic strings and winds. Every- aria), but enough recitative is left to nudge way, it is the performance of a great virtuoso; thing fits. Never a phrase is rushed. Never the plot along. Gabriella Gatti does some yet it would be wrong to call it that, for the a phrase bogs down. Yet the passages that meltingly expressive singing as the Countess, word carries the implication of a perform- need pace move with as much fleetness and and the rest of the cast are mostly good. ance that is conductor -ridden, a perform- sparkle as could be wanted, and when soft- The sound is quite acceptable - the repro- ance dominated by a willful personality. ness is in the score (as, for instance, in the duction of it, that is; for the Turin radio That is not the effect here at all. There is accompaniment to Barbarina's little cava- orchestra (to let fall no great secret) is not no Kleiber shadow between Mozart and tina in the last act) how warm, yet how pure, quite the equal of the Vienna Philharmonic. the listener, no uneasy feeling that the how full of grace, is the flow of the music. These earlier Figaro sets are interesting. singers and the orchestra had to be whipped How sure, yet how spontaneous, is the And, on the level of particular singers in this

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that kind of treatment as well as this, MOZART neglect of decades; and we are beginning which may be the more durable treatment. Quartet No. 21, in D, K. 575 to receive Mozart records of the less prom- C. G. B. Quintet in D, K. 593 inent major works prepared and executed with a care hardly accorded to them in the Huebner, MOZART Barylli Quartet; with Wilhelm past as a general procedure. Sinfonia Concertante for Violin, Viola, and second viola (in the Quintet). These remarks apply not only to the WL 12 -in. Orchestra, in Eflat, K. 364 WESTMINSTER 5356. $4.98. record under immediate consideration, but tHandel: Concerto Orches- to such current editions as Angel's aro- for Viola and The high-frequency exaggeration in the in B minor matic Cad fan tutte, the Bruno Walter Birth tra, (arr. Henri Casadesus) quartet -side makes that side unsuitable for of a Performance (Symphony No. 36), the Albert Primrose, reproducers. In this respect the Spalding, violin; William sensitive Prague and Haffner symphonies by Sir viola; the Friends of is in both Orchestra of New quintet-side somewhat better; but Thomas Beecham, the Fourth Serenade from Fritz (in the Mozart); works violin is too forward for Music, Stiedry, cond. the first London Records, another fine Linz Symphony (Victor in general "Golden Symphony Orchestra" modern taste, and the playing from Telefunken, four stunning diverti- Weissmann, cond.) (in has indefinable air vigorous Symphony, Frieder an of compla- mentos for wind sextet from Westminster, is also some effect music the Handel). cency. There of the concert arias sung by Hilde Zadek for CAL 262. 12 -in. isolated in an empty room. G. B. RCA CAMDEN $1.98. C. Epic, and concertos from all quarters. And The Sinfonia Concertante is played with firm of course we know that the other great resistance to all but its bravura values, and MOZART operas will be coming, and new editions of the quartets, the symphonies, and the it is not calamitous that the opaque repro- Symphonies: No. 25, in G minor, K. 183; greatest serenades. The talion demands, and duction hides the more saddening aspects of No. 28, in C, K. 200 an empty performance. (The same violist the divine ghost of Mozart has a right to takes part in the fullest performance, that Columbia Symphony Orchestra, Bruno Wal- expect, that we go broke in an exalted cele- of the Casals Festival on Columbia ML 4564.) ter, cond. bration of his advent. After all, he was The arrangement in form of a viola concerto, COLUMBIA ML 5002. 12 -in. $4.98. perpetually broke himself, and just listen which Henri Casadesus said he made from to what he gave us. some things in Handel, but which sounds The major companies now bring up their Dr. Walter's tender evocation of the so like pleasant secular Bach, is a better matter, biggest rifles to thunder a bicentennial phisticated niceties of Symphony No. 28, in a gracious and convincing interpretation salute to Mozart. Distinguished conductors supported by the warm Columbia sound, has with satisfactory if rather dull sound. C. G. B. are now rehearsing scores dusty with the no serious contemporary opposition. This or that role, that aria or this, there is always a Susanna in which, all the way through, she performance, which is quite good enough room for opinion and debate. That is not sang with such point and personality as she for almost any purposes, but a Kleiber per- the point here. The cardinal virtue of the does in the recording. Neither is quite formance - less dead -level extrovert, with new London Figaro is precisely that it is syllable -perfect in handling the text, but less rich, broad tone and a neater, more not a string of arias presented rock -candy few non -Italian singers sing the language forward delivery of recitative. Occasionally fashion, but a unified, consistent, and in so well. Their voices blend ever so beauti- his voice sounds thick, occasionally the tone most respects, extraordinarily fine perform- fully in "Suit aria"; and both, I think, after is not quite perfectly poised at the top, but ance of Le Nozze di Figaro - every last bit close listening to the two recordings, are he manages to fit himself to the total per- of it. superior to Elisabeth Schwarzkopf and Irm- formance and ends by being more impres- For London has recorded the work quite gard Seefried in the Columbia set - and sive, than if he had gone stubbornly along in literally complete, including even the Mar - that is saying a great deal, especially where his own way. Fine, experienced musician cellina and Basilio arias, which to be heard Miss Seefried is concerned. The surprise that he is, Alfred Poell still has some diffi- live have ordinarily to be sought out in (to admit a thing that is supposed not to be culty, especially in fast recitatives, with student productions. Without going to the admitted) of the ladies is Suzanne Danco; Italian vowels, tending to make "oo" extreme lengths of providing an appendix for though she is well known as a Mozart diphthongs of them and so get accents just of such variant curiosa as the numbers singer, Cherubino is not characteristically a hair misplaced. Yet without having the written for the Susanna of the 1789 revival, one of her roles. She is splendid - ever so personal force that makes George London's they could hardly have done more. And - style -wise and responsive, with tone (in- Count such a strength of the Columbia cast, to underscore the point - the elaborate cluding fine, firm low notes) that is always he is actually a more subtle vocal actor when double -boxed packaging contains (in addi- good and always in character. And Anny subtlety is what is needed. Mr. Corena's tion to the recording proper, of course) a Felbermayer is a charming Barbarina. Bartolo is, as customary, excellent, and the specially prepared edition of the Boosey As Figaro, Cesare Siepi gives not his usual English tenor Murray Dickie is a particularly and Hawkes voice -and -piano score, with good Basilio. Not quite an Elisabeth Hön. E. J. Dent's British -language rendering of gen (whose Marcellina is a bit of bonus the Italian text - this at no extra cost save casting by Columbia), Hilde Rössl- Majdan the possible need for hiring a moving van does very well by the part; and, if not the to transport it home. ideal, Harald Pröglhöf is quite satisfactory The London cast is most accurately de- as Antonio. scribed as basically, if not typically, Vien- As a representation of the score, this is a nese, with international overtones in some superb set, with no present competition, and important roles. It is hard to know quite its excellences are such that it will be ex- where to begin in mentioning individuals, ceedingly hard to displace. Very highly re- since the important thing to note about commended. JAMES HINTON, JR. most of the performances is not the peculiar the rest qualities that set them apart from MOZART: Le Nozze di Figaro but their high degree of integration into the ensemble without loss of personality. Lisa della Casa (s), Countess; Hilde Gueden To go down the list, Lisa della Casa has sung (s), Susanna; Suzanne Danco (s), Cheru- the Countess in Metropolitan performances bino; Anny Felbermayer (s), Barbarina; of Figaro a number of times, but I have cer- Hilde Rössl- Majdan (ms), Marcellina; Mur- tainly never heard her sing the role so well, ray Dickie (t), Basilio; Hugo Meyer -Wel. in point of technical control or in point of fing (t), Curzio; Alfred Poell (b), Count characterization, as she does here. She Almaviva; Cesare Siepi (bs), Figaro; Fer- gives a very lovely, gracious performance, nando Corena (bs), Bartolo; Harald Prögl- warm and poignant. There are a few specks höf (bs), Antonio. Vienna Philharmonic on her vocalism, but they have to be looked Orchestra and Chorus of the Vienna Staats- for diligently, since they pass so swiftly. oper, Erich Kleiber, cond. Similarly, I cannot recall from Hilde Gueden Suzanne Danco surprises as Cherubino. LONDON XLLA 35. Four 12 -in. $19.92.

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is worked with a remarkable refinement of Not an opera, Mozart's Thaws, King of Egypt Act II: The Divination by Water (Martha). shape and fabric which induces a certain is a kind of theater score that is scarcely Act III: Martha's aria (All the night long); amount of critical ruefulness, the critic in known at all in our century - incidental Shaklovity's aria (The Streltzi are sleeping); question feeling an incipient discomfort at a music to an heroic drama. The year was Scene of the Streltzi and finale. refinement worked very hard indeed in the 1773. Mozart was seventeen, just growing Zar a Dolokhanova (ms), Martha; Pavel first two movements, while similar contriv- up out of the prodigy stage, and the play Pontriagin (t), Scribe; Veniamin Shevtzov ances of elegance in the minuet and finale was by the Freiherr von Gebler, vice -chan- (t), Kuzka; Alexander Tikhonov (b) and seem appropriate and delightful. The or- cellor of the Bohemian court chancery office. Alexander Pirogov (b), Shaklovity; Boris chestra and the hall acoustics blend to pro- Since more commissions from the Freiherr Dobrin (bs), Ivan Khovansky. Bolshoi duce a voice full of juices, subtly effective might be forthcoming, Mozart worked Theater Orchestra, Vassili Nebolsin, cond.; as a conveyance for the angry stringency of carefully. Later, in 1779, he recomposed the U. S. S. R. Radio Orchestra and Chorus, Symphony No. 25, where a harsh string -tone choral scenes, but not until 1790, the year Alexei Kovalev, cond.; Orchestra of the may be considered right for the idiom; but before his death, does he seem to have Stanislaysky and Nemirov- Danchenko Thea- in brutal truth is not tragedy more affecting heard the whole score. However, when he ter, Samuel Samosud, cond. when dressed in silk? C. G. B. did hear he it, thought highly of it - and VANGUARD VRS 6022. 12 -in. $4.98. he was no man for idle self-congratulation. MOZART It is, in fact, an exceptionally strong, vital Whatever else may be said of Mussorgsky's Symphonies: No. 35, in D ( "Haffner"), piece of work. In it there are five instru- Khovansbchina, it is not a work about which K. 385; No. 36, in C ( "Linz "), K. 425 mental sections and three choral sections, the anyone can speak with absolute, firm au- instrumental sections thority in discussing the merits of one ver- Royal Philharmonic Orchestra, Sir Thomas tending to rather for- mal sion as opposed to those of another, for the Beecham, cond. sonata -like developments, the choral sections quite elaborate, work was left uncompleted at the death of COLUMBIA ML 5001. 12 -in. $4.98. with male and female choirs divided and then combined, the composer and has since been "realized" Let's hope that Columbia, with five Haffners and, in the second and the last, with soloists' in a number of different ways. In fact - and three Linzes, has found that there really lines woven into the fabric. In spite of the since it can be accepted as axiomatic that is always room for one more. The latter are early date of composition, the effect of the any conductor with sufficient enterprise to distinguished records, and the newest, score at its best is more like that of Die attack such a score is almost sure to have backed here by a Hafer almost identical Zauberflöte than of any other familiar Mozart sufficient courage -of- convictions to amend with Sir Thomas' admired performance of music - especially in the choral scenes in it - Khovansbchina has probably had very the late Thirties, has an appeal to surpass the Temple of the Sun and, in an odd way, few productions in which scoring and cuts that of any other. (The conductor's previous in the allegro part of No. 2, which has the were identical. As far as the phonograph versions of both are on Columbia ML 477o, effect of an almost jazzy syncopation of listener is concerned, there is but one full - a good transfer from the 78s, but hardly "In diesen heil'gen Hallen." At its least pon- length Khovanshcbina to be heard on records equal to the current lucidity.) The refine- derable it is good -grade Mozart; at its best - the new London set, made by a recording ment of the musical baronet's presentation it is noble music, little below the level of team sent from England into Yugoslavia of eighteenth- century music, his love of the finest pages of Zauberflöte. (which is as close as contemporary Western little orchestral lusters (when they do not The new Epic recording is a cleanly en- engineers have gotten to the sources of top - provoke self- intoxication and induce way- gineered reproduction of a scholarly, well - grade Russian opera performances) - sup- wardness) make his Mozart and Haydn de- prepared, but somewhat anxious -sounding plemented by a disk of excerpts, taped in lectable beyond most competition, and there Viennese performance conducted by Bern- Russia and processed and released in this is none of his latter -day waywardness here hard Paumgartner - not the grandest read- country by Vanguard. On artistic grounds except in trailing cadences to the minuets ing imaginable, but a serious and musical both are very well worth while, and both not without wit and charm. C. G. B. one, with rather more positively attractive are technically above the average from Eastern qualities than are to be encountered in the Europe up to now. MOZART competitive Stuttgart performance recorded Taking as his point of departure a sug- (PL gestion by Vassily Stassov, Mussorgsky Symphony No. 36, in C ( "Linz "), K. 425 by Vox 7350), although Walter Berry iSchubert: Symphony No. 5, in B-flat lacks the Sarastro -like voice to make the began work on Khovanshcbina in 1873, as most of the bass solo in the finale. The soon as he had made his final revisions on Berlin Chamber Orchestra, Hans von Benda, Epic release includes the choral texts (which Boris Godunov. Then, the next year, he cond. the Vox does not), but not the full texts of began work on yet another opera - The TELEFUNKEN LGX 66020. I2 -in. $4.98. the spoken lines in the melodrame. J. H., Jr. Fair at Sorochintzki. Writing and composing at the two works alternately, and brooding The third Linz in two months collides with and drinking heavily in between times, the delicate forcefulness of Columbia ver- he MOZART progressed slowly. When he died, in 1881, sions by Sir Thomas Beecham, one not dis- Trio No. 4, in E- See Beethoven: Trio he had finished neither. For Khovansbchina similar by the late Fritz Busch on Victor, No. 4. he had assembled a huge mass of material, and the endearing humanity of Bruno Wal- a great, seemingly disorganized agglomera- ter also for Columbia. Hans von Benda will tion of incidents in music, ranging from full possibly be lost in the shuffle, and his fine MUSSORGSKY score to mere sketches. enunciation ought to be heard, since its Kbovansbcbina Most of the first four acts were done, sturdy realization is devoid neither of finesse Sofiya Jankovich (s), Emma; Anita Mezetova more or less, in vocal score; the fifth was a nor warmth, and the sound is of good order (s), Susanna; Melanie Bugarinovich (ms), heap of notes. Always willing to lend a in spite of a hall-tone not the most sym- Martha; Alexander Marinkovich (t), Andrei hand at tidying up an incomplete or dis- pathetic. Khovansky; Drago Startz (t), Vassily; orderly opera score, Rimsky -Korsakov took The Schubert, a Mozartian work, is Stepan Andrashevich (t), Scrivener; Zhivoin all this in hand. After two years of pruning played with a Mozartian vivacity not with- Iovanovich (t), A Streletz; Streshnev; and correcting what seemed to him patent out some detriment to the curvature of the Popovich Dushan (b), Shaklovity; Zharko musical barbarisms, he had the results pub- Schubertian tunes. This is formally en- Tzveych (bs), Ivan Khovansky; Miro lished, prefaced by a kind of defense-in- lightening and a conductor's choice, since Changalovich (bs), Dositheus; Zhivoin advance of what he had done, which in- he cannot be erect and bend at once. Sound Milosavlevich (bs), Varsonoviev; Krsta cluded (necessarily) orchestrating a great like that of the Mozart. C. G. B. Krstich (bs), Kuzka; Vladimir Popovich deal and, also, suppressing a great deal of (bs), A Streletz; Georgi Djurgevich (bs), music that he thought weak. In this form MOZART A Streletz. Chorus and Orchestra the of the work had its premiere and gained a Thamos, Koenig von Aegypten, K. 345 Belgrade National Opera, Kreshmir - Baran certain currency even outside of Russia. ovich, cond. Ilse Hollweg (s), Maria Nussbaumer-Kno- Since the 1917 revolution, it has been pretty flach (ms), Waldemar Kmentt (t), Walter LONDON XLLA 29. Four I2 -in. $19.92. much a standard item in the Soviet repertoire. Berry (bs); Vienna Chamber Chorus and Khovanshcbina (excerpts) However, ever since its publication, there Vienna Symphony Orchestra, Bernhard had been misgivings about the Rimsky- Paumgartner, cond. Prelude. Act I: Scene of the Scribe and the Korsakov version, and in 1928 a committee EPIC LC 3158. r2 -in. $3.98. people of Moscow (Scribe and Chorus). of musicologists went over all the material

62 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com building your record library number twenty -six

JAMES HINTON, JR., SELECTS

A SHELF OF OPERATIC RECITALS

FOR ALL THEIR indubitable benefits, microgroove and high in the same recording, which is a little rough but vital in sound. fidelity have not been in all regards blessings pure and unmixed Backtracking alphabetically to one of the most remarkable of so far as opera -or enthusiasts, or potential enthusiasts, of opera contemporary tenors, Jussi Bjoerling, although not so well repre- -are concerned. More complete works, better recorded, are to be sented on LP as on 78s, can be heard in fine, silver -trumpet voice heard now than in the past, and it would be senseless to question in standard display arias on a ten -inch RCA Victor disk (LM 105). their value or suggest that bits- and -pieces excerpts are worth as Insofar as it is operatic, another RCA Victor disk (LHMV 1033) much. However, the average complete opera is a two- or three - might be recommended as representation of Boris Christoff, who, disk proposition, and correspondingly expensive; there must be a if not quite a Chaliapin, is surely one of the most vital of operatic good many people who in building an LP collection have left their basses now active. Another, and very different, bass is Fernando curiosity about opera unsatisfied, simply because they have become Corena, an enormously gifted singing actor, particularly capable used to the idea that only complete works are worth hearing and in buffo roles, but not limited to them by any means. His buffo because their record- buying budgets are figured in terms of five - talents can be savored on one side of a ten -inch London record rather than twenty- dollar bills. Yet, in the old 78 -rpm days, when (LS 701), if the buyer is willing to take on some rather ordinary opera on records came mostly in four -minute chunks, there was baritone repertoire on the other. much to be heard that was very worth hearing, and even with the Although she has not made her career primarily in opera, present emphasis on complete works - and even though much Suzanne Danco is one of the most accomplished and musical of really notable singing remains untransferred to LP -the listener sopranos in this generation, and no one should regret having who thinks he might like opera, but would prefer to come on it acquired her ten -inch London (LLP 224) record of arias from gradually rather than all at once, can find single records that may Louise, La Traviata, Manor:, Carmen, Alceste, and Dido and give pleasure that is lasting while providing the foundation for Aenear. Mario del Monaco is not yet the finished artist he may informed taste later on, should curiosity grow into enthusiasm and become, but the voice is so fine, the temperament so vital, that enthusiasm into dedication. there is nothing that should prevent his becoming one of the great Predicating a relatively unsophisticated listener, one inter- singers of the century. As heard on the London ten -inch (LS 670) ested in opera and perhaps responsive to it, but no expert, a and twelve -inch (LL 1025) recital disks, his singing is not fault- record -buyer accustomed to good -grade contemporary sound engi- less, but it is pretty tremendous. neering, I have here tried to pick out a list of single operatic LPs There is no single record that gives a rounded idea of the mag- that present music that is familiar rather than esoteric, sung with nificence of Kirsten Flagstad as an opera singer, but her RCA sufficient distinction of one sort or another so that the performances Victor collectors' series singing of the Parsi/al duet, with Lauritz will contribute to the development of an informed taste and are Melchior also in fine form (LCT 11(35), is close enough to be a not likely to be drained of interest very soon, if ever. near -must for budding Wagnerians. And as the first Italian dra- The selections that follow do not draw on golden -age reprints; matic soprano of the Metropolitan for the better part of twenty those that are reissues from 78s are good enough technically to years, Zinka Milanov, in superb voice practically all the time on leave all save the most delicate golden ears unbattered. They an RCA Victor LM 1777, a twelve -inch disk, most certainly has to represent the music adequately or better, I think. And, beyond be included. So -as one of the most exciting temperaments of that, all have character. In this cold world, some of the singers opera today -ought Martha Mad! be (Decca DL 9593), for al- may be forgotten - say - fifteen years from now. But all have though her vocalism is anything but seamless it has the sweep and something to say and the means to say it, and - then - if their authority that makes opera a vital kind of theater. Not quite disks are slipped onto a turntable, the listener with taste will similarly, Lina Pagliughi is an Italian coloratura whose technique listen with respect; he may even pucker his brows and say, as if and style are in the grand old tradition, and her singing of he wanted to know, "Who is that ?" Shall we proceed by the standard arias (Cetra 50032) is lasting in its rewards. One of the alphabet? most powerful and authoritative basses of the past thirty years, Down the years there have been few singers more serious about Ezio Pinza, is best represented by a ten -inch Columbia miscellany being good operatic artists than Licia Albanese. As a post- Puccini (ML 2060). Now virtually retired, Bidu Sayao was one of the Italian lyric soprano she is eminently worth hearing, and she has most charming artists, and the exquisite taste of her lyric singing been well served by the RCA Victor engineers in a miscellany of is well preserved by Columbia ( 3ML 4056); it should never fade excerpts from Puccini's La Bohème (LM 1709), with Giuseppe di and never be forgotten. Elisabeth Schwarzkopf's singing of Stefano, Leonard Warren, and Patrice Munsel. Maria Callas, by various Mozart arias (Angel 35021) may be debatably communi- all odds the most exciting soprano as a vocal -dramatic personality cative, but there can be no doubt that she is, as a vocalist, about to appear since the war, is mainly bound up in full -length Angel as close to perfection as singers come nowadays. recordings. On single LPs, my choice would be her earlier -sung As for Ebe Stignani, now well along in a great career, she is Cetra miscellany (cET 50175), as being more representative of one of the very few contemporary singers of whom it can be said her peculiar talents, rather than her Puccini record for Angel, al- with confidence that she would surely have had high status fifty or though it is perhaps-played with the controls set right - the a hundred years ago- in any golden age. She can be heard in most faithful representation of her voice as a voice. Even if she the full maturity of her powers on a twelve -inch Cetra (CET did not live to become an immortal of the high -fidelity age, the 50031). Another mezzo -soprano of great gifts is Giulietta late Maria Cebotari was a great, great singing actress, and in a Simionato, and her bravura singing on a ten -inch London issue survey that is of necessity narrowed down to the war and postwar (LD 9162) is not likely to fail the test of time, nor is that of the years, it would be unthinkable to neglect her. Not what is gener- admirable soprano Renata Tebaldi, on a twelve -inch London (LL ally expected, the delicate wilfulness of her Salome finale (Urania 142). A controversial singer in many ways and many contexts, URLP 7036) is perhaps closest of all to what Strauss had in mind, Ljuba Welitch made one of the most sizzling personal effects in and her excerpts from La Traviata, even if they are done in Ger- years when the post -war years brought her debut here as Salome, man, is magnificent Verdi singing, as is that of Heinrich Schlusnus and something of the occasion is preserved by Columbia (4ML and (to a lesser degree, because somewhat stiff) Helge Roswaenge, 4795), something of the sense of the theatrical impact.

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left by Mussorgsky and issued what is that this was the focal role when it was tionally fine voice, very dark in color, but known as the Lamm version of the score. sung by Chaliapin. Nor are the Russian is surely no unheralded Chaliapin. On the Since then, it has been easier for conductors people themselves so clearly established as feminine side, perhaps the most impressive to roll their own Khovanshchina versions, a force as they are in Boris. Their sufferings singer is Melanie Bugarinovich, who sings and most conductors have. As a case in are talked about continually, but they are Martha's great divination -by -water scene point, when the Metropolitan did the work presented primarily as members of this or most impressively, with firmly anchored in the 1949-5o season, the score used was that group, with this or that at stake. These low tones. The choral singing is quite good; an amalgam of old scores and photostats may be organic faults or they may be the orchestra is not first -class in the texture of the Lamm, with cuts and transpositions simply differences. Whichever is true, there of tone obtained, but is certainly better of scenes as decided by Emil Cooper. is far too much that is fine about the mosaic than merely passable, and the conducting In a way, the most impressive thing about that is Khovanshchina for it to be neglected; of Kreshmir Baranovich is firm and con- Khovanshchina, as about Boris Godunov, is for all its bulkiness, for all its disproportions, trolled. The version used is - basically, its ability to stand up under this kind of it is clearly the work of a very great theater at least - that of the Rimsky - Korsakov clipping, rearranging, and rescoring. Vast, composer. editing. A libretto (in Russian, phonetically sprawling, untidy mass of scenes that it is, The London recording, very satisfying transcribed Russian, and English) is in it is also an extremely powerful, impressive technically, could imaginably be bettered preparation and can be had by returning a work; not, perhaps, so great a work as Boris, only if it were to become possible for first - card enclosed in the album; if present but with many of the same qualities. rate engineers working with the best modern schedules hold, it will be available by the The story, loose and episodic, is too com- equipment to have free access to a Khovansh- time this review appears. All told, this is, in detail; for, as in life, the plex to recount china sung by one of the really top- ranking if not a great performance, a more than set against the backdrop of a characters - Russian companies. As it stands, it is a good, acceptable one of a work that is second only rebellion, religious conflict, and time of solid performance, with some singers quite to Boris Godunov in the interest it should social change in the reign of Peter the Great satisfactory, some not as good as might be command, and a work that may not be re- are, for the most part, neither wholly - hoped for, but in general very competent corded again (so well) for a long, long time. good nor wholly bad, and there are a great - at least to non -Russian ears. Zharko Tzveych, many of them. Yet, again as in Boris, the As such, it is highly recommended. the Khovansky, is a strong, emphatic bass, least of them becomes somehow a sharply The Vanguard disk of excerpts includes drawn individual under Mussorgsky's touch, quite imposing in his best moments, and some of the finest things in the score of though none of them rises above the action the Shaklovity, Dushan Popovich, has con- Khovanrhrbina, variably recorded on the and dominates it as does the guilt- struck siderable dramatic power, if not a voice Russian end, conscientiously engineered Czar in the earlier opera - not even the ideally suited to his aria, which is one of here. Mostly very well performed, it takes brusque, strong -willed Ivan Khovansky; the most beautiful things in the score. The in some moments - most notably, perhaps, not even the fundamentalist patriarch bass who sings Dositheus (or, if you please, the big choral scene with the Scribe, from Dositheus, though it is easy to imagine Dosifé), Miro Changalovich, has an excep- Act I - that Rimsky -Korsakov left out of

A "Forgotten" Paganini Concerto Makes Its Reappearance

LIKE comets, new violin concertos by a section of considerable beauty. But it is old masters don't make their appearance the finale, a rondo that is almost a varia- every day. The last significant violin con- tion on the popular La Campanella from certo discovery was the "forgotten" one in the Third Concerto, that is bound to cap- D minor by Schumann, which might as ture the fancy of most audiences. Through- well have been left forgotten. Such, how- out the concerto, one is less conscious than ever, is not the case with another work in is usual with Paganini of a striving for D minor - the Concerto No. 4 by Paga- technical virtuosity for its own sake, nini. though there is ample opportunity for fire - Paganini wrote this concerto expressly wotks. for his initial season in Paris. He worked Grumiaux gives a splendid account of on the score in Leipzig and Frankfurt -am- the "new" concerto. There is plenty of fire Main, and introduced it at his concert of in the virtuosic passages, sensitivity and March 25, 1831, at the Paris Opéra. Al- Arthur Grumiaux warm expressiveness in the lyrical ones. though it was an immediate success, he Franco Gallini, son of the work's dis- never played it again. He seemed to have ously no novice at his trade, the ragman coverer, accompanies with a rather heavy some strange affection for this work. So combed through his purchase very carefully hand. The recorded sound is good, except jealously did he guard it that he was care- and turned up the score of the mysterious for a bit of tubbiness in the bass. ful not to include the solo part in the concerto. This discovery led to some liti- Coupling this newly found concerto with orchestral score. It has been said that he gation, which was finally settled when the the well -known one in D major only serves even kept the manuscript of the solo with Paganinis and the ragman agreed to divide to show what a shallow, if flashy, work the him at all times, going so far as to sleep the proceeds from the sale of the manu- latter is. It also shows that Herman Kreb- on it at night. What has never been de- script. The score was then bought by the bers is not the equal of Grumiaux as a termined is whether this attachment was Italian musician Natale Gallini, who was violinist. Nevertheless, this disk is definite- one of sentiment, whether it was because the first to realize - after he had paid for ly worth investigating for the novel and he feared his rivals might learn it by ear, it - that the solo part was missing. It took rewarding work on the other side. or whether he felt the music was too several years of searching before Gallini PAUL AFFELDEII deeply personal for a composer from whom found the solo among some effects of PAGANINI displays. the nineteenth the public expected pyrotechnical century double -bass virtuoso Concerto for Violin and Orchestra, No. Whatever the cause, the concerto dis- Giovanni Bottesini. 4, in D minor appeared from view, not to be heard again Now that the concerto has been com- until November 7, 1954, when it was re- mitted to disks for the first time, it is pos- Arthur Grumiaux, violin; Orchestre des vived by Arthur Grumiaux and the Orches- sible to assay its worth. The first few Concerts Lamoureux, Franco Gallini, Gond. tre des Concerts Lamoureux under the hearings confirm it to be a work with more direction of Franco Gallini. body than the familiar Concerto No. r, in Concerto for Violin and Orchestra, No. r, in D Op. 6 The concerto was evidently forgotten or D major. The first movement, with a long major, perhaps even unknown by Paganini's heirs. orchestral introduction that starts out like Herman Krebbers, violin; Hague Philhar- In 1936, two of the composer's descendants, Sarasate's Zigeunerweisen, is forthright and monic Orchestra, Willem van Otterloo, the Barons Paganini, sold a heap of old dramatic. The slow movement is, for cond. scrap paper to a ragman in Parma. Obvi- Paganini, deeply introspective and solemn, EPIC LC 3143. I2 -in. $4.98.

64 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com A RECORD COLLECTOR'S DREAM COME TRUE "It is a certainty that London has made a real contribution to the Mozart year with this release" Irving Kolodin- Saturday Review of Literature "The new LONDON recording of Don Giovanni is the best to be had today. It would be safe to go on and say that here may well be the finest recorded performance we shall have for a long time." James Hinton, High Fidelity Magazine

Don Giovanni Cesare Siepi Leporello Fernando Corena Don Ottavio Anton Dermota Donna Anna Suzanne Danco

. Donna Elvira ...... Lisa della Casa Zerlina. Hilde Gueden Masetto Walter Berry Commendatore Kurt Böhme CHORUS OF THE VIENNA STATE OPERA (Dir.: Dr. Richard Rossmayer) and the VIENNA PHILHARMONIC ORCHESTRA Conductor: JOSEF KRIPS XLLA -34 4-12" Records $19.92

To a long and distinguished list of complete opera recordings issued under London ffrr auspices comes this greatest of Mozart masterpieces in a performance by eight internationally known and justly celebrated stars, plus the superlative Vienna State Opera Chorus and the incomparable Vienna Phil- harmonic Orchestra. Welding these superior talents into a cohesive and responsive unit, Josef Krips has fashioned with loving devotion a group of records that will be acknowledged with awe for many decades to come. The offering has been packaged with full awareness of its significant contents. A complete Italian - English vocal score by Prof. Edward J. Dent is included along with detailed analytical material.

NOVEMBER 1955 64 -i

www.americanradiohistory.com KE< <)hl),

RACHMANINOFF ballet, must have been a fascinating thing Concerto for Piano and Orchestra, No. 1, to hear and see. It would be very difficult in F-sharp minor, Op. r to recapture the visible aspects of such a (Liszt: Concerto for Piano and Orchestra, performance nowadays (a brave and not No. 2, in A unsuccessful attempt was made a couple of years ago in Paris with Les Indes galantes), Cor de Groot, piano; Hague Philharmonic but the aural aspects should not be so hard Orchestra, Willem van Otterloo, cond. to reproduce, given performers with skill EPIC LC 3145. 12 -in. $3.98. and style. On the present disk, which was The need (depending on the point of view) made several years ago, only a faint reflec- for an acoustically up -to -date recording of tion of Rameau's noble "lyric tragedy" (his Rachmaninof 's First Piano Concerto is first, written at the age of fifty) comes filled here quite satisfactorily. No pianist through. Oiseau -Lyre gives us only extracts could hope to match the composer's dia- from Acts 3, 4, and 5, omitting some fine bolically superb playing in his own record- numbers from the first two acts, and even ing (RCA Victor LCT 1118), but the work the excerpts given seem sometimes strange- may win some deserved attention - and ly chosen. We have, for example, the popularity - in a bright, fresh tonal in- chaconne of the last act but not the brilliant vestiture. For there are enough melting "Air du Rossignol" that it precedes and tunes and catchy rhythms here to attract ears follows in the opera. Rameau's dance music that dote on the Second Concerto and the and "symphonies" are interesting enough, Michael Rabin: a prodigy for Paganini. Paganini Rhapsody. Mr. De Groot plays but I should have preferred less of them with great verve and technical fluency (in and more of the vocal music. The fine his version but that the Lamm edition a particularly tricky work), with more ro- choruses, which were to have an influence scholars restored in making their version manticism, even, than the composer, and on Gluck, sound a little thin and distant "archaeologically correct "; it also takes in correspondingly less distinction. The or- here, and the solo singers seem rather light- the whole of the Act Ill scene of the chestral accompaniment is musically shal- weight, except for Geneviève Moizan. Streltzi carousing, including the folklike lower and less well played than that given Nevertheless, extended extracts from Ra- song for Kuzka, in the Rimsky - Korsakov cut the composer by the Philadelphia Orchestra meau's vocal works are so rare on LP that it version. As a supplement to the complete is better to have under Eugene Ormandy. The tone, too, is these portions of Hippolyte set, the disk is well worth having, not only et Aricie than practically on the dry side, but it still is a new recording, none at all. because of the excerpts cited but because of in which you can hear much more that is N. B. the fine, virile tone the S. S. of U. R. Radio going on in the music. Chorus and the exceptionally solid and SCARLATTI, The Liszt performance is honorably com- ALESSANDRO dramatic singing of Zara Dolokhanova as Su le sponde petent, lacking the distinctive cool beauty del Tebro Martha and in spite of the disappointing tAriosti: Lezione - of Casadesus' version or the temperament of V, in E minor vocalism of Alexander Pirogov (the erst- tCorelli: Sonata Farnadi's. R. E. in D minor, Op. 5, No. r] while fine Boris is developing a fearsome (La Follia) beat in his voice) as Shaklovity. Notes, RACHMANINOFF Teresa Stich- Randall, soprano; Helmut but no texts, are supplied on the record Symphony No. 2, in E minor, Op. 27 Wobisch, trumpet; Camerata Academica envelope. of the Salzburg Mozarteum, Bernhard Paum- Both recordings are decidedly better than "Marlborough Symphony" (Minneapolis gartner, cond. (in the Scarlatti). average buys for opera listeners who want Symphony Orchestra, Eugene Ormandy, Emil Seiler, viola d'amore; Johannes Koch, to venture off the beaten track. However, cond.). viola da gamba; Walter Getwig, lute; -Egon Khovanshchina makes its most important RCA CAMDEN CAL 247. 12 -in. $1.98. Karl Glückselig, harpsichord (in the Ariosti). effects in the grandeur and sweep of the This is the least costly of any of the LP Ulrich Grehling, violin; August Wenzinger, score as a totality, and anyone who can versions of this work, but it is also the poor- cello; Fritz Neumeyer, harpsichord (in the afford to should try to acquire the full - est. Mr. Ormandy employs fewer manner- Corelli). length recording first, then build on it. isms than he does in his Columbia recording ARCHIVE ARC 3008. 12 -In. $5.98. J. H., Jr. with the Philadelphia Orchestra, but the The Scarlatti a PAGANINI music still lacks the splendor and breadth is lovely solo cantata with two outstanding movements Concerto for Violin and Orchestra, No. t, that William Steinberg brings to it in his re- -a lively and in D major, Op. 6 cording, for Capitol, with the Pittsburgh florid aria (Contentatevi) with obbligato trumpet and an tGlazunov: Concerto for Violin and Or- Symphony. Some small cuts are made in expressive Largo full of moving dissonances. chestra, in A minor, Op. Si the score, though this is a negligible factor While the solo part could stand more color than Miss Stich - Michael Rabin, violin; Philharmonia Or- in such a discursive work. Thick, not un- Randall gives it, she sings with skill chestra, Lovro von Matacic, cond. pleasant sound, without delineation of and her voice is attractive. Arioso s lesson, or ANGEL 35259. 12-in. $4.98 (or $3.48). voices and with considerable surface noise. sonata, is R. E. one of six for the viola d'amore Not all child prodigies develop into mature and continuo that he published probably artists, but it looks as if nineteen -year old RAMEAU in 1728. It is music of solid values and not Michael Rabin is on the right track. His Hippolyte et Aricie (excerpts) easy to perform. Seiler plays it well. The famous variations first large -scale recording reveals him as a Claudine Verneuil (s); Geneviève Moizan by Corelli are capably done by Grehling a young man with a big, rich tone and tech- (s); Flore Wend (s); Raymond Amade on "Baroque violin." Excellent recording. nique to spare. Even his interpretations (t); Chorus and Symphony Orchestra, N. B. have a mature ring to them. He is at his Roger Désormière, cond. SCHUBERT best in the brilliant Paganini concerto, OISEAU -LYRE OL 50034. 12 -in. $4.98. where he plays with amazing assurance and Fantasy for Piano, in C ( "Wanderer "), an appreciation of the work's qualities as a A performance of one of Rameau's big Op. 15; Moments Musicaux, Op. 94 display piece. In fact, his is one of the operas in Paris during the ancien régime, István Nadas. preferred versions of this concerto and prob- with its singing actors and actresses and full PERIOD SPL 719. 12-in. $4.98. ably the best recorded. His work in the panoply of costumes. scenery, and elaborate Glazunov also is exemplary, though there This has been irksome in the reviewing, are spots in the first movement and almost because it did not please the reviewer's taste all of the last movement where I would have To accommodate a wealth of excel- while at the same time it remained within the bounds of good taste liked more animation. P. A. lent last- minute reviews, we added in general. As a whole the playing is a studious and con- eight pages to the issue PROKOFI E V just before scientious attempt at high poetry, and if Peter and the Wolf, op. 67 - See Britten: press lime. Hence pages 64 -i to 64 -viii. there were not a Curzon record of the The Young Person's Guide. Fantasy the attempt might have seemed

64 -ii HIGH FIDELITY MAGAZINE

www.americanradiohistory.com After 16 Beethovens. .. Nathan Milstein's

of the There are exactly 16 recordings of Beethoven's famed Beethoven - Mr. Milstein's Capitol recordings Violin Concerto in D Major currently available. first two were exulted over by critics, are prized by collectors in every country. In these 16, you'll find some good, some bad, some William indifferent. But Number 17 - just released - we think And so it will be with Number 17. Aided by you'll find exceptional. It's Nathan Milstein's- Steinberg's superb collaboration with the Pittsburgh flawlessly recorded in "Full Dimensional Sound" by Symphony Orchestra, Milstein has produced a Capitol Records. Beethoven recording of major importance. For Mr. Milstein to produce a magnificent record- For a rare emotional experience, we suggest you ing is gratifying, but hardly new. Of the three great hear one of the world's greatest living violinists play concerti for the violin -by Brahms, Mendelssohn and the most challenging violin concerto ever written.

Capitol's "Full Dimensional Sound" symbol denotes :n exceptional performance, flawlessly recorded. It is the purest high fidelity achieved by the recorders art.

64 -iii NOVEMBER 1955

www.americanradiohistory.com RI( ( RI)

more successful. The reviewer takes per- 19), carrying Furtwängler s unique declara- Gina Bachauer, piano; New London Or- sonal exception to a squareness frequently tion of love for the music. The latter will chestra, Alec Sherman, cond. too square, to some arpeggios spread wide, be recognized as a classic interpretation. RCA VICTOR LM 189o. r2 -in. $3.98. an occasional chordal indelicacy, and some Death and Transfiguration on the reverse Conrad Hansen, piano; RIAS Symphony, trifles of phrasing, and he passes along his will disarrange some notions about the con- Wolfgang Sawallisch, cond. exceptions with the worried observation ductor, revealing a tenderness of compassion REMINGTON R 199-197. 12 -in. that to other ears they may not seem sig- seldom associated with his work. Needless to $1.95. nificant. The piano reproduces well when say the melodrama is not slighted, and the Though late comers, both of these record- volume is turned fairly high. C. G. B. interplay makes this performance quite ings are superior to many previously easily the most informative and beautiful available. Miss Bachauer's is the more SCHUBERT the writer has ever heard. Not so easy the compelling, being a flaming, massive-sound- Symphony No. 5, in B flat - See Mozart: sound, taken from a broadcast and giving ing performance of great interpretative Symphony No. 36. an effect of an orchestra en échelon, artifi- breadth and musicality, admirably phrased cially out of balance. Nevertheless, with and cleanly articulated. She is ably abetted SPELMAN volume high the results are not unimpres- by the Philharmonia under the direction of sive, although wrong. Worth having for The Vigil of Venus her husband, and the HMV- Victor sound the interpretation. C. G. B. is extremely fine. My pressing was exces- Ilona Steingruber, (s); Otto Wiener, (b); sively noisy. Vienna Academy Chamber Choir and Vienna Hansen's statement of the opening theme State Opera Orchestra, Zoltan Fekete, cond. is boldly outlined and heriocally played, M -G -M E 3085. 12 -in. $3.98. but his occasional excessive use of rubato rather weakens Timothy Mather Spelman is a modern the contour of some of his phrasing, lessening American composer of whom one used to the impact of an otherwise impressive and individual hear, but he has not been much in the spot- perform- ance. Sawallisch is light during the last twenty years and this a trifle urgent in his handling of the finale; otherwise is the first work of his to be recorded. The the orchestral accompaniment is solid and well man- Vigil of Venus, written in X931, is a big aged. piece for solo singers, chorus, and orchestra Generally acceptable sound, well balanced except employing the famous Latin invocation to in the final movement, where the orchestra is favored springtime and love known as the Pervigilium unduly. F. Veneris. A parallel with Carl Orff immedi- J. I. ately suggests itself, and it is very likely Fricsay's is the most Dionysiac Sacre. that the success of Orff's choral music on TCHAIKOVSKY records motivated the recording of Spel- STRAVINSKY Children's Album, Op. 39 -See Mendels- sohn: Six Children's Pieces. man's composition. This is not a sneer. Le Sacre du printemps; Petroucbka - It often happens that a novelist or composer Suite TCHAIKOVSKY will arouse interest in works of a given type Philadelphia Orchestra, Eugene Ormandy, Nutcracker Suite See Britten: which then flows over to works of a similar cond. - The dis- Young Person's Guide. type by others, and sometimes the COLUMBIA ML 5030. 12 -in. $4.98. coveries so launched are superior to the things that led to their revival. This does It is easy to see why there are so many disks TCHAIKOVSKY not seem to be the case here, however. The of Stravinsky's early ballets. The complex- Romeo and Juliet; Ouverture solennelle, Vigil of Venus is in a pleasant, tuneful, some- ity, brilliance, and richness of their or- 1812, Op. 49; Marche slave, Op. 31 what academic vein, without any of the chestration provide recording engineers with Philadelphia Orchestra, Eugene Ormandy, sensational contrivances of Orff, and with- an Everestian challenge, and each new issue cond. out sufficient power to compensate for their registers another advance toward the goal COLUMBIA ML 4997. 12 -in. $4.98. absence. The work is not aided, moreover, of capturing their infinitely varied and subtle by the poky performance, the mediocre sounds. The present disk is one of marvelous These are probably the most fabulous recording, and the absence of its Latin text clarity and fidelity, and the interpretations sounding recordings of the three Tchaikov- from the jacket. A. F. are excellent too; neither Columbia nor sky scores currently available. Whether Ormandy have met up with the Abominable they are the most satisfactory musical per- STRAUSS, RICHARD Snowman. But Stravinsky's own recordings formances is another matter. Ormandy, Till Eulenspiegel; Tod und Verklärung of the same works still retain their special with an eye for the dramatic aspects of this Vienna Philharmonic Orchestra, Clemens authority. A. F. music, goes to work with a will, building Krauss, cond. (in Till Eulenspiegel); Con- climaxes of almost terrifying power. In certgebouw Orchestra (Amsterdam), Wil- STRAVINSKY Romeo and Juliet the duel between the lem Mengelberg, cond. Le Sacre du printemps houses is whipped up to the proportions of a battle royal; and after this plenitude of TELEFUNKEN LGX 66032. r2 -in. $4.98. RIAS Symphony Orchestra, Ferenc Fricsay, orchestral sound, the balance cond. of the score The conductors are dead and the perform- becomes anticlimactic. Much the same sort DECCA DL 9781. 12 -in. ances, recently removed from the Capitol $3.98. of sustained ferocity runs through both the catalogue, belong to history. Both are out- In his autobiography, Stravinsky makes 1812 and the Marche slave, though here standing, but the old sound, deficient in much of Nietzsche 's contrast between the perhaps it is somewhat more admissible, brightness and weak in climaxes, is incap- Apollonian (disciplined) and Dionysiac If sound is the chief consideration, then able now of expressing Strauss although it (ecstatic) attitudes toward art. Since he this is the record to buy. J. F. I. once seemed good. Recommended only to was thoroughly committed to the Apol- students of conducting style. C. G. B. lonian view at the time he wrote the auto- TCHAIKOVSKY biography, he has convinced himself that all Symphony No. S, in E minor, Op. 64 his early works subscribe to the STRAUSS same prin- Pittsburgh Symphony Orchestra, William Till Eulenspiegel; Tod und Verklärung ciple, and his own interpretation of the Steinberg, cond. Sane reflects that belief. Fricsay's version, NBC Symphony Orchestra, Arturo Toscan - CAPITOL P 8325. 12 -in. $4.98. by strong contrast, is perhaps the most nini, cond. Dionysiac to reach disks, and it has been Steinberg's direction, as always, is RCA VICTOR LM 1891. 12 -in. $3.98. taut and given a sensationally rich and resonant purposeful; he appreciates the dramatic and Lucid, imperious, and dramatic, this Eulen- recording. A. F. sentimental aspects of the score, but never spiegel has the best sound of any and is par- permits them to spread beyond reasonable ticularly laudable in the differentiated bril- TCHAIKOVSKY limits. Unfortunately, the technical end of liance of its timbres. The second-best repro- Concerto for Piano and Orchestra, No. r, the recording has not been managed too duction comes from another Victor (LHMv in B -flat minor, Op. 23 successfully. The orchestral sound has a

64 -iv HIGH FIDELITY MAGAZINE

www.americanradiohistory.com EPIC RECORDS bring you a world of music...

Paris... violin performances by Arthur Grumiaux Including a "Lost" Paganini Concerto In 1830 Nicolo Paganini took the people of Paris by storm with a new concerto written especially for them. As he had intended, this first performance of his 4th Concerto was also the last -until a famous manuscript collector, with the help of an alert junk dealer, unearthed the original THE NEW LABEL OF GREATNESS score over 100 years later. Epic now presents the record premiere of this exciting work, as performed by the same artists who were chosen to re- introduce it to Paris in 1954. The soloist is the young Belgian virtuoso Arthur Grumiaux -now rile LONG PLAYING caw heard exclusively on Epic. EPIC SOUND PAGANINI: Concerto No. 4 in D Minor for Violin LALO: Symphonie Espagnole; CHAUSSON RADIAL and Orchestra. Arthur Grumiaux, violin, with Franco Poeme; RAVEL- Tzigane. Grumiaux shows his j Gallini conducting the Lamoureux Orchestra. Also superb style in this high-fidelity triple bill. If you Concerto No. I in D Major, Herman Krebbers, violin. have not yet heard this truly great young talent, the with Willem Van Otterloo conducting the Vienna record is a "must." All performances are with the Symphony Orchestra. Both recorded in Epic's spec- Lamoureux Orchestra. Jean Fournet conducting. A PRODUCT OF CBS tacular Radial Sound. LC 3143 54.98 LC 3082 53.98 Ask your dealer for a FREE catalog.

