STEREO ISCS 1959 culling the year's harvest

DECEMBER THE MAGAZINE FOR MUSIC LISTENERS 60 CENTS

Handel's Newly Recorded

An appraisal of four new stereo versions

by NATHAN BRODER

Otto Klemperer A tall man against adversity

by

www.americanradiohistory.com 3 SECONDS... It's the Glaser- Steers GS -77. You 6 SECONDS... the turntable has stopped can tell by its modern -the next trim styling-a hint of the precise record drops gently into play mechanism that's 'under- position. Suddenly you are the -hood'. A record has just com- aware that you have just seen something different- pleted its play. The tone arm has lifted differ- from the groove ent from any changer you've ever known. You and returns to rest. So far, so good have seen -it might be any how turntable pause eliminates the harsh grinding action changer. But, here's where the similarity ends. Watch caused by dropping what happens one record on another or onto the next. turntable while in motion.

9 SECONDS... the tone arm leaves its rest, moves The GLASER - STEERS GS-77 is ,vorthy toward the record, and then- gently, sets itself down into of the finest stereo or monophonic system. It is designed the lead -in groove of the record. Then -and only then and engineered to protect your records and add hours of does the turntable resume its motion. In these 9 seconds listening pleasure to your treasured recordings. Enhance you have seen a record handled automatically with the performance of your high fidelity system, today. greater Add care and gentleness than you could possibly give the Glaser- Steers GS -77. $59.50 less cartridge and base it manually. Don't you agree that... at your high fidelity dealer.

PAUSE FOR 9 SECONDS...SEE HOW THE GLASER- STEERS GS -77 ADDS HOURS OF LISTENING PLEASURE TO YOUR RECORDS

Read the Audiolab Test report in the August issue of High Fidelity magazine, you'll realize immediately why audiophiles everywhere are switching to the modern high fidelity record changer, the Glascr- Steers GS -77. For a copy of the full report write: DEPT. HF -12. GLASER- STEERS CORPORATION 155 Oraton Street, Newark 4, New Jersey

www.americanradiohistory.com TR -10 Tri -ette' Finest 'bookshef" sound around! Only $119.50 Unfinished mods! for painting or staining) in plain rectangu a r case $89.50

WITH NEW "FIE X AIE" WOOFER

SS -100 Has STEREO DIRECTOR` internal aiming feature ... eliminates cabinet angling $179.95

ti: CN-100 `,ti;r. Attractive Consolette. Danish styling... $149.50 ,``''° KT -33 3 -Way Speaker Kit $80.00 ..:. KT -233 Dual 3 -Way Speaker Kit t.`.. `N-\k". Matched stereo TWINkit' for ~`, complete stereo system $160.00 `- ,.\ .. ..\~\., . ; \\C\.` . Genuine selected natural Walnut. Mahogany and 'Tawny Ash veneers and matching solids.

THREE FACES THE SOUND IS THE SAME ...WONDERFUL!

For wonderful s -ereo or -noic sound ... acc aimed by audiophiles and music lovers ... choose Jensen's staid -3ot 3 -way speaker system in the fine furniture that best suits your iving space. Or use a kit to create your own custom system. Components are the same ... exclusive new 12" FLEXAIF woofer for finest bass ever ... precisely complimertary -nidrangi uiit ... and supersmooth compression tweeter. You'll like :he atractive lox cos:, too! 0 Write f)r Catalog 165 -E now. G MANUFACTURING COMPANY 2 6601 Scuth Laramie Avenue, Chicago 38, ll linois S In Cana la J.R. Lc ngstatfe Co., Ltd., Toronto Division of Tie Muter ComP;Jy / Jensen 1 In Mexico: Radios Y Television, S.A.. Mexico, D. F. LOUDSPEAKERS

DECEMBER 1959 1

www.americanradiohistory.com measure of quality itlili(lili ¡l'iiiil(I IIlIllf'IIfl(! i lIljiiIlllf[ INCHES I 4 1 5 61

6 8 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 7 9 I 11 13 15 i 17 19 21 23 1 25 27 29 I 31 33 35 37 39 I

Shown is PICKERING's Collectors' Ensemble, Model 380E will? 3 styli for stereo- microgroove -78's.

The extra measure of quality in every PICKERING product adds extra value... extra convenience...to any high fidelity system! The beautifully simple sculptured lines...the low, sleek profile...the new look in quality stereophonic pickups -this is the shape of good things to come -this is the PICKERING Collectors' Series. Without question, the 380 is the finest - with more features and more flexibility than any other stereo pickup in the world. For example- the 380 is fully encapsulated in precious mu -metal for absolutely hum -free performance.

Visit your dealer for a demonstration today, you will love the live, eager response to every nuance in the record groove...you will find yourself listening to a bright, delightful quality...second only to the original live performance. The only true way to judge a high fidelity component

Only the Stanton Stereo FLUXVALVE features the safe, is to compare it with another... measure comfortable, easily replaceable stylus assembly. its performance with the most vital instrument of all...the ear. Those who can hear the difference... choose PICKERING". r

COLLECTORS' SERIES Totally new and unique to high fidelity is the "Collectors' Ensemble "...a complete quality "pickup- package" for reproduction of all records -stereo -microgroove -78's. 1/Pi. Model 380E -Collectors' Ensemble, includes the Stanton Stereo FLUXVALVE . with 3 "V- GUARD" styli for stereo, microgroove and 78 rpm records $60.00 Model 380A- Includes Stanton Stereo FLUXVALVE with D3807A "V- GUARD" stylus for transcription arms $34.50 Model 380C- Includes Stanton Stereo FLUXVALVE with D3807C "V- GUARD" *PICKERING - for more than a decade - stylus for auto-changer arms $29.85 the world's most experienced manufacturer PRO- STANDARD SERIES of high fidelity pickups ... supplier to the recording industry. It may Interest you to know that in one short year, PICKERING'S Pro - Standard Series has become an industry standard...the universal choice of professionals. Now, the new and revolutionary PAC` technique developed by PICKERING has effected economies in manufacture which permit a reduction in the price of the Pro -Standard Series. FOR THOSE WHO CAN HEAR THE DIFFERENCE Model 371A Mk II Stanton Stereo FLUXVALVE Pickup now $26.40 II I Model 371C Mk II Stanton Stereo FLUXVALVE Pickup now $24.00 Model 196 Mk II UNIPOISE Arm with integrated Stanton Stereo FLUXVALVE e ri ng Pickup now $49.50 ICKERING AUTOMATED CRAFTSMANSHIP PICKERING & CO., INC., PLAINVIEW, NEW YORK LUAVALVg. "V- GUARD.' "T- GVARD." UNIPO15E.AC

2 MICA FII>I':I.rn' \IAGAZINE

www.americanradiohistory.com DECEMBER 1959 high fidelity volume 9 number 12 including AUDIOCRAFT and HI -FI MUSIC AT HOME

Roland Gelatt Adversity 68 Peter Heyworth I Editor Otto Klemperer: A Tall Man Against Ralph Frees Even years of exile and ill health twee jailed Audio Ealtot to diminish the powers of a remarkable conductor. Miriam D. Manning Managing Editor Joan Griffiths Back to Britain with Britten 72 Charles Reid Victor Rangel- Ribeir Associate Edi'o's Once a young rebel and still a nonconformist, Roy Lindstrom England's leading composer talks at his home Art Director with an old acquaintance. /r A. Newbury Manager, Book Division Stereo Discs 1959 -Culling the Year's Harvest 77 John F. Indcox Some of the year's best, for oneself and others, Editorial Board John M. Conly Cha irman Handel's Messiah Newly Recorded 79 Nathan Broder E. Power Biggs An appraisal of the new stereo versions Nathan Broder by Beecham, Ormandy, Sargent, and Scherchen. R. D. Darrell Alfred Frankenstein Stereo Receivers New Breed 82 Charles Fowler Howard Hanson -a Julian Hirsch There's a new kind of high fidelity tacit on the market -stereo Robert Charles Marsh tuner + preamp- control + (sometimes) power amplifier. Francis Robinson Should you buy one? //ere are the pros and cons. Joseph Snigeti

Charlas Fowler Publisher Warren B. Syer

Claire N. Eddins, Books in Review 42 R. D. Darrell Advertising Soles Manager Walter F. Grueninger Notes From Abroad 49 Clrndo'io DI ^' Joseph W. Pace Makers 85 Roland Gelatt Circulation Fulfillment Music Manager Records in Review 87 Tape Deck 145 A D V ERTI SIN G Main Office Claire N. Eddings, The Publishing House Great Barrington, Moss. Telephone 1 300 New York P, 1 1 R 1564 Broadway, New York 36 n + O C A FT Telephone: Plazo 7 -2800 Bert Covit, Sy Resnick the High -Fidelity Newsfronts 157 Chicago From

RP 188 W. Randolph St., Chicago 1 Telephone: Central 6.9818 HF Equipment Reports 158 Andy Sponberger Fisher Model 600 Stereo Tuner and Amplifier -Permoflux Los Angeles HOB-16-16 Stereo Headset and AD -25 -2 Adopter 1520 North Gower, Hollywood 28 - Dynakil Stereo 70 Dual Power Amplifier Kit Telephone: Hollywood 9 -6239 George Kelley Helpful Hints 163 Audionews 164

AUTHORitatively Speaking 4 Letters 9 As the Editors See It 67 Index of Equipment Reports 162

General Index 166 Trader's Marketplace 174 Professional Directory 181 Advertising Index 182

Published monthly by Audiocom, Inc., Great Barrington, Moss. Copyright © 1959 by Audiocom, Inc. The design and contents of High Fidelity Magazine ore fully protected by copyrights and must not be reproduced in any monner. Second -class postage paid Elsewhere at Great Barrington and at additional mailing offices. One -year subscription in U. S., Possessions, and Canada á6.00. $7.00.

www.americanradiohistory.com a lyelí`(-7 Superior Quality Hi -Fi Kits AUTHORitatively Speaking OUTSTANDING DESIGN - INCOMPARABLE PERFORMANCE Peter Heyworth, former music critic of the Tintes (London) Educational Sup- plement and present music critic of the NEW! KT -250 50 WATT INTE- London Observer, was introduced in these pages with his memorial to Ernest New- GRATED STEREO AMPLIFIER man in our October issue. In "Otto Klem- perer: A Tall Man Against Adversity" A completely new stereo high fidelity amplifier (p. 68) we have another discerning in- with o high quality of reproduction, versatility of operation, and distinctive styling. terpretation of another musical giant. A full range of controls enables you to enjoy the utmost in listening pleasure in any situation. De- luxe features include: unique "Blend" control One of Mr. Heyworth's predecessors on for continuously variable channel separation - the selfsame Observer was a certain from full monaural to full stereo, 4- position Selector, Mode, Loudness and Phase switches. Charles Stuart, also author of the official Also provided are outputs for 4, 8 and 16 ohm Covent Carden analysis of Benjamin Brit - speakers. Humfree operation is insured by the use of DC on all preamp and tone control tubes. ten's Peter Grimes. We don't really Harmonic distortion, less 50 WATTS MONAURALLY 25 WATTS thon 0.25 %. IM distor- know what happened to Charles Stuart, - tion, less than 1%. Hum and noise, 74 db below EACH STEREO CHANNEL RESPONSE 17- full output. Designed with the kit builder in but we think we detect that pseudony- mind, assembly is 21,000 CPS _ 1 DB (at normal listening simple -no special skills or mous hand in the work of music critic tools required. Complete with deluxe cabinet level) UNIQUE and ( News "BLEND" CONTROL legs, all parts, tubes and detailed instruction Chronicle, London) and Britten PREMIUM EL86 OUTPUT TUBES SEPA- manual. Shpg. Wt., 26 lbs. specialist Charles Reid. See "Back to RATE BASS AND TREBLE CONTROLS KT -430 Stereo Amplifier Kit 6.45 Down Britain with Britten," p. 72. CLUTCH- OPERATED VOLUME CONTROL Net 64.30 LA -230 Stereo Amplifier, wired 8.95 Down 3rd CHANNEL OUT Net 89.50 Every day on our way to work we pass by a large stone house, framed by mas- KT -500 FM -AM sive maples and surrounded by the long- est and whitest picket fence we have ever STEREO TUNER KIT seen. Perfect domicile for a typical coun- try squire, we used to think. It isn't. It's More than a year of research, planning and en- the home of John F. Indcox, owner of a gineering went into the making of the Lafayette Stereo Tuner. FM specifications include grounded - flourishing mail -order business and life- grid triode low noise front end with triode mixer, time amateur of the lively arts. In fact, double -tuned dual limiters with Foster -Seeley dis- criminator, less than 1% harmonic distortion, full London -born Mr. indcox once was a pro- 200 kc bandwidth and sensitivity of 2 microvolts duction aide for a couple of touring stock KT -500 ¡ LT -50 for 30 db quieting with full limiting of one mi- crovolt. companies, and even appeared on the IN KIT FORM I COMPLETELY WIRED The AM and FM sections have separate 3 -gang boards himself. Today he's still faithful tuning condenser, separate flywheel 74.50 I tuning and to 124.50 separate volume control. Automatic frequency the theatre, as mastermind for local control "locks in" FM signal permanently. Two theatrical groups and frequent pilgrim to separate Multiplex Output for New Stereo FM printed circuit boards make construction Broadway. His other great and wiring simple. Complete kit includes all parts avocation is 11 Tubes (including 4 dual -purpose) + and metal cover, a step -by -step instruction man- records: see our "World of Entertain- Tun;ng Eye Selenium rectifier Provide 17 ual, schematic and pictorial diagrams. Size is ment"-and, in this gift -giving month, Mr. Tuba Performance Pre -aligned IF's 131/2" W x 101/2" D x 41" H. Shpg. wt., 22 lbs. KT -500 7.45 Down Net 74.50 Indcox's report (p. 77) on some of the Tuned Cascade FM Dual Cathode LT -50. Same as above, completely factory wired year's best stereo discs. Follower Output and tested 12.45 Down Net 124.50

KT -600 PROFESSIONAL STEREO CONTROL CENTER Solves Every Stereo/ Monaural e Control Problem! °te Provides such unusual features as a Bridge Con trol, for variable cross -channel signal feed for elimination of "ping -pong" (exaggerated separa. tion) effects. Also has full input mixing of monau- ral program sources, special "null" stereo bal. KT -600 ; LA -600 zincing and calibrating system. Also has 24 equal- ization positions, all- concentric controls, rumble IN KIT FORM 1 COMPLETELY WIRED and scratch filters, loudness switch. Clutch type volume controls for balancing or as 1 Master Qì 79.50 i 134.50 Volume Control. Has channel reverse, electronic phasing, input level controls. Sensitivity 2.2 mil- High Fidelity, December, 19.59; Vol. 9, livolts for 1 volt out. Dual low- impedance out- No. 12. Published monthly by Audiocnm, A REVOLUTIONARY DEVELOPMENT puts (plate ±followers), 1500 ohms. Response 5- Inc.. Great Barrington, Mass., a subsidiary ' IN STEREO HIGH FIDELITY. 40,000 cps 1 db. Less than .03% IM distor- of The Billboard Publishing Co., publish- tion. Uses 7 new 7025 low noise dual triodes. ers UNIQUE STEREO 8. MONAURAL CONTROL of The Billboard, Vend, Funspot, and Size- 14" a 41/2" x 101 ". Shpg. wt., 16 lbs. The Billboard International. Telephone: FEATURES AMAZING NEW BRIDGE CIR- Complete with printed circuit board, cage, pro- Great Barrington 1300. Member Audit CUITRY FOR VARIABLE 3d CHANNEL OUTPUT fusely illustrated instructions, all necessary parts. Bureau of Circulations. LAFAYETTE KT- 600 Preamplifier CROSS- CHANNEL FEED PRECISE "NULL" -Stereo kit - i 7.95 Down Net 79.30 Editorial Correspondence should be ad- BALANCING SYSTEM RESPONSE 5- 40,000 LAFAYETTE LA- 600 -Stereo Preamplifier, Wired dressed to The Editor, Great Barrington, CPS 1 DB -13.45 Down Net 114.50 A1ass. Editorial contributions will be wel- comed. Payment for articles accepted will be arranged prior to publication. Unsolicit- P.O. BOX 222 ed manuscripts should be accompanied by DEPT. WL -91 return postage. ..Ez#yette Radio JAMAICA 31, N. Y. FREE LAFAYETTE Catalog 600 Subscriptions, change of address notices, Send undeliverable copies, orders for subscrip- CUT OUT tions should be addressed to High Fidelity Magazine, 2160 Patterson Street, Cin- I Name AND cinnati 22, Ohio. PASTE ON Address Subscription rates: United States, Posses- POSTCARD sions and Canada, 1 year, $6; 2 years, $11; 3 years, $15. Elsewhere $1.00 per year ex- City Zone.... State tra. Single copies 60 cents.

4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 'Home subscription to grand opera'"now possible through The RCAVICTOR Metropolitan Opera Record Club

UNDER THE ADMINISTRATIVE DIRECTION OF TIIE Book-of-the-Month Club AN INTRODUCTORY OFFER Any one of these

complete 1 a REGULAR RETAIL PRICES UP TO $1498

CARMEN - Stevens, Peerce, Albanese, Merrill; , conductor. Robert Shaw Chorale. 3- record . iven to ou (List price $14.98) Q Vlrwa o Vr o ...IF YOU JOIN THE CLUB NOW, AGREEING TO BUY FOUR RECORDS OF YOUR CHOICE WITHIN LA TRAVIATA THE NEXT YEAR -EACH DISC IN ANY MULTI -RECORD ALBUM COUNTING AS ONE PURCHASE CARTER' SALLETTI WARREN ROME OPERA HOUSE HE exciting ultimate objective is to make available a ORCHESTRA AND CHORE'S t-p- ì' MOhTEEX. CONN. (TOR comprehensive library of grand opera similar to the PIERRE I r collections of the world's great books to be found in the CHOOSE YOUR ' -LISÌ) FAVORITE SINGERS best homes. The complete "living" repertory of opera - IN THEIR MOST FAMOUS ROLES Italian, German, French, Russian, American -will in time be provided. Each member can choose the recordings LICIA ROBERT ALBANESE MERRILL he is eager to own -as few as four a year if he so pleases. LUCINE AMARA ZINKA MILANOV * In addition to recordings of Metropolitan produc- SALVATORE PATRICE BACCA LONI MUNSEL tions, operas recorded abroad by RCA VICTOR will be LA TRAVIATA FEDORA JAN PEERCE - BARBIERI Carteri, Valletti, made available to members, with Metropolitan artists in ROBERTA B10ERLING Warren; Pierre the cast. The recordings will be available, in almost all IUSSI PETERS Monteux, conduc- FERNANDO LEONIE cases, in both complete and abridged form, as desired. CORENA tor. 3- record al- PULCINI ® RYSANEK 1 a`AVtcr,,, MARY CURTIS- bum. MARTIAL * As a member you will enjoy a ONE -THIRD SAVING VERNA (list price $14.98) LA BOHÈME SINGHER what you would pay for the same records LISA DELLA CASA compared with ELEANOR DEL and as a non- MARIO STEBER if you bought them separately haphazardly MONACO RISE STEVENS member at the manufacturer's nationally advertised VICTORIA DE prices. For, after the trial period, for every two records LOS ANGELES RENATA T EBA LDI GIUSEPPE DI you buy you will receive A FREE RECORD. These free STEFANO BLANCHE records may be chosen from a Record -Dividend catalog ROSALIND ELIAS THEBOM GIORGIO TOZZI listing a wide variety of RCA VICTOR Red Seal operatic NICOLA! GEDDA MARGARET THEODOR and classical . HARSHAW UPPMAN are sold to members DOROTHY CESARE * Albums at the nationally adver- KIRSTEN VALLETTI LA BOHEME _ De tised price of all RCA VICTOR Red Seal records -currently HEIDI KRALL los Angeles, Bjoer- LEONARD ling, Merrill, $498 for a single - record album, $9.98 for a two- record GEORGE LONDON WARREN Amara, Tozzi ; Sir album, etc. (plus a small charge for postage and han- I ' , °r,V,rr,,. dling, ivith use /sales tax where required). Bart., conductor. A libretto included with each opera album. Verdi A I D A (fist price $9. 9s) RCA VICTOR Metropolitan Opera Record J15 -12 The Club AS NY FREE ALBUM PLEASE SEND ME c/o Book -of- the -Month Club, Inc. CARMEN (rom- El AIDA (complete on 315 Hudson S , New York 14, N. Y. plete on 12- three 12 -meh rer Ineh recoMthreeel td.) Please enroll me as a member THE RCA LA BONÉME (corn. IILA TRAVIATA VICTOR METROPOLITAN OPERA RECORD CLUB plete on two 12. ocomplele three Inch records) 12-inch cordal and send me a recording of the complete opera indicated at right, without charge. I agree to buy four twelve -inch discs from the MR. Club within the next twelve months, for MRS. each of which I will be billed at the nation- MISS ally advertised price (plus a small charge for postage and handling, with use /sales tax AddreJJ where required). I may cancel my member - ship any time after buying the fourth record. If I continue, for every two records I buy City Zone from the Club I will receive a third record free. If I wish to, however, I may cancel this Trial Membership within ten days, in which State case I will return the free album. AIDA Bjoerling, Warren, PLEASE NOTE: Records can be shipprd only to re.ldent of the - Milanov, Wald. t.na. lloci m. Ito for Barbieri; Jonel Perlea, conductor. 3- ase. ber.nde de `fn l anuda and `hipped dRecordsr Ontario. record album. (List price $14.98)

DECEMBER 1959 5

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Until now the hig;i fidelity enthusiast had to on one compact chassis ... a masterpiece of compromise if he wanted a combined stereo engineering design. tuner /amplifier. There were none on the mar- The new 399 offers you many advantages. Its ket that performed as well as fine separate compact design gives exceptional flexibility in installation it can be easily placed in exist- components. Now, after two years of intensive ... ing furniture like an end table, buffet or room research and development, H. H. Scott intro- divider. Its design saves you money . . . the duces the 399 . .. consisting of the famous 299 399 is less expensive than purchase of separate 40 watt stereo amplifier and the time -tested components. Its design centralizes all controls 330D AM -FM stereo tuner wedded together on one panel to simplify system operation. i

The NEW 399 Stereo Tuner /Amplifier combines the H. H. Scott r 299 Stereo Amplifier and 330D Stereo Tuner on one compact chassis!

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Third channel output Separate tone controls on each channel Record and tape equalization independent of tone contro°s Convenient phase reverse switch on front panel Same AM and FM front ends as used on famous H. H. Scott 330D tuner Complete switching facilities for tape recording and monit3ring Same 40 watt stereo amplifier as the 299 ... more than enough power to drive inefficient speakers like the At and KLH. Tested and proved in thousands of homes across America.

www.americanradiohistory.com Check for yourself... 11 HERE ARE SOME OF THE FEATURES THAT MAKE THE 399 THE WORLD'S BEST STEREO TUNER /AMPLIFIER COMBINATION.

1. Separate Silver- Sensitive FM Front End, heavily silver plated for maximum sensitivity and reliability. Meets all FCC radiation speci- fications. 2. Highly sensitive, separate AM front -end. 3. Separate AM and FM professional tuning controls for precise station selec- 10 tion. 4. Wide -Band FM detector for distortion -free reception on all signals. 5. Separate tuning eyes for FM and AM. 6. New wide -range AM detector for high fidelity performance on AM stations. 7. Switch- ing provisions for FM multiplex stereo or FM -FM stereo. 8. Pro- vision for connecting a stereo phono cartridge and stereo tape heads or two phono cartridges. 9. D.C. Filament supply for preamp to virtually eliminate hum (80 db below full power output). 10.

Separate record scratch and rumble filters. 11. 40 watt power stage consisting of dual 20 watt power amplifiers, to meet the requirements of today's speaker systems. 12. Phase reverse switch to compensate for improperly phased tape recordings or loudspeakers. 1 3. Third channel output. 14. Special switching lets you use your stereo pickup on monophonic records. 15. Completely separate Bass and Treble controls on each channel H.H.SCOTT so that different speakers may be matched. 16. Special balancing circuit for quick and accurate volume balancing of both channels. 17. Tape moni- for switch. Specifications: FM sensitivity:2 microvolts for 20 db of quieting on 300 ohm antenna terminals H. H. Scott Inc. 111 Powdermill Road, Maynard, Mass. , Dept. HF -12 (IHFM rating 2.5 µV.). FM detector bandwidth 2 mega- cycles. Distortion (first order difference tone) less FREE than 0.3 %. 4, 8, and 16 ohm speaker outputs for each channel; Maximum Sensitivity: 3 millivolts for Rush me your free catalog and hi fi guide containing rated output. Frequency Response: 20 cps to 30,000 complete technical information on H. H. Scott components cps with tone controls set flat. Harmonic Distortion: 0.8% at full power output. Noise and Hum: Hum NAME better than 80 db below full power output; noise equivalent to 10 microvolts on low level input. ADDRESS Slightly higher west of Rockies. Accessory $399.95. CITY STATE case extra.

Exhort: Tebsco International Corp., 36 W. 40th St., N.T.C. www.americanradiohistory.com en the chips are down... tape is still king

...and the SONY STERECORDER Se recorder is your best bet! the finest complete STEREOPHONIC RECORDING Built -in stereo and PLAYBACK SYSTEM* in one loin cost unit. pre -amplifiers and power amplifiers (can be used t All STERECORDER models are also available with an extra stereo play -back head with a frequency response of 30- 12,000 CPS to reproduce the new pre- recorded 4 -track stereo- for other components) phonic tapes (Model 555 -A4). Separate head for 4 -track tapes

Two V. U. meters for professional level indication Stereo outputs for loud speakers and external amplifiers NATIONALLY 00 ADVERTISED ,395 PRICE NOW Individual stereo tone and volume controls plus master volume Inputs for lire stereo and "off the air" stereo recording Automatic tape lifters (eliminates head wear in fast forward and rewind)

Tape Speeds Instantaneous selection - 7'/2 IPS or 32/4 IPS Frequency Response (per Chorine!) 30 -18000 CPS at 71/2 IPS SONY ' 2DB50 -15000 CPS at7V/ZIPS DK 555 -A 30 -1 2000 CPS at 33/4 IPS Ideal for "built -in" installations Signal to Noise Ratio (per Channel) 50 DB or more across line output Harmonic Distortion (measured by proposed NARTB less than 2% at 3 DB below standards) rated output recorder Flutter and Wow Tube Complement Less than 0.2% at 7'/2 IPS 2 -EF86, 4-1 2AZ7, 3-6A05 Finest components ana' construction less than 0.3% at 33/4 IPS 1 -5V4 -G assures years of trouble free operation

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Opera in the Original Sin: Do proponents of Opera -in- English give any thought to what is called "focus "? In her autobiography (My Life, New York, 1922) Emma Calvé speaks of her refusal to sing Carmen in Ital- ian because "the effect of my French diction would be lost and the whole opera would be thrown out of focus

. . . I was in despair. I could not I saw make the directors realize what deluxe 60 -watt complete stereo amplifier con- so clearly, that this work of art, \ Fifteen stereophonic and monophonic controls 60 watts rated ceived in the mind of a Frenchman, 760 stereo output...76 watts usable...152 watts peak-to-peak ± 0.5 db, put to music by a French composer, 25- 20,000 cps Third channel speaker output with new additive must be sung by me, a Frenchwoman, full -range circuit 5 pairs of stereo inputs...including auxiliary for new in French. In no other way could it cartridge tape playback Long -life silicon diode heat-free power supply Vinyl-clad be given its full value, its true flavor with oversize transformer Humless DC on all preamp tubes metal case included in price Anodized front panel in brushed gold and quality. . . . In my agitation and charcoal brown Shpg. wt., 35 lbs....only $149.95. $5.00 down. and helplessness, I appealed to the elder Coquelin, who was acting in New York at the moment. He sym- pathized entirely with my point of view, went to the directors himself, and used his influence to persuade them to give up the idea. They told him that they had no French tenor to sing the role of Don José, and that, therefore, I would have to sing in Italian. Undaunted by this rebuff, he determined to succeed where they had failed. He would find a tenor. He went to Jean de Reszke, and laid the case before him. Although it was deluxe stereo FM -AM tuner not in De Reszke's repertoire, he prom- Separate FM and AM sections for stereo reception Adjustable DSR role. . . . ised that he would sing the corrective feedback for lowest distortion of FM Front panel audio and What a triumphant success was that a.c. switching for multiplex Dual limiters on FM Tuned RF stage on production of Carmen . . . 1" both FM and AM 2.5 microvolt sensitivity on FM ± 0.5 db, 20. 20.000 cps If the idea of a French opera in Cathode follower multiplex and tape output jacks Dual "Microbeam" Italian so shocked such artists as tuning indicators Illuminated 91/2" tuning scale Low -noise 50 -ohm Calvé, Coquelin, and De Reszke, how extra antenna terminals Solid aluminum front panel, gold anodized, would they have reacted to the with vinyl -clad case. Shpg. wt., 21 lbs....only $139.95. $5.00 down. thought of a performance in English'' order from Dale Warren New Easy Terms: ALLIED RADIO Boston, Mass. Only $5 down (or less) on orders up to $200. Up to 24 months to pay. ALLIED RADIO, Dept. 49 -M9 Down with Love 100 N. Western Ave., Chicago 80, III. Sin: FREE 1960 Ship the following Knight components: I5 -day Irai If the romantic chronicle of Duse and ALLIED CATALOG KN160. (1 understand your enclosed and money -back guarantee Boito in your October issue is a portent Send for your complete, money. OKNI15. applies to this purchase.) of things to come, please put a stop saving guide to the world's largest selection of hi -fi compo- Send FREE 1960 ALLIED Catalog to it. Leave the tender passion for the nents and systems. See every- ladies, and continue to offer the prac- thing in stereo; all the new Name KNIGHTcomponents; all leading tical services for which we pay our everything in make lines. For Address hard cash. After all, HIGH FIDELITY iS hi -fi, for everything in Electronics. get the 1960 ALLIED Catalog. Zone State FREE -write for it today. City Continued on next page

DECEMBER 1959 J

www.americanradiohistory.com LETTERS Continued from preceding page a man's magazine -or at least we've always thought so. Charles H. Oakes Birmingham, Ala.

Factory- Sealed, Pro SIR: If Mr. John Holt cannot afford to buy records to which he has not listened, as he says in September HIGH FIDEL- ITY, I cannot afford to buy records to which he has listened. There are persons like Mr. Holt who want so much to hear what they are buying that they will buy no records unless they can first hear them. If I have read good reviews, I am willing to take a chance on the musical con- tent of a record -particularly if by not `Stereo Suite' insisting on having the record played I can make more likely the possibility that its physical condition will be good when I get it home. Of course, cellophane and card- the gift of audio board can conceal a record with an off- center hole and visible scratches, but they are not likely to. In the few cases where something is really wrong, a reputable dealer will care. The rec- xcellence! ord manufacturer has already shown that he cares by sealing his records in the first place. If an occasional bad one slips through, it should be replaced without question. No finer selection for family enjoyment than this stereo - So let the record companies go on phonic "first" ... smart furniture styling, component flexibility, sealing their records. Sales will not suffer, and both new and old music console performance ! `Stereo Suite' is all this and tradi- will get bought tionally high Ekotape and heard. Since Mr. quality, unbelievably true fidelity. Holt implies that he will not buy a Cabinets are handsomely crafted in hand -rubbed Danish record unless he likes it the first time walnut or fruitwood - trim -styled to fit in any decor. he hears it, and since as things are now Speakers are easy to arrange for precise stereo balance. he cannot hear it unless he buys it, Nussio and Hovhaness And, `Stereo Suite' includes in may have to - addition to tape program- be sold to those persons ming who are will- - inputs for a record changer, tuner and microphones. ing to take a musical chance. But that See the `Stereo Suite' at your Ekotape dealer, or call him is as it should be. for a demonstration in your home. Louise Davies Ventura, Calif. 'Stereo Suite' is a complete stereophonic tape recorder and playback control center. New Ekotape GL 04 preamp and all controls are housed in the base. It records and plays back monaural, 4 -track and 2 -track Factory -Sealed, Further Thoughts stereo. Each matching speaker cabinet includes a 12 -watt high fidelity amplifier, 3 -inch and 8 -inch speakers with network. SIR: Mr. Holt's letter in the September is- sue fully describes the difficulty of hearing new records of nonstandard music. If it were not for WFMT in Chicago, which plays many new rec- ords, it would be practically impos- sible in this area as well. The best solution to this problem 'Stereo Suite' would be for recording companies to: 1) Send review copies as a matter of ELECTRONICS D I V I S I O N course to as many FM stations as pos- WEBSTER ELECTRIC sible, especially in New York, Chi- RACINE WIS

r.±l..w LI Continued on page 12 lo HIGH FIDELITY MAGAZINE

www.americanradiohistory.com General Electric's all -new VR -22 Stereo Cartridge try it in your own home

money -back guarantee!

We believe that once you hear General Electric's all -new The VR -22 is outstanding in all four critical areas of VR -22 in the privacy of your own home, on your own stereo cartridge performance: Channel separation - equipment, you'll want to have this superb stereo cartridge Response- Freedom from hum -Compliance. for your very own. We're so sure of it, in fact, that we are making you an VR -22 -5 with .5 mil diamond stylus for professional quality tone offer virtually without precedent in the Hi -Fi field: Try arms, $27.95 *. VR -22 -7 with .7 mil diamond stylus for profes- the VR -22 at home for 10 days. If you don't agree that this sional arms and record changers, $24.95 *. TM -2G Tone Arm - is the stereo cartridge for you, bring it back and the full designed for use with General Electric stereo cartridges as an purchase price will be cheerfully refunded. You have integrated pickup system, $29.95'. General Electric Co., Audio nothing to lose and a whole new world of enjoyment to Components Products Section, Auburn, N. Y. gain! See your participating General Electric Hi -Fi dealer. *Manufacturer's suggested resale prices.

Acclaimed Oliver P. Ferrell Wm. A. Stocklin C. G. McProud Editor Editor Editor Hi -Fi Review Electronics World Audio as quoted as quoted as quoted by the in issue in issue in issue of Aug. 1959 of Sept. 1959 of Sept. 1959

. . is than its experts! . the VR -227 is a top performer. The fre- listening tests did not show up any even better predecessor quency response is as flat as any cartridge flows. Frequency response from 30 to 15,000 with respect to output, channel separation tested to date. Channel -to- channel separa- cps (limits of our test) was within 2.25 db of and extended frequency response and the two tion in the vital area between 700 cycles flat. Provides about the best channel sepa- channels balance within ±2 db to 15,000 and 8000 cycles was equal to the very best ration available of any checked with the ex- cycles. The shielding has been improved and stereo cartridges now offered the public." ception of (cartridge selling for 565.00) in the grounding of the shield and the method the frequency range from about 5000 to of shorting the two 'ground' terminals ore 9000 cps. well thought out."

GENERAL ELECTRIC

DECEMBER 1959 il

www.americanradiohistory.com LETTERS

Continued from page 10

cago, Boston, Washington, San Fran- cisco, and other large cities; 2) send new recordings to large public librar- ies with record collections. I think that the number of record- ings of nonstandard music which could be "sold" in this way would be quite a surprise to the manufacturers. P. L. Forstall Evanston, Ill. How To Make Enemies SIR: I'd like to add an admonition of my own to those directed at the record makers in your October editorial. It concerns a situation which I, as the owner of a stereo phonograph, have been confronted with all too often. I'm referring to those times when I've gone out and bought the monophonic version of a particular performance, in the absence of the stereo version, only to be confronted shortly afterwards with the issue of said stereo disc! In fact, the record makers' policy to- wards this matter strikes me as an al- most ideal way to Make Enemies and Alienate People. Would it be too much to ask that we be told which monophonic records are destined for release in stereo form? Edwin R. Kalnlnin Brooklyn, N. Y.

Eileen No Salome? SIR: In the "Letters" section of the Septem- It took the engineering know -how of Weathers to discover this revolutionary ber issue Mr. J. T. Henderson rightly electronic advancement in sound and size! TrioPhonic Stereo introduces the deplores the lack of first -rate record- ings of Salome and Elektra and sug- listener for the first time to "Equalized Sound." Now you can sit anywhere gests Eileen Farrell for both roles, be- in the room and experience the same magnificent tonal realism and fidelity of cause ". . . Columbia's old Wozzeck "Equalized Sound" is produced by two book -size full range full -range stereo. proves that she is equal to the most hideaway bass. stereo speakers and a unique, non -directional complex scores...." I would suggest Mr. listen to Wozzeck Ask your dealer today for a demonstration of Weathers startling new audio that Henderson sometime with the score in hand, and -TRIOPHONIC STEREO with "Equalized Sound." You must dimension mark well the incredible inaccuracy of see it, hear it, compare it, to believe it! the Farrell performance . . . in For the ultimate in TrioPhonic stereo listening, select the matched Weathers rhythm, pitch, and diction. By "in- I inaccuracy often by synchronous turntable with StereoRamic pickup system. accuracy" mean miles, and on almost every page. If these Strauss operas are ever go- ing to overcome their present opposi- tion, let us hope that they do so on the strength of the music they contain. Spare us Miss Farrell, at least for this repertory; there are many other things she does far better. Alan Rich SE -50 SE-55 K-601 Harmony Stereo Speakers The Hideaway Bass Music Dir.. KPFA StereoRamic Record Player 11 "x VA" x3yee 161/2"x16Wx5W Berkeley, Calif.

For more information of TrioPhonic Stereo write for FREE booklet, Dept. 11-F. WEATHERS INDUSTRIES, 66 E. Gloucester Pike, Barrington, N.J. D.vmon of Advance Industrie,, Inc. Export: Joseph Plasencia, Inc., 401 Broadway, New York 13, N. Y.

HIGH FIDELITY \IACAZ.INE

www.americanradiohistory.com General Electric siere(

the for more ventilo Power: 56 watts (28 watts per channel) music power. More than enough Soundly engineered: Power tubes at extreme back and rumble filters. Advo'r :ed circuitry for to drive even low efficiency speakers. Response flot ( =0.5 db) from 20 tion, cooler operation. Scratch tch rear. to 20,000 cycles. with less thon 17. distortion. Channel separation 40 db. easy servicing, stable performance. Speaker phasing sw at

Inputs and outputs: Controlled quickly and functionally with two multi- Sensitive music controls: Loudness: combined with power on -off. Con- purpose controls. For stereo and monaural cartridges (magnetic and tour: for automatic boss boost at low volume. Balance: continuously ceramic), tape heads, tape machines and tuners. Gives you flexible variable to oR on either channel. Boss and treble: cual concentric for non- ma-ching command of inputs and complete selection of speaker combinations type odlusts channels together or separately speakers.

56 watts of power, soundly engineered, a versatile beauty. From front to back, a remarkable achievement at $189.95*

Designed for beauty and value: Featuring a recessed front panel, the G -7700 comes

complete in a beige %ink I case. the G -7710 in a white vinyl case. The price is a modest $189.95 *, including case. IThe G -7600 delivers 40 watts, 20 watts per channel, $139.95 *.) Other General Electric stereo amplifiers from $119.95, including case.

is FM -AM Tuner, Series FA -10. Receives even weak signals with unusually low distortion, hum and noise level. Drift -free. Visual meter for pinpoint FM center channel tuning and optimum AM signal tuning. RF amplifier stage in both FM and .A \f increases sensitivity. FM multiplex jack for stereo adaptor. Built-in :\ \l antenna: FM dipole included. $129.95 *. Colors match all General Electric amplifiers: Saddle Brown FA -10 matches MS -4010; Willow Gray FA -12 matches 11S- 4000A, 11S- 2000A; Beige FA -15 matches G -7700; White FA -16 matches G -7710; Saddle Brown FA -17 matches G -7600. *Manufacturer's suggested resale prices. Slightly higher in the West.

See and hear General Electric Amplifiers and Tuners at your Hi -Fi dealer now. Audio Components Section, Auburn, N. Y. GENERAL ELECTRIC

DECEMBER 1959

www.americanradiohistory.com 1

A recording challenge! the magnetic tape engineered to help you meet it best is

This is it ... with the wild trumpet ride, but "SCOTCH" BRAND Magnetic Tapes or the fragile guitar idea, or the frenzied perceive sessions like this. Available on ensemble wail, or the piano gone intro- acetate or polyester backings, they pro- spective, or the knock- down- drag -out tect you from dropouts and response jam. This is it. This is JAZZ. variations. Come on in and be a quiet friend. See it, "SCOTCH" BRAND Magnetic Tapes, pio- feel it, talk it ... and take it home on neered by 3M Research, offer: 1) pre- tape. It won't be easy. There are sud- cision oxide dispersion for flawless fi- den switches from muted lows to delity; 2) controlled uniformity for per- screaming highs. There are level fect response on every inch of every bounces from solo to ensemble. There reel; plus 3) dry silicone lubrication to is background sound that belongs. reduce recorder head wear. Your skill and equipment will be taxed, AND THE SOUND LIVES!

MINNESOTA MINING AND MANUPACTUIINO COMPANY "SCOTCH" and the Plaid Design are Registered Trademarks of 3M Co., St. Paul 6, Minn. (sport:99 Park Ave., New York. Canada: London, Ontario. ©1959 3M Co. ... WHERI RESEARCH IS THI KIT TO TOMORROW

14 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com General Electric presents . I ---.-: today's

...ÿ:

Model G-501 9t/4" x 13" x 22" biggest A true bookshelf speaker system. cubic

This dramatic new design brings you General within ±3 db over most of its frequency range Electric's famous Extended Bass performance from 45 to 16,000 cycles. in an ultra- compact one cubic foot enclosure Unusually clean low- frequency response re- ideal for stereo. sults from the closed -type enclosure and Hear it ... and you'll agree that here is special high -compliance woofer. A new 3 -inch full, natural sound as good as, or better than, tweeter achieves maximum dispersion of highs many much larger and more costly systems. for full stereo effect. In walnut, ebony and wal- The G -501 offers realistic, smooth response nut, mahogany and cherry veneers. $85.00*

New General Electric 12-inch Speaker System

The G -506 combines enclosure compactness with full, smooth re- sponse from 40 to 18,000 cycles. The complete unit - with front - mounted woofer, tweeter and crossover network - occupies only two cubic feet of space.

But small size is gained through no sacrifice in sound ! The Extended Bass design puts out /our times the low- frequency power (+6 db) as standard 12 -inch speakers in the same enclosure. Complete G -506 in four most -wanted finishes. $129.95*

*Manufacturer's suggested resale prices. Slightly higher in the West.

hear both of these fine speakers at your Hi -Fi dealer now

Model G -506 Audio Components Auburn, Y. Section, N. 15" x 1412" x 23'4" GENERAL ELECTRIC

DECEMBER 1959 13

www.americanradiohistory.com This Integrated Mechanism is the Reason Why V-M Stereo Record Changers Outsell All Others

PUBLIC OPINION is the best recommendation for V -M automatic record changers. Listeners by the millions rely on this beautifully simplified mech- anism -the heart of every V -M changer -for years of flawless performance.

SINGLE DIE -CAST UNIT ASSEMBLY, the heart of every V -M changer, guarantees perfect, positive performance. You regulate tone arm set -down and needle- pressure by simple, visible adjustments above the base plate! The result? Needless service calls are eliminated.

Four Models to Choose from

4 -role motor, clug.in head for CE MODEL 1201 - 'SrereO-Malic -.. Automatic 4.$ -red MODEL 1202 - With ..rated drive motor, stereo cartridge. f501" and ott'. -' s or monaural magnet, rariridge... $50t

LMMtumrig.000.1) mat, -hing ha Fan $S6t all l, MODEL 1227 - Mo.'..' '. -1 on matching base 7on..$56t MODEL 11:9

See Your Voice of Music Dealer NOW! ttieoíce of Musíc®

Tape Recorders V-M CORPORATION BENTON HARBOR. MICHIGAN World Famous for the Finest in Record Changers. Phonographs and

16 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com TRANSISTORIZED NOBLES COMPONENT UNITS FOR QUALITY THAT

TRANSISTORIZED STEREO PREAMP AND TONE CONTROL UNIT MODEL NT -108 Built for the long, long life that only transistors can give, the Nobles stereo preamplifier eliminates tubes and replacements. It develops no heat; hum pickup is minimized; distortion becomes virtually non -existent. Completely individual channel con- trol at all times for level, bass and treble, separate switch compensators for bass and treble to match all types of record pickups and tape heads, auto- matic compensation for standard recording curves when switched into tape and phono positions, di- rect- reading edge -lighted VU meters. A brilliant engineering first!