NOVEMBER 1955

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paleness, a lack of body or weight, that is verbal and expressive details that distinguish is a standard late-eighteenth- century over- decidedly injurious to an otherwise fine a characterization from just a well -studied ture, rather better than many of its kind, job. J. F. I. reading. but not in a class with those of Gluck and As Amonasro, Leonard Warren seems in- Mozart. All of this music is performed VERDI tent, more than on anything else, on keep- with warmth and precision, and the record- Aida ing the tone well placed and the enunciation ing is fine. N. B. Zinka Milanov (s), Aida; Fedora Barbieri pointed off the tip of the tongue. with the (ms), Amneris; Bruna Rizzoli (ms), Priestess; WALTON . Troilus (excerpts) Jussi Bjoerling (t), Radames; Mario Carlin and Cressida (t), Messenger; Leonard Warren (b), Amo- Elisabeth Schwarzkopf (s), Cressida; Monica nasro; Boris Christoff (bs), Ramfis; Plinio Sinclair (ms), Evadne; Richard Lewis (t), Clabassi (bs), King of Egypt. Chorus and Troilus; John Hauxvell (bs), Geoffrey Wells Orchestra of the Teatro dell' Opera (Rome), (bs), Lewis Thomas (t), Watchmen. Phil - Jonel Perim, cond. harmonía Orchestra, Sir William Walton, RCA VICTOR LM 6122. Three r2 -in. $11.94. cond. ANGEL. 35278. 12 -in. $5.98 (or $3.48). The release of the new RCA Victor recording - or, to be more precise, the newest Troilus and Cressida, Sir William Walton's RCA Victor recording, since there is a dis- first essay in opera, has raised quite a stir tinct possibility that the Toscanini broad- since it had its premiere at Covent Garden cast performance will also be issued by last December. By all reports, it was a the company - brings the total of LP Aidas rousing success with the first -night audience; to an even half dozen. Gauged by the most it received what can only be called rave re- rigorous standards, none is without blemish, views from habitually conservative critics, a fact that is scarcely surprising in view of including Ernest Newman, of the London the magnitude of the undertaking that Sunday Times, and Cecil Smith, the American faces anyone who sets out to record a work Milanov: an Aida free from constraint. critic of the Daily Express. both of whom have with so many difficulties. For all that, tak- remained loyal and highly complimentary; ing into full consideration the merits of end result that he sounds wonderful but and it is being produced in this country the other five LP sets, the newest recording lets a good many dramatic points go with by both the San Francisco Opera and the less is a strong one in a number of ways. Fur- rather emphasis than he generally does. New York City Opera this fall. In view of thermore, they are ways that will almost Fedora Barbieri's Amneris is very good - all this, and on its merits, the Angel record- surely lead some listeners - especially those just below the very topmost level for the ing of excerpts is not only timely, but, I who are particular admirers of the Metro- role. Her voice is young and firm and should think, of continuing interest. And, politan members of the cast - to regard it colorful, and she sings with unflagging it need scarcely be added, it is a public as the most desirable of Aida recordings, or energy. The big, dark, craggy voice of Boris artistic service for which everyone who is even as the dream Aida, beyond any pos- Christoff as Ramfis lends itself to a charac- interested in music as a living, changing sible compare. To me, it seems no such ulti- terization of strong personality, and Plinio thing, not just in another Scheherazade, has mate, for all that a good case could be made Clabassi is a solid, effective King. The every reason to be grateful. for it as, at least ad interim, the best set to little roles are done with competence. Jonel Composed to a libretto by Christopher be had. It is a very careful, honorable per- Perlea's conducting of the score is sure - Hassall, who has based his poem not on formance and a very capably engineered re- handed and thoroughly musicianly, but Shakespeare but on Chaucer, Troilus and cording. It is certainly worthy of respect, somehow lacking in bite and vitality of Cressida is a big, lyrical opera that makes an yet it leaves me with a puzzling sense of pulse: there is very little, near to nothing, immediate effect in terms of full -blown unsatisfaction. Long stretches of the per- to take exception to, but not much to excite romantic emotion and a sweeping vocal formance are very fine; almost none are huge enthusiasm for his accomplishment. line. The Angel excerpts are confined pretty The recording done, it seems likely, from bad. Yet I can think of a number of per- - much to one aspect of the work - the love formances of Aida, including some with the within- the -orchestra point -of -ear that of the two principals: Troilus, who is bad flaws, that I have really liked more. It RCA seems to favor for its operas nowa- honest, ardent, but not, apparently, extra- may be that this reaction will change with days - is clear and full and mostly consistent ordinarily sensitive or even very bright; and time; meanwhile, there is no apparent cure. enough in balance, with only a few exag- Cressida, who is as delicately complex and Apathy is apathy. gerations. neurotic as any operatic heroine who comes In the new RCA Victor set, Zinka Mil- All told, a set that many people are likely readily to mind. Their counters - Cressida's anov has the initial advantage of a real to enjoy, but not one to which I myself uncle Pandarus, glib, sophisticated, and a dramatic voice of the proper timbre for respond with unbounded enthusiasm. Notes bit of a sycophant; and the military, self - Aida. For the recording sessions, it seems and a full libretto are included. J. H., Jr. sufficient Diomede, who loves Cressida in to have been in very good condition. Never VIVALDI his own steely way - are missing, along the most even of singers, in opera -house Concerto for Strings and Harpsichord, with their characteristic musics. circumstances, she sings here with the big, in A; Concerto for Violin, Organ, On the surface, heeding only the voice rich tone and freedom from constraint that Strings, and Harpsichord, in D minor lines, the music is long -lined and expansive, her Metropolitan performances frequently tLeo: Concerto for Cello and String Or- not so very unlike that of Montemezzi or do not get in such consistency. All told, chestra, in D. Zandonai or even Giordano, but decorated this is at least as good an Aida as anyone tSacchini: Edipo a Colono: Overture (particularly in the soprano part) with corus- is likely to hear from her, and hers is the cating melismatic figurations that cannot Scarlatti Orchestra, Franco Caracciolo, cond. most important single contribution. help calling to mind such late Strauss works ANGEL 12 -in. $4.98 $3.48). Radames is not a role that Jussi Bjoerling 35254. (or as Daphne. However, beneath this are all has sung here, if at all, and he has pretty Of the four works on this disk three are kinds of fascinations. Some are inevitably surely never sung the whole opera in Italian first -class. The sunny A major Concerto of remindful of details in the works of other before. However, he is a soundly trained, Vivaldi (No. 235 in the Pincherle cata- composers - all the way from Verdi through conscientious artist, and the music is actually logue) is a gem. Incidentally, its finale Ravel and Stravinsky to, of all people, Berg more in line with his vocal equipment than begins with a theme startlingly like that of - but they are all absorbed into Walton's is that of II Trovatore, which he has sung for Beethoven's familiar Contradance in C. musical personality, with its odd, almost many years. At the top of his youthful The D minor Concerto (Pincherle 311) is jazzy way of shifting rhythmic feet, moving powers, how marvelously clean and silvery hardly less good. Although Leonardo Leo an expected accent to an unexpected place. his singing might have been in this opera! died in 1774, his Cello Concerto is already Some listeners may find his habitual build- The voice now, or as of the recording, lacks far more classic than baroque in style. Its ing towards a big climax and then not giving some of the clear ping and sheen of tone peak is the extraordinarily beautiful and the full measure of it somewhat frustrating that it had when he first appeared, but it is expressive slow movement, in B minor. after a while, but he does give us tunes, still a fine instrument, and he is secure Cellists seeking fresh material would do and good ones, that have a persistent way musically, if not always at home with the well to look into this work. The Sacchini of making themselves remembered.

64 -vi HIGH FIDELITY MAGAZINE

www.americanradiohistory.com IZI:(:()KI)ti

Except for Elisabeth Schwarzkopf, whose role was sung by Magda Laszlo, all of the DECCA RECORDS singers on the Angel disk are drawn from the cast of the Covent Garden production. PROUDLY INTRODUCE', Ranging from B below the staff to C above, with intervals that are not easy, Cressida is THE FIRST RELEASE a demanding role, and Miss Schwarzkopf has sounded better on records than she does here; but she is ever so sure musically, FROM THE and (heard with the text in hand, anyhow) her English is good enough. In his opening aria, Richard Lewis sounds quite well; later, ARCHIVE PRODUCTION he seems to be singing through a slight head cold, but his management of the role The Archive Production, recorded by the world -famed is exemplary. The others have not much to the develop- do, but do it very well. The Philharmonia Deutsche Grammophon Gesellschaft, covers players play as cleanly and with as firm tone ment of music from the 8th to the 18th centuries. Newly as they usually do, and Sir William's read- recorded in impeccable high fidelity, authentic texts, per- ing of his own score can hardly be niggled formance styles and instruments played by musician -specialists give well balanced. at. The sound is clear and collection of pre -classic music absolute authority. In Notes and full text of the excerpts. J. H., Jr. this splendid addition to the usual commentary, each album contains a unique detailed index card giving full particulars about the recording, includ- WEBER is series that Sonatas for Piano: No. r, in C, Op. 24; ing movements with timings, list of artists, etc. This the No. 2, in A -flat, Op. 39 has already received worldwide acclaim from The Gramophone, Annie d'Arco, piano. High Fidelity, Time and other publications. OISEAU -LYRE OL 50068. 12 -in. $4.98. Series A: Heinrich Schütz (1585 -1672) : Weber wrote four piano sonatas between RESEARCH PERIOD I Musicalische Exequien (1636). ARC 3006 1812 and 1822, not in a class with con- Gregorian Chant: Series B: The Mass; temporaneous sonatas of Beethoven and Missa in Dominica Resurrectionis (East- RESEARCH PERIOD VII ARC 3001 Schubert, to be sure, but meritorious enough er Sunday Mass). Western Europe from 1650 to 1750: Se- to warrant more hearings than they get RESEARCH PERIOD II ries A: Henry Purcell (1658 -1695) : 15 today. In developmental sections, Weber's The Central Middle Ages (1100- 1350): Fantasies for 3, 4, 5, 6 , 7 Viols da Cain - sonatas are likely to wander off into deco- Series A: Troubadours, Trouvères and ba (1680). ARC 3007 rative but irrelevant runs and arpeggios, so Minnesingers; Adam de la Halle (c. RESEARCH PERIOD VIII that the music seems too ornate for its sub- : Marion 1220 -1287) Le jeu de Robin et (18th Century): stance. Nor does the melodic material, (c. 1283). Series B: Music of the Nfin- The Italian Settecento B: The Neapolitan Group; Ales- genuinely lovely as it often is, remain con- strels; 17 Danses du 13e siècle. Series C: Series Scarlatti (1659- 1725): "Su le tinuously inspired, as in Schuberis works. Early Polyphony before 1300; Adam de sandro of sponde del Tebro"; Cantata a voce sola The loose, fantasia -like construction : Rondeaux. la Halle (c. 1220 -1287) 13 D: The Solo some movements too often suggests a ARC 3002 con Violini e Tromba. Series literary program that is unknown except to and the Trio Sonata; Arcangelo Corelli RESEARCH PERIOD III (1653- 1713): Sonata Op. 5 No. 12 D the composer. Still, there is a fanciful and The Early Renaissance (1350- 1500): mind functioning here, and for Minor ( "La Follia") (1700). Attilio Arios- original Series A: The Florentine Group; 8 Mad - ti ( 1666-1740?) : Lesson V for the Viola much of the time it is able to delight and from Codex of An- rigale e Caccie the d'amore, E minor (1724). ARC 3008 move. New to the LP catalogues, the tonio Squarcialupi. Series D: The Neth- in 1816, is par- Second Sonata, written erlanders to Okeghem; Guillaume Dufay RESEARCH PERIOD IX ticularly choice, fascinatingly introspective, (c. 1400 -1474): 5 Sacred Songs. ARC 3003 The Works of Johann Sebastian Bach much less showy than the First, and cer- RESEARCH PERIOD IV (1685- 1750): Series I: Chamber Music; tainly worth the attention of any music - Three Sonatas for Viola da Gamba and lover. The High. Renaissance (16th Century): Harpsichord. ARC 3009 Miss D'Arco has found just about the Series M: The Elizabethan Age; Thomas right style for these sonatas - delicate, Campion (1567 -1620) : Songs from RESEARCH PERIOD X with an old -fashioned, faded flavor. Tidily "Philip Rosseter's Book of Ayres' (1601). George Frederick Handel (1685- 1759): recorded piano tone. R. E. John Dowland (1562- 1626): Songs from Series A: Orchestral Concertos; Water the "Second Book of Songs or Ayres." Music (Concerto No. 25). ARC 3010 Thomas Morley (1557 -1603): Little WEILL RESEARCH PERIOD XI Short Songs from the "First Book of Die Dreigroschenoper (excerpts) The German Pre -Classics (1700 -1760) : Ayres." ARC 3004 Series A: Georg Philipp Telemann (1681- Liane (chanteuse), Polly Peachum; Anny RESEARCH PERIOD V 1767) : Der Schulmeister; Das Glück; Felbermayer (s), Lucy; Hedy Fassler (ms), Seicento (17th Century): The Italian Die Landlust. ARC 3011 Jenny; Rosette Anday (ms), Mrs. Peachum; Series B: Claudio Monteverdi (1567- Helge Roswaenge (t), Street Singer; Kurt 1643 ) : Lamento d'Arianna (1608) : So- RESEARCH PERIOD XII Preger (b), Macheath; Frederick Guthrie nata à 8 sopra "Sancta Maria ora pro no- Mannheim and Vienna (1760- 1800): (b), Tiger Brown; Alfred Jerger (bs), bis." Series D: The Cantata; Giacomo Series E: Wolfgang Amadeus Mozart Peachum. Chorus and Chamber Orchestra Carissimi (1605 -1674): "Jephté' (1650). (1756-1791): Pianoforte Sonata No. 11 from the Vienna State Opera, F. Charles ARC 3005 A Major, K 331 (1778); Pianoforte Con- Adler, cond. RESEARCH PERIOD VI certo No. 12 in A major, K 414 (1782). VANGUARD VRS 9002. I2 -in. $4.98. German Baroque Music (17th Century): ARC 3012 Today, more than twenty -five years after it goaded pro -Hitler students into throwing The Archive Production represents a new standard of recorded excellence. Available through record Then, entire album is sealed in bombs at the stage, Die Dreigroschen- dealers only. Each record factory- sealed in polyethylene sleeve. stink plastic. The suggested list price of each 12 inch deluxe Long Playing record is $5.71 ( Fed. tax $.27 ). eper is taking a new lease on life in the Recorded, manufactured and factory -sealed in Europe by Deutsche States, or at least in New York, in United Grammophon Gesellschaft. Released in the I.'. S. ev ln.i%ely b the English adaptation of Marc Blitzstein. This version, excellently recorded by M -G -M, ARCHIVE has both friends and antagonists, both PRODUCTION those who think it one of the best of all DECCA RECORDS

NOVEMBER 1955 64 -vii

www.americanradiohistory.com RECORDS

possible adaptations of a tricky, colloquial short of getting all there is to get out of certo for Harpsichord and Strings, in B -flat. text and those who miss the feel of the the "Pirate Song" - which is given to her Auletta: Concerto for Harpsichord and original, which can be heard in excerpted instead of to Hedy Fassler, the Jenny, thus Strings, in G. Mancini: Concerto a Quatro, form on a to -inch Telefunken disk. As a spoiling its dramatic point to start with. in E minor. personal matter, I am rather pro -Blitzstein Rosette Anday is properly blowsy- sounding Ruggero Gerlin, harpsichord; Ensemble myself, and admire the M -G -M recording as Mrs. Peachum, and the men have good Orchestral de L'Oiseau -Lyre, Louis de Fro- especially in the performances - of Lotte moments as well as blankly ineffective ment, cond. (In the Mancini: Jean- Pierre Lenya and Rae of Charlotte - quite a lot. ones, but Anny Felbermayer is not a proper Rampal, flute; Georges Alès, Pierre However, the Telefunken, old as the sound Lucy at all, and F. Charles Adler's ideas Doukan, violins; Gerlin, harpsichord.) now is, is one of the truly great recordings about the score are often unsettlingly re- OISEAU -LYRE OL 50009. rz -in. $4.98. in history and is indispensable background mote from those of the original production. for anyone interested in Die Dreigroschenoper. Yet there is a great deal of excellent Brecht Three of these works date from the Baroque The only trouble is that it contains enough here that is not to be heard on records other- period and one from the Classic era. Of of the undilute original text and style to wise. The German text is not printed, the three, the concerto by Pietro Auletta is create a longing for more. although a not -so -good English rendering especially appealing because of its freshness There is certainly a place for a complete - is. The release is not a complete dud, but and boldness. Very little is known about score, un- Blitzsteined recording; sad to say, it could be far better. To judge from test this composer. The present work, it seems the new Vanguard release fails to fill it in pressings, the sound is good enough. to me, ranks with the best of Vivaldi, ex- several quite crucial respects. There is J. H., Jr. cept perhaps for its slow movement. much more to the job than simply assembling Paisiello is, of course, best known as an a group of German -speaking singers with operatic composer; his concerto therefore salable names and turning them loose on RECITALS AND presents him in an unfamilar light. Writ- the score. Helge Roswaenge, for instance, ten by an Italian working in Russia, it is is still a fine opera singer; but he is a very MISCELLANY in the international classic style of the dubious choice for casting as the Street 1780s, and from the standpoint of outer Singer, whose uncanny opening tune fails structure, cadence formulas, and so on, is to make half the effect it can and should if CONCERTOS OF THE NEAPOLITAN hardly distinguishable from a work by SCHOOL it is sung other than in a whining, weedy, Haydn or Mozart. This is elegant music, sgambato fashion. And Liane, good cabaret - Paisiello: Concerto for Harpsichord and skilfully written, and containing attractive style performer though she is, comes far Chamber Orchestra, in C. Durante: Con- ideas and interesting harmonic events. Ger- A Tribute to Tabby from T. S. Eliot

HERE is great good news for all cat lovers, among whom this which most readers are wholly unaware. It is a side that displays reviewer is one of the most fervent. The English composer Alan charm without affectation and skill without self-consciousness, that Rawsthorne chose six out of the original fourteen poems in T. S. combines an unexpectedly light touch with equally unexpected Eliot's Old Possum's Book of Practical Cats and arranged them for tenderness. Blithely nonsensical as Edward Lear, technically adroit speaker and orchestra. The finished work, designed for a children's as W. S. Gilbert, and almost as punfull as James Joyce, Eliot adds concert, was first performed at the Edinburgh Festival in 1954 an understanding of the multiple moods of characteristic cats - and was received with adult chuckles as well as the youngster's and what cat is not characteristic! - with winning intimacy. screams of delight. In this recording the Philharmonia Orchestra Rawsthorne's music is appropriately flexible in its feline range. is conducted by the composer, and the speaker is the actor Robert "The Naming of Cats" is both straightforward and, as befits the Donat; a program note adds that both Rawsthorne and Donat hail subject, mysterious. "The Old Gumbie Cat' is properly ruminative, half sedate, half capricious. "Gus, the Theatre Cat" seems to swagger with bravado, but actually twitches nostalgically for past glories- particularly for Gus's grandest triumph, his creation of the role of Firefrorefiddle, the Fiend of the Fell! "Bustopher Jones" is the cat -about -town, a St. James Street character, the club- man of Pall Mall, stolid, plump, and pompous; the composer allows himself a sly ironic comment by quoting the opening phrase of Elgar's Pomp and Circumstance. A complete change of mood announces "Old Deuteronomy," in some ways the peak of the series. A haunting semi- lullaby for a petted patriarch, it hovers between serenity and sadness, benignant, protective, and genuinely touching. This sweet tribute to a venerable mouser is followed by the sudden brisk measures of "The Song of the Jellicles," which develops into a jiglike dance, a laughing parody of the nursery rhyme "Boys and Girls Come Out Tonight." There is only one flaw: Rawsthorne's regrettable omission of "Macavity the Mystery Cat," a special favorite of mine. Robert Donat delivers the lines in a cross between a beautifully modulated speech and an almost chanting parlando. In "The Old Gumbie Cat" he is kind and - there is no other word for it - convincing; in "Gus, the Theatre Cat" he is the Compleat Thes- pian; in "Old Deuteronomy'. he is both grave and whimsical; in

ROSIN ADLER "The Song of the Jellicles" he practically breaks into a patter song. All in all, the record is a delightfully conceived and dexterously A typical practical cat is Miss Mouse, who owns Robert Donat. achieved performance. From the first promising chord to the last from Lancashire and have been friends as well as confirmed cat happy syllable, this is a cat lover's dream -a perfect blend of owners since boyhood. As an added lure for aelurophiles, the feline wisdom and human wit. album cover is distinguished by a remarkable colored lithograph of P.S. Even less elevated individuals, such as dog lovers, will cats by Edouard Manet. like it too. LOUIS UNTERMEYER English reviewers have already established an inevitable association: they have compared the work to Façade and Peter and the ELIOT- RAWSTHORNE Wolf without belittling patronization. Actually the text of Practi- Practical Cats cal Cats is far superior to its predecessors. Eliot's spontaneous Robert Donat, speaker; Philharmonia Orchestra, Alan Rawsthorne, rhymes and skipping rhythms reveal a side of the Nobel Prize- cond. winner which his solemnly analytical critics have forgotten and of ANGEL 30002. Io -in. $3.98.

64 -viii HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Columbia Records and history proudly present WINSTON CHURCHILL

I CAN HEAR IT NOW, Winston Churchill, edited by Edward R. Murrow and Fred W. Friendly with narration by Edward R. Murrow. This record, containing 73 excerpts from Churchill's speeches, is a tribute to one of the greatest men of our time. It is indeed the story of our time, told as no other man could tell it. COLUMBIA °? RECORDS THE SOUND OF GENIUS ® olumEl. "Y..brw.rYs. fip T. Y.

NOVEMBER 1955

www.americanradiohistory.com lf( ()l(l)

lin turns in fine performances, Froment Batterie et Musique de la Garde Républi- ARCHIVE ARC 3001. t2 -in. $5.98. conducts sensitively and intelligently, and caine, F. J. Brun, cond. the recording is good. Some clicks at the ANGEL 3520o. 12 -in. $4.98 (or $3.48). Here, for the first time on records, is the beginning of Side on the review disk. complete Mass for Easter Sunday, including N. B. Tremendously alive and brilliant sound, the Oration, the Epistle, the Gospel, the from the blare of the brass to the piping Preface, the Pater Noster, the Post -Com- MATTIWILDA DOBBS of the fife, makes this an altogether out- munion, and even a versicle of the Se- Opera Arias and Duets standing recording of French and American quence that has been omitted since the Rimsky -Korsakov: The Golden Cockerel: military marches. There is, of course, a sixteenth century. It is well performed by Hymn to the Sun. Massenet: Manou: nice differentiation between the two styles. a group of German monks, though their Obéissons, quand leur voix appelle (Ga- It used to be claimed that foreign bands singing is not quite as flexible or as sensi- votte). Bellini: La Sonnambula: Ah! non failed to invest the Sousa marches with tive as that by French monks on a recent credea mirarti. Delibes: Lakmé: Sous le ciel enough spirit. The charge simply won't Angel recording (35116). But that disk con- tout étoilé (Act Ill: Berceuse); Les fleurs hold water where these magnificent per- tains only about half the Easter music pre- formances of the me parisien: plus belles . Pourquoi Garde Républicaine Band sented here. The feeling of a performance dans les grands bois (Act I). Verdi: Rigo- are concerned; they are as stirring and ex- in a church is enhanced by the sound of letto: Pari siamo .... Figlio! Mio padre! citing as any to be heard, on or off records. bells during the otherwise silent Trans- (Rigoletto, Gilda -Act II); Caro nome J. F. I. formation after the Sanctus. Also con- (Gilda -Act II); from Chi è mai? to end tributing to that feeling, but less welcome, of Act IV (Rigoletto, Gilda). is a curious reverberation that accompanies the choir constantly. N. B. Mattiwilda Dobbs, soprano; Rolando Pa- nerai, baritone (in the Rigoletto duets); JOSEF LHEVINNE Philharmonia Orchestra, Alceo Galliera, Piano Recital cond. ANGEL 35095. 12-in. $4.98 (or $3.48). Chopin: Polonaise in A -flat, Op. 53; Etudes in E -flat, Op. 1o, No. 11; in G -sharp Since adding her name to the list of win- minor, Op. 25, No. 6; in B minor, Op. ners of the international vocal contest at 25, No. 9; in A minor, Op. 25, No. 11; Geneva, the young American coloratura Preludes, Op. 28, in B-flat minor, No. 16, soprano Mattiwilda Dobbs has begun to and A -flat, No. 17. Schumann: Toccata in make a name for herself internationally as C major, Op. 7. Schumann- Liszt: Früh- a recitalist and - in England especially lingsnacht. Johann Strauss, Jr.: On the - as an opera singer. Since her earliest Beautiful Blue Danube. Debussy- Ravel: recordings (of Mozart's Zeide and Bizet's Fêtes. Let Pécheurs de Perles) she has gained a Josef lot of practical opera -house experience, Lhevinne, piano (with Rosina Lhevinne which shows in this most recent of her in Fêtes). Angel recordings. RCA CAMDEN CAL 265. 12 -in. $1.98. One side disk is of this given over to Piano virtuosos come a dime a dozen today, excerpts from Verdi's Rigoletto, with Miss but few are able now or could hope to Dobbs as Gilda and Rolando Panerai in match in the future the technical feats dis- the title role; the other side is given Josef Lhevinne was more than a virtuoso. over played by the late Josef Lhevinne on this to arias sung by Miss Dobbs, all of them remarkable disk. FRENCH MODERNS But what makes this French except for one from Bellini's La playing so extraordinary are the thorough- Sonnambula and one (sung in very proper Roland- Manuel: Suite dans le goat espag- ly musical conceptions within which this Covent Garden English) from Rimsky- nol. Milhaud: Suite d'après Corrette. Saint - virtuosity functions. Some pianists can Korsakov's Le Coq d'Or. The best singing Saëns: Caprice sur des airs danois et russes. play just as fast, but they think in terms comes in the Rimsky bit; after that, in the Honegger: Rapsodie. Poulenc: Trio, for of the effectiveness of each successive sec- excerpts from Lakmé, for which Miss oboe, bassoon, and piano. tion; Lhevinne plays the works on this disk Dobbs certainly has sufficient technical con- as the unified structures they are, in great trol, the right kind of vocal quality. Her Berkshire Wind Ensemble, Louis Speyer, sweeping arches of sound. The piano is Manon gavotte, well dir. though enough sung, for him an expressive, communicative in- has not much élan, and although she sings UNICORN UNLP 1005. 12 -in. $3.98. strument - to be made to sound as beauti- "Ah! non credea mirarti" cleanly enough, In all of these pieces, French lucidity and ful as possible at all times and not it without much as a she does sense of its place charm are displayed in highly entertaining vehicle for intellectual, coloristic stylize- in the opera. The Rigoletto side is a real forms. All except the Honegger are music dons. Listening to this record, one is con- disappointment, less because of Miss about other music, handling old themes or stantly aware of Lhevinnes feeling for Dobbs, whose is Gilda competent and well ideas with wit and point and flattering the sonorities, for sounds of all kinds and schooled, than because of Mr. Panerai, hearer by means of reminiscence. The strengths: no matter how great the range whose labored, unrhythmic, off -pitch sing- Roland -Manuel is about Couperin and of dynamics, the tone never loses its rich, ing is almost shockingly far below his best Falla, the Milhaud about eighteenth -century glistening fullness. work The on records. engineering is fair dance forms as exemplified by the forgotten All the performances here are exciting, in - enough clarity and balances; Alceo Gal Michel Corrette, the Poulenc about Mozart, but the Octave Etude, in B minor, especial- lierá s accompaniments are so -so. Full texts, the Saint -Sains about the competition - ly in the last section, is calculated to make with notes that are quite helpful. pieces written for the annual woodwind your hair stand on end. The pianist main- J. H., JR. concours at the Conservatoire. The Honeg- tains a feathery singing touch throughout the is Schumann FRENCH AND AMERICAN MILI- ger about Honegger, who was a young Toccata, seemingly blissfully un- TARY MARCHES man full of fire and zest at the time he aware of its formidable, frustrating techni- created the Rapsodie; this is the only work cal difficulties. In the hands of Mr. and Rouget de Lisle: La Marseillaise. Meister: in the collection to provide a note of ur- Mrs. Lhevinne, Ravel's brilliant arrange- Le Grenadier du Caucase. Petit: Salut au gency or power. Excellent recording, good ment for two pianos of Debussy's Fites is Rsième. Leroux: Le Brave. Romain: Son- performances. A. F. a complex of color, light, and shade almost nez Clairons. Wettge: Défilé de la Garde as dazzling as the orchestral version. In Alazard: Républicaine. Saint -Cyr (La Ga- GREGORIAN the Schulz -Evler arrangement of the Strauss lette). Paris: Trocadéro. Bagley: National CHANT waltz, Misse in Dominica which follows Fêtes on the record, Emblem. Sousa: The Stars and Resurrections (Easter Stripes Sunday Mass) Mr. Lhevinne sounds as if his wife is still Forever; Washington Post; El Capitan; The busy at a second piano, so thick and fast High School Cadets; The Thunderer. Key: Choir of the Monks of the Benedictine do the notes fly. These performances are (arr. Pierre Dupont) : The Star Spangled Abbey of St. Martin, Beuron, Pater D. said to stem from 1938 to 1943 (Mr. Banner. Maurus Pfaff, dir. Lhevinne died in 1944 at the age of

66 HIGH FIDELITY MAGAZINE

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ON NI 1'I(ONY l .,ng Mar. 398: 4 -i EP "n shown I-s Plm 3 ne: 4; Play r 2 Rerorde l.V98 `248 Selections from albums above are available un the "Pop Here they are the greatest recordings in Shopper" (12" Long Play and - "Red history all in glorious 3- record 45EP) and the RCA Victor ... Long Play). High Fidelity Sound. Yet the Seal Selector" (12" . "New Orthophonie" Two $3.98 record values, yours onl price is only $3.98 for each 12" Long Play for only 980 each. Buy these 98 only for each 95 EP record ! Y record ... and $1.49 albums today through your near- for each 12" Long Play The 24 brilliant new albums shown above - est RCA Victor Record Dealer. Record and thousands more at the same low prices - are Nationally advertised prices available only through your local record dealer. Visit his store soon and take advantage All new! All at the new low prices! of these amazing RCA Victor record values!

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pill could not have been more delightfully teenth century and all, except for the fine sugar -coated. A must for anyone who sings, motets by Victoria, little known. Outstand- or who ever attended or is going to attend ing among them are the lovely Christmas a song recital. R. E. motet by Morales and the four charming pieces by Vasquez. These last are classed as IGOR OISTRAKH religious music on the jacket and described Violin Recital as carols, but they are secular in character and madrigal Vitali: Chaconne. Bach: Sonata for Un- -like in construction. The accompanied Violin, No. s, in G minor. traditional music on the other side corn- Mozart: Rondo (arr. Kreisler). Kabalev- prises arrangements ( some by the conduc- sky: Improvisation, Op. 21. Vieuxtemps: tor) of tunes from various parts of Spain. Some of these arrangements are effective, Tarentelle. Szymanowski : La Fontaine d'Arethuse. Wieniawski: Scherzo- Taran- others are rather fancy. All of the music is telle. sung a capella except the last three pieces, which have guitar accompaniment. The Igor Oistrakh, violin; A. Makarov, piano chorus, which hails from Barcelona, per- (in the Vitali and Mozart), I. Kollegor- forms on the whole with competence and skaya, piano (in the other works). with feeling. While the recording is not VANGUARD VRS 461. 12 -in. $4.98. equal to the best we have had from Angel, it is adequate. David Oistrakh's son, Igor, first gave N. B. gramophonic evidence of his estimable talents as a chip off the old block in Angel's splendid recording of the Khacha- l)au,e Edith Evans speaks for Congreve. turian Violin Concerto. There is further THE SPOKEN WORD evidence of these talents in the present seventy), which may account for the gen- disk. The young man's tone is full and erally full reproduction of the piano tone. warm, and has almost the lustre of his This disk would be a wonderful bargain father's. Interpretatively, he is at his best CONGREVE at ten times the price: it is emphatically in the shorter pieces on the second side, The Way of the World - Twelve Scenes recommended. R. E. for his handling of the Vitali and Bach, and the Epilogue though secure, lacks subtlety of phrasing. tFarquhar: The Beaux' Strategen, - LUBOSHUTZ AND NEMENOFF The reproduction throughout is superb; Scene and Excerpt Two Piano Recital there is no difference in quality between 1-Sheridan: The Rivals -Excerpt; The the tapes of the Vitali, Bach, and Mozart, School for Scandal Brahms: Variations on a Theme by Haydn, -The Epilogue. made in Paris, and those of the remainder Op. 56b. Saint -Saëns: Variations on a of the pieces, made in Russia. P. A. Dame Edith Evans, Sir John Gielgud, Theme of Beethoven. Schumann: Andante Pauline Jameson, Jane Wenham, Jessie and Variations, Op. 46. Mendelssohn- A PORTRAIT OF THE WALTZ Evans, Peter Williams, Maureen Quinney, Luboshutz: Allegro Brillant, Op. 92. Ralph Truman, Miles Malleson, Anthony Saint -Saëns: Danse macabre. Pierre Luboshutz Sibelius: Quayle. and Genia Nemenoff, Valse triste. Mozart: Die Schlittenfahrt. duo- pianists. ANGEL 35213. 12 -in. $4.98 or $3.48. Busoni: Tanzwalzer. Liszt: Mephisto Waltz. RCA CAMDEN CAL 206. 12 -in. $1.98. Berlioz: Valse des Sylphes (from La Dam- No stiffer ordeal faces an actor nation than to en- The Brahms is too well known to merit de Faust). Stravinsky: Valse (from grave a characterization from standard Suite No. 2.) comment; Mendelssohn's score is typical Chabrier: Fête Polonaise drama into the implacable groove of a disk. - (from Le Roi malgré pleasant, neatly made in his scherzo -like lui). Put so on his mettle his only resource is vein; Schumann's characteristically lovely; Philharmonia Orchestra, Igor Markevitch, his voice and the skill with which he can Saint- Saëns' rather pedantically adroit, pia - cond. modulate it. Without props, gestures, cues, nistically effective, somewhat long- winded. ANGEL 35154. 12 -in. $4.98 (or $3.48). interruptions, costumes or other accessories, The duo -pianists give the Saint -Saëns a reciting to an audience not yet collected It - light- fingered, glittering treatment that is not the conductor's intention in this living a part only with his mouth and vocal Portrait of could not be more stylish or appropriate. the Waltz to present a program cords, he must still impart conviction be- They are equally successful with the other of waltz music that will set the feet dancing, yond quibble. works, except for parts of the Brahms, but to offer music, of waltz association, that The audience concentrate only on what will which sound too flashy for this music's permit the imagination to go a- waltz- they hear him say, but are distracted from sober -sided good. The tone is moderately ing. Whether the Berlioz, Liszt, or Sibelius concentration by their hundred memories, pieces full, the texture fairly clean better, I can do this more effectively than a distant and romantically exalted, of other - good think, than on their previous Camden disk. Strauss or Offenbach waltz is a matter actors using the same words, but gallant of personal Recommended. R. E. opinion. Since Markevitch has and vivid in the flesh and in costume. Some not included any such sample, he obviously favorite performer has sometime and some- GERALD MOORE doesn't think so. In any event, he handles where made a deep and ineffaceable impres- these scores with distinction, The Unashamed Accompanist and the ex- sion - in reminiscence no doubt often ab- cellent Philharmonia performances are surdly Gerald Moore, lecturer and pianist. distorted and endeared, but no less reproduced in radiant sound. J. F. I. important for that ANGEL 35262. x2 -in. $4.98 (or $3.48). - on the audience, who humanly and SPANISH CHORAL MUSIC grimly are going to contrast The peerless Gerald Mooré s lecture -recital the voice and vocal manner of this Juliet on the accompanist's art is now happily Victoria: Ave Maria; Jesu dulcis memoria; or this Anthony with another Juliet and available on records for anyone to buy, O magnum mysterium. Morales: Puer another Anthony transfigured through the play, and replay. In his hour -long discourse, natus est nobis. Joan Brudieu: Ma mist of fondness left by twenty years of full of understated British humor and voluntat. Juan Vasquez: Ya florecen los fabling memory. amazing anecdotes, he explains and illus- árboles; D'aquel pastor de la sierra; De los Hearing Dame Edith Evans as Millamant trates at the piano how important and valu- álamos vengo; Morenica, dame un beso. in The Way of the World and not seeing able is the accompanist's contribution to a Anon.: Dadme albricias. Ten Traditional her scented bag of tricks, her enlightening song or instrumental recital. Listening to Songs and Carols (Side 2). movements and shrewd play of features. Mr. Moore the audience explain and demonstrate how Capilla Clásica Polifónica, Enrique Ribó, compare what they hear with in various Schubert songs the pianist can cond. the Miss Evans of thirty years ago when paint a tone poem, reflect the words she did the delectable of a ANGEL 35257. 12-in. $4.98 (or $3.48). coquette of Con - song, or evoke a mood, we can all gain a greve's masterpiece. Capable and withal heightened awareness of this important part Side I presents an unusually interesting charming, intelligent and gay, certainly be- of music -making. Such a highly educational group of pieces, all dating from the six- tween twenty and twenty-four years but

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cynical as her era, congenial, contemptuous cations are the real stuff: and the spirit. of jazz, and these infrequent moments turn R. K. and affectionate, this tremendous little R. K. out to be the sprightliest. heroine cannot be faulted a jot if we are to THE BOY NEXT DOOR faulted a BRAVO! accept her. Thirty years have You'll Never balk Alone; The Boy Next Door; her here more voice- all we have of - Moonlight in Vermont; Stella by Starlight; 'Ti! Prokofiev: The Love for Three Oranges: than a jot. Roses Cry; The Nearness of You; My Funny March. Tchaikovsky: None but the Lonely Nor does Sir John Gielgud convey, in Valentine; There You Are; Everyone Wants Heart. Toch: Circus Overture. Boccherini: words alone, the complexity of the civilized Something; Ebb Tide; Take Care; It Never Menuet du Quintette. Tchaikovsky: Suite and sympathetic rake Mirabell, rational but Entered My Mind. No. 1: March Miniature. Rachmaninoff: quick, a faithless lover resigned even to Vocalise. Khachaturian: Masquerade Suite. fidelity if it will bring him Millamant. Sir Roger Williams, piano. New York Philharmonic -Symphony Or- John conveys an actor obligingly serving as KAPP KL 1003. I2 -in. Z5.95 chestra, André Kostelanetz, cond. foil to an eminent actress. Semi -classical forays into the popular field CL 758. r2 -in. Thus the first and third bands of the COLUMBIA $3.95. by a young pianist who can play left -hand Congreve side of this record are better arpeggios like a streak. The tunes are all silent, if we have a printed copy of the AIDA OPERA -FOR -ORCHESTRA somberly paced, but every now and then - comedy, but the other bands and the second - as in Moonlight in Vermont Mr. Williams André Kostelanetz and his Orchestra. side manage illusion with stylized grace. - injects a kind of tongue -in -cheek suggestion COLUMBIA CL 755. 12-in. $3.95. Dame Edith as Lady Wishfort, tormented at the aging of her charms, as Mrs. Sullen and the unfailing Mrs. Malaprop, blends reality with the artifice of these creations of English artificial comedy when it was best, so that we can believe in them even when we know that they never were. The lesser characters are uniformly good, and so, of the eight bands, six are better heard on this disk than read in one's privacy. C. G. B.

THE MUSIC BETWEEN

AMOR, AMOR Granados: Playera; Oriental. Torroba: Madrigal; Folia Canaria; Habañera del Panuelito; En la Reja Sevillana. Quintero: Morucha. Gombau: Trova de Nostalgia. Demon: Golondrina. Chapi: Yo Que Siempre de los Hombres Me Rei. "I dreamed Orquesta Zarzuela de Madrid, F. M. Tor - roba, cond. DECCA DL 9788. 12 -in. $3.98. everyone kept quiet while I played my hi -fi set!" This album is subtitled "The Love Songs of Spain," but you won't hear a lyric in any That's no dream, sir. You're wide awake ... and so's your home audience of the ten selections. With that quibble .. with the full rich sounds of these Vox Ultra High Fidelity recordings. out of the way, it can be said that the The reproduction is perfect -and the content has that rare excitement that Madrid Zarzuela Orchestra under F. M. turns talkers into listeners. Torraba plays these melodies with enorm- The first complete recording of one of the most inspiring ous affection. Most of them are unmistak- ballet scores in the N. Y. City Center repertoire! ably Spanish; a few, however, have the lyricism and sweep of the best Puccini arias. PROKOFIEV: THE PRODIGAL SON (Ballet) Excellent sound. R. K. New York City Ballet Orchestra -Leon Barzin, conductor PI. 9310 A lively concert on records of classical favorites FRED ASTAIRE'S CAVALCADE OF SMETANA: DIE MOLDAU DANCE DANCES OF GALANTA Beer Barrel Polka; Put Your Little Right KODALY: Foot Out; Everybody's Doin' It Now; Texas EN ESC 0: ROUMANIAN RHAPSODY # 1, OP. 11 Tommy Swing; Too Much Mustard; Grizzly Bear; Ballin' the Jack; Dengozo; DVORAK: SCHERZO CAPRICCIOSO, OP. 66 Nights of Gladness; Charleston; Black Bot- Bamberg Symphony -lonel Perko, conductor PL 9500 tom; Jukin'. Paul Whiteman and his "New" Palais "SPOTLIGHT ON PERCUSSION" De Luxe Album with illustrated booklet and stroboscope -Arnold Goldberg, Royale Orchestra. Kenny Clarke, percussion -Al "lazzbo" Collins, narrator -written and pro- CORAL CRL 57008. I2 -in. $3.98. duced by Ward Botsford -illustrated booklet by R. D. Darrell DL 180 Two masters in a collaboration that is at THIS IS HIGH FIDELITY once authentic and wonderfully entertain- (A Guide to Sound Listening ing. (Astaire's share of the proceedings, it Written and produced by Tyler Turner. Narrated by Art Nonnes. In a should be noted, is limited to an endorse- ,dx.,,t Qagy_ special De Luxe Album, with illustrated booklet DL 130 ment of the record.) Nevertheless, you couldn't ask for these spirited examples of the Charleston, Black Bottom, etc., to be Ultra High Fidelity 236 West 55th Street, New York 19, N. Y. played with more conviction. The orches- VOX

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Two new Kostelanetz records, showing him Oh, Didn't He Ramble; Sugar; Somebody off in pop concert material. His Aida gets Loves Me; I'm Gonna Meet My Sweetie sound as rich as the Egyptian sun, but as Now; I Never Knew; Bye, Bye Blackbird; in the previous Operas for Orchestra the What Can I Say After I Say I'm Sorry; voices are desperately missed. In Bravo! Hard- Hearted Hannah; Ella Hums the Kostelanetz puts the New York Philhar- Blues; He Needs Me; Sing a Rainbow; Pete monic- Symphony through its paces on Kelly's Blues. several standard items and both orchestra Peggy Lee; Ella Fitzgerald. and leader come off with high marks. R. K. DECCA DL 8166. 12 -in. $3.98.

LA DANZA! Between these two recordings you can have the score for the new motion picture Pete Albéniz: Tango in D; Seguidillas; Jarabe Kelly's Blues just about any way you want Ravel: Ha- Tapatio. Lecuona: Siboney. it. Columbia's edition is all instrumental, banera. Abreu: Tico Tico; Cielito Lindo. some of it played by Ray Heindorf's orches- Marquina: España Cani. Massenet: Catil- tra, the rest by Marty Matlock's jazz band. Falla: Spanish Dance. Rossini -Res- lane. Decca's has Peggy Lee and Ella Fitzgerald, pighi: La Danza. and it's vocal from beginning to end. As Hollywood Bowl Symphony Orchestra, it happens, the ladies make a practically Carmen Dragon, cond. invincible pair; singing and humming these CAPITOL P 8314. 12 -in. $4.98. tunes, they serve notice that any gentleman is ill -advised, indeed, to try to compete well -known Resounding interpretations of with them. R. K. Spanish dance music. You'll find the paso doble, habanera, seguidilla, samba, and Andre Kostelanetz THOSE several other contained in familiar melo- WERE THE DAYS dies. The sound is brilliant. R. K. PARIS 1900 Blue Danube; Tell Me I'm Forgiven; Inspiration; Reviens; Les mains de femmes; Les petits Bonnie Lassie; Jealousy; Love Sends A Little GIRL MEETS BOY pavés; En revenant d'la Revue; Femmes, Gift of Roses; Manhattan Blues; The Pink Lady. que vous êtes jolies; La caissière du Grand Door; Would You Like to Take Harry Davidson and his Orchestra. The Boy Next Café; Le printemps chante; Le raccommo- All I Do IJ Dream of You; Let's ANGEL 64023. 10 -in. $3.95. a Walk; deur de Faience; Ta- ra- ra- boum -die; Ça ne Fall in Love; You Better Go Now; Goodnight vaut pas l'amour; Les marches célèbres et Those Were the Days is the title of a popular My Love; I Vanna Be Loved; Temptation; les valses célèbres de r goo. BBC program that features "sequence dance It's Easy to Remember; Just One More Chance; music" - dance music, that is, performed to Sung by Maurice Chevalier, Marjane, Ray- Love is Here Stay. to a uniform number mond Girerd, Suzy Solidor, Georgius, Suzy of bars, usually sixteen. Vale, Felicia Sanders; Actually, it's dead rhythmically, Peggy King, Jerry Delair, Fernandel, Tohama, Paul Peri; or- and after a few glides around Percy Faith and his Orchestra. chestra, Raymond Legrand, cond. the ballroom you're liable COLUMBIA CL 713. 12 -in. $3.95. to be wishing hard for LONDON TW 91062. 12 -in. $4.98. the American, or strictly nonsequence, jump stuff. R. K. pretty, perky Peggy In this particular case, Chevalier's breezy and nostalgic salute to King is The Girl Next Door and it's not the Paris of 1900 is the ideal introduction VIENNA BONBONS the only Judy Garland bit she's taken over. to this re- creation of la belle époque of the She's also developing a throaty, poignant Parisian music-halls. It sets the scene ad- Josef and Johann Strauss: Vienna Bonbons; vibrato guaranteed to wring your heart, mirably and whets the appetite for the Egyptian March; Where the Citrons and a wistful ache in her voice peculiar to good things to come. And there are plenty Bloom; Tik -Tak Polka; Roses from the many of Sherwood Anderson's characters. of them: Georgius' wonderful vignette of South; Bandit's Galop; Music of the With Miss King it's all developing; with the family trip to the military parade at Spheres; L'Enfantillage. Miss Garland, it was probably all there at Longchamps July 1q; on Fernandel's mus- Vienna State Opera Orchestra, Anton Pau - the beginning. I prefer the original. Sing. ings on the concealed charms of the Grand lik, cond. ing along with Miss King are Jerry Vale, Café cashier; Peri's affecting ballad of the VANGUARD VRS 459. 12 -in. $4.98. a light baritone, and Felicia Sanders, a lady mender of pottery asked to become a re- of the world perfectly equipped to act the pairer of broken hearts; Chevalier's ani- Another tasty Viennese confection from eternal temptress. A very slight sort of story mated tribute to love. The female singers Paulik and the Vienna State Opera Orches- goes along with the trio: Girl Next Door do not quite reach this high level, their tra, The emphasis is decidedly on gaiety Meets Boy Next Door, Girl Loses Boy to material being rather commonplace. Chris- this time around, and it's as genuine as you Temptress, Girl Gets Boy. It's been told tine's pretty waltz, Reviens, is nicely sung could want. The bright sound, notable for ex- before - though never, perhaps, in such by Marjane, but Tohama can make nothing treme clarity, enhances the pleasure. R. K. high fidelity. R. K. of Ta- ra -ra- boum -dié, a song that would seem to be ideal for French soubrettes, V IENNA'HOLIDAY though I MOOD FOR 12 have yet to hear one manage it with any success. Raymond Legrand ties Vienna, City of My Dreams; Tales from the It's the Talk of the Town; I'm Comin' Virginia; the whole program together with waltzes Vienna Woods; Vilia; Emperor Waltz; Sere- Memories of You; Nice Work If You Can and marches of the period, played in the nade; The Merry Widow Waltz; The Café Get It; My Funny Valentine; Emaline; Skylark; brassy style so characteristic of the French Mozart Waltz; Blue Danube Waltz; Pizzicato Judy; Louisiana; Georgia on My Mind; Be- theater orchestra. Studio sound of great Polka; Caprice Viennois; The Old Refrain; tween the Devil and the Deep Blue Sea; Con - clarity and brightness adds much to the Artist's Life Waltz; Third Man Theme; fessin'. pleasure of this excellent record. J. F. I. Vienna, City of My Dreams. Paul Weston and his Orchestra. Michel Legrand and his Orchestra. PETE KELLY'S BLUES COLUMBIA CL 693. 12 -in. $3.95. COLUMBIA CL 706. 12 -in. $3.95. Pete Kelly's Blues; Smiles; Sugar; After I A charming record, on which twelve in- Michel Legrand, in Say Say I'm Sorry; I'm Gonna Meet a hostile mood, aims a strumentalists among them, Ziggy El- My mean shot here at - Sweetie Now; Somebody Loves Me; He some lovely Viennese man, George van Eps, and Marty Matlock melodies and manages Needs Me; Breezin' Along with the Breeze; to cripple the flock play beautifully planned solos to the of them. His artillery - Hard- Hearted Hannah; Bye, Bye, Blackbird; technique is interest- Weston orchestra's accompaniments. There ing: fire Oh, Didn't He Ramble; I Never Knew. off the instrumental salvo most isn't a slip in taste to be heard; most of the likely to startle the listener. This works solo work, in fact, has a serenity hard to Warner Bros. Orchestra, Ray Heindorf, once or twice but eventually the album become by these days. Excellently engineered cond.; Many Matlock and his Jazz Band. comes an anthology of eccentricities in too. R. K. COLUMBIA CL 69o. I2 -in. $3.98. beautiful sound. R. K.

70 HIGH FIDELITY MAGAZINE

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Tumbleweeds; Poor Lonesome Cowboy; IRISH REBEL SONGS Colorado Trail; I Ride an Old Paint; Night Volume I: The Great Rebellion 1798. MUSIC of - FOLK Herding Song; Cool Water; Streets The Rising of the Moon; Boulavogue; The Laredo; Home on the Range Croppy Boy; Kelly from Killane; The Boys of by Howard LaFay The Norman Luboff Choir. Wexford; The Men of the West; Henry Joy COLUMBIA CL 657. 12 -in. $3.95. McCracken; Dunlavin Green; The Memory of Bold Robert Emmet. A commendable vocal restraint combined the Dead; wth generally tasteful presentation causes CREOLE SONGS AND HAITIAN Volume II: The Young Irelanders and the this collection of cowboy ballads sung by FOLK SONGS Fenian Brotherhood. the Norman Luboff Choir to smack more O'Donnell Abu; Clare's Dragoons; A Nation Michieu Bango: Creole Songs: Choucoune; of the campfire than the concert hall -a Once Again; The Fair at Turloughmorr The Chère, mo lemme Lisette, ma chère amie; rare feat in choral records of this nature. Bold Fenian Men; The Fenian Man o'War; conni tonné toi; Fait do do; Dansé One is also grateful for the inclusion of God Save Ireland; The Smashing of the Van; Songs: Erzulie malade; Gros as Doney Haitian Folk such infrequently performed gems Come to the Bower. Loa Moin; Hymne à Dambala; Bouclé Gal and Night Herding Song. The sound is noué; Lazaoh; Invocation à Dambala; close -to and true. The magnificent color Volume Ill: The Easter Rising, The Black - Maranta e lou; M'argué ta royo; Erzulie oh! photograph that graces the sleeve is worthy and-Tan War, The Civil War. Erzulie sa! of comment. My Old Howth Gun; Batchelor's Walk; The Andrée Lescot (s); accompanied by Roger Bourdin and his Orchestra. LONDON INTERNATIONAL TW 91040. 12- in. $4.98. Naliebitk6keatCiLTdtan Haiti, a land of violent colors and violent contrasts, is also a land of incredibly lovely melodies, as proved by the songs assembled in this release by Andrée Lescot. While the Creole songs are directly derivative of the French idiom, the folk songs find their roots in the negro population of Haiti. The black republic's history is tinged with sadness and the superstitions bred of despair. These qualities find full reflection in the songs. Mlle. Lescot brings rich, vocal resources and exemplary understanding to their interpretation. 'While she presents concert arrangements, no one could cavil at the integrity of the transcriptions or the expressive accompaniments of Roger Bourdin and his orchestra. A uniquely Haitian Flavor prevails throughout. The sound is characterized by an echoey quality that occasionally causes a loss of definition - nothing serious, however. Un- happily, neither texts no translations are V.,. of Schoentrnnn Putece. Mute Courtesy Aust. Stete Tourist Dept. provided. Nonetheless, this is a record well worth investigating. FOLK SONGS OF THE NEW WORLD %e/2aÁdth 26&R9ue/ Black is the Color; The Streets of Laredo; Reviewers in lligh Fidelity, Time, The Saturday Review, Harpers, etc. have I've Been Working on the Railroad; On awarded the Decca Gold Label Series highest critical acclaim. Recorded in Top of Old Smoky; Shenandoah; Wayfaring Europe by the world-famed Deutsche Grarnntophon Gesellschaft, Decca Gold Stranger; Drunken Sailor; He's Gone Away; Label recordings recreate the music of internationally known orchestras and Sometimes I Feel Like a Motherless Child; conductors in true high fidelity. Here is music in the great European tradition .. I Wonder as I Wander; Skip to My Lou; now compression moulded by Decca on revolutionary silent polystyrene surfaces. Cindy; Blue Tail Fly The Roger Wagner Chorale. CAPITOL P 8324. 12 -in. $4.98. The Roger Wagner Chorale is occasionally carried away by the harmonic possibilities of the material in this well -chosen selection of Amercan folk songs; some of the choral arrangements suffer from an over -elaborate treatment of material whose chief charm is Con - This fault is perhaps most ap- EUGEN IOCHUM Conducts: FERENC FRICSAY Con- IGOR MARKEVITCH simplicity. Orff: Carmina Burana; ducts: Stravinsky: Le ducts: Mussorgsky: Pic - parent in the interpretation of The Streets Soloists & Bavarian R. Sacre Du Printemps; tures At An Exhihition- also. Siegfried of Laredo, which surely features the most Orch. & Chorus (DL 9706) RIAS Symphony, Berlin Wagner: Wagner; Lohengrin (DL 9781) Verdi: Requi- Idyl; Berlin Phil. (DL robust dying cowboy ever to grace disks. (Complete); Soloists & n; RIAS Symphony 8i 9792) Berlioz: Sympho- The FDS engineering is up to Capitol's Bavarian R. Orch. & Chorus; Choir of St. nie Fantastique; Berlin Chorus (DX -131) Hedwig's Cathedral. Phil. (DL 9763) usual high standard, although the review (DX -119) copy was not free of surface noise.

SONGS OF THE WEST Bury Me Not on the Lone Prairie; The Old Chisholm Trail; Red River Valle); a New World of Sound... " l u I m li tt, The Digercnrr Whoopie Ti Yi Yo; Doney Gal; Tumbling

NOVEMBER 1955 71

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Tri-Color Ribbon; Lonely Banna Strand; The Fontaine; L'Alouette; Madre, En la puerta; Soldier's Song; The Foggy Dew; Kevin Barry; Schlafe, mein Prinzchen; Adieu foulards. Whack Fol The Diddle; Song of Terence Mc- Msgr. F. Maillet, Director. THE BEST OF JAZZ Swiney; Johnson's Motor Car. ANGEL ANG 64024. IO-in. $2.98. Sung byjPatrick Galvin. Probably the most famous juvenile choir in by John S. Wilson Accompanied by Al Jeffery. the world is Les Petits Chanteurs d la Croix de STINSON SLP 83/84,/85. Io-in. $3.00 each. Bois of Paris, currently on tour in the U. S. Originally dedicated to a renaissance of History can offer nothing to compare with LOUIS ARMSTRONG Ireland's relentless Boo -year struggle for Gregorian chant, the group has broadened its musical scope At the Crescendo, Vol. r unity and independence - a struggle that considerably in the thirty has by no means ended. To oppose the years Msgr. Maillet has served as Director. When It's Sleepy Time Down South; haughty panoply of English power, the Angel offers a fair cross- section of the Jeepers Creepers; Tin Roof Blues; My Irish had only an ill -armed but uncowed Petits Chanteurs' repertory, running from Bucket's Got a Hole in It; Rose Room; rabble and the fitful genius of men like thirteenth -century Christmas carols to folk Me and Brother Bill; Lazy River; s'ain't Robert Emmet, Wolfe Tone and Padraic songs such as A La Claire Fontaine and What You Do; Perdido; Blues for Bass; Pearse. Yet for eight centuries the flower Alouette. As boys' choirs go, there is no Don't Fence Me In; Stompin' at the Savoy. Irish manhood battered gainsaying the pre-eminence of the Petits of itself to death in Louis Armstrong, trumpet and vocals; futile revolts or, like sad Chanteurs. They are brilliant, disciplined, the and glorious Trummy Young, trombone and vocals; service in any instantly responsive to the gifted conducting "Wild Geese," took foreign Barney Bigard, clarinet and vocal; Billy army fighting the English. of Abbé Maillet. Kyle, piano; Arvell Shaw, bass; Barrett Because the narrative ballad But instead of choosing songs that fit the has always Deems, drums; Velma Middleton, vocal. been a primary mode of Irish musical ex- choir's peculiar talents, Abbé Maillet fre- pression, all the bitter defeats, cruel repres- quently tries to adapt the song to their DECCA DL 8168. I2 -in. 49 min. $3.98. sions and martyred leaders have duly been talents. The result - overblown choral chronicled in song. "All these songs," effects, soaring boy sopranos - is injurious At the Crescendo, Vol, 2 to songs which rely for writes Patrick Galvin in the notes accom- their beauty upon Old Man Mose; Rockin' Chair; C'est simple, pure melodic Si panying this set, "are sung everywhere in lines. Despite an Bon; The Whiffenpoof Song; When You're occasional lack of definition, the sound is Ireland . . . They are in the air at one's Smiling; When the Saints satisfactory. Go Marching earliest breath. They are the atmosphere of In; Someday You'll Be Sorry; St. Louis Irish family and social life." And, through Blues; Back o' Town Blues; HALLY WOOD Big Mama's the centuries, they have served to fan the SINGS TEXAS FOLK Back in Town; Mop! Mop!; When It's flames of Irish resistance. SONGS Sleepy Time Down South. In this outstanding series of three ten - Sugar Babe; O Freedom; Worried Blues; Same personnel inch disks, Stinson has brought us the best When I Was Single; B'lieve I'll Call The of these Rebel Songs. Properly speaking, Captain; Farther Along; St. James Hospital; DECCA DL 8169. 12 -in. 45 min. $3.98. most do not qualify as folk songs; the lyrics Courting Case; Come and Go With Me; Love This is the fourth Armstrong have been composed and set to traditional Henry; Amazing Grace; concert to be Santa Claus Blues; LPed and it is airs. They are often trite, banal, vulgar. Red Apple Juice; Glory Hallelujah. becoming apparent that a But they are never innocuous. And at their point of diminishing returns has been best they are magnificent. STINSON SLP 73. to -in. $3. reached. Because Armstrong's concert repertoire is relatively stable, there are in- They are sung by Mr. Galvin, an Irish- As performer, collector and transcriber, evitable repeats along with repetitions of man of many talents, with guitar and banjo Hally Wood has devoted much of her life numbers already available on other disks. accompaniments by Al Jeffery. Galvin's to folk songs. This rich experience, plus a And there is the further factor that the pitch is not perfect; occasionally he is flat; highly developed respect for the rough- group around Armstrong is not what sometimes he fluff's a note completely. But hewn poetry it of the people, has shaped her once was. Gone are Teagarden, Hines and he sings in the true accents of Ireland, with hard, nasal, intense voice into a stirring in- Cozy Cole. Barney Bigard, for all he con- conviction and emotional integrity. Stin- terpretive instrument. tributes these days is as good as gone. son's reproduction is crisply natural. Miss Wood's talents have never been Trummy Young and Billy Kyle, two of the Any attempt to delineate a "best" among more manifest than in this album of Texas replacements, are capable jazz performers the three albums would be profitless, since variants of widely current blues, ballads, but they're scarcely in the same league with each contributes to an integrated whole gospel and work songs. Many were culled the men whose chairs they have taken. The much more effective than any of its parts. from the monumental Texas collection made comparison between the Trummy Young - more than twenty years ago by John A. Armstrong Rockies' Chair on this recording and Alan SHARONA ARON SINGS ISRAELI Lomax. Miss Wood's versions and the Teagarden -Armstrong version is SONGS preserve the flavor of dirt farms, prison painful although, in all fairness to Young, camps, crossroad churches and the hot, At At; Roeh Vi roah; Gizratech; Ada; this is pitting him against the most formid- endless plains. Stinson provides Orchah Bamidbar; ChofShaket; Habokrim; bright, able competition with the cards stacked Shir full -range reproduction. Finjan; Hanava Babanot; Dodi Li; Li or against him. But Armstrong himself is still a practi- Hazichronot; Im Bá arazim; Laila, Laila; LES BORDS DU SAINT LAURENT Yoram; Noomi, Naomi Nim. cally peerless performer and no disk on ANGEL ANG 65018. £2-in. $3.98. French Canadian Folk Songs which he appears can be casually dis- Sung by Pierrette Champoux missed. Of these two, Volume 2 is easily A splendid selection of songs currently Accompanied by Samuel Levitan, pianist the better since it has fewer specialties by popular in the vigorous new nation that and Jacques Verdon, fiddler. Armstrong's sidemen and, consequently, has shattered the loo -year sleep of the Middle more Louis. It has the best Louis, too ESOTERIC ES 536. 12 -in. $5.95. - East. Sharona Aron, an Israeli with a charm- the straightforward and rather pretty Louis ing, relaxed vocal style, manages to con- of Someday You'll Be Sorry Pierrette Champoux is a sometime Radio - and When vey the piquant blend of old and new, tradi- TV performer north of the border. This You're Smiling, the crisply rhythmic Louis tion and innovation, desert and factory that record offers solid proof that she is without of C'est Si Bon and the fun -loving Louis in characterizes Israel. Angel has given her peer in her specialty of French Canadian his delightful whiffenspoof of boppery in clean, intimate sound, making this a superior folk songs. The Whi/enpoof Song. The recording is record in every sense. Her deep, beautifully controlled alto particularly good for a location job. ranges over these songs with verve and warmth. Mlle. THE LITTLE SINGERS OF PARIS Champoux's singing of the poignant, lovely but deceptively COUNT BASIE AND HIS ORCHES- (Les Petits Chanteurs d la Croix de Bois) - simple -A la Claire Fontaine is a delight to the TRA Two Thirteenth- Century Noels; Chanson joy- ear. Basie ewe de Noel; Noil from Savoy; A la claire Unequivocally recommended. Perdido; Ska- Di -Dle- Dee -Bee -Doo; Two

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Franks; Rails; Blues Backstage; Down for intimate, insinuating solos. The reflections the Count; Eventide; Ain't Misbehavin'. of Basie center on Nat Pierce s excellent piano, backed by Freddie Greene, Basic's CLEF MG C -666. r2 -in. 37 min. $4.98. guitarist, who lends definitive authority to Basié s present band, a powerhouse in the the rhythm section. Joe Newman, a latter - flesh, has failed to transfer any suggestion day Basieite, catches an early Basie feeling of its superior qualities to disks until now, on trumpet and Al Cohn's saxophone flirts but on this one it comes brilliantly to life. with a Lester Young approach. They have Unhappily, a great deal of the edge is taken ease and that wonderful, inescapable beat off its performance by an engineering job which once was Basic's and they are a de- which is as inept as anything I have light - up to a point. That point is suffered through. The soloists, particularly reached when the sameness of attack and the saxophonists, come in at a level de- tempo start to distract the listener. Unlike signed to blast the listener out of the room the Basie band, which had several resources, while the full band, which would knock this group has focused on just one aspect down every house for several blocks if it of the Basie style and, while it makes the were brought in truthfully at a commensu- most of this aspect, twenty-four LP inches rate level, sounds as though it were being is a lot of one aspect. The recording is picked up on an erratic long distance phone well balanced, cleanly defined. connection. Even with this handicap, there is more EDDIE CONDON AND HIS ALL good jazz to be heard on this disk than STARS Basie has recorded in a long time. There Bixieland is much of Basie s own brilliantly easy At the Jazz Band Ball; 01' Man River; I'll piano, particularly on Rails on which he is Be a Friend with Pleasure; Singin' the backed superbly by Freddie Greene's guitar. Brubeck: highballs added counterpoint. Blues; Fidgety Feet; From Monday On; I'm Charlie Fowlkes plays some strong, Comin' Virginia; Royal Garden Blues; thoughtful baritone saxophone on Even- DAVE BRUBECK QUARTET Louisiana; Jazz Me Blues. tide, a rather tame tune, and there is a Jazz: Red Hot and Cool really hair- raising saxophone duet between Wild Bill Davison, cornet; Pete Pesci, Lover; Little Girl Blue; Fare Thee Well, Frank Wess and Frank Foster on Two trumpet; Cutty Cutshall, trombone; Dick Annabelle; Sometimes I'm Happy; The Franks. Carey, alto horn; Edmond Hall, clarinet; Duke; Indiana; Love Walked In. Gene Schroeder, piano; Eddie Condon, Dave Brubeck, piano; Paul Desmond, alto guitar; Walter Page, bass; George Wat- RUBY BRAFF-ELLIS LARKINS saxophone; Bob Bates, bass; Joe Dodge, ling, drums. Two Part Inventions in Jazz, Vol. t drums. COLUMBIA CL 719. 12 -in. 40 min. $3.95. COLUMBIA CL 699. 12 -in. 46 min. $3.95. Love for Sale; I've Got a Pocket Full of Eddie Condon, who has been in on some Dreams; Blues for Ruby; I've Got the Two special points of interest occur on rather crude recording sessions in his time, World on a String; Please; Old Folks. this disk. One is the Brubeck approach to has been getting superb engineering from Ruby Braff, trumpet; Ellis Larkins, piano. Lover, a tune which has been approached Columbia since he started this current VANGUARD VRS 8019. to-in. 29 min. in almost every conceivable way. Brubeck series of disks for that label and, in return, has found one more way: he has Joe has been providing a brand of two -beat Dodge drumming in 4/4 time while the which is as polished as Dixieland has ever Two Part Inventions in Jazz, Vol. 2 other three members of the quartet go sounded and still is magnificently big - waltzing off in three -quarter time. It re- voiced and rambunctious. The band which Blues for Ellis; A City Called Heaven; sults in a strikingly swinging waltz and one gathers by instinct at Condon's has that What Is There to Say; Sailboat in the of .Brubeck's best performances. disciplined abandon which is made possible Moonlight; When a Woman Loves a Man; The other noteworthy matter is The by long association and they let it loose on You Are Too Beautiful; Skylark. Duke, a piano impression of Mr. Ellington. several occasions on this disk. In the course Same personnel It's a melodic little bouncer which is more of recalling some of the numbers that Biz VANGUARD VRS 8020. t0 -in. 29 min. direct and more compact than most of Beiderbecke recorded, they also put more $3.95. Brubeck's efforts, a richer, meatier music emphasis on prettiness than is their wont than he normally serves. Saxophonist Paul with Peter Pesci's unforcedly Bixian trumpet Braff is beginning to overextend himself on Desmond appears only briefly, in the re- and Dick Carey's alto horn leading the way disks. He is so much so casually playing lease, in a style that is uncharacteristic but, to graciousness and light. There are a few he is in of reducing himself to that danger in this context, quite apt. This is a wel- tunes here which are of no more use to the the status of just another trumpet player. come change of pace for the Brubeck Condonites than they were to Beiderbecke which This collection, is far from being Quartet which spends the rest of this disk but they are punched into generally un- the poorest he has made, is still just an in- on some improvisations which rise above recognizable submission, so there's no harm and-out affair. Actually, its major weak- the pallid only for a short time on Some- done. This is slightly off the normal Con- nesses can't be attributed to Braff. Larkins' times I'm Happy when Desmond is very don beat and more than slightly well done. playing is rather negative on both disks effective playing over Ellingtonesque chords and the programming, which lines up a by Brubeck. The recording, done in a CONRAD GOZZO succession of slow -paced ballads, produces night club, is close and intimate, with oc- Goz the Great a monotonous tone and pace. Within this casional counterpoint by ice -filled glasses. framework, Braff works with varied success. Blue Lou; I Let a Song Go Out of My Almost everything, perforce, is his slow Heart; Remember; How Do You Do Miss and easy open -horn manner. Over two AL COHN Josephine. sides of a pair of ten -inch disks, one man The Natural Seven Conrad Gozzo, James Salko, John Best, is not apt to have sufficient ideas within A Kiss to Build a Dream On; Doggin' Vito Mangano, trumpets; Jerry Ross, Herb this single vein. Graff certainly doesn't, but Around; Jump the Blues Away; Jack's Harper, Simon Zentner, trombones; Harry there are times when the ideas are flowing, Kinds Swing; The Natural Thing to Do; Klee, Willie Schwartz, Jules Jacob, Ted and mood, thought and feeling blend beau- A.C. Meets Osie; Baby Please; 9:2o Special; Nash, Dale Issenhuth, saxophones; Paul tifully on his horn. It occurs with excep- Pick a Dilly; Count Me In; Freddie's Tune; Smith, piano; Tony Rizzi, guitar; Sain tional beauty on Please and to a lesser but Osie's Blues. Cheifetz, bass; Iry Cottler, drums. still distinctive degree on Old Folks, I've RCA VICTOR LPM 1116. 1 2 -in. 38 min. Got the World on a String, Blues for Deibotch; Smooth Talker; Do That Again Ruby and What Is There to Say. On the $3.98. Daddy; Squeeze Me. rest, he at least seems to be trying. Re- This seven was rolled in the classic Gozzo, trumpet; Murray McEachern, trom- cording is good. Basie manner, light and swinging with bone and alto saxophone; Smith, piano;

NOVEMBER 1955 73

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Rizzi, guitar; Cheifetz, bass; Alvin Stoller, drums. Dialing Your Disks La Rosita; Come Back to Sorrento; Black Sapphire. All LP disks are recorded with treble boost following values in the table below: ROLL - and bass cut, the amount of which often OFF -10.5: LON, FFRR. 12: AES, RCA, Gozzo, trumpet; Smith, piano; Al Hend- varies from one manufacturer to another. Old RCA. 53.7: RIAA, RCA, New RCA, rickson, guitar; Cheifetz, bass; Cottler, To play a disk, the bass below a certain New AES, NARTB, ORTHOphonic. 16: drums; six violins; two violas, cello. turnover frequency must be boosted, and NAB, LP, COL, COL LP, ORTHOcoustic. RCA VICTOR LPM 1124. Iz -in. 34 min. the treble must be rolled off a certain num- TURNOVER - goo: AES, RCA. 5ooC: $ 3.98. ber of decibels at to,000 cycles. Recom- LP, COL, COL LP, Mod LON, NAB, Among musicians, Gozzo's has been a name mended control settings to accomplish this FFRR. 5ooR: RIAA, ORTHOphonic, to conjure with for the past decade. His are listed for each manufacturer. Equalizer NARTB, New AES. 5oo: NAB: 63o: has been the ultimate in lead trumpets, a control panel markings correspond to the BRS. Boo: Old RCA. position that has been unquestioned since he led the fantastic trumpet section of NEW RECORD LABEL OLD Woody Herman's First Herd. On this disk Turnover Rollog Record No. or Data: Turnover, Rollog he moves out of the section and into the 500 Allied 16 spotlight for the first time, showing off Amer. Rec. Soc. 400 12 several Angel 500R 13.7 sides of his talent. Gozzo has a big, Arizona 500R 18.7 To 1955: 400, 12.7 muscular tone on open horn, a tone which ?Atlantic 500R 18.7 he gives full play on some of the numbers Audiophile 500 12 with the string group. He also turns just Bach Guild 500R 18.7 No. 501-529: 500, 16 as easily to growl, mutes and Rex Stewart s *Bartok 500R 18.7 No. 901-905. 308. 310, 311: 500R, 13.7 between -stops Boy -Meets -Horn style. Be- No. 906-920. 301-307. 309: 680, 16 cause of its variety and because of Gozzo's Bethlehem 500R 13.7 lack of obeisance Blue Note Jazz 500R 13.7 To 1955: 400, 12 to any set form of trum- Boston 500C 16 pet playing, this is an intriguing set. His *Caedmon 500R 18.7 No. 1001-1022: 680, 16 playing has forcefulness, taste (except for Canyon 400 12 a few very short whinnies) and humor and Capitol 500R 18.7 To 1955: 400, 12.7 he is well supported by Paul Smith's Basic- Capitol -Cetra 500R 13.7 To 1955: 400, 12.7 like piano and the versatile Murray Mc- Cetra-Soria 500C 16 Eachern. The full band takes most of its Classic Editions 600R 13.7 numbers at an awkwardly slow tempo but Colosseum 500R 13.7 To January 1954: 500, 16 the two small groups provide a good set- *Columbia 500R 18.7 To 1955: 500C, 16. Concert Hall 500R 10.5 To 1954: 600C, 16. ting for Gozzo's swinging, biting playing. *Contemporary 500R 13.7 No. 3501, 2501. 2502. 2505. 2507. 2001, The recording is excellent except for Re- 2002: 400, 12. No. 2504: 500, 16 member, an unfortunate multiple tape ?Cook (SOOT) 500 12 -16 effort on which Gozzo plays all five Coral 600 18 trumpet parts. Decca 600 16 Elektra 600R 18.7 No. 2-15. I8-20, 24-26: 690, 16. No. 17. 22:400, 12. No. 16. 21. 23. 24: 500R, 19.7 PETE JOLLY EMS 600R 18.7 Jolly Jumps In 500R Epic 18.7 Will You Still Be Mine; El Yorke; I've Esoteric 6008 18.7 No. ES 500, 517, EST 5. 6: 400, 12 Folkways 500C 16 Got You Under My Skin; I'm With You; *Good -Time Jazz 500R 18.7 No. 1. 5-8: 500, 16. No. 3. 9-19: 400, 12 It Might As Well Be Spring; That's All; Haydn Society 500C 16 Jolly Lodger; Before and After. 6008 HMV 16 Pete Jolly, piano; Curtis Counce, bass; 5008 13.7 No. 100-103. 1000-1001: 800, 16 Kapp Shelly Manne, Kendall 500 16 drums. *London 500R 18.7 To No. 846: 500C, 10.5 Jolly Jumps In; Pete's Meat; Why Do 500 I Lyrichord 16 Love You. McIntosh 500R 18.7 *Mercury 600R 18.7 To October 1954: 400, 12 Howard Roberts, guitar; Jimmy Giuffre, MGM 500 12 saxophone; Shorty Rogers, trumpet; added. Montilla 500R 18.7 RCA VICTOR LPM 1105. 12 -in. 39 min. New Jazz 6008 13.7 $3.98. Nocturne 500R 19.7 No. LP 1-3, 5. XP1-10:400, 12 Oceanic 500C 16 Jolly is a pianist and accordionist oriented L'Oiseau -Lyre 500R 13.7 To 1954: 600C, 10.6 to the modern manner who seems to have Overtone 500R 13.7 No. 1J: 500, 16 a deep conviction of the importance of 500C Oxford 16 keeping any jazz performance swinging Pacific Jazz 600R 13.7 No. 1-13: 400, 12 and a deep unconcern for se. Philharmonia 400 12 modern per is - fPolymusic 600 16 On the piano, he aggressive, a ten Prestige 6008 18.7 fingered whirlwind who develops ideas RCA Victor 500R 13.7 To 1953: 300, 12. To 1954: 400, 12 neatly and logically. His accordion tech- Remington 500 18 nique is very much like that of George Riverside 500R 18.7 To 1955: 400, 12 Shearing, bright, clipped and rhythmic. Romany 600R 18.7 His playing has a richness which some- Savoy 600R 19.7 times stands out in stark contrast to the 500 Tempo 18 thin West Coast style heard on the sextet Transradin 500C 18 numbers in this set. is Urania 500 18 No. 7059. 224, 7066. 7063. 7065, 603, Jolly relatively new 7069: 400, 12 and still feeling his way so it should not be Vanguard 500R 13.7 No. 411-442. 6000.6018, 7001-7011. 8001- surprising that he falls into some pre- 8004: 500, 16 tentious showboating on It Might As Well Voz 500R 13.7 To October 1954: 500, 16 Be Spring. What is is Walden 600R 18.7 surprising the con- Westminster 500C 16 If ASS specified: 400, 12 sistency with which he avoids most clichés *Currently re- recording old masters for RIAA curve. of conception and attack, playing with a ?Binaural records produced on 1Ms label have no treble boost on the inside band, which should be brightness and verve reminiscent of an played without any rolloff. earlier school of jazz pianists. He has been recorded very well.

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www.americanradiohistory.com Put them all together... they wouldn't produce a drum beat!

The Hi-Fi components pictured above cost - There's a reason. A record rating jury of experts roughly -$1106. That's a lot of money. For a lot keeps Capitol "FDS" recordings light -years ahead of system. of conventional sounds. Trouble is, without a record, this system won't When they decide an artist has given an excep- produce so much as a drum beat. tional performance, and that it has been flawlessly tech- With a record, it's amazingly faithful. Put an recorded by Capitol's sound engineers and ordinary recording on the turntable, you'll get an nicians -they label that record "Capitol Full ordinary play back. Put a Capitol "Full Dimen- Dimensional Sound." It's the purest high fidelity sional Sound" recording on it -and hear how less that can be achieved by the recorder's art. than a $5 investment makes $1106 worth of com- Enjoy the great artists of our time on Capitol ponents really come to life. "FDS" Recordings.

INCOMPARABLE HIGH FIDELITY IN FULL DIMENSIONAL SOUND

NOVEMBER 1955 75

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to/Poo FATS SADI Sleepy Village; Pictures from Sauter - INTERNATIONAL The Swinging Fats Sadi Combo Finegan Land. Ad Libitum; Laguna Leap; Karin; Big VICTOR LPM 1051. 12 -in. 49 min. $3.98. Yataeed exGxeme Balcony; Sadisme; Sweet Feeling; Ridin' High; Thanks a Million Despite three or four interesting performances, this is a disappointing set from the fvxide arc Fats Sadi, vibraphone; Roger Guerin, usually provocative Sauter and Finegan. trumpet, tuba; Nat Peck, trombone; Bobby On the bright side, there is another of Joe awnfecneing Jaspar, tenor saxophone; Jean Aldegon, Venuto's light and lilting marimba solos, bass clarinet; Maurice Vandair, piano; Solo for Joe. Venuto, who appears to be PREMIERE RELEASE Jean -Marie Ingrand, bass; Jean -Louis Viale, the outstanding individual developed in drums. otatOexéa the Sauter- Finegan band, also contributes BLUE NOTE BLP 5061. IO -in. $4.00. the only memorable moments to a hard - driving piece called The Loop. Bill Finegan Sadi, an interesting Belgian vibraphonist, achieves an interesting blending of jazz here leads a predominently French group, and concert qualities in his adaptation of but they give the impression that their Gershwin's Concerto in F. And each of the HUURETET association is more than casual. Much of band's vocalists has a good number: Andy the ensemble work, tight and clean, is in Roberts on an imaginative and powerful support of Sadi, driving the group with version of John Henry and Sally Sweetland TH©MS©K his imaginative, riding hammering when on a straightforward, utterly unaffected the tempo is up, as on Laguna Leap and rendition Where or HIGH FIDELITY RECORDINGS FROM FRANCE of When. Sadisme, or probing and brooding sensitive- But the rest is largely undistinguished. ly through Karin and Sweet Feeling. This There is a dismaying leaning toward movie Debussy: is very pleasant small group jazz, recorded music in Pictures from Sauter -Finegan with clarity and balance. LE MARTYRE DE SAINT SÉBASTIEN Land, a routine and pretentious piece of The notes are in Norman Granz's most pap. Sleepy Village, a move into non -jazz, André Falcon, narrator; - Claudine Col delightfully indomitable vein. "I have no lart, soprano; Janine Collard, Christiane is a minor bit of musical description with particular favorite composition here,' he Gayraud, mezzo -sopranos. Choruses of some pleasant flute playing. Sadie Thomp- writes, but I would like to submit my the Radiodiffusion and Télévision Fran- "... son is a promising blues variant -it cise wit L'Orchestre du Théâtre des particular favorite in any event." He does, swings slowly, like a hip, but it bogs down Champs-Elyséesm conducted by D. E. too. in ponderousness and overdeliberation. In Inghelbrecht. general, the interest -provoking sparkle 2-12" DTL 93040/1 -$9.96 SAUTER-FINEGAN ORCHESTRA which has characterized most Sauter - Concert Jazz Finegan works in the past is missing from Mozart: this material. The sound, however, is The Loop; Concerto in F; The Land Be- still excellent. SYMPHONY No. 40 IN G MINOR (K.550) tween; Madame X; Where or When; Sadie SYMPHONY No. 41 in C MAJOR (K.551) Thompson: John Henry; Solo for Joe: BOB SCOBEY'S FRISCO BAND, Vol. 4 L'Orchestre du Théâtre des Champs - Elysées conducted by Hermann Battle Hymn of the Republic; Someday Scherchen. 12" DTL 93020 -$4.98 Sweetheart; Parsons, Kansas, Blues; Strange Blues; Memphis Blues; Down in Jungle - Pergolesi: CONCERTINO IN G MAJOR town; Sweet Georgia Brown; Beale Street Durante: DIVERTIMENTO IN F MINOR Blues; Mobile; Friendless Blues; Careless Love; Bill Bailey. Vivaldi: CONCERTO IN G MINOR FOR TWO 'CELLOS AND ORCHESTRA Bob Scobey, trumpet; Bill Napier, clarinet; L'Orchestre de Chambre Gérard Car- Jack Buck, trombone; Ernie Lewis, piano; tigny, conducted by Gérard Cartigny. Clancy Hayes, banjo and vocals; Dick 12" DTL 93044 -$4.98 Lammi, bass; Earl Watkins, drums. GOOD TIME JAZZ L-12006. 12-in. 38 Beethoven: SONATA No. 2 IN G MINOR min. $485. FOR 'CELLO AND PIANO, Op. 5 No. 2 Scobey's band is too good to be recorded Beethoven: SONATA No. IN 3 A MAJOR constantly in the shadow of vocalist Clancy FOR 'CELLO AND PIANO, Op. 69 Hayes, who has his points, too. The pat- Maurice Gendron, 'cello; Jean Francaix, The tern of building Hayes at the expense of piano. 12" DTL 93036 -$4.98 Unbelievable the band is cause for alarm among Scobey- philes. The pattern is continued and ex- Couperin: MESSE SOLENNELLE Sounds of the panded on this disk with Scobey's band Gaston Litaize at the organ of Saint - often reduced to the position of accom- Merri. 12" DTL 93039 -$4.98 panists for Hayes. It breaks through oc- SIENA PIANOFORTE casionally, however, and there is a superb BACH Scobey trumpet bit on Strange Blues, one ORGAN WORKS TURINA: Danzas Gitanas of the two numbers on the disk without a Toccata and Fugue in D Minor (BWV ALBENIZ: Airs of Spain vocal. Hayes is one the most 565). Passacaglia and Fugue in C VILLA- LOBOS: The Baby's Family of effective Minor (BWV 582). Prelude and Fugue MOMPOU: Scenes d'Enfants of the vaudeville-aim-jazz crossbreeds and in E he is in fine form Flat Major (BWV 552). Prelude and MARISA REGULES, pianist throughout this set even Fugue in A Major (BWV 536). Gaston when he is tackling such unlikely material I2" ESOTERIC EST -3oo2 Litaize at the organ of Saint -Merri. as Battle Hymn of the Republic. He is at 12" DTL 93037 -$4.98 MOZART & SCARLATTI, played by his best on Beale Street Blues which boasts CHARLES ROSEN, ESP -3000 an intriguing beat and some pungent Scobey trumpet in back of Hayes' singing. The BACH PROGRAM, played by ..M90 t. recording is excellent. ANATOLE KITAIN, ESP -3oor INTERNATIONAL, CLARK TERRY INC. ESOTERIC RECORDS 539 WEST 25th STREET, Swahili; Double Play; Slow Boat; Co -Op; 238 East 26th Street Kitten; The Countess; Tama; Chuckles, NEW TORN I, N. Y New York City 10 Clark Terry, trumpet; Jimmy Cleveland, trombone; Cecil Payne, baritone saxophone;

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Horace Silver, piano; Oscar Pettiford, cello Marshall, bass; Art and bass; Wendell TAKE Blakey, drums. NO. 2 EMARCY MG 36007. r2 -in. 40 min. $3.98. Although this disk is heralded as the first on which Clark Terry of Duke Ellington's band has been able to step out on his own, Terry's playing is overshadowed by trom- bonist Jimmy Cleveland, cellist Oscar Petti- ford and an ensemble with one of the most juicily biting attacks heard on records in a long time. Pettiford's plucked cello keeps turning up again and again in varied and DEC C.w 6 effective guises. His ingenuity reaches a peak on Swahili, a number on which the rhythm section achieves a very realistic As you may know ... the voice of Speaking of collections, Decca has African drumming sound with Pettiford's released four new albums of vo- cello contributing an effect approximating Bing Crosby has been heard by more just cal moods, each with a fresh, individ- a the most ex- people than the voice of any other bamboo drum. Cleveland, to singing. Heading the citing of recent trombonists, adds to his human being who ever lived. And ual approach people keep call- list is the "First Lady of Jazz,' the reputation with every appearance on these sing- numbers very fast tour de force, ing for more Bing vital and vibrant Ella Fitzgerald except a 8155). For a Chuckles, on which his playing is surpris- records! As a fol- ing Sweet And Hot (DL ingly best low-up to Bing, little singing in The Southern Style empty. Terry's opportunity new al- comes on Tuma when he abandons his the original musi- (DL 8055), try Jeri Southern's bum. Be sure and hear By Special Re- stifled, staccato manner and plays a big - cal autobiography, Decca has quest (DL 8173) by Carmen McRae toned, clear- voiced open horn and takes to by the mute in the manner of the great Elling- gathered 36 old and Sylvia Syms Sings (DL 8188) ton trumpets the Essentially, the masters by Cros- the lady named in the album title. of past. wonderful gals can star of this disk is the ensemble, a rarity in by. They have Learn how four modern jazz and, consequently, particularly been collected in sing so differently yet so well! welcome. Recording is an album called, good. naturally, Old Perhaps only once in a generation (DX- does the public discover an artist like JEAN "TOOTS" THIELEMANS Masters Mr. All old Bing recordings Sammy Davis, Jr. The versatile Alamo; Don't Be 152). the On the That Way; I'm you've wanted to hear are in it and Davis can be heard on TV, radio, Putting All My Eggs in One Basket; in own a stunning drawer -type album com- juke boxes and now, your Sophisticated Lady; Scotch on the Rocks; stories about Bing and the rec- ome, singing in two great Decca al- I Let a Song Go Out of My Heart; Stars bines ords into one beautiful, deluxe package bums, Just For Lovers (DL 8170) and Fell on Alabama; Diga Diga Doo; So Rare; in itself. Starring Sammy Davis, Jr. (DL 8118). Skylark; Sonny Boy; Cocktails for Two. ... truly a record collection Do you, like us, sometimes get the Personnel includes Toots Thielemans, har- Jesse Crawford, "The Poet of the Or- gan," perfectly demonstrates the ver- wanderlust? Now you can take an monica and guitar; Lou McGarity, Al vacation and all you Godlis, Billy Rauch, Jack Satterfield, trom- satility and deep, rich tone of the evening's ... is a and a comfort- bones; Mondello, Hammond Organ in two new Decca need phonograph Toots Artie Beck, alto able armchair to make the trip. Nine saxophone and clarinet; Carl Prager, bass albums. You're sure to enjoy either Beautiful Dreamer (DL 8146), a col- fabulous albums saxophone and clarinet; George Berg, tenor by the saxophone and clarinet; Oscar Pettiford, lection of popular songs, or "Now The inspired Day Is Over' (DL 8054), a group of colorful pages of Wendell Marshall, bass; Ray Bryant, piano; magazine Tony Mottola, guitar; Cliff Leeman, Bill beautiful hymns of comfort arranged Holiday for organ. bring you the mu- Clark, drums. sic you associate COLUMBIA CL 658. 12 -in. 37 min. $3.95. At 3 o'clock in the hot afternoon in with Havana (DL One by one those instruments which have every Spanish town of any size, the 8134), Italy (DL not previously been at home in jazz are people come to the Bull Ring to see 8162), Paris (DL finding a master exponent to introduce the fiery, colorful contest between the 8161), The Alps them properly. The vibraphone family matador and toro. The passionate (DL 8141), South and the electric guitar have taken their emotions that the Spaniards feel America (DL places and now, thanks to Thielemans, the about the Bull Fight and the mystic 8160), Hawaii harmonica may have made it. Certainly 'moment of truth' have created a rous- (DL 8138), Rio Thielemans reaches out beyond the appar- ing, exciting music. Decca has cap- (DL 8139), Vienna (DL 8150), and ent limitations of the harmonica for jazz tured this spirit in an album of The West Indies (DL 8159). Look purposes. He has the imagination and marches and pasodobles recorded in for the colorful window streamers at ability to treat it as an instrument of seem- Spain by the Madrid Bullfight Band your record dealer's and give yourself ingly endless scope, as he demonstrates and the Spanish Air Force Military a Musical Holiday tonight. repeatedly on this disk. Furthermore, he Band. The album is called Corrida! has chosen to play with groups which are (DL 9764). And if you're a real aficio- All of these albums represent Decca's departures from the norm - one group nado, you'll also want to have Mata- new standard of recorded excellence. features four trombones, another four dor (DL 9792), another superb col- Hear them at your record dealer's and reeds. He is able, as a consequence, to lection of this hot -tempered music. audition our New World of Sound. work within and around some rich tonal colors, soaring out of a rather lush thematic statement to an impressive development of jazz ideas. His work on harmonica is much like that of Red Norvo on vibes, a a New World of Sound parallel which could scarcely be warmer ...... recommendation. These are performances which are adventurous, stimulating and DECCA RECORDS polished, helped by thoughtful and intelli- 'You Can Hear The Difference' gent recording.

NOVEMBER 1955

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PAUL PARAY conducting the ANTAL DORATI conducting the DETROIT SYMPHONY ORCHESTRA MINNEAPOLIS SYMPHONY ORCHESTRA WAGNER The Flying Dutchman Overture; Parsifal Good Friday Spell; STRAVINSKY Petrouchka (complete). MG50058 Tristan and Isolde Prelude and Love -Death; Siegfried RAVEL Daphnis & Chloe (complete). (Deluxe, illustrated, Forest Murmurs. MG50044 factory -sealed album). MG50048 BRAHMS Symphony No. 4. MG50057 BRITTEN The Young Person's Guide to the Orchestra; GINASTERA CHABRIER España; RAVEL Rapsodie Espagnole; IBERT Concertantes Variaciones. (without narration). MG50047. (with Ports of Call. MG50056 narration, Deems Taylor, narrator, MG50055). THE THREE TCHAIKOVSKY BALLETS (all complete performances, deluxe, illustrated, factory -sealed albums). THE SLEEPING BEAUTY. Illustrations by Oliver Messel; Text by Cyril Beaumont. OL -3 -103 Mercury Record Corporation, SWAN LAKE. Illustrations by Cecil Beaton; Text by Walter Terry. OL -3 -102 Chicago 1, Illinois THE NUTCRACKER. Illustrations by Dorothy Mass. OL -2 -101

78 HIGH FIDELITY MAGAZINE

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HIGH FIDELITY DISCOGRAPHY No. 21 A SIBELIUS DISCOGRAPHY by Paul Affelder

NYONE who claims that "every- SYMPHONY NO. 2 IN D MAJOR, OP. 43 has been recorded on LP" (9 Editions) A thing With his Second Symphony, which appeared should consider the case of Jean Sibe- in 19oz, Sibelius startled the musical world lius. It is shocking to find important with an entirely new concept of thematic works by this composer such as Night development. Instead of introducing a then tearing them apart Ride and Sunrise, The Oceanides, In group of themes, and putting them back together again, he Memoriam, The Bard, and the incidental put forward only a group of thematic frag- music to The Tempest, Belshazzar, and ments, later in the movement piecing them King Christian II - all once available together into whole themes. The process on 78s - missing entirely from the LP aroused great controversy but it worked, is first the The list of unrecorded and today what really the of com- catalogue. poser's "revolutionary" symphonies is one Sibelius music also includes composi- of his most popular creations with the tions like The Origin of Fire and music -loving public. Luonnotar, as well as most of the songs Both in concert and on disks, Koussevitz- and choruses, all of the keyboard ky's interpretation has always been my favorite. He was able to combine clarity music, and all of the chamber music with an inner drive that propelled the music except the quartet. In ill -spent efforts along in a most exciting fashion without to bring us ever another Romeo and ever actually rushing it. The older of the Juliet and Eroica, the record manufac- two recordings he made with the Boston Symphony (now on Camden) is perhaps slight- turers have all but overlooked the im- ly the better interpretation; being about portant Sibelius anniversary coming in fifteen years younger, Koussevitzky was a few weeks. Let us hope that amends able to put more drive into his reading than will soon be made in the form of a in the later version. But there is so little wider Sibelius repertoire on records. difference between the two performances drama or excitement nor becomes senti- that the improved reproduction in the latter, Meanwhile, it might be noted that we mental. It is refreshingly different from the while not startlingly wide -range, is sufficient are promised discal editions by An- "overinterpretations" we so often get. My to tip the balance in its favor. The closest thony Collins and Herbert von Karajan only cavil is with the ultra -slow tempo in competition comes from the immensely of the symphonies they have not al- the trio section of the Scherzo. Otherwise, satisfying performance by Ehrling, very in spirit to the two by Koussevitzky, ready recorded, also that Angel has in there is shape and meaning in every phrase. close Collins hews closer to the customary in- though not quite so tightly knit. Recorded preparation a disk of Sibelius songs terpretation of the score. On the whole, at a higher volume level than any of the interpreted by Elisabeth Schwarzkopf. his tempos are faster than Beecham's, but other versions, it has a fairly bright, resonant the inner details of the music remain sound, and shows the Stockholm orchestra distinct. London's bright reproduction, in better than usual form. Neither it nor the though lacking a certain strength in the London Symphony conducted by Collins, ORCHESTRAL WORKS bass, is about on a par with Columbia's. Sto- however, can equal the polish of the Bos- kowski's is a highly acceptable account of tonians. Collins enjoys clear, well -defined SYMPHONY No. I IN E MINOR, OP. 39 the music, seldom fussy, quite sensible - recording that brings out every instrumental (4 Editions) with the exception of the Finale, in which timbre, but is inclined to be more impulsive Nowhere can the progress of Sibelius as a he takes several liberties with the score, than either Koussevitzky or Ehrling, and creative artist be traced more clearly than particularly as regards tempo, pauses, and his climaxes are consequently less exciting. in his seven symphonies. Nowhere else has instrumental registers. The recording favors But these observations are purely relative; he expressed his musical ideas with such the wind instruments and the high frequen- the sum total of his interpretation is still daring, logic, and effectiveness. Had he cies, with too much emphasis on both. A very fine. written nothing but these seven imaginative somewhat artificial effect suggests that the While there is very little difference be- and powerful works, he would be entitled session was played with a reduced string tween the two Koussevitzky versions, a to a place in the front rank of twentieth - section and that separate solo microphones much wider gap separates the pair by Bar - century composers. were used for almost every instrumental birolli. In the new one he gets quite excited Like Brahms, Sibelius took his time about group. The Ehrling disk misses fire. His over his assignment, but the performance - writing his First Symphony. It was not interpretation is run -of- the -mill, and the while often fiery - also seems detached and completed until 1899, when he was thirty - recording is muddied by distortion in the episodic. Nevertheless, it is quite interest- four. Despite a slight Slavic influence, par- heavier passages. ing, and would be more so were there not ticularly that of Tchaikovsky, it is essentially -Royal Philharmonic Orchestra, Sir Thom- some tape hiss and too much emphasis on Scandinavian in feeling, with many individu- as Beecham, cond. COLUMBIA MI. 4653. the highs, causing the strings and some of al Sibelian touches. Beecham remembers 12 -in. $4.98. the woodwinds to sound harsh and nasal. these facts in his exceptionally transparent -London Symphony Orchestra, Anthony When Barbirolli conducted the Philharmonic - reading, one which has also been accorded Collins, cond. LONDON LL 574. 12 -in. Symphony he had less control over his transparent reproduction. This symphony $3.98. musicians as well as over his own musical as performed by Sir Thomas is crystal- clear, -Symphony Orchestra, Leopold Stokowski, ideas than he has today, and the results right down to the last detail of every harp cond. RCA VICTOR LM 1125. 12 -in. $3.98. show it. Unevenness and a seeking for passage. In order to achieve such clarity he -Stockholm Radio Symphony Orchestra, dramatic effect, through speed, spoil the adopts a fairly conservative pace most of Sixten Ehrling, cond. MERCURY MG 10129. well -recorded Ormandy disk. In many the time; yet in so doing he never sacrifices 12 -in. $4.98. places his tempos are so fast that even the

NOVEMBER 1955 79

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a critical Rid Your Records of lous, es- ... -11 three always use >.:cn nne and such differ -tations t.t t ..t too with the two as those by Collins, Ormai. .hrling. iniadle movements, making his reading an Perhaps, then, it would t o com- masters inexplicable paradox. Stokowski, in his pare these versions movement .'ement. version, takes all manner of liberties with There is great forcefulness, cot., _d with The Best ...The Dry Method tempo, phrasing, and note values, leaving breadth and clarity, in Collins' statement of very little of the symphony as Sibelius wrote the first movement, yet certain sections sound NO SPRAYING it. almost too tender. Ormandy treats these -Boston Symphony Orchestra, Serge Kous- same sections with too much lushness; NO WASHING sevitzky, cond. RCA VICTOR LM 1572. elsewhere in the movement he uses broad, NO RUBBING 12 -in. $3.98. dramatic strokes. Ehrling also tends toward itN -Stockholm Radio Symphony Orchestra, breadth and a fairly even pace throughout, Sixten Ehrling, cond. MERCURY MG 10141. with less dramatic contrast. Ormandy's 12 -in. $498. delineation of the scherzo is outstanding -London Symphony Orchestra, Anthony for its beautifully sensitive phrasing, though Collins, cond. LONDON LL 822. 12 -in. there is greater sobriety of feeling here than $3.98. is usual. Both Collins and Ehrling take this - "Centennial Symphony Orchestra" (Bos- movement at a customarily brighter clip. Ehr- The ton Symphony Orchestra, Serge Koussevitz- ling's is the best-thought -out and most closely Polonium A few circular sweeps ky, cond.). CAMDEN CAL 108. 12 -in. $1.98. integrated account of the third movement; it Strip does with STATICMASTER on -Halle Orchestra, Sir John Barbirolli, cond. is noble, full of meaning, and powerful in the trick each of side the record RCA VICTOR LBC 1084. 12 -in. $2.98. its climax. Ormandy adopts a somewhat ... IT'S CLEAN. -Philadelphia Orchestra, Eugene Ormandy, faster tempo, making the music hang to- Expensive tond. COLUMBIA ML 4131. 12 -in. $4.98. gether extremely well without sacrificing compared -New York Philharmonic -Symphony Or- essential somberness. Collins has difficulty with other products ... chestra, Sir John Barbirolli, cond. COLUM- keeping things together; interest sometimes hut inexpensive when BIA -ENTRE RL 3045. 12 -in. $1.98. flags. Were it not for bad slips in two $1785 noise -free and longer -Leipzig Philharmonic Orchestra, Hermann clarinet solos, Ehrling would again take top lasting records are con- Abendroth, cond. URANIA URLP 7145. r2 -in. honors for giving the most consistent read- sidered. ,7/2 $3.98. ing of the finale. Ormandy is once again -NBC Symphony Orchestra, Leopold too tender in this movement, but he main- Buy STATICMASTERS at your HLFi dealers'or' Stokowski, cond. RCA VICTOR LM 1854. tains enough dramatic intensity to be order direct...sent postpaid -cash more with order. 12 -in. $3.98. forceful than the overcautious Collins. NUCLEAR PRODUCTS CO. Taking the work as a whole, however, it SYMPHONY No. 3, IN C MAJOR, OP. 52 is Collins who conveys more of the mystery 10173 E. Rush St., EI Monto, Calif. (2 Editions) and darkness of the Northland in his read- After the storm, drama, and strong affirma- ing. To complicate matters even further, tion of the Second Symphony, the Third the Philadelphia is the best- sounding or- comes as a serene, pastoral contrast. It also chestra, and Columbia has invested it with marks Sibelius' first step toward condensing the most faithful and richest reproduction. symphonic movements. There are only Von Karajan runs a poor fourth. In an three here, the last being a combination of attempt to make the symphony more ac- scherzo and finale. cessible to the average listener, he rounds Ehrling's carefully proportioned reading off sharp, rough corners and adopts some of the symphony is preferable to Collins', inexplicably slow tempos. The scherzo, which sounds almost offhand. Much of the for example, emerges as a gentle waltz. advantage lies in the Swedish conductor's When the music should snarl, he makes it relaxed tempos, which convey a feeling of purr, and in the Fourth Symphony this will ease, yet permit a more forceful build -up of not do. important climaxes. Collins races, particu- -London Symphony Orchestra, Anthony larly in the second movement, which sounds Collins, cond. LONDON LL 1059. 12 -in. like a swinging waltz, and thereby robs the $3.98 (with Pobjola's Daughter). music of much of its significance. Although -Philadelphia Orchestra, Eugene Ormandy, is more London's sound brilliant, that very cond. COLUMBIA ML 5045. 12 -in. $4.98 brilliance tends to make the strings sound (with Symphony No. 5). nasal. I for one am willing to sacrifice a -Stockholm Radio Symphony Orchestra, little brilliance for the more equitable bal- Sixten Ehrling, cond. MERCURY MG 10143. ance on the Mercury disk. 12 -in. $4.98. -Stockholm Radio Symphony Orchestra, -Philharmonia Orchestra, Herbert von Sixten Ehrling, cond. MERCURY MG 10125. Karajan, cond. ANGEL 35082. 12 -in. the finest in 12 -in. $4.98 (with Symphony No. 7). $4.98, or $3.48 (with Tapiola). pre -recorded -London Symphony Orchestra, Anthony tapes. Collins, cond. LONDON LI. 1008. 12 -in. $3.98 (with Symphony No. 7). SYMPHONY No. 5 IN E -PLAT MAJOR, OP. 82 Write lor (6 Editions) listing. SYMPHONY NO. 4 IN A MINOR, OP. 63 The Fifth, one of the most popular of the SONOTAPE (4 Editions) seven symphonies, is remarkable for its CORPORAT1Oh The Fourth Symphony is dark, brooding, construction. The first movement is really 185 Madison Ave. and mystical; to some it seems aloof, yet it two movements in one, an opening section stands out as one of Sibelius' greatest, most and a succeeding scherzo 11v New York 16, N.) built upon the strongly individual creations. This is not a same thematic ideas. The second move- symphony to be appraised after one hear- ment, for Sibelius, is simplicity itself, a ing; it must be lived with for a long time. series of variations on a ground bass; but Such a difficult and controversial work is near the end comes an anticipation of the bound to confront any interpreter with basic theme of the finale. The latter has problems, and it is doubtful if any two moments of grandeur that relate it spiritually people will agree completely as to the proper with its counterpart in the Second Symphony.