TRANSISTORIZED AM -FM MULTIPLEX TUNER MODEL NV -101 The Nobles AM -FM Multiplex Tuner will outper- form any you have ever seen or heard! Completely individual tuners with separate level controls, in- dividual meters for tuning AM and FM channels, exceptionally high sensitivity, local distance switch for AM broadcast, inter -channel noise suppression for FM broadcast. Unit plays stereo AM -FM or stereo FM and multiplex. Individual plug -in multi- plex channels available. Slide -rule edge lighted dials. Here is unsurpassed quality to upgrade your system!

STEREOPHONIC AMPLIFIER 30 WATT (DUAL 15 WATT) MODEL NS -130 A highly compact "power package" that represents an outstanding accomplishment in design. The Nobles Stereophonic Amplifier, with plug -in ampli- fier units, meets the most rigid demands made by the stereo listener for honest, distortion -free high fidelity sound reproduction. Quality features in- clude: full 15 -watt power from each channel, fre- quency response with ± DB from 20 to 20,000 cycles, amplifier output to match, 4, 8 or 16 ohm speakers. Additional power supply outlet provides filament voltage and "B" supply voltage for tubes and 0 to 18 volts for transistors. Stereophonic Ampli- fier 70 -watt (Dual 35), Model NS 170, also available.

NOBLES ENGINEERING AND FOR COMPLETE INFORMATION MANUFACTURING CO. 645 E. 7th Strut Ask your dealer or write... St. Paul. Minnesota NNOBLES

41 \ntrat I9.59

www.americanradiohistory.com Traditional Serving a gooks ír t 12evíc2w OLD WORLD NEW WORLD Craftsmanship of Sound ! Handel's Dramatic Oratorios and Masques by the British scholar \Vin- ton Dean is, on its face values, a for- midably specialized study, running just over 700 closely packed pages, Ce~al.eeee, TURNTABLE illustrated with 10 plates of period for the discriminating who demand the ultimate in facsimiles and 136 musical examples, including a dozen appendixes, numer- NEW atea uirwduetie.e MODEL ous tables, countless footnotes, a four - MADE IN ENGLAND B Created by skilled hands of English page general bibliography, and two craftsmen working to tolerances of indexes-and priced ( not at all un- .0001 ", the Connoisseur turntable is constructed to assure you of re- reasonably) at $20.20. And vet, in all markable silent operation. The hys- seriousness, I urge nonspecialist music Newly teresis synchronous motor - driven lovers not only to buy a copy turntable is non -magnetic and -and Developed! equipped with an illuminated strobe read it in full -but to send copies to Automatic control arm and diamond disc to insure speed perfection. Wow their favorite conductor, chorus lead- stereo pickup must be seen and heard to is less than .15% and Rumble is 50 be appreciated. Just one touch lifts or db down (7 cm /sec. at 500 cps). er, singer, or record company execu- lowers arm with perfect precision. Superb Mounting size: 15'4" x 13':". Only tive. If even a few should do so, it stereo! Only $59.50 net. $119.50 net. might well put an end to some two centuries of the most disgraceful neg- lect and grossest distortion any great composer has suffered. Some of us have long suspected that the great wealth High priced of Handelian music we know must be speakers a only a tiny fraction of that never given must? a hearing; many of us have realized 700 that most Handel performances (in -141' Series chiding practically all of those on rec- MADE I11 !: STUDIO IN ENGLAND Mark III MICROPHONES ords) depart widely from the original "Mg" speakers don't have to hove big 449111 Nit R scores; but not until we read Dean's price tags. Not with the famous It AI Englands most honored Here are speakers that bring true high line of microphones to as- book can we grasp any real measure fidelity and luxury listening -yet at a sure the highest broadcast- price unbelievably lower than expected ing quality standards. of what we're missing and what trav- for such excellent performance. Your Of rugged, compact design. esties have been perpetuated by other- stereo speaker investment can be mini- each features a dural ribbon cartridge weighing 1.2 mg mized without sacrificing quality if you (1/060 oz.) and triple wise honorable musicians. add an R & A to your present speaker screen protected. Imped- It is almost incidental that this de- system. Coaxial construction in 8 ", 10" ances available for professional or home and 12" models. Alcomax III Anisotrop- recording equipment. Three models: Sym- tailed study of some eighteen specific ic Magnetic systems of 12,000 Gauss phony, Celeste (with switch) or Avon super. Flux density. As low as $13.95 net. cardioid. From 559.50 net. works (and their times) is a monu- ment of inspired scholarship or that it signalizes the emergence of Mr. Dean as one of the musicological giants of our age. The real value of Dean's magnette study lies partly in its reminder that a STUZZI tnie scholar can see his facts in the time for large perspectives of both artistic and Portable listening social history (and that he can write Tape e with acidulous bite as well as accu- Recorder racy) , but even more vitally in its sin- lit VI TAVOX gle-handed triumph over some of the fully MADE IN ENGLAND most deeply rooted misconceptions in Transistorized) When superlatives pall ... and specifications all music. Here is a heartening remind- no longer impress . Professional performance packed into a it's time to listen - mere eight pounds! Hand -crafted in Vienna long and carefully. In this most exacting of er that (thanks to the preservation of to highest Continental standards. its the audio tests, the Vitavox DU120 Duplex Co- ideal travelling companion for dictation. axial Speaker emerges triumphant! Here's original scores, librettos, and sketches, conference recording, interviewa or record- full range reproduction free of distortion ing fine music to broadcast standards. 100 and to the revival of knowledge about and peaks. For proof. ask for a demonstra- hours on 4 flashlight batteries. Dual track. lion authentic baroque instrumental and dual speed, it will operate in any position of the new Vitavox Hallmark System which employa the DUI20. . on land. sea and air. Vibration -proof. You'll hear the interpretative practices) it is now pos- Velvet touch push button controls. Only difference and want either the DUI20 or $269.50 net. li ii ,. , I. ,. part of your own system. sible for a more enlightened genera- 569.50 tion to make belated atonement for the sins of its fathers. The power to move at selected Hi -Fi Dealers mountains is seldom given to one man, Specific literature on request but Dean has provided a practical lever and fulcrum which the rest of us ERCONA CORPORATION can use to work the miracle (Oxford (Electronic 1)i, I /) University Press, $20.20). Dept. 55, 16 West 46th Street, New York 36, New York Continued on page 44

-13 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com There is one way to be sure of STEREO WITHOUT COMPROMISE

THE FISHER COMPLETE STEREO SYSTEMS

UNCOMPROMISING STEREO because each unit, components and speakers, has been designed to a single set of standards - FISHER quality standards -to produce the world's most perfectly matched stereo systems. Compare! Hear all the conventional, casually assembled stereo "packages" you desire. Then listen to any of the five FISHER STEREO PER- FECTIONIST Systems. You will hear hitherto unattainable tonal purity, stereo depth and realism -a panoramic sweep of living sound that will envelop your entire room. Even to the untrained car, THE FISHER makes the difference obvious ... instantly.

THE FISHER auto Putttotto..at I Complete with the renowned FISHER 600 Stereo FM -AM Receiver (stereo FM -AM Tuner, stereo Master Audio Control and stereo 40 -Watt Power Amplifier,) PLUS -two FISHER XP -1 Free -Piston Three -Way Speaker Systems. S626.45

Other Systems Priced To $900.35

WRITE TODAY FOR THE NEW STEREO PERFECTIONIST BROCHURE!

FISHER RADIO CORPORATION 21 -25 44th DRIVE LONG ISLAND CITY 1, N. Y. Export: Morhan Exporting Corp., 458 Broadway, New York 13, N. Y.

D4X:ENIltlhat 1959 ,13

www.americanradiohistory.com Now ...from Sonotone BOOKS IN REVIEW Continued front page 42

Kathleen Ferrier: Her Life and a L Memoir. Barely a year after the con- tralto's premature death in 1953, a 4 Big collection of tributes edited by Nev- ille Cardos achieved best -seller status in Great Britain and quickly led to the publication (1955) of an authorized biography by her sister, Winifred Fer- rier. Cardus' memoir apparently never Improvements became widely known in its American edition (now out -of- print) and the "life" was not issued here at all. So it in the quality stereos cartridge is surely one of Penguin Books' hap- piest inspirations to reprint both works in a single low -cost paperback volume, which Sonotone 8TA cartridge ... also includes some forty of the original photographs as higher than ever quality well as an up- dated discography. The singer's sister writes artlessly, but includes a gener- The new Sonotone 8TA ous selection of "Kath's" own even cartridge gives greater than more artless -and deliciously jaunty - ever stereo performance... letters; the contributors to the memoir has 4 big extras: (, Sir , , Gerald Moore, Roy Henderson, and Cardus himself) fuller, smoother frequency response ONLY frankly write panegyrics; yet at their higher compliance than ever before best all of them convey much of that lighter tracking pressure wholly unique, heart -wrenching t - practically eliminates dust pile -up 1450°= derness which those of us who neve knew "Kath" herself found so precious in her memorable recordings of Blow New 10T cartridge at lowest price ever the Wind Southerly, Das von der - easiest to install Erde, and so many (yet so few!) other The LOT sells at record low price of $6.45.* And it masterpieces. The story of this coun- covers the complete high fidelity range. 10T's uni- try girl's and onetime pianist's rise to tized construction makes it easiest to install, even world -wide fame within a scant ten for the person with ten thumbs. Snaps right in or years is one of the most remarkable in out. Cuts stereo conversion costs, too. musical history, but the present me- morial is to be treasured in particular for its disarmingly warm portrait of an SPECIFICATIONS individual whom to know, or even to 8TA 1OT hear once, was to love wholeheartedly Frequency Response Smooth 20 20,000 to cycles. Flat from 20 to 15,000 cycles (Penguin paperback, $1.25) . Flat to 15,000 with gradual ± 2.5 db. rolloff beyond. Channel Isolation 25 decibels 18 decibels Designing and Building Hi -Fi Fur- Compliance 3.0 x 10-6 cm /dyne 1.5 x 10 -6 cm /dyne Tracking Pressure 3.5 grams in professional 5-7 grams niture. As audio literature burgeons, it arms begins to spread out 4.6 grams in changers to extremely pe- Output Voltage 0.3 volt 0.5 volt ripheral, yet by no means unimpor- Cartridge Weight 7.5 grams 2.8 grams tant, fields -in the present instance to Recommended Load 1-5 megohms 1-5 megohms is Stylus Dual jewel tips, sapphire or Dual jewel tips, sapphire or what elegantly called the décor of diamond. diamond. home sound systems. So much nonsense on this subject and so many overfancy including mounting brackets installations have been published and Sonotone ceramic cartridges have more than impressive illustrated in the audio press that it's specifications...always give refreshing indeed to find that this book brilliant performance. You'll by Jeff hear the difference with Markel not only describes and Sonotone. For highest stereo fidel- pictures highly practical cabinetry, but ity, use genuine Sonotone needles. also includes a wealth of useful infor- mation on basic design principles and Electronic Applications Division, Dept. Cil -129 specific constructional procedures. To SonotoneP. ELMSFORD, NEW YORK many audiophiles -and perhaps par- ticularly to their wives -the last chap- ter alone, on furniture finishing, re- touching, and repairing, will be worth the price of the entire book ( Gernsback Library paperback, $2.90) . Leading makers of fine ceramic cartridges, speakers, microphones, electronic tubes. R. D. DARRELL

44 HICII FIDELITY MAGAZINE

www.americanradiohistory.com 92% MORE EFFICIENT!

For Floor

------For Bookshelf

------:":11 1::: _ _ ...... -,_:_ ...... - '- ' :_. ^, _ __. --- 4. -- w. Use it either way ...... - - _ ...... ' = -w!w The Completely Revolutionrlrl- THREE-11,1, FISHER AR-i Free- Piston Speaker System

The search has ended -and in blazing success! For years we have sought to make available a basic speaker system that would do justice to the electrical quality of FISHER components and at the same time meet the decorative and space requirements of the average home. Compactness -plus- quality was the goal. Speaker efficiency was the problem. The breakthrough came with the development of a special magnet assembly that is 92% more efficient. In practical terms, the XP -1 combines in one compact assembly the best features of high compliance with those of high efficiency. The magnetic lines of force driving the woofer are totally captured in the air gap. where they belong, and where they can be put to work toward unexcelled bass and transient response. Want proof? Hold a metal object near the magnet of any conventional speaker; it will be drawn out of your hand. Then hold the same object near the FISHER XP -1 magnet; nothing happens! Because there are no stray. wasted magnetic field- in the XP -1. Designed for bookshelf or floor installation. In Mahogany, Walnut, Cherry or Blonde. $129.50 In Unfinished Birch, Ready for Staining, $124.50

POWER REQUIREMENTS: Can be used with any amplifier, 10 watts to 60 watts. SPEAKERS: One 12" woofer, one 5" mid -range and one super- tweeter. FREQUENCY RESPONSE: 30 cps to well beyond the range of audibility. IMPEDANCE: 8 ohms. SIZE: 13 Y4" x 24" x 114" deep.

WRITE TODAY FOR THE COMPLETE. XP -1 STORY!

DECEMBER 1959 15

www.americanradiohistory.com Unequalled Performance in a wide variety of units

ALTEC STEREOPHONIC - MONOPHONIC AMPLIFIERS-PREAMPLIFIERS

a3143/7\ STEREO LAX AMPLIIER- PREAMPLIFIER Advanced engineering features make the 353A today's outstanding single stereo unit 100 watts peak stereo; 50 watts rms continuous Two or three channel stereo Dual mic inputs for stereo recording 14 stereo or mono outputs, 6 stereo or mono inputs Flexible controls for 13 separate stereo or mono conditions

Specifications: Power output: 100 watts stereo program peak power; 50 watts rms continuous stereo or mono Rumble filter: 12 db per octave below 30 cps Distortion: Less than 1% THD at 25 watts 1000 cps each channel; Less than 1% THD at 20 watts 30- 15,000 cps each channel Response: 20. 20,000 cps at 25 watts, ±.1.0 db; 10- 30,000 cps at 1 watt, 0.5 db Noise level: Radio, tape, multiplex (250 mv signal): 82 db below 20 w output; Magnetic phono (5 mv signal) 60 db below 20 w output; Tape head (2.5 mv) 58 db below 20 w output Dimensions: 57/8" H x 15" W x 111/4" D Weight: 35 lbs. approximately Price: $199.50

Q3,1 °Z MONO cZIIQ STEREO

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llu:lt FEnt:!.rrr MAGAZINE

www.americanradiohistory.com NOTES FROM ABROAD

LONDON- According to the reckon- presario who has some strong con- and chorus are those of the French ing of EMI's , his com- victions of his own about phrasing, ex- National Radio network. pany's recently completed recordings pression, and technicalities of the Few recording enterprises in recent of Le Nozze di Figaro and Don Gio- singer's trade, breathing included. years have required so much hard vanni, with mainly Italian casts, ab- There were constant stoppages, recti- work in the face of so many misgiv- sorbed 344 rehearsal hours, including fications, repolishings; Schmidt and ings and misfortunes. The epic began 160 hours at the piano for soloists and Legge, between them, gave Mozart's more than a year ago in the Salle ensembles, 96 recording hours with or- vocal line the minutest going -over I Wagram in . There soon devel- chestra (the Philharmonia) , and 62 ever heard. oped what can best be described as recording hours for recitatives with Nov for the casts. Apart from sing- clashes of temperament, and finally harpsichord. Mr. Legge, who planned ers already named, has the whole business sputtered and the recordings, said Angel would issue ( Mrs. Walter ground to a suspension. Pathé Mar- them sometime in 1960. Legge) as Elvira (her greatest role, as coni made several attempts to get the At EMI's Abbey Road studios some of us think), Graziella Sciutti principals together again in Paris; but here, I sat in on one of the 160 hours (Zerlina) , Piero Cappuccilli ( Maset- whenever all the temperaments of piano rehearsal. to) and Gottlieb Frick (Commenda- seemed in tune, one of their owners (Covent Garden's noted Lucia, who a tore); Figaro has Schwarzkopf had to leave for South America or fortnight earlier had sung Donna An- (Countess), Anna Moffo (Susanna), some place equally far from the Salle na at the Vienna ) was Fiorezza Cossotto ( Cherubini) , No Wagram. Prospects were bright early perched on a con- Vinco (Don Bartolo), Cappuccilli this year, and then the French musi- trabass player's (Antonio) , Renato Ercolani (doubling cians' union called a strike that lasted stool with a music Don Curzio and Don Basilio), Dora for two exasperating months. When it stand in front of Gatta ( Marcellina) , and Elisabetta was over Mr. Gedda and Mme. De her, in the throes Fusco (Barbarina) . los Angeles had engagements else- of the " Fuggi, cru- The trend here is away from the where. The cast could not he reas- dele!" duet from Germanic approach to the Da Ponte sembled until the first week in Sep- the first act of Don librettos, so brilliantly pursued in Vi- tember. Then, helped by the charm Giovanni. She was enna immediately after the war, and and tact of the new Lady_ Beecham, partnered by a back towards the Italianate casts and everybody pitched in and finished the young Ottavio, Lu- ambiance of Mozart's time. In keeping job with surprising speed and im- igi Alva, who while with this tendency, the Italian conduc- mense enthusiasm. The records should Giulini serving with the tor Carlo Nlaria Giulini was engaged be interesting not only as music, but Peruvian Navy won for Figaro. He carne new to the work also as a sort of documentary on per- a prize for the best male voice in South (though not to many of the singers - severance, a theological term which America. Giuseppe Taddei (Leporel- or to the ) and Webster defines as "continuance in a lo and Figaro) and Eberhard Wächter studied it for a year before going into state of grace until it is succeeded by from Vienna (Giovanni and Almaviva) rehearsal. Giulini also took over Don a state of glory." awaited their turns on the far side of Giovanni, when illness forced the with- Victoria de los the piano, with their elbows on its lid. drawal of Otto Klemperer from the Angeles is reported On all entries and at all climaxes, Miss recording sessions. to be so pleased Sutherland looked frowningly away CHARLES REID with her perform- from the music. Somebody asked why. ance as Carmen "Because," explained Miss Sutherland, that she is thinking "I cannot sing the notes when I'm PARIS -The word enfin, pronounced of undertaking the looking at them." with fervent accent on the first sylla- role in the opera Heinrich Schmidt, principal coach ble, has been heard rather often at house. of the Vienna State Opera, was at the Pathé Marconi this fall. At last, if piano. Herr Schmidt was engaged for there are no perfectionist after- Diminuendo. The both recordings to school the singers - thoughts, the long adventure of re- talk of a new deal especially the twelve Latin principals cording in stereo Sir Thomas Bee - at the Paris Opéra Micheau out of a total of eighteen -in Mozar- cham's Carmen, with Victoria de los and Opéra -Co- tean style. (To complete the balance, Angeles singing the title role, has mique has subsided a bit, as was per- Antonio Tonini, principal coach from been completed. As this is being writ- haps to be expected, now that the La Scala, Milan, was brought in to ten, Sir Thomas is listening to his season is well under way and the hopes watch the Italian diction, especially achievement and preparing to ap- of last spring are encountering the that of the German- Austrian group, prove the release, and so the discs usual wintry realities. The administra- who- except for a fluent minority - (Capitol label in America) should tion has had trouble nailing down some tend, for example, to turn their nale- soon be available. is of its with foreigners - dettos into maledetos.) At the key- Don José. and Er- with Callas and the Bayreuth com- board Herr Schmidt was joined by Mr. nest Blanc, of the Paris Opéra, are Legge, a recording and concert im- Micaela and Escamillo. The orchestra Continued on next page

DECEMBER 1959 49

www.americanradiohistory.com pane, for example. The thousandth Rossini's La Cambiale di Matrimonio, of two recordings by pianist Elly Ney performance of Counod's Romeo and starring Renata Scotto, Nicola Monti, of Beethoven's Opus 111 Sonata. One Juliet, in a new production at the Rolando Panerai, Renato Capecchi, was made in 1936, the other last year. Opéra-Comique, was scarcely the tri- and Mario Petri, Electrola has paired them back to umph the occasion called for, al- was followed by back on one LP so that we can corn - though Janine Micheau's Juliet was Pergolesi's La Ser- pare two fascinatingly different inter- justly admired. On the credit side va Padrona, with pretations by the same artist. should be placed a new Carmen Scotto and Sesto Telefunken has signed up a young (Bizet is having a good year) with Bruscantini. How- American violinist, Joan Field, for a Jane Rhodes and Gloria Lane alter- ever, the pièce de series of concerto recordings. Miss nating as the heroine. and Roberto résistance of these Field has a first -rate technique (she Benzi, suddenly twenty-one years old, Brescia sessions was was pupil of Jacques Thibaud) and . Mme. De los Angeles may, undoubtedly the employs it on a Stradivarius that once only may, appear at the Opéra at the first recording ever belonged to Joseph Joachim. So far end of winter, but if she does it will made of Paisiello's she has recorded concertos by Bruch not be in Carmen. La Traviata is prob- Di Stefano Il Barbiere di Sivig- and Spohr. able. In the meantime, lacking great lia (it antedates WALTER FACIUS voices and star personalities, the Rossini's opera by thirty -four years), Paris public is consoling itself as in with Graziella Sciutti, Monti, Panerai, other years -with old acquaintances and Capecchi as featured singers. BUDAPEST -What with all the Pur- in such spectacular sets as those for Ricordi has an ambitious future re- cell-ing and Handel -ing this year, the Rameau's Les Indes Calantes, now cording schedule, rumored to include sesquicentennial celebration of Hay- well past its three -hundredth per- a complete Cenerentola with Giulietta dn's death has not achieved much no- formance. Even on the big nights Simionato, a Madama Butterfly with tice-except in Central Europe (where there is a close -family atmosphere Antonietta Stella, and a first edition Handel and Purcell are not very pop- which tends to disarm criticism. Opera of Nlascagni's Iris with Giuseppe di ular). Burgenland, the small Austrian in the eighteenth at century some pro- Stefano and an as yet unnamed so- province of which Eisenstadt is the vincial court must have been rather prano. Meanwhile, this fall the com- capital, has put on a series of inter- like this. pany is undertaking a series of orches- esting concerts and operas- including tral recordings in conjunction with a performance of Haydn's marionette Comparison. Speaking of the eight- Westminster Records. Fernando Pre - opera Philemon and Baucis eenth with real century, at one point in that vitali and the Orchestra of L'Accade- marionettes from the Siegfried Wehrle period Paris had 194 composers. The mia di Santa Cecilia will concentrate troupe-but Eisenstadt is well off the figure comes from Professor Barry S. on twentieth- century music, in particu- usual tourist route, and the Brook Burgen- of Queens College, N. Y., who lar the tone poems of Respighi. land Haydn Festival has has not attracted just completed his doctor's thesis an international at the RE\IY VAN WYCK FARKAS public. Sorbonne. If the total had kept Music lovers were therefore interest- pace with population growth the city ed to read, some months ago, of a per- would have more than 1,200 today. HA\ I BURG-Deutsche Grammophon egrinating Haydn Festival which was Perhaps all that is wrong with mod- continues to accelerate its classical re- to take place in three countries: it was ern is music that not enough people cording program. to start towards are Three important the middle of Septem- writing it to give us a percentage Beethoven ber at famous break. projects are now under the Benedictine Mon- way. The is to re- astery of Gottweig, one of the oldest ROY MCMULLEN cord the sixteen string quartets, Pierre centers of Haydnkultur (the monks Fournier and the five there copied a Michael Haydn Mass in cello -piano sonatas, and Wolfgang 1759 and a Joseph Haydn MILAN -Ricordi, the noted music Schneiderhan and Carl Seeman the three years later); from this magnifi- publishing firm, has completed its La ten violin -piano sonatas. In addition, cent abbey, towering over the Danu- Scala recording of Donizetti's Lucia di DCG has brought off a real coup by bian valley near Krems, the festival Lammermoor. From what this writer recording in stereo the celebrated So- was to pass along the Danube from heard at the sessions, it should prove viet pianist in a to Czechoslovakia, where in to be a first -class effort. Renata Scotto large repertoire, including concertos by Bratislava (formerly Pressburg) the handled Lucia's pyrotechnics very Mozart, Schumann, Rachmaninoff, and next phase of the celebrations was to well, and her asso- Prokofiev. The sessions were held in take place; from there, the guests were ciates- notably Giu- with the National Philharmonic to be put aboard a ship to float down seppe di Stefano Orchestra of Warsaw under the direc- the Danube to Budapest, where a and Ettore Bastia - tion of Stanislaw Wislocki. large -scale Hungarian Haydn confer- nini -were in top Electrola, the German branch of the ence and festival would mark the vocal form. Prior to international EMI empire, is also step- close of this enterprising plan. taping Lucia, Ri- ping up its activities. At St. Thomas' As matters turned out, the Austrian cordi and its Ameri- Church in Leipzig this company has part of the project fell flat, and the can recording team recorded the Christmas Oratorio of "International Haydn Festival" be- (Mercury's Robert Bach. Kurt Thomas conducts; the came a purely Czech -Hungarian affair. Fine, Wilma Co- soloists are Agnes Giebel, Marga Höff- A number of scholars from America, zart, and Harold gen, Josef Traxel, and Dietrich Germany, the Soviet Union, Rumania, Panerai Lawrence) turned Fischer -Dieskau. Two hitherto unre- France, Denmark, and, of course, Aus- their attention to leased recordings by Wilhelm Furt- tria, Czechoslovakia, and Hungary some off-the -beaten -path opera rep- wängler and the Philharmonic made up the musicological part of ertoire. The sessions took place in Bres- Orchestra have been brought to light: the proceedings. cia and had the collaboration of Re- Brahms's Third and Fourth Sympho- nato Fasano and the Virtuosi di Roma. nies. Finally, mention should be made Continued on page 52

50 HICII FIDELITY MAGAZINE

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www.americanradiohistory.com NOTES FROM ABROAD The same custom components your Continued from page 50 auC ioplllle friends prefer... The two highlights of the festival were undoubtedly the visit to the new - ly renovated Castle of Esterháza ( see HIGH FIDELITY, August 1959) and the revival of Haydn's opera L'in- fedeltà delusa at the Budapest State Opera. Having seen Esterháza half a year ago, your correspondent doubted that the Hungarian authorities would ever get it ready for the festival: the inte- rior had been a shambles; huge wood- en beams had supported the roof, and enormous scaffolding had covered the walls; piles of building material and rubbish were scattered over the floors, and gaping holes in the ceiling had al- lowed buckets of cement to be trans- ported from the ground floor upwards. When we drove out for the festival (as a guest of the American chargé d'affaires) on a mellow autumn after- noon, the stately and beautiful castle looked as if there had never been a cruel war in which Lerman and Rus- are in stereophonic consoles sian soldiers had reduced the place all Pilot to a shabby and dirty ruin. The façade shone in the gentle afternoon sun; the peasants had donned their best Trach- ten, and the courtyard was brilliant with the reds, blues, and greens of cos- tumes which had hardly changed since Haydn's time. Furniture from lo- cal museums had been placed in the stately reception rooms, and Gobelin tapestries hung on the walls. The sleepy town (now called Fertöd) somehow reminded us -quite incon- gruously-of Lenox: a quiet, Massa- chusetts town which suddenly comes alive in the summer. Outside Ester- háza Castle they had erected, as at Tanglewood, a huge car park in the fields, with policemen directing traffic; the whole corps diplomatique had been invited, and when our car, the American flag waving on the right mudguard, turned past the main gate, we were confronted by television cam- eras and radio announcers. From the balcony of the castle, trumpets screamed fanfares. It was all rather tale; The audio engineer in the upper photo and the happy couple below are enjoy- like a fairy but then, Esterháza has of a ing the exciting output of the identical Pilot stereo components. The Pilot always been something fain' stereo preamplifier, the dual channel Pilot amplifier, the precision Pilot FM- tale, too good to be true. Later, we heard The Seasons, performed in the AM stereo tuner, and the Garrard changer are the same in each case. Both sun gradually systems provide that elusive "in person" quality that only custom stereo- castle courtyard: the set, and the shadows lengthened along phonic components can give. The only difference is that the couple chose to yellow and green and gold of the huy their system in one of eight magnificent hand- ruhhed Pilot consoles. the façade; Professor Jens Peter Larsen, HEAR PILOT'S BRILLIANT NEW 3CHAhNEL "CURTAIN OF SOUND "1 It's the the great Danish Haydn expert, leaned only 3- channel stereo reproducing the full range of frequencies from every over to me: "This is the way it must speaker element ... the most dramatic advance in audio since the develop- have been," he said, "this is the secret ment of stereo itself! Write today for Pilot's 40th of those thirty years " -referring to the Anniversary brochures, indicating whether you three decades in which Haydn served want facts on stereo consoles, components, or both. I L 0 PILOT RADIO CORPORATION, 37-02 36th St.. L. I. C. 1. N. Y. 1 Founded in 1419 Continued on page 54

52 HIGH FIDELITY :M1AGAZINE

www.americanradiohistory.com Why E. Power Biggs makes his own recordings on tough, long-lasting tapes of .MYLAR° "Tapes of 'Mylar' let me evaluate my remember the exclusive advantages of own performances as though I were sit- "Mylar ". Then, like E. Power Biggs, ting in the audience," says E. Power get a reel of your favorite brand . . . Biggs. world's most recorded classical made with "Mylar ". organist. "They provide the dependable ''.1 /ylar" is Da Pones registered trademark for its fidelity required for appraisal of brand of polyester film. Do Pont manufactures critical ylar ", not finished magnetic rreording tape. A!1 my work. They assure me that the sound monafarhners make !apes of "all Oar". won't be distorted by stretching; won't be lost by a break. That's why I always Better Things for Better living use tapes of ' Mylar" polyester film. GU .. through Chemistry "Tapes of 'Mylar' won't dry out or get MP brittle with age. They need no special storage care. A performance recorded DU PONT "Tapes of 'Mylar' give me more time on a on ' Mylar' is there to stay." reel. They're more convenient to use... and When you buy your next reel of tape, they save space." MYLAR POLYESTER FILM BE SURE OF SUPERIOR PERFORMANCE... LOOK FOR THE NAME "MYLAR" ON THE BOX

DECEMBER 1959 53

www.americanradiohistory.com NOTES FROM ABROAD new knig stereo hi -fi Continued from page 52 A PRODUCT OF ALLIED RADIO as Esterházy Kapellmeister before go- and save ing to London. And indeed that build the best... afternoon at Esterháza told us more of Haydn's life than you will find in Exclusive Money -Back Guarantee Exclusive "Convenience Engineering" means many a biography. Knight -Kitsarean exclusive product easiest building -no previous electronic experience of Allied Radio. Every Knight -Kit needed. Ingenious packaging and carding identifies all L'infedeltà delusa was written at the meets or exceeds published speci- parts instantly and accurately; wire is pre -cut, stripped height of fications, or we refund your money and color-coded; exclusive wall -sized diagrams and Haydn's creative power, in in full. You can have every confi- step -by -step instructions make assembly a marvel of 1773, following the Stabat Mater, the Building success is assured! dence in the Knight -Kits you build. simplicity. powerful in minor keys (Tracer, Farewell, La Passione, No. 52 in C minor), and the string quar- tets of Op. 20 which so changed the face of classical chamber music. Haydn called his new opera "Barlet- ta," and the work has much of the razor -sharp sarcasm of late Mozartean drama. The Hungarians chose it partly because the whole autograph (except that of the Overture) is in the National Library at Budapest, and partly be- cause the Director of the National Library's Music Division, Dr. Jenö Vécsey (who edited the score for the present performance) thinks it is Haydn's greatest opera. L'infedeltd is in two acts and lasts about two hours. In the Budapest stage version, they cut half an hour so as to enable a wretched ballet to be played after intermission. The cuts were in part pretty barbarous, includ- ing a chunk out of the magnificent first -act finale, which is as tight a musical -cum- dramatic structure as Haydn ever wrote. The conductor, Deluxe 40 -Watt Stereo Amplifier Kit knight -kit Ervin Lukacs, gave a sensitive stylis- Model 40 watts of clean stereo sound Two fully integrated, Y -774 Features: Full tic account of the work, however; built -in preamps Exceptional control versatility Single knob channel the orchestra played only balance and separate dual concentric tone controls for each channel very well Full -frequency range center channel output for 3- speaker stereo (though here and there a touch on the $7950 system Exclusive printed circuit switches for easy assembly heavy side); and the stage sets and Outputs for stereo tape recording Beautiful case in Cordovan gray costumes were delightful. The over- S5 down vinyl plastic bonded to steel; Desert Beige and Sand Gold extruded all mise en scène was, we thought, a aluminum escutcheon; 4y, x 15'/, x 11''% Shpg. wt., 23 lbs. trifle old- fashioned, rather like the nineteenth century's conception knight -kit Deluxe FM -AM Stereo Tuner Kit of what Haydn and Mozart were sup- Model Separate FM and AM tuning sections, with moving -bar Y -731 Features: posed to have been. "magic eye" tuning indicator for each Dynamic Sideband Regulation only (DSR) on FM for purest, distortion -free reception Sectionalized It is hard to predict whether a re- construction for gasy addition of "built -in" multiplex 2y,, µv sensitivity vival such as the Budapest staging of $8750 Double limiter- discriminator FM circuit -adjustable AFC Precisely L'infedeltd delusa will achieve Eu- aligned RF and IF transformer in FM section Styling matches rope- wide $5 down attention, that is, whether 40 -watt amplifier above; 4 , x 15/, x 12' Shpg. wt., 18 lbs. the opera is now on its way to a per- manent place on the stage. But after build your own stereo hi -ti . save up to 50% the sensational success of Haydn's Il order from mondo della luna at the Holland, Aix, New Easy Terms: Only $5 down (or less) and Salzburg Festivals this year, it on orders up to $200. ALLIED RADIO looks as if L'infedeltà -which is a far Up to 24 months to pay. greater work musically, though it ALLIED RADIO, Dept. 1 2 -M9 lacks more 100 N. Western Ave., Chicago 80, III. the obvious Sputnik at- SEND FOR FREE 1960 tractions of II mondo-is on its way to ALLIED CATALOG Ship the following Knight -Kits: Y -774 O Y-131 international recognition. It may inter- See the complete Knight -Kit = enclosed. est readers to know that the score is hi -fi component line, includ- Send F REE 1960 ALLIED Catalog. ing scores of amplifiers. L about to be published by Universal tuners and speaker sys- Edition, Vienna. tems. For everything in Name build -your -own hi -fi. for H. C. ROBBINS LANDON everything in Electronics. Address get the 1960 Allied Catalog. for FREE copy today. Send City Zone State_ XV

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com THE NEW

THAT

The Push -Button RECORDS! Miracle for stereophonic and monophonic high fidelity sound! IMMOIV"' MI RAC ORD XS-200 The pushbutton miracle of high fidelity sound -with every practical and proven feature for the perfect reproduction of stereophonic or monophonic records.

it's a heavyweight, professional -type Magic Wand spindles eliminate pusher turntable - and a fully -automatic platforms and stabilizing arms! changer! intermixes 10" and 12" in any sequence; a special switch adapts Miracord to plays all 4 speeds, has a 4 -pole motor. stereophonic or monophonic reproduc- Plug -in head! tion, with finest quality output on either system! shuts off automatically, returns tone vibration eliminated by special mounts! arm to rest position! 5 push- buttons permit you to start. and many other outstanding features, stop, pause, repeat or filter, without not found in any other record changer touching tone arm! or record player! -yet it costs only $ 67 STEREOTWIN 2lOiD a thrilling new standard in a stereo cartridge I Acclaimed by engineers and audiophiles, STEREOTtVIN 210 /D is the finest cartridge for the stereo age. "Moving- magnet" principle gives new high in quality performance. Hunt is eliminated by Mu -Metal casing. Stylus replacement is instant. Phenomenal separation: 22 db at 1000 cps. EXCLUSIVE ADJUSTMENT puts stylus in proper position both vertically and NW" horizontally for record changers or manual tone arms. Truly an audio engineer's cartridge at an audiophile's price! NOW $345°

FAR AHEAD) TIIE FINEST BY FAR Available at selected dealers. For Fr. ataloguc, rite Dept. II AUDIOGERSH CA R.P. fil 514 Broadway, New York 12, N.Y. WORTH 6 -0800

DECEMBER 1959 55

www.americanradiohistory.com Choose 4- track, 7i ips stereo for music with a new high in fidelity, a new

low in cost. Choose your machine from among the 19 makes of 4 -track recorders available today, your tapes from among the hundreds offered

by 22 leading recording companies. For list of tapes and dealers write

1028 Kifer Road, Sunnyvale, California UNITED STEREO TAPES

i

96 MACHINES: AMPEX BELL CONCERTONE CROWN EKOTAP 3 ERROGRAPH HEATH MAGNECORD NORELCO PENTRON ROBERT' UPERSCOPE TANDBERG TELECTROSONIC UHER UNIVERSA IKING V -M WEBCOR WOLLENSAK 96 MUSIC: AUDI IDELITY BEL CANTO CONCERTAPES DECCA DOT ELEKTR VEREST HIFITAPES KAPP LIBERTY M -G -M MERCUR MEGATAPE ROULETTE STEREO FIDELITY S -M -S VANGUAR ERVE VOX WARNER BROS WESTMINSTER WORLD PACIFI

o

N

HIGA FIDELITY MAGAZINE

www.americanradiohistory.com L JD

TL ri WHAT'S EXCITING AND DIFFERENT FOR STERE 1960 University's three new University's `Trimen- University's newly en- ultra- compact systems... sional' TMS -2 ... the gineered 8" high fidel- offering superb perform - most sensational ad- ity speakers especially ance and elegant styling vance in stereophonic designed for ebig sys- at moderate cost... ideal reproduction...now in tem' performance from for stereo application EarlyAmerican styling the smallest enclosures

Balanced Stereo anywhere in the room TMS -2 MODEL RRL-12 12" 3- Speaker RRL System new Sphericon .i Featuring the sensational Containing two complete 3 -way multi Super Tweeter for sweet, smooth highs to speaker systems in one compact enclosure MODEL UC -82 8" 2 -Way Diffaxial inaudibility. From $114.95 net. the 'Trimensional' TMS -2 projects frequen cies of both channels to the rear and side Excellent low cost wide -range speaker walls of the room. Thus, one large wall area with unlimited versatility. Use mono- becomes channel A; another channel B .. . phonically, as matched stereo pair in exactly as if you had a series of widely minimum size enclosures, as second distributed speakers for each channel. channel speaker, or as stereo add -on. Response: 45- 14,000 cps. $16.95 net.

MODEL RRL -8 8" 3- Speaker RRL System The impossible becomes reality! An 8" sys- re- tem with full bass response down to below Early American model in hand -rubbed 30 cps! From $95.50 net. fruitwood finished maple, $279.95 net.

MODEL C -8HC 8" High Compliance Woofer Features special low resonance cone with treated cloth surround, extra deep dual voice coil and heavy die -cast bas- ket. Remarkable response range extends from 20 cps to 3000 cps in suit- able enclosure. $39.95 net. MODEL S -80 8" 2 -Way High Efficiency System Excellent wide -range response from a sys- Contemporary model in mahogany, $258; tem only 9 %" deep. From $59.95 net. in blond or walnut, $263 net.

SEE AND HEAR THEM AT YOUR DEALER NOW! ... or write for new edition of "An informative guide to high fidelity stereo and monophonic speaker systems and components." Desk P -7, University Loudspeakers, Inc., White Plains, N. Y.

1)i r\111,1 n 1959 J9

www.americanradiohistory.com glitb.d

Collaro stereo record players are built with typical British precision... they are even tropicalizcd to perform perfectly in the maddest noonday sun

The Constellation, Model $59.50 TC89- The Continental Il, Model TSC840-$49.50 The Coronation Il, Model TSC- 740 -;42.50 The Conquest II, Model TSC- 640 -$38.50

1

Transcription Turntable, Model 4TR- 200 -$49.50 Manual Player, Model TP59- $29.95

Every Collaro stereo record player is built with typical British attention to every detail. They are precision engineered and rigidly tested to give truly profes- sional performance and the ultimate in operating convenience. Here are some of the more important features that make Collaro the logical choice for stereo or monophonic records. Performance specifications exceed NARTB standards for wow, flutter and rumble - with actual performance test reports accom- panying each model TC -99. Extra -heavy, die -cast, non-magnetic turntables (weighing up to 81/2 lbs.). Extra -heavy weight is carefully distributed for flywheel effect and smooth, constant rotation. Shielded four -pole motors are precision balanced, screened with triple interleaved shields to provide extra 25 db reduction in magnetic hum pick -up. Detachable five -terminal plug -in head shells (on TC -99, TSC -840, TSC -740, TP -59) provide two completely independent circuits, guaran- teeing ultimate in noise reduction circuitry. Transcription -type stereo tonearms are spring -damped and dynamically counterbalanced to permit the last record on a stack to be played with virtually the same low stylus pressure as the first. All units are handsomely styled, available with optional walnut, blond and mahogany finished bases or unfinished utility base. There's a 4 -speed Collaro stereo record player for every need and budget! Prices slightly higher in the West. For free catalog on the Collaro line, write to: Rockbar Corporation, Dept, HF -12, Mamaroneck, N. Y. ('Not shown. Similar in appearance to The Coronation.) www.americanradiohistory.com New Stereo Amplifiers

MORE OF THE BEST FROM THE LEADER ..

Heathkit, first in performance, quality and dependability, proudly presents a host of new, outstanding do- it- yourself projects designed, as always, to bring you the finest in kit -form electronics.

FOR THE FINEST IN STEREO...

14/14-WATT STEREO AMPLIFIER KIT (SA -2) HEATHKIT SA-2 A complete dual channel amplifier, preamplifier combination, the new Heathkit SA -2. in one compara. handsomely styled unit provides every $55295 modern feature required for superb stereo reproduction ... yet is priced well within your budget. Delivers 14 watts per channel stereo. or 28 watts total monophonic. Maximum flexibility is provided by the 6- position function switch which gives you instant selection of "Amp. A- or "Amp. B" for single channel monophonic; "Mono. :V' or "Mono. B" for dual channel monophonic using both amplifiers and either preamp; and "Stereo' or "Stereo reverse ". A four -position input selector switch provides choice of mag- netic phono. crystal phono. tuner. and high level auxiliary input for tape recorder, TV. etc. The magnetic phono input is RIA:\ equalized and features 3 my sensitivity- adequate for the lowest output cartridges available today. Other features include a speaker phasing switch, two AC outlets for accessory equipment and hum balance controls in each channel. As beautiful as it is functional, the SA -2 will be a proud addition to your stereo sound system. Slipg. Wt. 23 lbs.

SPECIFICATIONS -Power output: 14 watts per Channel, "hl1i "; 1? watt- rer rhdrnel, "professional ": f .. t. Total 1e :. t; : r chanr. 1, -utility ". Power response: ±1 db from 20 cps harmonic distortion: less than 2 %. 30 cps to 15 kc at 14 watts output. Intermodulation distortion: . than 1`,. at 16 watts output using 60 cps and 6 kc signal mixed 4:1. Hum and noise: :..t. 47 db below 14 watts; tuner and crystal phono, 63 db below 14 watts. Controls: ,I,..d clutch. d volume; ganged bn' mnrn d treble; 4.position setector: speaker phasing swit'. AC receptacle: 1 switched, 4, 8 16 4;i" H. x 15" W. 1 norm Inputs: : :` reo or 8 monophonic. Outputs: and ohr. Dimensions:

x 8" D. Power requirements: 117 volts 50160 c,. . AC, 150 watts (tu:.e.:..