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NOVEMBER 1955 91

www.americanradiohistory.com MICROPHONES running the level set controls too high. One very important precaution applies to any mixer, wet Continued from page 90 or dry; every microphone operating into it should be cor- will 5 is an attenuator for use with Lo-Z mikes, which may con- rectly phased with the others, or selective cancellation veniently be installed inside the mike itself or in the power take place between them, creating muddy sound and chop- supply case of a condenser microphone system. The Hi -Z ping holes in the over -all frequency response. attenuator in Fig. 6 should be located fairly near the re- When the diaphragm of a microphone moves inward, a corder, preferably right in the input plug, if space permits. pulse is generated, and whether this electrical impulse is The plug cover should then be of metal, to provide shield- positive or negative in polarity depends upon which way ing for the resistors. When choosing attenuator resistor the leads from the mike are connected. If they are connected one way, a positive pulse may result from inward ATTEN- ..11 they are reversed, a negative pulse RATION p -H IY diaphragm movement; if Sir So when two mikes are being used simultane- Rl. R2 ur will result. 7 11 relation to each other, Zr ously, with the leads reversed with R3 -Zr 7 11 an inward movement of the diaphragms will produce a positive pulse from one mike and a negative one from the Figure 5. Attenuator to reduce output of Lo -Z Zr is the rated output impedance of the microphone. other, and they will tend to cancel one another, distorting the sound. of -145 and -155 db values, aim for a final figure between The first step towards keeping the phasing correct is, of to be the median figure that (RETMA Gm), as this seems course, to make sure all the cable plugs are wired in the preamplifiers are designed to accommodate. same way. Then the microphones may be checked, a pair that microphone preamplifiers and Remember, though, at a time, by plugging two of them into the mixer and set- and may not be phonograph preamplifiers are not the same, ting them up about two feet from where you are standing, provisions for used interchangeably unless there are special at the recorder. to supply vast doing so. Phono preamplifiers must be able Turn one of them up and pronounce an "000' sound into for record compen- amounts of bass boost and treble rolloff it, near the upper range of your voice, and set the recorder's of a mike preamplifier is sation, whereas the sole function level indicator to give about half of normal recording preamplifier design, to amplify. The trend in current phono volume. Note the position of the mixer control on that the inclusion of equalization - however, seems to be toward channel and turn it off. Turn the other mike up and set the the preamp to be used for defeating facilities to allow level as before, with the same vocal sound. Then fade the microphones. first mike up to its pre -set level, and note whether the level If it decreases, the mikes ATTEN- indication increases or decreases. URTIRNUATION ASO -21 11 are out of phase and, in the case of Low -Z mikes, the bal- IRI RI -MI 7 11 anced line connections to the plug should be reversed. RI RI mike, however, the connections from the 112 With a Hi -Z 7 11 transformer or, with a crystal unit, from the sound cell Figure 6. Attenuator for use with Hi -Z microphones. itself, will have to be reversed within the mike. And before RI is the microphone's recommended load resistance. using a borrowed microphone with the others, it is a good Excellent results can be obtained with a one -mike pickup, idea to check the phasing of that also, just to make sure its but for the more ambitious recording enthusiast, multiple - owner has not "standardized" on the reverse system. If you mike systems offer greater versatility and considerably more can't use his mike, it's better to find out beforehand rather opportunity for creative expression. For multi -mike record- than have it ruin a few multi -miked recordings before the ing, an input mixer is required to allow the output from the trouble is tracked down to mis- phasing. mikes to be independently controlled, and mixers run into Some typical multi -mike setups will be discussed in a money. The least expensive are the so- called dry mixers, subsequent article of this series, but meanwhile a few which supply no preamplification, but mix the outputs from generalized suggestions can be made about mike installa- the mikes in constant -impedance variable pads. Dry mixers tion and use. are simple and very effective, require no power supply, and Microphones which contain a transformer in the case, as cannot be overloaded. On the other hand, they introduce an do all but crystal and a few condenser types, exhibit some insertion loss which effectively lowers the signal -to -noise tendency to pick up hum when placed near magnetic fields. ratio of the preamplifier stage. Such fields might be radiated from power transformers, Wet mixers, which include a separate preamplifier stage motors, or heavy- current AC cables. High -impedance mikes for each input and mix the signals in the following stage, are by far the most susceptible to hum from this source, but maintain lower noise level in general. But they require a even with these it isn't too likely that hum will be a prob- source of power, they can be overloaded by very high -out- lem, since only rarely would the mike be placed within re- put mikes, and they are quite expensive, particularly those ceiving distance of the associated equipment. If hum built to professional standards. It is also possible to over- should be encountered, the mike and recorder may be re- load the later stages in some of them by running the mixer oriented with relation to one another until a null -point controls up too far and the master gain control down too is found. on 126 low, just as a phonograph control unit can be overloaded by Long mike cables also have Continued page

92 HIGH FIDELITY MAGAZINE

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MAGAZINE 94 HIGH FIDELI'T'Y

www.americanradiohistory.com These reports may not be quoted or reproduced, in part or in whole, in any form whatsoever, without written permission from the publisher. Because of space limitations we normally attempt to report only on products of wide general interest. Thus, omission does not, per se, signify condemnation, although reports are seldom made on equipment that is obviously not reasonably high in fidelity. - Each report is sent to the manufacturer before publication; he is free to correct the specifications paragraph, to add a comment at the end, or to request that the report be deferred (pending changes in his product) or not published at all. He is not permitted, however, to amend or alter the report.

Janszen Electrostatic when a large radiating surface is driven by that as it moves away from the vicinity of a small voice coil. one plate it automatically gets closer to the Tweeter But producing a practical speaker from other one. This produces an almost per- these premises turned out to be quite a fectly linear driving force, cutting distor- SPECIFICATIONS (furnished by manufacturer): push - pull self- powered electrostatic tweeter. Fragwncy project. The high DC polarizing voltage tion down to a very small fraction of that response: 1,000 cycles to 30,000 cycles. Crossover that had to be kept across the plates of the from the single -ended units. The push -pull frequency: 1,000 cycles. Divider NNwork: built -in speaker tended to cause insulation failure. high -pass filter, 10 db per octave. Entail pews,: 50 configuration also allows the plates to be watts continuous, 100 watts peak. Pow*. supply: When this kink was ironed out there was spaced farther apart, letting the diaphragm 110 volts, 60 cycles. Dimensions: Utility - 23 in. the problem of getting the tweeter to pro- handle lower frequencies and higher power wide by 7 1/16 high by 9 deep; finished - 21 5/8 in. wide by 7 1/16 high by 12 deep. Peler Utility duce a flat frequency response at reasonably levels without any increase in the distortion. $161.00; birch $179.00; mahogany $184.00. Manu- low distortion. Conventional "single- facturer: Janssen Laboratory, Inc., 69 Harvey ended" Another major difference between the Street, Cambridge 40, Mass. electrostatic tweeters are inherently non- Janszen unit and other electrostatic tweeters linear, because the attraction between the is that it can be connected directly to the had good reason be We to skeptical parallel plates decreases markedly as they output taps of a conventional amplifier. about this tweeter. The electrostatic re- are moved farther apart. At high frequen- Others require a high -impedance source, producer is not by a new idea any means; cies, there is very little movement of the which means they must be connected into in fact, it has been kicking around in de- diaphragm, so it stays pretty close to the the plate circuits of the output tubes, by- velopmental laboratories ever since 1929, fixed plate at all times. But at lower fre- passing the output transformer. In the but the major difficulty has always been in quencies, where the diaphragm has to go days when output transformers were typi- getting it to work well as as theory seemed through increasingly greater excursions, it cally quite poor this would have been an advantage; today, it is simply an inconvenient bother.

There's no doubt about it . . . this tweeter represents a radical departure from conventional design, and its performance indicates that it is definitely a step in the right direction. While I can't vouch for the 3o kilocycle response, I can say that within my fairly good hearing range it is easily the smoothest -sounding tweeter I have heard to date. It seems to add no coloration to the sound, and its crispness and definition when used with a top -quality amplifier and pickup are, to these ears, amazing. I got the distinct impression that I was listening directly to my records, and was easily able to lose my awareness of the tweeter as a part of the reproducing system. Sound distribution was excellent. Clicks and pops from record surface blemishes Four- section electrostatic tweeter is a radical departure conventional from design. were subdued, yet high -frequency sounds that were previously relegated to the back- to indicate it should work. The principle is thrust away from the back plate at one ground cut through full orchestral passages. of the electrostatic speaker is based on the moment, reducing the attraction between Really gorgeous sound! same force of attraction that causes particles them, and then is pulled very close to the But the Janszen tweeter is by no means of dust to be drawn to a statically -charged back plate where the attraction and repul- a cure -all and end -all for ailing high ends. vinylite record. It was reasoned, quite ac- sion are very strong. The effect is the same The fact that it contributes little or no curately, that if the static charge could be as that which takes place in a cone -type "character" to the sound immediately dis- varied by feeding alternating currents to speaker whose voice coil comes part way qualifies it for use with most woofers, two highly -charged parallel plates, the at- out of the magnet gap whenever the cone which tend to color the sound. Its designer traction between them would vary. Making moves forward. On large diaphragm ex- unashamedly admits that there are only two one of these plates thin and flexible so that cursions, the controlling force is momen- woofers which will match it closely. It it could vibrate was all that was necessary tarily reduced, allowing the diaphragm to will, in fact, make many systems sound to get sound from the alternating currents. flop around on its own for a split second, worse than with their own high end. Used It was also correctly reasoned that since and this produces audible non -linear dis- with an incompatible woofer it gives a the moving diaphragm would be driven by tortion. noticeable two- source effect, with a dis- a force applied equally over its entire sur- In the Janszen unit, on the other hand, embodied high end that bears little relation face, there would be far less distortion due the moving plate is located for the first to the cone breakup that always results time midway between two fixed plates, so Continued on next page

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www.americanradiohistory.com loudness- volume -tape monitor selector; treble tone plifier and another, affected only by the IN THE HOME ( 10,000 cycles). Level -set controls TESTED +14 to -15 db, -level for all inputs, on back panel. Outputs: one low - selector switch (and, for the low in- Continued from preceding page impedance main output to amplifier; one low -im- puts, by the equalization controls) that is pedance output. not affected by loudness or tone controls, to feed tape recorder. Three switched AC meant for connection to a tape recorder power outlets. Response: t 1 db, 20 to 20,000 cycles. input. Many of the better tape recorders to the low end, and the extreme smoothness Noise: better than 95 db below 1.5 volta output. all channels, volume control at maximum. Tubes; have individual record and playback heads accentuates woofer peaks, of the tweeter 2- 12AY7, I2AU7. Dimensions: 4% in. high by so that you can monitor directly from the particularly near the crossover region. 6 7/8 deep by 14 3/8 wide, in cabinet. AMPLIFIER - input. input level control, tape; in other words, you can play back the demands considerable one high -level Controls: Also, the tweeter RG (output impedance) adjustment effective only tape while it is being recorded. You would Rated 35 watts. Msponss: care and precise adjustment in the installa- on 8-ohm tap. power: of 1 Distortion: at full out - ordinarily connect the monitor output its own built -in polarizing db, 5 to 100,000 cycles. tion. Having put, less than 0.5% total harmonic; less than 1.0% the tape recorder to the tape input jack on a source of -volt AC IM (40 and 2,000 cycles, 4:1). Noise: 95 db below supply, it requires Ito your preamplifier. For that reason the conveniently come full output. Output tops: 8 and 16 ohms. Output power, which could Impedance: less than 0.52 ohms on 16-ohm tap; volume /loudness switch between and under from some nearby wall outlet. But since adjustable from -4 to +4.5 ohms on 8 -ohm tap. Tubas: 12AY7, 12AU7, 2 -6550, 5U4GB, 0A3 /VR75. the tone controls has a third position has no pilot light, and the tweeter unit PRICES: A-440A control preamplifier, $139.00; marked MONITOR. This position channels produces no hiss or hum when turned on, A -340A amplifier, $159.00. MANUFACTURER: Altec Monica Blvd., the input signal selected by the controls on to about turning it off Lansing Corporation, 9356 Santa it is very easy forget Beverly Hills, Calif., or 161 Sixth Ave., New York the left half of the panel to the tape output when not in use. So it is advisable to plug 13, N. Y. jack, as normally; but then, instead of feed- it into one of the switched AC outlets on These Altec Lansing units can be catego- ing that signal simultaneously to the main the power amplifier or control unit, where rized very briefly by a single word: superb. output connection, the circuit is broken. it will be turned off with the rest of the That applies to just about any aspect The signal from the tape input jack is equipment. - design, construction, performance, looks. picked up and fed through volume and There is a high -pass filter built into the You can get an idea of the appearance from tone controls to the preamp's main output tweeter unit, and an additional crossover the photographs, but they don't do the jack (and thence to the power amplifier network is not recommended except for the control unit justice. We can tell you some- and speaker, of course). Thus, you can choke that may be needed to roll off the thing about the design and performance, switch your amplifier and speaker either to high end of a peaky woofer. but the only way you can judge the con- the input signal to the tape or the output Balancing of the woofer and tweeter is struction features is to examine it yourself. signal from the recording, for comparison, fairly critical, and the Janszen's relatively Be sure to lift both units when you do; al- by turning from VOLUME to MONITOR. low efficiency means that most woofers will though not infallible, weight can tell you Very neat. have to be attenuated slightly to match it. a lot about the quality of components used. There is another ingenious (though not Also, the electrical and acoustical phasing Note the generally smooth contours of both of the tweeter with respect to the woofer metal and wood parts the excellent joints is a - are equally critical, so this hardly unit and finish on the control unit cabinet the an exist- - that can be carelessly tacked onto layout of parts on the rear panel. All being speaker system and expected to work speak quality in no uncertain terms. properly. There are two identical inputs that will T The price is nothing to be sneezed at, accept either magnetic phono cartridges or either. The Janszen tweeter is not moder- microphones in any combination. Congratu- ately-priced it is well up in the realm - lations to Altec Lansing for recognizing the of diminishing returns, where a consider- need for something like this. In addition, able amount of money must always be paid there are three high -level inputs for TV, for that last nth degree of quality. tape, and tuner inputs. All five have input General impression: Possibly the finest level -set controls on the back panel. The tweeter available at any price, but not a source is selected by the first switch on the tinkerer's gadget. There is only one correct way to set it up and operate it, and it demands the highest quality from the associated system components before it can begin A amplifier uses too -watt 655o's. to work at its best. As for its best perform- -340A ance, I have yet to hear a tweeter that I consider its equal. - J. G. H. so complex) device on this control unit. It consists simply of a hinged panel on the MANUFACTURER'S COMMENT: To reproduce an accurate replica of the input voltage to a loudspeaker front which, when closed, covers all con- requires a wide response without resonances and trols excepting the volume/loudness and without emphasis on any set of frequencies. The AC control. We should imagine that model 1 -30 has the necessary characteristics over power the frequency range for which it was designed. In it would make considerably less terrifying order to take full advantage of these characteris- Altec preamp has a hinged control cover. tics, however. it must have as a low- frequency the idea of operating a hi -fi system to the complement a woofer that has smooth response lady of the house, or to anyone not initiated below 1,000 cycles. 'This requires the use of a low - front panel; first three positions are for the efficiency woofer. Accordingly the efficiency of to the intricacies of control preamplifiers. the model 1-30 was set deliberately to match that high -level sources and the last five positions The Chief Engineer, upon leaving for the of low -efficiency smooth- response woofers. in are for the low -level sources with varying order to facilitate the achievement of proper bal- office, need only set up the other controls ance. turnover equalization. One position is flat, properly and close the panel. There will When it is not convenient to plug the 1 -30 into of course, for use with microphones. Below than a switched AC outlet. it can be plugged into the then be no more controls to operate nearest wall outlet and left on continuously. This and to the right is a smaller knob to select on an AC -DC table radio or a phonograph. will its performance. Power consump- not affect either of the two low-level sources. To the very neat. lion is only R watts. Again, right is a five -position phono (or micro- The preamplifier has plenty of gain for phone) equalization control, giving o, 4, any magnetic cartridge without a trans- 8, 12, or 16 db rolloff at Io,000 cycles. former; it's designed to put out 11/2 volts is a large knob In the center of the panel with r 1/2 millivolts input. The tone con- Altec Lansing Control that turns the power on and off and also trols cause absolutely no visible ringing; Preamplifier & Amplifier functions as either a loudness control or an overload is smooth and not apparent up to uncompensated volume control, depending about 4 volts output. The loudness com- SPECIFICATIONS (furnished by manufacturer): model on the position of another switch below A -440A preamp- control unit and A -340A power pensation will undoubtedly suit most users, amplifier. CONTROL PREAMPLIFIER - Inputs: three and to the right. More about that in a but to us it seemed effective a bit too high marked TV, Tape, and Rcvr; two low - high- level, moment. Just above the loudness/volume up on the control's rotation. A minor level, marked Phono 1 and Phono 2, suitable for magnetic phono cartridges or microphones. Con- control is a pilot light. The two large criticism, in view of the complete facilities trols: combined selector and phono bass compensa- knobs in the righthand section are indi- tion (TV. Tape, Revr, and phono positions of 0, for setting up input levels and for switch- 250, NARTB -AES, LP, and 600 turnover); Phono vidual bass and treble tone controls. ing out the compensation when desired. 1 -Phono 2 selector; phono rolloff (0, 4, 8, 12 -AES, There are two cathode- follower audio 16- NARTB); combined AC on -off and loudness/ on page 98 volume control; bass tone ( +17 to 10 db, 50 cycles) outputs; the main output to the power am- Continued

96 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com as four of the competing versions offer Sixten Ehrling, cond. MERCURY MG 10142. another complete symphony. 12 -in. $4.98 (with Symphony No. 5) -Boston Symphony Orchestra, Serge Kous- sevitzky, cond. RCA VICTOR LCT 1151. SYMPHONY NO. 7 IN C MAJOR, OP. 105 12 -in. $3.98 (with Symphony No. 7). (7 Editions) -Philadelphia Orchestra, Eugene Ormandy, The summation of Sibelius' ideas of sym- cond. COLUMBIA ML 5045. 12 -in. $4.98 phonic form and thematic evolution can be (with Symphony No. 4). found in this work. Perhaps that is why -Cleveland he Orchestra, Artur Rodzinski, has withheld the long- awaited Eighth. The cond. COLUMBIA ML 4881. 12 -in. $4.98 entire symphony is cast in one continuous (with Shostakovich: Symphony No. 1). movement, all of it concerned with the same -Danish State Radio Symphony Orches- set of themes. Yet all the basic elements of tra, Erik Tuxen, cond. LONDON LL 634. the standard four -movement symphony are 12 -in. $3.98 (with Karelia Suite). to be found here; like the themes themselves, -Stockholm Radio Symphony Orchestra, each new section grows out of the one which Sixten Ehrling, cond. MERCURY MG 10142. precedes it. It is a remarkable twenty minutes 12 -in. $4.98 (with Symphony No. 6). of music. -Philharmonia Orchestra, Herbert von Of the seven extant recordings, only two Karajan, cond. ANGEL 35002. 12 -in. - those by Collins and Ehrling were $4.98, or - $3.48 (with Finlandia). originally made for LP; the remaining five have all been dubbed (with varying degrees SYMPHONY No. 6 IN D MINOR, OP. 104 of success) from 78 -rpm disks. Ehrling (1 Edition) gives a broad, eloquent, noble, and sane In this at country, least, the Sixth is the interpretation of the score, one that adheres worst -neglected of the Sibelius symphonies. very closely to the printed markings. It is It is a fairly FRED PLAUT bright work, at times almost a pity that the recorded sound isn't better; Eugene Ormandy folklike, which says what it has to say, then what emerges in the softer sections is ade- stops almost abruptly at the end of each quate, but most of the fuller passages are Considering the movement. Ehrling name of this magazine, handles the score in a badly distorted. Although Collins does not is may seem strange properly bright, clear fashion, to pick as the outstand- but he is too quite capture the same lofty spirit, his con- ing recorded version gentlemanly in approach, of the Fifth Symphony especially in the ception is clearer and more dramatic, alto- a disk whose sound finale, which is anything but ideal. calls for bite and drama. The gether well thought -out, and he benefits The reproduction reproduction here is shallow, the range is is better than that ac- from fine, lifelike reproduction, which gives extremely corded the Fifth limited, and there is considerable Symphony on the reverse his disk the big advantage over Ehrling's. distortion side; the of the upper frequencies; yet this orchestra also plays more carefully Poor sound spoils Golschmann's inter- is but a small sacrifice to make and cohesively. This is quite a way in order to from the pretation, which otherwise has a lot to com- get ideal version the breadth, inner strength, and deep of the Sixth, but it will suffice mend it. Likewise, Koussevitzky's dramatic understanding of until better ones come along. Koussevitzky's memorable account of the score, recorded in 1933, en- nineteen -year -old -Stockholm Radio interpretation. If sound Symphony Orchestra, counters too much competition from other matters, however, there is a splendid new recording by Ormandy that is notable for its uncluttered naturalness and three- dimen- sional quality, plus the warmth of the Phila- delphia Orchestra's tone. Besides, Or- T! Wiz tae jet 7titeetet to mandy's reading is highly acceptable, even though it may have certain debatable individual touches. He takes great pains to make everything as clear as possible, and he -*la is very careful about matters of phrasing and dynamic shading. Sometimes, in fact, he is too U'RC'eoGra r (r/'crf careful, and overrefinement of some passages results; but almost everything is in the proper spirit. ir Rodzinski - whose recording, like Kous- sevitzky's, sounds old - takes the whole symphony at a faster pace and treats it more freely. If this approach robs it of a little of its strength, it is still valid and interesting. Tuxen's concept of the work is on a more intimate plane than we are accustomed to hearing; it is broad and clear, but the scherzo is not playful enough and the finale is too delicate, crying out for greater strength and vigor. Though the reproduction is clear and resonant, it is marked by a certain harsh brassiness. There is less consistency in And he knew precisely what he was after Ehrling's performance, with wider extremes in tempos, particularly in the opening move- because he wrote the music ! Now ment, and some wrong notes and lack of Richard Rodgers' classics receive the full scope of precision in the orchestral playing. The recording is spacious and resonant, with the symphony orchestra -and under the authoritative some distortion in the louder sections. direction of the composer himself. While benefiting from first-rate reproduc- Hear his music tion, Von Karajan causes the listener to as you never have before -the Richard Rodgers' Waltzes, March of The Siamese lose interest in the first movement because Children, The Carousel of his inordinately slow tempos; elsewhere, Waltz, Slaughter On Tenth Avenue, Victory At Sea. Ask for his broad, clear treatment is more appro- "Richard Rodgers Conducting The Philharmonic Symphony Orchestra of New York" priate, but the net result is the consumption (12- inch "Lp ", CL 810) of so much groove space that there is room exclusively on COLUMBIA Q RECORDS on the second side only for Finlandia, where- CaoAble. T. M.

NOVEMBER 1955 81

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disks with a less limited tonal range. Bar - fiendishly difficult works for violin and or- few indeedOare the birolli s is a slow, unconvincing run-through, chestra ever created; with inadequate attention to the relation of performers who have been able to master it, tempo or mood between the various sec- even though it is admirably written for the Wbg tions. Both Beecham and Van Kempen instrument by a musician with an intimate adopt tempos that are too fast; added to knowledge of its possibilities and limitations. Van Kempen's hazards are some faulty The solo part is an astute blend of the lyrical tape splices between the old 78 -rpm sides. and pyrotechnical, and the orchestra is -London Symphony Orchestra, Anthony given plenty to say. Collins, cond. LONDON LI. too8. 12 -in. From the time I first heard the very first Heifetz, SCH WAN N'S $3.98 (with Symphony No. 3). recording of the concerto, by Jascha -Stockholm Radio Symphony Orchestra, I had the impression that Sibelius, without Sixten Ehrling, cond. MERCURY MG 10125. knowing it, had written the work expressly has been 12 -in. $4.98 (with Symphony No. 3). for this violinist. That impression -St. Louis Symphony Orchestra, Vladimir strengthened over the years, and it receives Golschmann, cond. RCA VICTOR LBc further corroboration after listening criti- Long Plagiog 1067. t2 -in. $2.98 (with Mozart: Sym- cally to the eight extant recorded versions phony No. 38). of this work. When the old Sibelius Society -BBC Symphony Orchestra, Serge Kous- asked Heifetz to introduce the concerto to sevitzky, cond. RCA VICTOR LCT 1151. disks it knew what it was doing. He masters and 12 -in. $3.98 (with Symphony No. 5). the concerto's every technical interpre- -Hallé Orchestra, Sir John Barbirolli, cond. tative obstacle and allows the music to Record RCA VICTOR LHMV 1011. 12 -in. $4.98 blossom fully, unhampered by any con- (with Rubbra: Symphony No. 5). sciousness on the part of the listener that -New York Philharmonic- Symphony Or- the soloist is struggling to clear a long chestra, Sir Thomas Beecham, cond. Co- series of hurdles. He also enjoys the LUMBIA ML 4086. 12 -in. $4.98 (with Wagner: collaboration of Beecham, who is a prime Siegfried Idyll). Sibelius interpreter. Fortunately, the vio- Galabi -Netherlands Radio Philharmonic Or- linist's exquisite tone (even the silken highs) chestra, Paul van Kempen, cond. TELE- comes through remarkably well on this FUNKEN LGX 66026/7. Two 12 -in. $9.96 old recording, originally issued on 78 -rpm (with Bruckner: Symphony No. 4). and skillfully dubbed onto microgroove. The orchestral sound is less faithfully presented ihi CONCERTO FOR VIOLIN AND ORCHESTRA but is bearable. After hearing Heifetz IN D MINOR, OP. 47 (8 Editions) play the concerto, one is likely to have Sibelius' only concerto, written between little patience with his competitors, even the Second and Third Symphonies, is a when the reproduction is much superior. blend of romantic elements with the com- To my way of thinking, this is his greatest poser's own newly evolved personal style. performance on records. ecord tirf Without question, it is one of the most Nevertheless, both Stern and Oistrakh give very good accounts of the work. Stern puts more fire and tonal solidity into his . . . performance than do either Heifetz or Oistrakh. Technically, his is an excellent job too, though there are occasional slips in some of the faster passages. Elleclors? 0 in intonation It is a thoughtful reading, which reaches Ä Because Schwann offers on a regular its height in the slow movement. The re- is clear, with a fine delineation monthly basis a complete listing of long production of the violin tone, and the improved sound play records classified as follows: ó affords Beecham more latitude for d also Classical (By Composer) expression than he had in the older Heifetz Music recording. The accompaniment, indeed, Chamber is perhaps the disk's best feature. Oistrakh Anthologies lacks Heifetz's polish, subtlety, and excite- Piano ment, and he employs a fairly wide vibrato, not entirely in keeping with this concerto. Organ Gauk's accompaniment has real personality, Vocal but the recording - like so many from Spoken & Miscellaneous Russia - is nothing to get excited about. The remaining five versions are all on a Orchestral lower plane of achievement. For two move- Operas ments, Jan Damen's is one of the most Shows promising of all: his tone is sweet, his Musical technique sure, and there is considerable Operettas style to his interpretation, as well as to Van Films Beinum's transparent accompaniment; but runs into real trouble in & Folksongs then the soloist Folk Music the final movement, despite his cautious Popular, Jazz, Swing approach. As it is, this is the clearest- sound- Childrens ing of all the recordings, completely free of distortion, and with the violin standing not handle Il your dealer does out in fine perspective, yet well balanced Schwann Catalogs kindly send us his with the clean orchestral accompaniment. nome and address. Telmanyi's conception of the score embodies eccentricities of phrasing which cease Schwann Long Playing some to please on repeated hearings, and his tem- Record Catalog pos drag. Miss Wicks, who was in her early or middle twenties when she recorded the 137 Newbury St. Boston 16, Mass. concerto, plays with youthful abandon and

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a great deal of technical sureness, but her käiuen - all are eminently acceptable, but intonation is sometimes on the edge, she Ormandy's seems the best, not only because overaccents certain passages, and her tone of the vigor and dramatic fire in 1, 3, and 4 constantly fluctuates in intensity, causing and the slow, measured, restrained but her already rhythmically uneven performance beautifully controlled and expressive de- to appear even more out of balance. Ehrling's lineation of 2, but also because this is one direction is vivacious and the recorded of the most faithfully accurate disk por- sound is first -rate. The late Ginette Neveu traits of the magnificent Philadelphia Or- was an admirable interpreter of French chestra on record. The playing is brisk, music, but her reading of Sibelius is small polished, accurate, and sumptuous, and it both in scale and in tone. Her slow tempos, has been reproduced with such a lifelike RECORD while allowing her to play all the notes, sug- quality that, for once, the resinous rubbing gest that the concerto had mastered her of bows on strings can actually be heard. rather than the other way around. The re- Neither the Danish nor Stockholm strings cording, dubbed from 78s, is more than play with the precision of their Philadelphia satisfactory. The same cannot be said of colleagues, which accounts for some of the INDEXES Eidus' disk; in fact, it is the dreadfully mis- lack of bite in the Jensen and Ehrling handled reproduction that spoils what might readings. Otherwise, Jensen displays a have been a considerably better presenta- good deal of the same dramatic punch that tion of the work. characterizes Ormandy's performance of 1 -Jascha Heifetz; London Philharmonic Or- and 3, and his No. 4 is perhaps even more of all chestra, Sir Thomas Beecham, cond. RCA transparent than Ormandy's, if less exciting. VICTOR LCT 1113. 12 -in. $3.98 (with He has been accorded bright recording Chausson: Concerto for Violin, Piano, and throughout, with exceptionally clean per- String Quartet in D major). cussion sound in 4. Technically, Ehrling's High Jidelitij -Isaac Stern; Royal Philharmonic Orchestra, version is just a shade less impressive; since Sir Thomas Beecham, cond. COLUMBIA ML the microphone is a bit farther away from RECORD REVIEWS 4550. 12 -in. $4.98 (with Seines Historiques). the orchestra, the tone is not quite as sharply -David Oistrakh; National Philharmonic defined. The conductor also employs a Orchestra, Alexander Gauk, cond. COLOS- somewhat lighter touch than his two com- 1951 SEUM CRLP 172. L2 -in. $3.98 (with Matcha- petitors; with the exception of the fairly -1953 variani: Concerto for Violin and Orchestra). tame- sounding 4, his tempos are faster, -Jan Damen; London Philharmonic Or- and though he builds some nice climaxes 1954 chestra, Eduard van Beinum, cond. LON- in 3, his reading of 2 is almost routine. DON LL 777. 12-in. $3.98. As to the disks of the individual Legends, available -Emil Telmanyi; Danish State Radio Sym- Jensen's of 2 and 4 was taken from the above phony Orchestra, Thomas Jensen, cond. complete recording. The two Ormandy MERCURY MG I0131. 12 -in. $4.98. disks duplicate each other, but are not the -Camilla Wicks; Stockholm Radio Sym- same performance of 2 as the one in the NOW phony Orchestra, Sixten Ehrling, cond. complete version. Ormandy's interpreta- CAPITOL P 8175. 12 -in. $4.98. -Ginette Neveu; Philharmonia Orchestra, Walter Süsskind, cond. ANGEL 35129. A complete index, alphabetical 12 -in. $4.98, Of $3.48 (with Suk: Four by composer or collection -title, Pieces, Op. 17). -Arnold Eidus; Orchestra Society of of all the classical and semi- Vienna, Frederick Hummel, cond. STRADI- classical, jazz and spoken word VARI srR 611. 12 -in. $4.98 (with Brahms: record reviews contained in Sonata for Violin and Piano, No. 2, in A major, Op. loo). HIGH FIDELITY Magazine from 1951 through 1953 and 1954. Discographies included. FOUR LEGENDS, OP. 22 (3 Complete Editions) I. Lemminkäinen and the Maidens of A "must" reference. Saari, Op. 22, No. I 2. The Swan of Tuonela, Op. 22, No. 3 (6 Additional Editions) ONLY 500 EACH 3. Lemminkäinen in Tuonela, Op. 22, Send for your copies NOII ' No. 2 4. Lemminkäinen's Return, Op. 22, No. 4 (1 Additional Edition) The Four Legends, based on a portion of the WHAT IS HI -FI? HIGH FIDELITY Magazine oen1 a10 epic Kakvala, were composed and revised A journey behind the between 1893 and 1900. The Swan of scenes with Kurt List, Westmin- Publishing House Tuonela, most famous of the four, was ster's musical director, describes Great Barrington, Mass. written first; in its original form it was the high fidelity and the making of prelude to a projected opera, The Building high fidelity records. Informa- Enclosed find . Please of the Boat, which was abandoned by the tive, interesting, of permanent value to send me a copy of: composer. In the catalogue of Sibelius' every record buyer. For your free copy, send a card to: works, it is listed as the third of the Legends, 195x-1953 Index but since the rather recent discovery of the WESTMINSTER RECORDS 1954 Index DEPT. HF half- forgotten and unpublished 1 Nos. and 275 Seventh Ave.. New York I. N. Y. 2, it has been placed second in the suite of NAME four works, at the suggestion of the com- ADDRESS poser, since it then not only provides a contrast of music and mood but also follows the story line. The three complete versions - variously labeled Lemminkäinen Suite, Four Legends for Orchestra, and The Legends of Lemmin- No C.O.D.'s, please

NOVEMBER 1955 ;

www.americanradiohistory.com tion is the only really satisfactory one of favoring slightly the brasses and percussion, this single movement; it has the same breadth and Ormandy's offering the richest tone. EVERY DAY and noble mystery as the one in the complete Ormandy and Toscanini (also Malko) make Legends, but the recording - while alto- minor alterations in the score in order to EVERY WEEK gether first -rate - is not quite as wide -range, achieve certain effects, whereas Tuxen ad- nor is the English horn tone quite as warm. heres to the original, at the same time giv- Complete Editions: ing a firm, clear, straightforward account of EVERY MONTH -Philadelphia Orchestra, Eugene Ormandy, the music, perhaps not quite as dramatic Cond. COLUMBIA ML 4672. I2 -In. $4.98. and exciting as Ormandy's and Toscanini's conducts a more and more discriminating music -Danish State Radio Symphony Orchestra, but very fine indeed. Ormandy LL 843. powerful, imaginative reading, full of drama owners of high fidelity equip- Thomas Jensen, cond. LONDON listeners, and meaning. Toscanini drives his points ment, looking for perfect copies of Long 12 -in. $3.98. -Stockholm Radio Symphony Orchestra, home harder than seems necessary. He also Playing Records, are discovering the Sixten Ehrling, cond. CAPITOL P 8226. takes the opening section more slowly and mail order record outstanding personal 12 -in. $4.98. the hymnlike section more quickly than service of Nos. 2 and 4 only: either Ormandy or Tuxen. Still, there is no -Danish State Radio Symphony Orchestra, denying the tension and electric excitement Thomas Jensen, cond. LONDON LD 9125. of his reading. THE MUSIC BOX to -in. $2.98. -Philadelphia Orchestra, Eugene Ormandy, No. 2 only: cond. COLUMBIA ML 2158. to -in. $2.98 A unique mail order service which -Philadelphia Orchestra, Eugene Ormandy, (with The Swan of Tuonela; Rachmaninoff: guarantees that: cond. COLUMBIA MI. 2158. to -in. $2.98 Three Preludes). The same. COLUMBIA AL 9. (with Finlandia; Rachmaninoff: Three 10 -in. $2.98 (with The Swan of Tuonela). Arturo Tos- * Every record mailed is a brand Preludes). The same. COLUMBIA AL 9. -NBC Symphony Orchestra, new, factory fresh, unplayed copy. Io -in. $2.98 (with Finlandia). canini, cond. RCA VICTOR LRM 7005. -Chicago Symphony Orchestra, Frederick to -in. $2.98 (with Ponchielli: La Gioconda: * Every record mailed is most care- Stock, cond. COLUMBIA -ENTRE RL 3002. Dance of the Hours; Rossini: William Tell: fully inspected for visible imperfec- 12 -in. $1.98 (with works by Reznicek, Passo d sei). The same. RCA VICTOR LM tions. Every possible flaw is care- Enesco, and Tchaikovsky). 1834. 12 -in. $3.98 (with miscellaneous fully spot checked, on the finest -London Symphony Orchestra, Anatole works by Beethoven, Berlioz, Brahms, do not equipment, and records that M -G -M E 166. to -in. Hérold, and Ponchielli). are Fistoulari, cond. conform to our rigid standards $2.98 (with Finlandia; Valse triste; Festivo). -Danish State Radio Symphony Orchestra, rejected. -Symphony orchestra, Leopold Stokowski, Erik Tuxen, cond. LONDON LD 9127. lo- RCA VICTOR LRM 7024. I0 -ln. $2.98 in. $2.98 (with Grieg: Two Elegiac Melodies). is cleaned and cond. * Every record dusted, triste; Debussy: -London Symphony Orchestra, Anatole enclosed in a polyethylene envelope, The Tempest: Berceuse; Valse Fistoulari, cond. M -G -M E 166. to -in. to protect it from possible dust (with Prélude d l'Après-midi d'un faune). damage, while in transit. $2.98 (with Festivo; The Swan of Tuonela; FINLANDIA, OP. 26, NO. 7 (12 Editions) Valse triste). The same. M -G -M E 3046. works by * Every record is carefully packed, to In its original form, Finlandia was the finale 12 -in. $3.98 (with miscellaneous reach you in absolutely perfect for a special evening of historic tableaux Bach, Berlioz, Granados, Grieg, Ippolitov- condition. presented in Helsinki in 1899 as a benefit Ivanov, Massenet, and Mussorgsky). for the movement to free the Finnish press, -Bamberg Symphony Orchestra, Heinrich * Every order over $6.00 is mailed then under the thumb of the Russians. Hollreiser, cond. Vox PL 935o. 12 -in. POSTAGE FREE anywhere in The patriotic fervor of this music caught on $5.95 (with Brahms: Academic Festival Over- the U. S. A. On orders of less than with the general public; and in order to avoid ture; Liszt: Les Préludes; Wagner: Siegfried mail- $6.00, please add 40k to cover trouble with the Russians, Sibelius was Idyll). ing charges. obliged to perform it under several different -Philharmonia Orchestra, Herbert von It remains the most popular of the Karajan, cond. ANGEL 35002. 12 -In. $4.98, fast, and titles. * Our service is prompt wrote for that evening of tableaux, or $3.48 (with Symphony No. 5). courteous. pieces he though he also drew two suites of Scènes -Austrian Symphony Orchestra, Kurt Wöss, this music. cond. REMINGTON R 149 -25. to-in. $1.45 (with are sold at the manu- Historiques (q.v.) from * All records but eight Mozart: Thamos, King of Egypt). The same. facturer's suggested list price only. Actually, there are not twelve different recorded versions of Finlandia, as REMINGTON R 199 -115. $1.95 (with mis- Fistoulari, cellaneous works by Rodgers, Offenbach, * We can supply you with any LP, those by Ormandy, Toscanini, on any label, IF it is currently and Wöss each appear in two guises. The and Rachmaninoff). available. only ones really worth considering are the -Philharmonia Orchestra, Nicolai Malko, performances by Ormandy, Toscanini, and cond. RCA VICTOR Lac 1028. 12 -in. * THE MUSIC BOX is devoted to Tuxen. All three enjoy top -notch reproduc- $2.98 (with miscellaneous works by Elgar, mail orders exclusively. The gen- tion. with Tuxen's the brightest, Toscanini's Weber, Mendelssohn, and Wolf- Ferrari). eral public do not have any access to our stock, which is handled only by two people. CHRISTMAS SHOPPING? LET US DO IT FOR YOU! * When ordering, simply list the records needed, plus your check or We will enclose a hand lettered money order to cover their cost. To Greeting Card. Send us your list. avoid delay, list substitutes, since We will do the rest - and why not we will never make substitutions, without your written permission. be Santa to yourself? Sorry ... no C. O. D's. QUIET prevents static. QUIET lubricates and protects the * grooves. QUIET retards needle wear. floc 1plir1c -BoN FOR COMPLETE RECORD CARE Complete Kit $2.00 Postpaid.

MAIN STREET QUIET is a special liquid prepara- BEYLAND ENGINEERING CO. tion for the complete care and pre- YALESVILLE l'at. l'cnd. CONNECTICUT GREAT BARRINGTON, MASS. National Dixtributr servation of phonograph records. Ercona Corp., 551 bth Ave., N. 1. l \. 1

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com RECORDS

KARELIA SUITE, OP. l I (2 Editions) Fauré: Pelléas et Mélisande Suite; Stravinsky This three -movement suite is drawn from Capriccio). one of Sibelius' early efforts at incidental Record Market music, composed in 1893 for a historical RAKASTAVA (THE LOVER) SUITE, OP. 14 pageant at Viborg University in the south- (1 Edition) east Finnish province of Karelia. It is not r. Rakastava, the Lover his most inspired work, the only really in- 2. The Way of the Lover teresting movement being the Alla Marcia. 3. Good Night, My Beloved - Farewell Jensen does all he can to invest the suite One of the loveliest of Sibelius' smaller Stereotape with stature, and he almost succeeds, his works, Rakastava is essentially a suite for reading of the Intermezzo, in particular, string orchestra, though there are small for the discriminating stereo- audiophile being far more interesting than Blomstedt's. parts for kettledrums and triangle. Its in- and serious music lover, a new line of pre -recorded devoted Also decidedly in his favor is London's spiration derived from one of Sibelius' tape entirely to two channel stereo-binaural faithful reproduction. Blomstedt's routine songs for male voices, also entitled Rakastava, performance is marred further by cloudy with text taken from the epic Kanteletar. exclusive variable separation techniques sound. AMPEX equalization, stacked heads, 7,4.5 Litschauer addresses himself to this music custom service available to match equali- -Danish State Radio Symphony Orches- rather too ponderously. His reading could zation, head arrangement and speed of your recorder tra, Thomas Jensen, cond. LONDON LI. have done with more froth and buoyancy, catalog on request 634. 12 -in. $3.98 (with Symphony No. 5). particularly in the second movement and -Symphony Orchestra of Radio Berlin, the first part of the third. In the suite's DEMONSTRATION TEST TAPE $2.00 P.P. Jussi Blomstedt, cond. URANIA URLP 7038. opening and closing sections, however, his 5607 melrose ave., hollywood, calif. T 2 -in. $3.98 (with Pelléas et Mélisande Suite). interpretation is properly broad -lined and lofty. Vanguard has provided excellent, PELLEAS ET MELISANDE - SUITE FOR SMALL wide -range reproduction. ORCHESTRA FROM THE INCIDENTAL MU- -Vienna State Opera Orchestra, Franz SIC TO MAETERLINCK'S PLAY, OP. 46 Litschauer, cond. VANGUARD VRS 430. (I Incomplete Edition) 12 -in. $4.98 (with Valse triste; Grieg: CHICAGO'S I. At the Castle Gate Norwegian Dances). 2. Mélisande H i -Fi Record 3. On the Seashore EN SAGA, OP. 9 (1 Edition) H 4. A Spring in the Park En Saga, composed in 1892, despite its title eadquarters 5. The Three Blind Sisters tells no story, but is a noble, sometimes 6. Pastorale dramatic, and often mysterious tone picture 101 labels- featuring 7. Mélisande at the Spinning -Wheel of the Northland. Much of its material. Audiophile and Cook 8. Entr'acte derived from an octet for flute, clarinet, 9. The Death of Mélisande and strings that the composer had written Sibelius' incidental music to Maeterlinck's the previous year, contains the kernels of Pelléas et Mélisande is much closer in spirit some of the typically Sibelian music which DUBLIN'S to Fauré than to Debussy. Its most re- was to follow in the years to come. Van warding moments are to be found in the Beinum leads a performance that is heauti- 203 W. Wacker Dr., Chicago 6, Ill. second and ninth movements, both delicate tulle stcled. with moments rrt st.rrelinect. tone portraits of the .ill- starred Mélisande. The only complete recording of the suite. issued some time ago in a limited edition by Concert Hall, is now out of print. The Urania version, complete except for the omission of No. 3, is most sensitively in- YOUR terpreted and carefully phrased by Blom - stedt, who maintains a quiet, reposeful MUSIC atmosphere altogether in keeping with the spirit of the composition. The recording is satisfactory, but the relatively distant micro- GIFT! phone placement has imparted a slightly ,splices in a wink.' hollow sound to some sections, especially * NO SCISSORS! NO RAZOR BLADES! the woodwinds. GIBSON GIRL TAPE SPLICERS This is one of the nicest record s ands we have seen. for ever y lover -Symphony Orchestra Radio Diagonal cuts tape ends of Berlin. el recorded music. The perfect ifs for you or your musical friends, and trims splice edges with the "Gibson shape. Jussi Blomstedt, cond. URANIA URLP 7038. 10 handy compartments hold 200 long playing records oI either size. Girl" Patent Pending. also 78 rpm albums. Sturdy black wrought iron with rubber tips. 25" Model TS-4 $8.50 List 12 -in. $3.98 (with Karelia Model TS-4DLX . Suite). r 22" x 10 ". Shipped completely ssemhled, express collect. You can't (Must./ $11.50 LUst at possibly buy one in stores as they re sold only by mail with 95 your dealer or write: O9 POHJOLA'S DAUGHTER SYMPHONIC OW MONEY BACK GUARANTEE. Please remit with order ROBINS INDUSTRIES CORP. - FAN- -08 Bell Dept. 1 Blvd. HF Beyside 61, N. Y. TASIA, OP. 49 (2 Editions) LESLIE CREATIONS Bar 9516 Dept. 219 Phila. 49. Pa. Pohjola's Daughter takes its inspiration - like the Four Legends - from the Finnish Protect national epic, the Kalevala. Collins treats Your this dramatic score with an effective com- LP bination of spaciousness, sweep, and power, all of which has been transferred to the microgrooves with full, well- rounded tone. may a It be matter of personal taste, but 1 prefer this approach to Koussevitzky's. where the tempos are faster. Weighting the choice further toward Collins is the H.R.S. LP CASE NO. 7 limited range of the RCA Victor recording, Deluxe dust-prool hold originally made cases to ID LP records. Available in Red, on 78 -rpm disks in 1936. Blue. Green and Tan and in Iwo sizes for either 10" or 12" records. Combination TAPE & 45 rpm RECORD RACK Rich hook -like binding of simulated is -London Symphony Orchestra, Anthony Levant leather stamped with New STACK A -RACK holds over thirty 5" and 7" recorded tape 23 k genuine goldleal. See your dealer, il not available order boxes or 45 rpm album bores. Accommodates Collins, cond. LONDON LL 1059. over 225 single 45's 12 -in. direct. Please specily size and color. lo -inch 52.75 and 12-inch or 160 extended -play albums. "Expansion Desig i' enables stacking $3.98(with Symphony No. 4). 52.95 (10.inch S3 and 12-inch 53.25 W. of Miss. and in Ala. Fla. one rack upon another as your collection grows, using sockets sup- La., Miss.. Minn.) Two or more cases postpaid in U.S.; add 2Sc lot plied Top shell holds tape machine -Boston Symphony Orchestra, Serge or record player. Completely Kous- one case No COD's please_ assembled. 22"x 14 "x 9" with rubber bps. 5615 in black, 5815 in sevitzky, cond. brass, postpaid. Please remit with order. Money lack Guarantee! RCA VICTOR LCT 1152. H. ROYER SMITH CO. Positively not sold in states! The perfect "Hiü' Christmas Gift! 12 -in. $3.98 (with Copland: Lincoln Portrait; Dept. H, Philadelphia 7, Pa. c LESLIE CREATIONS Box 9516 Dept. 209 Phila 49, Pa