STEREO PERFORMANCE AT MINIMUM COST

ECONOMY STEREO AMPLIFIER KIT (SA -3)

The amazing S. \- 3 delivers more than enough power for pure undistorted room -filling stereophonic sound at the lowest price anywhere. Delivers 3 watts per channel stereo -or 6 watts monophonic. The built -in high level preamplifier has two separate inputs for each channel. designed for use with ceramic or crystal cartridge record players, tuners, tape re- corders, etc. Ganged tone controls provide convenient bass "boost" and treble "cut" action. while a dual concentric clutched volume control makes possible precise channel balancing. A channel reversing position is provided on the function switch and a speaker phasing switch on the HEATHKIT SA-3 back panel allows optimum performance with any speaker system. Taste- fully styled in black with gold trim. Shpg. Wt. 13 lbs. $2995

SPECIFICATIONS -Power output: 3 watts per channel. Power response: ±1 db from 50 cos, 20 kc tr.::e. c..:. Total harmonic distortion: less than 3`,f, 60 cps, 20 he. Intermodulation distortion: less :`.0 %(r 3 wafts output using 60cycle ó 6 kc signal mixed 4:l. Hum and noise: 65 db below full output. Controls: duct clutched volume; ganged treble, ganged bass; 7.position srl ctor: spe.,i er phasing switch; omolf sw,te Inputs (each channel): tuner. crystal or ceramic phono. Outputs (each channel): 4. 8, 16 ohms. Finish: black with gold trim. Dimensions: 12%' W. x 6'/," D. x 3'/" H.

HEATH COMPANY / Benton Harbor, Michigan C'ir.) a subsidiary of Daystrom, Inc.

61 DticGNIBP:)t 1959

www.americanradiohistory.com New Amplifiers & Tuners

A NEW AMPLIFIER AND PREAMP UNIT PRICED WELL WITHIN ANY BUDGET 14-WATT HI -FI AMPLIFIER KIT (EA -3) This thrilling successor to the famous Heathkit EA -2 is one of the finest investments anyone can make in a top quality monophonic high fidelity amplifier. It delivers a full 14 watts of hi -fi rated power and easily meets professional standards as a 12 watt amplifier. Rich, full range sound reproduction and low noise and distortion arc achieved through careful design using the latest developments in the audio field. Miniature tubes are used throughout, including EL -84 output tubes in a push -pull output circuit with a special -design output trans- former. The built -in preamplifier has three separate switch -selected inputs for magnetic phono, crystal phono or tape and AM -FM tuner. RIAA equalization is featured on the magnetic phono input. The stunning new styling of the EA -3 represents the latest word in modern design. with HEATHKIT EA-3 mar -proof vinyl -clad steel cover in black leather -like texture, inlaid gold design and brushed gold trim. Shpg. Wt. 15 lbs. $2995 NOTE THESE OUTSTANDING SPECIFICATIONS-Power output: 14 watts. HFi; 12 watts Pro. le:ional; 16 watts Utility. Power response: ±1 db from 20 cps to 20 Mc at 14 watts output. Total har- monie distortion: lass than 29s, 30 cps to 15 kc at 14 watts output. Intermodulation distortion: less than 1° at 16 watts Output using 60 cos and 6 Me signal mixed 4:1. Hum and noise: mad. phono Input, 47 db below 14 watts; tuner and crystal phono, 63 db below 14 watts. Output Imped : 4. 8 and 16 ohm;.

MORE STATIONS AND TRUE FM QUALITY ARE YOURS WITH THIS FINE TUNER KIT HIGH FIDELITY FM TUNER KIT (FM -4) This handsomely styled FM tuner features better than 2.5 microvolt sensitivity, automatic frequency control (AFC) with on -off switch. fly- wheel tuning and prewired, prealigned and pretested tuning unit. Clean chassis layout, prcaligned intermediate stage transformers and assembled tuning unit makes construction simple -guarantees top performance. Flywheel tuning and new soft, evenly- lighted dial scale provide smooth, effortless operation. Vinyl -covered case has black, simulated -leather tex- ture with gold design and trim. Multiplex adapter output also provided. Shpg. Wt. R lbs.

SPECIFICATIONS -Tuning range: 98 to '. Quieting sensitivity: HEATHKIT FM-4

IF frequency- Image ratio: 45 c- AFC correction factor: - . ' AM suppression: Frequency response: Harmonic distortion: c, Intermodu latron distortion: $3495 Antenna: Output impedance:

Output voltage: _ Overall dimensions:

NEVER BEFORE HAS ANY HI -FI AMPLIFIER NEW OFFERED SO MUCH AT SO LOW A PRICE'

"UNIVERSAL" 14 -WATT HI -FI AMPLIFIER KIT (UA -2) r,rr°a.a p + Mtc tin,g 4-%s ill( -16-1 1.. end 12-att "prulesniuuel standard, the U: \ -3 lives up to its title "universal" performing with equal brilliance in the most demanding HEATHKIT UA-2 monophonic or stereophonic high fidelity systems. Its high quality. remarkable $2295 NEW economy and ease of assembly make it one of the finest values in high fidelity equipment. Buy two for stereo. Shpg. \\t. 13 lbs.

WORLD'S BIGGEST BARGAIN IN A HI -FI AMPLIFIER 55 -WATT HI -FI AMPLIFIER KIT (W -7A) Utilizing advanced clr,igu in components and tubes to achieve unprecedented performance with fewer parts. Heathkit has produced the world's first and only "dollar -a- watt' genuine high fidelity amplifier. Meeting full 55 watt hi -fi HEATHKIT W-7A rating and 55 -watt professional standards, the new improved 1 \ -7:\ provides a comfort- $5495 NEW able margin of distortion -fire power for any high fidelity application. The clean, open layout of chassis and precut cabled wiring harness makes the W -7A extremely easy to assemble. Shpg. Wt. 28 lbs. HEATHKIT SP -2A e (two channel stereo). STEREO -MONO PREAMPLIFIER KIT (SP -2A) Stpg. Wt. 15 tbs. Available in two outstanding versions! SP -2:\ (stereo) and SP-1A (monophonic). SP -1A convertible to stereo with conversion kit C- SP -1A. Use with any basic HEATHKIT C-SP-1A (converts SP-tA to SP-2A). amplifier as the control center of your entire high fidelity system. Six inputs in Shpg. Wt. 4lbs. $21.95 each channel accommodate most any program source. Switch selection of HEATHKIT SP-1A (single channel monophonic). Shpp. NARTB or RIAA, LP, and 78 rpm record compensation. Wt. 13 lbs. $37.95 gá HICII FIDELITI- MACAZI:VE

www.americanradiohistory.com New Tape Recorders

PROFESSIONAL QUALITY STEREO -MONO TAPE RECORDER KITS TAPE RECORDER KITS (TR -1 Series) (TR-1A Series) Lnjuy tlu In( uutpatable pcrin 111.111(C u( these' professional qual- Here arc the tape recorders the avid hi -fi fan will find most ity tape recorders at less than half the usual cost. These out- appealing ! Their complete flexibility in installation and many standing kits offer a combination of features found only in much functions make them our most versatile tape recorder kits. This higher priced professional equipment, generally selling for $350 outstanding tape recorder now can be purchased in any of the to $400. Not the least of these special features is the handsome three versions. You can buy the new two -track (TR -IAH) or styling which characterizes the kits ... a semi -gloss black panel four -track (TR -1 AQ) versions which record and playback both is set off by a plastic escutcheon in soft gold. which is matched stereo and monophonic programming, or the two -track mono- by black control knobs with gold inserts. The mechanical phonic record- playback version (TR-1A) and later convert to assembly, with fast forward and rewind functions, comes to you either two -track or four -track record- playback models by pur- completely assembled and adjusted; you build only the tape chasing the MK -4 or MK -5 conversion kits. The tape deck amplifier. And, you'll find this very easy to accomplish, since mechanism is extremely simple to assemble. Long, faithful the two circuit boards eliminate much of the wiring. Separate service is assured by precision bearings and close machining record and playback heads and amplifiers allow monitoring tolerances that hold flutter and wow to less than 0.35 %. Power from tape while recording and a "pause" control permits instant is provided by a four -pole. fan -cooled induction motor. One starting and stopping of tape for accurate cueing and tape lever controls all tape handling functions of forward, fast -for- editing. A digit counter is provided for convenient selection of ward or rewind modes of operation. The deck handles up to 7' any particular recording. Push -pull knob provides instant selec- tape reels at 7,5 or 3.75 IPS as determined by belt position. The tion of 334 or 7% IPS tape speed. Safety interlock on record TR -1A series decks may be mounted in either a vertical or switch reduces possibility of accidental erasure of recorded horizontal position (mounting brackets included). The TE -1 tapes. Shpg. 11-t. 30 lbs. Tape Electronics kits supplied feature NARTB equalization, separate record and playback gain controls and a safety inter- SPECIFICATIONS -Tape speed: 7 5" a Maximum reel else: T, Frequency response (record -playback): +' S; ±2.5 db, lock. Provision is made for mike or line inputs and recording 75 Ies. Harmonic distortion: .mg level: 3 ó is a 615 "magic eye" tube. Two circuit Signal -to -noise ratio ri d to normal level indicated on Flutter and wow: S. Heads (3): hoards simplify assembly. Playback equalization: Inputs (2): Input In,-

pedance: - Model TR -ID & TR -1E outputs (2): MODEL TR -1A: Monophonic two -track record/playback with fast Model TR -1C output (I ): Output levels: forward and rewind functions. Includes one TE -4 Tape Electronics kit. Output impedance: - Recordiorl I,vl Shp,. Wt. 24 lbs. cator: Bias erase frequency: Timing accuracy.y. - C - Dimensions .. Power requirements: $10.00 DN $9.00 MO. Mounting: $9995 TRIA SPECIFICATIONS -Frequency response: 7.5 IPS ±3 db 50 to 12.000 cps: 3.75 l' Signal-to-noise ratio: better than 45 db below full output of

1 Harmonic distortion: than 2% at full output. Sias erase fro. MODEL TR -1C Monophonic Tape Deck: r 60 kc (push pull o.cillalpr), Monophonic Record and Playback. $1599$ $16.00 DN., $14,00 MO. MODEL TR -IAH: Two -track monophonic and stereo record /playback MODEL TR -1D Two Track Stereo Tape Deck: :Monophonic Record with fast forward and rewind functions. Two TE -1 Tape Electronics and l'hn back, plus Playback of 2 -track Pre-recorded 516995 kits. Shpg. 11-t. 36 lbs. Stereo Tapes (stacked). $17,00 DN., $15.00 MO. $15.00 DN., $13.00 MO. $14996 TR-IAN SPECIFICATIONS-Frequency response: 7.5 IPS ±3 db 40 to 15.000 cot: Record MODEL TR -1E Four Track Stereo Tape Deck: Monophonic 3.75 IPS ±3 db 40 l0 10.000 cos. Signal -to -noise rallo: 45 db below full output of 1 volt / and Playback, plus Playback of 4-track Pre- recorded $1 channel. Harmonic distortion::- at full output. Blas erase Ir :60 kc 7995 Ir ... Ilator). Stereo Tapes (stacked). $18,00 DN., $16.00 MO. MODEL TR -1AQ: l':utr -track monophonic and stereo record /playback MODEL C -TR -1C Conversion Kit: Converts TR -IC to TR -ID (sec I rewind functions. Two TE -1 Tape Electronics 2 TR -ID description above). Shpg. NVt. lbs. $19.95 t. il, lbs. MODEL C -TR -1D Conversion Kit: Converts TR -ID to TR -lE (ser $15.00 DN., $13.00 MO. $14995 TR -IE description above). Shpg. %Vt. 2lbs., $14.95 TR -I/10 SPECIFICATIONS- Frequency response: 7.5 IPS ±3 co 4J to 1.SJJ cps: Signal -to -noise ratio:40 db below lull a Tina) of .75 volts! -1 (sec E MODEL C- TR -ICQ: Converts TR -IC to TR E TR -i tleseription Harmonic distortion: : loan 2,, at lull output. Bias erase: J kc (push -pull above). Shpg. 1\t. 2 lbs. $19.95 r).

HEATH COMPANY / Benton Harbor, Michigan a subsidiary oJDayslront, Inc.

DECEMBER 1959 63

www.americanradiohistory.com NEW

HEATHKIT AS-2U Superlative praise by hi -fi authorities and experts (unfinished) $6995 Licensed exclusively to HEATHKIT $7.00 DN., $7.00 MO. HEATHKIT AS-2M (mahogany) Revolutionary principle in speaker design $79.95 HEATHKIT AS-2B (birch) $79.95 Preassembled and prefinished cabinets $8.00 DN.. $8.00 MO. New "Acoustic Suspension" Speaker System NOW -FOR THE FIRST TIME IN KIT FORM

. , . EXCLUSIVELY FROM HEATH

"Best we've ever heard ... "cleanest bass response I have ever The size of the AS -2 speaker cabinet is dictated by acoustical heard" ... "achieves the seemingly impossible" ... "an out- considerations and represents an advance, rather than a corn- standing speaker because of its small size. not in spite of it" ... promise, in quality. The 10" Acoustic Suspension woofer de- such superlatives flowed from the pens of noted authors and livers clean. clear bass response over an extended range with editors of audiophile magazines when the Acoustic Research markably low harmonic distortion. Outstanding high frequency speaker appeared on the market a few years ago. A revolution- distribution is a result of the specially designed "cross -tired" ary principle in speaker design. the Acoustic Research speaker two speaker tweeter assembly. has been universally accepted as one of the most praiseworthy Another first in the Heathkit line with the AS -2 is the avail- speaker systems in the world of high fidelity sound reproduction. ability of completely pre -assembled, pre -finished cabinets; the HEATHKIT is proud to be the sole kit licensee of this AS -2 cabinets are available in pre-finished birch (blonde) or Acoustic Suspension principle from AR. Inc. and now offers mahogany, or unfinished birch models. The unfinished birch for the first time this remarkable speaker system in money - model is of furniture grade wood suitable for the finish of your saving, easy -to-build kit form. choice, walnut, mahogany, blonde. etc. Kit assembly consists The Acoustic Suspension principle involves the use of a freely merely of mounting the speakers, wiring the simple crossover suspended bass woofer, using the "cushion" of air inside the network and filling the cabinet with the fiberglass included with cabinet as a "spring ". In conventional loudspeakers the moving the kit. Shpg. Wt. 32 lbs. cone is mounted on clastic suspensions-thus. when the cone is moved and then released. it springs back to its position. normal RECOMMENDED AMPLIFIER FOR THE AS -2 The necessarily imperfect quality of these mechanical springs The Hcathkit \\'- .\ :.._II lid 1.1 amplifier has proven by is the greatest single source of speaker distortion. The Acoustic laboratory tests to be ideal for driving the new Heathkit AS -2 Suspension principle replaces the mechanical spring of the bass acoustic suspension speaker. See full details and specifications speaker suspension with a pneumatic spring of near -perfect for the W -7A in this ad. characteristics -the sealed -in air of the cabinet. This funda- SPECIFICATIONS -Frequency response (at I8 watts input): ±5 db. 42 to 14.000 speaker mentally new approach to design results in: reduction cos: 10 db down at 30 and 16,000 cps. Harmonic distortion: below 2% down to 50 cps; of bass harmonic distortion by a factor of 4: a uniform and ex- below 3 °á down to 40 cos; at 10 watts input in corner room location. Impedance: 8 ohms. S tad damping factor: high (5:1 or greater). Efficiency: about 2 %. Distribution tended low frequency response. establishing the new standards; angle: 90° in horizontal plana. Dimensions: 24' W. x 13%' H. x 11;" D. ability to realize optimum speaker performance from con- Power input level required for average listening level will not exceed 10 watts. veniently small cabinet size.

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61 HIGH FIDELITY MAGAZINE

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www.americanradiohistory.com A Nay for NARAS

. NOVEMBER 29 the National Academy of Recording We do quarrel with the list of candidates as a whole. O Arts and Sciences meted out thirty -four awards to And we second most emphatically the contention of the supposedly most meritorious records of 1959. NBC , the president of Columbia Records, televised the proceedings on a coast -to -coast hookup, that these 1959 candidates "in no way reflect either the and a constellation of high -powered show people was on status, the quality, or the scope of the record industry." hand to attract a large audience. It was An Event calcu- This is the second time that NARAS has fumbled the lated to receive -in the cant of Madison Avenue - ball. Its first awards, announced earlier this year, were - "maximum exposure." The Academy (best known in the we felt -deplorable. The Academy saw fit to award the trade as NARAS) quite obviously hopes to turn its "Orchestral" prize to Felix Slatkin's recording of Gaîté record awards into a national institution akin in glamour Parisienne, the "Operatic or Choral" prize to a Roger and prestige to the movie industry's Oscar Awards. Wagner Chorale miscellany entitled "Virtuoso." We held The above is couched in the past tense because you our tongue then, hoping for better things to come. Alas, will be reading this issue of HIGH FIDELITY in December, they have not materialized, and the time has come to after NARAS' so- called Grammy Awards have been speak out. The public should not be gulled by poorly made. Actually their presentation was a month away adjudicated record awards no matter how impressively when we went to press. We did not know at deadline they are publicized. time which specific records were to be honored. But we The recordings chosen for Grammy Awards are nomi- did know the slate from which the award -winning rec- nated and voted upon by members of the National ords were to be chosen. And we did know that this slate Academy of Recording Arts and Sciences. Membership was by no means wholly representative of the record in this organization is open to anybody responsible in industry's best achievements in 1959. some capacity for the artistic or technical production of Consider the category of "Best Classical Performance records. Artist- and -repertoire men, sound engineers, and - Orchestra." The final choice for the 1959 Grammy musicians qualify as members. Merchandising and pro- Award was selected from these five, and only these five, motional personnel in record companies, dealers, disc recordings: Beethoven's Pastoral Symphony conducted jockeys, and critics do not qualify. N.1RAS is for the by Monteux, Debussy's orchestral Images conducted by creative people in record making. Munch, a collection of Rossini overtures conducted by The question must immediately be raised whether the Reiner, a pairing of the Capriccio italien and Capriccio creators of records are necessarily the best judges of espagnol conducted by Kondrashin, and a pairing of the records. We doubt that they are. For one thing, creators 1812 Overture and Bolero conducted by Morton Gould. are so busy creating that they do not have time really All five recordings were issued by RCA Victor. Bruno to keep up with the work of their confreres. For another, Walter's and Otto Klemperer's new stereo versions of creators by their very nature are apt to take a highly the Beethoven symphonies, Sir Thomas Beecham's partisan view of their art. As they survey a year's out- Franck Symphony and Delius collection, Ernest put of records, the image they receive may very possibly Ansermet's Swan Lake, 's Italian be partial and distorted. Paradoxically, some of the Symphony were not even in the running. people who are specifically excluded from the Academy Or consider the category of "Best Classical Perform- are in a far better position than those enfranchised by ance- Opera Cast or Choral." The winner was to be NARAS to evaluate the immense crop of records issued chosen from these five: Mozart's Figaro conducted by over the course of a given year. It is the job of critics Leinsdorf, Rossini's Barber of Seville also conducted by and disc jockeys and dealers to keep fully and objectively Leinsdorf, excerpts from Saint- Saëns's Samson et Dalila abreast of every important new record. These people are conducted by Fausto Cleva, Verdi's La Forza del destino certainly not infallible. But at least they don't start out conducted by Fernando Previtali, and a collection of with two strikes against them. "Beloved Choruses" performed by the Mormon Taber- This year's sadly unbalanced nominations for Grammy nacle Choir. All but the last are RCA Victor recordings. Awards show beyond doubt the limitations of the present London's complete recording of Das Rheingold, Angel's NARAS balloting procedures. Agreement on a workable of Richard Strauss's Capriccio, Capitol's of A Life for the alternative may not be easy to reach. But some new Czar did not make the finals -neither, to focus on the method of choosing the year's best records must certainly "Choral" part of the category, did the Archive or Van- be devised. We urge that the board of NARAS take guard recordings of Bach's St. Matthew Passion. heroic measures towards overhauling its awards. Nothing Something is clearly amiss. We do not quarrel with is more difficult to restore than a tarnished reputation. some of the candidates nominated for this year's awards. R. G.

AS THE EDITORS SEE IT

www.americanradiohistory.com COP:tol RrcONS

68 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com by Peter Heyworth

Tyrants, fire, and ill - health have failed to fell the towering

Otto Klemperer or disturb the growth of his majestic style

EVERY GENERATION of listeners has to come to terms his interpretations of the classics in general and of Bee- with that great line of Viennese classics, stretching from thoven in particular, few will deny the extraordinary Haydn to Brahms, which still provides the basis of our power and authority they carry. How has this astonish- concert programs. For each generation the journey of ing reversal of fortune come about? discovery is different; each discovers qualities that pre- Otto Klemperer was born in Breslau in 1885 of Jewish ceding ones had missed and refuses to accept what its parents. Four years later the family moved to , predecessor had taken for granted. and it was here that their son grew up. Klemperer's In this constant rediscovery of what remains our staple father was not a noticeably keen businessman and the musical fare, great conductors play an essential part, for family were by no means well off. But both parents in their performances they advance a view of Mozart or were musical, and Klemperer's mother, who seems to of Beethoven that, if time and circumstances are pro- have been a particularly strong- minded and forceful pitious, comes to be accepted as authoritative -until woman, accompanied her husband in Lieder and gave there arises another great conductor whose view is dif- her son his first piano lessons. was still the ferent. Thus the established classics are always with us, young Generalmusikdirektor in Hamburg when the but the manner in which we regard them varies, focusing Klemperers arrived, but it was not until later that the now on certain characteristics, now on others, generally great conductor was to cross their son's path so fatefully. in accordance with the interpretations of the leading Klemperer left the Gymnasium at sixteen and went to conductors of the day. Sometimes a generation produces study first at the famous in two conductors of genius, whose interpretations are di- and then in Berlin, where he worked at composition rectly conflicting and who, like Furtwängler and Tos- under . Klemperer still composes a little, canini in the matter of Beethoven, divide the world although I can find no record of any of his works having between them. Today, in the minds of many, the new been performed. (Some years ago, however, the manager shaper of the classical repertoire is Otto Klemperer. of the London branch of a famous publishing house was Does the hour fashion the man, or does the man await telephoned by an agitated secretary, who said that a the hour? Who can tell? But only ten years ago this Dr. Klemperer had called to inquire how his works were man on whom the mantle of Toscanini and Furtwängler going. His initial assumption that this was a practical fell was a half-forgotten semi- invalid. When able to work, joke was abruptly ended by the unmistakable appearance he conducted -now in Australia, now in Hungary, now of Dr. Klemperer himself.) But it soon became clear in in Canada. Occasionally people who had lived in Berlin Berlin that Klemperer's future lay in conducting rather in the last years of the would mention than in composition, and in 1905 he made his debut in a his name with a respect bordering on reverence, but after production by Max Reinhardt of Offenbach's Orpheus in all everyone has his own private list of neglected artists. the Underworld. In the same year he conducted the off- About 1948 this figure from the past turned up in Lon- stage choir in a performance of Mahler's huge Resurrec- don to conduct two or three concerts in a popular series tion Symphony. The composer was present and nodded organized by some impresario in a sports arena a good his approval. distance from the center of the city. That Klemperer was This brief meeting with Mahler was to prove auspi- available for work of this nature suggests that his serv- cious. Klemperer was overwhelmed by the symphony and ices were in small demand from the great orchestras of set about making a piano reduction of the vast score. either the New or Old Worlds. Yet today he fills the larg- (It is still one of the works of Mahler that lies closest to est European concert halls; and although there are, his heart, and it is also one of the few that he has re- naturally enough, sharp differences about the merits of corded.) This piano reduction Klemperer took for

DEC.ECEniBEx 1959 69

www.americanradiohistory.com group advanced towards the Church, Klemperer trav- eled with them. That his faith is an essential part of his life was made startlingly clear during a lunchtime con- versation some four years ago. I had made some observa- tion about the tragedy of 's sudden death. Klemperer looked at me across the table in rather an KLEMPERER astonished manner and said very simply: "But God had called him." Klemperer's religious and philosophical pre- occupations are a less publicized part of a character bet- ter known for its inexhaustible flow of bawdy bons mots. His unique opportunity came in 1927 when he was appointed director of the Kroll Opera in Berlin. The Mahler's inspection to Vienna, where the composer was city was already well provided with opera. In addition at the time nearing the end of his historic ten -year rule to the State Opera on Unter den Linden, under Kleiber's of the Hofoper. They must have made a curious couple, aegis, Berlin had in the western district of Charlotten- for, like many composers, Mahler was a tiny man, and burg its own municipal opera, with Bruno Walter as Klemperer's huge frame towered over him. But some- musical director. But under the inspiration of Leo Ker- thing must have struck the older man about the gangling stenberg, the enterprising official responsible for music in youth before him (it is hard to think of Klemperer ever the Prussian Ministry of Education and the Arts, it was showing the conventional social graces); he took out his decided to establish yet another opera house. The new pen and wrote on a small correspondence card headed organization was to devote itself not to maintaining a "K.u.K. Hofoper, Wien" a recommendation to Angelo general repertory-a task already admirably fulfilled Neumann, the famous intendant of the German Opera elsewhere -but to presenting experimental productions in , expressing his belief that Herr Klemperer was and new works. Kerstenberg found exactly the man he "predestined to the career of a conductor." Klemperer's needed in Klemperer. At forty -two he was an experi- son still carries that card, and almost the only time I enced opera conductor, a fanatical perfectionist, with the have seen Klemperer reveal pride was when he asked his wide intelligence and culture necessary if an opera di- son to show it to me. rector is to be something more than his own first con- For over half a century Klemperer has repaid that ductor, and with a mind open to the new artistic forces debt to Mahler by an unflagging advocacy of his music. that had emerged in the Twenties and found a fertile The Mahler he presents is far removed from the sweet field in Berlin. lyricism and rather self- conscious Viennese charm of The four years during which Klemperer was at the Bruno Walter's approach. Perhaps typical of Klemperer's head of the Kroll Opera sound today like a continuous reading was his memorable performance of Das Lied von festival. Certainly no opera house since then, even post- der Erde at the Edinburgh Festival in 1957 -memorable war Hamburg under Günther Rennert, has equaled its because, if it missed the nostalgic tenderness that is achievements. Stravinsky's great Oepidus Rex was there surely a part of Mahler, it brought out all the anger and given its first stage performance, and so were, among bitterness that is a no less essential element. Of Mahler others that are today part of musical history, such works the conductor, Klemperer says quite simply that he was as Schoenberg's , Hindemith's , and the greatest he has ever heard (even to this day Klemperer Janácek's From a Prison Camp. But the significance of the is frequently in the audience at other men's concerts). "Why do you say that ?" I asked. There was a pause. Then Klemperer replied: "Because his tempos were always right." Armed with Mahler's recommendation, Klemperer was able to get a job at the Prague Opera. From there he graduated to Hamburg, and thence to , where hu met and later married a dramatic soprano named Johanna Geissler. (She died in Zurich about three years ago.) It was also in Cologne that Klemperer was converted to Roman Catholicism. It would be quite wrong to suppose that this was a mere matter of convenience. Klemperer's intellectual interests, unlike those of many musicians, arc broad. Throughout his life he has sustained a deep inter- est in philosophy (on a recent visit to London he was immersed in Spinoza). In Cologne he moved a good deal Weber in the circle of the philosopher Max Schlegel, and as this Klemperer and the Philharmonia Orchestra, at Lucerne.

70 HIGA FIDELITY MAGAZINE

www.americanradiohistory.com Kroll lay not only in what was done but in how it was growing financial crisis to shut a theatre that was causing done. Productions were strongly influenced by Stanislav - so much trouble. Three years later the building was to sky's methods. Because the repertory was made up of a shelter what remained of the German Parliament after very small number of operas that were often repeated, the burning of the Reichstag. Today, like so much else rehearsals were almost without limit and continued until in Berlin, it stands in ruins. the whole production was everyone was satisfied or until Years of Exile abandoned as inadequate. In particular, scenic design marked an abrupt reaction from traditional naturalism: For Klemperer, his four years as director of the Kroll Madama Butterfly was confided to an artist from the are those that he looks back on with the greatest satis- Bauhaus (I'm not sure whether I would have liked that) faction. It is indeed sad that among all the organizations and Ewald Dulberg designed abstract sets for Don Gio- which now compete for his services scarcely an opera vanni. The only opera house that today runs on anything house is to be found. Before his recent illness this fall the like comparable lines is the East Berlin Komische Oper. Metropolitan had expected to welcome him as conductor But if in Felsenstein the Komische Oper has a producer of the Tristan revival there. It is still hoped that a long - of extraordinary genius, its musical standards are far planned at Covent Garden will eventualize next from remarkable and the political regime that supports spring. Klemperer brought an action against the Prussian it ensures that sharp limits are put on any "formalist" government for closing the Kroll. Of course he lost it, experimentation. but he seems to have entertained himself in court by During the Weimar Republic, Berlin was a center of shouting at one moment, "I consider the title of General - extraordinary artistic energy and experiment, and the musikdirektor defamatory," and at another, "My case is Kroll Opera was a focal point of much that was vital and like Dreyfus'. Only instead of being sent to Devil's controversial in the city's cultural life. But there is al- Island I must go to Unter den Linden." As this action ways something about what is exceptional that attracts suggests, Klemperer enjoyed striking exaggerated atti- the hatred of the mediocre; and there was no lack of the tudes, in scandalizing and shocking the public, rather as exceptional at the Kroll Opera or of hatred in the Berlin Beecham does. of the early Thirties. Although Klemperer is a man quite In 1933 the Nazis came to power and Klemperer was without political interests, the mere fact that the Kroll dismissed from the Staatsoper in Unter den Linden. On had been established by the socialist government of this great interpreter of the German classics a Berlin , enjoyed the financial support of the trade newspaper made the supremely ironical comment that unions, and was a center of experiment, was enough to "his whole outlook ran counter to free German thought make it a target for nationalist and Nazi abuse. Klemper- and feeling." Klemperer emigrated to the United States er's evident joy in experiment and his revulsion from and for six years was director of the Los Angeles Sym- romantic espressivo seemed a deliberate slap in the face phony Orchestra. He makes no bones about the fact of the average German burgher's conception of "healthy" that he was not happy in America. He is the first to pay art in general and of "heilige deutsche Kunst" in particu- tribute to the high technical achievements of the great lar. This, together with the fact that the director was a American orchestras, but he was not much drawn to Jew, who had been seen sporting a blouse in the Russian American life, and his years in Los Angeles do not seem style, was enough to prove that the Kroll was a nerve to have been markedly successful. But the real reason center of Kultur-Bolschewismus. By 1931 the Prussian for his failure to settle happily in America probably lies government was probably quite glad of the excuse of in the fact that at this time his health had begun to give him serious trouble. In 1939 he was struck down with the terrible affliction of a brain tumor. Klemperer had al- ways been an eccentric, unconventional character and he still is; but it is very possible that the increasing eccen- tricity of these years was due to his illness. An operation was what the doctors like to call successful, but Klemp- erer emerged stricken in mind and body. It was not until 1946 that he appeared again in public, in Budapest, as director of the opera. This, of course, produced the usual charges of Communist sympathies, whereas in fact Klemperer was merely anxious to find what he considered adequate conditions of work. In 1948 he left Budapest owing to Communist interference and from this time he wandered from one continent to another filling casual engagements. Photographs of this period tell a terrible story. His huge frame is emaciated, great black Paul Weber For many, "the new shaper of the classic repertoire." eyes stare feverishly out of Continued on page 174

DECEMBER 1959 71

www.americanradiohistory.com \ .. yt . ;'.` 7,ir=,i-'.".''.+r . , a,~, ;

. : . en....-,... _ .!i 9'_Ì : te' w^ ti . r¢ . ^ . - ' -T-..:. bY Chales Reid , . . : 4 .+ h'!ta 1 `- F^ ` +-.. _ . ...;.. +. . ...- "..' -.. ar ..;¡- . , 5- . r ; t. *

A visit with England's once -rebellious composer, who fled from frustration at home to frustration in America and who is now settled- unfrustrated -in the Peter Grimes country he made famous.

As THE DIESEI. TRAIN honked its way across the salt settings and. rather later, the Holy Sonnets of John marshes towards the Peter Grimes country, where Donne -from beneath a prophet's pregnant forehead Benjamin Britten and his friend make and rapt regard, his tenor a little chalky for some tastes. their home, I thought back over the composer's successes, His phrasing and musicianship were agreed to be frustrations, and personal mellowing since the day in nonpareil. April 1943 when he and Pears landed in England after Pacifist and peace pledger of prewar standing, Britten their three "wander years" in the United States. was granted, a few months after his return from the I remembered, among other things, their joint recitals U. S., unconditional exemption from military service - in blacked -out provincial towns, with occasional raiders a vers' rare concession. The exemption was made on the or flying bombs overhead. Britten, at the piano, had a ground that in the cultural field (including musical beaky' nose and crinkled hair. His keyboard touch was broadcasts to America) he was already devoting his precise and lithe. Pears sang Purcell, Bach, Schubert, energies fully to the national advantage. Politically he and new Britten cycles -the Michelangelo sonnet was Leftist, with a lingering ambiance from choral

72 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com concerts and street demonstrations during the late Thirties on behalf of Republican Spain and the International Brigades. But Britten wore his Leftism with a differ- ence. He was never taken in by its usual concomitant, "scientific humanism," and scoffed mildly at "intuitive manipulation of memory" as accounting for aesthetic in- spiration. He spoke of God with the unself- consciousness of people who believe as natu- rally as they breathe. At that time he didn't know which attracted him the more, Quak- erism or Roman Catholicism. Although "not much of a churchgoer," he has since settled down as a Church of England man. Another thing I remembered was the Peter Grimes first night, June 7, 1945, at Sadler's Wells Opera, London. Packed house, shining eyes, jubilant smiles. Britten took clamorous curtain calls with a diffident smile. Next morning he read in a respected newspaper that melody was not the chiefest of his remarkable gifts. He screwed the paper The Red House, near the village of Aldeburgh, into a ball and cast it furiously from him. Peter Pears make their home. But Peter Grimes was emphatically and where Britten and

widely adored. . . . Below, Britten at the seashore. not far away. The diesel train gave a final honk and fetched up in a small terminal station. The platform signs said Aldeburgh. For Aldeburgh read The Borough (vide the Grimes libretto). Much of this East Anglian fishing village looks as if built according to the Grimes stage directions. Moot Hall, "Auntie's" public house, Parson Adams' flint -gray church -all are there in snug proximity. The only thing missing is the sadistic populace of Peter Grimes which -if it ever existed outside librettist Slater's imagination -has been refined out of ex- istence by social evolution and the benign influence of Aldeburgh's summer arts festi- val, now in its twelfth flourishing year under Britten's personal direction. A more recent change is the Britten -Pears abode. From 1947 on they shared pink - walled Crag House on the Aldeburgh sea- front. Eventually holidaymakers took to swinging their legs on the sea wall opposite in the hope of seeing the famed tenants take tea on the lawn. Crag House having thus be- come untenable, Britten and Pears moved to The Red House, a rambling mansion in vintage red brick, which stands on heathland a mile or two outside the village. My purpose in calling was to talk with Britten, specifically about the years be- tween 1930, when he entered the Royal

DECEMBER 1959

www.americanradiohistory.com College of Music, and 1942. About these twelve years there have been fugitive refer- ences in print; little or nothing straight from Britten's mouth.

- But first a word about his chrysalis stage. Son of a prosperous Lowestoft (East Anglia) dentist and a voraciously musical mother, he began putting notes on ruled paper (mainly because they looked pretty) at five and composed a Schubertian setting of Burns's O that I'd never been married at nine. By fourteen the schoolboy's output included ten piano sonatas, six string quar- tets, three piano suites, one oratorio, and a tone poem, Chaos and Cosmos. His boyhood musical studies were guided by Frank Bridge (1874 -1941), an English composer of wide- ranging craftsmanship who stood rather apart from the nationalistic main trends of early twentieth- century English music. Over now to our interview: Reid: Please throw your mind back to 1930. You settled in London as a raw six - teen -year -old. Just where? Britten: I took a bed- sitter up under the roof in a boardinghouse at Prince's Square, Bayswater. I hired a small upright piano and took care not to play it after ten at night. I hadn't much money. As the young- est of four children I lived on a smallish allowance from my father. I was a "scholar," of course, but that didn't amount to much; it merely meant that my tuition fees were Britten, Pears, and dachshunds at ease on their terrace. paid. In the photograph below, the composer assists in hanging Reid: I understand you weren't happy at pictures for a local exhibstion the large portrait in the Royal College of Music. That true? - the is conception Peter Pears. Britten: Let's put it this way: I was rather background an artists of a failure as a student. The trouble was, I had been studying with Bridge since I was a young boy. Bridge's approach was that of the highly professional international musi- cian. The attitude of most of the R.C.M. students was amateurish and folksy. That made me feel highly intolerant. Reid: How did you get on with your two teachers -John Ireland [composer, born 18791 and Arthur Benjamin [composer, born 1893]? Britten: Well enough. But they didn't wield anything like as much influence on their students as the great Vaughan Wil- liams. For my own part I was frankly sus- picious of V. W. My struggle all the time was to develop a consciously controlled pro- fessional technique. It was a struggle away from everything Vaughan Williams seemed to stand for.

!4 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Photographs by Hans Wild

Britten at work in his studio. His opus roll has grown to Number 60, but his music still is "shot with marvel, touched with dawn and dew."

seemed to be that he was un- Reid: But, like everybody else I suppose, you were person." The insinuation I was furious. swept off your feet by his Symphony No. 4? suitable on more than just musical grounds. Britten: The Fourth Symphony impressed me greatly. But there was nothing I could do. Berg died the fol- But an odd story went round the College after a re- lowing year. student hearsal of it. Vaughan Williams was reported to have Reid: You were glad to see the end of your said of his own work, "If that's modern music, all I can days? myself as a human say is I don't like it." This story, I must say, shocked me Britten: I only started enjoying to real work. profoundly. In those days I was very violent in my being after I left college and got down was opinions, very ready to have grievances. Reid: Your first "real work," I seem to recall, [General Reid: In a biographical essay he wrote about you writing documentary music for the G.P.O. several years ago, the Earl of Harewood said you won a Post Office] Film Unit? traveling scholarship at the College and wanted to go to Britten: And helping rig lights. And hold cameras. week. Vienna and study with Alban Berg but were stopped by And cut films. And fix sound effects. All for £3 a outside. the College "authorities." What's the background to The scores I wrote were for seven players at the work with. W. H. this? Exciting work. Exciting people to Auden, Britten Britten: I had won the Arthur Sullivan scholarship, Auden looked after the words side. [With Mail. It worth £100 and enough to keep a youngster on the worked on a celebrated documentary, Night 1942, wrote the Continent for six months in those days. I decided to was Auden also who, between 1936 and spend my £100 studying with Berg. I put in an applica- texts for several other pieces by Britten.] attic? tion to the College administration, because the £100 Reid: By this time you had left your Bayswater with my sister in West had strings attached. I heard nothing more until one Britten: I was sharing a flat day my mother said she had been told by someone im- Hampstead. It was a mews flat over a garage, the coldest on portant at the College (she didn't say who it was, and I in London, built on top of nothing, with nothing have never found out) that Berg was an "unsuitable either side of it. On the strength of my choral variations,

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www.americanradiohistory.com .I Boy J 'as Born [written while he was at college and Britten: Peter was going to America on holiday and broadcast by the BBC early in 1933], Ralph Hawkes the had fixed incidental singing dates there. He and I had publisher gave me a contract. I forget what he paid me. been thrown 'together professionally a year or so before. Something like £5 a week, I think. On his part it wasn't I liked him enormously, admired his way of thinking, a hopelessly long shot, but he didn't start getting much found him stimulating. So we made the voyage together, of his money back for three or four years. stopping off first in Canada for a few weeks' holiday in Reid: But I always had the impression that after the Laurentian Mountains above Quebec. We rented a leaving college you prospered rather. cabin there, very cheap. It was a combined walking and Britten: Not really. A day came when the G.P.O. working holiday. I worked on Les Illuminations [a setting Film Unit no longer wanted me. One had a struggle to for voice and strings of poems by Rimbaud] and the get things performed. . Then to Toronto, where I wrote in- Reid: Which is why you decided to settle in America? cidental music and one commissioned piece (orchestral) Britten: Money was not really the issue. Frustration for the CBC. Next for a spell with Aaron Copland -I had was more important. It was frustration that sent me to met him in England and admired him a lot -at his America. I felt there was a wall of laziness and apathy holiday place in upstate New York. against new things. Reid: It had been your intention to become an Ameri- Reid: Did politics enter into it? can citizen? Britten: Yes, politics too. I was under the influence of Britten: True. But the war changed all that. The the Auden- Ishenvood group and frightfully "political," change wasn't an intellectual one primarily. I don't as all of us were in the Thirties. After Munich the morale think I ever consciously reasoned it out. Certainly I of Europe seemed about as low as it could get. Things underwent a lot of personal tension. Practically all of were becoming steadily more rotten. 1940 I was ill. Outwardly the ailment was infected Reid: And you were a pacifist. tonsils. But the real cause was my mental perplexities. Britten: Yes, I was a pacifist. Not that I was running It was a frantically difficult position. Gradually I realized away from war when I went to America. At that time - that, for better or worse, I was a European. the spring of 1939 -there was no certainty that war was Reid: Did you get any work done during your strepto- coming. But I wanted to have nothing to do with a coccal phase? military system that, to me, was part of Europe's decay. Britten: Paul Bunyan and the Sinfonia da Requiem Mistakenly, as it turned out, I felt that Europe was date from that time. finished. And it seemed to me that the New World was Reid: Tell me about Bunyan. As it isn't in print, I'm so much newer, so much readier to welcome new things. vague about it. Reid: You traveled to America with Peter Pears? Britten: Paul Bunyan as you know is the mythical giant of American folklore. Some of my music was good -I wouldn't say very good. When the piece was pro- duced by the Opera Department of Columbia Uni- versity, Auden and myself weren't at all popular. In fact, Bunyan caused quite a scandal, mainly because of Auden's words. Auden thought fit to utter many home truths about America. It was as if an American living in England had written a derogatory piece about John Bull. Reid: And the Sinfonia da Requiem? Britten: That's an odd story. While I was in America, the Japanese government approached various composers (Strauss for Germany, Milhaud for France, me for Britain) and asked us to write pieces in commemoration of the 2,600th anniversary of the foundation of the Mikado's dynasty. The invitation came to me through the British Council. I cabled back to London accepting, subject to my not being expected to write anything jingoistic. On this point I got the necessary assurance. The Sinfonia as I had originally conceived it was in memory of my mother, but in scale and type it was well suited to a festival. Through the British Council I cabled to the Japanese a description of the work, with title and subtitles [Lacrymosa, Dies Irae, and Requiem Aeternam], all of which struck me as compatible with a creed that George .11aran, an American, sings many Britten roles. involves ancestor worship. Continued on page 178

r6 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Stereo Discs

CULLING THE YEAR'S HARVEST by John F. Indcox

re- RECORDS have long vicd with books as perhaps the version with the Orchestra, most popular and acceptable of all Christmas gifts. This corded almost twenty -five years ago, has Dr. Walter fan - year, with the advent of stereo, they are more appropri- reached such heights. If you admire the Symphonie work of the ate than ever. In the course of the past twelve months tastique of , that powerful the most the stereo disc has triumphantly come into its own; and composer's youth, Audio Fidelity provides Alfred Wallen- for anyone who has recently converted to stereo, records satisfactory recording of it now available. articu- make the gift par excellence. stein directs a dramatic, bold, and meticulously clothed it in Most of the gremlins that plagued the early stereo lated performance, and the engineers have Angel, Otto releases have vanished. The gimmicks, the Ping -pong truly spectacular sound (FCS 50003). For Symphonies. effects, the hurtling railroad trains have given way to an Klemperer has recorded the four Brahms industry-wide concern for realistic, rather than exag- I consider his version of the Third the most beautiful I warmth and gerated, sound. The stereo catalogue itself has expanded have ever heard: a superb commingling of vastly. It now runs the gamut from Adam to Zeller, and power (S 35545). way of his Fifth encompasses too a tremendous variety of popular and Those who know Dvoéák only by means investigate jazz titles. Symphony (New World) should by all under the In fact, the stereo convert is now offered such an em- his marvelous Fourth Symphony as performed made a barrassment of riches that some culling of the year's sure hand of (Epic BC 1015). Szell work some years ago, but harvest is in order. In my dual role of record critic and memorable recording of the Haydn symphonies, record dealer, I have had occasion to hear a large propor- this new issue is even better. Two by tion of the 1959 crop, though a few important fall re- Nos. 100 (Military) and 101 (Clock), performed under Mogens leases had unfortunately not appeared before this issue the Vienna State Opera Orchestra bargain went to the printers. From all this bounty I have chosen WOldike are available from Vanguard at the term here, for the following as the recordings most likely to enrich you price of $2.98. Bargain is not a misapplied of and your friends' listening pleasure this Christmas season this wonderful disc contains the best performance in par- and for years to come. each symphony now available on records, and ticularly grateful stereo sound (SRV 109 -SD). Symphonic I doubt that many people normally associate Leonard Stereo has been particularly successful with symphonic Bernstein with the music of Felix Mendelssohn. I k for that music. You might well start with Bruno Walter's noble, seems, however, to have a remarkable affinity of lyrical, and uniquely genial reading of Beethoven's Sixth composer, to judge from his delicate, tasteful reading Symphony (Columbia MS 6012). Not since his renowned Mendelssohn's Fourth (Italian) Symphony (Columbia

DECEMBER 1959

www.americanradiohistory.com MS 6050). There is more elegance and less frenzy here dreary. Westminster has put out a splendid performance than in most Bernstein recordings, and this performance of this Gershwin suite by the Utah Symphony Orches- easily bears comparison with Koussevitzky's superb tra, led with keen enthusiasm by interpretation of some twenty years ago. Camille Saint - (WST 14063). Saëns's Third Symphony, with organ, may not be the Jumping from the twentieth to the eighteenth century greatest music ever written, but from the early days of (not such a great feat as it may sound), attention should high fidelity it has been a score to gladden the hearts of be directed to a charming recording of Handel's !fluter audiophiles. In stereo its sounds seem more stupendous Music by the Amsterdam Concertgebouw Orchestra than as ever, you may readily discover if you listen to a tinder the late (Epic BC 1016). The performance of the work by the Detroit Symphony al fresco quality of Epic's stereo sound is singularly under Paul Paray, admirably assisted by veteran organist appropria te. Marcel Dupré (Mercury SR 90012). Lovers of ballet music will discover new delights in Schubert's Symphony No. 9 in C has been very well Delibes's beautiful score for Sylvia. So many musical played by and the London Symphony (Lon- "bon- bons" appear in this work that one can readily don CS 6061). I do not find myself seriously disturbed, understand why Tchaikovsky -no tyro himself in the as do some others, by the slackening of impetus in the field of ballet- despaired of ever matching them. The finale, and I consider this easily the best Schubert Ninth complete score is available in a topnotch performance by on records, particularly as London's stereo sound is the London Symphony Orchestra led by Anatole Fistou- unusually compelling. lari, and the stereo sound is unusually persuasive, sug- be It would an odd list that did not include a sym- gesting more the atmosphere of a ballet performance phony by Tchaikovsky. My preference here goes to a than of a recording studio (Mercury OS 2 -106). thrilling version of the Fifth Symphony, magnificently

played by the Boston Symphony under Pierre Mon - Concertos teux (RCA Victor LSC 2239). The taut understatement. .\ great many of the early stereo concerto recordings even coolness, with which Monteux projects the com- suffered from drift. Pianos especially were wont to wan- poser's intention is far more telling than the hysterical der from one speaker to the other. This annoying defect treatment some conductors prefer. has been fairly well eliminated now, and the following are It may seem still a little early to call Vaughan Wil- suggested as outstanding recordings in the concerto liams' Ninth Symphony a masterpiece, though it strikes category. me as one of the few great scores of the past fifty years. The most beautiful of all Beethoven's piano concertos, This remarkable composition can be heard in a sincere the Fourth, is given a melting performance by Leon and dedicated performance under the leadership of Sir Fleisher and the Cleveland Symphony under Szell (Epic (Everest SDBR 3006). It is just possible BC 1025). As an interpretation it ranks alongside the that there is more excitement, more drama in the music recording made by Fleisher's teacher, , than Boult manages to convey; but until another stereo and the Philharmonia Orchestra just after the war. Here recording of the work comes along, this will serve well we have the advantage of Epic's beautifully balanced the memory of a great composer. Everest, a compara- stereo sound. There is magic in this disc. tively new company, de- Fabulous technique serves a special word of and unbounded tempera- praise for its astonishing ment are not the only stereo sound. attributes of a compara- tive newcomer, violinist Other Orchestral Henri Szerying. A scintil- Music lating performance with 01 miscellaneous orches- the London Symphony of tral music there is no lack Brahms's Violin Concerto either. At the head of the list I would place a collection shows him to be a musician of keen insight and imagina- of the misty, perfumed orchestral poems of Delius, con- tion. Here is playing of dazzling virtuosity such as one ducted by Sir Thomas Beecham with mastery and magic. seldom encounters these days (RCA Victor LSC 2281). The English baronet, long -time Delius champion, is in Spectacular sound allied to equally spectacular pianism superb form, and EMI- Capitol's excellent sound helps to is to be found on a London disc featuring Julius Katchen make this record a stereo triumph. in the two piano concertos of (CS 6013). If your mind is set on things closer to home, I confi- These pieces may sound a trifle old- fashioned to some lis- dently recommend for consideration Gershwin's orches- teners these days, but such exciting performances as tration of a suite from his opera Porgy and Bess. Corn- these should keep them from fading away. pared to the composer's spare, exciting orchestration of Rudolf Serkin has turned his attention to two of Mo- his own music, other arrangements sound overblown and zart's piano concertos, No. 11 Continued on page 170

78 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com by NATHAN BRODER

Handel's Messiah Newly Recorded

For purist, traditionalist, or iconoclast -Handel's oratorio appears again, in stereo versions conducted by Beecham, Ormandy, Sargent, and Scherchen.