NOVEMBER 1955 85

www.americanradiohistory.com %I:1

cond. ANGEL 35154. 12-in. $4.98, or $3.48 yet it is full of color and contrast of mood. through more leisurely tempos; in so doing, waltzes by Saint -Saëns, Mozart, Others may invest the music with more ex- they sacrifice some of the music's drama. (with Liszt, Berlioz, Stravinsky, and citement, but they could make it no more Von Karajan does manage a certain air of Busoni, Chabrier). convincing. The instrumental solos and mystery and builds up a fine climax toward State Opera Orchestra, Franz choirs of the Concertgebouw Orchestra are the end, as Van Beinum does not. Repro- -Vienna cond. VANGUARD VAS 43o. admirably defined in London's superb re- duction on both of the latter disks is alto- Litschauer, 12 (with Rakastava; Grieg: Nor- cording. gether excellent, but wide -range sound alone -in. $4.98 -Amsterdam Concertgebouw Orchestra, cannot compensate for the strength of the wegian Dances). Symphony Orchestra, Anatole Eduard van Beinum, cond. LONDON LL Koussevitzky interpretation. -London Fistoulari, cond. M -G -M E 166. to -in. 12 -in. $3.98 (with Tapiola). 737. $2.98 (with Finlandia; The Swan of Tuonela; Festivo). SCENES HISTORIQUES (1 Incomplete Edition) -Symphony orchestra, Leopold Stokowski, 1. Festivo, Op. 25, No. 3 (1 Additional cond. RCA VICTOR LRM 7024. t0 -in. $2.98 Edition) (with The Swan of Tuonela; The Tempest: 2. At the Drawbridge, Op. 66, No. 3 Berceuse; Debussy: Prélude d l'Après -midi 3. Love Song, Op. 66, No. 2 d'un faune). 4. The Chase, Op. 66, No. t In 1899, while Finland was still under Rus- CHAMBER MUSIC sian domination, Sibelius composed inci- -"Centennial Symphony Orchestra" (Bos- dental music for some historic tableaux ton Symphony Orchestra, Serge Koussevit- QUARTET IN D MINOR, OP. 56 ( "VOCES which were presented at the Swedish Theater zky, cond.) CAMDEN CAL 159. 12-in. $ 1.98. INTIMAE ") (1 Edition) in Helsinki. Both the tableaux and the (with Liszt: Mephisto Waltz; Tchaikovsky: The only one of Sibelius' chamber works music had definite patriotic connotations, Francesca da Rimini). to be recorded on microgroove happens which made them suspect by the Russian -Philharmonia Orchestra, Herbert von also to be his outstanding essay in this censor. From this music the composer later Karajan, cond. ANGEL 35082. 12 -in. field. Unfortunately, it is far too difficult Scenes, Opp. 25 drew two suites of Historic $4.98, or $3.48 (with Symphony No. 4). for most ensembles to perform. Even the and 66, as well as the tone poem Finlandia. -Amsterdam Concertgebouw Orchestra, Grillers, who are usually equal to any musi- Aside from the last -named work, the only Eduard van Beinum, cond. LONDON LL 737. cal obstacle, are overcautious with it. Their wide recogni- portion of the music to gain 12 -in. $3.98 (with En Saga). tempos are so slow as to be ponderous. tion has been Festivo, a spirited piece in the Had they played with more abandon and a The remaining move- beauty tempo of bolero. THE TEMPEST - INCIDENTAL MUSIC TO drama, with less attention to tonal ments are light, conservatively melodic in SHAKESPEARE'S PLAY, OP. 109 for its own sake, theirs would have been a the early Sibelian manner, pleasing if un- Suite No. r felicitous account of the music. The important. 7. Berceuse (1 Edition) aforementioned tonal beauty, however, is As can be seen from the listing above, It is a pity that this lone movement from wonderfully preserved in an intimate re- Beecham includes Festivo, the third move- among the prelude and two suites is all of cording. The old Budapest Quartet re- ment from the first suite, as well as all of Sibelius' splendid score for The Tempest that cording for the Sibelius Society is the only the second suite, which he plays in reverse has found its way onto LP. The work has completely satisfactory presentation of the order. He omits the AllOverture and Scène never been available complete, but more work I have ever encountered; it should be from the first suite. His highly polished per- of it than this was available on 78 -rpm disks. reissued on LP. formances are marked by great clarity and One should, perhaps, be grateful for small -Griller String Quartet. LONDON LL 304. rhythmic verve, the orchestral playing is blessings, but the present record is no bless- 12 -in. $3.98. warm, the sound full and fairly close -to. ing. Stokowski drowns this beautiful ex- Fistoulari's reading of Festivo is straight- cerpt in sentimentality. The sound is so -so, CHORAL MUSIC forward and rather unimaginative, without a trifle muddy in the highs. FINLANDIA HYMN, OP. 113, No. t 2 (1 Edition) Beecham's style and finesse. Stokowski, -Symphony orchestra, Leopold SONG OF HEART, OP. 18, No. 6 -Royal Philharmonic Orchestra, Sir Thomas THE MY cond. RCA VICTOR LRM 7024. to -in. $2.98 (I Edition) Beecham, cond. COLUMBIA ML 4550. 12 -in. (with The Swan of Tuonela; Valse triste; fine works for chorus, these (with Violin Concerto). Of all Sibelius' $4.98 Debussy: Prélude d f April-midi dun faune). for male voices are the only ones in the No. r only: two -London Symphony Orchestra, Anatole LP catalogue. Finlandia Hymn is the corn- VALSE TRISTE, OP. 44 (4 Editions) poser's own arrangement of the hymn sec- Fistoulari, cond. M -G -M E r66. to -in. The popular Valse triste is all that has been his symphonic poem Finlandia. $2.98 (with Finlandia; The Swan of Tuonela; tion from handed down to posterity from the incidental It is the last number of a suite of Masonic Valse triste). music Sibelius wrote for the play Kuolema Ritual Music, put together over a period of (Death), by his brother -in -law, Arvid Janie - years Finlandia Hymn was arranged in 1903. It was originally scored for - TAPIOCA, OP. 112 (3 Editions) felt, in 1938 - and revised in 1948. Though the Like Sibelius' later symphonies, Tapiola strings, but when it was extracted from the original calls for piano or organ accompani- evolves from a thematic fragment, with music for the play the composer restored it ment, it is presented here in what must surely every phrase being derived from the one for small orchestra. Not one of the four be a more appropriate form: a cappella. It is which precedes it. Many program annotators LPs can be termed really satisfactory. Fis- delivered with both reverence and enthusi- have invoked the Northland's silent, mys- toulari's broad, dignified interpretation is asm, also some choppy phrasing. Dating terious, forest scenery to characterize works far and away the best, but his distorted re- from 1895, The Song of My Heart is a work that Sibelius insists are pure music and cording, with its noisy surfaces, is far and full of simple beauty and deep feeling. It nothing else. Here, however, the composer away the worst. Compelled to settle for is sung here with great sensitivity. Except himself is purposely evoking the mood of half, the collector will have to make do with for a little distortion in the loudest spots, is mystery which surrounds Tapio, the mythi- Markevitch, whose interpretation full of this is a fine, realistic recorded presentation cal Finnish forest god. Both as an example brooding melancholy - as it should be - of a superior male chorus. of musical craftsmanship and as a dramatic but is too slow to seem much like a waltz, -Helsinki University Chorus, Mariti Tur- it is fast. Ex- listening experience, Tapiola is one of Sibeli- except at the end, where too unen, cond. REMINGTON R 199 -167. 12 -in. us' major achievements. cellent sound here, as in the Litschauer ver- $1.95 (with choral works by Haapalainen, Those willing to forego fidelity for a sion, a bright, clean reading that accents Kilpinen, Palmgren, Sonninen, Törnudd, dramatic and beautifully integrated perform- the work's rhythmic aspects at the expense Victoria, Palestrina, and Handel). ance will select the aging Koussevitzky disk, of its dramatic and emotional ones. This taken from 78s. Except for some distortion leaves Stokowski bringing up the rear with Issue: of the upper frequencies, the sound is not a fairly slick product which promises a good Next too bad, and the combination of power, deal until it reaches the climax, where swoop- A Dvorak Discography clarity, and forward motion generated by ing strings and Viennese -waltz retards spoil by the conductor is unsurpassable. Both Von everything. Harold C. Schonberg Karajan and Van Beinum strive for clarity -Philharmonia Orchestra, Igor Markevitch,

86 HIGH FIDELITY MAGAZINE

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88 HIGH FIDLI-ITY MAGAZINE

www.americanradiohistory.com part II Microphones on Parade by J. GORDON HO LT

distinguishing characteristic ONE of the truly dedicated supplied with a microphone, for it is tacitly understood that high fidelity enthusiast is his passionate contempt for the when you reach a certain quality level you must choose a so- called "packaged system." The ready -to -play system is microphone that suits your recording needs. So the pur- not really, in his purview, a system at all, but a "unit" de- chaser of a professional -quality recorder must buy his own signed to offset minimal quality with a maximum of styling, microphone. He has no choice. and built to suit the negligible technical accomplishments This is not saying that he has no problems. When he has of Aunt Sarah, who views a phonograph as an obstacle be- settled upon the microphone he wants, he still must figure tween recorded music and her doggedly uncritical ear. out how to connect it to his recorder. There are certain There is a definite need for packaged systems, for there industry- standard ways of connecting microphone cables are many Aunt Sarahs who would rather just listen than and plugs, and it may save you some trouble to observe fiddle with AES's and NAB's and develop ulcers wondering them whenever wiring plugs or extension cables. Tradi- if they are using the right equalization for a record that tionally, high -impedance microphones are run through won't sound right under any conditions. The great virtue of single- conductor shielded cables, terminated by either a the ready -to -play item is its simplicity of operation, but it is standard phone -type jack or a connector of the type shown this very simplicity that limits its versatility. in Fig. z. The inner cable conductor is always connected to One of the strongest selling -points for tape recorders sold the inner section of a coaxial plug, or to the tip of a phone specifically for home use is their simplicity of operation. jack. Reversing these connections will cause hum. Such statements as "Even a child can make good record- Low-impedance lines are usually of the "balanced" ings!" appear persistently in popular magazine advertise- variety, having a common ground conductor ( the cable ments. But the catch is that even an experienced recording shield ) and two signal lines inside the cable. Fig. 2 shows engineer can't get much better results with one of these the customary way of connecting a two -conductor shielded machines than can the proverbial child. Such a tape re- cable to a three- conductor input plug, such as one of the corder is almost invariably supplied with its own micro- Cannon "XL" series plugs. Note the color -coding of the phone as part of the "package," and anyone buying the unit inner conductors when wiring these plugs, and connect them as shown. Reversing them will not cause any difficulties if the mike is to be used by itself alone, but if it is ever ((«((((((((anua, used with other mikes ( in conjunction with a multiple - input mixer ) it may throw them out of phase with each other, causing a dreadful aural muddle. The same connections should also ANN u$w be used when fabricating mike extension '- AND SOLDER cables, for the same reason. Figure r. Connection of a typical Hi -Z microphone plug.

would do well to start by throwing out the mike and buying CABLE LOSS a better one if he wants to get the most out of the recorder. Cable Length DB LOSS If the recorder (unthinkably!) happens to be one of the in Feet in Level variety in which various components - including the micro- 20 .8 phone are "balanced" so that the excesses of one compen- - 40 sate for the deficiencies of the others, the whole array 1.4 6o 2.0 must be used, or junked, as a unit. I00 3.2 A recorder designed to suit professional tastes is never 150 4.4 200 5.6

fable 1. Loss of output from crystal mike due to cable length. Figure 2. Lo -Z connections to Cannon XL- series connector. However, RED OR extension cables should be used with discretion SHIELD Colors refer to inner cables. (WHITE following high - impedance microphones. Too much cable will seriously attenuate the high -frequency response of any BLACK Hi -Z (high -impedance) mike, unless it be a crystal or a Continued on next page

NOVEMBER 1955 89

www.americanradiohistory.com MICROPHONES The correct connections for an input transformer are usually clearly explained in the accompanying instruction Continued from preceding page sheet. The primary winding should be strapped to match fed to it, and ceramic type. The shielded cable acts as a capacitor thrown the rated impedance of the mike that will be type, the across the mike line, so increasing its length will increase if the transformer happens to be a cable- mounting kept as short the shunt capacitance. And the higher a mike's impedance, shielded lead from it to the recorder should be If the trans- the more highs will be lost for a given length of cable. Fig. as possible, not exceeding four of five feet. the recorder, orient it for mini- 3 shows the effect of different cable lengths on a 25,00o- former picks up hum from ohm dynamic, ribbon, or condenser microphone. mum hum pickup. as to impedance The same effect also tends to occur with Lo -Z mikes, but Low impedance mikes are fairly critical ohms, it does not assume any importance until the cable is ex- matching, so if a mike is rated at 5o ohms, or 30/60 that tended for several hundred feet - an unlikely circumstance. the transformer should be connected to take precisely of Lo -Z With crystal and ceramic mikes, additional cable simply impedance. Those microphones that offer a choice the trans- reduces the mike's output over the entire frequency range. output impedances should be set for 5o ohms and to be the Table r, for a typical crystal unit, shows that the loss would former connected appropriately, since this seems most common figure for Lo -Z mikes. Standardizing at 5o ohms will permit practically any other mike to be used with the recorder without any mismatch. Nearly all of the Lo -Z mikes are designed to operate .° into a so- called unloaded, or unterminated, input trans- tIV1.0 NA is, having no terminating resistor con- Figure 3. High -frequency loss due to excessive cable former; that one length on Hi -Z (25,000 ohm) dynamic or ribbon mike. nected across the transformer's high - impedance winding. If the recorder comes already equipped with an input trans- not begin to be objectionable until the cable were extended you may assume that it does not have any additional to well over roo feet, which gives us considerably more former across it, and you can safely use most Lo -Z latitude than with the other Hi -Z types. termination with it, so long as the other operating require- If it looks as if many of the anticipated recording jobs microphones are met. But when a microphone manufacturer will necessitate running long cables from the mike, as would ments recommends that one of his products be terminated, he be the case if we were planning to record large instrumental it must have a resistive load or its performance will or choral groups at live performances, it would be better to means suffer. This should be added between the mike and its plug choose a Lo -Z unit to begin with, unless quality require- so that other mikes may still be used with the recorder. Fig. ments were such that a crystal mike would suffice. And how this resistive termination can be added, in case since probably most of the recorders in home use are 4 shows has omitted the instructions. equipped to take Hi -Z inputs only, an input matching the manufacturer transformer would probably have to be installed between the mike and the recorder, to match the Lo -Z mike to the a Lo -Z preamplifier's high impedance. Figure 4. Terminating microphone. RZR is the rated Cable -type input transformers are available from most impedance of the microphone. parts supply houses, and their quality is usually high enough for use with most good mikes. For a mike of extremely high quality, a more ambitious input transformer should be High -impedance microphones are invariably used with used, or some quality will be lost. Either way, the trans- resistive termination, but the resistance value is far less former should have better frequency response characteristics critical. Termination affects the low- frequency response of than the mike, for minimum quality deterioration. The best crystal and ceramic mikes, reducing the bass as the resis- input transformers are not available for cable mounting, tance is reduced below a certain point, usually around though, so one of these would have to be wired directly into 500,000 ohms. With other Hi -Z types, reducing the ter- the line and allowed to sit near the recorder on some avail- mination value below a certain point rolls off the high-fre- able ledge or table space, with its connecting lugs naked quency response. The ideal value depends upon the im- and exposed to view or covered with insulating tape. There pedance of the mike in question, but it usually lies around may, in some cases, be room enough inside the recorder roo,000 ohms. However, as long as the termination is fairly itself for the transformer to be permanently installed there. high, as it is in most Hi -Z recorder inputs, mikes may be But some care must be exercised in such building -in projects, blithely interchanged without noticeably affecting their to make sure that the input transformer does not pick up hum from the recorder's motor or power transformer. The behavior. Some of the best microphones available have extremely input plug would also have to be changed, of course, to one high output too high, in fact, to be used "raw" into a of the three- conductor variety. If space limitations at the in- - preamplifier without risk of overload. A mike with a put connector location prohibit the installation of a pro- RETMA Gm output rating of 140 db or higher is almost fessional-type input receptacle, a three -circuit phone jack a guarantee of high -level overload, unless some form of can be used instead, with the body of the plug wired to the attenuator is inserted between it and the preamplifier. Fig. cable shield and the center and tip sections carrying the t balanced line. Continued on page 92

90 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "BUILD - IT - YOURSELF" AND ENJOY

IN KIT FORM

0 Heathkit FM TUNER KIT rFeatures brand new circuit and physical design. Matches I WA-P2 Preamplifier. Modem tube line -up provides better than 10 uv. sensitivity for 20 db of quieting. Built -in l'' power supply. - Incorporates automatic gain control- highly stabilized f Ilator- illuminated tuning dial -pre- aligned IF and % ,,IiQ s and front tuning unit. Uses MODEL FM -3 6B(I7A CcodCascode RF stage, 6U8 oscillator-oscillator-mixer, mixer, two Heathkits 6CB6 IF amplifiers, 6AL5 ratio detector, 6C4 audio $2450 amplifier, and 6X4 rectifier. Shpg. Wt. 7 Lbs.

Heathkit 25 -Watt HIGH FIDELITY AMPLIFIER KIT kitit§ttiv Features a new-design Peerless output transformer and KT66 output tubes. Frequency response within ±1 db from 5 cps to 160 Kc at 1 watt. Harmonic distortion only 1% at z. 25 watts, 20- 20,000 cps. IM distortion only 1e', at 20 watts. 4, 8, or 16 ohms output. Hum and noise, 90 db below rated output. Uses 2- 12AU7's, 2- KT66's and 5R4GY. Attractive physical appearance harmonizes with WA -P2 Preamplifier. Kit combinations: 1V -5M AMPLIFIER KIT: W =5 COMBINATION AMPLIFIER Consists of main amplifier and KIT: Consists of W -5M am- power supply, all on one chas- plifier kit plus Heathkit Model sis. Shpg. Wt. 31 Lbs. Express $597.5 WA -P2 Preamplifier kit. Shpg. $7950 only. wt. 38 Lbs. Express only. © Heathkit HIGH FIDELITY PREAMPLIFIER KIT Designed specifically for use with the Williamson Type Amplifiers, the WA -P2 features 5 separate switch :selected input channels, each with its own input control -full record equalization with turnover and rolloff controls -separate bass and treble tone controls -and many other desirable features. Frequency MODEL WA -P2 response is within ±1 db from 25 to 30,000 cps. Beautiful satin-gold finish. Power requirements from the Heathkit Williamson Type $197.5 Amplifier. Shpg. Wt. 7 Lbs.

Q Heathkit Williamson Type HIGH FIDELITY AMPLIFIER KIT This amplifier employs the famous Acrosound TO-300 "Ultra Linear" output transformer, and has a frequency response within ±1 db from 6 cps to 150 Kc at 1 watt. Harmonic distortion only 1' , at 21 watts. IM distortion at 20 watts only 1.3 %. Power output 20 watts. 4, 8, or 16 ohms output. Hum and noise, 88 db below 20 watts. Uses 2- 6SN7's, 2- 5881's and 5V4G. Kit combinations: W -3M AMPLIFIER KIT: Consists of W -3 COMBINATION AMPLIFIER main amplifier and power sup- KIT: Consists of W -3M amply for separate chassis con - plifier kit plus Heathkit Model stroction. Shpg. Wt. 29 lbs. $4975 WA-P2 Preamplifier kit. Shpg. Express only. Wt. 37 lbs. Express only. $69

© Heathkit Williamson Type HIGH FIDELITY AMPLIFIER KIT This is the lowest price Williamson type amplifier ever offered in kit form, and yet it retains all the usual Williamson features. Employs Chicago output transformer. Fre- quency response, within +1 db from 10 cps to 100 Kc at 1 watt. Harmonic distortion only 1.5?, at 20 watts. IM distortion at rated output 2.7 %. Power output 20 watts. 4, 8, or 16 ohms output. Hum and noise, 95 db below 20 watts, uses 2- 6SN7's, 2- 5881's, and 5V4G. An exceptional dollar value by any standard. Kit combinations: W -4AM AMPLIFIER KIT: Consists of W -4A COMBINATION AMPLIFIER main amplifier and power sup- KIT: Consists of W -4AM amply for single chassis construe - plifier kit plus Heathkit Model lion. Shpg. Wt. 28 lbs. Express $3975 WA -P2 Preamplifier kit. Shpg. $5950 only. Wt. 35 lb_s. Express only.

Q Heathkit 20 -Watt HIGH FIDELITY AMPLIFIER KIT The World's This model represents the least expensive route to high fidelity performance. Frequency Finest response is db from 20- 20.000 cps. Features full 20 watt output using push -pull 6I.6's and has separate bass and treble tone controls. Preamplifier and Electronic main amplifier on same chassis. Four switch -selected inputs, and MODEL A98 Equipment separate bass and treble tone controls provided. Employs miniature tube typer for low hum and noise. Excellent for home or PA in Kit Form application.. Shpg. Wt. 23 Lbs. $3550

. . I V p. t,í7 a Q 12,0,-t1 LU 1A Xt HEATH COMPANY Heathkit construction manuals are full of big. clear pictorial diagrams that show the A Subsidiary of Daystrom Inc. placement of each lead and part in the circuit. In addition, the step -by -step procedure describes each phase of the construction very carefully, and supplies all the in formation 8, you need to assemble the kit properly. Includes information on resistor color- codes. BENTON HARBOR tips on soldering, and information on the tools you need. Even a beginner can build high quality Heathkits and enjoy their wonderful performance. MICH I G A N

NOVEMBER 1955

www.americanradiohistory.com TESTED IN THE HOME at all. You can imagine how organ pedal the soprano, from Row A to about Row M. notes soared out! They were as organ -like The trick was to get into Row F for both Continued on page 96 as any I've heard. voices. When that is achieved, sound is When I tried a symphony, I discovered clean, sharp, and (particularly in the bass) There isn't much to say about the power that the two level controls on the Imperial full -bodied ... or perhaps a good descrip- amplifier except that it, too, is first -rate. are there for a purpose. They require very tive word would be, full- blown. Specifications are nicely on the conservative careful adjustment. But ... ah me . those oscilloscope side: it will put out a clean 35 watts even The woofer in this system is efficient and traces were so pretty. I wish that were all horn -loaded. Therefore it gives very full - there was a TITH report. C. F. with substantially less than nominal power - a to - bodied type of sound. The mid -range line voltage. Transient response is excel- MANUFACTURER'S COMMENT: Followup with users lent; ringing is negligible on square -wave speaker is a compression -type unit which, does not indicate the control settings to be as criti- if not balanced properly, can be excessively cal as the reviewer indicates. Most listeners are inputs up to 20,000 cycles. Damping factor easily able to make satisfactory settings by minor is fixed at about 35 on the 16 -ohm output crisp. The crossover is at Goo cps which is departures from "straight -up" positions of the where the characteristic timbre of a good knobs. We agree thoroughly with the method of tap, and is variable from +1.8 through adjusting the "super tweeter" and have advocated infinity to 2 on the 8 -ohm tap. Frankly, many bass instruments begins to become this. noticeable. If you let the mid -range With ordinary separations between the Imperial the only effect we could notice on a good and record playing equipment. we have not found speaker system when we varied this control speaker ride too strong, in relation to the any special precautions need be taken against acousto- mechanical feedback. was some bass boost in the minus damping woofer, you get too much crispness and the factor region. With a less well -damped shift of sound from woofer to mid -range, system it would be more useful. More im- as the frequency increases, becomes observ- able. portant, anyway, is that the A -34oA is a powerful amplifier that sounds very good The tweeter is also a compression -type Thorens Up -to -Date and appears likely to last a lifetime. unit and the same difficulty was en- - countered with it. The R. A. trick seems to be to The Thorens line of changers and turn- turn both the super -tweeter and mid- the tables includes a completely automatic MANUFACTURER'S COMMENT: We'd like to men- range off completely, and then bring in the tion that to the heat of our knowledge the 35 -watt changer, a push -button single record player, mid -range until balance is established. This A -340A is the first amplifier designed to use the a manual player, and a transcription turn- new Tung -Sol 6550 tube which carries a 100 -wall will take a considerable amount of careful circuit in which these tubes table. All units were described in the rating and the unique listening and adjustment, and are used makes balancing of the push -pull stages the Imperial TITH section for November -December unnecessary throughout the life of the tube. may give unsatisfactory sound if the level 1953. Since that time, one major and several minor changes have been made. Thorens couples the motor to the turntable shaft through a chain of gears; minor Jensen Imperial speed variations are controlled precisely through a governor. The older models SPECIFICATIONS (furnished by manufacturer): a three-way speaker system employing a special were geared for two speeds: 78 and 33/45 15 -in. cone, crossing over at 600 cps to a compres- rpm. The range from about 31 to 47 rpm sion -type mid -range horn which, in turn, crosses at was by 4,000 cps to a compression -type super- tweeter. controlled the governor. The new Dimensions: 54% in. high by 32 5/8 wide by 24 3/8 units use separate gears for three speeds: deep. May be used in corner or against flat wall. 4 rpm. Impedance: 16 ohms. Power rating: 35 watts. 78, 45, and 335 Priors: the Imperial, model PR -100, is available in For those with a keen ear for pitch, and mahogany at $525 or satin korina at $535, or as the Laboratory Reference Standard model RS -100 for those who want to use a turntable or in plywood painted two -tone blue grey at $468. changer in connection wi :h musical instru- Address: Jensen Mfg. Co., 6601 South Laramie, ments, Chicago 38, III. seme adjustment of turntable speed is essential. This could be accomplished on The writer's listening room is fairly large the older Thorens units, but to do so was and dead enough so that sometimes he inconvenient, since it meant loosening stops makes believe it is an anechoic chamber which controlled the position of the speed ... particularly when a manufacturer sends change lever. The new models have a a loudspeaker billed as a Laboratory Refer- double knob arrangement for speed charge. ence Standard. So, when this unit was set One sets the gears to 78, 45, or 331/4. The up and ready for test, I decided to rest my second -a bar -knob type of control ears for a while, and hauled out a sem- - adjusts the governor and provides the blance of laboratory equipment: micro- following speed ranges: 74 to 82 rpm, 43 Jensen Imperial "Laboratory phone, oscilloscope, and audio oscillator. Standard." to 47 rpm, 32 to 35 rpm. For half an hour I watched sine and square A second improvement has been the pro- waves chase themselves around on the face controls are not precisely adjusted. I have vision of a manual operation button on the of the 'scope. Beautiful! The sine waves not worked before with any speaker system changer (model CD-43) and the automatic were something to watch; smooth and which was as sensitive to level control player (model CBA -83) . When this but- steady, right down to 3o cycles, where out- balancing. ton is depress!d, the pickup arm returns to put began to fall off, and right on up to The super -tweeter should not be heard. rest, and the motor shuts off automatically, 15,000 cps and more. Square waves lost Seriously; after the mid -range is balanced, at the end of a record. When the button is a good deal of their resemblance to the then the super -tweeter should be brought pulled out, the automatic shut -off and arm. original, naturally - they always do, and in until it can be heard, just slightly. Then return is disabled. This is an advantage I have seen many a speaker make sine back off the level control a hair. This way, when pickups requiring very light tracking waves out of square waves. But it was a when the extreme highs in the original weights are used; a certain amount of feast for my eyes, and I wish I could show sound have enough strength to be audible, weight on the stylus is required to hold the some oscilloscope pictures here and let they will come through - properly - over stylus in the lead -out grooves while the this report go at that. Laboratory engineers the super -tweeter. trip mechanism is operated. The unit fur- have a lot of fun, and don't have to worry The delicacy of the adjustments described nished us for examination tripped properly above were apparent when I used a about the uncertainties of human hearing. record- with a stylus weight of 5112 grams. Anyway ... back to the good old ears ing of a baritone and a soprano. Readers Mounting has been simplified; four and the standard music samples. The familiar with my reports know that I springs are attached to the base plate and minute I turned up the volume control, I describe the tonality of a speaker system in bolts protrude from two of them. Just ran into trouble: acoustic feedback. The terms of an assumed position in the audi- drop the turntable on the base and attach lows were being reproduced so far down torium. The baritone, whose voice was nuts to the two bolts, from the underside. that they made my turntable vibrate, and reproduced largely by the woofer, gave me Tension on the springs is adjusted from the the whole room began to shake. Two hours the impression I was sitting in Row F or underside. later, I was ready to try again, but even so G, but by adjusting the mid -range level the bass tone control could not be advanced control, I could move myself, in relation to Continued on page zoo

98 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com

Even the walls have ears... for Bogen's new matched tuner -player -amplifier team!

NEW BOGEN R660 FM -AM TUNER. New NEW B50 SERIES RECORD PLAYER. Oper- styling, new design. Response, ates ei:mnually to play any disc up to 15- 15,000 cps ± 0.5 db; superb selec- 16" :u any speed from 29 to 86 rpm tivity; FM sensitivity, 2.5 my Gt 70 (with locks at 33'.<,, 45, 78), plus the ohm output. Features: new calibrated new 10 rpm speed. Minimal "Wow ", "Zero -In" Tuning Meter; Illuminated "Hum ", "Rumble ". Plug -in head. B50- Dial Pointer; striking gold -finish cage. 1GLC (one head, you- pick -cartridge), RGGO chassis, $119.50. Metal enclosure, $10.10. Base, 54.80. $7.00. FM tuner only (FM50,. $79.50.

NEW BOGEN DB130 35W AMPLIFIER. Descended from famous Bogen 1)1320 (the "Champ"). Response, 15- 30,000 cps ± 0.5 db; distortion within 0.5'.; (i 35 watts. Features: built -in Speaker Selector Switch; visual indicator on Variable Damping Control ; Tape Bogen Monitor; Two 3- Position Filter Switches; Separate LCS Control; HIGH FIDELITY 7- Position Record Equalizer; Direct - BECAUSE IT SOUNDS BETTER Coupled Preamplifier.1)B130 Chassis, $115.00. Metal enclosure, $7.50.

Have you. read "Understanding High Fidelity"? 56 page illustrated booklet helps you plan your installation. Send 25e to: David Bogen Co., Inc., Dept. !1'6,19 Ninth Avenue, New York City 14, N. Y. www.americanradiohistory.com way system to begin with, all assembled, drap overall. Tubas: 12AU7, 2- 12AX7. AMPLI- TESTED IN THE HOME FIER - Inputs: one high -impedance input. Rated wired, and with level controls installed. power: 25 watts; 47 watts peak. Output impedances: Continued from page 98 All these combinations are possible be- 4. 8, 16 ohms. Two AC power outlets, one switched with amplifier. Output receptacle for supplying cause you can buy the components separate- operating power for preamp -control. Response: These changes are all to the good, par- ly; enclosure, the various drivers, horns, hat within 0.5 db from below 10 cycles to beyond 100,000 cycles. Distortion: less than 0.1 % IM ticularly the three -speed gear arrangement. and speakers, the crossover networks, and (60 and 6,000 cycles, 4:1) at 10 watts; less than 2 % We like being able to vary speed slightly the level controls. But there are several at 25 watts. Controls: bias balance adjustment. Noise: 99 db below 25 watts output. Damping factor: around the three standard speeds. This new standard combinations also; among them 40. Sensitivity: 2.23 volts in for 25 watts output. feature should make the Thorens line more are the complete three -way systems, models Tubes: 2- 12AÚ7. 2 -KT66, 5R4GY. Prices: WA -P2 preamp- control kit, $19.75; W -SM power amplifier acceptable than ever. -C. F. IA and Ill, that we received for testing. kit. $59.75. Manufacturer: Heath Company, Benton They differ only in the driver components Harbor, Michigan. supplied, those in the IA having less powerful magnetic structures than those in the Ill. They are accordingly somewhat less -Voice well damped, less sensitive, and less expen- Electro Aristocrats sive. The IA has a I2BW bass driver, a SPECIFICATIONS (furnished by manufacturer): TioA driver on the 8HD horn, and a T35B three -way corner horn loudspeaker systems. MODEL VHF driver. Corresponding components in IA - Components: 12BW low- frequency driver (cone resonance, 45 cycles). TIOA mid -range driver the model III are the 12W, the T25A, and and 8HD diffraction horn, T35B very high fre- the T35. Both systems have quency driver and horn, X825 and X36 dividing crossover net- networks, two AT37 level controls. Crossovers: work operating at 800 and 3,500 cycles, 800 and 3,500 cycles, LC type. Response: 35 cycles and level controls on the mid -range and to beyond audibility. Impedance: 16 ohms. Dimen- sions: 29 5/8 in. high by 19 wide by 16 5/16 deep. VHF drivers (labeled "Presence" and MODEL III same as model IA except 121 W low "Brilliance," respectively). frequency -driver, X8 dividing network, T25A mid -range driver, T35 VHF driver. Prices: model Both systems are highly efficient, the IA (blonde). $218.40; IA (mahogany), $212.40; model III slightly more so than the IA; W -5M: top -bracket in its power class. III (blonde), $286.20; III (mahogany). $280.20. Manufacturer: Electro -Voice, Inc., Buchanan, both reproduced cleanly down to just below Mich. 40 cycles in a 14 by 16 -ft. room. Efficiency With this report we hope to remedy the is, we feel, of importance primarily because long absence of Heath products from these it determines how much amplifier power TITH pages. We must confess that the you need to re-create any given sound level. reason for this extended hiatus has nothing With either of these sys :ems a good to or to do with the quality of Heath equipment, 12 -watt amplifier will be more that ade- but rather with the form in which it is sup- quate for any room of moderate size. Just plied - unassembled! Finally, however, to see if they could take it, though, we we've put together the now -famous pre- drove them hard on orchestral music with amplifier- control and the new W -5M am- an amplifier that will put out 45-watt peaks. plifier, and are pleased to report that they Both took it well, but we nearly ended our warrant the enthusiastic approval they've usefulness to this department by going deaf. received from users. These systems have in common a bright- The preamplifier, to begin with, has five ness, a certain dramatic and exciting close - input circuits -three for high -level sources, up quality that is typical of Electro -Voice one for a magnetic phono pickup, and one speakers. The effect is variable over a wide for a high -impedance mike. All are sup- range by adjustment of the Presence and plied with input level -set controls. The Brilliance controls, but it is always notice- microphone channel can be changed easily able. Noticeable also, on careful compara- to accommodate another magnetic phono tive listening, is the grca:er smoothness of cartridge; more about that later. There are sound from the model III - because of the individual four-position turnover and rolloff heavier magnets, ro doubt. The lower controls for the phono channel; turnover range is full yet solid; fullness in the upper choices are LP, RIAA, AES, and Early 78 bass can be varied by charging the distance (800 cycles). o, 8, 12, and 16-db rolloff of the enclosure from the walls. curves are provided. We found that bass Packing was good, and instructions . h.o 6n: rnn,h11cfiou, /iuisb. ex- equalization went all the way to 30 cycles, cellent. Cabinet construction and finish was with maximum boost of 22 db, and that of high quality. Servicing of components, if the 12 -db rolloff position actually furnished In size and cost, Aristocrats are sixth in the ever needed, would be quite easy. R. A. almost 13 db, so that it is suitable for Electro-Voice line of eight speaker systems. - RIAA compensation. This is one of the Still, they should not be considered lightly; few units with an 800 -cycle turnover. The with good speaker components these corn - preamplifier section has extremely high pact systems can produce remarkable sound. Heatlikit WA-P2 Preamp- gain and low noise; it will handle the out- The enclosure is a fine back -loading put of an Electro -Sonic cartridge nicely folded corner horn and it is, of course. Control; W-5M Amplifier without a transformer, for instance. When essential that it be placed in a room corner. SPECIFICATIONS (furnished wiring the unit you install a terminating Any 12 -in. driver can be used. In addition by manufacturer), separately-powered preamplifier -equaliser -control resistor on the phono channel input that to the cutout for this, the baffle board has unit, and independent power amplifier. PREAMP- will match the cartridge you're holes for E -V 8HD Inpuh: five, three high -level, marked 1, 2, Tuner; going to the diffraction horn and one for microphone; one for magnetic phono. use. a very-high -frequency horn. Cover plates Controls: turnover (LP, RIM. AES. Early 78); Bass and treble tone controls, we found, are supplied for these extra holes. So you rolloff (0, 8, RIAA -12, 16 db); bass (-f-18 to -12 db, 50 cycles); combined AC on -off and treb'e were flat in their center positions as can use a wide -range 12 -in. alone, such as ( +15 to -20 db, 15,000 cycles); selector (l, 2, - indeed they should be, but aren't on some the SPt 2. Later, as the budget permits, you Tuner. Phono, Mie); volume. Individual level -set controls for all inputs on rear panel. Hum null control units. Their ranges of action were can add an 8HD horn and driver or one under chassis. Outputs: of adjustment two; one main close to those specified. the very- high -frequency units, T35 or output and one before tone and volume contro's They caused a for tape recorder feed; both at low -impedance. noticeable overshoot on square wave inputs, T35B; still later, you can add the other and Gain: on high -level inputs, 0.09 volts in for one but no ringing; the audibility of such wind up with a true three -way system. Or volt out; low -level inputs, 2.5 millivolts in for one an volt out. Response: 1 db from 25 to 30.000 cycles. overshoot is the subject of some contro- you can begin with a 12 -in. woofer and the Mic input, 0.48 IM Distortion: % (60 and 7,000 cy- versy. If it is audible it 8HD horn with driver, then add the VHF cles, 4:1) at 0.5 volt output, 0.55% at 2 volts; certainly takes ex- Tuner input. 0.2 % and 0.59 % for same outputs. tremely careful listening to hear it. The unit later. Or you can use an integrated Noise: for 0.5 volt and 6 millivolts input on Tuner AC power switch is incorporated in assembly such as the I2TRX alone or, if and Phono channels respectively, hum and noise the down from 2.5 volts output by 72 db and 62 db. treble control. you want to aid the final touch later, you Power requirements from external source. 6.3 volta Next along the front panel is the selector can supplement it with an 8HD and driver. AC. 1 ampere; 300 volts DC, 10 milliamperes. These are available from Heathkit amplifiers. Or (finally) you can buy Continued on a complete three- Dimensions: 12 9/16 in. long by 3 3/8 high by 5 7/8 page 102 )- T^7 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com HERE IS THE TAPE RECORDER THAT "COULDN'T BE MADE"

What a serious high -fidelity enthusiast are less than 0.1% at, 7'fi ips, 0.2% at playback, less than '4" in fast wind; 2 wants in a tape recorder has never 3?i ips (the competitive recorder closest high impedance and 1 low impedance been a mystery. He wants a recorder in performance has 0.25% at 7% ips inputs controlled by selector switch, re- equal or exceed and costs $100 more!) wind time of 90 seconds for 1200 -foot which, at 7% ips will reel in either direction, foam rubber professional performance at 15 ips - EQUALIZATION and at a price comparable to the price pressure rollers, relay operated and of the usual garden variety of "home Professional NARTB equalization is triple -fused for protection against im- recorder". In other words, he wants used throughout the DeJUR Dual Pro- proper operation, 105 -220 volt, 60 cycle flat response over the entire audio fessional. This means that, not only can AC operation. range, undetectable noise, hum, wow you make and play back tapes of per- And the price? That's the biggest and flutter and professional NARTB fect fidelity, but you can also play com- surprise of all! The DeJUR Dual Pro- equalization - at 7% ips (to give up mercial prerecorded tapes the way fessional Tapedeck is only $299.50 au- to 90 minutes of playing time on a 7" they were meant to be played. diophile net! reel at a cost lower than one good LP INSTANT TRACK SWITCHING record) - and all for less than $300. Now, DeJUR, a great name in high - Four separate heads are employed in Also available in a quality precision cameras, answers the the Dual Professional - an erase head handsome, scuff - demands of the HiFi enthusiast in and a record -playback head for each proof carrying case every particular. For the first time in track. When you reach the end of a complete with America, he can have a tape recorder reel on the first track, you simply press built -in 6 -watt meeting his most exacting perform- a button and the tape reverses its mo- power amplifier, 2 ance requirements for a fraction of the tion recording or playing back the sec- electrostatic price he would normally expect to pay. ond track! Anyone who has fussed and speakers, 3 PM , Compare it in an A -B test with the fumed as he tried to change reels in speakers and wide - most expensive professional recorder the middle of a symphony will greet range cardioid dy- your high- fidelity outlet carries. We're this feature with cheers! namic microphone $379.50 that sure you won't be able to tell the ELECTROMAGNETIC DYNAMIC BRAKING for only difference! audiophile net. Now, let's get down to specifications. In the DeJUR Dual Professional, there They have been checked by an inde- are no mechanical clutches, belts and pendent engineering firm and con- pulleys to get out of order. The dual AVAILABLE ACCESSORIES firmed by the testing laboratories of speed hysteresis motor is reversible and Remote control foot switch $19.50. America's largest high -fidelity distribu- electromagnetic dynamic braking is Wide -range cardioid microphone $29.50. tors. employed for instantaneous stops and FREQUENCY RESPONSE starts without tape strain or stress. At 7% ips, the frequency response ILLUMINATED TAPE COUNTER WRITE FOR COMPLETE SPECIFICATIONS is 40 cps to 16,000 cps ± 2 db (the An illuminated, clock -like dial indi- closest comparable machine is 1,000 cps cates elapsed footage so accurately DeiJUR-RMSCO CORPORATIOf less and $100 more!) Even at 33/4 ips, that the tape can be indexed to a Dept. HF -1, Long Island City 11, N. Y. the DeJUR Dual Professional is flat single note! from 50 cps to 10,000 cps ± 2 db. AUTOMATIC STOP WITH A SIGNAL-TO -NOISE RATIO Inexpensive DeJUR aluminum foil NOTHING COMPARES Noise is down 55 db (that equals or ex- leaders are available which automati- ceeds the figure for recorders priced at cally stop tape motion in either direc- $600 and up!) tion! There's no need to re- thread- FLUTTER AND WOW no flopping tape ends. The DeJUR Dual Professional uses a PUSH -BUTTON KEYBOARD heavy -duty genuine hysteresis dual - A piano key switchboard controls all DedUR speed, synchronous motor, the same recording and playback functions Nwr type of motor used in $1,000 studio re- through relays. Even your wife can corders (even the better "home record- operate the DeJUR Dual Professional ers" use only 4 -pole motors!) A hys- without an instruction manual! aut't/ e!'JroJAlawei( teresis motor is independent of line OTHER EXCEPTIONAL FEATURES voltage fluctuations, thus eliminating T A P E R E C O R D E R a major source of wow and flutter. Both Instantaneous stopping in record or

NOVEMBER 1955 IGI

www.americanradiohistory.com TESTED IN THE HOME stability at both low and high frequencies panel, slip on the knobs and rotate the very good, sound effortless and pure. These controls bodily to align panel markings Continued from page coo results were obtained without special tube with knob indicator marks -when solder- matching or any other similar care, entirely ing connections to pin jacks, position switch, with its five positions as noted. from parts supplied in the kit. This ampli- chassis so that solder cannot flow into jacks Finally, there is the volume control; the fier belongs in the top bracket among units - if you want directions for converting the with the is a standard its power unit supplied kit in class. preamp's microphone channel to a second is uncompensated gain control, but there Two other features should be mentioned. magnetic phono channel, write us and we'll room for a loudness control (available as First, the "bias balance" facility: to balance send them. complete assemblies from IRC and Centra- the output tubes you connect a voltmeter So there you are. The WA -P2 and lab) if you want to use one. across two test jacks and adjust a top-of- W -5M are both excellent units when Both the main output and the tape out- chassis control to get a zero meter indica- assembled and wired, comparing favorably put are at low impedance, taken from indi- tion. Precision of the adjustment isn't with others of much higher cost. If you vidual cathode followers. The latter isn't affected by meter accuracy, since you adjust have the incentive or the inclination to affected by the tone or volume controls. It for the same indication you get when the spend some pleasant hours in its construc- is difficult to overload any of the input cir- meter leads are shorted together. Second, tion, you can have a very good preamp- cuits, and you under normal cir- wouldn't the "tweeter- saver ": this is a resistor - control or amplifier (or both) at a most cumstances be able to do so. Extremely capacitor network across the amplifier out- reasonable price. - R. A. high voltages are available from both output that prevents high -frequency oscillation puts before clipping begins; we measured under any abnormal circumstances, and the clipping point at the main output as accordingly makes it impossible to burn out 27 volts! At normal outputs we found the a delicate tweeter. Fine ideas, both. - KAL Audette Enclosure distortion to be unusually low - lower by There is the usual Heath preamp power far, in fact, than specified. This includes socket and two -volt AC power SPECIFICATIONS (furnished by manufacturer): a ito outlets, bookshelf the phono preamplifier. Noise and hum -sized speaker system with 8 -in. woofer, one switched with the amplifier (normally 215-in. direct- radiator tweeter, and crossover are very low also, completely inaudible in by the WA -P2 power switch) and another network. Crossover: 5,000 cycles, high -pass type. Response: 60 to 16,500 normal use. Sound is clean and free of not cycles. Dimensions: 23% in. switched. wide by 10 deep by 11 high. Price: $49.50. Mana - strain. In short, this preamp- control is an Everything is furnished in Heathkits foclumn Kingdom Products, Ltd., 23 Park Place, New York 7, N. Y. excellent one. except solder and tools. For tools you need Operating power is ordinarily obtained a soldering iron (preferably of the small - Kingdom Products Ltd. is the U. S. dis- from any of the standard Heathkit ampli- tip instant -heating type), a diagonal cutter, tributor of Lorenz loudspeakers, among fiers, which have receptacles wired to re- needle -nose pliers, a medium -sized screw- 3ther products. The Lorenz line includes ceive an octal power plug from the preamp. driver, standard pliers or small adjustable an 8 -in. woofer and a diminutive direct - It isn't necessary to use a Heathkit ampli- wrench, and a pen -knife or wire -stripper. radiator tweeter. Though both are com- fier, however; most amplifiers can furnish Helpful also is the ability to follow direc- paratively inexpensive they are, in our the relatively small power required by the tions patiently and exactly, without trying opinion, speakers that merit the hi -fi label WA -P2. Special adaptors can be obtained to rush the job. If you have all these and without question. from any parts distributor for this purpose at least an hour of practice with the solder- - you wire the preamp's power cable to ing iron, you can put together these kits the adaptor, remove one of the amplifier's with no previous experience at all. The output tubes, plug the adaptor in its place, directions are given step -by -step and in and plug the tube into the adaptor. great detail - follow them exactly* and The W -5M amplifier, in view of its you can't go wrong. modest price, is of decidedly conservative But don't expect to spend one evening design and is entirely lacking in corner- at it and have a finished product! It takes cutting anywhere. Every precaution has time and work. It took us 14 hours to been taken to insure long, trouble-free check parts, assemble, and wire the pre - service with no performance deterioration. amp- control unit, for example, and t t High- quality components are used through- hours for the amplifier. We might have out (this is true of the preamp- control unit knocked a little bit off that time if we had also) , and they are operated well below hurried, and it wouldn't take that long to Kingdom -Lorenz compact speaker system maximum ratings. do the same job again - but we couldn't It is basically a single -chassis Williamson cut it much shorter. And we've been doing The KAL is simply the Lorenz combina- configuration with a tapped -screen type this sort of thing for ro years. If you're tion, with a high -pass network for the output stage, using KT66s. It is of sub- not thoroughly familiar with chassis work, tweeter, all in a small cabinet. The price is about half that of the usual bookshelf system; we believe that it is a little too low. There is a gold- finished grille that "bongs" when it is tapped. Construction is leatherette- covered %e -in. plywood, not braced; there are air leaks around the back panel. At the low end, efficiency is well main- tained to 8o cycles or so, with doubling below. High -end response is smooth and nicely clean out to beyond 15,000 cycles. The overall sound has more body than most systems of this size; it would be remarkably good except for a hollow effect that, we are sure, is attributable to the cabinet. More rigid, airtight contruction might raise the Heathkit WA -P2 preamplifier- equalizer- control unit obtains power from amplifier, selling price by S to, but the system would then be an outstanding bargain. Or, if you can add the necessary bracing and plug the stantial size and weight and, with its - expect 35 clip to spend from to 5o hours on leaks yourself, you can have a fine compact in perforated cover, an impressive- looking this combination. A few tips: before system at an unusually low price. - R. A. piece of equipment. Its performance is just tightening controls on the preamp front as impressive, too- in our workbench MANUFACTURER'S COMMENT: The grille construction has been made more rigid and possible vibra- checks we found the IM distortion to be *Just one mistake can mean the difference between tion has been damped by strategically placed fell unmeasurable below 5 watts, and only success and failure. If you can't make the completed pads. Construction now includes dove-tailed and unit work, though, Heath will do so at nominal ]Y2% at zo watts. Ringing was negligible, cost. Continued on page coq

IO2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com KISSIN' COUSINS!

Its cake- cuttin' time here at The Publishing House. We've just opened our arms to welcome the newest member of our family - AUDIOCRAFT - the new smoothie of a hi -fi magazine designed as the perfect complement to HIGH FIDELITY.

Yes, indeed, we're "kissin' cousins" all right ... for we're close as family members can be, yet each of us intends to maintain his own specialized individuality. Both of us aim to please you ... both of us can contribute mightily to your enjoyment of home music in all its phases.

You'll find AUDIOCRAFT a "must" accompaniment to HIGH FIDELITY if you're particularly interested in hi -fi as a hobby and plan to do-it- yourself where home reproduction of sound is concerned. Building -it- yourself will become easy every with AUDIOCRAFT's expert guidance . . . detailed articles each and month on woodcrafting, sound servicing, tape news and reviews, hi -fi demonstration and test records, and much, much more.

So, if you haven't met our new cousin, AUDIOCRAFT, just fill in the coupon below and let us start your subscription right away.

AUDIOCRAFT Magazine 4311 Publishing House Great Barrington, Mass. Please enter my subscription to AUDIOCRAFT Magazine and bill me at the rate of r year 3 years $9.00 2 years $6.3o $3.30 (36 issues) (24 issues) (12 issues) NAME

CITY ZONE STATE Add Si per year for subscriptions outside U. S., its possessions, and Canada.