NDEL'S Messiah is not only far and away the most H oratorio in English- speaking countries, but also the most frequently performed large choral work Handel: M E S S I A H of any kind. And this has been true practically since Handel's own time. Yet it is also one of the most enig- Jennifer Vyvyan, soprano; Monica Sinclair, matic compositions in the entire literature. Not only Tozzi, contralto; , tenor; Giorgio does it offer a great mass of performing problems to the Royal Philharmonic Orchestra and bass; conductor and his forces, but the very meaning of the Chorus. Sir Thomas Beecham, cond. interpretations at dif- RCA N'icroR LDS 6409. Four SD. work has been subject to different $25.98. ferent periods. Many studies of it were published in the nineteenth century, and in our own analytical age fresh examinations have been made from various points of Elsie Morison, soprano; Marjorie Thomas, contralto; Richard Lewis, tenor; James view. Since the end of the Second World War no fewer Milligan. bass; Huddersfield Choral Society; than four monographs in English have been devoted to Royal Liverpool Philharmonic Orchestra, Messiah, two of them full -length books. No other single Sir , cond. musical work of any sort has been so painstakingly ex- ANGEL 3598C. Three L P. $14.98. amined in print. And still each performance differs in ANGEL 53598C. Three SD. $17.98. important respects from the others. Why should this be? To understand the nature and Eileen Farrell, soprano; Martha Lipton, extent of the puzzles that Messiah presents, it is neces- contralto; Davis Cunningham, tenor; Wil- the late liam Warfield, bass; Mormon Tabernacle sary to glance at its history. Sometime during Choir; , Eugene summer of 1741 Handel was invited by the Lord Lieu- Ormandy, cond. tenant of Ireland to visit Dublin and perform some of his 263. Two LP. $9.98. COLUMRIA M2L oratorios there. On August 22 Handel began to compose COLUMBIA M2S 607. Two SD. furiously, and he did not leave his house until he finished $11.98. twenty -four days later, on September 14. He set off for Dublin early in November. Whether Messiah was com- Pierrette Alarie, soprano; Nan Merriman. posed specifically for performance there is not known; contralto; Léopold Simoneau, tenor: Rich but it is definitely established that the work was first ard Standen, bass; Vienna Academy Chorus; Vienna State Opera Orchestra, Hermann performed in Dublin, at a public rehearsal on April 8, Scherchen, cond. 1742, followed by a public performance on April 13. WESTMINSTER WST 401. Four SD. Even before the first performance Handel had begun to $17.95. make changes. It had turned out that some of the singers were not capable of doing justice to their parts, so some movements were omitted and others much modified.

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www.americanradiohistory.com strings and continuo, to which are added one trumpet in "The trumpet shall sound, ' a pair of trumpets in "Glory to God," and trumpets and drums in the "Hallelujah Chorus" and in "Worthy is the Lamb." And that is all. But we know from other reliable sources that in certain of the London performances Handel's orchestra corn - prised four oboes, four bassoons, and two horns in addi- tion to twenty strings and a pair of trumpets and of drums. The oboes played along with the violins in instru- mental introductions and supported the sopranos in the

C_olumbio Rec rJs Derek Allen choruses, the bassoons reinforced the basses, and the Ormandy Beecham horns probably played from the same parts as the trum- pets. In only one case, "Their sound is gone out," do we Handel was an extremely practical composer. He never have independent oboe parts that are authentic. hesitated to change and rewrite to meet the needs of the When Handel died, in 1759, the world of music was in moment. If anybody had suggested to him that in so the throes of a radical change of style. The baroque was doing he was creating headaches for unborn generations already almost completely ousted by the new rococo, or of editors and conductors, he would probably have con- galant, or "pre- Classic" style. By the 1780s, when Mes- sidered the notion interesting and then shrugged it off as siah was establishing a foothold in central Europe, the irrelevant. The point was to get the job at hand done in Handelian orchestra was disdained as old- fashioned, the most effective way with the forces available. primitive, and wholly inadequate to convey the glories And that is what happened at subsequent performances of his music. New orchestrations were prepared and per- Handel directed, of which there were many in England formed. Among them was one done in 1786 by Johann beginning in 1750 (after a few unsuccessful ones in the Adam Hiller, a successor of Bach at Leipzig and one of previous seven years). Almost all of the changes, cuts, the earliest composers of German comic opera. He not restorations, and additions concern the solo parts; the only altered and shortened some of the solo numbers choruses seem to have remained virtually untouched. but wrote, as he said, "a quite new score, such as Handel Consequently we have, for example, two different ver- would have written if he were alive today." This is the sions for bass, and a third for soprano, of "But who may first appearance on record of an idea that spawned many abide." "Rejoice greatly" may be sung by a soprano or monstrosities. The new version that was destined to be- tenor, but there is another, rather different version for a come the most influential, however, was Mozart's, made soprano. One version of "He shall feed His flock" is in 1789 for Baron van Swieten. begun by the alto and completed by the soprano, another Mozart omitted only two numbers, the chorus "Let is for the soprano throughout. "He was despised" was all the angels of God worship" and the aria "Thou art sung sometimes by an alto, sometimes (in a higher key) gone up on high" from Part II; he did not tamper with by a soprano. "How beautiful are the feet" and "Their the vocal writing and he changed little in Handel's sound is gone out" make an especially complicated pair: string parts. The younger master wrote out parts for in the familiar version they are sung by the soprano and flutes, oboes, clarinets, bassoons, and horns. He added the chorus respectively, but other versions survive in trumpets and drums in some places where Handel had which both are done by the soprano, or the first by an not used them; he rewrote Handel's high trumpet parts alto and the second by a tenor or soprano, and "How because the art of playing such parts was no longer known beautiful" by a soprano and alto duet or by a pair of in Mozart's time. He introduced trombones, and in the altos. Handel sanctioned all of these variants at one time "Pastoral Symphony" added a piccolo. The added wood- or another. "We must conclude," writes Jens Peter wind parts filled out the harmony and wove new counter- Larsen in his recent study, "that it will scarcely ever be points around the vocal melodies. All this, of course, was possible to determine an absolutely standard form of very deftly and effectively done, but in the Mozartean, Messiah as the one authentic version, though in the case not the Handelian, style. Why did a Mozart take such of nearly every number we can say which form is to be liberties with someone else's masterpiece? For one thing, preferred for inclusion in a performance aiming at as he was simply executing a commission for his friend, the close a reproduction as possible of Handel's own practice. Baron; he probably had no idea that his In the great majority of cases we can settle on a particular would ever be used again (it was not published until a version as the version, but in a few instances we must decade after his death). More important, it was an age in either regard each of two versions as valid or else leave which a composer's own score was not regarded as any- the matter in doubt." thing sacred; in fact, performers often treated such a If there is uncertainty about the music itself in some of score as merely a basis for elaboration or manipulation for the movements of Messiah, the question of the work's their own ends. Mozart himself suffered grievously, if orchestration is equally foggy. The original score calls for posthumously, from this attitude: the scores of his great

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www.americanradiohistory.com operas were grotesquely distorted when they were first performed in France and England. Mozart's version of Messiah remained the most popu- lar, though by no means the only one used, for more than a century. Then, at the beginning of our century, it was challenged by a new one, at least in English- speaking countries. It must be remembered that during the nine- teenth century, in England and America, many large choruses were newly established, or grew from smaller beginnings. Some conductors began to feel that Mozart's orchestration was not sufficiently powerful to support a Westminster Records Angel Records chorus of a hundred or more. One of these musicians was Scherchen Sargent Ebenezer Prout- teacher, composer of a sort, and author of successful books on musical theory. He brought out a appreciated only when its clean lines are unencumbered new edition of Messiah, retaining many of Mozart's ideas by foreign accretions and its continuity is undisturbed but in general thickening the orchestral texture and by drastic excisions. adding a full organ part in many of the numbers. Because The cause of authenticity is aided by the microphone. certain movements are "never performed," he relegated No doubt large halls require large forces, but records do them to an appendix. These are, in addition to two not. On discs the conductor using a purist version can snatches of recitative, the arias "Thou art gone up on make a splendid sound on, say, "Wonderful, Counsellor" high" and "If God be for us," the duet "O death, where in "For unto us a Child is born" without Mozart's horns he is thy sting ?," and the choruses "Let all the angels of and trumpets, to which Prout adds trombones. And God" and "But thanks be to God." It is this version or can convey the full effect of Handel's careful use of the Mozart's, or some modification thereof, that is remem- trumpets. Handel does not let them play at all until the bered by most of us who at one time or another have chorus "Glory to God," where he specifically instructs participated in amateur performances of Messiah with them to sound "from a distance and un poco piano." He orchest ra. then keeps them silent until they peal forth in their Today the tendency is to scrape off the barnacles. A brassy glory, together with the drums, for the first time large and growing number of music lovers has come to in the "Hallelujah Chorus." Mozart and Prout, however, appreciate the characteristic textures and colors of the introduce them as early as "For unto us" and spoil baroque orchestra. These listeners want to hear what Handel's subtly calculated effects. Handel did, not what numerous editors and arrangers thought he should have done. Although it will never be possible, for various reasons, to hear a performance exactly like one conducted by Handel, enough authentic Of the four new recordings of Messiah, the Ormandy the Scherchen material is available and has been thoroughly enough and Sargent belong to the traditional type, studied to make possible performances that are reason- to the purist, and the Beecham to neither. Let us examine ably close to Handel's -that in any case render it no this last version first. longer necessary to look at his baroque masterwork Sir Thomas has gone off on a musical spree. Like other with through classically or romantically colored glasses. conductors before him, starting, as we have seen, There are consequently two main types of performance J..1. Hiller, he decided that the Messiah accompani- would have now. One is the "traditional" sort, for large chorus and ments ought to be done over "as Handel large orchestra of un- Handelian constitution, performing scored them if he had been living today." Now this is begin with. Handel were a version that is more or less heavily cut to fit the long of course an illogical idea to If work into an ordinary evening's playing time. The other alive today, he would shape his music entirely differently. type might be called, though in no pejorative sense, the With a composer of genius the accompaniment is not an "purist" sort, for forces nearer the size and constitution independent thing, detachable at will and replaceable, is part of the musical of Handel's (who is known to have had available for the like the tires on a car. It an integral in one style first performance a chorus of fewer than thirty, including thought; if you color the accompaniment the soloists) performing the complete work in a manner and leave the accompanied material in another, you have to Sir Eugene that reveals it as it may have sounded in Handel's time. a mishmash. Beecham gave the assignment Both types seem to me to have value, though of very Goossens. (Incidentally, nothing is said about this in different kinds. The traditional type, with all its faults, the notes for the album. HIGH FIDELITY readers will whcle story was told in has for some of us a sentimental worth: it is the form in remember, however, that the which we first came to know and love this wonderful the November issue in Charles Reid's London "Notes music, and it evokes memories of younger days. But the from Abroad. ") Goossens, very able composer and true flavor of this "divine entertainment" can be fully excellent conductor, apparently Continued on page 176

DECEMBER 1959 81

www.americanradiohistory.com "!' YRURloiNMiip,ú.k g H G a Ñ O d i n

STEREO RECEIVERS

NEW BREED

Equipment Survey SOLVES by Charles Fowler MANY PROBLEMS

To THE INCIPIENT stercophile, few things are more there; then one from here to here; plug this in here and alluring than the shining row of components, stretched run the other end over there; connect a piece of zip across a dealer's counter, which may soon constitute his cord from these screws over to those on the speaker." stereo system. There will be at least a turntable or And many people have had the courage to connect a changer, with diamond -studded cartridge; a stereo stereo system; but, unfortunately, there are those who, at FM -AM tuner; a preamp -control unit with myriad the last moment, have quailed. We don't blame them, clutched, ganged, and concentric knobs; a dual power particularly; there can be an awful lot of wires snarled amplifier; and, over on the floor, the two or more units of around the back of a stereo system. (Our approach to the the speaker system. This is indeed a happy moment; problem is timid: we pretend we're hitching up two months may have been spent preparing for it. separate monophonic systems, and do one ear at a time. Yet, for some, this moment of bliss may be shattered Left channel all the way through, then the right -ear by a simple question that must be asked sooner or later: channel.) If the problem is approached slowly and care- "How do you hook it up ?" Now everyone in the world fully, there should be no trouble. But there may be some has a certain amount of bravery in his soul. Many, many hum; this is the second bugaboo of the process. people have had the courage to connect a monophonic Component equipment manufacturers have made a high- fidelity system. "You start with a wire from here to major advance towards solving both problems by intro-

82 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Bogen RC412 Bogen SRB20

Harman -Kardon TA230 Fisher 600

Madison Fielding 440 Scott 399

WATTS REMARKS MAKE MODEL PRICE per channel and partial list of features

Inputs: Mag Ph or tape head; Aux. Seporate volume con- Bogen SRB20 199.50 10.. trols. Separate bass and treble controls. Stereo reverse switch. Tape output. MPX output.

Inputs: Mog Ph; Aux. Tape output. Ganged bass and RC412 169.50 6 treble controls. Separate volume controls, coaxially mounted.

Inputs: Mog Ph; Tope Head; MPX; Aux (hi- level). AM Fisher 600 349.50 20 sharp -brood control. loudness switch. lo and Hi filters. s input level controls. Tape output connection; tape monitor switch. 2 tuning indicators. 3 equalization set- tings. Center channel output.

Inputs: 4 pairs; dual phono, switched; microphone; 2 Harman - TA230 259.95 15 tape outputs. Rumble and scratch filters. Contour selec- tor. Phono record and tape head equalization. 2 tun- Kardon ing indicators.

Inputs: Mag Ph; Tape Head; Mic; MPX; Aux. Tape out- Madison 440 325.00 20 put. Tape Monitor. Output for Headset. Third channel speaker output. Aural Null circuit for balancing. Sep- Fielding arate tone controls. Rumble and scratch filters. Phasing switch. Provision for two channel mixing. Loudness switch.

Inputs: 2 Mag Ph, selected by front -panel switch; tape Scott 399 399.95 20 head; MPX; Aux. Equalization: tape head and phono. Rumble and scratch filters. Continuously variable and deleatable loudness control. Tope monitor control. 2 tuning indicators. Front panel phase reverse switch. Center channel output. 4 separate tone controls.

www.americanradiohistory.com ducing the integrated units described in this article. may cost more to buy the best all in one gulp, but it will Almost any degree of integration is available; we show be an economy in the end. only the stereo tuner + preamp- control + power am- The receivers are complete radio units. Many people plifier version, which is as far towards integration as most will do no more than add speakers. But many others will component manufacturers have gone so far. Of course, want to expand the system; some likely additions are very many models are available that exhibit slightly less listed below, to help you check receiver features. integration: stereo tuner + preamp -control. (The pre- Phonograph: every receiver provides for the addition amp- control + power amplifier arrangement is so com- of a cart ridge. Is there any need to handle two cartridges? mon now that we devoted our October feature to it.) These receivers, as several but not all manufacturers Television: will you run your TV set through the hi- are calling them, have their advantages and disadvan- fi system? Then the receiver should have an Aux input, tages. The advantages have been suggested in the opening and a corresponding position of the selector switch. paragraphs. They are very easy to install; connecting a Tape recorder: with the increasing emphasis on stereo pair of speakers is all that is necessary to complete a tapes, both reel -to-reel and cartridge, many stereophiles stereo (radio) system. One more unit -turntable or will want to add a tape recorder. They may want to use changer-will be the final addition until a tape recorder it for recording as well as playback. For playback only, rounds out the whole. So, wiring and hum problems are an Aux input arrangement, as described under television, 95% solved. Installation in a cabinet, or on a shelf or is desirable. This is not the same as a tape head connec- table, is simplicity itself. tion; such a connection will probably not be needed Some units have as many features as the most be- except for the more rudimentary tape machines. (This knobl ed of preamp -control units. Their quality will be connection is useful if an old tape recorder is to be con- just as good as the manufacturer wants to build into verted to stereo; saves buying a tape preamp.) them. There is no sound technical reason why their For recording, the receiver should have tape output fidelity should not be the equivalent of individual corn - connections; these are usually taken off ahead of tone ponents, though they may cost a bit more to manu- and volume controls. facture (because, for example, the manufacturer be- comes responsible for eliminating hum caused by the Microphones: these can always be connected direct to interconnection of components). the tape recorder; but if you have or plan on having a Their single outstanding disadvantage is the buyer's permanent installation, look for a receiver that enables inability to replace a section of the system without mak- you to connect the microphone to the preamp-control ing the complete receiver obsolete. This, of course, is a section. major and often -emphasized advantage of individual Third channel: this is too complex a subject to cover components. If some improvement or change takes place in a thumbnail paragraph; we'd like to point out, how- in broadcasting, the tuning section can be replaced with- ever, that some third -channel (for center fill) arrange- out affecting other components. If more power is needed ments take off at the preamp- control output, some at in the power amplifier section, that can be achieved, the power amplifier output. The former require a sepa- again without throwing out the rest of the system. The rate power amplifier; the latter do not. new breed of receivers does not have this advantage. Therefore you should be as certain as possible that the Other features: there are dozens of other features unit you choose has all the features you may need in the which appear on stereo receivers. All of them duplicate foreseeable future, and that the quality is good enough facilities provided on unintegrated components and for high -fidelity sound reproduction and for long life. It have been discussed in preceding articles in this series. rs° e ° ó r ue} 711 V - u S-1 IIIGH FIDELITY MAGAZINE

www.americanradiohistory.com SIR THOMAS BEECHAM'S new re- Columbia Artists Management (no rela- a nucleus it won't be too hard to assem- cording of Messiah is certain to become tion), where he managed the careers of ble good casts. The tendency these days one of the most controversial albums of thirty -odd instrumentalists. is for record companies to sign exclusive this or any year. Let the controversy The division. of authority between contracts with only a very few top art- start right here. On page 79 of this issue them runs something like this. McClure ists. You'd be surprised at the number Nathan Broder takes a decidedly dim will be responsible for the creation of The of well -known singers who are available view of the "late romantic" accompani- Product, from recording session to fin- now to make recordings on a free -lance ments employed by Beecham, and his ished album. Chapin will be responsible basis. I should emphasize, though, that dislike of these accretions to Handel's for the administration of the department we don't intend to make operas simply own orchestration rather colors his view and for all business negotiations with art- for the sake of making operas. The cata- of the whole undertaking. I, on the other ists. The actual selection of artists and logues are too full of `me too' productions hand, confess to having found the per- repertoire is intended to be a matter for as it is. We shall confine ourselves to formance a delight from beginning to joint decision. This sort of split person- repertoire with which we can do some- end: the accompaniments ravishing and ality provides, we can see, a fine oppor- thing really superior and first -class." (to my admittedly non- purist ears) tunity for passing the buck when dis- Also on the Columbia schedule are usually in good taste, the chorus precise gruntled artists pose awkward questions. more recordings by Bruno Walter -the and mellifluous, the soloists (Jennifer We asked the Messrs. McClure and Brahms symphonies, the Bruckner Ninth, \'vvyan, in particular) as fine as any Chapin about their future plans. "Our Mahler's -and I've heard, and the over -all spirit of general aim," Chapin began, "is to run a more by . The Stravinsky the conducting quite irresistible. I urge department which has the adventure - sessions will be the outgrowth of three everybody at least to listen to this fas- someness and mobility of a small com- New York concerts, one in Carnegie Hall cinating recording. Whatever else may pany plus the resources and follow - and two in Town Hall, which are being be said of it, it's not a bore. through of a large company. \Ve don't presented this winter by Columbia Rec- want just to play it safe with standard ords. At these concerts the podium will COLUMBIA'S classical artist- and - reper- pieces and already established artists. As be shared by Stravinsky and Robert toire department is under new manage- a matter of fact, we intend to establish Craft, and immediately following the ment. Its former chief, David Oppen- our own artists. The old -time concert concerts the Stravinsky compositions heim, has switched allegiance from rec- managers who devoted themselves to will be recorded under the composer's cords to TV and is now musical director shaping the careers and creating an in- direction. They will include Le Sacre, of Robert Saudek Associates (producers delible public image cf one or two artists Les Noces (with composers Barber, Cop- of the Leonard Bernstein shows, among have just about disappeared from the land, Foss, and Sessions at the four others). In his place, Goddard Lieberson scene. We hope to fill this vacuum some - pianos), and two new works -Move- has appointed two men to share the run- what-as Columbia already has, for in- ments for Piano and Orchestra and Epi- ning of the department: John McClure stance, in the case of ." taphium. Later on, Columbia hopes to and Schuyler Chapin. "As for details," McClure continued, have Stravinsky re- record Fire Bird and McClure has worked his way up "it's a little early to be very specific. Pétrouchka, for which an orchestra will from the bottom. He landed a job with However, I can tell you that Columbia is be assembled on the West Coast. Columbia seven years ago as a tape edi- going back into the field of opera. As Of course, McClure and Chapin will tor, later became one of Oppenheim's you know, the operas that have appeared continue to keep the New York Phil- assistants, and in the last two or three on the Columbia label recently have harmonic and Philadelphia Orchestras years has been responsible for a good been produced mostly by Philips. Now busy. This season the Philadelphia many of the company's important re- we shall begin again to make opera agenda includes some sessions under the cordings; most of Bruno Walter's ses- recordings ourselves. Artists? Well, we direction of , who will sions in California, for example, have start off with our own Eileen Farrell and return in February after an absence of been under McClure's supervision. Cha- Richard Tucker, two of the greatest twenty years to conduct the orchestra pin comes to Columbia Records from singers before the public. With these as he made famous.

DECEMBER 1959 85

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S(i HIGH FIDELITY MAGAZINE

www.americanradiohistory.com PAUL AFFELDER NATHAN BRODER

O. B. BRL'MMELL R. D. DARRELL RAY ERICSON reviewed by ALFRED FRANKENSTEIN

JOHN F. INDCOX ROBERT CHARLES MARSH Records CONRAD L. OSBORNE

JOHN S. WILSON in Review I1V

In London's L\jeI't

Stereo Mefistofele Makes

a Fine Effect

by CONRAD L. OSBORNE Pubrtoto Tanio Strafen

ITHINK that if I were called upon to select While Boito's Faust is singing the lovely, been of a mind to restore the balance some- a particular case that would best illus- contemplative "Dai campi, dai prati," what, for Gounod has been very shabbily trate the basic injustice of artistic life, I Gounod's is muttering over his cup of poi- treated on LP, whereas devotees of the Boito would decide on that of Arrigo Boito, who son; while the Italian tenor is pouring forth score have had at least the aged Columbia - wrote Mefistofele. Here is a work laden with the passionate " Calma it tuo cor," the French- Entré set, a magnificent creation of bygone stunning dramatic effects, blessed by a li- man is mincing his way into "Eternelle!" And days, featuring expert conducting by Lor- bretto of real poetic strength, informed what is Gounod's arai gentilhomme to Boito's enzo Molajoli and inspired singing by Naz- throughout with an intellectual honesty that cosmic devil? I say all this not to disparage zareno de Angelis, Mafalda Favero. and An- will not compromise with the philosophical Faust, which is a charming and touching tonio Melandri. This album is now all but content of its source. Yet it is almost never work, but to bemoan the absence from the impossible to obtain, and with the with- performed, largely because it has come out repertoire of one of the greatest of nine- drawal of the \'ictor performance (which second in a popularity contest with an opera teenth- century Italian operas. was, in any event, unevenly sung and cut by Gounod which purports to treat the same There can be no doubt that Mefistofele almost beyond recognition), the field has subject. is a better opera than, say, La Gioconda, been left to the Cetra and Urania sets, both I have heard it argued that although the in which Boito also participated, though a starring Giuseppe Neri, both of passing in- French opera possesses not one of the ad- bit shamefacedly. Boito was a sophisticated terest only. The new London performance, mirable qualities listed above, it is neverthe- fellow, and would probably find a wry therefore, has been eagerly awaited by ad- less a better opera because it is invested by amusement in seeing La Gioconda-libretto mirers of this opera, among whom I count a greater wealth of melody. But nowhere by "Tobia Gorrio " -revived with deadly myself. does Gounod's melody carry his Marguerite regularity while his own masterpiece sits on So far as I am concerned, the unknown to such tragic heights as "L'altra noue in the shelf. quantity in this production was Serafin. fondo a! mare" or "Spunta !'aurora pallida." It may be that the recording industry has lllefestrfele is a tricky, not to say devilish,

DECEMBER 1959 87

www.americanradiohistory.com opera to put together, and is just the sort a mistake to place the Cherubim here, the which is needed for this same scene, but her of score with which the unpredictable Penitents there, and the Celestial Host opulent, soaring tone is most welcome in the Maestro Serafin is likely either to score a tri- somewhere else. As it is, the stereo spread Prison Scene, and Margheritá s final heart- umph or experiment himself to death with makes its own effect, and the gigantic choral rending plea for grace is superbly brought unorthodox tempos. I am relieved to report climaxes are enormously impressive. off. Cavalli sounds like a singer with fine that he has done the former. There are Finally, there is the matter of the solo- potential, but the role of Elena poses some times when he builds much more slowly than ists. While this is, on balance, the best -sung cruel difficulties, and she is insecure. Piero Molajoli, and I, who have lived with the Meftstofele since the days of the Molajoli di Palma is an excellent Wagner. (In Boito's older recording for a number of years, feel album, I cannot endorse unreservedly any version, by the way, Wagner is a genuine momentarily let down by the more deliber- one of the leading singers. Siepi is a true character, with a dramatically useful rela- ate pace. But Serafin knows just where he is basso cantante, meaning that his voice is tionship to Faust, and not a mere chorus going each time, and there can be no ques- smooth in texture, voluptuous in quality, leader.) tion of eccentricity. He gives sharp defini- and pliant in its handling. These attributes Together with the usual essay and synop- tion to the rapidly changing rhythms of the make him an outstanding singer of music soft sis, London's accompanying booklet has Domènica di Pasqua scene and leads firmly in contour, demanding a legato approach. some Delacroix lithographs, unpleasant into the great climaxes of the Prologue. But a born Mefistofele -such as De Angelis close -ups of the La Scala production, and a the Witches' Sabbath, and the Epilogue. In -is a man with a huge black voice which libretto designed to show us which lines are all this he is given staunch service by the rolls and peals, plus a flair for the demoniacal sung simultaneously. Unhappily, they can- Santa Cecilia forces, especially the Acad- histrionics of the role. Siepi adjusts himself not be read simultaneously, and the resultant emy's matchless chorus under Bonaventura to the part like the intelligent artist he is, chaos is of discouraging proportions. Somma, which is here given extended oppor- and comes up with fine work in the Whistling Those who know and love Meftstofele will tunity to display its rich body of tone, accu- Ballad; indeed, it is impossible to fault any- find this album a good investment; those rate attack, and lucid articulation. thing that he does. But his voice is not a who do not know it have a fine opportunity What we might call the conservative wide -open, declamatory one, and at times to make acquaintance with one of the stereo policy of London's engineers is very I almost wished he would allow himself more masterworks of Italian opera. much in effect on this recording; that is, liberty from the printed page. directionality is deemphasized, and depth Del Monaco deserves respect for his Faust, BOITO:Mejistojek and clarity of sound given the greatest care. for he does his best to rein in the steeds. A few listeners will doubtless feel cheated, He does not, of course, sound very meta- Renata Tcbaldi (s), Margherita; Floriana Cavalli that the opening physical, and his muscular renditions of and I should have thought (s). Elena; Lucia Danieli (c), Marta and Pantalis: of the opera, with its trombone calls re- "Dai campi" and the haunting "Lontano" Mario dcl Monaco (t), Faust; Piero di Palma (t). verberating through the ether, would have duet are best passed over. His Faust is, how- Wagner and Nerco; Cesare Siepi (bs), Mefistofele. been a logical place for boldness. In the ever, at least virile, and he brings more line Orchestra and Chorus of Accademia di Santa massive choruses. however, the London to the Garden Scene than I had expected. Cecilia (Rome). Tullio Seralin, cond. approach is a wise one; it would have been Tebaldi has not the bright, naive sound LONnox OSA 1307. Three SD. $17.94.

Blackstone Studios

From Carnegie Twenty Years Ago,

A Jazz Landmark - Spirituals to Swing

by JOHN S. WILSON Impresario John Rammond.

BACK in the late 1930s, when jazz concerts lumbia OSL IGO) several years ago amid managed this feat as well. Hammond has were still a novelty, three such concerts much -and deserved- fanfare. The other now gathered material recorded at both were held at Carnegie Hall, memorable to- two were the Spirituals to Swing concerts of these concerts (we are happily learning that day not only because of the artists who took December 1938 and December 1939, pre- a surprising amount of the publicly played part in them but because of their careful sented by John Hammond (who, needless to jazz of the late Thirties and early Forties has planning and preparation, qualities that say, also had a hand in the Goodman been preserved) for a magnificent two -disc have pretty well gone by the board since concert). set with copious annotation by himself and jazz concerts became everyday (or every - Hammond's concerts were the first at- Charles Edward Smith. night) occurrences. One of the three was the tempt, with live musicians as distinct from The idea of a concert that would bring Benny Goodman concert, held in January records, to show jazz in perspective, and in together representatives of the root, trunk, 1938, which was released on LP discs (Co- the succeeding twenty years no one else has and branch of jazz not only provided the ss HIGH FIDELITY MAGAZINE

www.americanradiohistory.com basis for an impressive line -up of performers but it caught almost all of them at a particu- larly fortunate time. Benny Goodman's sextet had just received the tremendous stimulus of the addition of Charlie Chris- tian's guitar. Count Basic's young stars. not yet widely known, were still unselfcon- sciously free -swinging. Sidney Bechet, stand- ing on the threshold of his later fame, was still known best for his wildly exultant New by Robert Charles Marsh Orleans Feetwarmers recordings of 1932. For James I'. Johnson. these concerts meant a return to the spotlight after years of virtual retirement. On the other hand, they were the springboard to faine for the Golden Gate Quartet, Joe Turner, Sonny Terry, Meade Lux Lewis, Albert Ammons, and Pete Johnson. There is scarcely a tired note in the course of these four LP sides (there are several con- fused ones, but that is to he expected). The Hans Wild sound at best is only serviceable, sometimes muddy and even scratchy (as in the Good- man concert recordings, the problem of bal- ancing a full band is not even attempted), Karajan and the Vienna Philharmonic but the vitality and unpretentiousness of the performers cu t through these minor handicaps. Among the jazz treasures these discs offer are numerous solos and accompaniments by Lester Young (on both clarinet and tenor In Happy Reunion on Discs saxophone) at the height of his fluent pow- ers; an unusual piano solo by Count Basie in a filled -out style that makes clear his close connection with Fats Waller; Lips 1.sren by a London -Decca crew in the ber of that year. The Haydn belongs to its Page playing with the original Basie band Sofiensäle last spring. these five discs heritage. while the Brahms, and the music of in what must be the best trumpet solo he reunite for an international audience Herbert the Strausses, Johann Jr., Josef, and (although ever recorded; Helen Humes, introduced by von Karajan and the orchestra he conducts no relative) Richard, all became a part of the Hammond as "the new blues singer with as director of the Vienna State Opera. It orchestra's familiar musical speech soon after Count Basic's band," singing with a subdued has been some years since Karajan and the completion. Familiar here implies intimate poignance complemented by Buck Clayton's Vienna Philharmonic were together on rec- rather than commonplace knowledge, for the beautiful muted trumpet backing; Mitchell's ords, and the reunion is a happy one for all Vienna Philharmonic not only has over the Christian Singers, one of the most remark- parties. content of these works a mastery probably able (though neglected) of all gospel groups, Four of the records appear in this country unexcelled anywhere, but it knows how to displaying the majesty of their exhilarating. on the RCA Victor label, a fact testifying to play them as an ensemble, with each man almost grating harmonizing; Big Bill the potential of the overseas alliance between blending his individual contribution into the Bronzy rolling through his classic, Louise, RCA and London -Decca. Moreover, as a scale of the whole. The Vienna Philharmonic, Louise; Lewis, Ammons, and Johnson- beautifully produced album (entitled Vienna indeed, is really a chamber orchestra of 124 who met for the first time on the stage at the Philharmonic Festival), they serve as one of players. It is this fact, more than the skill of concert -banging out one of the most ex- the first fruits of the new RCA Soria series, any individual conductor, that accounts citing, and certainly most spontaneous. providing more than a hint that the RCA - for its unique qualities. : conductor can versions of their six - handed boogiewotgie; London -Soria triumvirate is going to prove take rehearsal time to ask for only so much Ida Cox showing how a real stand- up-and- an important source of distinguished pro- by yaw of polish and nuance; the Philhar- let -it -roll blues singer sounds; the Benny ductions. The fifth disc, Richard Strauss's monic, working with someone it respects as Goodman Sextet playing with enthusiasm Also Sprach Zarathustra, has been issued in a much as it does Karajan, invariably gives and spirit; guitarist Charlie Christian sitting special package under London's own aus- more than is required of it. in with Count Basic's superbly relaxed pices. The resulting performances are always as Kansas City Six; Sidney Bechet, James P. Taken as a whole, these performances much the orchestra's interpretative respon- Johnson, and Tommy Ladnier soaring and not only commemorate the American con- sibility as the conductor's. Compare, for stomping through Weary Blues. And more, certs of the orchestra's current world tour, example, the Beethoven Seventh in this much more. but are a sort of mutually inspired love song Soria set with Karajan's earlier version. The great merit of this set is not simply in which artists, record manufacturers, and Rhythmic drive here is subordinated to en- that it gathers together a long list of per- the public can join in a chorus of "Wien, semble playing with a beauty of finish few formers of tremendous talent but that it Wien, nur du allein...." At their best, orchestras in the world could challenge. l'he catches them in an atmosphere that seem- they are among the finest recordings stereo thematic line sings at its own comfortable ingly induces more direct, more full -blooded has given us. Even when there are compara- pace. A cadence can be fully -and firmly - performances than the studio recordings of ble editions, these must be counted among accented, with even a little pause inserted for those days have been able to capture. This is our assets. additional stress. I doubt if Karajan would an album of major importance, a jazz The music is all associated with the or- play the score this way with London's Phil - landmark. chestra and its 117 -year history. The Bee- harmonia, despite its excellence as a group thoven Seventh opened its first concert in (nor am I sure that the music is not better SPIRITUALS TO SWING. March of 1842, the great Mozart G minor served by a more vigorous statement). But VANGUARD 8523/4. Two LP. /$7.96. was a part its second program of in Novem- this is Vienna's way, and it is good to hear it

DECEMBER 1959 89

www.americanradiohistory.com as an antidote to those who out -Toscanini the score, extraordinarily rich and grand in that best characterize these beautifully en- Toscanini in this music. sound, and highly flattering. For many, it gineered discs, and for just evaluation more The rest of the Victor album is another will probably become the unexcelled version than one hearing is in order. matter. Haydn's No. 104, whether you take of the Brahms First. The Soria album, incidentally, adds a very its tunes to be Croatian or English in their As for the collections of les frères Strauss, handsome booklet of pictures and com- genesis. has rarely been given us in a per- one may argue at length about the merits of mentary to its sonic enticements. formance at once so powerful and gemütlich. Mr. X's "Viennese style" over Mr. Y's Together with the Mozart Fortieth, with "Viennese style," but here is Vienna's Vien- : "Vienna which it shares a record, it constitutes a nese style, with a pleasing collection of works Philharmonic Festival" performance unique among those in the you know well and works you probably I lavdn: Symphony No. 104, in D. Mozart: Sym- catalogue. If the Mozart is to be further don't know so well, the zither interludes a phony No. 40, in G, K. 550. Beethoven: Sym- characterized, let me suggest that one play nostalgic liehestraum, and the total a moving phony No. 7. in .4, Op. 92. Brahms: Symphony the opening and listen to the rhythmic evocation of the city of the waltz. No. 1. in C minor, Op. 68. Johann Strauss. 11: phrase in the violas that begins the work. The German Strauss, Richard, is equally Overture to Dir Fledermaus; Overture to Der Most orchestras and conductors treat it as if favored with magnificent ensemble playing Zigeunerharon; Tales from the henna Hnods; it were of little importance, but it is im- that brings to the level of direct awareness .Innen-Polka; Sehne11pika; .4ttf der Jagd. Josef Strauss: Delirien Waltz. portant -since it establishes both rhythm details in the scoring too frequently lost. and tonality before the entrance of the prin- Karajan's performance of Also Sprach Zara- Vienna Philharmonic Orchestra, Herbert von cipal theme in the violins. Here it is given thustra is not the traditional one; nonethe- Karajan. cond. full measure, with all the time and care less, I am attracted to what he does with the RCA Vu: rout 1.13 LSD 2347. Four necessary to let us discover Mozart's archi- score, as well as by the extremely wide SI). $25.98. tectural genius in operation. dynamic range of the recording. (Karajan Brahms requires something quite different provides a surprise, too. by underplaying the RICHARD STRAUSS: Also Sprach Zar- in sonority and style, but he benefits equally "sunrise" climax at the beginning of the athustra, Op. 30 from the orchestra's sensitivity to detail as work and saying his greatest sonorities for Vienna Philharmonic Orchestra. Herbert von well as to larger outlines. This is, if we must later pages.) Karajan, cond. use such a term, a romantic performance of Controversial and provocative are words I.oNlx,s CS 6129. SD. $5.98.

the Evangelist, is a remarkably skillful playing in unison, the carefully articu- singer with a most agreeable timbre, but lated phrases of the flutes and oboes, the CLASSICAL he makes little attempt to convey nu- solo soprano and alto singing their long, ances of feeling in the text. In this re- curved melodies, and the short, sharp spect his opposite number in the Archive interjections of the chorus. And so on in set, Ernst Hiifliger, is more effective. the rest of the work. If it is first -class BACH: St. Matthew Passion, S. 244 Braun, as Jesus, is competent, and stead- recording more than anything else that Teresa Stich -Randall, soprano; Hilde ier than Archive's Keith Engen, but not you want, this is the set for you. N.B. Rössl \lajdan, contralto; Waldemar especially distinguished. ( Nobody on records, I think, sings this role as mag- Kmentt, tenor; Uno Ebrelius, tenor; Hans BACH: Two -Part Inventions, S. 772 -786 nificently as Heinz in the Braun, bass; Walter Berry, bass; Vienna Rehfuss, (complete); Three -Part Inventions: Scherchen -Westminster set.) Stich -Ran- Chamber Choirs; Boys' Choir of the Nos. 1, 2, 5, 11, 13 -15 Schottenstift; Vienna State Opera Orches- dall sings with a pure but disembodied tra, Mogens W, ldike, cond. tone, as though she were performing LWanda Landowska, harpsichord. VANGUARD BC 594/7. Four LP. Gregorian chant. Seefried in Archive is RCA VICTOR LM 2389. LP. $4.98. $11,90. much more moving. The experienced VANGUARD BGS 5022/25. Four SD. Kmentt does well with the music allotted The tiny company of musical giants of $17.85. to him, though his negotiation of high - our time dwindles. With the death of lying passages, as in "ich will bei meinem Wanda Landowska we have lost an artist Hard on the heels of the first stereo re- Jesu wachen," is not entirely effortless. who almost single -handedly restored the cording of the St. Matthew Passion, from Rüssl \lajdan is at the top of her form harpsichord to the public concert and Archive, comes this Vanguard release, here. Her lovely alto has character and taught a whole generation of pupils to which also has many fine qualities. Avoid- firmness throughout its range. This is play it. For her, playing keyboard music ing strong contrasts, Woldike seems in- consequently a better performance than of the past on the type of instrument for tent on maintaining a kind of sobriety she turned in on the Scherchen set, and which it was intended was only the first that shuns any trace of the theatrical. In much superior to that of the alto in the step. She immersed herself in the musical so doing, he sometimes comes close to Archive. The bass here, however, the and theoretical literature of the eight- that detachment which seemed to me the veteran Walter Berry, very able as he is, eenth century, studied the performance weakest aspect of the Archive perform- has to face the powerful competition of practices of that time, and applied her ance. For example, all the chorales except Fischer -Dieskau on Archive. The chorus findings in her own performances. But the the last one are sung at the same dynamic is nicely balanced and does not seems value of her playing does not rest merely raised level ( between mezzo forte and forte) , large; the texture is, accordingly, fairly on its authenticity and style; it is to regardless of the situation they comment transparent. the highest art by its rare combination of upon or the sentiment they express. On From the standpoint of stereo record- penetrating understanding, pervading vi- the other hand, WOldike's approach some- ing, this set seems to me considerably tality, and sheer musicality. times achieves great eloquence: the mar- superior to the Archive. Here the ft 'liar Age brought no diminution in these at- - velous final chorus, for instance, is over- virtues of two -channel recording enor- tributes. There is no sign whatever in the whelming here. Another virtue of this mously enhance the effectiveness of the full- blooded performance of the seven here performance, though a negative one, is sound. In the big double choruses, the Three -Part Inventions presented woman that W¢ldike never lapses into the bouncy two choirs are clearly separated, yet there that they were played by a frail her from dogtrot motion that some German con- is no gaping hole in the middle. In the of eighty (death prevented In these ductors are fond of in certain choral wonderful duet with chorus, "So ist mein completing the set of fifteen). works ( given in the movements, such as "Sind Blitze, sind Jesus nun gefangen," the extraordinary and in the two -part was for- Donner." clarity of the recording throws into bright same splendid performance that D minor His soloists all reflect -some more than relief the different colors that Bach merly coupled with Bach's on LM 1974) we others-the conductor's attitude. Ebrelius, mixes: the nonlegato violins and violas Harpsichord Concerto

90 HIGH FIDELrFY MAGAZINE

www.americanradiohistory.com a Beethoven conductor Landowska at the unparalleled top Société des Concerts du Conservatoire de recognition as find he customarily receives. Predomi- her profound, eloquent, imagina- Paris, Jacques Thibaud, cond. than of form- relaxed and warmly lyric, his per- tive yet utterly convincing. As a final, ODEON XOC 111. LP. $4.98. nantly formance nonetheless has a firm pulse to touching memento of this great lady, we in an provide consistent rhythmic foundation. hear her speak, urging performance of Inasmuch as Thibaud was killed are also the sharp attacks and the Inventions by mature artists, not airplane crash in September 1953, this There years old electrifying energy needed to give the merely by beginners. It takes not only a set must be more than six -a en- first movement its full stature or provide mature but a great artist to play them as fact worth noting only because the one the needed contrasts in the remainder of they are played here. N.B. gineering is of such quality that might think the session was held last the work. The same qualities make An- sermet's Coriolan plainly the best on BEETHOVEN: Concerto for Piano and month. this is one stereo, and one of the finest we have Orchestra, No. 1, in C, Op. 15; Sonata My first impressions are that of the concerto. had in the long-play era. for Piano, No. 8, in C minor, Op. 13 of the great recordings Szeryng is, in my opinion, a violinist of Indeed, the only possible complaint ( "Pathétique ") monumental talent, and Thibaud here against this disc is that, although in gen- Wilhelm Backhaus, piano; Vienna Phil - gives him the kind of support that only eral extremely well engineered, the regis- harmonic Orchestra, Hans Schmidt- Isser- another violinist of greatness could pro- tration of the winds in the symphony is stedt, cond. vide. The result is an edition that de- sometimes overbalanced by the strings - LONDON CS 6099. SD. $4.98. serves wide circulation. We are very for- not, however, to a degree that makes the tunate to have it available, at last, in the recording in any appreciable way less BEETHOVEN: Concerto for Piano and United States. Equalization, incidentally, than desirable, R.C.M. Orchestra, No. 3, in C minor, Op. 37 is the AES curve. R.C.M. BEETHOVEN: Symphony No. 5, in C Wilhelm Backhaus, piano; Vienna Phil- minor, Op. 67

; Hans Schmidt- Isser- harmonic Orchestra, Sonatas for Piano: No. stedt, cond. BEETHOVEN: Hamburg State Philharmonic Orchestra, 21, in C, Op. 53 ("Waldstein"); No. LONDON CS 6094. SD. $4.98. Joseph Keilberth, cond. 30, in E, Op. 109 TELEFUNKEN TCS 18005. SD. $2.98. With this dual release, pianist, orchestra, Rudolf Firkusny, piano. in the and conductor have made three of the CAPITOL P 8493. LP. $4.98, There are nine stereophonic Fifths so good five Beethoven piano concertos available CAPITOL SP 8493. SD. $5.98. current Schwann, none of them on London stereo. Numbers two and five as to exclude from consideration two or will probably follow without great delay. These are reserved, well -considered, and three of its competition or to diminish In my opinion these most recent addi- musicianly performances, characteristic of one's regard for the best of the twenty - tions to the series are more impressive the best we have heard in Firkusny's re- two monophonic editions. than the initial Fourth Concerto, which I cent work on records. This release also Keilberth's performance is echt reviewed in these pages last February. In offers the first stereo Waldstein. I found Deutsch in its solid metrical patterns and the present releases one actually hears il- the two -channel version slightly more big resonant sound. Either of these char- lustrated what John M. Conly observed in agreeable than the mono, but the in- acteristics in excess could produce an un- writing about the Vienna Philharmonic in crease in presence or sonic elegance was interesting record, but fortunately neither HIGH FIDELITY'S November issue: "It is hardly worth a dollar surcharge. gets out of hand. The firm pulse is gov- almost false to identify the pianist as the If you want excitement stressed, par- erned by musical rather than metronomic soloist; it's rather as if he were playing ticularly in Op. 53, other editions are pref- considerations and through it the per- duets with the sundry orchestral instru- erable to this one. If refinement in ar- formance gains strength -emerging as a ments, in musical repartee almost incred- tistic values counts heavily, these are powerful and satisfying reading in the ibly articulate." performances you will probably come Central European tradition. Backhaus, for all his three quarters of very quickly to respect. R.0 \i. Similarly the sonics, although some- a century, plays with agile and accurate what too resonant for my taste, are a fingers, projecting the quasi -Mozartean of what European engi- Symphony No. 4, in B good example of the First Concerto and the BEETHOVEN: want as character flat, Op. 60; , Op. 62 neers and record purchasers more solidly Beethovenian strength of the "big sound." Stereo effects are not espe- Third with a remarkable blending of au- Orchestre de la Suisse Romande, Ernest cially pronounced, proving more apparent thority and grace. The orchestra matches Ansermet, cond. in the agreeable, uncramped quality of him note for note. LONDON CS 6070. SD. $4.98. the reproduction than in the precise in- In short, these are ensemble perform- dication of instrument locations. ances with such a unity of spirit that they This is one of the few Beethoven Fourths For the price, this is, consequently, a go beyond mere musical satisfaction to which rivals the qualities of the great remarkably better value than some of the provide a lesson in what can be achieved Toscanini-BBC edition, long deleted from more expensive versions. R.C.M. in the vintage years of a great musical the American catalogue. It suggests, stereo recording pro- moreover, that Ansermet deserves more tradition. No other Symphony No. 5, in C magical as this, BEETHOVEN: jects anything quite as minor, Op. 67; Coriolan Overture, Op. more than a couple of nor, indeed, do 62 the older monophonic sets. Backhaus' playing of the Pathétique Chicago Symphony Orchestra, Fritz Rein- sonata is quite as fine as his concerto per- Coming in er, cond. formances and incomparably better than RCA VIcroR LM 2343. LP. $4.98. its only stereo competition. JANUARY ISSUE RCA VICTOR LSC 2343. SD. $5.98. In the Third Concerto a cadenza by Carl Reinecke is used. I find it inferior to The line of this music, never completely the Beethoven cadenza commonly played strong or propelling as achieved by bet- ( and available in stereo in the Badura- VERDI Reiner, is here sustained somewhat Skoda-Scherchen set ), but this does not ter than has sometimes been the case, but outweigh the assets of the performance. on microgroove all the excitement appears to be calcu- In the First Concerto the second of the lated rather than spontaneous. The result notes, three cadenzas given in the Kinsky Bee- at discography is a craftsmanlike reading of the thoven Verzeichnis is performed. R.C.M. ( but in neither work does the true power of either the conductor or orchestra Conrad L. Osborne BEETHOVEN: Concerto for Violin, in by emerge. D, Op. 61 Henryk Szeryng, violin; Orchestre de la Continued on page 94

DECEMBER 1959 91

www.americanradiohistory.com MERCURY TAKES PRIDE Only a superb conductor can bring the true beauty of a symphonic score to light. His mind must select the ornamentations of musical coloring. His ear must examine the delicate threads of rhythmic pulse. His hands must weave the magic tapestry of performance. That is why Mercury has such pride in its conductors. Each Living Presence recording is the personal expression of the conductor. Paul Paray gives to French music a liquescent grace unmistakably his own ; Howard Hanson's life -long dedication to Amer- ican music suffuses his unique series of contemporary compositions ; Antal Dorati is dazzling in his concept of nineteenth -century virtuoso vehicles; Frederick Fennell inspires military -march enthusiasts as no one else can. Not that these musicians limit themselves to special repertory - just listen to the nobility of Dorati's Beethoven or Paray's Wagner; enjoy the deft touches of Hanson's Gershwin or

JACOB Country Gardens \\Il to it it I \tiH11I5 SUITE: WIWAM BIRD MOLST HAMMERSMITH: PRELUDE AND SCHERZO Perry 6 /winger WALTON \.i I ntl'oP3 CROWN IMPERIAL MARCH I RI.Gi31tIr:A I I'\NEU ' FREDERICK FENNELL EASTMAN WIND ENSEM8Lf .

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9? HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Para

IN CONDUCTORS RECORDS Fennell's Leroy Anderson. You will agree with Mercury -a fine conductor makes the finest music, no matter who wrote it. He is a man to take pride in.

Only Mercury recording techniques catch the expanse of such a treasurable performance. On a Living Presence recording you hear each nuance, each subtlety of balance, each crescendo and diminu- endo, no matter how fragile, each intricacy of instrumentation, each broad flow of phrase. You experi- ence as never before the genius of the conductor - the fine conductor who deserves Living Presence. A few of the latest albums by these musicians are shown below. You may get a complete Mercury catalogue at your favorite record shop or by writing Mercury Record Corporation, 745 Fifth Avenue, New York 22, N. Y. SR indicates the stereo album number: MG. the monaural number. STEREO

BOUQUETde PARAY Y.efFe e'r~Clave wp.to *AI na NMI' Debt S,u/ow aq6VM

,a laa. SR 90224/MG 60224 CR 90053/MG 5n053 RR 90203/MG 60201

DECEMBER 1959 93

www.americanradiohistory.com As Mercury proved some years ago, Some may prefer this latest recording, better effect. The stereo engineering, Orchestra Hall in Chicago, despite its drawn out but superbly beautiful in tone spacious though it is, gives the piano an empty- barrel acoustics when no audience all the way. Others will be happier with insistent, overly resonant sound that is is seated, offers engineers brilliant possi- the greater color and thrust of the Rubin - subdued in the better- balanced mono- bilities. Victor's recent work there has stein-Krips version and with its tempos phonic version. R.E. tended to exaggerate rather than mini- closer to those marked in the score. For of myself, I would not part with either. mize the long reverberation period the CHOPIN: Scherzos (complete) room. The present release is coarse, R.E. booming, and vulgar in its conics, and Ann Schein, piano. false both to the tone of the orchestra and BRAHMS: Symphony No. 4, in E minor, KAPP KCL 9040. LP. $3.98. the experience the hall actually provides Op. 98; Rhapsodie, Op. 53 ( "Alto KAPP KC 9040 S. SD. $4.98. during a concert. Stereo only makes mat- Rhapsody") Miss Schein, only nineteen, is an astound- ters worse, although the monophonic edi- Aafje Heynis, contralto; Royal Male tion is thoroughly undistinguished by any ing pianist with a technique almost Choir "Apollo" ( in the Rhapsodie ). Am- valid criterion of high fidelity. The low- frightening in its speed, power, and con- sterdam Concertgebouw Orchestra, Ed- trol. She usually makes all the notes est point comes at the close of Coriolan uard van Beinum, cond. when three pianissimo notes of the sound, too, even when she is playing so the EPIC LC 3563. LP. $4.98. strings, lacking the blasting quality the fast that a series of left -hand octaves, for engineers apparently were seeking, are The late Eduard van Beinum directs the example, is reduced to a mere figuration. all but lost. R.C.M. symphony in an orthodox fashion, though This dazzling facility serves the fast sec- he is a trifle heavy in portions of the tions of the Scherzos well; and in the opening movement. His view of the Rhap- calmer ones there is a singing tone and BOITO: Mefistofele sodie is reverent and subdued. The alto some deftly spun phrasing. If there is a flaw in the performances, it lies in a rest- (s), Margherita; Floriana soloist has a warm, refined voice, but here lessness or overanxious drive that urges Cavalli (s ), Elena; Lucia Danieli (ms ), it sounds rather expressionless; and there into too great, or too Marta, Pantalis; Mario del Monaco (t ), are spots in the recording where it is not the pianist abrupt, contrasts of tempo between fast and slow Faust; Piero di Palma (t), Wagner, Nero; sharply focused -probably the fault of sections and into neglecting variety with- Cesare Siepi (hs ), Mefistofele. Chorus microphone placement rather than voice in the fast sections themselves. This and Orchestra of Accademia di Santa placement. The assisting male choir is young American is clearly someone to Cecilia ( Rome), Tullio Serafin, cond. well balanced. All in all, this performance watch in the future and to enjoy, with LONDON OSA 1307. Three SD. of a most moving work fails to move. reservations, now. $17.94. P.A. The first side of my stereo disc was For a feature review of this opera, see in sound, blasting a good deal, but BRUCH: Concerto for Violin and Or- coarse p. 87. all was well on the reverse side, as it was chestra, No. 1, in G minor, Op. 26 whole of disc. Concerto for Violin and on the the monophonic IMendelssohn: equally satisfactory Orchestra, in E minor, Op. 64 The piano sounded BRAHMS: Concerto for Piano and Or- in both versions. R.E. chestra, No. 2, in B flat, Op. 83 Julian Olevsky, violin; Vienna State Opera Orchestra, Julius Rudel, cond. Hans Richter -Haaser, piano; Berlin Phil- DVORAK: Quartet for Strings, No. 6, in harmonic Orchestra, Herbert von Kara- WESTMINSTER XWN 18860. LP. $4.98. F, Op. 96 ("American") jan, cond. }Smetana: Quartet for Strings, No. 1, in ANGEL 35796. LP. $4.98. In this age of jet flights and jet -propelled E minor ( "From My Life") virtuoso performances, it is gratifying to Following soon after Artur Rubinstein's Claremont Quartet. find a violinist and conductor who are masterly recording of the Brahms B flat LyRICHORD LL 80. LP. $4.98, willing to allow two nineteenth-cen- Concerto there appears another, equally still tury concertos to move at their proper good and considerably different in style. The Claremont foursome, a first -rate horse -buggy pace. This sensible ap- Richter-Haaser, Karajan, and the Berlin -and young American ensemble, plays the proach bears its greatest fruit in the Men - Philharmonic give us a concerto almost Dvorák with considerable freedom of where the gorgeous melodies always slower in tempo than that of Ru- delssohn, tempo and phrasing, but it is all within are allowed plenty of time to sing and binstein and his conductor, Josef Krips, the proper framework of the music. The in an interpretation notable for more measured in pace, more refined in expand result is that the work sounds fresh and its poise and beauty. The Bruch is treated texture to the point where we have al- spirited. On the other hand, they some- with somewhat more incisiveness, but most an anomaly, a chamber music view how miss fire with the more introspective never at the expense of its lyric contours. of this massive score. Actually, the con- Smetana quartet. The opening movement Lustrous recording adds to the merits of certo loses none of its size and strength is amply forceful; but the Trio of the this most welcome disc. P.A. while ( and the quieter approach allows sharp Polka is rather too deliberate, the dramatic contrasts), but it becomes less performance of the deeply moving third craggily imposing. CHOPIN: Concerto for Piano and Or- and fourth movements barely scratches The refined texture depends a good chestra, No. 2, in F minor, Op. 21; the surface. The reproduction throughout deal on the instrumental balances and Polonaise No. 7, in A flat, Op. 61 is clear and equitably balanced. P.A. orchestral quality achieved by the con- ("Polonaise-fantaisie") ductor and the engineers. Unlike Rubin - Alexander Uninsky, piano; Hague Phil- FRANCK: Symphony in D minor; stein's piano, which is very prominent, harmonic Orchestra, Willem van Otter - Psyché: No. 4, Psyché et Eros Richter -Haaser's seems in the middle of loo, cond. Philharmonia Orchestra, Carlo Maria Giu- the orchestra, delicate in sound yet clear- EPIC LC 3610. LP. $4.98. lini, cond. ly heard. The strings have a sweetness EPIC BC 1037. SD. $5.98. that makes every dolce and espressivo ANGEL S 35641. SD. $5.98. passage most effective; the woodwinds Alexander Uninskÿ s performance of the come through more clearly; and the brass concerto deserves respect for its many The more I hear , plays more brilliantly. good points- strong, clean fingerwork; either in concert or on records, the more preci- Richter-Haaser's part in this is to play ringing tone; firmly individual treatment I admire the freshness, spirit, and with the utmost technical finesse in an of inner voices and rubatos, sometimes sion of his work. His readings of these two unhurried fashion, making his points with effective, sometimes merely mannered. Franck compositions only serve to supple dynamic changes rather than But pianistic color is limited in use, and strengthen my opinion that he is one of on the horizon. They rhythmic ones. The gentle lyricism of the as a whole this work sounds more prosaic the brightest stars of slow movement radiates with the soft than it should. The same solidity of at- are marked by a magnificent sense glitter of his piano tone, and the delicacy tack and virility of style can be noted in of the final movement is enchanting. the Polonaise, where it makes a slightly Continued on page 96

94 HIGH FIDELITY M1AGAZINE

www.americanradiohistory.com READ WHAT THE CRITICS HAVE TO SAY!

ThE AUDIO FIDELITY 15T COMPONENT STEREO SERIES ei. Conducted by , performed by the Virtuoso Symphony of London HIGH FIDELITY: At last we have a satisfactory Fantas- tique in stereo. If any work was ever tailor-made for the AUDIO FIDELITY is it. Wallenstein gives a first rate multi -channel medium, this FCS 64001 reading - correct, sensible, and properly dramatic - and for once the Scene in the Field isn't split between two record SYMPHONIE sides. Not only is this the best sounding Fantastique, it is STEREO also the best engineered recording in Audio Fidelity's FIRST FANTASTIQUE SERIES. It is completely free of distortion over COMPONENT COMPONENT a wide and volume range, even in the big climaxes very tonal SERIES of the March to the Scaffold and Witches' Sabbath. Balance, BERLIOZ separation, directionalism and definition are all superb; even a rasp This release brasses and basses have realistic to them. 6,/l4/14 pj/rü will provide a stirring listening experience." NEW YORK HERALD TRIBUNE: "Berlioz' Symphonie Fantastique is ideal stereo material . . . conductor Alfred Wallenstein knows how to take full advantage of the oppor- tunities for spectacular aural effects offered by the climax of this ever powerful symphony. Audio Fidelity has assembled a first class orchestra. The Symphonie Fantastique is one of their outstanding recordings - in the last movement you can practically hear the squealing and cavorting of the devils that populate the Hell depicted so feverishly by Berlioz." SATURDAY REVIEW: "An English orchestra of high individual elements and excellent ensemble traits has been organized ..." Irving Kolodin UNITED PRESS INTERNATIONAL: " . for really un- P I P E T C O M P O N E N T S E R I E S limited stereo, listen to a recording of Berlioz' Symphonie Fantastic that has been produced with a frequency range of from 16 to 25,000 cycles per second . .. ' "No human ear FCS50,003 the highest and lowest frequencies, but they are can detect is thoroughly there just the same and if the room is acoustically compatible NEW YORK TIMES: "This performance competent and the recorded sound exceptionally realistic." . . the results will be magnificent." PAUL AFFELDER: "... The Virtuoso Symphony of London ATLANTA CONSTITUTION: "This disc is a superior one plays superbly .. ." Alfred Wallenstein ... is firm, unfussy and deserves the best treatment. Few works lend themselves so to stereo as this sparkling Berlioz masterpiece. and forward moving . . . completely comes through like a sledge "Alfred Wallenstein and Audio Fidelity His mastery of orchestration TAMPA TRIBUNE: hammer and this recording enables one to hear each instru- in their most ambitious project to date, have combined to do really sounds. It's well played, well the Berlioz Symphonie Fantastique. ment as each instrument a sensational recording of conducted and technically excellent." Directing a "pick -up" orchestra composed of leading players from other London organizations and called the Virtuoso AKRON BEACON JOURNAL: "Record surface, stereo Symphony, Wallenstein makes them sound as though they sound and sonority are excellent ... particularly noticed, the have played together for years and Audio Fidelity with its fine blending of strings, woodwinds and bold brasses and brilliant recording techniques provide some splendid stereo the realistic percussion sounds." sound. That the challenge of the Berlioz work is met so suc- ST. LOUIS POST DISPATCH: "The Symphonie Fantas- cessfully is a tribute to the young firm's daring and self - tique as recorded by the Virtuoso Symphony of London with confidence." Alfred Wallenstein conducting is impressingly opulent in sound HI FI REVIEW: "The most amazing thing about Audio as a whole and in all its details. The record is one of the Fidelity's Fantastique is the excellence of its performance FIRST COMPONENT SERIES which is concerned with pro- a great job of production and organization. Sonically, ducing the best possible sound for stereophonic reproduction." Wallenstein et al sail past al competitors." MARTIN BOOKSPAN: "The sound is full. bold and very AMERICAN RECORD GUIDE- C.J.L. "Wallenstein's impressive . . reading is skillful) and straight forward and not the least bit CHICAGO AMERICAN: "Musically, the performance . . . eccentric. The first three movements reveal polished playing capable without scaling interpretative Alps; orchestrally, they and no little expressivity .. . are painstaking and persuasive ..."

OTHER IN COMPONENT SERIES RELEASES: FCS50,000 FCS STEREO TEST RECORD FCS50,009 RUSSIAN COMPOSER MASTERPIECES, Winograd FCS50,002 SYMPHONY 46, PATHETIQUE, Tchaikowsky, Wallenstein FCS50,010 SWAN LAKE: SLEEPING BEAUTY SUITES, FCS50,005 BOLERO, Ravel: CARMEN SUITE, Bizet, Wallenstein Tchaikowsky, Winograd FCS50,006 ROMEO á JULIET: NUTCRACKER SUITE, FCSS0,011 POPULAR OVERTURES, Winograd Tchaikowsky, Wallenstein FCS50,012 OVERTURE!, Winograd FCS50,001 MARCHES FROM OPERAS, Winograd FCSS0,013 STRAUSS WALTZES, Vardi ALL PCS RECORDS AVAILABLE ONLY IN STEREO . . . SUGGESTED UST PRICE $.95 A complete listing of all AUDIO FIDELITY RECORDS is available from: Dept. H 12, 770 11th Ave., New York 19, N. Y. llr:cr:mntr:It 1959 93

www.americanradiohistory.com proportion, resulting in performances of ( there could hardly have been many re- M. Trouard is a strong -fingered pianist great nobility and depth of feeling, plus a hearsals with orchestra ), this is a laudable with a rather equable temperament. His sense of excitement. Beautifully balanced performance, showing that the choir had octave runs have little accent but follow stereo sound helps to put this disc up been long and carefully trained. Profes- an impressively tireless, steady course. He with the leading versions of both the sor Liepmann keeps everything together ignores accelerandos where expected. symphony and the Psyché excerpt. P.A. and moving briskly, and there are mo- The Allegretto vivace ( scherzo ) section ments when something of the greatness of of the E flat Concerto lacks sparkle, al- FRANCK: Variations symphoniques - this very fine work comes through. though its drily exact rhythms are effec- See Schumann: Concerto for Piano and It is not, unfortunately, assisted to do tive. Pianist -and orchestra -are neither nor lethargic, only Orchestra, in A minor, Op. 54. so by the recording, which contains rather dull thoughtful and more distortion than is customary nowa- tidy. These are good attributes, produc- days. The review disc also had some ing interesting but sober effects in these GRIEG: Peer Gynt: Orchestral Suites: crackling. It would seem that as far as essentially flashy concertos. Considerable No. I, Op. 46; No. 2, Op. 55 recording is concerned the M.I.T. people adjustment is needed to get the right f Liszt: Hungarian Rhapsodies: No. 1; are more advanced musically than tech- acoustical balance, and there is some sur- No. 2 nologically. N.B. face noise. Program notes are in French. Bamberg Symphony Orchestra, Richard R.E. Kraus, cond. HOLST: The Planets, Op. 32 DEUTSCHE GRAMMOPHON DGM 12014. LP. $4.98. Vienna Academy Chorus and State Op- LISZT: Hungarian Rhapsodies: No. 1; DEUTSCHE GRAMMOPHON DCS era Orchestra, Sir Adrian Boult, cond. No. 2 -See Grieg: Peer Gynt: Orches- 712014. SD. $5.98. WESTMINSTER WST 14067. SD. tral Suites: No. 1, Op. 46; No. 2, Op. $5.98. 55. Kraus's handling of these popular favor- ites is fairly straightforward, yet tasteful Boult's near -monopoly on this pre -Sput- and highly polished. The big feature of nik musical exploration of outer space MAHLER: Das klagende Lied this release is the clarity and complete (consolidated in 1954 with his Westmin- Margaret Hoswell, soprano; naturalness of its sound and, in the stereo Jster LP) was effectively challenged only Lili Chooka- sian, contralto; Rudolph Petrak, tenor; edition, its fille directionalism. P.A. `last year with the appearance of Stokow- .ski's Capitol stereo tape and disc. Many Hartford Symphony and Chorale, Fritz Mahler, cond. HANDEL: Messiah Holstians resisted the superior sonic at- tractions of the Stokowski version, how- VANGUARD VRS 1048. LP. $4.98. Soloists; Royal Philharmonic Orchestra ever, in the hope that Boult would soon L- VANGUARD VSD 2044. SD. $5.98. and Chorus, Sir Thomas Beecham, cond. remake his undeniably more authenti- RCA VICTOR LSD 6409. Four SD. The composer and conductor are first cally British interpretation. Unhappily, cousins once removed; and whether it's $25.98. wait has their been in vain: the antici- genes or common musical heritage, Fritz pated new Boult version is indeed even Soloists; Huddersfield Choral Society; understands what Gustav is about. Das more sensationally recorded, but the per- klagende Lied was written when Mahler Royal Liverpool Philharmonic Orchestra, formance has been entrusted to obviously was just beginning to get his career Sir Malcolm Sargent, cond. unidiomatic Viennese musicians, and the ANGEL 3598C. Three LP. $14.98. launched, and for a man of twenty it is conductor himself seems inexplicably to an enormously fresh and promising score, ANGEL S 3598C. Three SD. have lost most of his Holstian insights. filled with anticipations of the compos- $17.98. Most unfortunately of all, the engineers er's later powers and already rooted in have chosen to exploit their augmented the style which became characteristic. Soloists; Mormon Tabernacle Choir; Phil- resources less to re- create technical the The only previous recording is a Vienna adelphia Orchestra, , score than to dissect it. As a result of their product, now on Lyrichord LL 69 ( after cond. unnaturally spotlighting the woodwind an earlier appearance on Mercury ), and COLUMBIA M2L 263. Two LP. and percussion choirs, abetted by the for all its age and uneven sonics, it pre- $9.98. overintensity of the Viennese strings and COLUMBIA M2S 607. Two SD. serves a forceful performance. Stereo is the conductor's failures of integration, the the primary advantage of this new set, $11.98. Planets no swim longer luminously and making Mahler's vocal and instrumental mysteriously in infinite space, but are Soloists; Vienna Academy Chorus; Vien- lines considerably more persuasive as cruelly "spread out against the sky /Like na State Opera Orchestra, Hermann distributed through two channels. Mono- a patient etherized upon a table." Scherchen, cond. phonically, those who have the older Granted that Stokowski misses or sub- WESTMINSTER WST 401. Four SD. record could profitably stand by it. And verts a good deal of the inner spirit of even the stereo recording could have $17.95. the work, he does bring it to vital life; been improved by stronger ( and pre- For an article on these albums, see and Capitol's recording is superbly dra- sumably closer) pick -up of the orchestra "Handel's Messiah Newly Recorded," p. matic yet beautifully proportioned and and more dramatic treatment of the vo- 79. auditorium- authentic. In strong contrast cal parts. R.C.M. the new Boult version is often awkward- ly limping and harsh, and even its wide HAYDN: Mass No. 10, in B flat ( "Theres- dynamic range, brazen brass outbursts, 11IAHLER: Lieder eines fahrenden Ge- ien ') and overpowering percussion whol- seem sellen; Catherine Rowe, soprano; Margaret To- ly synthetic. I can almost hear Holst's bias, contralto; Donald Sullivan, tenor; ghost repeating the dry remark he once , mezzo -soprano; Philhar- Paul Matthen, bass; M.I.T. Choral Socie- made at a Boston Symphony rehearsal monia Orchestra; Sir Adrian Boult, cond. ty; Craunke Orchestra, Klaus Liepmann, when the trombones in Uranus made an ( in Lieder eines fahrenden Gesellen); cond. off-key entrance: "Now, gentlemen, that André Vandernoot, cond. (in Kinder- Music AT M.I.T. CS 58. LP. really doesn't sound very nice, does it?' totenlieder) . R.D.D. ANGEL S 35776. SD. $5.98. The M.I.T. Choral Society, according to the liner notes, comprises members of the After having heard Miss Ludwig as solo- faculty and staff as well as students of LISZT: Concertos for Piano and Or- ist with the Chicago Symphony in Das Institute of Technology. chestra: No. 1, in E flat; No. 2, in A Lied von der Erde, I was prepared for The present recording was made last Raymond Trouard, piano; Association Ar- better than this. Her approach to the summer on a tour of Europe. Professional tistique des , Eugène music is consistently justifiable, and she American soloists and a Munich orchestra Bigot, cond. were employed. Under the circumstances ODEON XOC 131. LP. $5.95. Continued on page 98

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www.americanradiohistory.com LIVING STEREO

gift theme with variations Give RCA Victor Albums for Christmas! Other Recent Red Seal Albums: Beethoven: Symphony No. 5 and Coriolan Overture -Fritz Sibelius: Symphony No. 2 - Monteux & London Symphony. Reiner conducting the Chicago Symphony Orchestra. Schubert: Symphony in C -Munch & Boston Symphony. Presenting Jaime Laredo -Debut of the young violinist who Three Piano Quartets - Brilliant ensemble performances won the 1959 International Music Competition in Brussels. superbly recorded by the world -renowned Festival Quartet. Brahms: Concerto No. 2 - New performance by the distin- Suite Italienne- Fascinating cello repertoire by the instru- guished Artur Rubinstein, brilliantly recorded. ment's greatest exponent, Gregor Piatigorsky. Tchaikovsky: 1812 Overture and Ravel: Bolero- Morton Presenting José Greco - Exciting Flamenco music played to Gould conducts a high fidelity and stereo spectacular. the wild rhythms of clicking heels and castanets. Moussorgsky: Pictures At An Exhibition- Fabulous inter- Vivaldi: Four Bassoon Concertos - Delightful performances pretation by piano virtuoso . by Sherman Walt, Bassoon, and the Zimbler . A Program Of Song By -First solo record- in Regular L.P. ing by the internationally acclaimed contralto. Available Living Stereo and RCAMÇTOR O

DECEMBER 1959 97

www.americanradiohistory.com produces some lovely sounds and phras- MESSAGER: Les P'tites Michu ger's music there is the prettiness, the gen- his operettas, but this es. That, however, is about it. The Kin - Chorus Orchestra Raymond tility common to all Soloists; and sup- dertotenlieder drag with an atrocious ac- Saint -Paul, Jules Gressier, cond. time the melodies are in rather short ( it , ply. A charming and very famous duet for companiment surely she didn't want PAT1IE DTX 157. LP. $5.95. to go that way ?), while in the earlier the two sisters, "Blanche -Marie et Marie- cycle the extreme demands of range and Although there is some very charming Blanche," shares. honors with a graceful volume prove too much for her to han- music in the score for this operetta, pro- romance in waltz time, "Ah, Soeurette" dle with comfort, and the orchestra tends duced with enormous success in Paris in for Blanche Mane. There is also an amus- to occupy a dominant role. Fischer - 1894, it is on the whole several degrees ing Cilbertian -type patter song for the Dieskau and Flagstad continue to be below Messager's best work. The libretto, -General, in which Messager uses a my choice. R.C.M. as involved as most operetta librettos are, rhythm quite out of his usual field. I hes- concerns itself with the love affairs of itate to call the balance of the score pad- two supposed sisters, daughters of the ding, for the composer was far too careful MENDELSSOHN: Concerto for Violin General d'Ifs, Once you know that they a craftsman to indulge in that, but it cer- and Orchestra, in E minor, Op. 64- are named Blanche -Marie and Marie - tainly does not sparkle. See Bruch: Concerto for Violin and Blanche, you can almost write the plot The cast of French singers do a splen- Orchestra, No. 1, in G minor, Op. 26. and work out its denouement. In Messa- did job, with some especially fine work from Liliane Berton and Nadine Renaux in the roles of the two sisters. The or- chestral performance under the firm di- rection of Jules Cressier is bright and well paced, and the sound is quite ac- ceptable. J.F.I.

MOZART: Symphonies: No. 14, in A, ANOTHER FIRST FROM SCANDINAVIA K. 114; No. 15, in G, K. 124; No. 16, in C, K. 128; No. 17, in G, K. 129 Philharmonic Symphony Orchestra of From the birthplace of two important London, Erich Leinsdorf, cond, discoveries, electromagnetism and magnetic WESTMINSTER XWN 18864. LP. $4.98. recording, comes the ultimate in application ... stereo sound recording and The latest volume in Westminster's se- ries, this disc completes Leinsdorf's tra- reproduction by Movic. The MOVICORDER versal of the symphonies of Mozart ( not represents a superb combination of exactly "completes," however, since two today's finest engineering techniques and or three works added by Einstein to the the acknowledged skill of Denmark's list of authentic symphonies are not in- "old country" craftsmen. A HYSTERESIS cluded ). It is an excellent series on the SYNCHRONOUS capstan motor plus two whole, even though one may prefer some custom -built reel motors are examples of of the works in other performances. The Movic's careful attention to mechanical four compositions presented here, writ- ten when Mozart was fifteen and sixteen, detailing. Its ability to record SOUND ON are not very important, yet each has its SOUND and to record stereo or monaural moments -the mysterious second theme on either of its two complete recording of the opening movement of K. 114 and and playback channels are only two of its the delicate, poetic trio of its Minuet; many electronic features. The MOVICORDER the dissonances and traces of drama in has a signal to noise ratio exceeding the development section of the first 50 db, wow and flutter of only .18% and movement of K. 124; the grace of the K. 128, and its charming, if a frequency response of 2 db from 40 to Andante in simple, counterpoint; the playfulness in 12,000 cps. For the complete facts on one of the first Allegro of K. 129, and the song- Denmark's finest products, see and hear the ful naïveté of its lovely Andante. A good MOVICORDER at your dealer or write direct. case could be made against Leinsdorf's interpretation of some of the appoggia- \1OV'I(, (;O\1R\ \1-, INC,. turas, and the sound of the horns is rather 12432 SANTA MONICA BLVD., LOS ANGELES 25, CALIF. dry; otherwise performance and record- ing are satisfactory, though those who own the Concert Hall versions of K. 114, 124, and 128 need not, I think, rush to replace them with these. N.B.

MOZART: Symphonies: No. 38, in D, K. 504 ("Prague"); No. 32, in G, K. 318 London Symphony Orchestra, Peter Maag, cond. LONDON CS 6107. SD. $4.98.

There are recorded performances of the Prague equal to this one ( for example Klemperei s on Angel ), if not better, but I have never heard finer recordings of a Mozart symphony than of the two pre- sented here. Even though a large orches- tra seems to be used, every nuance of RA--- "Danish modern means quality in tape recorders, too. is per- Mozart's sparkling orchestration ceptible. It is not only that the wind parts

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www.americanradiohistory.com are clearly audible when they should be, trumpet; C. Logerot, double bass; Pascal but that each instrument retains its own Quartet; Orchestre National de la Ra- timbre -which is not, alas, always the diodiffusion Française, Louis Fourestier, case even in stereo. High oboes don't cond. PATHE DTX 252, LP. $5.95. sound like flutes, or bassoons like horns; V and when bassoons double the cellos or basses, one hears both the rich reedy For a piano concerto that is rarely played sound and the warm stringy one. Tim- in public in this country, Saint- Saëns's pani strokes are not dull thuds; they have Fifth, sometimes called Egyptian for its the sharp, imperious character of real, quasi -Eastern middle movement, has This is well -tuned kettledrums. In contrapun- been well represented on discs. tal sections, of which the Prague is full, the fifth available recording, as well as the utmost clarity reigns. Put this record the third of the Septet, with its prominent on and your favorite chair will be trans- role for the trumpet. Miss Darré has the formed into the hest seat in Carnegie right equipment for these decorative Hall. N.B. and good -humored works -cool, bell -like tones, beautifully matched in scales and arpeggios, and elegantly precise timing. for NAUMANN: Andante and Gracioso Not many sounds are as entrancing as Glass Harmonica, Flute, Viola, and her feather -light, glinting pianissimo Cello, in C; Wie ein Hirt sein Volk zu Dorati: a real affinity for Respighi. runs. In the concerto, the orchestra plays Harmonica and weiden, Duet for Glass satisfactorily, if a little staidly, but it is Lute, in G Mr. Owert s authority for the curious, not recorded with the utmost clarity. In Der durch fSchnyder zu Wartensee: though not disturbing, practice of switch- the Septet, Miss Darré's distinguished Musik überwundene Wüterich, Duet ing from one instrument to the other make accurate, cheerful, Piano, colleagues for Glass Harmonica and Forte within the same piece. N.B. brightly harmonious noises -particularly in C the trumpeter -and the engineering is for Glass Har- }Tomaschek: Fantasia first -rate. Some surface noise afflicts the monica, in E minor RESPIGHI: Antiche Danze ed Arie: Suites: No. 1, Il Conte Orlando; No. 2, disc. These are the superior performances Bruno Hoffmann, glass harmonica; Instru- Gagliarda; No. 3, Villanella to he had of these works, but not so much mentalists. so as to warrant the higher price. Pro- ARCHIVE ARC 3111. LP. $5.98. /Philharmonia Hungarica, Antal Dorati, gram notes are in French. R.E. I cond. The glass harmonica, invented by Benja- V MERCURY MG 50199. LP. $3.98. min Franklin in 1762, had a limited but SAINT -SAENS: Samson et Dalila happy life of some seventy years and Although excellence marks the whole of then disappeared. Its thin, delicate, blur- this refugee Hungarian ensemble, based Hélène Bouvier (ms), Dalila; José Lue - ry sound, something like that of a celesta in Vienna and touring the United States cioni (t ), Samson; Paul Cabanel (b ), with sustainable tones, is approximated this fall, its strings make a particularly Le Grand Prètre; Charles Cambon ( bs), here on an instrument built on similar sensuous effect in these tastefully Abimelech; Henri Medus (bs ), Un principles by the soloist, Bruno Hoffmann. dressed -up versions of old lute pieces. vieillard Hébreu. Choeur et Orchestre Of the three composers represented, only Dorati seems to have a real affinity for du Théâtre National dc l'Opéra de Paris, Johann Tomaschek (1774 -1850) was not them, informing the lovely music with Louis Fourestier, coud. content to coast along on the novel sound gaiety, vigor, or tenderness as the mood PATHE PCX 5007/5009. Three LP. and went to the trouble of thinking up demands. The engineering gives the most $17.83. some worthwhile musical ideas. N.B. faithful kind of reproduction, with wide dynamic range and depth of aural per- This 1946 performance by Paris Opéra spective. Victor also puts out a one -disc personnel is the same one, still doing PACHELBEL: Chorale Partitas ( corn- recording of these three suites; it might service, issued in this country a dozen plete) be the equal but not the superior of this years ago by Columbia on a heap of 78- Robert Owen, organ and harpsichord. set. R.E. rpm discs. Even at the time of original widely WESTMINSTER XWN 18829. LP. $4.98. publication the set was regarded ROSSINI: Overtures as technically backward. Reheard today, In these sets of variations on Protestant Pathë s Samson et Dalila sounds hone - chorales the tunes are usually handled Guillaume Tell; La Cenerentola; La Gaz - dry-orchestrally thin and nasal, chorally in one of two ways: they are either stated za ladra; Semiramide. congested and, throughout, confined by Even so, it has man- unaltered in one voice while one or two de Société des Concerts du four studio walls. Orchestre la the only available other voices weave over or under or , Peter Maag, cond. aged to survive as of a period score pop- around them, or they are stated in em- LoNnoN CS 6089. SD. $4.98. complete recording bellished form. The variety which Pa- ular in many quarters. chelbel's lively imagination achieves These are somewhat deliberate perform- At the time Louis Fourestier hadn't the set Sam- within these rather severe formal restric- ances. Maag is most convincing in the fire, or at hand the firepower, to tions is striking. There are daring chro- larger- scaled works -William Tell and son ablaze, but this careful and orderly matic progressions, as in the seventh va- Semiramide -and then mainly in the less performance is notches higher than most efforts on behalf of the riation of Alle Menschen müssen sterben tempestuous pages, such as Sections I and of his subsequent Bou- or the fourth of Was Gott tut, das ist III of the Tell Overture. The Cenerentola New York Metropolitan. Hélène new, wohlgetan, or surprisingly "modern" - is too measured and a bit heavy, and so, vier's Dalila was respected when musical sounding counterpoint, as in the fifth to a lesser extent, is Gazza ladra. Lon- and must continue to be, for the the voice. variation of Herzlich tut mich verlangen, don's stereo is nothing short of trium- intelligence at work, if not for the same melody that is so important in phant-as good as any I've heard, and it The Samson of Luccioni, sounding aged was Bach's St. Matthew Passion. goes far to compensate for whatever even in '46, nevertheless something Owen, playing on the Aeolian- Skinner shortcomings one may find in Maag's of an act of heroism in the face of in- organ of Christ Church in Bronxville, readings. C.L.O. superable odds. Paul Cabanel, singing New York, favors thin, clean registrations the High Priest of Dagon, summoned nicely varied in color. In each a vocal power and musical suavity that are SAINT-SAENS: Concerto for Piano and partita he plays some variations on a matched only in my experience by a Orchestra, No. 5, in F, Op. 103; Septet younger Martial Singher than we hear harpsichord. This is not liturgical music, Piano, Trumpet, , organ and for today. and the distinction between and Double Bass, in E flat, Op. 65 clavier music was hazy in Pachelbel's Those with versatile amplifiers ( and day; but it would be interesting to know Jeanne-Marie Darré, piano; R. Delmotte, an appetite for Samson unabridged) are