NOVEMBER 1955 103

www.americanradiohistory.com TESTED IN THE HOME vanced audiophile." You can use the AUX versatility of the PR too. There is an input input for a Weathers, of course, but then receptacle marked BINAURAL that goes di- Continuedfrom page roe you don't have variable equalization. The rectly to an extra section on the main desirability of a microphone input channel volume control and thence to an output glued joints of great strength compared to the (which many usual mitred corners and additional screws to com- deluxe controls have) is jack also marked BINAURAL. Thus, the plete the back seal. 'l'he constructional improve- deba:able, but the A.A. may well have two main control unit circuits can be ment has been accomplished without increase of used for price. pickup cartridges in use. If you don't have one side of a binaural system; the other side, two, and don't intend to have them, then whether it be from radio, tape, or phono this objection obviously doesn't apply. (for phono binaural systems you'll need The an phono preamplifier circuitry is really auxiliary preamp -equalizer), is fed through unique, consisting Bogen PR100 Audio basically of two cascode the PR too and its volume is controlled amplifier stages in cascade, with negative along with that of the first side. Good idea, feedback equalization Control networks between and, as far as we know, the first time it has them. We won't go into detail; suffice it to been SPECIFICATIONS (furnished by manufacturer): a used. The other "special" is a pro- deluxe preamplifier- equalizer- say that cascode stages are control unit. Inputs: used in the input vision for monitoring recordings as they magnetic phono, tuner, tape. auxiliary. Special sections of the best FM and are inputs for tape monitor and binaural. Controls: TV tuners made, if your recorder has separate because concentric turnover (250. 400, 500LP. 50), 629, of their extremely low noise. This record and playback heads. You connect 800) and rollot( (0, 5, 8, 12, 13.75, 16 db) controls; preamplifier has selector pushbuttons (MON, PHONO, RADIO. adequate gain for any the playback head output (usually available TAPE, commercial cartridge without AUX. AC power off); concentric bass a transformer, at a monitor jack on the recorder) to the (t 15 db. 50 cycles) and low -frequency cutoff and the noise is below audibility. Turn- PRIoo (Flat, IS, 30, 60, 120 cycles, 18 db per octave) con- input marked TAPE MON. Then, over and rolloff equalization trols; concentric treble (t 15 db, 15,000 cycles) controls are to hear what is actually going on the tape, and high -frequency cutoff (Flat. 10,000, 8,000. mounted concentrically and have six posi- y..0 press 6,000, 3,000 cycles, 27 db per octave) simultaneously the selector button controls. On tions back of chassis are level -set controls for auxiliary, each (see Specifications) . You can for the source to be recorded and another tuner, and tape inputs, and switch for adjustment match closely any recording curve used. button of magnetic input level and impedance termination. ever marked MON. This channels the Just to the right are proper Outputs: low -impedance main output; high -im- concentric separate source to the tape output jack on pedance output before volume, loudness contour, loudness contour and volume the PRIoo tone, and filter controls, feed controls. but not, as is normally the case, to tape recorder; We've said special binaural output. Four switched AC power before that we consider this an to subsequent controls and the main output outlets. Response: 5 to 150,000 cycles, 0.5 db. excellent way to handle the loudness/ jack. Instead, Distortion: unmeasurable at normal full output levels. the signal from the recorder's volume problem; see monitor All inputs will take 3000 % overload before clip- our TITH report on output to the PRroo's TAPE MON ping. Noise: 58 to 72 db below 10 millivolt input the EL -1 control, in the November 1954 input is fed signal. on phono channel; other channels, to the volume, loudness, and 76 to 80 issue for a detailed db below t volt input. Dinwnsions: chassis. 414 in. description of Bogen's following controls to the main output. This high by 14)5 wide by 9 deep; cabinet, 5)§ in. loudness contour control. is connected high by l5% wide to your power amplifier and by 10.4 deep. Tubas: 2- 12AV7. speaker 2- 12AT7, 6X4. Prices: PR100 (chassis), $109.00: system, of course, so you hear what PRIOOWM (in mahogany cabinet) and PRIOOWB is on the tape virtually (in blonde cabinet), $129.00. Manufacturer: David as it is being re- Bogen Company, Inc., 29 Ninth Avenue, New corded. Other uses for this arrangement York 14, N. Y. will suggest themselves if you don't have three a Bogen describes the PRIoo as meeting the -head recorder; you can record from most exacting demands of the advanced one source while listening to another, for audiophile." After due consideration, we'd instance. Generally, say that this is perfectly true, w.th perhaps then, this is a very well - one or two exceptions that we'll go into designed unit from the viewpoints of both engineering later. Before we go further, though, we'd Bogen PR and operating facilities. Except -coo: innovations at low cost. for like to point out that all knobs except the input accommodations, which could be inadequate those for the volume control and selector To the right of the push -buttons in some cases, and an occa- are the sional pushbuttons are marked with dots indicat- bass tone control and the low- frequency pop in the loudspeaker from the pushbuttons, ing "normal" positions; so if you don't yet cutoff filter. The filter has a flat position we have no criticisms. Pack- aging and appearance consider yourself an advanced audiophile, and sharp (18 db per octave) cut -off posi- are as good as the instruction or if your sound system is used by anyone tions beginning at 15, 30, 6o and 120 book. - R. A. who isn't, you needn't be discouraged by cycles. We liked particularly the 15 -cycle the eight controls and five pushbuttons on cutoff, which eliminates nicely off -center the front panel. This is really not a compli- record surges without affecting desired cated unit to operate, and the excellent sound at all. The other positions are useful instruction book will settle any confusion. in eliminating hum, rumble, and other Vee -D-X Antenna Rotator Moreover, it offers truly fine performance low -frequency disturbances while retaining SPECIFICATIONS (furnished by manufacturer): at a price that is axial (in -line) co- relatively modest for de- the maximum usable range. And on the rotator with remote control console and indicator. Rotator has self- luxe units of this sort, so it is worthy of far right are similar controls for the high - centering and aligning mast clamps at each end. self -lubricating serious consideration by everyone ad- frequency end; here the filter cutoff rate sealed mechanism. Control - is has reversible push - type switch, vanced or not. 27 db per octave and the cutoffs 3,000, continuous-reading antenna direction indicator scale. Available in three models: The PR loo has four standard inputs: for 110-120 VB 6,000, 8,000, 10,000 cycles, and flat. Both volts 60 cycles AC. 30 watts; VBL same a as VB except for use with control one for magnetic phono cartridge and tone controls are fairly mild in operating ft. in cable 100 to 200 length; VBX export model for 220 -240 volts three for high -level sources (marked ranges, and are of the sliding turnover type AC. All models supplied with plastic either mahogany RADIO, TAPE, and AUX). Selection of considered by most control box for dark cabinets or heather experts to be better green control box for is use with blonde consoles. the source done by push -buttons; there than fixed -turnover controls. No ringing Speed of rotation, 11,6 rpm. Maximum 365 °; automatic rotation, are buttons marked for each of the input whatever on square -wave inputs was caused stops at ends of dial. Price: $44.95, list. Manufacturer: LaPointe Electronics, channels in the group at the center of the by the tone controls in our test unit; over- Inc., Rockville, Conn. front panel. Another of these buttons, shoot introduced by the high -frequency The marked OFF, turns off the power. Pushing cutoff filter was latest Vee -D -X rotator appears to be visible but insignificant. thoughtfully any of the others turns it on. Each of the This denotes excellent designed as well as capably transient response engineered. high -level sources has an input level -set and, along with low IM To be more specific: it is easy distortion, is to install control on the back panel, and the phono responsible in large measure and use, besides obviously having for the clean the primary channel has a back -panel five -position and smooth sound obtained. requirements of adequate torque and physical switch that you set according to the car- Besides the main output at low imped- toughness. The rotator tridge output level. Such input adjustment ance there is an output jack for feeding assembly itself is built co- a axially, with controls can be considered essential in a tape recorder. This is taken from the antenna mast directly the cir- above the quality unit. cuit directly after the selector buttons, supporting mast. This has a so slight advantage The lack of input facilities for either a that the impedance on high -level source over offset -mounting because it minimizes second magnetic phono cartridge, or an selections is the same as that of the source; the vertical twisting tendency. At both ends amplitude- responsive cartridge (ceramic in the case of the phono selection it is at of the unit there crystal, Weathers) might be considered a low impedance. are automatic centering depressions at the shortcoming of PRI(Do the by the "ad- Two other special features increase the Continued on page rob iO4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Rooms A, B and C, typical of average living rooms, have walls and furnish- ings that create acoustic distortion, as shown by their respective response curves. These curves were obtained by radiating a sweep fre BR -14 and BR -25 Amplifiers quency from 50 to 15,000 cycles oc- Highest performance and extreme versatility are combined in these curring 20 times a second. Identical 14 and 25 watt amplifiers at surprisingly moderate cost. Advanced uesign features include a record compensator with 36 separate cor- sound reproducing and measuring rection curves, printed circuits on government approved Epon glass, equipment was used for all tests. three feedback loops, "thickness adaptor" for easy installation in cabinets of varying thickness, detachable pilot light, beautiful table display housing at no extra cost and the exclusive BRAINARD ACOUS- TIC BALANCE CONTROL.

By using the correct setting of the Acoustic Balance Control as deter mined by the ABC Chart, acoustic distortion was minimized and peaks and valleys were counteracted so ITA -14 and ITA-25 AM -FM Tuner-Amplifiers that the sound heard in all rooms

A highly sensitive and stable AM -FM tuner, electronically interlocked was uniform. ACOSITIC SALAMI with a high fidelity 14 watt or 25 watt amplifier. This unit contains COMTROt all the advanced design features of the BR 14 and BR -25 amplifiers t fl AM, Phono, Tape, and a six position selector switch for FM, FM -AFC, A! CI Al CT and an auxiliary high impedance output for making Tape recordings f .. also the exclusive Brainard Acoustic Balance Control. Complete ar with beautiful alumilite brush brass face plate with illuminated slide rule dial. The ITA is unmatched for quality features, and yet carries an extremely modest price.

How to get a flat response from an ordinary wall!

Ideal high fidelity demands the perfect reproduction of sound regardless of where it is heard. A Yet, the ordinary sound system will sound different in different rooms. Until recently, the only solution to this problem was to physically alter each room in order to achieve uniformly good acoustics. For most audiophiles, such alteration is prohibitive in cost. Now, however, BRAINARD ELECTRONICS has introduced a new, electronic means of eliminating acoustic room distortion with ACOUSTIC BALANCE CONTROL. Audio engineers have hailed ABC as the decade's outstanding contribution to the high fidelity field. Ask your high fidelity dealer for a demonstration of Brainard ABC and actually hear the effect of different ABC positions on the acoustics of the room. Your dealer will be happy to demonstrate Brainard ABC at your convenience, even though there may be a delay in filling your order due to unprecedented demand.

Write today for illustrated Brainard Catalog 11-11, complete with technical specifications on all equipment and a full explanation of the revolutionary Acoustic Balance Control. Brainard ELECTRONICS

8586 SANTA MONICA BLVD. LOS ANGELES 46, CALIF.

NOVEMBER 1955 105

www.americanradiohistory.com at 3 volts output. Sensitivity: FM, 4 microvolts is spread out over most of the front panel, TESTED IN THE HOME for 20 db quieting; AM. 26 microvolts. Hum: 65 db below output for 100% modulation. Tubes: so you can find the station you're after with Continued from page coq 2- 12AT7, 613E6, 6BA6, 6AU6, 12AU7, 6AL5, reasonable accuracy. selenium rectifier. Dimensions: 8% in. deep by 95

lo6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ASCO .. sound consultants to the great names in music, combines two top names in a high -fidelity installation ... to satisfy the musical standards of perfectionist 0--oetwill'

The magnificent B310 SPEAKER SYSTEM b.B07,AK For his pIJcn ear '...thirteen I,.udspeakers combine to recreate the total range of audible sound. From below 28 cycles to beyond 20,000 ... from his own clarinet solo to full orchestral crescendo ... distortion is almost Immeasurable!

For the hands o of control

by I. 615 The Scott 310 Uynaural FM Tuner, for maximum sensitivity and stability in any locality. The Scott 121 Dynaural Equalizer-Preamplifier, for unsurpassed flexibility of exact control. The Scott 265A, 70 Watt Laboratory Power Amplifier for vast power at vanishing distortion, answering the severe demands of the complete range of sound`+ The Scott 710A Stroboscopic Turntable or precise speed control, and the smoothest, quietest ( -60db) operation, made possible by its unique, filtered, direct drive mechanism.

For Benny Goodman's beautiful home ... a tastefully simple custom installation, engineered by the Hi -Fi experts who know how and care enough to do the job right, regardless of budget ...

who else but ASCO

Name_ . ... ASCO Soun, on Please send me an illus- 115 West 45 Street tra ted brochure on ASCO Address Custom Installations to New York City Fit Every Budget. City Zone .__State JUdson 2 -1750

NOVEMBER 1955 I07

www.americanradiohistory.com Plus -50 MYLAR* TAPE

United States Testing Co. Reports- Plus-50 is Much Stronger

Than Acetate Long Play Tape

ACETATE TAPE

*DuPont trade -mark Unretouthed photos taken by Boston Laboratory of United States Testing Company.

Soundcraft Plus -50 tape is much stronger than remains intact, while the acetate tape breaks. an ordinary acetate long -play tape, United This test was repeated several times. The States Testing Company reports after prelim- result was always the same: Plus -50 intact; inary tests. acetate plastic tape broken. The renowned research firm conducted When you use long play tape, protect your- laboratory tests on Plus -50, made with DuPont self with Soundcraft Plus -50. Mylar base, and another long play tape made FOR EVERY SOUND REASON t with an acetate or "plastic" base. In photos above, a one -inch steel ball is REEVES SOUNDCRAFT CORP. 4 dropped 30 inches onto each tape. Plus -50 70 East 52nd Street, New York 22, N. Y.

IOó HIGH FIDELITY MAGAZINE

www.americanradiohistory.com PEN IN HAND Continued from page 39

Isn't it much more reliable to walk into an audio shop, purchase the equipment, and transport it safely to one's home with one's own automo- bile? The answer to this question is plus fully very simple. The major high fidelity manufacturers are scattered from coast automatic to coast. Some of the very highly rated operation... manufacturers are even located over- seas. How do you suppose these components arrived in your local high fidelity shop? Obviously, high fidelity components can be safely transported anywhere in the world. What about the question of wiring, testing, and servicing? Most mail order firms maintain special depart- ments for the testing and wiring of high fidelity components. In fact, it is

not uncommon for each cable to be . color coded, so that it is almost impossible for you to make a mistake when you connect the components. Elabor- ate connecting and operating instruc- THOR;15 tions generally are furnished as well. I I

This brings us to Rule No. 3 for high I I ; I , fidelity mail order shoppers. For those who do not wish to make their own connections, it is advisable to request i I I CAVE that your high fidelity system be pre - wired, color coded, and pre -tested be- I Cl3A- 83 fore it is shipped to you. Also, it is advisable to request complete assembling and operating instructions. If '/"The Hand Never construction plans are needed for the cabinet, these should also be requested Touches The Tone -Arm" at this time. A special word is in order about the With a THORENS AUDIOMATIC, maintenance and service of high fi- there is no possibility of record damage delity components. Naturally, most caused by an unsteady hand on the tone -arm. mail order houses offer a full ninety- You simply press a button for 7 ", 10" or 12" day guarantee on parts and service, but records ... and the tone -arm automatically the component must be sent back for After play, repair. This burdens the customer lowers into the lead -in groove. with shipping expenses, and neces- the arm returns... the motor shuts off! sarily entails irritating delays. Very Because of the direct -gear drive, AUDIOMATIC often, the reason for the failure of a has absolute speed regularity... and a noise high fidelity system to operate proper- level -48 db below recording level! Thus, ly is extremely simple, and can easily you the advantages of automatic operation be detected by a competent radio ser- enjoy vice-man. Some mail order firms will and performance comparable to transcription even make you a service allowance turntables costing twice as much. s67ä when this type of service is required, so that your high fidelity system can be put in operating condition without delay and at no charge to you. High Also a complete i Music Boxes line of hi -fi fidelity is now becoming so popular SWISS HiFi Components that good radio service shops are o MADE SDringPowered Shavers record changers T HO R Lighters rapidly equipping themselves to deal and transcription NEW HYPE PARK 1 l NOW YORK with such equipment. turntables. Brochure There are two more very important SEE YOUR DEALER upon request. Continued on page t it

NOVEMBER 1955 tog

www.americanradiohistory.com THE PLAN FOR HIGH FIDELITY by That Offers You Supreme Performance in Home Music Systems

If you have been searching for the ultimate in listening enjoyment, here is a plan for high fidelity at its incomparable best. If you have been looking for sound quality which ordinary hi -fi equipment cannot provide, here are three of the finest units ever designed for home music systems. We ask you to audition these units in combination or individually because we know that there's a priceless treat in store for you. We ask you also to examine how these units have been built. How only the finest parts have been used -fully rated components that are sure to give you years of trouble -free performance. Note particularly the bulk of the transformers. These are things too often overlooked but which are vital to high fidelity performance. And just look at these specifications!

PILOTUNER PI LOTROL PILOTONE AMPLIFIER

AF -850 AFM -AM 5430 PA -913 $9930 51 AA-904 Audio Control Units so WITH CABINET 9 Here is the most advanced tuner in the field An Improved modification of the famous William- with every desirable design feature to provide For those who will have only the finest. A com- son circuit, modernized to provide greater power you with the utmost in receiver performance. The plete, master system that permits the user to output at even lower distortion. Employs rugged FM section is a super -sensitive Armstrong circuit, effect any degree of equalization or tonal re- KT-66 output tubes in push -pull for 30 watts of sure to give you clear, static -free reception even sponse. Provided with separate sets of push- audio output. Frequency Response: 15 to 50.000 in fringe areas. The AM section has both 'sharp' buttons for turnover and rolloff. Push-buttons cycles ± 1db at 15 watts and 20 to 20,000 cycles and 'broad' positions for either long distance or also act as channel selectors with automatic -!- .1db at 1 watt. Total Harmonic Distortion: less high fidelity local reception. Other features In- lights indicating selected channel. Pilotrol also than .1% at 10 watts and less than .3% at 25 clude: fast, flywheel station selection - Micro features separate bass and treble tone controls - watts. Intermodulation Distortion: less than .5% Meter for easy, precise tuning - cathode -follower and a professional -type decibel meter for direct at 10 watts. output - selectively illuminated dials, etc. reading of output levels. Preamplifier section in- t Perforated Metal Endowre (optional) _.. $4.95 Cordovan mahogany cabinet (opnonall$15.95 cludes microphone input and mixing circuit. Sup- plied in cordovan mahogany cabinet - limed oak, In limed oak 16.95 at slightly higher cost.

You should now have a pretty good idea of the kind of system these three units will make. Sublime is just a word, but it does help to describe it. But whether you say, `terrific' -or another says `great' -the idea is still the same -this system will reward you with the finest sound you ever heard. In fact, any one of these units -added to your present system -will make a marked difference in performance. As Pilot users know, connecting and using Pilot Hi.Fi components is utterly simple. All connecting cords and plugs are supplied- together with complete instructions. And for those who prefer to locate these units on open shelves, table or cabinet tops, there is a handsome cabinet -in light or dark wood - available for the tuner and an attractive metal enclosure for the amplifier. Both are optional. e M e r e

Sec your dealer for n Pilot NiFi Demonstration -write for literature to: Dept. PL-2

Over 35 years leadership in Electronics n c PI LOT RADIO CORPORATION 37 -06 36th St., Long Island City 1, N. Y. Prices slightly higher West of Rockies.

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com PEN IN HAND from Continued from page 109 right points to be made in the case for the the start .. high fidelity mail order house. One is the fact that a big mail order concern music doing a very large business all over the country can maintain extensive inven- tories. This assures the mail order pur- that lives chaser of immediate delivery on almost any component listed in its and grows catalogue. The second point is the fact that mail order firms can offer easy payment terms on high fidelity purchases, with lower carrying charges than most stores can afford to give. AN , n 1 Now you have the main relevant ASSOCIATE facts about mail order purchasing. However, the proof of the pudding is in the eating. So, if you are in the market, I suggest that you look through this magazine, send for all C (/) ; / /.//J //// /# the mail order catalogues, and choose the firm with which you want to do SPEAKERS TWEETERS COMPONENTS business. I think I can guarantee that you will be amazed at the personal attention your order will receive. Mail order buying has brought high fidelity to thousands of music lovers who might otherwise be forced to do their listening on old -fashioned equipment. Perhaps a mail order catalogue will start you on the same royal road.

TROVATOR! Continued from page 37 Your Sound System GROWS UP.. .Never Grows Old get us through many an evening with RIGHT FROM THE START, Lorenz gives normal blood pressure and unsullied you full listening enjoyment, plus the ears. But on occasion curious gaps ap- satisfaction of knowing that Lorenz LP312 -1 years -ahead engineering and craftsman- 12" SPEAKER pear in their knowledge. Give one of With Coaxial ship enables you to plan your present Tweeter these men the obscure Italian cast of a and future sound systems! Lorenz Assembly new recording of a non -standard opera Speakers and Components are designed say, Adriana Lecouvreur by Cilea - for expansion, permitting your system - to Grow with your requirements - or, I and listen to the results. The man you can expand and improve your pres- heard began stumbling over the juxta- ent system at little cost. There's no limit posed Italian and French names, and to your music enjoyment! finally sought to cover his confusion by LISTEN TO LORENZ! You'll understand the simple expedient of hurrying. An- why Lorenz is the choice of sound engineers and high fidelity enthusiasts - other sort of difficulty goes beyond acknowledged favorites for their crisp, mere pronunciation. Not long ago I clean tonal qualities that add the LP312.2 heard this curious statement regarding miracle of life to the magic of music 12 " SPEAKER reproduction. Three generations of With Diaxial Assembly a recording of Tchaikovsky's Sixth Sym- Lorenz research and technical mastery Tweeter phony: "This performance belies the guarantee Lorenz quality -performance. name Pathétique!" The remark was EXPAND AND IMPROVE ANY SOUND SYSTEM WITH LORENZ obviously intended as praise, but it

TB -1 I. TB -2 merely revealed the announcer's gross 065 HORN lOUSPf eel u TYPE TWEETER CrMill PASS FILTER TWEETER as de r rFe ignorance of the meaning of the tr.- Provides high rar 2. and O -mop ASSEMBLIES +p'aaer, p as pa, frequency raflée systems. Coaxial ano 031111. at any - Fits across the reason for its panm, for any speaker I Crossover French word and system System frequency 5,000 cps. I " speaker. application to this work. True, it was s a performance; it was not "pathetic" Lorenz Quality Speakers and Components are surprisingly low in cost. as was not- very satisfactory, and such See and Hear them at your high fidelity dealer Write for Catalog HF -11 ably pathétique, i. e., full of pathos. Feeling and sorrow are intrinsic in this Exclusive U.S. Distributors KINGDOM PRODUCTS, Ltd. Continued on page 113 23 Park Place, New York 7, N. Y, Worth 4.8585

NOVEMBER 1955 ill

www.americanradiohistory.com "SCOTCH" Brand sets the pattern for finest recording results!

Can you tell the difference between two face is just one reason why more recording fans reels of long play magnetic tape? Maybe not .. . buy "ScoTcH" Brand "Extra Play" Magnetic Tape but the sensitive oscilliscope can! Only a superior 190 than any other long play brand on the market. tape like "ScoTcH" Brand "Extra Play" Magnetic They're always sure of perfect fidelity-with Tape 190 sets a pattern like the one above. Called crisper tone and increased frequency range. Only a "hysterisis loop ", the pattern indicates that the "ScoTcH" Brand combines so many quality fea- tape being tested offers maximum magnetic prop- tures -plus strength to spare -in a tape that erties for finest recording results. offers you 50 % more recording time. Ask to hear "ScoTcH" Brand's famous super- magnetic sur- a demonstration at your tape dealer's soon.

REG. ILS PAT OFF.

SCOTCHBR AND E day Magnetic Tape 190

The term "SCOTCH" and the plaid design are registered trademarks for Magnetic Tape made in U.S.A. by MINNESOTA MINING AND MFG. CO., St. Peul 6, Minn. Export Saks Office: 99 Park Avenue, New York 16, N. Y. © 3M Co., 1955 0

I I 2 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com NOWe THE ARM THAT SETS A NEW SOUND- STANDARD IN HI -FI TROVATOR!

Continued from page t t r symphony. This sort of error suggests Ortho -sonic v/a that a good FM announcer should study more than just the pronunciation TRACKS COURSE OF ORIGINAL RECORDING STYLUS of foreign languages. The third category of announcers includes those who are notably deficient, who cannot really be said to be equipped for the job of announcing classical music. I am happy to report that I have seldom heard such an announcer on a regular commercial fine music station. But I have lived in places where the only available classical music was announced by incompe- tents. They are chiefly found in (t ) some university stations (others are competently staffed) and ( 2 ) stations which devote very few hours a week to classical music. The latter can be dis- missed from consideration here since they are not basically dedicated to good music. Their gesture should be appreciated, but appreciation is sometimes difficult. I know of one such station NO TRACKING ERROR NO SCRATCHING NO FUMBLING in the Middle West which presents a half -hour of "long-hair" music every ORTHO -SONIC DOES NOT MINIMIZE ... IT ELIMINATES TRACKING ERROR evening. Not only is the announcing In ORTHO-SONIC V/4 you get the only multiple precision ball bearing arm which guides the stylus unspeakably bad, but the program is radially (from edge to center in a straight line). This action duplicates the exact path of the original utterly unplanned. At to:o6 an LP is cutting stylus. Distortion due to tracking error is completely eliminated. slapped onto the turntable. At to:29 it is removed - finished or not! NO OTHER TONE ARM GIVES YOU THESE FEATURES The university stations deserve Scratchless Starting-Faultless Stopping. A slight tilt of the arm lowers your stylus on the record. special attention since in a way they A gentle contact is assured each time ... regardless on what spot you want to start your record. You are at the very heart of the problem: don't touch the cartridge when you stop -just tilt the arm. No scratching is possible. they train announcers. Here I cannot Another exclusive feature of ORTHO -SONIC is the accurate cueing it affords by the permanent indexing as I like, give as large a view should scale, magnified at the point of reference. You can start any designated passage of your record without for my experience is limited to one fumbling! This feature alone makes the ORTHO -SONIC a MUST for professionals and hi -fi enthusiasts. such station. But that one is the most powerful FM station in its state and is the only regular source of good music for one of our largest metropolitan areas. The announcing ranges from fairly good to very, very bad. This is

understandable when one considers Easy to install. Two screws, and "Nothing rolls like a ball." Four precision Fits all popular model cartridges the job is done. Plays records up ball bearings are the heart of ORTHO- -including turn -over types. Sim - that the student announcers change to transcription size. Adjustable SONIC V/4. Movement is practically fric- ply slide cartridge in place and and the majority are to any height turn table. tionless. Torque less than 1 gram. Maxi- tighten thumb screw. Adjust frequently that mum record life assured. weight in seconds. not specializing in announcing classical music. Nevertheless, almost all ex- SCIENTIFIC TESTS BY LEADING LABORATORIES hibit the stigmata of inadequate foreign language training, and specific FIND ORTHO -SONIC V/4 "FIRST RATE" musical background is missing in many "Less than 2% I. M. distortion at all Tracking forces from 1 gram up ... No resonances could be found instances. One hapless lad, confronted between 35 and 1,000 cps ... Installation and leveling of the V/4 are unusually easy to accomplish ... apparently for the first time with the General listening quality of the arm is first rate ... Cueing is remarkably precise ... when the stylus name Maggie Teyte, carefully and ab- is lowered it generally falls in the same groove it was playing ... Needle talk was negligible. No acoustic resonances could be heard ... it delivers its optimum performance at tracking forces as surdly pronounced it as if it were low as 3 grams . " German: MAHgee TIE -tuh! A few days later he had decided it was French ORDER YOUR ORTHO- SONIC and rendered it MAHzhee TETT! BARD RECORD COMPANY INC. V/4 AT OUR RISK 66C Mechanic Street, New Rochelle, N. Y. What is this world coming to when a Enclosed find for ORTHO -SONIC V/4 recognizes a 5445050 A Low Price For This S young man no longer Tone Arm(s) (including postage). It is agreed that if I am not } NET Precision Instrument familiar name like Maggie? Even if completely satisfied, I may return same within 10 days for full refund. INTRODUCTORY SHOW- PRICE: Continued on page 175 NAME ONLY $30195

VALID ONLY UNTIL NOV. 30, 1955 ADDRESS You'll save its cost many times over by preserving the life of your records. CITY & STATE www.americanradiohistory.com CABINART '56 - HI FI CABINET KITS

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MODEL 27K MODEL 28K matched equipment and speaker cabinets Model K -3 newest Rebel` corner folded horn kit

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THE REBEL K -3 THE "ST" SERIES FURNITURE KITS Identical acoustically with the Wall storage units ... ten basic The new 27K and 28K typify Cab - KR -3, first and largest of the Cabinart designs in kitform or inart kit utility and economy. Both Klipsch - designed Rebel series of assembled, ready to finish. Each is point up the unique design func- corner folded horns. Using the mir- tailored to the needs of hi -fi installations necessary to the correct hi -fi ror images of room walls at a cor- tions. The Series includes a nine installation. ner, the K -3 extends bass down cubic foot bass reflex cabinet. nearly to 30 cycles! Two companion Rebel kits are more economical but only in price and size.

Equipment Cabinet K-3 . . . $34.00 4131.00 Bass Reflex Prices from $39.00 $21.00 to $36.00 Prices slightly higher west and south -ro4;_, W R I T E F O R T H E N A M E O F YOUR NEAREST DEALER AND MAIL ORDER HOUSE.

1. Equipment Storage 2. Equipment.' Speaker kits by the pioneers in rodio furniture' Enclosure Kits 3. The Rebel Speakers for high fidelity. 4. Wall Storage Cabinets 5. Accessories By Cabinort 99 NORTH 11th STREET, BROOKLYN 11, NEW YORK

II4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com TROVATOR! Continued from page r 13 the spelling looked unfamiliar, a quick check in Webster would have provided MUSIC LISTENER'S the requisite information. In fact, greater diligence in the use of various handbooks of pronunciation would go BOOKSHOP far to improve the announcing not only of students but also of a good many professionals. The "scholar -an- A TIME -SAVING SERVICE TO OUR READERS. WE ATTEMPT nouncer" achieves his results in part by TO SEND YOU THE BOOKS YOU ORDER BY RETURN MAIL. being willing to look things up. I Just send the coupon with your remittance. hereby recommend this procedure as perhaps the best single method of im- MUSIC LOVERS' ENCYCLOPEDIA: corn - proving American announcing. piled by Rupert Hughes; newly revised For the rest, we can only hope that NEW BOOKS and edited by Deems Taylor and Russell Kerr. 930 pages. Contains a series of opportunities in the good PHONOGRAPH: Roland increasing THE FABULOUS essays contributed by eminent authorities music field will attract a small number Gelatt. A history of the phonograph such subjects as: acoustics, counter- from Thomas on of students whose backgrounds and tracing its progress point, the conductor and his art, harmony, Edison's curious tin -foil apparatus to interests will equip them for the ex- jazz, orchestration, recorded music, etc. the astounding high fidelity sound sys- reference work; corn- tasks of FM radio. the Extremely valuable acting tems of today. Here is the story of and easy to use. of it, the entre- pact I have discussed the problem inventors who developed No. 152 $3.50 who promoted it, and the supply and demand with several sta- preneurs 1951.1953 musicians who turned it into a musical RECORD INDEXES - Vol. 1- and have received con- 2 tion managers, of tremendous impact. As Vol. -1954 instrument listings by com- flicting answers. In general, however, of country's outstanding music Complete alphabetical one this all the classical seems to be that those best Roland Gelatt has a keen ap- poser or collection -title of the problem critics, and spoken word preciation of the phonograph's im- and semi -classical, jazz qualified culturally and linguistically contained in HIGH FI- portance. As a sensitive social his- record reviews can't work up much enthusiasm for the from 1951 through he has a discerning eye for the DELITY Magazine recaps. FM adver- torian, Discographies included. sponsor's pickles or flavorful fact, or the pungent quota- 1953 and 1954. tising is usually in good taste, but we tion that sets a scene and illuminates S0c each have still not solved all the difficulties an era. HOME MUSIC SYSTEMS (Revised Edition): Tatnall Canby. 302 pages, il- Culture and Commerce. No. 154 $4.95 Edward of combining This popular guide to high managers feel lustrated. How did station fidelity has been completely revised. Home about other questions raised in this THE HIGH FIDELITY READER: edited by Music Systems explains the operation of a article? With the exception of the Roy H. Hoopes, Jr. Introduction by radio -phonograph, where to buy the John M. Conly. An anthology of out- them. university station mentioned above, separate parts, and how to house standing articles originally appearing is to suggested com- did not believe things One chapter devoted the managers in HIGH FIDELITY Magazine cover- binations of equipment. said he were as bad as I claimed. One ing various aspects of the high fidelity No. 151 $3.95 no complaints and seemed phenomenon. Among the contributors had received The New HIGH FIDELITY HANDBOOK: announcers were are Charles Fowler, Roy Allison, to assume that his Peter Bartok, Emory Irving Greene and James Radcliffe. 250 pages Fernando Valenti, well nigh infallible. Yet several Cook, and David Sarser. illustrations, diagrams and plans. A comin my notebook are filled with really plete practical guide for the purchase, No. 155 $3.50 installation, maintenance, and atrocious things I have heard his an- assembly, enjoyment of high fidelity music systems. say such as TOO -DJOORZ nouncers - HIGH FIDELITY RECORD ANNUAL -A first No. 200 $4.95 mu- volume of record reviews - classical HIGH FIDELITY Magazine: HIGH BINDERS FOR the sic and the spoken word -from Red leatherette, gold stamped on front The interested listener is referred to Magazine. Edited by Ro- He should remember FIDELITY and backbone. Each binder holds 6 issues. following as a start. land Gelatt. Just off the press. that a surprising amount of biographical Binders are now in stock for Volumes 3, information is contained in a desk -size No. 201 $4.95 4a, 4b, 5a, and 513. dictionary. The "Big Three" in this cate- Binders $2.75 each gory are the first ones listed below: The American College Dictionary, Random and Harper's, New York Book Department House Magazine Webster's New ..Collegiate Dictionary, HIGH FIDELITY Mass. G. & C. Merriam Co., Springfield, Massa- Great Barrington, chusetts I enclose $ for which please send me, postpaid, the books indicated by New World Dictionary, World Webster's circled numbers below. (No C.O.D.'s or charge orders, please.) Co., Cleveland the Publishing on foreign orders. NBC Handbook of Pronunciation, Thomas Foreign orders sent at buyer's risk. Add 55c for postage Co., New York Y. Crowell 151 152 154 155 200 201 The New Century Cyclopedia of Names, Appleton -Century- Crofts, New York. Binders: 3, 4a, 4b, 5a, 5b. Record Index 1951.53 D Record Index 1954 ._ Baker's Biographical Dictionary of Musi- cians, G. Schirmer, New York. NAME For foreign words other than names, see Cassell's New German (or French) Diction- ADDRESS ary, Funk and Wagnalls, New York, etc. CITY ZONE STATE Continued on page 117

NOVEMBER 1955 Iii

www.americanradiohistory.com Photograph is by Irvin Kershner of 17th or 18th century Colaseione In the Erich Lachmann Collection of Historical Stringed Musical Instruments reproduced through the courtesy of the Allan Hancock Foundation and the University of Southern California. Printed reproductions of four of the photographs used in this series are available for one dollar. Send remittance to James B. Lansing Sound, Inc. Be sure to print your name and address clearly.

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The skilled Italian hands which fashioned this seventeenth century colascione were alive with delight. The elegance with which they inlaid the engraved mother -of - ers and Enclosures. I-fe works to please, pearl in the straight -grained spruce table through his meticulous labors, the finely suggests a vision of courtly singers and attuned ear which is able to perceive and noble ladies. The Tim Lansing craftsman appreciate today's closest approach to carries in his mind another vision while perfection - the verbatim reproduction of he forms and assembles Signature Speak- loudspeakers by Tim Lansing. r Only Jim Lansing 15" and 12" General Purpose Speakers are made with four -inch voice coils. .. for crisp, clean bass... for smooth, extended highs.

JAMES B. LANSING SOUND, INC. 2439 7lefcher Drive, Los Angeles 39. California

www.americanradiohistory.com _ TROVATOR! Continued from page i i 5

GAH -EE for toujours gai! On another occasion the audience was told it would hear a work played by the 'Bar - avian Radio Orchestra under the con- duction of Eugene Hokum!" In this triple play we have (t ) a term more appropriate to physics than to music, (z) an inexcusable misreading of "Bavarian" - and the error was repeated after the selection had been played, (3) a bizarre distortion of the wee name Eugen Jochum, properly pro- ow ,, r nounced OY -GAIN YAWkhum. Yet this station prides itself on the high quality and high fidelity of its recordings and tends to regard the nearest competing good music station with haughty condescension. The manager of this competing station was more realistic, perhaps because he is himself a very competent Ownersynde announcer. He knew his staff was not perfect, but said it contained a couple of announcers who had been with the Only one tuner embodies genuine Armstrong FM station since the days before it had devoted itself exclusively to good design without compromise: the PRECEDENT. No music. I could scarcely inveigh against other tuner contains-for FM alone -fifteen tubes, ten such a loyal relationship, and doubtless the announcers had put forth consider- germanium diodes, and five head-end tuned circuits. able effort in their conversion from hillbilly. But perfection still lies over I All of its superb components exceed professional the horizon. These men have not really mastered some of the most elementary standards, and PRECEDENT is produced with sounds of the major European lan- a hand craftsmanship which is unique. The rigorous guages. They put an English qu (kw) and precise testing undergone by every in the Spanish Orquesta de Camera, which should be pronounced orKAY- PRECEDENT is itself more costly than the total sta. They fail to begin Schubert's price of other FM tuners. Ständchen with an sh sound (SH- TENTkhen), and they put an incor- rect sh sound in Bundestag (BOON - The proud owner of a PRECEDENT knows he dess-tock). They mix languages, pro- possesses that which for years to come will nouncing the last word of this phrase in English, but the rest in French: la remain the supreme standard in radio reception. groupe des six. Or the second word of this French phrase as if it were Spanish: Valses nobles et sentimentales. Even RADIO ENGINEERING LABORATORIES INC. within their mother tongue they have 36 -40 Thirty- seventh Street long Island City 1, N. T. not always performed well: cartooning for cartoning, subsiduary for subsidiary, and TlNtaggle for King Arthur's fabled Tintagel (tinTAJil) . These last words are in every adequate Eng- lish dictionary. And the rest should not be beyond a man who hopes to hold a job announcing serious music, not to mention the news of the day. In all fairness to the station managers, I must report that they all expressed interest in the problems I raised and said they welcome criticism. Continued on next page

NOVEMBER 1955

www.americanradiohistory.com TROVATOR! Continued from preceding page

This is where the listener comes in - and every listener has a stake in this problem. Either he doesn't know how to pronounce musical terms and would like to learn the correct way, or he knows how and would like the announcing to measure up to the quality of the music. Although the former marantz can look up doubtful names and corn- pare one announcer with another, the burden of improvement falls inevitably power amplifier on the latter, the person whose own knowledge serves as a constant check on the accuracy of what he hears. 40 WATTS "ULTRA- LINEAR" Radio stations, both commercial and Conservatively rated well below overload non -commercial, are surprisingly responsive to suggestions received in the mail. (Telephone calls better satisfy the listener's immediate urge, but they are more likely to arouse resentment and less likely to come to the attention of the station manager and the announcing staff as a whole.) Not enough people write to radio stations. An announcer who feels that his audience neither knows nor cares what is right will be more careless than one who is made aware that his listeners are informed and discriminating. We We are proud to present a Power Amplifier which gives such have high fidelity equipment today be- outstanding performance as to further enhance the reputation cause we would not settle for less. In we have built with the Marantz Audio Consolette. the same way we can get high fidelity announcing. 20 WATT TRIODE OPERATION on optional switch position to protect lower power rated speaker systems SIBELIUS AT 90 Continuedfrom page 36 METERED INSTRUMENTATION built -in and designed to enable anyone to adjust operation dynamically and statically ensuring us would put beside them another long life with low distortion series of works, the string quartets of Bartók. A few enthusiasts in Britain OUTPUT TRANSFORMER with unusually fine coil and core and Scandinavia would put beside characteristics (embodying low leakage reactances and high them the symphonies of Carl Nielsen. flux- handling capabilities) maintains low distortion to frequency And because Sibelius "died" as a corn- extremes together with high stability poser a quarter of a century ago, his work lies in that trough of fashionable NEW TYPE 6CA7 OUTPUT TUBES designed specifically for high depression where most art lies for a fidelity application give higher efficiency with lower distortion while a quarter of a century after its and dependable consistency creator's death. It is a generation or more away - the most characteristic COMPONENTS selected, without compromise, for ruggedness of the symphonies date from 1907 -24 and reliability - the furthest possible distance in artistic sympathies. So Sibelius' stock VARIABLE DAMPING available from separate 4, 8 and 16 ohm stands lower in the fashionable market output terminals than it did in the 192os and 193os. $177 But no sensible or sensitive person pays See your audio dealer or write for data sheet overmuch attention to artistic fashion, whose tendencies are so nearly constant as to be almost predictable. marantz company Sibelius' music is not timeless; it belongs to its age as Beethoven's does to 44 -15 VERNON BOULEVARD LONG ISLAND CITY, N. Y. his and Mozart's, Bach's, Palestrina's, Continued on page 120

8 i i HIGH FIDELITY MAGAZINE

www.americanradiohistory.com JUBILEE Hi fi et a low prit,. Compact table model rodio lo. both FM and AM reception. 50- 15,000 cycles. Two built -in artennas. Phono plug. Push -buttons for wave bonds and can enjoy the miracle of hi fi sound with phono. Exgs.isite Now everyone ccbinet of French these beautiful sets by Elite and Telefunken .. . walnut veneers. from the Continent. Your dealer will be 123/4" wide x 7" deep x 91/g" high. Under 5100.00. impo-ted happy 'o give you a thrilling demonstration cf the 1.tefilfaminfisOIRAhrt mcgnificent "in person" sound of these Telefunken quality high fidelity audio systems. will be -,. eMÀivsiiPd'.MV':I4,',ri.'!vM:TgI-1t: The ladies BEET I;OY EN delighted with the beauty of the Elegant tradi- decorator -styled tional 1e that combines cabinets. Yol,'II be high fidelity rodio proud to own any and phonograph. 6 speakers to sur one of these high round you with CIIOPI 14 1 fidelity units priced glorious sound. Sensational sound ... high Fidel. t . Receives FM, AM, its. phonograph console. Includes the famed hi li from $99.95 to Short Way*, Long Elite Automatic Changer with diamond needle for Wave. Pushbut- long ploy records and sapphire needle for 78 and $549.95. (Slightly ton wave band 45 RPM. Intermixes any size records from 6" to 12" her west of the control, 2 built -in -automatic shut -off alter last record- adiustoble ontnnos. Sep- arm weight. Hum and flutter eliminator. 6 speaker ies and Florida). arate boss and system with separate boss and treble controls. Cabi- treble control. net of genuine mahogany veneers. Blonde finish e iamond needle HI II Elite Auto - slightly higher. 271/2" wide x 171/2" deep x 331/2" all phonos motic record changer. (See high. dedS CHOPIN description). Bottoms speakers at no extra cost. permit play while doors are closed. Cabinet of genuine mahogany veneers. Blonde wood slightly higher. 371/2" wide x 171/2" deep x 351/2" high. BY M PHONY Space-saving table model with both high fidelity rodio and phonograph. Push -but. ton controlled FM, AM and Short Wavy re- v ception. 2 built -in on. tensos, 2 top- calibre speakers. Hi li Elite Automatic changer pvvn'x/tl!.YJ',M`VV!errrn.z.a;P (see CHOPIN description). Cabinet of rich mahogany veneers. Blonde finish slightly higher. 231/2" wide e 16" deep e 15" high. MTVE sTIPSAIBI* IMPERIAL Magnificent Continental cabinetry. High fidelity Ro- dia -Phono Console of highest quality and beauty. Thrilling sound from new unique system of 5 powerful speakers. Sepa- rote boss and treble controls. Incomparable reception for FM, AM, Short and Long Wave. Push button controlled wove bands, phono, antenna, "off" switch. 2 built -in an. tennos. Hi li Elite Automatic record changer (see CHOPIN description). Cabinet of mag- MOZART nificent walnut veneers, with A power- packed 4- speaker

sliding doors ( botton speakers roo.o and phono In o hand allow doors to be closed while r some cabinet of rich mahogany veneers. in use). 3917" wide x 161/2" FM, AM, Short and Long Wove reception

deems e 33" high. 2 built-in antennas. Push -button controls for i wove bonds, phono, odiustoble antenna and "off" switch. Turing eve and tone control. Hi fi Elite Automatic record changer Ise CHOPIN description). Blonde cabinet slightly higher. 25" wide x 1612" deep 341/x" high. rAHfWR.hNiRllrt!et / 11llaeeMMS',?1iy51sM , ,

ELITE Portable high fidelity system. FM, AM and /1 6 Wove. Works on batteries or available power supply. OPUS World's most magnifient table model hi fi Battery -saver device "A" battery accumulator. 2 =e,20-20,000 cycles for incomparable built -in antennas. Plug -in for phono, tope recorde, "pres- n " 6 speakers for life sound COPE and external speaker. Push -button controls for w -like -toning eye - RETIE ezarate treble and bass controls with bonds, charger, antenna, battery saver Smarr lu indicator. 3 speaker miracle sound. 47, AM, Short Wove and Special Band reception . table model high gage -color simulated leather, crack re a Complete uilt -in antennas. Push- button controlled. Plug. Tuning able. 15" wide e 6" deep e 107/4" lidelity audio system. - for phono, tope recorder, and external speaker. eye . separate treble and S ' cbinet of rich handrubbed walnut veneers. bass with indicators. controls `i /2" wide x 102b" deep 16" high. Receives FM, AM; Short Wave Altai x and AM Special Band . each with push -button control. Imported by Write for free brochure on hi fi 2 built -in antennas. Plug-in for phone or tope recorder. Decorator -designed cabinet MERICAN Dept. 13, and name of your nearest dealer. of genuine walnut veneers. 21sÁ" wide x 7 Park Avenue, 81/2w deep e 141/." high. (Changer ord TELEFUNKEN ELITE, INC. table optional at extra cost.) York 16, by Holt e Carnegie H I G H F I D E L I T Y S V S T E M S ew Plan +rJtiM www.americanradiohistory.com SIBELIUS AT 90 Continued from page r18

and Josquin's to theirs. But the best of it possesses qualities that will preserve it beside theirs until the days when the art of the first two Christian millennia no longer interests the human race. As for mere fashion, the time is nearly due for the pendulum of taste to stop swinging over Sibelius. If, as we all hope, he lives to be a hundred he will find himself being regarded pretty much as Beethoven would have been if he had lived until 187o.

BRUBECK Continued from page 44 banter or the mock lugubriousness of LOOK FOR THE the blues. In their process of 'cooling off' of 'intellectualizing' jazz, Mr. Bru- REDHEAD TAG beck and his boys have landed on middle ground that's been worked by ...SIGN OF QUALITY PERFORMANCE the great composers for centuries. There, their timid snatches of counterpoint are not very impressive, except, More and more tape recorder of course, to illiterates who know only manufacturers are displaying this jazz." I didn't have a good comeback tag. It identifies a Redhead - handy. The conversation wasn't giving equipped unit ... a quality unit. me any comfort at all, and I suspected there was worse to come. He mused Redheads provide faithful for a moment and then continued. reproduction over an extended "Do you suppose ... could it be, that these millions of Brubeck fans we frequency range. This is the result of read about are excited not so much by painstaking attention to design his technical tricks as by the glimpse details: a very narrow gap for high of the great middle ground of serious music he gives them? It's rather an frequency response, precision intriguing thought, and possibly an lapping for gap uniformity, a finely encouraging one." Neither intrigued nor I laminated structure for high encouraged, Redheads are available in standard half kept quiet. efficiency. In addition Redheads track, and full track models. "The man's following could be a are designed for high output, are good sign. At any rate their willing- ness to follow him into strange terri- well shielded and non - microphonic. SOME OF THE LEADING TAPE RECORDERS tory that's decidedly off-limits for the Whether you're selecting or USING REDHEADS average jazz fan shows that they're Amato "Classic", "Celebrity ", "Hi- eager to extend their musical horizons. designing a tape recorder, look for Fi, two -speed ". And their patience with him suggests Bell & Howell "Miracle 2000 ", "TDC the Redhead. For complete Stereotone". that some of them eventually may de- Broadcast Equipment Specialties velop information write Brush Electronics "Tapak ", "Newscaster ", 'Narrator ". a tolerance for dullness on a Columbia Records "Columbia Tape really monumental scale - for Wag- Company, Dept. GG -11, 3405 Recorders". Daystrom Electric "Crestwood ". ner, say." Perkins Ave., Cleveland 14, Ohio. Electronic Teaching Laboratories "Or Bach ?" "Electro- Dual ". Pentron "Dynacord ". "Now you're being snide." He smiled, went to the shelf and pulled out a record. "Let's try a little change of pace. This is the Fugue in C sharp BRUSH ELECTRONICS COMPANY from Book I of the Well- Tempered INDUSTRIAL AND RESEARCH INSTRUMENTS Clavier, played by Landowska on her PIEZOELECTRIC MATERIALS ACOUSTIC DEVICES Division of RIP harpsichord. It's light in tone, com- MAGNETIC RECORDING EQUIPMENT AND COMPONENTS Cfevile Corporation ELE(rR ON ICS Continued on page 122

I20 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com FINEST PERFORMANCE ...SMARTEST DESIGN with Altec Lansing!

...- ..,. .400 ". 41111. '4.r1V,c° "_.,

Altec Lansing's new and complete line of 27 separate units assures the same matchless Altec quality in every phase of home music systems. Every Altec product is engineered to the most exacting standards and designer- matched with other Altec components for maximum performance. Altec provides a new standard of smart design, too, in beautifully styled units that complement each other and blend perfectly with any decor, any room style. Truly, Altec offers the finest in High Fidelity equipment. Complete Altec home music systems range in price from $324 to $1180. The group shown above comprises a typical Altec home music system of finest contemporary design and matchless professional performance, complete...$808.