DECEMBER 1959 99

1 www.americanradiohistory.com advised to use a "European 78" control ticularly moving, lyrical, and expressive. SCHUBERT: Sonata for Piano, in A setting (or its equivalent) rather than The entire quartet contains many echoes minor, Op. 143; Sonata for Piano, in RIAA. A presentation pamphlet, in of Debussy and Ravel, though there is B fat, Op. posth. French, is included, but not one word of an individuality of style that would Joerg Demos, piano. the libretto, or so much as a single note never permit the listener to believe that WESTMINSTER XWN 18845. LP. $4.98. of musical illustration. ROGER DETTMER it had been written by either of these men. I On the whole find the work in- A proper Viennese, Joerg Demus is also SCHMITT: Quartet for Strings, Op. 112 teresting, often rewarding, but far from a proper Schubert interpreter -in more great. The music is not easy to play, and than one sense of that word. In these Quatuor Champeil. performance the here shows a great deal sonatas he is serious -minded, expressive- PATHE DTX 232. LP. $5.95. of devotion on the part of the musicians, ly contained, formally coherent. He does whose efforts have been accorded satis- not reveal all the emotional facets of Written in 1947, when Florent factory Schmitt reproduction. P.A. the music, and the tone gets slightly had reached the advanced age of sev- edgy at its loudest, but the music is pre - enty- seven, this long work and involved SCHNYDER ZU WARTENSEE: Der rented for its own sake, without fuss. is in four movements -Rêve, Jeu, In durch Musik überwundene Wüterich, V Friedrich Wührer, on Vox Records, gives Memoriam, and Elan. Of these, the mid- Duet for Glass Harmonica and Forte equally faithful, equally selfless, but dle two sections are more interesting Piano, in C -See Naumann: Andante stronger interpretations of this same pair and more unified than their two com- and Gracioso for Glass Harmonica, of sonatas. After all these years, West- panion movements. In Memoriam is par- Flute, Viola, and Cello, in C. minster still seems to capture piano play- ing with less distortion than most record makers. R.E.

i 1:1 I ,.. III NIU\ ,., v SCHUBERT: Sonata for Piano, in A minor, Op. 143 }Schumann: Sonata for Piano, in F sharp LANGUAGE OW I NMI minor, Op. 11 Stewart Gordon, piano. AND WASHINGTON WR 425. LP. $4.98. Stewart Gordon, a former Gieseking pu- MUSIC CHARLTON HESTON pil now teaching at Wilmington College reads from in Ohio, has been extravagantly praised The highest praise we THE FIVE BOOKS OF MOSES in some quarters, and this first disc of of the Holy Bible his suggests that much of it is deserved. can give work _- to a with the None of his admirers that I know of, of music is to say that Robert DeCormier Chorale however, has mentioned the artist he Vol. I. IN THE BEGINNING it "speaks" to us. .r - most calls to mind- Cuiomar Novaes. He . VRS -9060 ( Stereolab VS0-2049) shares with her a concern for Conversely, there are Vol. II. OUT OF EGYPT the lumi- words so exalted, like VRS -9061 (Stereolab VSD -2050) nous, clinging tone that makes possible Also available as two records a true legato on the piano, plus the de- those of the Holy Bible; boxed, with booklet VRS- 9060/1 sire to different voices (Stereolab VS0- 2049/50) "orchestrate" the where the language, fired of the music. with emotion, turns into The legendary jazz concerts To a large extent Mr. Gordon achieves poetry, and the poetry of 1938/9 these two difficult aims, and the rich pi- ano tones, varicolored from top to bot- is transformed into the SPIRITUALS TO SWING tom, bathe the Schumann with warmly urgency of music. In Presenting the Golden Gate Quartet, Big Bill Broonzy, Mit- vibrant sounds. The tone is a little over- Charlton Heston's chell's Christian Singers, Ida ripe for the Schubert, where a drier, Cox, Sidney Bechet, Tommy Lad - readings from The nier, Lester Young, James P. more delicate texture seems warranted. Johnson, "Hot Lips ' Page, Char- What is problematic in the playing here Five Books of lie Christian, Meade Lux Lewis, is of and tempo. In Moses, accompanied by Count Basie and his Band, the the treatment rhythm Benn; Goodman Sextet, and other repeated hearings of the Schubert so- the Robert DeCormier stars in the incandescent con- certs that revolutionized the ap- nata, I could never become reconciled Chorale, poetry and preciation of jazz. to the sudden changes of tempo for small music intermingle to form 2-12" boxed, with illustrated bro- phrases or to the premature plunging into a unity of extraordinary chure YRS-8523/ 4 $7.96 a new phrase when an old one was scarcely ended. The fluctuations in tempo power and beauty. So, America's finest folk singers, are not so disturbing in the amorphous a feast The Creation takes on new in of song Schumann sonata, and the listener can levels of meaning when THE NEWPORT FOLK FESTIVAL revel in the tonal color lavished on its intensified by the musical July 11-12, 1959 inspired melodies and harmonies. The Featuring Odetta, Pete Seeger piano is too close to the microphone for image of "My Lord, what Leon Bibb, Martha Schlamme, EJ a morning, when the McCurdy, Earl Scruggs, lean my taste, but otherwise it has been Ritchie,Brownie McGhee, Sonny cleanly recorded. R.E. stars begin to shine." Terry, Cynthia Gooding, New Lost City Ramblers, Tom Makem and And the tragedy of Moses, others. 3-12" VRS -9062, 9063, 9064 unable to cross into the (Stereolab VSD -2053, 2054, 2055) SCHUBERT: Sonatinas for Violin and Promised Land, is lent Available as three discs booed. Piano, Op. 137: No. 1, in D; No. 2, unutterable poignance by, with booklet, and as single discs in A minor; No. 3, in G minor. Sonata the song "Deep River." for Violin and Piano, in A, Op. 162 1 List Price: Monaural 1r $4.98 ("Duo") Stereolab 12" $5.95 Except records priced otherwise Arthur Crumiaux, violin; Riccardo Cas- above. tagnone, piano. VANGUARD EPIC LC 3609. LP. $4.98. recordings for the connoisseur l Send for Catalogue to: Vanguard Recording Society, Inc., 154 West 14 Street, New York 11, N. Y. Continued on page 102

I (X) HIGH FIDELITY MAGAZINE

L www.americanradiohistory.com Just sixty years ago a new orchestra gave its first concert in Philadelphia. Toda EUGENE ORMANDY this orchestra ranks with any other in the world in technical polish, in tonal opulence, in sheer magnificence of playing. Its conductor since 1936 has been the dynamic Eugene Ormandy, a man whose musicianship and rare ear for AND THE PHILADELPHIA instrumental tone have made him as world famous as the orchestra itself. Liste below are just some of their new and recent recordings, including several in whic ORCHESTRA other celebrated Columbia Masterworks artists join them as soloists.

iMltl -Iwdl IN CELEBRATION uF THE PHILADELPHIA ()FICHES1A S'

HANDEL: Messiah -with Eileen Farrell, Martha Lipton. Davis Cun- WITH GUEST ARTISTS: give ningham and William Warfield as soloists and The Mormon Tab- TCHAIKOVSKY: Violin Concerto in D Major, Op. 35 MENDEI - ernacle Choir, Richard Goodie, Director. M2L 263 M2S 607' SOHN: Violin Concerto in E Minor, Op. 64 -with Isaac Stern, Violi ML 5379 MS 606` the ORCHESTRAL RECORDINGS: LISZT: Piano Concerto No. 1 in E -flat Major; Piano Concerto No BRAHMS: Symphony No. 1 in C Minor, Op. 68. in A Major -with Philippe Entremont, Piano. ML 5385 MS 6067' asting ML 5389 MS 607 TCHAIKOVSKY: 1812 Overture BORODIN: In the Steppes of FRANCK: Symphonic Variations D'INDY: Symphony On a Frenrr Central Asia; Polovtsian Dances MOUSSORGSKY: Night on Mountain Air -with Robert Casadesus, Piano. gift Bald Mountain. ML 5392 MS 6073' ML 5388 MS 60

DEBUSSY: Afternoon of a Faun: La Mer RAVEL: Daphnis and TCHAIKOVSKY: Piano Concerto No. 1 in B-flat Minor, Op. of Chloe Suite No. 2 ML 5397 MS 6077' with Eugene Istomtn, Piano. ML 5399 MS 60 r music.. THE SOUND OF GENIUS ON COLUMBIA MASTERWOR Ask your Columbia Records dealer for a complete catalog of Masterworks recordink r "Columbia" "Masterworks" 4) (i; Marcas Reg A orvrsion of Columbia Broadcasting System,

www.americanradiohistory.com Fiere, on a single record, are all the so- felicitous chamber music balance be- Peter Katin, piano; London Symphony natas for violin and piano that Schubert tween the two instruments on the Angel Orchestra, Sir Eugene Coossens, cond. wrote. As a matter of fact, with the ex- discs. After racing through the charming EVEREST LPBR 6036. LP. $4.98. ception of the Rondo Brillant, Op. 70, Sonatina No. 1 and dismissing it almost EVEREST SDBR 3036. SD. $5.98. and Fantasia in C, Op. 159, it contains as a trifle, Grumiaux and Castagnone all his chamber music for these two in- proceed to treat the remaining two son- It is possible to admire the unblurred struments. In this respect, it is quite a atinas and the slightly more ambitious extraresonant empty -hall sound captured bargain, for Johanna Martzy and Jean A Major Sonata with tenderness and care. here and to enjoy the widespread sep- Antonietti took two full Angel records for Martzy and Antonietti, on the other aration of the stereo version, but in fact their performances of the sonatas. That hand, are less hurried and less cavalier these engineering achievements detract matter taken care of, it remains a ques- about the first sonatina and considerably noticeably from the warmth and intimacy tion as to which is the preferable inter- more intense about their approach to the of Schumann's and Franck's music. pretation. other three works. Therefore, though I Again, Mr. Katin's playing of the Schu- As usual, Cr 'aux's tone is both revel in Grumiaux's tone and the econ- mann is faithful to the letter but a shade sweet and rich, but there is a bit too omy of Epic's package, I believe that cool and rational in spirit. Surprisingly, much reverberation in the piano tone the Angel discs give a more faithful pic- the Franck is touched with sentimental- ( the recording seems to have been made ture of the music. P.A. ity. Goossens and the orchestra collabo- in a room that was acoustically a trifle rate efficiently but with occasional ex- too live). Martzy's tone is a good deal SCHUMANN: Concerto for Piano and cesses of zeal, The LP disc, with the less ravishing than Grumiaux's, though it Orchestra, in A minor, Op. 54 same spacious acoustical effect, is better is very fine indeed, but there is a more }Franck: Variations symphoniques than the stereo because the ensemble has greater unity. R.E.

SCHUMANN: Sonata for Piano, in F sharp minor, Op. 11 -See Schubert: Sonata for Piano, in A minor, Op. 143. Greats fro,u ONION SCHUMANN: Symphony No. 1, in B 3 flat, Op. 38 ( "Spring "); Manfred, Op. 115: Overture "THE NUTCRACKER"- Cleveland Orchestra, George Szell, cond. EPIC BC 1039. SD. $5.98. THE PERFECT CHRISTMAS GIFT Szell and his orchestra bring famil- NlI;)i: i This scintillating score conducted by the world's their greatest interpreter of ballet music foscinates both iar virtues of logic and vitality to this adults and children. reading of the symphony. The lyricism of the Larghetto movement is projected ERNEST ANSERMET within a welcome rhythmic discipline; with the Suisse Romande Orchestra too insistent accents, with resultant mo- Stereo CSA 2203 Mono LI 3111.2 complete on two superb records' notony, are avoided in the Scherzo; and the final Allegro has the grazioso spirit marked on the score- indeed, the playing might even be called playful. On the other hand, the Manfred Overture is full A STIRRING EXPERIENCE - of a fine passionate energy. With its Franz A TREMENDOUS SOUND well -balanced stereo engineering, this re- These wonderful showpieces have never sounded cording can be recommended for its von Suppé so brilliant. Soltc breathes fire into special, admirable, and unspectacular the 125 musicians and an extra platoon of qualities. R.E. trumpets and horns. Just try the first bars of Light Cavalry or the end of Poet and Peasant! No one will ever dore soy "old" Vienna again!! SMETANA: My Country ( "Ma Vlast" ) GEORG 5OLTI conducting the Vienna Philharmonic Orchestra, Rafael Vienna Philharmonic Orchestra Kubelik, cond. Stereo CS 6146 Mono 11 3139 LONDON CSA 2202. Two SD. $9.96.

A GREAT NEW STAR ON THE Ma Vlast is a cycle of six symphonic poems, of which Vltava ( The Moldau) OPERA HORIZON - JOAN SUTHERLAND is extremely popular in this country From the land that gave the world Nellie Melt and From 's Meadows and comes a fantastic new soprano who has Forests gets an occasional hearing. The all Europe talking .. cycle as a whole is almost never given. The finest coloratura singing put on In its native Czechoslovakia, however, records in 25 years ... is far too modest.'" Ma Vlost is frequently performed in its "'Her singing is indeed marvelous." entirety. Arias from Lucia di Lammermoor, Ernani This is as Smetana wished it, for he I Vespri Siciliani and Linda de Chamounix designed the cycle to be played as a unit.

Stereo OS 251 I 1 Mc,,, 5515 There is an underlying theme represent- ing Vysehrad, the ruined castle on the London Leads The World Moldau, that is heard in two of the sym- phonic poems in addition to the one so titled; and Tábor and Blanfk comple- ment each other, and rightfully should ffrr ffss never be played separately. Then there

539 resl 2515 Street Ni a Yurh I N r Continued on page 104

102 HIGH FIDELITY MAGAZINE

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Berlioz: Symphonie Fantas- tique, Op. 14. Sir Eugene Goossens conducting the London Symphony Orchestra. LPBR 6037 SDBR 3037' Direct from 35mm agnetic film to Disc Only on Everest ... brilliant performances by the world's finest musicians are recorded on 35 mm magnetic film ... then transferred to the discs you hear. The result: great music in the most accurate monaural and stereo high fidelity yet achieved. For you -a revelation in sound. Stravinsky: Petrouchka. Orig- inal version. Complete. Sir EVEREST MAGNETIC FILM COMPARED WITH CONVENTIONAL TAPES Eugene Goossens, the Lon- don Symphony Orchestra. Everest's 35 mm magnetic film LPBR 6033 SOBR 3033' Everest sprocket -driven magnetic actual size film is much wider and five times thicker than conventional tapes. 1/2" stereo tape With it, Everest achieves: actual size the widest dynamic range ever recorded recording without "wow" or "flutter" W' tape elimination of print- through distortion actual and tape- stretch size Dorothy Collins -"Won't You Spend Christmas with Me." the lowest possible noise factor Timeless carols: "Noel," "Silent Night" and others. LPBR 5013 SDBR 1013'

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Tchaikovsky: Symphony No. 5 in E minor, Op. 64. Sir Mal- colm Sargent, the London EVEREST RECORDS Symphony Orchestra. Division of Belock Instrument Corp. LPBR 6039 SDBR 3039' *Stereo number

1)1 a 1 >ilSlt 19.59 10:3

www.americanradiohistory.com is Sárka, which contains some of the STRAUSS, RICHARD: Also Sprach Zara- with my installation of a new speaker most beautiful passages Smetana ever thustra, Op. 30 system for stereo which allows me to handle the largest sound intensities with penned. In other words, Ma Mast pre- Vienna Philharmonic Orchestra, Herbert ease. Blasting away with this perform- sents a rounded picture of Smetana's im- von Karajan, cond. and its ance at a much higher volume level pressions of his native country LONDON CS 6129. SD. $5.98. legends, and the two symphonic poems than most are likely to use, I found no that are more familiar to us take on new For review of this record, see p. 89. distortion in the recording, once I had meaning when heard in context. adjusted the playback curve to the char- Being Czech -born himself, Kubelik STRAUSS, RICHARD: Ein Heldenleben, acteristics of my fairly bright listening has an intense feeling for this music Op. 40 room. The effect was just about that of a which he communicates to the listener in live performance, a performance, more- a series of forceful and altogether con- London Symphony Orchestra, Leopold over, that avoids the excessive beefy vincing readings. The Vienna Philhar- Ludwig, cond. quality of some German conductors and monic, too, is in fine fettle, and the J EVEREST LPBR 6038. LP. $3.98. presents a hero who is youthful, muscu- sound engineers have provided luminous, - EVEREST SDBR 3038. SD. $4.98. lar, and full of vitality. evenly spread stereo reproduction. P.A. Monophonically the set is up to all its The first stereo disc of Heldenleben is competition, with the older Reiner edi- SMETANA: Quartet for Strings, No. 1, in going to be difficult to surpass. The per- tion the only serious challenger. Stereo, E minor ( "From My Life ") -See formance is an excellent one, and the however, adds so much for this music fine. Dvoiák: Quartet for Strings, No. 6, in engineering is extraordinarily that there is no real comparison between F, Op. 96 ("American"). The arrival of this record coincided the effect of this recording in the two forms. The album cover, incidentally, is as BCE fine a piece of pictorial satire as I have NOW seen in a long time. R.C.M.

TCHAIKOVSKY: Swan Lake, Op. 20 the Fabulous (excerpts) , violin; Philharmonia Orchestra, Efrem Kurtz, cond. Super Sound CAPITOL SG 7188. SD. $5.98. Mr. Menuhin gets featured billing on this recording and more prominence from System of... the engineers than his share in the pro- ceedings deserves. He plays the solo violin passages for the Pas de deux in Act I (usually found in Act III ), the Pas de deux in Act II, and a supplemen- tal Russian Dance ( not usually per- formed today). Beautiful and important though these solos arc, they should not sound, as they do here, as if the violin- ist had stepped onstage to take over from the dancers. Furthermore, Mr. Menuhin's first solo is not always precise in pitch and is replete with large -scale rhythmic liberties. The second solo goes better and on its own terms has extremely lovely moments; the last goes best of all and enjoys a flashy cadenza and finale. In CUBA LIBRE THE MAGIC STRINGS STARDUST SAMBA OPERA FANTASY is expert recording, The famous "Romanticos de Cuba The worlds most fabulous orchestra. South America's Greatest Dance Featuring the "Musidisc Symphony all other ways this an Orchestra' in an exciting perform. Two separate and complete 40 violin Band - The Pan American Orches- Orchestra' ... 100 musicians per- for Mr. Kurtz is an old hand at ballet ance of well-known Central American sections, plus 16 brass instruments tra, playing favorite American and forming magnificently the most of it contains hits. 50 musicians in this great add to the superb performance of Latin standards in authentic Brazil- beautiful famous opera arias. A de- conducting; and, course, dance album. "The Magic Strings ". ian beat. 20 "caliente' mixed voices light to opera fans and music lovers many more of the standard excerpts than M-6001 MS-1600I' M-6002 MS- 16002' add color, warmth, excitement, to of all ages. each selection. Mó004 MS-16004' those mentioned above. In any case, Mr. M6003 MS16003' Menuhin's presence gives the disc cu- R.E. ITALY TODAY LOOK FOR THESE riosity value. NEW FEATURES... Fantasia for Glass llar- The MUSIDISC TOMASCHEK: Super Sound System monica, in E minor -See Naumann: Andante and Gracioso for Glass lar- The MUSIDISC monica, in C. TI Fr, n!`I Super DeLuxe Package ..+aryra The MUSIDISC ITALY TODAY Audio Laboratory Control LATIN MAGIC WEBER: Overtures One of the most spectacular albums MUSIDISC The second "Romanticos de Cuba ever recorded,featuring -The Roman The Exclusive Orchestra" L P, this time presenting Euryanthe, Der Beherrscher der Geister, Strings', playing modern hits of Outstanding Orchestras 24 international standards in a ro- Abu Hassan, Jubel, Der Freischiitz, Pre- Italy. mantic latin style. M-600S MS-16005' Monaural-53.98 'Stereo -$4.98 M-600$ MS16008' clam; Oberon.

The Fabulous NOT BOOKER PITTMAN With "Et Cubango", the po ular Philharmonia Orchestra, Wolfgang Sa- The greatest soprano sax in the South American movie and nigh club wallisch, cond. world, featuring "New Orleans Jazz" . singer, making his debut in the U.S. The Super Sound System - with his Cha Cha Orchestra. ANGEL S 35754. SD. $5.98. M6006 MS 16006 M-6001 MS 16001' For sheer quantity, this collection out- -work programs by W_. i..d /NTfi9NAT/ONA1 /NC. does the earlier six 666 Fifth Avenue New York 19, N. Y. Continued on page 106

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com ji qt ad 'Z /ON6 SOUND aeeyzaa tocz,d/ STER)EOPHON\IC]

RI Christmas from H

R410 CHRISTMAS FROM HAWAII - Yuletide A fresh South Sea slant on the Y CHRISTMAS Ge rge 1705 MUSIC FOR CHRISTMAS -Re in Kaiser's Aluminum, season. Recorded s the Mighty Wur tier ipe carded in San Francisco's Grace Cathe. Dome, Honolulu. A unique Xmas L.P. dral. Hear sound recorded in its purest r a festive mood ' th' the tive season. f arm. HAVE ORGAN 4 ma GEORGE WRIGHT AVEL

R721 HAVE ORGAN, WILL TRAVEL -Exciting,: , Pd - George Wright clowns thru tunes of rh rmonies by The From R815 BAHIA New, exciting exotic 14 countries in his own inimitable style Ttheir Tahatian show at the Stardust sounds from t fantastic creativeness big beautiful sound of the 0 -it's the Hotel, Las Vegas. of Hawaii won r boy, Arthur Lyman re nighty Wurlitxer Organ. corded in Kai is Aluminum Dome with big gorgeous ound.

rin. '1'1)11 \ l'll'F:IIS R418 CHRISTMAS GREETINGS - R806 TABOO -The fabulous sounds of R419 BEATSVILLE -Words and sound R608 BIG DIXIE -Harry Zimmern-an's Fresh young voices bring you the holi- Arthur Lyman's Hawaiian Village Group from The World of Beat as put down by big band plays the biggest, wildest, Dixie day sound of old Christmas favorites - recorded in Henry J, Kaiser's Aluminum one of today's leading exponents of cot and Blues you've ever heard. Sensat,onat as much a part of Christmas as the Dome, Honolulu. fee-house philosophy. Like, dig this, man. sounding brass! smell of pine cones -the sweet spirited sound of carolers. v Available at record shops and HIFI equipment dealers everywhere

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DECEMBER 1959 105

www.americanradiohistory.com Ansermet for London, Scherchen for , soprano; Philharmonia Westminster, and various conductors for RECITALS AND Chorus and Orchestra, Nicola Rescigno, Decca. And for sonic excellence, the ex- I cond. tremely wide dynamic range, natural MISCELLANY ANGEL S 35764. SD. $5.98. but grandly broad stereoism, perfect transparency. and warm yet solid sonor- If Maria Callas was heard in tense, ities here would be hard to match, let tremulous, even squally voice at least alone surpass. My only real criticism is half of the time in her recent collection MARIA CALLAS: "Mad Scenes" that Sawallisch seems determined to out - of "Verdi Heroines," it is cause for all the Toscanini Toscanini: he comes quite Donizetti: Anna Bolena: Piangete voi? more rejoicing now to report, as one of close to doing so, but too often exagger- ... Al dolce guidami castel natio . . . the lady's earlier and intemperate ad- ates his pace and dynamic contrasts, and Coppia iniqua. Thomas: Hamlet: A vos mirers, that she sings these "Mad is generally so vehement that the scores' jeux . . . Partagez -vous mes fleurs . Scenes," each and all, splendorously. On more brilliant effects overpower their ro- Et maintenant écoutez ma chanson! Bel- prior discs La Callas has characterized mantic lyricism. Nevertheless, the pro- lini: Il Pirata: Oh! s'io potessi ... Col for posterity no fewer than seven of 013- gram as a whole is impressively dramatic. sorriso d'innocenza ... Oh! sole, ti era's more spectacular victims of lunacy, R.D.D. vela. and three more driven beyond the pur- lieus of sweet reason. It strikes me forci- bly, however, listening to this new col- lection of unhappy ladies, that none be- fore has been so nobly deranged as (or for that matter better vocalized than ) Anna Bolena. None, surely, has suffered affliction more prettily embroidered than Ophélie in Ambroise Thomas's elsewhere tepid Hamlet. And none has lost her senses- Boito's Margherita possibly ex- cepted -more limpidly than gentle Imo- gene of Bellini's Pirata. The final scene of Anna Bolena, scored for mad soprano, concerned chorus, and consoling comprimarie, follows a scheme of recitative, aria, quartet, and caba- letta. Its harmonic vocabulary is unusu- ally more inventive than our generation has come to expect from Donizetti, with musical pathos proportionately intensi- fied. Notwithstanding, " Coppia iniqua" is Stereo Recorder Monaural Recorder a virtuosa's test course through a series Sound on Sound Recorder of ascending full -voice trills to thickets Plays Half Track of hemidemisemiquavers up and down and Full Track Monaural three octaves. The Hamlet music, in con- trast, merely polishes a borrowed ex- 2 Track and pressive device without involving so wide 4 Track Stereo a range of dramatic inflections. A killer it can be technically, however, -happily from not once the case here. Most lyrical is $495 the Bellini cavatina, followed by a poign- ant outcry, this introduced by a thwacked tam -tam and solemn chorus. To discuss in detail the Callas sound, NOW... for the first time... a vocal method, expressive agility, and modestly priced professional theatrical intuition would he, at this late date, pedantic. Suffice it to say that all stereo recorder that has exciting features found only in the finest the familiar beauties, and the few famil- instruments. You won't believe it until you see it! iar lapses from classroom grace, are to be heard in pristine estate, at the full FEATHER TOUCH PUSH -BUTTON OPERATION 4 HEADS, INCLUDING SEPA- service of interpretative penetration. Nic- RATE 2 -TRACK AND 4 -TRACK PLAYBACK HEADS 3 MOTORS, INCLUDING ola Rescigno, who appeared content merely to accompany Madame's Verdi HYSTERESIS DRIVE MECHANICAL FLUTTER FILTER DYNAMICALLY BAL- scenes, here conducts -in repertory more ANCED CAPSTAN FLYWHEEL INSTANT SOURCE /TAPE MONITORING TWO congenial to his temperamental equip- RECORD /PLAYBACK PREAMPLIFIERS INSTANT START /STOP AUTOMATIC ment-with force, spirit, and much sty- CUT -OFF SWITCH 33/4 -71/2 IPS SPEEDS AUTOMATIC TAPE LIFTERS TAPE listic awareness. The Philharmonia Or- chestra, as a collaborative entity, is keen- INDICATOR MICROPHONE EACH LOCATION SEPARATE /LINE INPUTS, ly responsive, especially solo flute and CHANNEL. oboe. A chorus, unspecified but assumed r 1 to be Walter Legge's Philharmonia, as- AMERICAN ELECTRONICS, INC. sists as ably. And if the four additional See the phenomenal ' AMERICAN CONCERTONE DIVISION solo recruits heard in Anna Bolena are Dept. HF-12 59449 West Jefferson Boulevard, uniformly substandard, at least there is CONCERTONE 505 Culver City. California uniformity of a kind. at your dealer, or send Gentlemen: Please send your illustrated brochure on the new CONCERTONE Angel's stereo in this instance is of the coupon for a 505 STEREO RECORDER, and the name of nearest dealer. greater depth than lateral spread, but descriptive brochure and otherwise quite the most satisfactory re- Name the name of your cording to date of Maria Callas. Surfaces Address were generally quiet with nearest dealer. on my copy City Zone State L Continued on page 109

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www.americanradiohistory.com This Christmas glue high fidelity to your Very Special Friends

Much as we enjoy welcoming new subscribers, we don't suggest you choose HIGH FIDELITY for everyone on your gift list. Reserve HIGH FIDELITY for special friends and relatives of all ages who share with you the exaltation that comes from hearing memorable music peerlessly performed, recorded and reproduced at home. And, if they are adventurous souls eager to broaden their musical horizons, so much the better. They, most of all, will appreciate your gift of HIGH FIDELITY ... they, most of all, will thank you not only on December 25, but every month of 1960. Use the handy envelope bound in this issue to order Christmas gifts of HIGH FIDELITY. The first sub- scription costs $6. -the second $5. -and each addi- tional gift only $4. Your own subscription -new or renewal -may be included at these special rates. Act now to enable us to give your order the careful attention it deserves. If you wish, we'll send hand- some gift announcement cards to your friends. give high fidelity for a Merry Christmas and a Hi -Fi New Year

THE PUBLISHING HOUSE, GREAT BARRINGTON. MASS.

DECEMBER 1959 1''

www.americanradiohistory.com you give so much extra with... RCA VICTOR albums

:he joyful gift that keeps on giving!

www.americanradiohistory.com no audible distortion except on the wid- est range equipment. ROGER DETTMEn FOR THE

GIVE EXTRA GIUSEPPE DI STEFANO: Operatic LUXURY THIS YEAR! l Recital Lavish special packaging...exchtci re Giuseppe di Stefano, tenor; Orchestra of STEREOPHONIC Santa Cecilia ( Rome) , new "Miracle Surface ' on Living Stereo Accademia di features! Zurich Tonhalle Orchestra, Franco Pa- records...other unprecedented tane, cond. LONDON OS 25081. SD. $5.98. . SANTA! De Luxe Special Editions : beautifully designed albums, many with special The tenor is certainly in better voice on bonus enclosures, all at no extra cost! this recording than on the recent Forza, and the program has been carefully before - FOR THE VERY FIRST TIME. 50 never- chosen to show him at his best. All the 16 pages released Glenn Miller performances, same, his work here does nothing to alter of Miller history with full -color illustrations. impression that he is getting deeper Cloth- bound, 3 LP's (monaural only): $14.98. my and deeper into serious vocal trouble. AT CARNEGIE HALL. All the BELAFONTE The high voice is touch- and -go -he on -stage excitement of Belafonte's triumphant Carnegie Hall concert. All the Belafonte fa- clamps himself to the note, holds on for vorites! 2 LP's: $9.98. Stereo: $11.98. dear life . . . and the longer he holds, boring it becomes, since it is a AN EVENING WITH LERNER & LOEWE. the more Robert Merrill, Jan Peerce, Jane Powell, Phil dead sound to start with. Above E, all Harris, with orchestra and chorus, in 30 great vowels become variants of a flat "ah" or show . 2 LP's: $7.98. Stereo: $9.98. "eh "; he seems unable to sing the sound EXOTICA III VENICE. Orch. of Covent "o" in the upper register. MARTIN DENNY Garden, conducting. See -through All this is very much too bad, for his More of the sensuous, provoc- text and ative sounds that have made grille cover. Gala tour in music, is an extraordinary natural gift, and ev- Martin Denny "Mr. Exotica:' color photos. $4.98. Stereo: $5.98. ery selection on this disc contains mo- LST 7116* THE RUBINSTEIN STORY. Artur Rubinstein ments of unusual beauty. Surprisingly, with Symphony of the Air, Alfred Wallenstein the French side makes better listening conducting. Chopin Concerto No. 2. Profile than the Italian. The Manor' excerpt of- by Clifton Fadiman. $4.98. Stereo: $5.98. fers a melting half- voice, and "Pourquoi WORDS AND MUSIC WITH THE AMES me réveiller?" is feelingly sung. Of the BROTHERS. Sing along with the nation's top Italian numbers I like best the "E luce- vocal quartet. Words and music included. van le stelle" and, from , "Non $3.98. Stereo: $4.98. Other song book albums: piangere, Liù" and "Nessun dorma! " - HUM AND STRUM ALONG WITH CHET though Di Stefano's final "Vincero!" in ATKINS; STEPHEN FOSTER SONG BOOK the latter is a cliff hanger. The accom- (The Robert Shaw Chorale). paniments are appropriately red -blooded BEETHOVEN'S NINTH SYMPHONY. Charles or delicate, as the case may be, and the Munch, Boston Symphony, with Price, For- sound lush. C.L.O. rester, Poleri, Tozzi. Illustrated text. Also, FANTASTI CA Symphony No.8.2 LP's: $9.98. Stereo: $11.98. RUSS GARCIA ORCH. Complete in "Opera Box." Warren, MARCEL GRANDJANY: "Introduction Out of this world" sounds -a MACBETH. musical /electronic stereo Rysanek. Libretto, other features. 3 LP's: and Allegro" treat! $14.98. Stereo: $17.98. Other "Opera Boxes": LST 7005' THE MARRIAGE OF FIGARO; THE FORCE Ravel: Introduction and Allegro for OF DESTINY; THE BARBER OF SEVILLE. Harp, Flute, Clarinet, and String Quar- tet. Debussy: Danse sacrée et Danse Soria Series: Luxurious cloth -bound profane. Grandjany: The Children's library editions, with special texts Hour; Rhapsodie pour la Harpe. Roger - and Art Book illustrations. Ducasse: Barcarolle. HANDEL: MESSIAH. Sir Thomas Beecham, Marcel Crandjany, harp; Arthur Gleg- Royal Philharmonic Orch. and Chorus. Mag- horn, flute; Hugo Raimondi, clarinet; nificent Skira color art reproductions. 4 LP's: Hollywood String Quartet; Concert Arts $21.98. Stereo: $25.98. String Orchestra, Felix Slatkin, cond. ROYAL BALLET GALA PERFORMANCES., CAPITOL P 8492. LP. $4.98. Ernest Ansermet, Royal Opera House Orch. CAPITOL SP 8492. SD. $5.98. of Covent Garden. Excerpts from eight bal- A THINKING MAN'S BAND lets. 24 -page book with illustrations in color; work receives an elegantly Ravel's lovely SI ZENTNER gravure -printed photographs. 2 LP's: $11.98. handsome performance at the hands of Stereo: $13.98. he best of the new bands in Mr. Crandjany and his colleagues, and it arrangements swingingly VIENNA PHILHARMONIC FESTIVAL. sounds almost breathtakingly sensuous as suited for stereo. Herbert von Karajan conducting. Mozart's the stereo version gives a specific place to LST 7133' 40th Symphony, Haydn's "London" Symphony; the individual and beautiful timbres of 7th Symphony; Brahms' 1st Sym- Beethoven's good *Also Available in Monaural phony; The Vienna of Johann Strauss. Im- each instrument. An equally per- ported 28 -page book with color plates of fa- formance of the Debussy dances cannot mous paintings, 70 photos, text by Joseph hide their essential dullness. The other LRP- Monaural Wechsberg. 4 LP's: $21.98. Stereo: $25.98. works, all harp solos, give Mr. Grand - LST- Stereo a H ARCHIBALD MACLEISH : "J. B." Original jany's artistic and technical resources WRITE FOR FREE CATALOG: DEPT. -12 Cast Recording of Pulitzer Prize play. Book workout. The artist wrote his six -part, designed by Leo Lionni features photos of Fauré -like Children's Hour suite for his Broadway production, engravings by William pupils, his Rhapsodie to exploit the color- LJ L5 LS 1S V-¡ Blake. 2 LP's: $11.98. Stereo: $13.98. istic capacities of his instrument; with the IBELS Manufacturer's Nationally Advertised Prices former he creates delight, with the lat- RECORDS ter virtuosic brilliance. Even for a solo L 0 6 A N O E L E B . C A L I F O R N I A RCA_AAÇTOR harp, stereo pays a dividend here by DISERIau EED IN CANADA e MY LONDON RECORDS OF CANADA LTD.. DECEMBER 1959 109

www.americanradiohistory.com Adr,Ih"nnl giving the instrument more depth of tone than is usual. On its own terms, the LP version has ideal clarity and bal- Records are better than you think ance, too. R.E. FRANCESCO MARCONI: Recital With the New Dynaco Stereodyne II Your Records Francesco Marconi, tenor; orchestra; pi- (Both Stereophonic and Monophonic) Will Sound Better Than Ever ano. Rococo R 22. LP. $5.95.

Much of the criticism which has We suggest that you ask your hi fi I'm not sure how many collectors can been aimed at disc recordings, and dealer to demonstrate the Stereodyne tolerate the steady din made by these especially stereophonic discs, has against any other. Listen old records for the sake of listening to the to loud eminent nineteenth- century tenor, but blamed the records for buzzing, passages, to soprano vocalist, to those who persevere will hear some stun- breakup, shattering, and similar un- massed string sound. All of these are ning singing, as well as some liberal re- pleasant effects. However, the re- tests of tracking ability. Listen to writing of the music in the best ( or cording art is far ahead of the repro- percussive instruments like cymbal worst) Golden-Age fashion. ducing techniques. The voice has a silken quality and a Records are far and triangle -a test of transient wonderfully free ring at the crown. Mar- better than most people realize - response. Listen to your old record- coni could apparently do just about any- the limitation in quality has been in ings - you will find them better than thing he wished with it, and his ver- the phonograph cartridge which ever. Listen to a stereo disc you sions of most of the pieces here will stand - beside any. The aria from gouges and scrapes the record while will hear the full of Rubinstein's separation which seldom -heard Nerone is a superb one, producing music mixed with aggra- the record is capable. (The Stereo - and Marconi's partners in the duets from vating distortion. dyne has separation not only at 1000 I Puritani, Forza, etc. are all of interest cycles but over the entire audio band.) on their own merits. Verdi would be edi- fied by the improvements After you have listened, we think that made upon his "Questa o quella," and Donizetti by the you will agree that the Stereodyne is corrections made in the tempos of his the cartridge for you - the cartridge "Tu the a Dio." A novelty is the record- that helps your records sound better ing of Masini's I Mulattieri with the leg- and last longer. endary baritone Cotogni; what it sound- ed like in the studio (or, more likely, the warehouse) is impossible to judge, but The Stereodyne II is available the noise that emerges is a remarkably from your dealer for $29.95 net. You sustained caterwauling, punctuated by can also get the same basic cartridge cries of what seems to be "Hurry!" Fortunately, there are now new combined with a dynamically bal- C.L.O. design techniques for cartridges which anced, gimbal -pivoted, modernly minimize the distortion produced in styled tone arm. This is the unitized MORMON TABERNACLE CHOIR: playing records. The Dynaco Stereo - "The Spirit of Christmas" dyne II, made by Bang & Olufsen of Mormon Tabernacle Choir, Richard P. Denmark, is a unique push pull design Condie, cond. ,r_ COLUMBIA ML 5423. (with 8 poles and 4 coils) which per- LP. $4.98. COLUMBIA MS 6100. SD. $5.98. mits the lowest distortion and the most natural and translucent sound. Easily the most impressive of the new Christmas recordings I have yet heard this season is this superb concert of carols The Stereodyne II is highly com- by the Salt Lake City choristers, a well - pliant in all directions. This com- balanced program incorporating a few pliance and its low mass moving of the old favorites ( Silent Night, Adeste Fideles, element permit very etc.) plus a larger number of light stylus lesser -known carols, some of them ex- pressure, greatly reducing wear on tremely obscure. It is the latter that are your records. Even the loudest pas- the real delights of the record. The beau- sages will be reproduced without tiful Pergolesi anthem Glory to God in the Highest, sputtering or breakup, and the music the haunting Catalan song of the Nativity The Three Kings, the remains smooth and pleasant from unusual Bethlehem Night of Arthur War - first to last groove. TA-12 arm -cartridge which sells for rell, and Gustav Holst's superbly con- structed vocal fantasia Christmas Day are $49.95. Either way you will get the particularly noteworthy. The intricacies It is hardly necessary to mention finest sound possible from your rec- of the vocal lines In some of these works that the Stereodyne II has very wide ords - high fidelity sound which are handled with assurance and under- frequency response, plenty of output soothes the ear and recreates the standing, and the singing throughout is both for any preamp, no stimulating and moving. In every hum pickup, musical delights of the original sound. way this is a very beautiful record. convenient mounting facilities, and Columbia has achieved an extremely of course you can change the stylus If you want literature or specifica- wide spread of sound in the stereo ver- yourself without even demounting tions on the Stereodyne just drop a sion, but one that also tends to over - the cartridge from the arm. In every card to Dynaco Inc., 3916 Powelton brighten the quality of the female choir, particularly the sopranos. This is much technical specification it is "tops." Ave., Philadelphia 4, Pa. less noticeable in the monophonic ver- sion, which I find preferable. J.F.I.

110 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com "NEAPOLITAN SONGS BY THE IM- EZIO PINZA: "Ezio Pinza Sings Italian MORTALS" Songs" Aureliano Pertile: Nun me sceta; Musica Sarti: Lungi dal caro bene. Buononcini: DYNAKITS Volpi: La Sere- Pupille nere. A. Scarlatti: Chi vuole in- proibita. Giacomo Lauri- Look Best Test Best Sound Best nata (Tosti); Luna d'estate (Tosti). namorarsi. Legrenzi: Che fiero costume. - - Tino Pattiera: Mamma mia che vo sape. Giordani: Caro mio ben. Falconieri: O Fernando de Lucia: Aprile ( Tosti); bellissimi capelli. Torelli: Tu lo sai. Carmela. : La mia can- Paisiello: Nel cor piu non mi sento. zone ( Tosti) ; Non t'amo più. Tito Monteverdi: L'Incoronazione di Poppea: NEW STEREO PREAMP KIT Schipa: Santa Lucia; Marechiare (Tos- Oblivion soave; Arianna: Lasciatemi ti ). Nino Piccaluga: L'ultima canzone morire. Cavalli: Donzelle, fuggite. Han- ( Tosti ). Enzo de Muro Lomanto: Core del: Floridante: Alma mia. 'ngrato. Alessandro Bond: Nina. Giovan- Ezio Pinza, bass; Fritz Kitzinger, piano. ni Zenatello: Ninetta. RCA CAMDEN CAL 539. LP. $1.98. ETERNA 728. LP. $5.95. Unlike Camden's previous Pinza disc of this release does not There is enough high -grade vocalism on operatic excerpts, in vintage this release to justify its existence for bring us the singer's voice those interested in the songs as tenor ve- condition, and arie antiche were not the his hicles, and not as romantic dinner mu- strongest part of his repertory. Here of on per- sic. The best singing comes from De Lu- voice betrays hints the hootiness * The unique "nu listortion' demonstrat- top and throatiness below that set in dur- formance initiated by the famous cia and Caruso, the former DYNAKIT Preamp. ing what perfect vocal control and ing the last years of his career, and de- he summons, he seems aristocratic taste can do with the simplest spite the rich tone *7 stereo inputs. DC heaters. material, and the latter bringing exuber- (-10 be reaching for effect. Lungi dal caro built -in power supply, DYNA's ant splendor to both his songs. Bonci and e bene and Bellissimi capelli turn out exclusive "blend" control. well, and Pinza's dark, relaxed sound is De Muro Lomanto also handle their ma- 1 \ Highest gain. lowest noise, great - -Volpi is shown to çminently suited to Oblivion soave, * terial perfectly. Lauri est channel separation, and the ( is which is in any case a supremely beauti- advantage in La Serenata this not easiest to use. the more familiar song beginning "Vola, ful piece of musical sculpture; but many of these songs sound rather silly if not o serenata . . . ), but his Luna d'estate * The ultimate in simplicity - 2 is a poor example of his work, and both sung by a voice and in a style appro- preassembled printed circuit Schipa and Zenatello have been heard to priate to them. Kitzinger's accompani- boards cut assembly time to 8 better effect. The others are all worthy ments are sufficient, but only fairly well hours. recorded. C.L.O. representatives of the tradition, Pattiera * Complete with cover $59.95 net. making an especially engaging contribu- tion. C.L.O. HANS RICHTER -HAASER: "The Ro- mance of the Piano" NEW STEREO 70 KIT Hans Richter -Haaser, piano. NETHERLANDS CHAMBER CHOIR: Epic LC 3620. LP. $4.98. "The Birth of Christ" Coincident with Mr. Richter -Haaser's Choir, Felix de Netherlands Chamber first American concert appearances this / Nobel, cond. fall, Epic has issued this curious disc V `+ LP. $4.98. Eric LC 3814. devoted to popular "encore" pieces and Epic BC 1041. SD. $5.98. the Beethoven Sonata No. 24, Op. 78. Whether or not the report is true that This disc provides a beautiful selection seventeen Renaissance motets for the this miscellany was assembled from Eu- of of the Christmas season. They are grouped un- ropean recordings another day, "The Birth of image emerges therefrom of an intelli- der four heads -"Advent," pian- Christ," "The Good Tidings to the Shep- gent, technically adroit, musicianly herds," and "Rejoicing" -and eleven ist, consistent with, but not as remark- who is 35 watt super- quality ampli- composers are represented: Lassus able as the Richter-Haaser so- *Dual loist in Angel's current release of Brahms's fiers-70 watt continuous mon- ( three pieces ); Palestrina, Sweelinck, B flat Piano Concerto. Warmth and ophonic rating -160 watt peak. Handl or Callus, and Praetorius ( two in these clear- each ); and Victoria, Croce, Willaert, G. poetry have little place *All critical parts on prefabricated Gabrieli, Hassler, and Clemens non headed interpretations of nineteenth- printed circuit assembly reduces century works; for this reason the read- Papa ( one each ) . There is considerable wiring time to five hours. from the two -part ing of the brisk little Beethoven Sonata variety in texture, *Premium quality parts conserva- Puer natus in Bethlehem of Praetorius gives the most satisfaction. The pianist also elicits considerable charm in Grieg's tively operated permit one year to the eight -part O Jesu mi dukissime guarantee. of Gabrieli, but the predominant mood Vanishing Days (Op. 57, No. 1) and Day Troldhaugen. Clean. is naturally one of rejoicing. The listener Wedding at *1'ncompromised design for finest of tone. R.E. is therefore likely to find more enjoy- natural recording the piano performance- usable with all ment in playing two or three of these speakers. pieces at a time than the whole thing HERBERT VON KARAJAN: "Vienna *Only $99.95 net including all at one sitting, but wherever he digs into Philharmonic Festival" parts. instructions. and protective this disc he will strike gold. cover. The expert Netherlands Chamber Haydn: Symphony No. 104, in D. Mo- Choir sings with its accustomed verve, zart: Symphony No. 40, in G, K.550. Beethoven: Symphony No. 7, in A, Op. Available from leading Hi -Fi dealers everywhere. fine tone, excellent balance, and gener- Descriptive brochure available on request. 1, in C ally good intonation. The recording in 92. Brahms: Symphony No. Slightly higher in West both versions is first -rate, though more minor, Op. 68. Johann Strauss, 11: Over- advantage, it seems to me, could have ture to Die Fledermaus; Overture to been taken of stereo, as in the Gabrieli Der Zigeunerbaron; Tales from the piece for double chorus, where the ob- DYNACO, INC. vious separation is not made. N.B. Continued on page 115 Dept. HF, 3916 Powelton Ave., Phila. 4, Pa.

DECEMBER 1959

www.americanradiohistory.com , *Behold! Three bright spots from Decca ... by two brilliant Americans.* *First, on a seasonal note: A CHRISTMAS FESTIVAL with LEROY ANDERSON.

(DL 8925 DL 78925* ) Christmases past and present glow brightly in Mr. Anderson's four suites of carols.

-f We suspect they're the most memorable celebration 1"-\ \ of Christmas you'll hear for some time. ***Second:

LEROY ANDERSON CONDUCTS ( you guessed it) LEROY ANDERSON. (DL 8865 DL 78865 *) Here is the composer -crisp and lively -with a galaxy of new and old favorites. "Blue Tango," "The Typewriter," "Sleigh Ride" and such, all newly recorded, stereo and monaural. -* * And last, but by no means least: THE GERSHWIN YEARS -a de luxe, 3-record memorial

to a rare genius, that has set the critics on their ears. (DXZ 160 DXSZ 160* ) Director George Bassman, a full orchestra, chorus and three radiant singers- Paula Stewart, Richard Hayes, Lynn Roberts -join forces to produce three hours of magnificent music. The definitive Gershwin album, if we do say so -from the first published Gershwin song to the last, with an Alpine range of high spots in between. Handsomely boxed; with a complete biography and pictorial history; a must for your library or the Christmas library of a friend (if you have a friend who deserves such splendid attention) .* , * We might add that Decca's engineers take special pride in all the above. On your multi- speaker, 3 -D stereo system or the old portable in the garage, our three "bright spots" will sound superb. The music is So is f there. that extra "something " -stereo or monaural. *Stereo number

DECCA RECORDS A NEW WORLD of SOUND® 112 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com FOUR ALBUMS OF UNUSUAL INTEREST

se4111 ,1

Karl Böhm conducts ler Rosentavalier Richiud Strauss's mzsterpiece, newly recorded in Europe by Deutsche Grammophor. Irmgzrl Seefried, Marianne Schect. Rita Streich, Kurt Bonnie, De tri:h Fischer-Dieskau. Chores of the State Opera, Dressen; The Saxon State Orchstra, Dresden. tart Bohm conductor Full libretto. DGMR 30. Stereo DGSR 7301

i

Eugen Jochum: Beethoven Symphonies No. 1 & 8. The Bavarian Radio Symphony; the Berlin Philharmonic. DGM 12025- Stereo DGS 712025 Il 1"sSY.I.L IqiF:RLI\ t jxi\IN:L IHLL )1 ..._.

Russell Oberlin, Countertenor. ...n.nn rill .1 Rare and familiar Handel Arias. Albert Fuller, harpsichord. The Baroque Chamber Orch. Thomas Dunn, conductor. Dl. 9407- Stereo DL 79407

g1CIylh:hZ7 Toshiya Eto, Violin. Sonatas by Tartini, Vivaldi and Corelli. With Vladimir Sokoloff, piano. DL 10014- Stereo DL 710014

ceKrY(: t'NIe.Y1. J,r. ta. I,11,1,c .a atur +t.,c inNA

"/rlil/,rN/. co,

(:II(1'i\N11T'LEs Fischer- Dieskau sings Don Giovanni Ruth 4 definitive. new version of Mozart's 'Dona' -ecordac n Slenczynska, Piano. Chopin Waltzes- complete. Fischer -Dieskau, Europe by Deutsche Grammophon. DL 10017 -Stereo DL 710017 Sena Jurrnac. . Irmgard Seemed Ernst Deutsche 1-afliger titers. The Berlin Radio Syrrphory. the Grammophon recording RIAS Chamber Choir. Ferenc Fricsay, :onducbr. Full libretk. DGMO 372 S er_o DGSO :33:

DECCA RECORDS Gold Label s A New World of Sounds

DECEMBER 1959 11:3

www.americanradiohistory.com The Elues Pete Foun- i tain. The man and his cla, met wail "Lonesome Roac," "Memphis Slues " and many more tunes. old and new. yXIIcù CRL 57284/CRL 757284 p

Heavenly lover Teresa Brewer. Miss Brewer is out -of-this -world again with a new batch of hits. Heavenly, indeed! CRI 57297/CRL 757297' .® Pete Fountain's New Or- leans. Mr. New Orleans' 2fet Jazz himself swings away, putting tradition BEAT or., back in the South with his new renditions. h-. CRL 57282/CRL 757282' 4°'

BIRY 4: WIIlIAMS it' i I.IIRE SISTERS you always l l Half Sweet, Half Beat Billy Wil- liams. The right combination for 41.21> just about anything. Billy in raz "Goodnight Irene," "I Wonder." Others.CRL 57251/CRL 757251'

Ma- You Always McGuire Sisters. Warmth and

perect blending . . . impeccable harmony showcased in an array of popular tules. Song book The Three CRL 57296/CR_ 757296' Nonsense Stooges. The zaniest screwballs of the century in a mad album of P: no Song Book Movie musical buffoonery. Themes. Liberace. Classics CRL 57289/CRL 757289' from great navies, in the one- and -only style. For Christmas -let happy sounds CRL 57292;CRL 757292* be everywhere. Give (and treat yourself to) the latest recordings of your favorite performers on Coral. They're all here ... with new records new sounds ... new tunes plus a few old "greats." Monaural The Newport Youth Band, and stereo for the asking. Marstall Brown. Youth -yours and musician:hip in the (And giving.) year. ;an album ó the The Fiftieth State Charles Bud CRI 57298 /CTRL 757298 Dant and his Orch. Songs from (and in tribute to) the newest member. Exotic Hawaiian color CRL 57270/CRL 757270' Till Voices of the 20th s.s Ceitury- -Henry Fonda, nar- rator. (De luxe set) Verbal The UNITED NAIS SINGERS history by the voices that Folk made it. Willkie, Barnum, Song.' Churchill, La Guardia and From many others. CRL 57308 Around The World THE VOICES

Folk Songs From Arourd Swing Song Book Les Brown the World -The U.N. Sing- and his Band of Renown in a ers. De luxe set) World fine group of standards. "Excit- harmony in action. Singers ing" is the word for them all. 8 songs from everywherz. CRL 57300 /CRL 757300' CRL 57301 /CRL 757301 Stereo number

HIGH FIDELITY NI \i, t /I\I

www.americanradiohistory.com 11, Vienna Woods; Annen -Polka; Schnell- Some of this impersonal effect can be polka; Auf der Jagd. Josef Strauss: traced to insufficient dynamic and rhyth- SPOKEN WORD Delirien Waltz. mic variety, some to insufficient subtlety THE in phrasing. Still, the young guitarist's Vienna Philharmonic Orchestra, Herbert musical and technical exactitude is rare von Karajan, cond. and has its own value. The Bach suite is RCA VICTOR Four SD. $25.98. correctly handled in terms of accent and WILLIAM SHAKESPEARE: "Ages of For a feature review of this album, see line, although it tends to plod along, and Man" rest of the music is appealing and p. 89. the read by Sir John Gielgud. unhackneyed. The variations by John W. Excerpts COLUMBIA OL 5390. LP. $4.98. Duarte, another of Mr. Williams' teach- Y LOVRO VON MATACIC: "Russian Pro- ers, were written for the younger man. gram" Colorful and brilliant, they elicit the best WILLIAM SHAKESPEARE: Coriolanus; Borodin: Prince Igor: Overture; Prelude, playing on this disc, and quite striking Julius Caesar; Othello; Richard II Act III (Polovtsi March); Polovtsian that best is. The exceptionally intimate Dances, Act II. Mussorgsky: Fantasia: recording emphasizes the extra little Complete plays recorded by past and Night on the Bare Mountain. Rimsky- clicking sounds that go with guitar play- present members of the Marlowe Society Korsakov: Easter Overture, Op. 36 ing, but they do not become really dis- of the University of Cambridge, Eng- Rylands, director. ( "Grande Pâque Russe"). turbing. R.E. land; George Philharmonia Orchestra, Lovro von Ma- tacic, cond. ANGEL. S 35768. SD. $5.98. For sonic liveness and spaciousness, ex- tremely wide dynamic range, darkly rich tonal coloring, and the most natu- GRADO rally balanced, differentiated, and blend- ed of stereo recording, this record is one of the finest symphonic SDs available to- "Truly the world's finest..." day. But its appeal extends far beyond the sound fancier's somewhat circum- scribed domain. I myself was quite un- Master Stereo Cartridge $49.50 prepared to encounter such mastery of both Slavic insight and orchestral virtu- Custom Stereo Cartridge $32.50 osity as Von Matacic displays here. Per- Micro Balance Tone Arm $29.95 Imps some of his contrasts, in both tempo and volume level, are a hit extreme, but his immense gusto and precise control persuade one that they are just what the composers themselves desired. In any case, every one of these works seems born anew, blazing with the barbaric ferocity which first made them distinc- tive. An extraordinary disc, and one which I trust will soon be followed by other revelations of Von Matacic's -and the EMI engineers'-superb talents. R.D.D.

JOHN WILLIAMS: Guitar Recital fitr_._ Bach -Duarte: Suite No. 3 for Cello Solo, in C. Albéniz: Torre Bermeja. Ponce: Three Mexican Popular Songs. Villa - Lobos: Etude No. 1, in E minor. Crespo: Norteña. Duarte: Variations on a Cata- ..- lan, "Canco del Llabre," Op. 25.

John Williams, guitar. WASHINGTON WR 424. LP. $4.98. Skilled watchmakers working to almost unbelievable toler- Nineteen -year -old, Australian -born John ances, handcraft each GRADO Stereo Cartridge to a degree Williams would deserve attention if only of performance which has become a universal standard of because of the accolade he has earned quality. of his teachers -Segovia. With from one low surface noise due to phenomenally wide fre- Latin eloquence, the master has written Extremely with low distortion and of his young pupil: "A prince of the quency response, coupled extremely guitar has arrived in the musical world. excellent channel separation, achieve uncompromising realism. . God has laid a finger on his brow, Full bodied sound alive with delicate timbres, combined with and it will not be long before his name wide dynamic range, will thrill you with the impact of a live England and becomes a byword in performance. abroad." The recording bears Segovia out to the extent that we hear a com- pletely schooled technician, with a gen- GRADO LABORATORIES, INC. erous command of instrumental color, and a tidy phrase turner. Nothing Mr. 4614 Seventh Ave. Brooklyn 20, N. Y.-Export-Simontrice, 25 Warren St., N.Y.C. Williams does can be faulted, but he has yet to make the guitar the personal, se- ductive instrument it is in the hands of more mature artists.

DECEMBER 1959 115

www.americanradiohistory.com Li,\uoN A 4415, A 4334, A 4414, A 8 Wonderful Gift 4335. Four LP. $4.98 each. The fortunate ones who last year at- tended Sir John Gielgud's readings from Suggestions for Shakespeare, entitled Ages of Man, will be prepared for the brilliance he displays in this Columbia recording, which con- Record and Tape tains some of the excerpts from George Rylands' Shakespeare Anthology that were presented in the stage performance. Here are captured the poetry, the Recorder Owners superb nuance and inflection, the con- trolled passion that made the stage per- formance so memorable. One misses some of the excitement generated in a full ROBINS theatre; there is, however, a compensat- ing intimacy. Above all, the extraordi- narily palpable sympathy between Sir RECORD AND TAPE KARE KITS John and Shakespeare's thought still shines through every line; and Sir John, When you're out gift shopping for yourself or for someone else, if love of good music polishing the tarnished, surprises the lis- on either tapes or records is a consideration, these Robins Record Kare Kits and tener with continually fresh insights. Tape Kare Kits are the ideal gift solution. The recordings by The Marlowe So- ciety of Cambridge University need a of ROBINS ENGINEERED SOUND note explanation. The society is an un- RECORD KARE KITS dergraduate body devoted primarily to The Got ,t (cur i reprudueing.y.tem - stereo producing Shakespearian plays. But or hi -fi - will sound even better it you pay at- while in these recordings three quarters tention to the little details - for example dirt on the record or dirt on the stylus causes- of the parts are taken by undergraduates, both record and stylus wear; an uneven turn- table causes the stylus to favor one side of the the remainder are said to be filled by groove wearing out the groove and the stylus; alumni who are now professional actors. too much stylus pressure causes record wear, too little distorted performance. These Robins En- As a result, the four plays reviewed gineered Sound Kits are dedicated to taking here are performed with professional care of the Mil, tl ft.:, _1.II h ,u_ t,f tional enjoys', competence, and remarkable consistency DELUXE ENGINEERED SOUND RECORD KARE KIT of style. They may not touch the bril- ESK -3 only $3.00 LIST Contains Stylus Pressure Gauge, Stylus Mi- liance of the Gielgud recording, nor the croscope, Turntable Level, Jockey Cloth, Klee - heights of the Old Vic recordings, nor of Needle Needle Brush. Record Brush, Tone Arm Lift. Olivier's Hamlet; but there is none of the PROFESSIONAL ENGINEERED SOUND RECORD exaggeration and idiosyncrasy of speech, KARE KIT ESK -2 only $3.00 LIST Contains Stylus Treasure Gauge, Stylus Mi- the caterwauling and braying, the strut- eroscope, Turntable Level. ting and bellowing that so often in medi- HOBBYIST ENGINEERED SOUND RECORD KARE ocre KIT ESK -1 only $2.00 LIST stage productions are used to mask Contains Stylus Pressure Gauge, Turntable the absence of technique. Level. ENGINEERED SOUND TURNTABLE LEVELING KIT George Rylands, though not a profes- ESK-4 only $3.50 LIST sional director, has been employed as Contains four adjustable rubber feet and mounts for use under base of turntable. The cir- such in the past, notably for Sir John cular 4 -way spirit level can be mounted per- Gielgud's London production of Hamlet manently on top of the base or cabinet housing the turntable. Tells you at a glance when your in 1944. Rylands is a Cambridge don, a turntable is not level. Shakespeare expert. He is concerned pri- ROBINS GIBSON GIRL* TAPE KARE KITS marily with diction and interpretation Every tape recorder owner will welcome these attractive, practical tape care kits that are a rather than with overt dramatics, and must for distortion -free stereo and monophonic this emphasis is apparent in these record- tape recording reproduction. They contain all the necessary accessories for increased tape ings. He stirred up considerable contro- recording enjoyment and longer life of your versy in British Equity when the discs treasured tapes and equipment. The nominal coat of these kits - there's one for every pocket- were first released in England, by stat- book will be repaid many times by the re- ing that they were superior to any pro- cording- pleasure and protection it affords your equipment and tapes. fessional productions. This reviewer must ROBINS GIBSON GIRL TAPE KARE KIT TK4 -STD side with the professionals, but it must Contains: Gibson Girl Standard Splicer for quick precise professional splicing and editing. be admitted that on the whole these Splicing Tape for long lasting splices. Tape performances are most effective. Their Threader for quick easy handling of tape. Head Cleaner protects both tapes and equipment by consistent clarity gives full emphasis to removing dirt, grime and accumulated oxides the text, allowing the momentum of the from head. Tape Cleaning Cloth cleans, lubri- cates and protects with microscopic film of drama to build at its own pace. This is Silicone on tapes. Tape Clips keep tapes from -.most effective in Othello, wherein the unwinding. Reel Labels perfect way to identify and catalog your tape library. Tape Editing Book cumulative drama of the action becomes tips on editing and splicing help you obtain almost unbearably exciting. It is least ef- optimum performance. Only $12.00 list. ROBINS GIBSON GIRL TAPE KARE KIT TK4-JR fective in King Richard II, in which the Contains: Gibson Girl Junior Splicer, Splicing plot development is less complex, and Tape, Tape Threader, Head ('leaner, Tape Cleaning ('loth, Tape Clips, Reel Labels, Tap. which depends so much upon its lyric Editing Book. List only $10.00. poetry. One longs, for example, to hear ROBINS GIBSON GIRL TAPE KARE KIT TX-4H Contains: Gibson Girl Hobbyist Splicer, Tap. Gielgud delivering John of Gaunt's fa- Cleaning Cloth, Splicing Tape, Tape Clips, mous speech, "This royal throne of kings, Tape Editing Book. List only $3.50 ROBINS TAPE KARE KIT TK -2 this scept'rd isle . , rather than the Contains: Head Cleaner, Tape Cleaning fairly conventional reading in this record- Cloth. List $2.00. ing. These, however, are minor reserva- Ts'. reg. patent No. 2778420. pats. pending tions. LEWIS M. ALLEN A to ils /l, al dealers err, yorh, rr. Write for FREE neo` catalog. ROBINS INDUSTRIES CORP. 36 -27 Prince Street, Flushing 54, N. Y 3219 Reviews continued on page 121

116 HIGH FIDELITY MAGAZINE

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...the engineering built into cadi kit Rigid terminal boards are provided for .1 I 1: CITATION II, 120 Watt Stereo- is so precise that the unit constructed mounting resistors and condensers. Once phv ,.,- Power Amplifier, has a peak power in the home will be the equal of the mounted, these components are suspended output of 260 Watts! This remarkable in- frequencies as low factory -produced instrument. tightly between turret lugs. Lead length strument will reproduce as 5 cycles virtually without phase shift, and is uniform spacing of It is far more difficult to design a kit sharply defined. The frequencies as high as 100,000 cycles with- than to produce a completely manufac- components and uniform lead length out any evidence of instability or ringing. tured product. In the plant the engineer insure the overall stability of the unit. At normal listening levels, the only measur- control his design from the moment Improper routing of leads, particularly able distortion in this unit comes from the can perform- of inception until the final packaging. The long leads, can result in unstable laboratory testing equipment. (The Citation Citation II is -Wired kit builder has only his tools, his ingenuity ance. To prevent this, the II - $159.95; Factory - $219.95; equipped with a template to construct a Charcoal Brown Enclosure, AC -2 - $7.95.) and little, if any, test equipment. slightly higher in the \Vest. process of in- Cable Harness. The result: each wire is All prices Therefore, the complex right plant production and control which guar- just the right length and in just the Harman -Kardon has prepared a free detailed antees the fine finished product must place to achieve perfect performance. report on both of these remarkable new instru- These truly remarkable achievements in ments which we will 1w pleased to send to you. somehow be embedded in the kit design. Dept. HF -12, Citation Kit Divi- Engineering are only a few of the Simply write to The Citation engineering group at Control sion, Hannan -Kardon, Inc., Westbury, L. 1. Stewart many exciting new developments in kit Harman-Kardon, headed by Division of Hegeman, has succeeded in doing just this design from the Citation I, Stereo- Harman -Kardon. in the design of the new Citation Pre- Center and THE CITATION I, Stereophonic phonic Preamplifier Control Center, is a brilliantly Power amplifier Control Citation II, 120 Watt Stereophonic designed instrument, reflecting engineering Amplifier. advances found only in the best professional Only heavy duty components, operating equipment. The control over program mate- at tight tolerances, have been selected for rial offered by the new Citation I enables the the Citation Kits. As a result, even if every user to perfectly re- create every character- component is operated at its limit - remote istic of the original performance. ( The Cita- as this possibility is - the instruments will tion I - $139.95; Factory -Wired - $239.95; perform well within their specifications. Walnut Enclosure, WW-1 - $29.95.)

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www.americanradiohistory.com GEORGE SZELL and the Cleveland Orchestra SCHUMANN: Symphony No. I in B -Flat Major, Op. 38 ("Spring"); Manfred Overture, Op. I15 -The Cleveland Orchestra, George Szell, Cond. LC 3612 BC 1039*

DVORAK: Symphony No. 5 in E Minor, Op. 95 ("From the New World")-The Cleveland Orchestra, George Szell, Cond. LC 3575 BC 1026* DVORAK: Symphony No. 4 in G Major, Op. 88- The Cleveland Orchestro, George Szell, Cond. LC 3532 BC 1015* WALTON: Partite for Orch. MAHLER: Symphony N0. 10 in F -Sharp Minor -The Cleveland Orchestra, George Szell, Cond. LC 3568 BC 1024* SCHUBERT: Symphony No. 7 in C Major I "The Great "1 - The Clevelond Orchestra, George Szell, Cond. LC 3431 BC 1009*

BEETHOVEN: Symphony No. 3 in E -Flat Major, Op. 55 1 "Eroica') -The Cleveland Orchestro, George Szell, Cond. LC 3385 BC 1001* R. STRAUSS: Till Eulenspiegel's Merry Pranks, Op. 28, Death and Transfiguration, Op. 24 -The Cleveland Orchestro, George Szell, Cond. LC 3439 BC 1011*

The World of Wonderful Music is

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BEETHOVEN: Concerto No. 4 in G Major for Piano BRAHMS: Symphony No. I in C Minor, Op. 68; and Orchestra, Op. 58 MOZART: Concer-o Symphony No. 4 in E Minor, Op. 98; Academic Festival No. 25 in C Mojor for Piano and Orchestro, K. 503 Overture, Op. 80- Concertgebouw Orchestra -Leon Fleisher, Pianist, with The Clevelond Orchestra, of Amsterdam, Eduard Von Beinum, Cond. George Szell, Cond. LC 3574 BC 1025* SC 6033 BSC 103' BRAHMS: Variations and Fugue on a Theme of Horde!, TCHAIKOVSKY: Nutcracker Suite RAVEL: Boléro; Op. 24; Waltzes, Op. 39 IC 3331 la Valse LC 3585 BC 1027* BRAHMS: Variations on a Theme by Haydn; BRAHMS: Concerto No. 1 in D Minor for Piano and Orchestra, Op. 15 -with The Cleveland Orchestra, Academic Festival Overture; Tragic Overture George Szell, Cond. LC 3434 BC 1003* LC 3586 BC 1028' DEBUSSY: Suite Bergamasque RAVEL: Sono ire; BRAHMS: Symphony No. 4 in E Minor, Op. 98; Valses Nobles ut Sent mer tales; Rhapsody for Contralto, Male Chorus and Alborada del GracibsD LC 3564 Orchestra, Op. 53 LC 3563 BC 1019' LC 3551 BC RACHMANINOFF: Rhapsody D a Trame of HANDEL: Water Music 1016' Paganini, Op. 43 FRAVC:: SymFhoric DEBUSSY: to Mer; Nocturnes (C 3464 BC 1020' Variations DELIUS: rnefin- 'reljde- with The Cleelh.d Orciest-a, George Szell, Coni. LC 3.30 BRAND NEW EPIC CLASSICAL ALBUMS THE BIRTH OF CHRIST -Netherlands Chamber Choir, Felix De Nobel, Cond. LC 3614 BACH: Nos. 1.6 (Complete' - Netherlands Chamber Orchestra, Szymon Goldberg, Cond. SC 6032 CHILDREN'S SONGS- Vienna Boys Choir, Vienna Symphony Orchestra conducted by Helmut Frosthauer LC 3588 MOZART: Serenade in G Major, K. 525; Divertimento in D Major, K. 136; Serenade in D Major, K. 239 - 'I Musici" LC 3613 BC 1040*

118 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com LESTER LANIN CHRISTMAS DANCE PARTY - Lester Lanin LN 3617 BN 547* DANCING AT THE MARDI GRAS -lester Lanin LN 3547 BN 520* DANCING ON THE CONTINENT -Lester lanin LN 3578 BN 533* HAVE BAND, WILL TRAVEL -tester Lanin LN 3520 BN 517* COCKTAIL DANCING - Lester Lanin LN 3531 BN 516* DANCE TO THE MUSIC OF LESTER LANIN IN 3340 LESTER TANIN AND HIS ORCHESTRA LN 3242 LESTER LANIN AT THE TIFFANY BALL IN 3410 BN 505*

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www.americanradiohistory.com THE RED ARMY IN HI -FI Alexandrov Song and Dance Ensemble ALP101

JANACEK: DIARY OF ONE WHO DISAPPEARED ALP102 Ade CHINA! Supe44 444 leccodi494 PASSPORT TO SCHUBERT: DEATH AND THE GIRL Pe41044nemce,1 g4eal (14114114 Me The Smetana Quartet ALP103

padeactinq HANDEL: CONCERTO '4 FOR ORGAN AND ORCHESTRA, OP. 4

BRIM: CONCERTO 1 IN F MAJOR FOR ORGAN AND ORCHESTRA ALP10-1 Y)1KOs - IZOUA1ANIAN FOLK SONGS ROUMANIAN FOLK SONGS ANO DANCES, AN VOL. 1 & VOL. 2 DAN CE= %,ÿ, Orchestra Lautaru Barbu ALP 105 A ALP 106

- r{¡ SUK: SYMPHONY IN C MINOR, Op. 27 "ASRAEL" (ANGEL OF DEATH) Czech Philharmonic Orchestra, Vaclav Talich, Conductor ALP107

JEWISH RELIGIOUS SONGS Asaph Vocal Quartet, Marcel Lorand, Soloist ALP108

JANACEK: STRING QUARTETS 'I AND =2 The Smetana Quartet ALP109

TEACH YOUR CHILD BALLET Produced by Gerald Severn Illustrations by Baron Based on Boris Kniaseff's New System ALP110

GYPSY KING IN HI -FI Authentic Folk Songs and Dances of Hungary Sandor Lakatos and Sandor Jaroka and their Gypsy Orchestras ALP111

PASSPORT TO CHINA Chinese National Song and Dance Ensemble ALP112 THE THE RED ARMY MARCHES IN HI-Fl RED ARMY Alexandrov Song and Dance Ensemble ALP113

MARCHES THE RED ARMY SINGS A IN REVOLUTION IN HI-Fl Alexandrov Song and Dance Ensemble ALP114 HI-FI

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f.' , QUARTET I & _ ,PERFORMED BY THE APMHR "r `) SMETANA

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ARTIA RECORDING CORP.

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120 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Records for the Younger Set

IT'S Christmas shopping time again," priate time- December (CRG 424). Vol. 2 ( LBY 1029 ) : the story of Joseph, announced to the assembled For those with longer listening ears read by Brian Aherne, and the story of small fry one chill Saturday morning. there is a bigger list to choose from. En- Abraham read by Ronald Reagan. Both "Bundle up and we'll see what we can richment Records (10 -inch, 33% rpm ) is are straightforward narrations, but I find at the music store." What they found still adding to its historical series- famous could do without the electric organ in was a treasure trove of records made scenes in history acted out with songs the background. For more secular stories just especially for the lollypop and post - of the era. It is impossible to list them all there is a record of Aesop's Fables lollypop group. here, but I suggest that you write for ( LBY 1019), told by the Hanky Panky Among a good many fine releases, their catalogue ( 246 Fifth Avenue, New players with accompanying sound effects. the two outstanding issues of the York 1, N. Y. ). In the meantime several Except that some of the voices are harsh year are probably Music for Childre other labels have 12 -inch, 33%-rpm rec- and poorly pitched, this record has charm. by Carl Orff and Gunild Keetma TAn-n v ords worth spinning. Any of the follow- This year RCA seems to have added gel 3582 B) and a remake by Vox of ing would make welcome gifts, espe- something new -a sort of "music minus their Music Masters Series. The fórirïer,j cially on un- birthdays. Speaking of the one" for young actors. The Bluebird providing songs, speaking choruses, latter there are two good versions of Alice Home Playhouse ( LBY 1026 ) relates the rhythm exercises, and instrumental pieces' in Wonderland out this year, and here's story of Cinderella and Pinocchio. The in which its audience actually partici- a case of "you pays your money and takes story is acted out three times: the first pates, was reviewed at length in HIGH your choice." The Caedmon version (TC time all the parts are taken by the RCA FIDELITY'S June issue, where Carl Mi- 1097) has Stanley Holloway as narrator company; the next time the part of Cin- chael Steinberg found it of "overwhelm- and Joan Greenwood as Alice. Though derella is left out and the listener fills in, ing importance" in giving children a real Miss Greenwood doesn't have a little - reading from a script enclosed with the understanding of music. The Vox se- girl's voice, she does have a child's sense record; the third time around two parts ries, first brought out at 78 rpm, is a set of wonder and fun. \tr. Holloway and are left for listeners to read. I found it of records introducing children to the the supporting cast are excellent. The quite amusing to try to act out the miss- lives and music of great composers. Each second Caedmon record ( TC 1098 ) ing roles. Face it: for $1.98 it's worth the record is devoted to one or two men. takes Alice through the Looking Class. fun. Excerpts from the composer's works London's version (OSA 1206 ), a stereo Other labels offer stories and songs of ( very well played) alternate with spo- album, devotes two records to Alice in the frontiers -Cowboy Songs for Little ken commentary telling the story of his Wonderland alone, which means that Buckeroos ( don't let the title discourage life. The narration, by Arthur Hannes, each episode is almost uncut. I prefer you), Top L 1658, and Songs and Stories is simple and straightforward. The music Stanley Holloway's reading, but the Lon- of the Wild West, Lion 70103. is carefully chosen with young listeners don Alice sounds more like a little girl. For the three -to -eight group Weston in mind -melodious and lively sections of For contrast to Lewis Carroll's world Woods Studios has issued several rec- a symphony or sonata rather than slow- there is a sort of junior "Sing Along with ords, among them PBP 101, which tells er, more contemplative ones. And when, ¡ Mitch" record issued by Kapp (KL 1146, the stories of "Millions of Cats," "Her- in the Mozart disc (MM 3510 ), for in- LP and KS 3029, SD ) called C'mon You cules," etc. against a background of ex- stance, the text calls for the composer, Campers: all the familiar songs- Alouette, ceptionally effective and interesting mu- at age six or seven, to play for his father, , I'm Looking Over a Four -leaf sic. the piano playing does sound as if a Clover ( yes, it runs the gamut ) -are On the premise, I suppose, that one young but gifted child were performing. here. The songs are sung by children and cannot introduce a child to the sound And for those interested in historical adults, and you'll want to join in too. An of a foreign language too young, Capitol background the back cover of each jack- odd disc that appeared this year has has recorded an hour of Spanish chil- et lists salient dates in the composer's Jean Ritchie and the Manhattan Record- dren's tales in story and song. Both sing- life along with important public events er Consort in an unusual and interesting ers have very adequate voices, and the and contemporary happenings in the program. Titled A Day in the Park familiar Latin rhythms here have the world of music and letters. Fifteen of ( Classic Editions CE 1043), Side 1 in- ring of authenticity ( Capitol T 10200). these records have been issued; and cludes music by William Byrd and Giles And that seems to be about the crop though they are primarily intended for Farnaby, along with some German that Papa selected at the local diskery. pre- teens, they are in fact a charming way dances, all played by recorders 'only; But just as he was about to leave, wishing to introduce anybody of any age to the Side 2 contains American folk songs sung that he had just one extra specially good classics. in Miss Ritchie's clear, untrained voice. record for Christmas, his eye fell on The The above releases and those I will This record was especially produced for Ugly Duckling and Other Tales read by discuss below are, of course, LPs, but children, but it very well may not be for his favorite narrator, Boris Karloff (Caed- children's records continue to be made the average child. mon TC 1109). Since there seemed to in three speeds. I myself staunchly main- RCA Victor has a whole roster of chil- be no very Christmasy record among this tain that for a child up to, say, seven dren's records, varying considerably in year's harvest, he planned to play Bing years, 78 -rpm is an ideal length. In this quality. Our Wild West is represented in Crosby's An Axe, an Apple, and a Buck- category, for example, the Children's an LP of themes from the current TV skin ( Golden Masterpiece Recordings Record Guild and Young People's Rec- shows. They are good tunes, well played A29821) on the Great Day again this ords still issue their "Almanac" series ( LBY 1027 ) . Tales from the Arabian year and save the Ugly Duckling to (historical facts interspersed with old Nights ( LBY 1028 ), with Rimsky- Korsa- spark up December 26, when everyone songs), which are both informative and kov's Scheherazade music, are well told would be sitting around like wilted bal- musical. Not every month is equally with nice speaking voices throughout loons. MIRIAM D. MANNING good, but try May (YPR 419A ), or ( very important, I think ). For Bible sto- January (CRG 430) , or -it's an appro- ries there are Tales from the Great Book, Reviews continued on page 125

DECEMBER 1959 121

www.americanradiohistory.com who am I

My birthday is January 1st. I'll be thirty- five. I'm married, have two terrific young-

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Why, next year I'm going to spend $40,000,000 for just the things I love best. No, not mink coats and diamond rings and things and things. But for component high fidelity equipment, and records, records,

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122 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com One more clue. Just one more, no fooling ...

I am a man of considerable influence

in my community. Ha! How influential? During

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to ten other people. What's more,

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My favorite magazine is HIGH FIDELITY.

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*The typical High Fidelity reader, at self-revealed

in our recent 1959 -1960 .-1 udience Study

DECEMBER 1959 123

www.americanradiohistory.com (CAMÓEN) The Organ hestra THAOrcTHAPPY CHRISTMAS FEELING GIVE RCA CAMDEN ALBUMS! ONLY $1.98 FOR REGULAR L.P. ONLY $2.98 FOR LIVING STEREO THAT HAPPY CHRISTMAS FEELING -The most joyful songs, the most spectacular sound! Jingle Bells, Winter Wonderland, Sleigh Ride, others. 26 BEST LOVED CHRISTMAS HYMNS AND CAROLS -A great big Christmas package, brim -full of all carollers and (CAMÖlN) the carols everyone loves. A marvelous $1.98 value! the yuletide CHRISTMAS MAGIC (CAUENf) choristers HUGO WINTERHALTER HI-FI CHRISTMAS PARTY - For your party, for a ORCHESTRA á CHORUS friend's, the sound treat of the season. Popular and traditional Christmas music. 26 Ar JOY TO THE WORLD - America's finest vocal group BEST LOVED in 25 favorite Christmas hymns and carols. CHRIS-MAS CHRISTMAS MAGIC- Hugo Winterhalter's Orchestra HYMNS and Chorus in a bounteous bevy of Yule songs. AND THE BLACKWOOD BROTHERS - The nation's most CAROLS popular sacred quartet at half the usual price! A dozen treasured gospel songs. EVERYBODY SING - A big orchestra and chorus in a happy old -fashioned home community sing! (CAMOENJ PERRY COMO'S WEDNESDAY NIGHT MUSIC HALL Perry Como brings his special touch to So Far, HI THE Ut - -fl ttt A Fellow Needs a Girl, Keep It Gay, nine other hits. CI+RESTMAS BLACKWOOD PARTY BROTHERS. i Manufacturer's Nationally Advertised Prices Shown - DOMENICO Optional with Dealer. SAVINO 4 ORCHESTRA *Available in Living Stereo and Regular L.P. RCA 4,1 AM DE N I NNW Ir IWr CUMIN' MARnQ

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FIDELITY MAGAZINE 1_2 -1 HIGH

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orld of Mintertaì n men

"Sing Around the Bandstand." Marty were considered too local in character for Ames Orchestra and Chorus. Dot DLP Broadway audiences. I'm sorry it's gone, 3203, $3.98 (LP ). for it made a rousing finish to a delight- Here at Home This is a far livelier sing -along recording ful record. On the whole, however, the than most of those to which I have lis- changes seem to me to strengthen the tened, especially in that it avoids the listening appeal of this entertaining far- 1" ColdGold on Silk." Ray Wright Orchestra. standard Sweet Adelaine -When You rago. To replace some of the casualties, LPBR 5048, $4.98 ( LP ); Ever- Wore a Tulip -Let the Rest of the World there is a duet extolling the virtues (per- est SDBR 1048, $5.98 (SD ). Go By repertoire, and offers you an op- sonal, national, and international) of the This is a difficult record to classify, but portunity to exercise your vocal chords bath, Flanders' anguished tale of the one simple to describe. Fabulous is the on songs from Broadway shows, movies, trials of an umpire at Wimbledon, and a word for it. Already its been placed on and Tin Pan Alley. Here is your chance wacky hymn of praise to "The Wom my turntable at least half a dozen times, to be another Harry Richman in Puttin' Porn," an "animal -machine" capable of and undoubtedly will be played many on the Ritz, an Astaire in Cheek to producing almost anything for the com- times more. Each hearing has revealed Cheek, an Eddie Cantor in Makin' fort of the human race, from clothing further enchantments. Over the skillful Whoopee, or a Ruth Etting in Love Me material to liquor. All three are delight- arrangements for the string section, some or Leave Me. With the Marty Ames Or- ful. of the finest brass instrumentalists play chestra and Chorus providing you with Quite as amusing as the songs are solos that are little short of magical. From strong support, you can have yourself a Flanders' introductory remarks to each the soaring line of Doc Severinsen's trum- thoroughly enjoyable time. number. These little gems of timing and pet in Lonesome Horn and the glowing inflection have been suitably changed for warmth of the French horn in Jim Cham- American audiences. The rapport be- "At the Drop of a Hat." Michael Flanders bers' version of My Man's Gone Now to h tween the artists is as strong as ever, even the purity of Will Bradley's trombone and Donald Swann. Angel 35797, $4.98 though Swann has now become the con- sound in Why Was I Born and the mel- (LP). venient butt of some of Flanders' jests. ur- lowness Don Butterfield extracts from his For the American production of their According to Flanders, the record was Drop of a tuba in Yesterdays, everything is perfect. bane and witty revue At the made "For Posterity," which may possibly Hat, -man of Michael Flan- Add the impeccable Everest sound, par- the two team account for a performance that strikes me have wisely ticularly in the stereo version, and you'll ders and Donald Swann as lacking the subtlety of the earlier disc. retained most of the material that con- have some idea of why I call this disc I have not heard the stereo version, but audiences for 759 per- inspired. Mood music? Well, perhaps, but vulsed London the monophonic is not one of Angel's hap- Creek songs actually more than that a great deal formances. The French and piest efforts. The sound lacks clarity, suf- ... sang on Angel 65042 more. that Donald Swann fers from occasional fading, and is diffuse. have been dropped, along with the hi- larious finale based on the Lord Cham- "The Fabulous Eartha Kitt." Eartha Kitt; berlain's London theatre regulations. "With These Hands." Roger Williams, Orchestra, Maurice Levine, cond. Kapp Presumably the humors of that number piano; Orchestras, Marty Gold, Frank KL 1162, $3.98 (LP); Kapp KS 3046, Hunter, Gene Von Hallberg, conds. $4.98 (SD). Kapp KL 1147, $3.98 (LP); Kapp KS Not since the day when Eartha Kitt first 3030, $4.98 (SD ). burst into prominence in New Faces of Now that Roger Williams has practically 1952 has she sounded as sultry and ex- exhausted the repertoire of songs from citing as she does here. In spite of its pro- the Fabulous 40s, 50s, and the Century, nounced vibrato, her voice has a certain he has returned to the type of music bet- fascinating color and almost as interest- ter suited to display his considerable tal- ing is her style, which seems now to be a ents. These graceful, even distinguished knowing mixture of Edith Piafs earthiness performances of a dozen concertolike ar- and Lena Home's sophistication. In Love rangements of light music are highly wel- Is a Gamble, I even detect traces of Ella come. I particularly enjoyed O Mio Bab - Logan, surely an unlikely artist to influ- bino Caro ( Puccini ), Strange Music ence this singer. But Miss Kitt's feline ( Grieg ), and the two delightful Leroy personality is uniquely her own, and it's Anderson pieces, The Syncopated Clock particularly well suited to nearly all the and Forgotten Dreams. But the whole songs in this program. These range pretty program is pleasurable, not only for Wil- far afield, from Israeli to South American, liams' pianism, but also for the excellent from 's Mack, the Knife to a orchestral arrangements that support it. very effective version of Lamplight. The Both versions offer excellent sound, in only miss, or near -miss, is a blues num- which the piano tone is unusually lifelike. ber, which is lacking in real understand- I myself prefer the stereo version, even ing. The sound on the LP is good, but the though my review copy suffered from a stereo version is much superior. Eartha Kitt: fabulous and feline. high level of tape hiss.