SPECIFICATIONS AND INDIVIDUAL PRICES ON THE ABOVE EQUIPMENT: AM -FM TUNER exceptional selectivity, sensitivity and stability ...$186. A -440A PREAMPLIFIER 5 inputs, 25 crossovers, maximum flexibility...$139. A -340A AMPLIFIER 35 watts, 5 to 100,000 cycles range ...$159. ICONIC SPEAKER SYSTEM 30 watts, 35 to 22,000 cycles ...$324. These pieces, with the exception of the A -340A Amplifier, available in blond or mahogany finish. ALTEC FIDELITY IS HIGHEST FIDELITY

See your ALTEC dealer or write Dept. 11-H

9356 Santa Monica Blvd., Beverly Hills, Calif. ALTEC 161 Sixth Avenue, New York 13, N.Y.

reproducers loudspeakers amplifiers preamplifiers tuners enclosures

NOVEMBER 1955 121

www.americanradiohistory.com BRUBECK Continued from page 120

pletely intellectual, and expresses no emotion whatever. In fact, boy, it's real cool stuff." "Who's it by ?" "Oh, my God - sorry. It's by Bach." "Thank you. I always want to know." ¿'Lì IJJ 'J i'iiii Di] He played the record, and I sat be- j0 wildered by the dancing, darting, INTERELECTRONICS - Most Advanced in PERFORMANCE .. . interlocking figures. I came out con- in CONSTRUCTION ... in DESIGN fused. "Dig it ?" The Professor inquired when it was over. lUTE RELECTRflM I "Frankly," I admitted, "I'm bugged. Your BEST High Fidelity Buy!N! Play it again and this time I'll try .CORONATION': ... squinting my ears." 400 The second time it shaped up a little better, but not too much. I de- 40 WATT cided this was no time to go into Bach, or to admit anything. I finished my AMPLIFIER beer, found my hat and picked up Exclusive non -ringing negative, Brubeck Time. "If you'd like to keep feedback circuitry! Over 50 DB this another week you're welcome." feedback. DISTORTION- FREE... "Thanks, but you take it along." He less than 0.05;ó at 30 watts. lifted the Bach record from the turn- POWER RESPONSE . . t0.1 DB 16 to 35,000 cycles at 30 watts. table and slipped it into its jacket and 5 to 200,000 cycle response. handed it to me. "And put this under BUILT -IN POWER for preampli- your arm. See you next Friday ?" fiers and newest electrostatic "Sure. 'Night now." tweeters. Thoughtfully, the records under my arm, I trudged off into the night. One thing was clear: I hadn't CORONATION CONSOLETTE Incomparable companion to sold much PREAMPLIFIER the "Coronation 400 ". Over 50 Brubeck. On the other hand, I wasn't 85 DB feedback ... virtually ELIM- too taken in by this Bach. Still, I INATES DISTORTION. 5 to - EQUALIZER couldn't get a crazy idea out of my 200,000 cycle response. LOUD- NESS CONTROL, continuously head. Suppose the Old Man had variable. FIVE INPUT SELEC- thought to put a good solid rhythm TIONS, 16 PRECISION PLAY- section behind that cool harpsi- BACK CURVES. Full 20 DB dis- chord .... tortion -free Bass and Treble compensation. HUM INAUDIBLE with all controls on full ... HIGHEST GAIN. BUILT -IN NOTES POWER for motion picture pho- tocells, FM phono cartridges, Continued from page 46 condenser microphones. 79" thinking of myself and wondering k° how many of my own literary master- oS E0.EJeE óo^ cs pieces I have thrown away because I Maurice Nobleman ,\ yóçJ,e;pctbEEGEád\ó y\; Associate Conductor - thought they were trash. No, thinking es 04,1°,01,66 T\ ou American Symphony Orchestra back, I doubt if I have real cause to \\ JP 1 ,y, ^s

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com HARVEY the House of Audio The NEW Professional splices REK -O -KUT in seconds! eRclidine GIBSON GIRL 3- Speed, 12 -inch Cutter -Splicer PRECISION TURNTABLES Model TS -4 Makes splice in "Gibson Girl" shape, leas: no edges of tope entirely free study, these new record Represented to be the result of more thon 5 years of adhesive and ending erratic operation, wow, and flutter caused by approach to in turntable playback units are offered os the closest perfection adhesive deposited on critical ports of recorder. May be removed from base is Aluminum and performance. Like all Rek O -Kut units, the turntable cost and mounted directly on recorder. exerts no pull on magnetic cartridges. Model T5 -4 $6.79 The following new features hove been included: single selector knob for setting speed: 33 93, 45 and 78 rpm. built -in retractable hub for 45 rpm records -requires no external adapter permanently affixed 3 -speed strobe discs for instantaneous speed checking neon pilot light as 'on /off' indicator record slippage rec- special cork - neoprene mat material to eliminate AMPEX 600 tangular deck to fit conventional record changer boards. Two identical Rondine models are available which differ only in the type PORTABLE TAPE RECORDER of motor employed. Rondine Deluxe Model 8I 3H hysteresis synchronous motor 511995 A high quality tope recorder designed for professionals: broadcasters, recording B 4 induction motor 74.95 Rondin, Model -12 with -pole studios, and other critical users. Housed in a truly portable case, the entire unit weighs Printed -Circuit less than 28 lbs. The quality of performance of the 600 is identical to the console model Miniaturized `FPreamp with Presence" 350. and playback heads .. and separate record by C. G. McProud in May Audio Engineering. Has separate eras?, record - as described A direct- reading meter permits continuous the 1.0 henry encapsulated choke, the printed circuit and playback amplifiers. Basic kit containing level. Tape speed is 71/2 inches /sec. with a fre- drilled, and the four metal chassis ports $7.50 checking of recording panel completely response from 40 to 10,000 cycles "- 2db , and to 15,000 cycles parts and quency The complete kit of ports, including the basic kit and all other 4db. by author. With complete, simplified instructions. $35.50 tubes as specified Other feat include: Signal-to -noise ratio: more than 55 db Flutter and wow: less than .75% Fast forward and rewind: 90 seconds for 1200 feet Microphone input: high impedance Line input: for high level source (.5 volt level) REL Separate level and mixing controls for microphone and line inputs Monitoring: through phone jock or playback output Playback output: 1.25 volts into 10,000 ohm load (matches input of most amplifier systems) Precedent Recording distortion is negligible. The Model 600 is extremely easy to use. Only one hand is needed to thread the tape. Can be operated either FM TUNER vertically or horizontally, and is readily adaptable for installation in home high fidelity systems. ^. $545.00 Complete with tubes, less microphc Unquestionably the finest FM tuner ever made. This successor to the famous 646B incorporates every important advance developed in the art of FM reception. Sensitivity is2 AMPEX 620 microvolts for better than 40db quieting. Frequency response is 30 to 40,000 cycles '- 1db. Waveform distortion is less than .5% for 100% PORTABLE AMPLIFIER- SPEAKER SYSTEM modulation. Provides 2 -volt output to high impedance, and .2 volts to piece to the Ampex 600 Portable Tape Recorder. ohms. Front panel includes slide rule dial, tuning meter, signal Designed as a companion 600 and measures 13 x 16 x 8 ". Em- strength meter, tuning control, radio frequency and audio gain controls, Weighs approx. 19 lbs. case included, with -pull output, and less thon 1% total power switch. Power supply is self -conjoined. Supplied complete ploys a 10 -watt amplifier push and ranges from 20 to 20,000 cycles w:th tubes. harmonic distortion. Frequency response .25db. Loudspeaker is housed in on acoustically matched enclosure. for custom installations) $325.00 Chassis only An external speaker jack is also provided. Power supply is built -in, and Relay Rock Model 335.00 front -pone) controls included for volume level, equalicatian $149.50 with tubes Cabinet Model (Mahogany, Walnut or Blonde) 360.00 and power. Complete The NEW FAIRCHILD Series 220 Mc INTOSH Diamond Cartridge Model MC -60

Employs moving coil principle and provides smooth response 60 WATT from 20 to 17,000 cycles. 2db. Low mass and high compliance AMPLIFIER give exceptionally iood tracking, low needle talk, record Employing the famous McIntosh -exclusive circuit with unity coupling, the wear and virtually n distortion. Operates into magnetic cartridge inputs w Model MC -60 provides performance within .4% of theoretical per- provided i conventional preamps. Available as follows: Model 220A fection. The tremendous reserve power made available by its 60 watt 1.0 mil n for microgrooves. Model 2208 2.5 mil for transcriptions. - - output, gives the MC 60 a distinct advantage in handling transients and Model 220C - 3.0 mil for 78 ram. $3750 other sudden surges without overloading or distortion and contributes Series 220 Diamond Cartridge (specify mode() immeasurably to the realism of reproduction. There is less than .5% of harmonic distortion from 20 to 20,000 cycles even at full 60 -watt output. Frequency response extends from 10 to 100.000 FAIRCHILD Transcription Arm - Series 280 cycles "I.0db; 16 to 60,000 cycles 7^.5db; and 20 to 30,000 cycles Intermodulation distortion, under 120 watts peak, is less than .5 %. reluctance and dynamic cartridges, and permits inter. -t.tdb. Accepts all variable preamps, without screwdriver or other tools. Built in muting switch eliminates Socket terminals are provided for powering McIntosh and other change volts, respectively. Output hum when interchanging cartridges. Provides perfect midgroove tracking and they- ore two inputs for .5 volts and 2.5 4, 8, 16 and 32 ohms. The with no side thrust or groove jumping. Has adjustments for height and terminals have the following impedances: no models available: McIntosh MC -60 employs the new Tungsol 6550 output tubes in push -pull. level. Requires arm rest. Two 53595 Series 281A for 16" transcriptions Complete with tubes $1985° Series 280A for more compact installations 33.95 ESTABLISHED 1927 in -fidelity equipment is Everything worthwhile high INC. IN STOCK at Harvey's - our demonstration facilities are ARVEY RADIO COMPANY, second to none! Harvey ships everywhere. York JU 2 -1500 pr.- are net, F.O.B. N.Y C. - subject to change without notice. '3 W. 43rd Street, New 36

NOVEMBER 1955 123

www.americanradiohistory.com NOTES Continued from page 122 55 S Y» asa To nto,.ó the brilliant eighteenth -century violinist, had his ears publicly boxed by S ,airs Can s `.110sTR Jomelli at the opera one night for interpolating a long cadenza in one of 4/0.5,^1f,Qn 5i101 b0.C5/ the composer's own works? It could - be my subconscious way of compensat- OS( C S 0.i1 Ouí,1/ ing for the reprimands I've received cat Smarr for straying off pitch in church choir rehearsal, but that is hardly epical gt,r`S 611 O . material. Another scribble: "Tom O p Bethune, born a slave more than roo Gn -x cyl q aó utiATZ4n years ago, taught himself to play piano by ear and became concert hall sensa- an st.-Tvtit.1 tmi m tion." Possibly I intended to use this y r acto.-ir to lead into a story about myself - and the time that I, also a player -by- 95t á0rn1 Vuz \Av. car, got up from the piano after a semi -public performance (no sensation, I recall) and strode through what 1;435.-° I thought was an exit, only to discover I had walked into a mop closet, where C1/4 t,as1 sj-scn or n I stood in the dark for ten minutes before gathering courage to come out. On the other hand, why ever should I have wanted to tell that story, Tom Bethune or no Tom Bethune. 11 o `ism Clin My son Tom, not quite two, is rap- ping on the door of the den as I write. "1"C yC- He has put one of his toy cars in my file -case again, and he wants ir. I have only to let him in, leave the room, and he will make short work of my perplexing notes and the attendant frustration. They would join, in some mysterious place of concealment known only to him, the extra -black pencils, the typewriter erasers, the paper clips, and the other items that disappeared regularly from my desk. But what a shabby way to bid greatness farewell! What would MacDowell have done, and let's leave Mrs. Mac - Dowell out of this. Time's up, I guess. Come in, Tom.

MUSE Continued from page 45 or a pile- driver during the arid stretches? Why not have the actual machine performing on the stage? This would add visual impact to the aural impression. The audience, subtly aware of the risk the conductor V was running of getting caught and mangled, would be kept in agonized SPORTS CARS suspense for the duration of the piece. I would speak to my colleague Gugel- hopf about it when we got back. But Continued on page 126 i2 4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THAT'S simple. The one that gives you the Power bandwidth naturally increases. More least distortion at high frequencies. Or put it distortion -free power becomes available at this way: an amplifier with Unity Coupling. higher frequencies. Which, of course, is ex- Because with Unity Coupling, transformer - actly what you're after. caused impulse distortion just happen. can't That's the logic of it ... but even more con- And which amplifiers have Unity Coupling? vincing is the listening. National's Horizon That's simple, too. National's Horizon 10 and amplifiers can be found only at authorized Horizon 20. National Company full -line distributors. You know what makes a conventional amplifier sound "raw " -especially at higher fre- HORIZON 20 HORIZON 10 quencies though its harmonic -even distortion Harmonic Less thon .3% at rated Less than .5% at may be rated low? It's because the output Distortion output of 20 watts rated output of transformer has to function as a coupling 10 watts device between output tubes. Intermodula Not more than 1% Not more than lion Distortion at 20 watts 2% at 10 watts But with a National no Horizon 10, 10 watt amplifier.preamp Horizon, rawness - Frequency 20 cps -20 kc ± .1 db; 20 cps - 20 kc ever. Unity Coupling takes over. Output Response 10 cps -100 kc ± 1 db ± 1 db transformer merely provides an impedance Power 20 cps -20 kc ± .15 20 cps - 20 kc Response db; 10 cps -60 kc ± 2 db match between tubes and load. I db at 20 watts

So, impedance ratio of output transformer is Sensitivity 1.6 volts for 20 watts .5 volts for 10 lowered, leakage inductance cut way down. output watts output

Horizon 20, 20 watt amplifier bweiAhilzmUL(/ Write to Dept. HF-113 for full specifications Authorized full line National Company NATIONAL COMPANY, INC. distributors are identified by this sign ation 61 SHERMAN ST., MALDEN, MASS. Manufacturers of highfidelity record changers, AM /FM tuners, preamplifiers, amplifiers, and speaker systems.

www.americanradiohistory.com MUSE

Continued from page 124

no . , . he might steal the idea! Better NEW! not to say a word. Not even to Theo - doric. I resolved that my first move when PENTRON we got back to Rancor would be to sign a contract with the dog biscuit factory for the exclusive use of their machinery at all my concerts. I would scrap the barren atonal symphony I had been working on and begin a new work called Rabies. As we raced along the highway the form of the work took 3 Speaker shape in my mind and I even groaned and thudded a few motives to myself. When Theodoric asked me what was the matter, I was clever. I said it was Hi -Fi nothing -I merely had a slight stomach ache. Tape Recorder

MICROPHONES

Continuedfrom page 92 with SEPARATE "ROVING" SPEAKER a tendency to pick up hum from adja- announces a cent AC fields. High- impedance lines truly complete are most susceptible while low -impedance lines are least sensitive in this :249so high fidelity respect. Balanced lines, consisting of LIST two signal leads center - tapped with Other 'S6 music service respect to ground, are extremely in- models, sensitive to $179.50 t. hum, since interfering sig- 5595.00 nals are cancelled out in the cable wide selection of components, at the itself. same net prices offered by component supply houses Actually, hum from mike cables usually does not present three attractively furnished demon- a problem un- ... exclusive UniMagic Control stration rooms- where you hear less we go out of our way to get the high fidelity music as it will sound cables near AC fields. Never run mike Only the new Pentron Emperor in your home cables and AC power cables together recorder offers this newest concept in expert guidance in selecting com- - that's just asking for trouble. audio pleasure. The Emperor's "rov- ponents to suit the acoustics of your Another rather perplexing form of ing" tweeter in a separate baffle, home and fit your budget interference sometimes occurs when perfectly balanced with 2 heavy duty woofers in the complete installation, including cabi- recording pipe organ or music on a recorder, reweaves the whole complex network (to your design or ours), dance floor, and it shows up as appar- beauty of the music even plastering and carpentering ent low -frequency tape overload, even even at low volume. Don't miss the experience. when needed. when the record indicator shows Hear and feel this difference in audio dimension -see the At last it is easy to have high normal recording level. This low -fre- true Emperor's bold incomparable styling fidelity. We will work with quency interference is due - your to floor at your Pentron dealer. architect or decorator, or handle the borne subsonic vibrations travelling up Push pull 10 -watt entire job. Large amplifier. VU or small, your in- the mike stand to the mike itself, and meter. Automatic index counter. stallation will receive the same care- even though the microphone's re- Instantaneous braking. Frequency ful attention from our re- designers, sponse may not go below 4o cycles, its sponse 40- 12,000 engineers, and service cps. experts. diaphragm is still agitated by these vibrations. At the interference frequency, the mike's output is so low that very little reading shows on the 48 E. Oak Street, Chicago II, III. record indicator, so all it does is modulate the desired signal, sounding very 116 -55 much like severe intermodulation dis- PENTRON CORPORATION HÌ1h Fidelity Wait Systems -Components and Complete Installations tortion, which in effect it is. The fre- 786 South Tripp Ave., Chicago 24, III.

126 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com quency of these subharmonics is too low to be filtered out by standard mike shock mounting systems and, if the vibrations are severe, the only solution DO YOU LIKE TO WASTE MONEY ? is to suspend the offending mike from a horizontally -hung piece of stout cord. CAN YOU AFFORD TO THROW MONEY AWAY ? ? The natural resonant frequency of the string is low enough that it effectively suppresses the vibrations, and the High- Fidelity House result will be a considerable cleaning If not, you should know about up of the sound. But make certain the suspending t. Have you ever wondered which amplifier and tuner were really best for your rope is strong enough to support many needs? Many dealers and distributors will recommend whatever yields the highest times the weight of the mike, because profit. Others try to promote their slow- moving items and their overstock. But at High -Fidelity House we have tested every worthwhile audio component on the horizontal suspension multiplies its market, and we will tell you quite honestly what is best for your needs, giving the ad- effective weight by a large factor, and vantages and disadvantages of each piece of equipment you may have been considering.

dropping a microphone from a height 2. Have you ever bought an amplifier, tuner, or changer, and found when you is certain to damage it. hooked it up that it wasn't working properly? High -Fidelity House makes complete at the time of sale. A good mike should be treated with tests and careful adjustments on every single component the respect accorded a good watch, be- We feel that this is perhaps our most important service, since our engineers find that almost go% of all units received can be measurably improved with a bit of cause it is just about as fragile. Don't attention; some, of course, require hours of painstaking adjustment before they will jar it, get it wet, subject it to extreme perform at the best. vibrations, or expose it to extremes of Should you wish confirmation of our findings in this matter, you may refer to temperature or humidity. Page 35 of the March issue of High Fidelity Magazine. Then you will understand why the Service Department of High- Fidelity House checks each unit so carefully, Anything that imparts violent often spend five to six hours on a single order when necessary, and always at no movement to the sensitive element of cost to you. a microphone may permanently de- 3. Have you ever bought high fidelity equipment and realized almost instantly guarantees form it, causing distortion, or may that it wasn't what you wanted? High -Fidelity House unconditionally complete satisfaction or a full cash refund. even put it completely out of commis- wished a few months sion. Remember that a mike's dia- 4. Have you ever bought a high -fidelity component and later that you could turn it in on something better? High- Fidelity House has allowed phragm responds to sound whether or as much as t00% trade -in value on units purchased from us. not it happens to be connected to any- 5. Do you wonder why we run our business in this way? Frankly, because thing, so the same precautions should it pays! We have, in three years, become the largest high fidelity dealer in all the be observed. West, and fourth largest in the entire world. Since there are hundreds of dealers and distributors selling the exact same equipment at the exact same price, our success When not in use, a microphone must be due to our policy of concentrating on customer satisfaction. should be covered with a protective There's certainly nothing new in saying "the customer is always right', but how bag, to keep dust away from it or, many businessmen really believe it? We do, here at High-Fidelity House. We better still, should be stored in a realize that by cutting corners, or by taking advantage of our customers, we could would find it out padded velvet-lined box. Otherwise, probably make a few more dollars on each sale, but if we did, you sooner or later, and what would you think of us then? What would you tell your particles of dust may lodge between friends about us? the moving element and cause dirty You see, we just can't afford to have a dissatisfied customer, so we bend over sound, very much akin to the fuzziness backwards to treat you fairly, and it works out wonderfully for you and for us, since comes from satisfied customers who tell their friends about from a worn phonograph record. 85% of our business High -Fidelity House. After all, if you have a high -fidelity system that gives you If a microphone is suspected of be- pleasure and satisfaction, you will use it many hours each week, and if you feel that ing defective, compare it with another we've treated you well, you'll have no hestitation in recommending us. It's as simple business grows and grows. of the same type or send it back to the as that, and so our House? Would you like to for inspection and repair. Local Would you like to know more about High -Fidelity factory obtain some valuable information which will save you money and perhaps protect repair shops or parts distributors are you from costly mistakes? No matter where you buy your audio components, you seldom any use here -they don't have will benefit from the information contained in our Bulletin G - over 5000 words, covering many topics which have never before been discussed in print. Yet this the test facilities. Condenser micro- valuable bulletin is absolutely free. We'll be glad to send you a copy if you will phones, however, occasionally develop write your name and address on an ordinary postal card. defects in the tube built into the mike, and this may be replaced at home if HIGH -FIDELITY HOUSE, Dept. H -511, 536 South Fair Oaks, Pasadena, California you are reasonably adept with a screw- RYan 1-8171 driver and remember at all times that P.S. Recently other dealers and distributors have noticed our success, and have tried the mike is fragile. Never pry or force to copy our advertising. Some of them have even tried to copy our name! ! Don't anywhere. Our showroom, ware- of the fittings, and if you run into be fooled, High -Fidelity House has no branches any house, and mail -order department are all located here in Pasadena. If you find other difficulties disassembling or assembling dealers whose advertisements seem similar to ours, reflect on the fact that words are the mike, return it to the factory or a cheap. Anyone can claim to offer the same services that High -Fidelity House provides, but if there is another dealer or distributor in the United States who even qualified audio service agency. approaches our standards, we have yet to hear of it. a care, a good micro- Given little In the last analysis we refer you once more to our thousands of satisfied phone should last for a lifetime and customers. There are probably some in your own state, and possibly even in your can be trusted to give consistently home town. Many of them are listed in Bulletin G. They will be glad to have you contact them. Our satisfied customers are proof that High -Fidelity House is the best good results from one recording place to buy audio equipment, and that we live up to all our promises. session to the next.

127 NOVEMBER 1955

www.americanradiohistory.com For Every Listener's Bookshelf ILI STE ER'S by N. D. Darrell BOOK. SH ELF

MOST months I don't find it too The present work, however, does difficult to organize this book - have more novel features than most survey column so that the primary similar native attempts in the past, focus is on a single main subject - principally its zeal in correcting the that of audio techniques, say, as exem- old imbalance between "live" and re- plified in the last issue, or phono- corded musical activities. For that, we graphic and musical histories, as in the have to thank Oxford's choice of edi- September "Bookshelf." But eventual- tor - Fred Grunfeld of broadcast and FOR the past four years the most ly there comes a time when neither the periodical -article fame -who sets the literate and informative writing on current publications nor the mounting pace here not only in his passionate the subject of sound reproduction piles of "leftovers" provide any sub- concern with the best in records, but has appeared in High Fidelity Mag- stantial group of selections which can also in lively azine. Now, for those of you who if necessarily journalistic might have missed some of High Fi- be fitted together into a pattern. style. delity's articles and for those of you Expecting to find myself in this pre- Assisted by Quaintance Eaton and a who have requested that they be dicament sooner or later, I had recon- well chosen corps of contributors (in- preserved in permanent form, Higb ciled myself in advance to making a cluding Jacques Barzun as Berlioz Fidelity's Managing Editor, Roy H. virtue out of a necessity is, Hoopes, Jr., has selected 26 of them - that specialist, Nat Hentoff in jazz matters, for inclusion in a HIGH FIDELITY by frankly abandoning any clear -cut and Tom Scott in folk music), Grun- READER. The Introduction was column "plan" and attempting a sort feld follows the conventional year- written by John M. Conly. of general housecleaning by gathering book scheme of surveying the main all the available odds and ends into a events of the season in specialized ALTHOUGH the READER is not helter -skelter "miscellany." Yet just as chapters devoted to orchestras, intended as a "layman's guide" to opera, high fidelity, it tells you everything I reluctantly faced the prospect of such concerts ( with an added chapter on you need to know, and perhaps a a sweeping -up chore for November, a the frantic New York scene alone), little more, for achieving good couple of last -minute book arrivals film music, and books; plus a day -by- sound reproduction. providentially reminded me that this day musical almanac ( from 1 June grab -bag or jumble-shop technique is 1954 to 31 May 1955 ), obituaries, and INCLUDED in the READER are articles by: not only a desperate expedient of har- lists of major symphony orchestras, ried reviewers, but of authors as well, summer festivals, and first perform- Roy F. Allison Richard W. Lawton Peter Bartók Theodore Lindenberg and that such book- miscellanies them- ances; and topped off by a handsome John W. Campbell Thomas Lucci selves may serve as a generalized sub- if all- too -short pictorial insert present- L. F. B Carini Joseph Marshall ject well worth exploring. ing photographs (mostly by Walter Abraham Cohen Gilbert Plass The first of these latecomers is a Bursten) of sixteen musical celebrities. Emory Cook H. S. Rummell typical example of "sweeping -up" as Eleanor Edwards Paul Sampson But the major as well as most novel Charles Fowler David Sarser practised between book covers: a Year section (some 14o out of the total 302 Irving M. Fried Glen Southworth Book of assorted information on recent pages) is a detailed review of record- Chuck Gerhardt Fernando Valenti developments in a given field - here, ing trends and outstanding disks of the Gus Jose Edward T. Wallace Music and Recordings, 1955 past year. Grunfeld's F. A. Kuttner Harry L. Wynn (Ox- and Miles Greg- ford, $4.95). Such annual surveys ap- ory's selections are discerningly chosen ONLY $3.50 pear regularly in other areas, but in and wisely confined to few enough HIGH FIDELITY MAGAZINE that of music, at least, they seldom specific works that each can be en- Publishing House have been successful or long -lived: lighteningly discussed rather than Great Barrington, Mass. they find their way easily enough into given merely cursory citation. Yet Enclosed please find S all leading institutional libraries, valuable as this discographic survey Please send me copies of where they are prized as valuable surely will be to any serious record - THE HIGH FIDELITY READER reference tools, but they seldom exert buyer, and useful as the other news NAME any decisive or lasting appeal for indi- and data should be to any serious con- ADDRESS vidual music lovers. The only real ex- cert- and opera -goer, the book remains ception of which I know is the - inevitably -a hodge -podge with a fascinating British series of Hinrich- diluted and diversified appeal hardly sen's Musical Year Books, but unfortu- NO C.O.D.'s please strong enough to overcome the sales nately this never has received the (PO.LISHED DV HANOVER HOUSE) American attention it merits. Continued on page 130

I28 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com This System is typical of the kind of Thousands of music lovers have found values only TERMINAL RADIO has in store for you. their Best Deal at TERMINAL, House of Superior Quality and Top Remember - TERMINAL Stocks ALL THE NEWEST Value. If you can't visit us, write us your require- Standard Brand, Popular, Hi -Fi Components! ments. It will pay you in Highest Quality at Lowest Cost.

ELECTRO -VOICE SP12 -B RADAR SPEAKER 12" Coaxial Speaker 12-30 Watts. Response 30 to ±6 DB. 8 13,000 cps. The ohms impedance. Built -in GRUNDIG crossover 4500 cps. 1 lb. Alnico V. magnet, 121/2" Higher Fidelity Tape Recorder 53/4" depth be- FM -AM PILOTUNER diameter. ÁF824 hind mounting panel. Deluxe 10 tube tuner, including rectifier. Net $29.10 2 -stage pre -amplifier with record equalizer. Phono inputs for magnetic. crystal and AUX. Two stage audio amplifier with cathode output. Frequency response 42 DB, 20 to 20,000 cps. Controls: Volume. Equalizer, Treble. AM -FM- Phono -AUX -Bass and AFC. Built-in antennas for FM and AM. Net $119.50

BSR "MONARCH" RECORD CHANGER ti with famous ReeotonGoldring Cartridge Features "Magidisk" selector. Plays 7 "; 10 ". 12" records at all 3 speeds. 10 record capacity- intermixed in any order. Motor A Precision Instrument with shuts off after last record. Vibration-damped Standards PILOT AA -902 PILOTONE AMPLIFIER 4 pole motor -no rumble, no wow. No acous- Broadcast -Performance Williamson -Type Amplifier, with special tic feed -back. Heavy pressed steel turntable. in Your Music System! interleaved -wound Output Transformer with rubber mat. Compact size. RECOTON- Ready to Install and push -pull output. 5 tubes including COLORING CARTRIDGE features new push-pull At last a Tape Recorder worthy of the finest high fidelity sys- rectifier. Frequency response +1 DB, 15 coil assembly, eliminating hum pickup. Two tem. The GRUNDIG Tape Recorder features wide range re- to 40,000 cps. at 10 Watts. Distortion replaceable sapphire styli. Frequency response: 40 to 16,000 cycles at 742 IPS normally found in less than 1% at 10 Watts. Net $39.95 sponse 20 to 16,000 cps. Not $32.50 units costing 2 to 4 times as much. This broadcast -quality instrument has a two speed reversible Hysteresis Synchronous Motor and provides absolute minimum flutter and wow - recording, and reverse The PHONO SYSTEM 0.1%at 742 IPS- pushbutton playback "LEADER" FM -AM -RADIO without rewinding or rethreading and 2 speeds for maximum TO versatility (742 IPS á 33/4 IPS). Other outstanding features are famous Names Hi -Fi Components ... READY PLAY! the illuminated tape counter indicator dial, sound level indicator, magnetic clutches and brakes that eliminate tape strain. A truly amazing hi-fl buy! World- famous Pilot FM -AM Tuner, plus SPECIFICATIONS: Pilot Amplifier for maximum sensitivity; Electro -Voice 12" Speaker for REEL SIZES: 3" 5" 7" clean, sparkling brilliance of tone; and the versatile BSR "Monarch" FREQUENCY RESPONSE: 40-16,000 cycles at 742 IPS, + 2 db Record Changer, magnificent in performance and beauty ... All this 50-10,000 cycles at 31V4 IPS,± 2 db a price! SIGNAL TO NOISE RATIO: 55 db adds up to unexcelled listening -at sensational FLUTTER & WOW: 0.1% at 742 IPS; 0.2% at 33/4 IPS Heavy -Duty Reversible Hysteresis Synchronous Motor THE LEADER SYSTEM SHOWN HERE READY TO PLUG IN AND PLAY INPUT: for microphone, radio, phono OUTPUT: high impedance to standard high fidelity COMPLETE amplifier 50 POWER REQUIREMENTS: 105 to 220 volts AC, 50 -60 cycles EQUALIZATION: as defined by NARTB standards For Diamond Stylus DIMENSIONS: (Min. recom. cabinet clearance) 5169 on LP. add 16'W x 13 "D a 10"H $15.00 WEIGHT: 55 lbs. Total Regular Net $221.05 Incorporates all electronic circuits for recording and playback, except power output amplifier and speaker. Ready to connect to your HI -FI System. $ MATCHED SPEAKER Net Price a Z99so gi-,yci.,,LCROI and EQUIPMENT CABINETS JUST OFF THE PRESS! Matched Pair Fine Furniture Cabinets, cut sib out for Standard Hi -Fi Components. EW 1956 AUDIO GUIDE Send for your FREE copy. ARISTOCRAT Cornet Enclosures utilize famous KLIPSCH sound principles. Top efficiency, extended Prices Include bass range, no boominess. Dimensions: 2942" h. x Transportation 19" w. a 1642" d. and - PEERAGE Sound Equipment Consoles have pivoted. Insurance Costs tilting top. Amplifier is mounted on back shelf, for Stateside USA lk- - _ ___,_,,_ L . changer drawer mounted on roller slides. Dimen- when full remittance accom- sions: 293/4" h. a 201h" w. x 183/4" d. panies order. Or send 25% de- posit, balance COD, transpor- ARISTOCRAT Blonde or Mahogany $158.76 per pair PEERAGE tation and insurance collect.

GUARANTEE: You are Cully protected against arrives in damaged any hnanc, l loss if any part or becomes defective within 90 days. condition item Every shipment is insured in transit and every CORP. GUARANTEED by the manufacturer and minal Radio is FULLY Radio. Terminal 85 CORTLANDT STREET, NEW YORK 7, N.Y. WOrth 4 -3311

NOVEMBER 1955 129

www.americanradiohistory.com for the BOOKSHELF discriminating Continued from page 128 resistance of most potential phone - IFxGOLDEN SERIES" listener musical book- buyers. I hope it will, but, judging by earlier musical year- HIGH FIDELITY book sales, I'll be pleasantly surprised hrrnid if it does. Custom Sensibly THE CLASSIC Quality Priced Iii -Fi for Large, Economy -Size NAME IN Cornucopia Components Everyone HIGH FIDELITY The other current publication is a late- presents a group of high comer indeed ( it was originally an- fidelity components nounced for 1952 release! ) and a veri- featuring superiority of sound reproduction and table colossus of grab -baggery. Yet it elegance of appearance. is sure to be a best- seller, if only They may be used thanks to the potent promotional ef- together for a completely forts of its publisher whom no dis- integrated system, or - cophile will have any difficulty in h MODEL HF2SS individually as AM -FM improvements in identifying as the most energetic ( and TUNER existing installations. successful) of contemporary record Provides exceptional AM -FM recep- dealers. This is the long -awaited and tion, true high fidelity realism with ecstatically advertised Disc Book by "space- saver" convenience and beauty Sherwood at remarkably low cost. FM response, David Hall and Abner Levin ( Long - 0.5 db, 20 to 20,000 cycles; AM, ± 4 5 -2000 Player Publications, $7.50), and it's db, 20 to 5,000 cycles. Sensitivity : FM- FM -AM TUNER 5 microvolts hardly the authors' fault that it finally for 20 db of quieting: AM I l'h," v cascade FM sensitivity -20 microvolts for volt output. comes- for all its grandiosity as Includes AFC, AFC and fly - drift- compensated wheel tuning circuits, FM di -pole antenna, AM wide and narrow AM something of an anticlimax. selectivity ferrite loop, etc. Only 31/2" high. Ideal exclusive AM hi -fi circuitry Certainly Messrs. Hall and Levin for use with amplifier below. with infinite impedance detector (and, for that matter, Mr. Sam Goody) outstanding have spared themselves and their coil stability readers nothing: the book is a hand- low IM distortion on FM and AM some one for all its obesity (471 num- Choice of cabinets bered pages, plus 32 of photographs, fro, $139.50 Sherwood and 52 more of unpaged addenda, S -1000 artists' index, and advertisements), and AMPLIFIER it covers the whole LP repertory and 20 watt ultra- linear output the whole pantheon of recording artists push -button record equalization MODEL 1512 Z729 low noise phono preamplifier like a circus tent. Unfortunately, like new "center-set" loudness control any such structure, it merely jumbles 12 -WATT rumble and scratch filters together, rather than integrates, a Choice of cabinets ... from $99.50 HIGH FIDELITY AMPLIFIER chaotic conglomeration of attractions. Apparently True hi -fi performance at moderate Forester LOW -DISTORTION the problem of choosing cost. Full 12 watts output; response, THREE -WAY SPEAKER SYSTEM among the orthodox organization - 0.5 db, 20 to 20,000 cps. Features 5 inputs: Performance schemes was solved by default: try 'em separate bass, treble controls; equalization for EUR, ffrr, RIAA, sycomparable to all! So we have here, after the usual stems costing Quiet ; variable damping control, choice TWICE AS MUCH! preliminaries, a brief survey of record- of volume control or loudness control. In compact cabinet, only 31/2" high. 0.5',; IM distortion ing companies ( some 20 pages) ; a at 10 watts selected "Basic" or as finically yclept 51/2 ft. horn -loaded - 12" woofer here, "Well Sounding " - Library, ar- separate 8 ranged mid -range unit by composers (some 4o pages): BEAUTIFUL "SPACE SAVER" DESIGN, full 12 db /octave, then a gargantuan section of classified RAULAND matching Hi -Fi 300 cps: 5000 units are decorator -styled in cps crossover artists' discographies ( no less than 223 handsome charcoal black with marbleized gold finish, control 5- tweeter pages); and on top of all that a de- panels in soft brushed brass. De- response to 15äC tailed chronological survey of the signed to fit anywhere -no cabi- choose nets required. (Extension shahs ontemporary (shown), "Main Stream of Music" with scattered available for behind -panel Merle! SFC c traditional, or French mount.) $119.00 r.md.» Provincial cabinets, or references to pertinent recorded illus- kits trations of the trends and composers at $139.50 discussed (some 15o pages) . WRITE FOR FREE DESCRIPTIVE LITERATURE Naturally enough, so turgid a miscellany varies immensely in quality and appeal. I liked the manufacturers' Si%rao1 Hear these RAULAND units at your survey ( which, considering that one »> ucTr,oMa uSoiiieñn. INC" Hi -Fi dealer, or write for details of the authors is associated with a re- 2802 W. Cullom Ave., Chicago 18,111. RAULAND -BORG CORPORATION cording company, is scrupulously im- 3515 W. Addison St., Dept. F, Chicago 18, III.

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com partial) . . . the "well sounding" library struck me as skillfully chosen Hi . . e Mr. Ili as any supposedly "basic" list can be This is It ...... and the concluding survey of musical history seems to me to suffer only The BRADFORD from the fact that it has been done so often before. The general introduction Perfect BAFFLE* on starting a record collection and learning exactly what goes on in recording studios is first rate. But for contrast there is a skimpy and far from satisfactory chapter on "How to Know What You Buy," which inexplicably ignores several outstanding record -review publications ( like the Saturday Review and New York Sunday Times) and all the Disc Book's competitors ( most notably the Kolodin- Miller- Schonberg series reviewed in this column last July ). And the inclusion Radically new idea in loudspeaker enclosures. of a large number of smudgy line -cut Not a bass reflex or folded horn. The primary purpose of a loudspeaker enclos- portraits of composers gives the book ure is to prevent destructive sound cancellation ' an incongruously old -fashioned look. that takes place at low frequencies, when the front and rear waves, emanating from both sides Yet my most uneasy dissatisfaction of the speaker cone, merge. is with the main section, that devoted It is obvious that no rear waves can escape through a totally enclosed cabinet. and it would to interpreters, which falls into the be the perfect baffle, except for one reason. The air pressure within the cabinet acts as a cushion old quicksand -trap of unalloyed praise. upon, and therefore restricts, cone movement. This causes loss of life and color. To be sure, every recording artist must The BRADFORD Perfect BAFFLE is totally en- have some admirers, but what listeners closed, yet it relieves cone pressure by a ingenious device that operates in unison with scone look for in a record guide of this kind movement. is at least fair measure of critical per- Since this action conforms to an ultimate .scienlific principle, the BRADFORD Perfect spective and evaluation, as well as dykes BAFFLE is the only enclosure that can give you Great the utmost in sound reproduction. factual repertory data. The latter is And that, specifically, is ... provided with admirable comprehen- that bring you great music AU. THE BASS, full rich, clean bass, clearly siveness here, but practically nothing distinguishing each contributing instrument, down to the lowest speaker frequency. of the former creeps in even by impli- From the land where engineering skills no boom. Boom, or NO BOOM. Absolutely cation. the sea, the one note" bass, is not high fidelity. equal the force of mighty Of course critical insights are not Duotone Company brings you Norelco NO FALSE PEAKS. Does not "augment" bass by false peaks that are really distortions. entirely lacking elsewhere in the Disc Sound Equipment. High fidelity equip. mighty force of ANY SPEAKER. Accommodates any speaker . Book and its sheer bulk of material, if ment that holds back the size, weight, shape or make. any not its diversity of virtues, well may mechanical interference in your listening NO TUNING. No part turning or speaker match- as the great dykes of Holland stand stal- ing. make it as popular a handbook for wart against every destructive trickle of ANY POSITION. Operates in any room position. contemporary record -buyers as Hall's NO RESONANCES. No false cabinet or air reso- the sea. nances. earlier Record Books were for the pre- A genius peculiarly Dutch, this meticu- COMPACT. Four sizes for 8 ", 10 ", 12" & 15" vious generation of 78 -rpm disk - lous attention to every minute detail. 2" larger than speaker size. speakers. Baffles only weakness anywhere. That Prices: finished, $39.50, $49.50, $59.50, $69.50, fanciers. Surely no one who buys it That allows no respectively. Unfinished birch, $34.50, $39.50, insists on orderliness in everything they $49.50, ever can complain about not getting $59.50. do. Thot trusts nothing less than perfec- REAL HARDWOODS. In all popular finishes .. his money's worth. But few discrimin- in sound mahogany, blond, ebony, walnut. tion. The kind of perfection ating discophiles can read or use it equipment, manufactured in Holland by INCOMPARABLE CONSTRUCTION. Hand made, hand finished ... by master craftsmen. All walls long without bitter regrets that the Philips and brought to you by the thick. authors fail to discard their rose - Duotone Company. Consummate perfec- GUARANTEED. Unconditionally guaranteed to tion in high fidelity. Great dykes that out -perform any other enclosure now available colored glasses more frequently and hold back every trickle of interference in regardless of size, weight or price. chose as a goal the comprehensive ac- If you want the very best speaker en- your listening. Great dykes that bring closure and will not be misled as to real cumulation of materials rather than you great music! performance by deceptive size or price, see your audio dealer at once. A demonstration their integrated and illuminated orga- will convince you. Or write for literature. nization. Prices slightly higher west of Rockies. Model #9750M -8!-" *Patent pending. Rating Power - 6 watts; Pink Pills for Pale Music-Lovers V. C. Imp. . 4 -6 ohms. Some List price $36.95. Price other miscellanies can be more subject to the usual BRADFORD expeditiously swept under the rug as audiophile discount. I get back to my housecleaning chores,

for they've been cluttering up my Information on other Nervier, models from Pege6t BAFFLE room for months as I waited for some THE DUOTONE COMPANY, INC. KEYPORT, N. J. BRADFORD & COMPANY reasonable excuse for their disposal. Supplier d Monloclurer of Dvotone Needles 315 East 6th Street NEW YORK, N. Continued on next page

NOVEMBER 1955 131

www.americanradiohistory.com FULFILLMENT! BOOKSHELF Continued from preceding page

Two are typical products of that inde- fatigable one -man music -book factory, David Ewen, and both The Home Book of Musical Knowledge (Pren- tice -Hall, $4.95 ) and David Ewen's Musical Masterworks (Arco, $4.75) are to my perhaps unduly cynical mind strictly pseudo -"class" items for the corn - belt "connoisseur" mail - order AT LAST ... APPROACH ABSOLUTE trade. The former jumbles FIDELITY IN THE REPRODUCTION up brief biog- OF raphies of the "great" composers with RECORDED SOUND ... WITH PREVALENT descriptions of the "basic" musical DISTORTIONS ELIMINATED OR MINIMIZED forms (including opera and ballet "stories" and lists of the "loo basic" orchestral and instrumental works), adding for good measure a few program -notes on works written especially HEAR THE FABULOUS NEW CO ll- Goldrín for children and a glossary of musical 500 MAGNETIC TURNOVER CARTRIDGE " terms. The latter (the second, enlarged FOR PROOF THAT HIGH FIDELITY RESULTS NEED NOT BE EXPENSIVE. edition of a work originally published in 1944) is at least a little less hodge- podgy, for it sticks to program- notes, At leading hi li distributors; write for descriptive literature to. "stories," and descriptive blurbs of RECOTON CORPORATION, Dept. H, 52 -35 Barnett Ave., Long Island City 4, N Y. more -or -less "standard" works by Manufacturers of World -Famous Phonograph Styli. several hundred composers from Al- béniz to Wolf- Ferrari. But both books presuppose that a musical "education" can be obtained merely by gobbling sugar -coated pills of casual information. The usual results, however, are less mental nourishment than a bad case of bloat. Filled to surfeit with /Ai," blended facts and fancies, the patient may feel that he is musically filled, but ARE THE ONLY WORDS THAT DESCRIBE THE MILLER in actuality there is no appetizing -595 NEGATIVE MUTUAL COUPLED BROADCAST stimulus for him ever to chew - much _ BAND -PASS CRYSTAL TUNER less digest - more than a fraction of w such juiceless fodder. NO POWER REQUIREMENTS The 1954 edition of the famous SELECTIVITY SENSITIVITY NO NOISE DOES NOT ATTENUATE HIGH Hughes- Taylor -Kerr Music Lovers' FREQUENCY RESPONSE NO BIRDIES Encyclopedia (Garden City, $3.50) LOW COST LIFETIME TROUBLE-FREE of course warrants less cavalier OPERATION NOTHING TO CAUSE treat- DISTORTION GAIN CONTROL AND ment, for although it too is a hodge- Only 4" x 7" .x 31/2" Deep V E R N I E R T U N I N G D I A L podge, its contents are both much The most amazing High Fidelity Broadcast tuner The audio output of the tuner is proportional more substantial and far freer from tuner ever offered to music lovers anywhere. to the input signal and will vary from .07V to High Fidelity fans will he pleasantly surprised .7V for stations within a 20 -25 mile radius. sugar -coating. The main items are a with the tonal quality, selectivity, and sensi- recommend tivity of this marvelous tuner. We a good antenna and a high biographical dictionary of The frequency quality audio over 8,000 response is limited only by the audio system system for best results. musicians used, and the transmitted signal. A beautiful ebony black bakelite cabinet and a dictionary of over Mount the tuner on your television set, use houses the tuner with a Richlow brass etched 7,000 terms, plus longer life -sketches your television antenna, and play it through panel for the escutcheon. Both combine to the audio section of the same television set. complement any decor. of some 34 of the best -known composers, "stories" of some 90 operas, Like all Miller products this #595 tuner is guaranteed to perform to your satisfaction. Buy with confidence from your Radio and TV pronunciation notes, instrumental Parts Distributor, Audio Distributor, or High Fidelity Dealer. charts, etc. These are good reference if is one of the lowest priced quality tuners on the market. The sources, but the most stimulating read- #595 toner is complete in every detail, ready to plug into your ing is audio system. Net weight I lb. it ozs. Shipping weight gross 2 lbs. to be found in Rupert Hughes's Net price only $19.50 plus excise fax. "Introduction to Music for the Un- initiated" and in a series of 29 articles J . W . M I L L E R C O M P A N Y on particularized subjects from Acous- 5917 South Main Street Los Angeles 3, California tics to Theater and Dance Music Or- Canadian Representative: Atlas Radio Corp., Ltd., 50 Wingold Ave., Toronto 10, Ont., Canada chestration - the last a real gem by

132 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com the outstanding authority, Robert Rus- Farrar, Straus & Cudahy, $3.00). Yet sell Bennett. since the original has been out of print Among these I was delighted to find since World War II, it will be new to retained my own piece on "Phono- most American readers. In any case, Now... "A graph Music," for that remains even it's the only full -length study available after some seventeen years one of the in English of perhaps the least- known, few examples of my own work in if not the most disgracefully neglected, which I'm not ashamed to take some major composer since Baroque times. SPEAKER pride. But such immodest satisfaction Too few of the Gluck recordings give is considerably tempered by the fact any fair index to his stature and sig- that as a reference survey it is, like all nificance: here, for once, it may be its companion articles, now sadly out best to start reading about the man of date. And that's my one real com- even before you've developed an urge plaint about an otherwise extremely to listen to his music - for if you handy and useful book: the present don't have that urge before you dip version - except for the insertion of into this volume, you'll be consumed later death dates in the biographical with it long before you finish Ein- dictionary and the addition of a sup- stein's tersely packed, beautifully writ- plementary list of modern composers, ten, and superbly illuminating pages. pages 866 through 885 at the end of I know very well that most of you will the book - is basically that of the be inclined to pass this book by, how- 1939 edition. ever respectfully, but I insist on having the satisfaction of warning you in ad- But You Can't Beat the Old Mas- vance that you will be depriving your- ters! self of something truly valuable. Incidentally, this unqualified "plug" The commissioning of a truly great also gives me a welcome chance to pay author to write about a truly great tribute to the "Master Musicians" composer of course happens all too series as a whole. The volumes in this seldom. So it's hardly surprising that series are happy combinations of brev- the sole current example is not entirely ity and thoroughness, for although new, but rather a reprint of Alfred Einstein's Gluck (Dent 1936, via Continued on next page You can have music wherever you go - bedroom, dining room, work- room or porch - at low cost with these new Argos slanting corner -tone-arm +lone losf a baffles. Poor Ty insisted that any They are the ideal extension speaker aoa precious -stone needle was good for any hi -fi system. Their slanting enough. Then a guy named Hi with front aims sound down toward you instead of straight out. They work a taste for Fi proved that diamonds equally well on floor or ceiling, are a disk's best friend. Tyrone comfortably filling your room with had to eat his words - and his sound from a most unobstrusive worn -out records. But now he's location. happy. No chewed -up records, and How Do They Sound? Far better not one "kaa- runch" in a carload than any wall baffle ever built be- of playbacks. He has a diamond cause adjacent walls and ceiling all needle. serve as extension surfaces to produce materially better tone. Bass If you are using anything but a reflex design helps low notes. diamond ... or a diamond more than 12 months old ... remove it How Are They Made? Heavy wood cartridge*, Scotch -tape it covered with extra heavy ribbed from the fabric, mahogany or blonde, same to a piece of cardboard and mail to price. They cost no more than regu- Transcriber. Our experts will lar corner baffles. They hang simply, strengthen and straighten the - take paint beautifully if desired. shank ... re -tip it with a new guaranteed diamond. You'll boost Ask your dealer, or write direct. your fi and save your records. You'll save money too - complete price is only $10.50 post -paid. 48 hour service.

tJ on can't remote needle, tend entice cartridge. TRANSCRIBER COMPANY Diamond Stylus Manufacturers P. O. Boa 478 Dept. HF -11 Attleboro, Mass.

NOVEMBER 1955 1J3

www.americanradiohistory.com BOOKSHELF Continued from preceding page Try this test and prove to yourself .. . each is a short work, it is written by an authority on the subject and invariably supplemented by illustrations ( both pictorial and musical), a complete Price is no longer catalogue of works, an enormously helpful calendar of contemporary the measure of speaker quality world events, a "personalia" section ( thumbnail sketches of all the persons Centralab's NEW You know the Hi -Fi speaker market. And mentioned in the text or associated you know that time and again experts Fastatch' Senior with the subject), and detailed bibli- have said that price is the best rough Compentrol Kit ography (but no discography) and measure of speaker performance. But index. we'll bet that you-or they -won't guess And, if you insist that Gluck makes the price of our new "Omega M" speaker PUTS MORE TWEET no appeal either to your eyes or ears, from its specifications! Try it: at least you owe it to yourself ( and the TYPE: True coaxial speaker system IN YOUR TWEETER... invigorating exercise of your sensi- with "Omega M -Voice Ring" horn - bilities) to welcome as a permanent loaded 21/2" tweeter and separate 15" more woof guest in your home some memento of low -frequency woofer. in your Einstein himself, whose death in 1952 FREQUENCY RESPONSE: Lnusually woofer was nearly as great a loss to the world smooth, peak -free 30 to 20,000 cps. POWER HANDLING CAPACITY: 35 watts How do you titillate your of music as his ( unrelated ) namesake's tympanum? With tones true but has been, this year, to the world of of program material throughout entire frequency range. tempered? Or do you show no pity science. If you're a Complete Mo- for the plaster and want 'em true ANGLE OF COVERAGE: More than 90 °, zartian, his revision of but thunderous? the great depending on installation. Either way, Centralab's new Köchel Index (Edwards reprint, 1947) LOW -FREQUENCY CONE: Curvilinear, Fastatch Senior Compentrol Kit of will a is for you. For, quick as a wink, course be treasured, soon 15" dia., with 3" voice coil. Resonance you can assemble the ultimate in a thumb -worn bible; but if you want to in free air: 40 cps. compensated control, to improve start more modestly, by all means be- the tonal performance of your HIGH -FREQUENCY CONE: Curvilinear, hi -fi amplifier or preamplifier. gin with the recent "Vintage" paper- 21/2" dia., with 3/" voice coil. back edition of his Short History of MAGNETIC STRUCTURE: lbs. Al- You can get any shaft -length 2% you want. It's a SNAP to do It: Music (Knopf, 95c) ; then go on to nico V. three equally celebrated Oxford publi- FLUX DENSITY: 10,000 gauss in high - Snap front unit . (with shaft cut to length) frequency gap and in low -frequency cations - Mozart (1945) , Schubert Te rear unit ... gap. Chosen for optimum damping; (with shaft cut to length) (1951), and the collection of essays, for full response even in an infinite yy Add The knobs .. . Greatness in Music (1945). There co and there's your baffle. compensated control are more, but once you know these you're well on your way to joining the BRILLIANCE CONTROL: Provides vari- A special Printed Electronic able control of high -frequency Circuit', pre -wired to the rear unit, ranks of truly literate listeners. You'll re- automatically bolsters frequencies sponse. otherwise often lost. Two additional never regret it! high -boost plates are included in What do you guess? $175? $200? the kit, in case your taste demands even further emphasis of the highs. Grace Notes Good try. Ordinarily you'd be very close. If you like to tinker, ask your But this speaker has an entirely new and Centralab distributor for a Cent ralab different aluminum "Voice Ring" in its C2 -200 kit. If you're not a do-it- Composer's Outlook and Quirks. As tweeter, which not only extends the high - yourselfer, ask your service man to visiting lecturer at Cornell in 1954, frequency response by its low mass and install a Fastatch Senior Corn - Ralph Vaughan Williams undoubtedly pentrol for you. weight. but lets us pass a lot of manu- *Trademark delighted a non- professional audience facturing savings on to you -in the form by his highly personal slants on the of a $99.95 price tag! nature of music, how and when it is Prices and specifications aside, though, made, its social foundations, and the the real test of any speaker is the quality roles of folksong and personal partici- of its sound. The "Omega M" passes this pation. But collected in a slim, 7o -page test, too, with flying colors. Hear for book, his talks lack real depth and sub- yourself at your nearest Stromberg -Carl- stance, bristle with prejudices (against son dealer. If you like, write us for a full Send for pentrol booklet. te authentic baroque instruments, for ex- set of specifications and the name of the Centrala Dept. 928K, ample), and are likely to be relished dealer nearest you. Milwaukee 1, Wis. best (or only) by admirers of the octo- genarian himself -a fascinating combination of warm -heartedness and tart STROMBERG- CARLSON' CO.

orneriness ( The Making of Music, A DIVISION OF GENERAL DYNAMICS CORPORATION Oxford University Press, $2.00). 1222 Clifford Ave., Rochester 21, N. Y.

134 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Of this

you can be sure...

SIR: push -pull output stage, and replace the I am attempting to add a TV unit to tube with a plug wired as shown in the my hi -fi set. After quite an extensive diagram, below. The pin connections deffif ftofrtI search through your magazine and shown are numbered clockwise from the other sources, I have reached the con- aligning key of a standard octal socket, clusion that pitifully little has been viewed from the bottom, and will be cor- Record written for those who are inaugurating rect for all standard output tube types, such an undertaking. I would like a such as the 6V6, 6F6, 6K6, or 6L6. TV unit which is comparable to the The 5,000 -ohm resistor must be a 25 -watt Changer rest of the units of my set and one wire -wound unit, so it will be necessary which duplicates a minimum of parts to remove the cover from the plug and leave than the and controls. the resistor floating in free air above the Can you help me? I would be de- plug, both for ventilation and to meet the lighted to find an article dealing with space limitations. Use fibre spaghetti my problem in the next issue or two of tubing over the resistor's leads, and- don't HIGH FIDELITY. try to remove the plug while the TV set is Catuvoik Any help which you can send my turned on - the resistor has about 25o way will be greatly appreciated. volts across it. RC-54 Robert Clark The output impedance of this connection 89 Main Street is quite high, so use as short a lead as pos- automatic Intermix Potsdam, N. Y. sible between the TV set and the audio control unit, and if the TV set has a single + Supplied with pre -cut Mounting Board, There are quite a feu' excellent TV -only output tube leave the volume control turned Power Cord and Audio Carle. tuners available for connection directly into up full at all times. If it has a push -pull output (two output tubes), set the high -fidelity systems, one of which is re- stage + Automatically Intermixes All Size volume control 2 /3 of rotation, and viewed in the Tested -In- The -Home at full Records without Presetting. section of the October issue. try not to advance it past that point. Higher These units may be attached to an ex- settings might overload the following stage. + Rapid, 7- second Change -over Cycles isting system in precisely the same way as ... and other outstanding features. an FM tuner, requiring only an antenna SIR: connection, a source of AC power, and a I own a Components Corporation belt spare high -level, low -gain input to the driven turntable with a Pickering arm audio control unit. If the TV tuner has and diamond stylus cartridge. My its own volume control, as most of them do, main amplifier is a new Heathkit this may he used as an input level -set con- separate -preamplifier unit. Ever since trol in lieu of one in the control unit. If I purchased this system, I have noticed there is already one in the control unit, a very annoying condition while play- the TV tuner's control should be advanced ing my recordings. to about 2 /3 of full rotation and left there, Whenever I play a record there using the level -set control for balancing seems to be a high -pitched crackling the input levels. noise in my loudspeaker, which is a be triaxial. As I put my ear to the record A standard TV receiver may also You can SEE it at your Sound Dealer. good results with a player, it seems as if this crackle origin- adapted to give fairly You can READ about it in our Folder. high fidelity system by drawing its audio ates at the stylus, for it is audible at signal out before the output stage and feed- that point. I do not encounter this ing it into the control unit as described trouble using my tuner or tape re- Mail This Coupon Today above. To do this, remove the output tube, corder, so it must be limited to the Dept. WL or one of the output tubes in the case of a phonograph channel. ROCKBAR CORPORATION, -2 Could you please advise me as to 215 East 37th St., New York 16, N. Y. how I might remedy this situation? INNER CONDUCTOR Please send Literature describing the John B. Rison S000A Collaro RC -54 Record Changer. 25 WATT RESISTOR 56 President Avenue TO CONTROL UNIT Providence 6, R. I. T NAME 2 ADDRESS MIELE/ The type of interference which you have in your system is usually traceable to CITY __ Continued on next page

NOVEMBER 1955 135

www.americanradiohistory.com STATIC FREE AUDIO FORUM DUST FREE Continued from preceding page RECORDS MINIATURE with haie severe peaks in one or both of the trans- ducer units. SELF- POWERED By far the most common ofender in this HIGH -FIDELITY respect is the loudspeaker, many of which have extremely peaky response at the high - PREAMPLIFIIER SuI %IUTE frequency end. But since you do not get the high-pitched crackling sound wh,1; fffJ f listening to your tuner or tape recorder, $44.95 you might investigate the possibility of a CLIP ON defective cartridge. All cartridges emanate "needle talk" to NEGLIGIBLE some extent, but the resulting dirtiness of WEIGHT sound is rarely passed along to the speaker to annoying any degree. If the pickup is SIZE 6- /z" X 2 -1/4" X 3" LASTS having more than a normal amount of AT LAST...a quality equalizer -preamplifier at difficulty in tracking records, you may FOREVER a price you can afford ...Outperforms units have one in which the stylus damping ma- Enjoy static -free and dust -free record- costing twice as much. Low noise, low dis- terial ings. Retain the original background has shifted or dried out, or you may tortion, and high gain...Record noise and level of your records. EBY'S STATI- be using a worn or chipped stylus. If in distortion filter...Exclusive TREBLE PRESET... MUTE neutralizes dust attracting static. doubt, you should return the cartridge to Full equalization and tone compensation... NO BRUSHES the factory for a complete laboratory check. Takes standard magnetic pickups, radio tuners, NO SPRAY Incidentally, since you say you have had tape recorders, etc.... Sturdy, well built, at- NO RAGS $5.00 this trouble ever since you purchased your tractive...Specifically designed for complete Hi Fi recording equipment, there may be something wrong and playback control... Available at all leading dealers... SALES CO. of N. Y. with the way in which the system was ini- Write for literature. 130 LAFAYETTE ST. tially set up. NEW YORK 13, N. Y. For instance, most cartridges will AUDIO ARTISANS, INC. PHONE WORTH 2 -7766 seemingly produce distortion if, with HAWTHORNE, NEW YORK the system's volume control turned off. it is possible to hear sound radiating directly from the stylus of the cartridge when you are sitting in the usual listen- ORDER NOW ! ing position. If this noise is audible Vla LOWEST PRICES! with the rest of the system turned off, it will definitely create the illusion of High Fidelity DIAMOND c fy rattling noises coming from the loudspeaker, even though the speaker may NEEDLES apparently be drowning out evert other sound in the room. A second possibility is that the level-set controls on the rear of the control unit are turned too high, with resulting frin,s, Our skilled diamond overload craftsmen convert your of the following stages. Th, present needle to a genuine, Heathkit control unit should have its uncorditionatly guaranteed input levels set so that the system puts out diamond- tipped needle! Send or bring your replaceable needle, full roost volume with the volume control check or money order for Szo. set at about the two- o'clock position. Specify either 33 or 78 rpm. none of the above suggestions If desired, new shaft sup- If effect plied, 52.79 additional. any appreciable improvement, it might be worthwhile to have the amplifier and con- iyul trol unit checked on an interntodulation NEWARK'S 1956 CATALOG analyzer, to see if they both come up to and see the newest developmerts in their published specifications. tuners, amplifiers, tape recorders, record changers and speakers. 260 Higher -than -normal distortion, particu- pages of everything you need in High larly in the early stages of the control unit, Fidelity, Radio, TV and Electronics. will considerably aggravate any tendency toward raspiness elsewhere in the system. DIAMOND STYLUS CO. If the entire amplifier, from magnetic DEPT. HEM pickup input to power amplifier output, ELECTRIC COMPANY 31 WEST 47 STREET Dept. H -11 223 W. N. Y. 36, N. Y. measures below 0.5% IM at i watt output, Madison, Chicago 6, III.

and is capable of producing its full rated WEST COAST BRANCH output, it can he discounted as the sour, 4736 W. Century Blvd., Inglewood, Cohl.

136 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com of the trouble. Otherwise, it should be the intermediate -frequency amplifier NOW serviced by a competent audio service section of his tuner picks up this signal agency or returned to the Heath Company, directly, along with the FM signals HEAR for an overhaul. coming from the "front end" of the It is possible that your trouble, rather converter. THIS than being the result of a single defective In that case, the radio station involved code station, since a series component, may be due to a compounding -a for of many of the faults mentioned above. of beeps is heard - could be operating If so, it will be necessary to correct all on a legally- assigned frequency, far improved high fidelity these faults before the sound can be com- removed from the FM frequencies. In pletely cleaned up. older tuners at least, the standard IF As a last resort, if your investigations was 10.7 mc. Thus a radio station do not turn up anything definitely defec- operating on a frequency of 10.7 mc GOODMANS tive, your best bet would be to consider the could interfere with FM signals in the LO U D S PEAK ERS purchase of a less "brilliant" loudspeaker 88 to io8 mc range. system, with a much smoother high-fre- The FCC would be able to do noth- in the New quency end. ing but suggest that Mr. Knoblock have a competent radio serviceman 'Friction- Loaded' work on the tuner to plug the leak. SIR: AXIOM Enclosures In your "Audio Forum" column for The tuner should be well enough the May issue, reader Kenneth Knob- shielded to prevent its IF amplifier lock complains of "an undercurrent of from picking up external signals. It 'beeps' from one end of the FM dial should be well enough engineered so to the other." You are undoubtedly that there are no easy paths bypassing correct in diagnosing the trouble as the front end into the IF amplifier radio interference. However, you sug- stages. If it is lacking in either respect, gest, as the first step of the remedy, the design or construction may be at recourse to the Federal Communica- fault, and Mr. Knoblock should alert Axiom 22 Mk II Axiom 150 Mk II tions Commission. the manufacturer. I doubt that this will help. What If the manufacturer is reputable he Mr. Knoblock probably has is inter- should make good on it. However, mediate- frequency interference. That is, Continued on next page

Arom 80 Axiette

Complete do -it- yourself construction details - available on request A top -grade High Fidelity Amplifier and Remote Control Unit from the world -famous PYE Research Mail this Coupon ...Today Laboratories in Cambridge, England. Smooth, highly flexible controls and facilities for record player, tape ROCKBAR CORPORATION Dept.NL-2 recorder, microphone and radio tuner inputs. Fre- 215 East 37th St., New York 16, N. Y.

quency response substantially flat from 2 to 1 60,000 c. p.s. Please send me: Infinite damping factor. Intermodulation distortion Complete information about GOODMAN$ under I% at output of 25 watts. High Fidelity Loudspeakers. Complete details about the new 'friction- loaded' AXIOM Enclosures. f"j,EQUIPMENT-MADE IN CAMBRIDGE, ENGLAND yi NAME...... ADDRESS U.S.A. BRITISH RADIO ELECTRONICS DISTRIBUTORS 1833 JEFFERSON PLACE, N.W. WASHINGTON 6 D.C. CITY ZONE ...STATE. 1 CANADA PYE CANADA LTD. AJAX, ONTARIO L J A.2. NOVEMBER 1:955 137

www.americanradiohistory.com AUDIO FORUM TAPE RECORDERS Continued from preceding page

before demanding satisfaction, Mr. Knoblock might at least have a local amateur radio operator (ham) come in and read the beep signals as an aid to identifying the station. This is because there are other possibilities besides IF pickup. The audio amplifier may also be the culprit (a small amplifier I built a few years ago insisted on picking up MOST OF THEM LOOK ALIKE .. . local radio stations until I re- soldered a But there are big differences be- preamplifier connection). What baffles tween tape recorders - in capacity, performance, versatility. That's why me, whether the tuner or the audio it's often hard to know if you're getting amplifier is at fault, is how the beep just the right one. It's especially diffi- tone is produced in Mr. Knoblock's cult if you have only one or two brands from which to choose. equipment. Most code stations do not At Boynton Studio you'll find fifteen supply the beep - that is usually sup- famous makes of tape recorders .. . ranging from inexpensive units for the plied by the receiver, if it is equipped home to the finest professional equip- to receive code (which a high fidelity ment. setup especially an FM tuner is Most important, each unit is illus- - - trated and fully described in an attrac- not!). Of course, some stations do tive brochure which is yours for the supply the beep and Mr. Knoblock asking. Technical specifications, may be picking up the Navy's million - prices ... everything is shown to give you a reliable means of comparison watt world -range transmitter, which between brands ... to help you in operates on a very low radio frequency making a wise choice. (3o and kc). But if so, whence the WORLD FAMOUS QUALITY Be sure to send for a copy of this 5o valuable and interesting brochure. No beep? A bit of faulty soldering, or a At All Leading Hi -Fi D,ale,s obligation, of course. wiring error, might rectify the signal Mite for Complete Information BOYNTON STUDIO all right - but the self- oscillation pos- KINGDOM PRODUCTS, Ltd. DEPT 111. 10 PENNSYLVANIA AVE., TUCRAHOE, N. Y. sibilities that might provide the audible 23 Park Place. New York 7, N Y. WOrh 4 -8585 beep are too complicated to be likely. I wish I lived somewhere near Lake Music Science Geneva, Wisconsin. Mr. Knoblock Genius Celebrities would have a caller. Big Business Nicholas Rosa Hundley Court Americana 5 Stamford, Conn.

Anyone with similar problems should, by all means, ask the help of a local ham or of the nearby amateur radio club. Those fellows love to get involved in things like this. "A 'must' ... for anyone who listens to music ... a SIR: 'source book' that reads like Do speakers deteriorate with age? The an exciting adventure response of my system has declined Story. " -JOSEPH SZIGETI since it was new, and I believe I have "An absorbing human ad- eliminated the other likely sources of venture that makes most trouble. science - fiction tales drab Using a test record, I have made and shallow." regular frequency response SENSATIONAL N -High Fidelity Magazine checks of since shortly after purchasing my sys- COMPONENT CABI THE FABULOUS tem. Listening tests with familiar FOR HIGH FIDELITY MUSIC SY PHONOGRAPH records confirm the checks with the Gutslarzduay. . . . . test record. FROM TIN FOIL For turntables or record changers. TO HIGH FIDELITY In May 1953 I purchased a system Immediate operation. Unlimited arrangements, addition... By Roland Gelatt with a record changer, Pickering Mahogany or blonde furniture finishes. 16 pages of photographs Dlgo -S cartridge, to -watt amplifier - (UNFINISHED) STANDARD MODEL 53!.50 See Your Deafer or Write for Free Color Lilerreure At all bookstores $4.95 preamp, and 15 -inch coaxial speaker. DEALER INQUIRIES INVITED J. B. LIPPINCOTT COMPANY The speaker was mounted in a 12 cu. Philadelphia and New York E. and R. SCFIELLER ft. infinite baffle enclosure. The fre- 1630 West Grans fille Ave. quency response was from 15,000 CHICAGO 26, ILLINOIS

138 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com cycles down to 70, with a weak but audible 5o cycle note. FOR SALE!! NOW! In 1954, the speaker was installed in a new commercially -manufactured One of the West's Realism in music with different rear -loaded horn -type enclosure. This - Fidelity sound to each ear. Guaranteed produced a good 5o cycle note, and a Leading High to make any monaural hi fi weak but audible 3o cycles. Dealerships sound better. I recently exchanged the original amplifier for a 20 -watt model. Be- Gross sales approximately $400,000 Simply plugs in ahead of most fore swapping, I ran tests again. The per year. Net profit can easily be amplifiers. response was then limited to roo cycles adjusted to $5o,000 per year if you and above, with a weak and wobbly want a quick return on your invest- This is not high fidelity in the 7o cycle note. The new amplifier ment. Alternatively, if you consider more at- common concept as its sole pur- eliminated some distortion and sounds a long -term capital gain tractive than a high income tax, net pose is to convert hi fi so that better overall, but did not correct the profits can be held low, by increas- response. I'm music from ordinary records or loss of low frequency ing advertising expenditures and radio is heard by the ears in a still getting no useful reproduction capital investments. manner more natural to them, below roo cycles. I have made all checks and adjust- This is a very successful and rapidly ( with perspective) . growing Reason for sale: ments that I know of. The cartridge business. owner considers the day -to -day rou- $65 Complete: 6 tube Stereo was sent back to the factory several tine of a large business less stimu- and treble amplifier, treble times for modification or servicing, lating than the excitement of speaker and grille, necessary the last time about six months ago. establishing a new one, and wishes connecting wire. I just finished cleaning and servicing to enter an entirely different field. Continuer/ of rage 141 Asking $160,000, but will consider Send for folder. all offers, provided at least $8o,000 of the total is in cash. HOLT STEREO TRADER'S MARKETPLACE Here's the place to buy, swap, or sell Box FH Rates are only 30i a 4712 Magnolia Blvd. audio equipment. The Publishing House word including address and your ad- Burbank, Calif. vertisement will reach 60,000 to 100,000 Great Barrington, Mass. music listeners. Remittance must accom- pany copy and insertion instructions.

TAPE RECORDERS, professional quality. Transport, r.40112.4001.e $175; heads, $75; amplifier, $150. Write for specifi- N EW! &e" cations. E. J. Lashes, 2730 Heatherway, Ann Arbor, Mich. recommended by HIGH FIDELITY HI -FI SPECIALISTS. Duality components. Fine custom installations. Reliable Service Department. Cambridge developed by Gt Pt,rhm/1 Electronics Company, 1014 E. Fayette Street, Syracuse, N. Y. Teachers for the music ATTENTION RECORDER OWNERS classroom .. . Hove you a "home- type" order that doesn't fulfill expectations? If new, we ewill allow full value in for basic or trade on professional machines Berlant, Concer- auxiliary hi -fi tone, Crown, Presto, etc. Boynton Studio, 10 H record playing Pennsylvania, Tuckahoe, N. Y. only $89.95 6 ELEMENT broad band FM antennas. All seamless aluminum, $10.95 ppd. Wholesale Supply Co., Lunenburg, Mass.

Famous Brand RECORDING TAPE Plastic, 1200 ft. $1.65 ea. in lots of 6. 50e additional for postage. Send check or money order to: STENTORS, 469 4th Ave., New York 16, N. Y.

HIGH FIDELITY SPEAKERS REPAIRED. Amprite Speaker Service, 70 Vesey St., New York 7, N. Y. A dramatica ly NEW improvement BA 7 -2580.

for SOUND and BEAUTY... found EXCEPTIONAL BARGAINS! All types of new Hi -Fi write for price lists. Monmouth so pleased with its performance and price." only in MELLOTONE grille cloth! equipment Music .. House, Box 432, Freehold, N. J. says HIGH FIDELITY Magazine, "that we the attention of MELLOTONE'S amazing think it should be brought to all HIGH FIDELITY readers . . an ideal RECORDERS, Tape, Accessories, unusual values. qualities make it the nation's TAPE auxiliary record playing assembly . . . merits Dressner, Box 66K, Peter Stuyvesant Station, N. Y. 9. serious consideration as the initial element of a No. t Saran Grille Cloth .. . low -cost, expandable primary system ... can offering the widest selection of FOR SALE: Garrard model T with G -E RPX -052 he labeled truthfully. 'high fidelity'." Also a 10 -watt amplifier made by friend colon and designs to comple- cartridge. SEND FOR COMPLETE DESCRIPTION AND who is an electrical engineer. Will accept best offer REPRINT OF HIGH FIDELITY "TITH" REPORT' ment your Hi-Fi, Radio, or T.V. made before November first for all three. Phone CAnal 1 -8531 after 4:30 p.m. Lawrence Urksa, R. D. 1, Look for MELLOTONE Package Vanadium Road, Bridgeville, Pa. 1 PYRAMID ENTERPRISES Display units at your local dealer. 3815 Trimble Road, Nashville, Tennessee CUSTOM DESIGNED Hi -Fi set by Voice 6 Vision of Chicago. Consisting of 2 beautiful cabinets 7 feet Name lang with components of finest quality, also Fleet- WENDELL PLASTIC wood remote control TV. Used only a few months; Address FABRICS CORP. cost $2300.00 open to offer. For information and Photos. D. Gottlieb, 4358 N. Elston, Chicago 41, Ill. Z:ne State 17 West 1 7th St., New York 11, Dept. G 'City

NOVEMBER 1955 139

www.americanradiohistory.com PROFESSIONAL DIRECTORY CALIFORNIA ILLINOIS NEW YORK no finer choice than ... VOICE AND VISION No lemons here! HI -FI SPECIALISTS high -fidelity components COMPONENTS CRAIG AUDIO LAB IN LQS ANGELES CUSTOM DESIGNING thoroughly bench tests all units INSTALLATIONS before selling. Lowest net prices. SERVICING We pay shipping within U.S.A. otenia/ uy

6320 COMMODORE SLOA7 DRIVE RUSH .4 WALTON CHICAGO 11, ILL. 12 Vine St. Rochester 7, N. Y. (opposite carthay cirdo theatre) LOS ANGELES 40. CALIF. . Phone WE 66716 WHitehall 3 -1166 MASSACHUSETTS ht Westchester its NEW ENGLANDERS LEINCARTEN Your search for a complete Custom LECTRONIC Iligh Fidelity music system will end TLAB 2ORATORIES with one visit to IeC for high fidelity 7556 Melrose A , Los Angeles 46, THE LISTENING POST California CONSULTATIONS COMPONENTS 161 WEbster 5.5405 WEbster 6 -3872 Newbury Street, Boston SERVICE CUSTOM INSTALI ATIONS COpky 7 -7530 The Ultimate in High Fidelity 2475 Central Avenue Yonkers, N. Y. First in Boston tu serve the High Fidelity at net prices. field exclusively Spencer 9 -6400

111410

CUSTOM INSTALLATIONS IN CINCINNATI ANI) THE TRI -STATE AREA HIGH -FIDELITY HOUSE 65 Kent St. * COMPETENT ENGINEERING Brookline 46 COMPONENTS AT NET PRI(E9 Most complete stock of Audio * ASSOCIATES Mass. * FINE CABINETRY components in the West SERVICE ON ALL HI -FI COMPONENTS Aspinwall 7 -3135 * Phone: RYan 1.8171 THE High Fidelity Center G'tudiona,Jialivid., .91sc. 536 S. Fair Oaks, Pasadena 1, Calif. Components Professional Servicing 2259 Gilbert Ave., Capitol 3153 - Cincinnati 2, Ohio Acoustic Consultants Cabinet Design ".4 Cum pon.rd or n Complet .4NWem" PENNSYLVANIA I For those oho desire the finest - DELAWARE VALLEY HDQTRS. HI -F! EQUIPMENT SERVICED CUSTOM FOR B U I L T RCA HI- FIDELITY and tested to meet STEDMAN laóoratory RADIO PHONO TV Sets Components Color TV standards. We specialize in solving Radio Victrolas individual problems. HI-FI Installations Tape Recorders DESIGNED AND BUILT TO ORDER Records Cabinets Kits Com- ALL WORK GUARANTEED Offering fabulous performance and artistic pare all leading makes Terms custom cabinetry. Home installation Trade -Ins. Unlimited Parking. (//troaics Co. and maintenance. I)pen Wednesday, Fr trrningx, STEDMAN RADIO LABORATORIES EST. 7023 SHRYOCK RADIODIO A TV V U. CANBY AVE. RESEDA, CALIF. 360 Boylston St, Brookline, Mass. LO 6 -5862 BONWIT- TELLER BLDG Midway Dickens 4 -6156 Pioneer 11920 Custom Builders Serving N. E. Since 1946 WYNNEW000. PA. (Philadelphia Solo tb) ILLINOIS NEW JERSEY VA 1956 EDITION THE HI -FI CENTER CREATIVE AUDIO Almo complete demonstration facilities RADIO 1:0.'s components custom installations * Quality Components 11 DISTRIBUTORS OF EVERYTHING IN ELECTRONICS * Custom Cabinetry "HIGH- FIDELITY PreRecorded Tape and Records * Professional Installation HANDBOOK & CATALOGUE Special demonstration ROgers Park 4 -8640 facilities. One -year Suggests various ways of buying & installing components. warranty and service on all installations. lists hundreds of makes, 2909 WEST DEVON AVE. CHICAGO 45 / models 6 prices along with Open evenings until 10. technical specifications. Write, wire or call elect/sonic ezp.edaite44 214 Glenwood Ave. E. Orange, N. J. Studio 207 "Row RADIO CO. OR 6 -5229 509 ARCH 5T., PHILA., PENNA. NEW YORK EVERYTHING IN HIGH FIDELITY DON'T E.%PER IMENI' . . . in the PHILADELPHIA area 3 ALLIED HIGH FIDELITY STUDIOS CONSULT A SPECIALIST IN YOUR IYITtPt.t:Tt: SCI'1'1.1F:It i. 100 N. Western Ave., Chicago 80, III. HAymarket 1 -6800 TRUE HIGH FIDELITY 2025 W. 95th St., Chicago 43, III. NEW YORK CITY AREA BEverly 8 -1067 Specialist in the best in sound. HIGH FIDELITY & COMMERCIAL 602 Davis St., Evanston, III. SOUND STUDIO DAvis 8-8822 SHeldrake 3 -6233 BOHN MUSIC SYSTEMS CO. 709 Arch St., Philadelphia 6, Pa. PL 7 -8569 550 Fifth Ave., N. Y. 36 Phone: LOmbard 3 -7390

140 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com AUDIO FORUM STATEMENT OF THE OWNERSHIP, MAN- Continued from page 139 AGEMENT, CIRCULATION, ETC., RE- QUIRED BY THE ACTS OF CONGRESS OF AUGUST 24. 1912, AND MARCH 3, 1933 the changer. The amplifier is brand Of High Fidelity, published monthly at new, and appears to function perfectly. Great Barrington, Massachusetts, for October 1, 1955 The enclosure appears to be as tight and solid as ever. This leads me to 1. The names and addresses of the publisher, editor, managing editor. and business manager are: suspect the speaker. Publisher, Charles Fowler, Egremont, Mass.; Editor. John M. Cooly, Great Barrington, Mass.; Edward V. Polhamus Managing Editor, Roy H. Hoopes, Jr., New Marl- 1632 Drive boro, Mass.; Business Manager, Warren B. Syer, FM Pepper New Marlboro, Mass. STATION Tallahassee, Fla. 2. The owner is: Audiocom, Inc., Great Bar- rington, Mass.; R. F. Allison, North Egremont, DIRECTORY Mass.; C. G. Burke, Ghent. N. Y.; J. M. Cooly, do not Great Farrington, Mass.; S. Q. Curtiss, Sheffield, No, speakers usually deteriorate Mass.; C. Fowler, South Egremont. Mass.; R. H. with age. In fact, most users have found Hoopes, Jr., New Marlboro. Mass.: R. Lindstrom, North Egremont, Mass.: F. C. Michalove, Engle- EVERY WEEK: that, quite to the contrary, they tend to im- wood, N. J.; W. B Syer, New Marlboro. Mass.; H. R. Sykes, Pittsfield, Mass.; Frank R. Wright, 55 hours of prove over a period of years. Con- Jr., New Marlboro, Mass. classical music 3. The known bondholders, mortgagees, and 3 hours of folk stant flexing of the edge suspension break other security holders owning or holding 1 per cent music and jazz down the fibers of the cone paper, increas- or more of total amount of bonds, mortgages, or 5 hours of poetry. other securities are: none. ing the compliance and so lowering the criticism & drama 4. The two paragraphs next above giving the resonant frequency. names of the owners, stockholders and security holders, if any, contain not only the list of stock- Usually, the only trouble that is likely holders and security holders as they appear upon the dee books of the company, but also, in cases where the Al?i/dig to be encountered after some time is a slight stockholder or security holder app ears upon the res- books of the company as trustee or in any other 9201 Roosevelt Way Seattle 15, Washington deterioration of the high frequency fiduciary relation, the name of the person or ponse, due to fatigue of the tweeter dia- corporation for whom such trustee is acting, is given: also that the said two paragraphs contain phragm and /or its damping materials. statements embracing affiant's full knowledge and belief as to the circumstances and conditions under A salt new world of High Fidelity Over periods as long as eight to ten years which stockholders and security holders who do not appear upon the books of the company as trustees. listening pleasure on .. . . or more, a speaker that has been impreg- hold stock and securities in capacity other than that of a bona -fide owner; and this affiant has no "THE WORLD OF MUSIC" nated with some form of plasticiser may reason to believe that any other person. association, to out, with resulting or corporation has any interest, direct or indirect in show a tendency dry or as so 101.1 MEGACYCLES the said stock, bonds, other secur ties than loss of low frequency response and over -all stated by him. WRR-FM 68,000 WATTS (Signed) Charles Fowler smoothness, but the effect would not be as DALLAS, TEXAS Sworn to and subscribed before me this First serious as you have indicated. day of October, 1955. Your loss of bass may be caused by broadcasting the finest in music and drama to (Seal) Lillian F. Bendross, Notary Public a select greater Dallas - Fort Forth audience. shifting of the damping material in the Commission expires June 24, 1961. Pickering D140 -S cartridge. The viscous material that was used in the early Picker- ing cartridges for damping stylus resonance had a definite tendency to creep out of its FINE MUSIC correct position after a few months of use, "THE and to accumulate in a large globule in FABULOUS PHONOGRAPH" Continued on page 144 FULL by Roland Gelatt MEASURE For the first time - the complete PENNSYLVANIA story of the phonograph; its inven- on tion and development. As one of this country's outstanding music In PITTSBURGH and the critics, the author has a keen appre- FM ciation of the phonograph's aesthetic TRI -STATE AREA role - and as a historian he traces the phonograph's development from Thomas Edison's curious tin -foil 98.5mc LUPhf'GatLN9. apparatus to the astounding high KFML fidelity sound systems of today, Denver WOLK'S HIGH FIDELITY CENTER Roland Gelatt, New York editor of right next to IVoilk's Kamera Exchange HIGH FIDELITY Magazine, put years 306 Diamond Street Pittsburgh (22), Pa. of research into the making of this Express 1 -0220 sensitive, authoritative book. KHFM 96.3mc Published by Lippincott CANADA Send $4.95 for your copy TODAY. Albuquerque CANADA'S FIRST HIGH FIDELITY Magazine HIGH -FIDELITY The Publishing House, Great Barrington, Mass. KCMS 104.9mc RADIO, PHONOGRAPH, RECORD AND TELEV.SION CENTRE Please send me. by return mail, a copy of Strombes Carlson "Custom 400" "The Fabulous Phonograph." $4.95 enclosed. Colorado Springs Brociner -- Freed- Eiseman-1 -- Bogen sorry. no C.O.D.'s. Fisher Radio - Concertone Tape Recorder All Makes of High Fidelity Records NAME Coming soon eiddiOM$ &wad and vaion Lut. ADDRESS Boulder, Colorado 390 EGLINTON WEST TORONTO, ONT. Mountain Park, N. M. Phone Hudson 9 -2117

NOVEMBER 1955 141

www.americanradiohistory.com the lens snakes or mars the picture . . . the pickup makes or mars the music Excerpts from impartial Lab reports on the new Audax the new Audax Hi -Q7 has it to a degree not equalled Hi -Q7 magnetic cartridge: by any other pickup! That is why Audax is used in the A leading radio and TV mfr: "Excellent frequency home of practically every leading maestro. But - HEAR curve to over 14 kc. Practically no high frequency dis- it yourself ... there is no other way! tortion. Intermodulation very low - about o.8Ç . Ex- cellent transient response." Notice that the Hi -Q7 is designed with the stylus in FULL VIEW . making possible A leading recording studio: "Because readings it to maintain the all- important stylus groove showed an amazing total lack of distortion, check -tests -to- alignment, thus preventing destruction of the delicate record grooves. were repeated 3 times." (See Weil editorial, page '55 "High Consumer sheet: "Good frequency response. Good 94, July Fidelity. ") transient response. Practically no high frequency distortion. Low intermodulation distortion." Neu. Audax Chromatic Diamond Hi -Q7 Ideal as these reports .n,. they belong in the Lab. (high output, replaceable styli, plays all is speeds) shown with new Compass-Pivoted LISTENING Ql1ALI71 EVERYTHING -and Audax Arm. All Audax cartridges available for record changers. Don't be destroying your records! Sent for STY LUS- for Listening Quality RALANCE details. FREE! "ELECTRONIC PHONO FACTS" by itaRIzz Maximilian Weil al your dealer, or write us. :ftemeletrod Witie,4 ,f....eldspedattel Valued')

AUDAK COMPANY dept. H, 500 Fifth Ave., New York 36 Creators of fine electroacoustic apparatus Jbr over 30 years

142 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ADVERTISING INDEX

Allied Radio Corp. 9, 140 Lansing, James B., Sound, Inc. 116 ft Almo Radio Co. 140 Leslie Creations Indexed on 52 Altec Lansing Corp. 91, 121 Lippincott, J. B., Co. 138, 141, Indexed on 52 TRADE IN American Elite, Inc. 119 Listening Post, The 140 Ampex Corp. 12, 13 London International Indexed on 52 YOUR LOUDSPEAKER Angel Records Indexed on 52 London Records Indexed on 52 FOR THE NEW Argos Products Co. 133 Lowe Associates 140 Asco Sound Corp. 107 Audak Company 142 Audio Artisans, Inc. 135 Marontz, S. B. 118 BOZAK Audiocraft 103 McIntosh Laboratory, Inc. 6, 7 Audio Devices, Inc. Inside Front Cover Mercury Record Corp. Indexed on 52 Audio Exchange 143 Miller, J. W., Co. 132 A udiogersh Corp. 14 Minnesota Mining 8 Mfg. Co. 112 Munston Mfg., Inc. 47 Music Box Indexed on 52 Bard Record Co., Inc. 113 MusiCraft 126 Beam Instrument Corp. 88 Music Listener's Bookshop 115 Bell Sound Systems, Inc. 87 Beyland Engineering Co. Indexed on 52 11111--4 Bogen, David, Co., Inc. 99 National Co. 125 Bohn Music Systems Co. 140 Newark Electric Co. 136 Book -of- the -Month Club, Inc. Back Cover Nuclear Products Co. Indexed on 52 Bozak, R. T., Co. 28 4y Boynton Studio 138 Orradio Industries, Inc. 94 Bradford 8 Company 131 8207A `' - COAXIAL Brainard Electronics 105 British Industries Corp. 27 Pentron Corp. 126 LOUDSPEAKER -price £83.85 Brociner Electronics Corp. 144 Pickering 8 Co., Inc. 2 Brush Electronics Co. 120 Pilot Radio Corp. 110 ' Professional Directory 140, 141 WELL KNOWN FOR Cabinart 114 Pye, Ltd. ... 137 Capitol Records Indexed on 52 Pyramid Enterprises 139 PLEASANT MUSICAL Centrelab 134 Collare 135 SOUND... RCA Victor Division Indexed on 52 Columbia Records, Inc. ..Indexed on 52 Radio Engineering Labs., Inc. 117 Concertone Recorders, Berlant Radio Electric Service 140 Associates 16, 17 Rauland -Borg Corp. 130 Conrac, Inc. 10, 11 NOT Record Review Index Indexed on 52 Craig Audio Lab. 140 Recoton Corp..... 132 Creative Audio Associates 140 RAUCOUS BUT Reeves Soundcraft Corp. 108 Crestwood Recorder Division 5 Rek -o -Kut Co. Inside Back Cover Customcrafte rs 140 MUSICAL River Edge Cabinets 15 Custom Sound 8 Vision, Ltd. 141 Industries Corp. Indexed on 52 Rockbar Corp...... 135, 137 BOZAK IS THE ONE Daystrom Electric Corp. 5 Decca Records, Inc. Indexed on 52 YOU MUST HEAR BEFORE DeJur -Amsco Corp. 101 San Francisco Records ..Indexed on 52 Diamond Stylus Co. 136 Scheller, E. 8 R. 138 BUYING ANY SPEAKER Dublin's Indexed on 52 Schwann, W. Indexed on 52 Duotone, Inc. 131 Scott Herman Hosmer, Inc. 29, 30, 31 BELOW $100 Sherwood Electronic Laboratories, Inc. 130 Shryock Radio and TV Co. 140 Eby Sales Co. of N. Y. 136 Smith, H. Royer, Co. Indexed on 52 32 IT SELLS ITSELF Electro- Voice, Inc. Sonotape Corp.. Indexed on 52 Electronic Expediters 140 Sound Unlimited 140 Electro -Sonic Laboratories, Inc. 12 Sports Cars Illustrated 124 Epic Records Indexed on 52 Stedman Radio Labs.. 140 WRITE FOR TRADING INFORMATION Esoteric Records Indexed on 52 Stephens Mfg. Corp. . 4 Stereotape Indexed on 52 the FM Directory .141 Stromberg-Carlson ...... 134 Fisher Rodio Corp. 18, 19, 20, 21, 22, 23 Fleetwood Television (Conrac, Inc.). 10, 11 Tapetone, Inc.... 26 audio

Telefunken . 119 Goodman's Loudspeakers 137 Terminal Radio Corp. 129 Gray Research and Development Co., Inc.. 25 Thorens Co. ... 109 exchange Trader's Marketplace 139 Transcriber Co. 133 Hanover House 128 THE TRADING ORGANIZATION Harman -Kardon, Inc. 48 OF THE HIFI FIELD Harvey Radio Co., Inc. 123 Ultronics Co. 140 Heath Co. 97 University Loudspeakers, Inc. 93 159 -19 Hillside Avenue High -Fidelity House 127, 139, 140 Jamaica 32, N.Y Holt Stereo .139 Voice and Vision.. . 140 Phone: Olympia 8-0445 Vox Productions, Inc. Indexed on 52 WRITE DEPT. H115 FOR Interelectronics Corp. 122 "'4 FREE CATALOG OF £ WRR -FM .. .141 USED EQUIPMENT Jensen Mfg. Co. 1 Weingarten Electronic Labs. 140 Wendell Plastic Fabric Corp. 139 FREE PARKING KCMS 141 Westlab .140 NEAR SUBWAY KISW -FM 141 Westminster Recording Co. Indexed on 52 Kingdom Products Ltd. 111, 138 White, Stan, Inc...... 8 the audio exchange exchanges audio Klipsch 8 Associates 24 Wolk's High Fidelity Center .. 141

Novt:nrHt:R 1955 1.43

www.americanradiohistory.com TOP QUALITY-IN EACH PRICE RANGE AUDIO FORUM: Continued from page r 4r

BROCINER around the stylus, directly above the thin plastic membrane that the stylus protrudes PRINTED CIRCUIT AUDIO AMPLIFIERS through. BROCINER pioneering with printed circuits brings you more The factory is the only place qualified value per dollar through economical production-plus absolute to correct this condition, so I w wild sug- uniformity and assured quality of performance. gest you mail your cartridge back again to Pickering & Company, and ask them to check the condition of your stylus, Mark 10 Integrated Amplifier too, while they're at it. and Control Center The most likely cause of your trouble is A complete, truly high fidelity am- that your loudspeaker cabinet is not placed plifier at a moderate price "-aston- in exactly the same place on the floor as ished me with the way it sounded." - it was when you made your series B. H. Noggin. The Nation. Features firs; of flexibility with simplicity of control. tests. Cabinet placement in a room is Accurate record compensation, ad- extremely critical as far as bass radiation justable for all recording curves. For all high quality phonograph pickups. Bass is concerned, a difference of two inches and treble controls. Rumble filter. Loudness -compensated volume control. Tape output jack. 20 db. feedback. 10 watts at less than 1% distortion. Attractive often being enough to drop the entire bass maroon and gold finish. Compact: 412" x I I" x 8" $75.00 net response in a certain range of frequencies. So try changing the location of tha cabinet, Mark 12 Integrated Amplifier a couple of inches at a time, and see if that and Control Center improves matters. It is quite possible that Exceptional flexibility and perform- you may find a position that .will give ance worthy of the finest pickups and better low frequency response than you had speakers -in a compact, attractively - originally. styled package. Separate Turnover and Roll -of controls with choice of 24 record compensation curves. For SIR: dynamic, magnetic, FM (capaci- . . . Here is a bit of information I tance 1, ceramic and crystal pickups. Wide -range bass, treble controls. Loudness would to pass compensation on volume control removable at will. Tape take -off jack. 20 db. like along to other negative feedback. 12 watts at less than 1% distortion. Attractive maroon and readers. I have the annoying habit of gold case; for use as table -top remote control unit or easy cabinet installation. sometimes forgetting to turn off my Sizes: 41/2" x I I" x R" $98.25 net amplifier and turntable, and conse- Mark 30A Power Amplifier quently allowing them to run all night. Mark 30A My roommate 30 watts suggested a simple of low- distortion power in a Power compact, but effective cure for this. He had a attractively styled, easy -to- Amplifier install package. Long life assured by meter which was used to make pay- novel chassis design providing perfect ments for his television set sometime ventilation of components. l.M. dis- ago. We plugged an octopus extension tortion below 1 % at 30 watts; e/a % at 20 watts; 1/10% at 10 watts. 43 cord into this meter and then plugged db. multiple -loop negative feedback. the power cords for the turntable and Wide -band phase compensation as- Mark 30C amplifier sures absolutely stable operation with Audio Control into the extension cord. The all types of speakers. Perfect freedom Conter tuner is already plugged into the am- from transient oscillation and fast re- plifier. To operate this setup, one covery time result in audibly cleaner for all recording curves, rigidly con- simply inserts a quarter into the meter. performance. Ultra- linear output trolled in production. Feedback -type stage. Size: 31/2" x 12" x 9" bass and treble controls. Rumble filter This allows the system to operate for $98.25 net and loudness compensation front - one hour. We keep the meter open so Mark 30c panel controlled. Facilities for two that we use the same quarter over and phono inputs. Adjustable pickup load. Audio Control Center Tape output jack. I.M. distortion vir- over. The meter can be set to run as tually unmeasurable. Extremely low long as twenty hours by inserting the Feedback type preamplifier with ex- background noise level. Highly styled, quarter twenty times in succession. treme flexibility of control and input - legible front panel; maroon and gold output facilities, functionally de- cabinet for use as remote control unit We estimate the number of hours in signed for ease and simplicity of -self- adjusting feature for cabinet in- advance. operation. Separate Turnover and stallation. Size: 31/2" x l035" x 6". If one wishes to be mercenary, the Roll -off controls. Exact compensation $88.50 net meter can be locked and therefore will Available better at high-fidelity distributors. only play for one hour for each quar- (Prices slightly higher west of Rockies). Literature on request. ter inserted. A high fidelity system BROCINER could therefore be paid for by entertaining friends. When the hour is up, ELECTRONICS CORPORATION one could announce, "Is there a quarter

Dept. HF11 344 E. 32nd ST., NEW YORK 16 in the house ....!" Mel Light Washington, D. C.

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com REK-C-KUT is Setting New Quality Standards

The

High Fidelity TURNTABLES

It is relatively simple to define 'high fidelity' in a turn- content of the Rondine and Rondine Jr. turntables at table or a record changer. It is expressed in three terms: NARTB levels: -44db or better. The Rondine Deluxe Rumble, Wow and Flutter...the presence of which tends provides unmatched rumble characteristics with a to affect the quality of sound reproduction unfavorably. rating of - 54db. These figures were not obtained from specially selected Rumble is noise caused by some form of mechanical units. To the contrary, each and every turntable that vibration introduced into the pickup cartridge. Wow comes out of production is individually tested for rum- and Flutter are slow and rapid changes in pitch which ble, wow and flutter and these measurements recorded. occur because of variations in turntable speed. It follows With such quality control, it is no wonder that the then, that the lower the rumble, the wow and the flutter, Rondine turntables are considered ... the finest ever the better the quality of reproduction. It is the general designed for home music systems. practice to express rumble in decibels (db) below average recording level. Wow and flutter are expressed in These are the Rek -O -Kut RONDINE Turntables: percent of speed deviation. 3 -Speed The National Association of Radio and Television Rondine Deluxe (illustrated) with hysteresis motor $119.95 Broadcasters has set quality standards for turntables and Rondine with 4 -pole Induction motor 74.95 record changers. These can be expressed as follows: Rumble -44db below average recording level (20 2-Speed Rondine Jr. Model L-34 (33Y3 and 45 rpm) 49.95 cm /sec.). Wow and flutter ±.20 %. Rondine Jr. Model L -37 (33t/á and 78 rpm) 49.95 It is significant, that all of the Rondine turntables sur- (4-pole Induction Motors) pass NARTB standards prescribed for speed regulation. Watch for future advertisements which will explain the Wow and flutter never exceed ±.12 %, and in most parts played by the motor, the pulley, the idler, and the instances are kept at ±.10 %. Equally sensational, is the rotating turntable. Reprints of this and other ads in success achieved by Rek -O-Kut in keeping the rumble this series may be obtained by writing to Dept.KMI -2

REK - O -KUT COMPANY Makers of Fine Recording and Playback Equipment Engineered for the Studio Designed for the Home 38 -01 Queens Boulevard, Long Island City 1, New York.

www.americanradiohistory.com A Striking Way to Test Your Understanding of Music

Choose any one of these Music- Appreciation Records It will be sent to you WITHOUT CHARGE)

Richard Strauss roaoficy'S Wagne's Schumann's PIANO CONCERTO Mendelesohn's VIOLIN TILL EULENSPIEOEL'S CLASSICAL SYMPHONY OVERTURES TO TANNNAUSER IN A MINOR CONCERTO IN E MINOR Britten' and DIE MEI INGER THE YOUNG PERSON'S GUIDE EILEE:N FI.ISSI.t'.11. i',s\I.r E-Itvnt:1.L LAIN. VIOLINIST Smetana THE MOLDAU mu one 12n Dicrl IOn One IV, Disci TO THE ORCHESTRA Thomas Scherman. AI hens. remds:1ing (On One 1200 Disci Norman Del Mar. r,ndurt,no The Little Orchestra George Steil. roodrting The Stadium Cower. London Symphony Symphony Orctestra Music Appreciation Alfred Wall in. rannurtino Orchestra Symphony Orchestra Music Appreciation Symphony Orchestra

When you receive it, first play the PERFORMANCE side -and see how much -and what- you hear in it

Then turn it over and play the ANALYSIS on the other side -and see how much you have been missing

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