DECEMBER 1959 125

www.americanradiohistory.com TAYLOR -MADE The "Do It Yourself" Psychoanalysis Kit. JAZZ that series, New Faces of 1952. Every Del Close. Hanover M 5002, $4.98 member of the talented cast appears to Billy Taylor and (LP). be having such a wonderful time that I His All Stars Want to learn more about schizophrenia, can't help thinking there may be a good ARGO 650 the Id, Oedipus complex, manic depres- deal more to the show than what one sion, or some other aspect of the involved hears on the record. If the lyrics and the science of psychoanalysis? Fine, but this music are not exactly memorable, neither record isn't going to be of any assistance can they be called banal. The Beatniks whatever, in spite of its title. It will help come in for an almost inevitable roasting you discover, if you didn't already know, in Listen to the Beat, and Where Are that your risible resistance is quite low. Your Children effectively takes care of It will also prove that when Del Close, the juvenile delinquency problem. In The the Dr. Adler -Jung -Freud of this session, Fights there is a gentle poke at the family gets to kidding the couch consultant and problems television raises in the average his patient, the result can be a very funny household, and, rather unexpectedly in a matter. I noticed that Del Close ( properly revue that originated on the West Coast, equipped with the degrees of B.m.T., Los Angeles is gently deflated in the I.r.T., and InD. ) receives all the proceeds amusing City of the Angels. If the distaff from the sale of this record. He deserves side of the cast seems to be more success- them. ful than the male, I think this is mainly because it has been handed the best ma- terial. The musical support from "Sixty Years of 'Music America Loves two pianos sounds a little undernourished, Best.'" RCA Victor LM 6074, $3.98 (Two LP). and I am sure that this would all have sounded more professional with orches- At the low price of $3.98 ( for a limited tral hacking. But budgets are budgets, time only) this two -record album of and I assume thirty performances this one was extremely by top RCA Victor limited. artists is likely to be one of the most com- mercially successful sets ever issued. The recordings have obviously been chosen "Dancing at the Grosvenor House." Vols. on the strength of their past sales figures. 2, 3, and 4. Sydney Lipton and His Or- Each, in its original 78 -rpm format, sold chestra. London PS 160/162, $4.98 over a million copies, and one hardly each ( Three SD). needs to be a wizard at mathematics to These three records played by one of compute what they would have cost a London's top society orchestras suggest ARGO RECORDS buyer, when originally issued at prices the atmosphere of a dinner dance at for free catalog write Lon- ranging from 890 to $2.00 a copy. don's Grosvenor House most realistically, CHESS PRODUCING CORPORATION Although the intermingling of classical Against a background of subdued con- 2120 S. Michigan Ave., Chicago 16, III. and popular music seems to me regretta- versation and the clatter of crockery, ble, there are enough good performances cutlery, and tinkling glass, the Sydney in both categories to make this a very at- Lipton orchestra plays six sides of con- ALLENTOWN BAND tractive release. Perhaps the classical tinuous dance music, which for the most music enthusiast is the more fortunate, part looks back to the great songs of the Records & 4 -Track Tapes since he is offered recordings long absent Thirties. To judge from the suitably dis- Conducted by ALBERTUS MEYERS from the catalogue, by Caruso, Rach- creet sound, this is not a very large or- 12" High Fide'ity and Stereo Discs: 114.98 maninoff, Paderewski, Heifetz, Kreisler, chestra, nor is it one given to strong or 4 -Track 7!S ipa Tapes: $8.95 Stokowski, and Toscanini. For me, the frantic rhythm. Compared to similar ALLELUJA: From Mozart's Exultate; Chorales by gem of the entire is Wagner- Brahms- Franck; Sleepers Wake; Nearer album Horowitz's groups in this country, it sounds unusual- My God to Thee; Finlandia The Angelus (Buys); fantastic performance of his Variations on Children's frayer Hi ly relaxed. This quality is most pro - The - Fi 1407L, no stereo ed. Themes from "Carmen," SOUSA -FILLMORE MARCHES: Golden Jubi- which in itself is nounced in the few waltzes included, in lee; George Washington Bicentennial; The National well worth the current price of the entire which the treatment, solo Game; Se ui- ('entennial; Exposition; Bullets and violin against Bayonets; Marquette University; The Boy Scouts album. Since there is often nothing dead- muted orchestra, is sleepy and downright of America - Sousa. "Hot" Trombone; The Whis- tling Farmer Boy; Golden Friendships; Americana er than yesterday's pop hit, that field old -fashioned. The fox trots have a nice, Sally Trombone; Shoutin' We Liza Trombone; comes off less well. Historically interest- easy, comfortable Rolling Thunder - Fillmore. HiFi 1404L. Stereo - rhythm, and most danc- disc LS-1404, Stereo -tape 1404 -47. ing to some listeners will be the Good- ers will find them hard to resist. Under POPS CONCERT: Dixie Rhapsody; Ciribiribin; the World Is Waiting for the Sunrise; I've Been man, Dorsey ( with Sinatra ), Ellington, hardly ideal conditions, London engi- Working on the Railroad; Turkey in the Straw; and Shaw sides, but the balance American Salute; l'op! Goes the Weasel; Overture are neers have captured very good stereo of Overtures; Serenata - Hi Fi 1402L, Stereo -disc strictly space fillers. The sound, in view sound. 1.5-1402. Stereo -tape 1402 -47. of the respective age MUSIC BY SOUSA: The Diplomat; El Capitan of each recording, (The Comic Opera); La Flor de Seville; Gliding is surprisingly good. Oddly enough, the Girl; The Lamb's March; Powhattan'a Daughter; "The Lawrence Welk Glee Club." Pete I he Dwellers of the Western World, The Red Man. Whiteman of 1920 sounds more ancient Ube White Man. The Black Man; The Stare and Lance, cond. Dot DLP 25218, $4.98 stripes Forever - Hi Fi 1401L, Stereo - disc than the Caruso of 1904, although ob- I.S -1401, Stereo-tape 1401-47. viously the latter has been heavily doc- (SD). MARCH POTPOURRI: Concert Marches from Since members of the Lawrence Welk the Chocolate Soldier; La Boheme; Inglesina; tored. Ellington's Take the "A" Train Starcho Poco; Litely and Politely; The Gypsy Glee Club must also double as musicians Baron, Quick Step Marches. Joe Weber; The Uni- appears to have been made from a mas- versity of I ennaylvania March; 333rd Engineers ter that has sadly deteriorated, but the in the Welk orchestra, the generally in- (S.S.) March- The Occidental March; Heroes All; I'he Kitties March; Gilmore's Triumphal March - remainder are all sonically acceptable or different quality of the singing here is Ifi Fi 1205L. Stereo-disc LS -1205, Stereo-tape understandable. Had more 1205 -47. better. the group RAND CONCERT: National Spirit; Game Pre- time for rehearsals, doubtless the slipshod serve; Hampden Firemen; Chicago Ma- rine Band arch; Oneida; ¡The Irish Washerwoman; attacks and lack of vocal nuance would Perpetuum Mobile; Col. Thornton's March; others "The Billy Barnes Revue." Decca DL he rectified, and some rather unusual - Hi Fi 1203L. no Stereo ed. 9076, $4.98 (LP) . ideas about rhythm be set right. As for The world's finest mush by A merira's oldest concert band This is a bright, fast -moving, intimate the program itself, it is a curious mixture Satisfactionn guaranteed, revue that has been running off, as well of selections, chosen apparently because 411 i1 :tier or postpaid from as on, Broadway for the last five months. certain people like certain songs. Thus It seems to be patterned along the lines we get Gamin' Thru the Rye because WFB PRODUCTIONS of Leonard Sillman's New Faces re- the president of Welk's TV sponsor, 637 E. BROAD ST., SOUDERTON, PA. vues, though it lacks the wit, the profes- Dodge, is Scotch (sic), and Jeanie with DEALERSIIII'S A\ '01 \BLE: WRITE WFB sional dazzle of the most successful of the Light Brown Hair simply because the

126 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com director's wife is named Jeannie. The most curious entrant in this hodgepodge is Franz Lehár's Vilia, originally written as a soprano solo and no more appropriate for a male chorus than the "Bell Song" from Lakmé. Welk admirers will doubt- IT'S THE BIGGEST less find pleasure in this record, however, and Dot has invested it with fine stereo , bel Lamo . . ST 63 4 I RACK 7 P. sound, admirable both in depth and di- rection. NEWS "Smash Flops." The Characters. PIP Plp 1900, $3.98 (LP). How funny you will find these "Smash Flops" -songs of what might have been - will depend entirely on your personal IN sense of humor. Most of them have a Stakt touch of the macabre; they are decidedly not for the squeamish. If you can stand the most outrageous of them, When the Hindenburg Lands Today ( "There'll be STEREO a hot, hot time in Lakehurst. New Jer- sey ") or Bon Voyage, Titanic ( "l'm so lucky to be sailing with you "), you'll probably be able to take the rest. They /////iü/jl` are served up in barroom quartet style, with an appropriate tinny piano accom- TAPE! paniment. The sound is fair. TRACK "Teddy Tyle Styles Glenn Miller Favor- 7'/2 ites." Teddy Tyle Orchestra. Golden 4 IPS Crest CR 3059, $3.98 ( LP). Miller fans will probably raise an eye- iOUIS6l KEELY! brow when they discover that Tyle has FROM taken a dozen of the Maestro's old favor- ites and replaced the swing with rock $3.95 and roll. These pieces are strong enough to withstand the onslaught, but they're hardly improved by it. The younger set will likely find this record attractive; those with longer memories will undoubt- edly unearth the old Miller recordings, your favorite to remind themselves how these fine tunes should sound. recording artists PAT BOONE "Song of Norway." Brenda Lewis, John Reardon, Sig Arno, Helena Scott, Wil- LAWRENCE WELK liam Olvis; Orchestra, Lehman Engel, cond. Columbia CL 1328, $3.98 (LP). BILLY VAUGHN Fifteen years old and still going strong, Song of Norway was the last successful LOUIS PRIMA New York operetta in the romantic tradi- 2 OF 80 GREAT and KEELY SMITH tion of Blossom Time and The Student Prince. A musical dramatization of inci- STEREOPHONIC dents in the life of Edvard Grieg. it is available NOW plagued by an absurd libretto, but blessed with a superb score, compounded TAPE RELEASES of snippets of Grieg's always charming ON bel canto music. The original cast recording (Dec - ca DL 9019), issued in 1945, offered t stereophonic tape! some unusually attractive vocal perform- ances in sound that is now, unfortunately, badly dated. Even so. 1 am not certain recorded in finest authentic stereophonic sound that it is superseded by this new version. Naturally the Columbia sound is infinitely all tapes are available in... superior, but the rough and ready per- formance by the cast of the production 2 TRACK 71/2 IPS 4 TRACK 71/2 IPS at the Jones Beach Marine Theatre is no and the NEW TAPE CARTRIDGE! match, vocally. for its predecessor. The singing may be loud, but it is not always good, and it invariably lacks subtlety and SEE YOUR DEALER NOW! charm. Perhaps the performers all feel If not available at your local dealer, write to .. . that the competition from fishing fleets, icebergs, and waterfalls- scenic effects of BEL CANTO STEREOPHONIC TAPE the current presentation -can only be 2919 SOUTH LA CIENEGA BLVD. CULVER CITY. CALIFORNIA surmounted by this broad approach. a subsidiary of Thompson Rimo Wooldridge Int. JOHN F. INDcox )27 DECEMBER 1959

www.americanradiohistory.com cantors, his voice is ineffably sweet, con- BUY IT! Foreign Flavor veying an underlying ardor that ap- ... Ican't proaches ecstasy. is, There perhaps, an ex- cess of vibrato; but Pinchik's brilliant en- trance in Mah Nomar and his lyrical Rojo even pronounce ¡t! ..- "Piano Pasha." Erdogan Capti, piano. D'Shabbos -sung, incidentally, in Ara- Dot DLP 3215, $3.98 (LP ). maic, the everyday language of Palestine The Turkish Information Office in the at the dawn of the Christian era -redeem United States thought so well of Capli's any minor blemishes. interpretations of indigenous Turkish mel- odies that it sent to its mailing list an outsize four -color view of Istanbul with "Chants d'Israel." Emile Kaçmann; Berthe one band of "Piano Pasha" pressed there- Kal; Chorus and instrumental Ensem- on. Pleasant though this combination may J hle, Léon Algazi, cond. Pathé DTX be, its fidelity poses no threat to the vel- 291, $5.95 (LI'). vet surfaces and superclear sound of This anthology, "dedicated to the State Dot's original. Capli plays with the sup- of Israel on the occasion of its tenth an- ple assurance of a top artist, and he has niversary," is, by a wide margin, the fin- beautified the melodies -all of them est disc of Israeli music i have vet heard. strikingly attractive in their own right- The program includes sacred chants, with his imaginative arrangements. Dif- wordless Hassidic songs, folk tunes, Bib- ferent, arresting, brilliant. Don't miss it. lical lyrics, two surpassingly lovely Se- phardic airs, and a stirring choral treat- ment of the national anthem Ilatikea. The "Moonlight in Mayo." Bridié Gallagher; breadth of the material, the beauty of its Orchestra, Stan Butcher, cond. London rendition, and the sure controlling hand PS 163, $4.98 (SD ). of director Léon Algazi, a noted Israeli Young Bridle Gallagher has attained a musicologist, shape a stunning album that .slid popularity with record buyers in the is stunningly recorded. The copious an- British isles. In this, her American bow, notation ( also by Algazi ) and translations the shows why. Her voice is sweet, with from the Hebrew, Yiddish, and Spanish "ah!" a distinctive nasal quality, and she ap- -all contained in an accompanying book- proaches her songs -all folk -derived but let -are in French. presented with a dance -hand sheen -with ELECTROSTATIC a relaxed surety that relaxes the listener as well. An attractive offering, with Lon- "Erich Kunz Sings German University TRANSDUCER... don's usual superior stereo sound. Songs, Volume 4." Erich Kunz; Chorus and Orchestra of the Vienna State the 2 -in -1 mid -range and super tweeter Opera, Anton Paulik, cond. Vanguard that brings out 'hidden sound' - "Chansons Populaires de France." Yves VRS 1045, $4.98 (LI'); VSD 2040, your present cone or piston -type Montand; Bob Castello and His $5.95 (SD). Rhythms. Odéon OSX 110, $5.95 ( LP ). speaker cannot capture! i.. There is little left to say concerning the Dix Chansons pour L'Eté." Yves Mon- art of Erich Kunz in the field of German Make it easy on yourself. Just ask for tand; Bob Castella and His Rhythms. folk song. in this, his fourth such album the AH! Speaker and we promise you'll Odéon OSX 136, $5.95 (LP ). for Vanguard, he displays again the ro- hear sounds you never believed possible Yves Montand, as New York audiences bust baritone and sensitive interpretative with your present Hi -fi set -up. Your have recently discovered, is almost quin- faculties that have always illuminated his conventional tweeter cannot and does tessentially French. His individual talents work. A. !night he expected at this point, not give you complete high frequency -none particularly unique -form a whole Kunz wanders far from academic halls to response, due to its inability to recover much greater thanothe sum of its parts. seek out fresh songs. He succeeds splen- quickly enough from abrupt frequency An artist of deep proletarian sympathies, didly: Die Joorsoldaten, Ich hat!' einen change. The AH! electrostatic trans- \lontand is effectively at home with Kameraden, and Die Gedanken sind frei ducer, of course, is based on a completely Chansons lopulaires de France. All but have immediate appeal. Fine, bright mono new electronic principle and reacts four of these well -recorded selections are sound, but the stereo edition- crisply sep- instantaneously to all frequency change folk songs, and some date from before arated -quite literally adds a third dimen- -no matter how abrupt -so, areas of the Revolution of 1789. Virility and ten- sion to the choral backgrounds. "Hidden Sound" are revealed with the derness, patriotism and rebellion play like "AH! ". one light and shadow here, and Montand's Just minute of your listen- "Bavarian Polka Party." Theo Ferstl and ing time at your dealer's will convince you. baritone reflects every facet. These are complex songs replete with obscure allu- His Orchestra. Epic LN 3618, $3.98 The 2 -in -1 AH! is a mid -range and sions, however, and the album contains (LP); BN 548, $5.98 (SD). super tweeter to give you full response not one word of annotation. Rustic exuberance informs every measure from 600 cps to past the limit of audibil- In "Ten Songs for Summer," Montand of this charming release, but Theo Ferstl ity. And, the AH! is complete. Nothing transforms himself into the cabaret enter- and his tootlers never allow the proceed- else to buy -R /C crossover network and tainer par excellence-polished, noncha- ings to degenerate into rhythmic frenzy. AC power are built in. To prove our lant, with the characteristic wry, self-ef- The Ferstl treatment is rather in the vein confidence in AH's superior quality we facing manner that can become almost a of a Sunday afternoon outing where solid guarantee the elements for 5 full years. vocal shrug. The songs, all current French Herren and Frauen-comfortably stuffed favorites, are thoroughly enjoyable, the with sausage and beer -stomp out a polka sound is full and clear, and Montand is more for relaxation than exercise. it's fun Only marvelous. to hear and even more fun to dance to. The stereo version, with its dazzling 49.95 depth, separation, and clarity, carries the "Pinchik, Cantor of Eminence." Pierre sonic day. Pinchik. Eminent HG 101, $5.95 (LP ). Send for FREE booklet "8 unusual Inspired engineering has given new sonic Hi -Fi and stereo arrangements with "The Favorite of Warsaw." Mieczyslaw the AH!" Complete with schematic life to the thirty -year -old 78 -rpm records diagrams and wiring instructions. here served up in LP format. The ritual Fogg; Orchestra. Bruno BR 50083/84, songs are emotionally profound and, while $3.98 each ( Two LP). Cosmos Industries, Inc. the style of the former Cantor of Lenin- 31 -28 Queens Blvd., Long Island City I, N.Y. grad is more florid than that of other great Continued on page 130

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www.americanradiohistory.com The Buy of a Lifetime! According to a correspondent who accom- of fulfillment -in her Everest debut. At panied Vice- President Nixon on his sum- twenty -five, however, she has not quite VOX "ENCYCLOPEDIA mer Iron Curtain tour, proceeding from developed a firm style of her own: her Moscow to Warsaw was "like passing from interpretations too often and too obviously Of CHAMBER MUSIC" shadow into sunshine." One shares this derive from those of other French vocal- impression after contrasting Bnmo's two ists. But when she gives a Gallic twist - Each 3- record VOX NoX only $695' volumes of Polish pops with other fare both linguistic and interpretative -to The from beyond the Elbe. Fogg, a mellow Lady Is a Tramp and My Heart Belongs Never hos chamber music been so perfectly baritone, strays far -and fearlessly -from to Daddy she is an unmitigated delight. recorded and planned. In one or more albums, songs of field and factory. Fox trots and The stereo edition lacks the sharp focus the complete cycle of a composer's works is tangos are his musical stock in trade, and and general brightness of the mono entry. performed by the some artists. Now you can he even throws in a few delightful build o unified library of chamber music... deca- and at extremely modest prices. dences such as Arrivederci Roma, Fasci- nation, and Around the World in 80 Days. "Music from the Welsh Mines." Rhos THE NEWEST IN THE SERIES Bruntis sound falters occasionally, but Male Voice Choir. Washington WR SCHUBERT: the general level is acceptable. 416, $4.98 (LP ). PIANO SONATA: mpleto) VOL. I Given the renown of Welsh choral sing- Friedrich Wuehrer, c ano vex -9 ing, it is odd that up to now no Welsh MOZART: "Fiji (Isa Lei )." Adi Cakobau Girls' choruses have been represented in the School Choir; Via Ni Tebara Choir; STRING QUARTETS (Complete) VOL. I Schwann catalogue. Washington Records Barchet Quartet vex -1s Alf Bentley and His Islanders; Seni has corrected the deficiency with Music Devuga Damu (The Red Ginger Boys). from the Welsh Mines, originally taped in OTHERS IN THE SERIES Capitol T 10216, $3.98 (LP ). London by the British label Delysé. The MOZART: Actually recorded in the Fiji Islands, this Rhos Male Voice Choir is a splendidly release comprises a group of authentic ó SIRING QUINTETS (Complete) disciplined, musically aware group that- Borchet Qvortet -Eml Kessinger, 2nd viola Fijian songs in somewhat Europeanized to my ear -is at its best with traditional VBX.3 vocal and instrumental frames. All the ar- SCHUBERT: songs like Hiraeth and Ad Doriad Dydd. tists are islanders, but all have been Delysé's recording, however, besides be- COMPLETE STRING QUARTETS & QUINTETS brushed -and well brushed-by Western Endres Quartet -Rolf Reinhardt, piano -Fritz ing cursed with an omnipresent tape hiss, Kiskalt, 2nd cello VBX-4. tì, 6 ways. Of the songs, several -such as Sere is so turgid as to rob the choral sound of Ni Manu Manu and Bu! Bu! -are genu- virtually all texture. BEETHOVEN: inely amusing, and several more-notably MUSIC FOR CELLO AND PIANO (Complote) Joseph Schuster, cello - Friedrich Wuehrer, the haunting Isa Lei -are quite moving. piano The recorded sound varies in quality from "Chinese Classical Masterpieces." Lui band to band, but is never less than sat- Tsun -Yuen, pipa and chin. Lyrichord isfactory. Capitol provides summaries of U r,tc I. r cr -r'NC orn1.7 ri. H LL 82, $4.98 (LP). each selection. It would be idle to pretend VOX PRODUCTIONS, INC., that these 236 West 55th St., New York 19, N. Y. Chinese classics, played on the stringed pipa and chin by Lui Tsun -Yuen, weave "La Voce D'Italia." Giuseppe di Stefano; an immediate Orchestra, spell. To the average West- Dino Olivieri, cond. London ern ear they are harsh, dissonant, bereft OS 25065, $5.98 (SD ). of melody. It is only after exposure to the Di Stefano has the good sense to meet ARCHIVE idiom that one perceives its beauties -in MOOVCTIQN these popular songs on their own terms. their way as delicate and understated as He makes no attempt to transform them a Sting Dynasty painting. into Puccini arias Lui plays with nor does he patronize a lyric command of his I. S.BA('H their innate instruments, all simplicity. The result is a vo- the while firmly controlling cally opulent, the much - emotionally ingratiating nuanced material. While Moonlight Over recital of Italian favorites such as Parlami the Spring River, Plum Blossoms, and St. Matthew Passion d'amore Meriu ( "Tell Me That You Love The Lament of Empress Chen are ex- Me Tonight ") and Firenze Sogna ( "Flor- tremely appealing, I found Luis own ence Dreams" ). London's engineers place Chinese Soldiers' March the most striking Di Stefano smack between the speakers item on the disc. A superlative recording and afford Olivieri's orchestral accompa- for anyone willing to give it time and at- niment reasonable separation if no great tention, and the sound is crystalline. depth.

"William Holden Presents a Musical "Bravo Bikel." Theodore Bikel. Elektra Touch of Far Away Places." Warren 175, $4.98 (LP ). Barker and His Orchestra. Warner This is Bikel's eighth disc for Elektra; and Bros. WS 1308, $4.98 (SD). while it is the most lavish in format, it The brothers Warner have pressed one of is also the least well recorded. ( Perhaps their Hollywood properties into musical this is to be expected, since the singer J. S. BACH -or antimusical, depending upon your was taped in the course of two actual point of view- action for this abyssmal Carnegie Hall concerts. ) But even though release. Bill Holden not sr.(Maahew Passion Bikel has been miked distantly only grins tooth- and ily from the cover, but also serves sounds as though he were singing through as a (Complete) genial guide ( by way of what seem gauze, his overwhelming personality to be The definitive performance. obviously ghosted notes ) to the contents. Critical shines through and his multilingual songs raves. These consist of orchestral vignettes of Soloists: Irmgard Seefried, Diet- are as electrifying as ever. Complete texts Far Eastern locales that slop over rich Fischer-Dieskau, Ernst Haefliger and translations are included. with and others. Munich Choir Boys, the every cheap cliché and tired gimmick in Munich Bach Chorus and existence. A plethora of gongs, disem- Orchestra. bodied female voices , conductor. An Archive "The Girl from Paris." Cécile Devile; mouthing syllables Orchestra, Russ Morgan, cond. Everest rather than words, tinkling bells, etc. Production Recording by Deutsche L LPBR 5043, $3.98 ( LP); SDBR 1043, make this about as authentic -and palata- ARC 3125 /Stereo73125 Grammophon. -8 -8 $4.98 (SD). ble-as chop suey with kreplach. Mlle. Devile, possessed of a warm, clear O. B. BRUMMELL DECCA soprano and a delicious accent, shows RECORDS tremendous promise -as well as a degree Reviews continued on page 132

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www.americanradiohistory.com ly less glowingly sonorous than the stereo disc, but the latter 's radiant tonal quali- purity... hl ií music ties are quite incomparable. "Age of the Tsars." Philharmonic Prome- nade Orchestra, , "White Goddess." Frank Hunter and His cond. Angel S 35752, $5.98 (SD). It's interesting to range Orchestra. Kapp KL 1136, $3.98 ( LP); extremely compare the KS 3019, $4.98 (SD ). interpretative and engineering styles of My preliminary groans at the prospect of this British "Proms" concert with those of listening to another example of so- called a typical Russian program by, say, our exotica were immediately silenced when own Arthur Fiedler or Carmen Dragon. Hunter proved himself to be the most Mackerras is considerably more relaxed; imaginative and tasteful arranger -con- his men play with less precision and vir- ductor who has yet explored this recently tuosity, but also with more warmth and popular genre. He too employs wordless evident enjoyment of what they are do- voices and such off -beat timbres as those ing. The recording too is less high -pow- of the Ondioline, Bazimba, alto flute, ered, less ultrabrilliant, less obviously Chinese Bell Tree, and the like -but al- stereoistic than many American releases; ways with a sure sense of their coloristic yet the EMi coaxially mounted micro- and atmospheric point. Furthermore, he phone technique provides an even more brings an individual and often surprising- smoothly spread and auditórium- authen- ly poetic touch, together with unflagging tic curtain of orchestral sound. These rhythmic lilt, to his performances. The British virtues, and Mackerras' own grace- fully coaxial 12" speaker, Model pure and bright recording is excellent in romantic touch, show up best in a Dual seductive Tchaikovsky waltz sequence G -503: an allpurpu'e pcakcr monophony, yet stereo reveals not only and in Clazunov's Concert Waltz No. 1 with specially treated cloth edge the expected expansiveness but an even wider dynamic range and many delicious and the "Procession of the Sardar" from low fre- suspension for better cross -channel antiphonies, which make Ippolitov- ivanov's Caucasian Sketches. quency response. 30 to 16.000 this an uncommonly effective stereo dem- The Glinka Ruskin and Ludmilla Over- cycles. Use in any type enclosure. onstrator as well as the most musically at- ture is a bit too slapdash; Rimsky's Dance $59.95* tractive demonstration of "exotic" sonic of the Tumblers and Clière's Russian potentialities to date. Sailors' Dance lack dramatic weight and drive; yet even here the Britons' verve and gleaming tonal colorings are sheer Strauss Waltzes. Bamberg Symphony Or- delight to one's ears. chestra, Joseph Keilberth, cond. Tele- funken TC 8018, $1.98 (LP); TCS 18018, $2.98 (SD ). "The Harmonicats in the Land of Hi -Fi." This bargain -price Telefunken program Mercury SR 60028, 84.98 (SD). Tweeter speaker, Model G -504: offers performances romantic yet unsenti- Starring Jerry \iurad's solo chromatic clean. flat response from 1200 to mentalized, distinguished by irresistible harmonica, with Don Les's bass, double - 16,000 cps. Maximum dispersion gusto and rhythmic animation, by beauti- bass, and single -reed bass, and Al Floré s of highs for fuller stereo effect. fully nuanced phrasing and coloration. chord -rhythm harmonicas ( plus guitars, $19.95* The lower -level monophonic recording is flute, reeds, and string bass), this novelty rather thin, but the stereo version is more program strikes me as much more effec- expansive, smoothly spread, and sonically tive and sonically interesting than those attractive than any other release in this of most harmonica -dominated ensembles series I have yet heard. At any price it I've heard. The characteristic slapping would be a desirable acquisition; at $ 2.98 and buzzing qualities can become a bit it is not to he missed. tiresome; but the arrangements are in- geniously contrived to make the most of channel -antiphonal possibilities and the "Rhapsody Under the Stars." Leonard performances are distinctively appealing Pennario, piano; Sym- in the strongly stereoistic recording they phony Orchestra, Miklós Rózsa, cond. are given here. Capitol P 8494, $4.98 (LP); SP 8494, $5.98 (SD). Dual cone speaker, Model G -50 ?: Purists can only be shocked by the Holly - "Band and State Trumpeters of the Royal outstanding high frequency per- woodian notion of inflating into "con- Horse Guards ( The Blues )." Captain formance with a special auxiliary certos" not only Sinding's Rustle of J. E. Thirtle, cond. Washington WR cone plus cloth -edge construction Spring and Liszt's Second Hungarian 415, $4.98 (LP). Rhapsody works for improved bass response, 30 to but such as the first Hailed as a recording masterpiece when movement of Mozart's K. 545, and the first issued in England (under the Envoy 16,000 cps. $34.95* Adagio of Beethoven's Pathétique Sonata. label ) a year and a half ago, this typical Exceptional speaker values: But add a completely straight, if richly British band miscellany is impressive for Model 1201 B, only $19.95 *. Model romantic, performance of the 18th Varia- its clarity and authenticity, but to my 850D, only $10.95 *. Outperform tion from Rachmaninoff's Rhapsody on a ears the sonies are often quite hard, speakers costing up to 3 times Theme of Paganini, Williams Dream of sharp -edged, and dry -faults which prob- more. Perfect way to extend your Olwen, and Rózsa's own elaborate Con- ably are considerably mitigated in the set to other rooms. certo on themes from his score for Spell- stereo version, not yet released in this bound; play everything with Pennario's country. The ensemble seems somewhat *Manufacturer's suggested retail prices. and Rózsa's skill; su- small -sized for its more ambitious pieces; Slightly higher in the West. assured provide premely natural, wide- range, and broad - Thirtle's performances of some pieces are Audio Components Product Section spread recording -and there's a best seller rather mannered; and his overfancy ar- in the making which well may seduce, if rangements of the Schubert Marche mili- only by its sonic luxuriance, the most taire and a British tear -jerking finale GENERAL ELECTRIC puritanical ears. The LP version is scarce- combining Abide with Me and The Last

IlIC1I FIDF:LITT :MAGAZINE

www.americanradiohistory.com Post seem all the more naïve for their obvious earnestness. The conductor does KAPP 1.:1+ l41.1I1.I! ll:,li best with the broad "Nimrod" section !r I,i,h, .. ,i r . In\lrlnli from Elgar's Enigma Variations, a pi- RECORDS quant if sentimental Scottish medley, and a number of novelty pieces- including the Knipper -Charroisin Cavalry of the Steppes, in which the familiar Russian patrol is atmospherically augmented by FRED the dubbed -in clatter of the Royal Horse Guards' own mounted squadron. ASTAI RE

"Seated One Day at the Organ." Ethel Smith. Decca DL 8902, $3.98 (LP ) ; DL 78902, $4.98 (SD). Miss Smith, one of the most popular elec- tronic organ virtuosos, either owns an un- commonly elaborate instrument or knows better than most players how to make LUCERNE the most of Hammond registration poten- tialities. Certainly she leaves no stops FESTIVAL STRINGS (organological or emotional ) undrawn in this miscellany ranging from Addinsell's Warsaw Concerto and Lecuona's Mala- RUDOLPH BAUMGARTNER gueña, through heart- throbbing versions Leader of Liebestraum, Clair de lune, Largo from the New World Symphony, Brahms The renowned European ensemble, now and Iljinsky Cradle Songs, to such show- touring the United States. On this record- Pieces as the Flight of the Bumblebee ing, a varied program: the Mozart Piano and Ritual Fire Dance -and even Bach's MR. SPECTACULAR,FRED ASTAIRE, IN THE GREAT Concerto No. 12; the Bartok "Roumanian Jesu, Joy of Man's Desiring and Fugue SONGS HE'S KNOWN AND LOVED FOR ... Folk Dances;" Hindemith: Five Pieces for in G minor ( the latter patterned more Change Partners Isn't This A Lovely Day A Foggy String Orchestra, Op. 44, No. 4. Recorded Day I Love To Quarrel With You They Can't Take closely on Stokowski's transcription than That Away From Me They All Laughed I'll Walk in Europe by Deutsche Grammophon. on the Gesellschaft score). Alone One For My Baby Oh, Lady Be Good Puttin' is both in LP On The Ritz Top Hat Lady Of The Evening Some- DGM 12016 Stereo DGS 712016 The recording excellent, thing's Gotta Give and many others. and stereo, though the latter's advantages Regular KL-1165 of greater expansiveness are somewhat Stereo KS -3049 counteracted by the many registration FREE: Send for our latest catalog DECCAS RECORDS St , N Y C. changes `jumping" themes from one KAPP RECORDS, 136 E. 57th markedly differentiated channel to the other. I daresay that there is a public which will avidly relish Miss Smith's "ra- diantly melodic interpretations of the compositions of the masters" (as they are UNUSUAL SAVINGS ON described on the disc jacket ), and even to more sophisticated listeners her "real- sincere" schmaltz may not be lacking in STEREO TAPES AND RECORDS a certain horrid fascination. NO CLUBS TO JOIN!

"March Time in Germany." Band of ti NO MEMBERSHIP FEES! Berlin Guard. Telefunken TP 25Oh. $1.98 (LP). WE PAY THE POSTAGE! The conductor is unnamed, the perform Buy with confidence. The SHAKER MUSIC SHOP cokes are by turns slam -hang and pede' trian, and the closely miked, brilliant but (formerly The Tape House) has been giving its mail order edgy high -level recording seems some- customers prompt and efficient service since 1956. We do what top -heavy. Nevertheless, the whole not make unauthorized substitutions. Tapes and records program is probably more typical of aver- age German marching -hand playing and are factory fresh ; unopened and unplayed. Terms are materials than those of more famous or- check or money order with order. Sorry, no C.O.D.'s or ganizations, especially in the rousing open accounts. ¡loch- and Deutschmeister and the jaun- tily zestful Solinger Schiitzen -Marsch and SEND FOR FREE CATALOG ! kártner Liedermarsch, with their bright glockenspiel parts glittering gaily ahoce MAIL THIS COUPON NOW: the relentlessly plugging drums and ooni SHAKER MUSIC SHOP, INC. pall tuba. STEREO TAPES 16505 Kinsman Road, Cleveland 20, Ohio Please send me your free catalog of stereo topes STEREO RECORDS Strauss Concert. Vienna State Opera Or and records. ehestra, Eduard Strauss, cond. MONO RECORDS ST /VX 426030, $4.98 (SD). Nome (Please Print) The primary interest of this program i BLANK TAPE that it is conducted by the Waltz Kings Address grandson, further identified in the jacket's HI -FI COMPONENTS genealogical table as Johann l's great - City Zone State grandson, Johann II's great nephew, and the nephew of the Johann ill who made

DECEMBER 1959 I

www.americanradiohistory.com a number of Strauss waltz recordings in 78 -rpm days. Apparently the blood has thinned out a bit in the course of the years, for the present Eduard (a com- parative youngster, to judge from his photograph) seems extremely nervous and self -conscious throughout. He knows the traditions, obviously, and provides a good, if occasionally overstressed, rhyth- mic pulse; but he tends to italicize inner details -which are further spotlighted in well- spread, brilliantly clean, but some- what harsh and too closely miked stereo tOMOND NALL RUMPUS ON RAMPART STREET recording. RASCO% 1120 (Monaural) 1120ST (Stereo

"Opera Without Words." Rome Sym- phony Orchestra, Domenico Savino, cond. Rigoletto: Kapp KCL 9032, $3.98 (LP); KC 9032 S, $4.98 (SD). Car- THE DON COSSACK CHOIR men: Kapp KCL 9035, $3.98 (LP). To judge by these two examples of the SERGE JAROFF, conductor Savino series, which already runs to a dozen releases, Kostelanetz still has this GARNER plays GARNER 2001ST field ENRICA 2001 (Monaural) (Stereo) The mighty tenors, the earth- to himself -and even begins to seem admirable in comparison. The Rome Or- shaking bassos -the dynamism chestra is notable only for the coarseness of the great Russian ensemble. and nasality of its soloists' tonal qualities and the extraordinary wiriness and lack BENNIE GREEN "The Birch Tree," "At a Russian SWINGS THE of true sonority of its tuttis. How much of BLUES Fair, " this is the mannered and careless conduc- ENRICA 2002 "Afterthe Battle" and many (Monaural) tor's responsibility and how much that of 2002ST other favorites. (Stereo) the harshly brilliant recording would be DL 10016 Stereo DL 710016 hard to determine, but curiously enough stereo (at least in the case of the Rigo- letto SD) doesn't seem to help matters at all. Indeed the excessive channel sepa- 1697 Broadway, N. Y 19, N. Y. Cercle 5- 06401 DECCA RECORDS ration accentuates the sonic shrillness and

es t acoustical dryness. DENNIS DAY Christmas is ter the Family TWO JEWELS:, "The Enchanting Organ of Bob Kames." In STEREO at only ;298 King 630, 53.98 (LP ). to enhance your listening pleasure. "Enchanting" is not my word for either Design the now_ "popping," now -piercing tonal STEREO SPECTRUM qualities of Kames's electronic instrument N.Y i. Brooklyn 32, or his interpretative oscillations between SS 32 100551E /MUSINGS DOM 100S PLAY master extroverted briskness and throbbing S Eugenie 1C Baird Sings schmaltz. And the high- level, open re- EIIINGTON ELLINGTON and your DIAMOND NEEDLE cording and excessively dry acoustics ex- In STEREO at only ;298 pose only too candidly both the unap- , ... í- pealing sonies and performances. Des \ T r. 4% / Phi STEREO SPECTRUM Brooklyn 32. N Y / "Overture!" and "Popular Overtures." SS 44 Virtuoso Symphony Orchestra of Lon- CONNEE BOSWELL don, Arthur Winograd, cond. Audio Sings Rodgers & Hart ONLY Fidelity FCS 50011/12, $6.95 each In STEREO at only $298 The (Two SD). Polonium 51495 Winograd and Audio Fidelity have given Strip does Des n the trick us so many musical delights and technical Lif.vot STEREO SPECTRUM triumphs that this disc is particularly dis- Brooklyn 32. N.Y. The amazing STATICMASTER Record Brush tressing. The conductor is perhaps only SS 52 operates on a simple nuclear principle. pedestrian in his "Popular Overtures" (by SING ALONG WITH THE Reznicek, Thomas, Glinka, Smetana, IDLERS When the record is brushed. a shower of RI US Coast Guard alpha particles neutralizes the static Weber, and Rossini ), but his weightier In STEREO at only $298 charge. Soft jaguar hair bristles provide program ( The Marriage of Figaro, Eg- the exact degree of stiffness to remove the mont, La Forza del destino, Die Meister- static free dust and lint from the record singer, and Academic Festival overtures) DesIgn grooves. A few circular a sweeps of rotat- is intolerably laborious, inept, and de- STEREO SPECTRUM ing record make dust and lint vanish like Brooklyn 32. N.Y. magic. STEREO AND MONAURAL RECORDS ficient in elementary stylistic insight. And ALAN ORAN SS 45 SOUND BETTER AND LAST LONGER. the recording of both discs, while not mono SONGS OF FAITH lacking in the expected ultrabrilliant Roy STATICMASTERS frown your toral audio dealer cymbal crashes and bass-drum thunders, IIA[Gh or order direct -sent postpaid-cosh with order. In STEREO at only ;298 can be reproduced only with a tonal shrillness and lack of choir or channel DesIgn NUCLEAR PRODUCTS CO. blend that surely cannot be ascribable to 10173 E. RUSH STREET, El MONTE 1, the British orchestra alone. STEREO SPECTRUM CALIF Brooklyn 32. N.Y. R. D. DARRELL

1:31 HIGIt FIDELITY MAGAZINE

www.americanradiohistory.com matter as Loch Lomond, Too- Ra -Loo- Ra- Loo -Ra, South of the Border, Song JAZZ of , etc. Braff and Brookmeyer make an excellent team. Both are warm- hearted, witty performers with a strong feeling for melody and rhythm and a THE EAR The Australian Jazz Quintet: "Three very personal inventive bent. Brook - Penny Opera." Bethlehem 6030, $4.98 meyer's down -to -earth piano work is dec- THAT HAS (LP). orated with entertainingly sly, off-beat Since the Australian Jazz Quintet has ideas (he roars into his solo on China- HEARD acquired the guidance of Teddy town like a hot Monk ), and Braff's Charles's arrangements, it has made tre- trumpet sings with gruff beauty no mat- EVERYTHING, mendous strides towards gaining a viable ter what country they throw him into. HEARD jazz feeling. And tunes from The Three This disc is a triumph for the musicians HAS over potentially dreadful circumstances. Penny Opera, in Charles's hands, provide NOTHING them with the best material they have yet recorded. Kurt Weill's sardonic music Billy Butterfield: "Conniff Meets Butter- UNTIL translates readily into highly rhythmic field." Columbia CL 1346, $3.98 (LP ); modern jazz. Its suitability is most evident CS 8155, $4.98 (SD ). IT HEARS in Dick Healey's alto saxophone, with a Billy Butterfield herewith joins the Jonah timbre that for reasons unclear to me is Jones parade, p ping out a set of pop BILLY MAXTED suggestive of the decadent "jazz" of Ger- tunes on muted and open trumpet over many of the Twenties which had its ef- a persistent shuffle rhythm. Butterfield is One of the best recorded Jazz albums to date, fect on Weill. Most of these pieces are by one of the top groups of its kind. Billy excellent at this sort of thing -his open Jazz Band bring played with a light, leaping swing that Maxted and his Manhattan trumpet, particularly, can be glowingly you such all time favorites as Bourbon St. complements the tunes admirably. exultant -but Ray Conniff's rhythm sec- Parade, Tailgate Ramble, Tin Roof Blues tion gives him stolid accompaniment. and Parade of the Saints. Count Basie, Billy Eckstine: "Basic /Eck- L Stine, Inc." Roulette 52029, $3.98 Con- Available both (LP ); S 52029, $4.98 (SD). Benny Carter: "Swingin' the '20s." in Stereo and Monaural BOURBON ST. $4.98 ); S 7561, ( After more than a decade of going no- temporary 3561, (LP Biuv - where as a ballad singer, Eckstine re- $5.98 (SD). MOM MM In the thirty -odd years during which turns to his musical origins, the blues HI-FIDELITY BLUES ( some, like Stormy Monday Blues and they have been major figures in jazz, Benny Carter and Earl Hines never Jelly Jelly, going back to his days with BILLY MAXTED Earl Hines's band ), and he's accompanied found themselves together until Novem- ber 1958, when these recordings were by the best big -band hacking any blues STEREOPHONIC RECORDS singer could ask for. He is, if anything, made. They are joined here by Leroy CELP 438 an even better blues singer than he used Vinnegar, bass, and Shelly Manne, to be, having acquired polish without drums. Carter and Hines are among the SEECO RECORDS, 39 W. 60 ST., N.Y.C. losing any of the depth of feeling that most polished and consistent of jazz polish so often destroys. Even his fa- musicians, and their performances on t miliar open -throated gargle on a couple this disc are an unadulterated joy from ofballads is not as ridiculously wobbly beginning to end. Hines's piano playing as it once was. The set is climaxed by a is economical and beautifully organized, brilliant collaboration between Eckstine with occasional sudden splashy splurges and Basic's piano, Piano Man -not the reminiscent of his earlier, more glittering old Earl Hines Piano Man but a slow, in- style. Carter plays trumpet on three se- tense, moody blues, set in motion by the lections, alto saxophone on the rest. He singer and carried out to perfection in is as smoothly lyrical as one would ex- Basic's solo. pect on alto, but his trumpet work, which has sometimes been relatively thin - Sidney Bechet: "The Sidney Bechet toned, is unusually attractive, coming Story." Brunswick 54048, $3.98 (LP ). out in gentle, clean singing lines that This disc contains two episodes in the aptly parallel his alto approach. The Sidney Bechet story but it is scarcely the selections are sturdy standards of the story, as the title suggests. Three selec- 20s ( Sweet Lorraine, Mary Lou, If I tions are 1938 recordings made with Could Be with You and other worthy THUNDER ON BLUE RIDGE members of Noble Sissle's band. The pieces) plus Hines's A Monday Date. Sounds of Steam Railroading Vol 3 & 3S rest are products of his French residence Stereo or Mono LP 331 /3 HI -FI 45 min. during the 1950s, accompanied by the The Dixie Rebels: "Strike Back with Features in MASSIVE REALISM the orchestras of Claude Luter and Andre True Dixieland Sound." C and RS continuous sound journey of America's Reweliotty. None of this is top -drawer 33 -801, $4.98 (LP ); RS 801 SD, $5.98 last BIG TIME STEAM POWER han- Bechet; the accompaniments are pedes- (SD). dling heavy tonnage on Blue Ridge trian and the material played is generally These are lusty and spirited Dixieland Mountain ... Articulated double headers Norfolk & uninspired. But Bechet is always himself performances gaining their interest from and pushers E bound on the no matter what's going on around him. Western Main Line ... On train and the constantly impressive clarinet playing trackside from close -up to whistle echoes of Kenny Davern and the broad, un- Ruby Braff Quintet: "Blowing Around in the far night . .. Train breaks in two quenchably high spirits of Lou McGar- 3 pass World." United Artists $3.98 ... Stops in emergency ... trains the 3045, ity's trombone. The program, howecr r, ... Train made solid!!! The voice of (LP); 6045, $4.98 (SD). is made up of war horses of the Dixieland Asst. Trainmaster Walter "Country Boy" It would be hard to think of a program- repertory including, inevitably, The Jackson. ing hook less imaginative than the selec- Saints. This record contains tion of a group of tunes solely on the "THE GREAT WHISTLE STORM" basis of geographical references in their titles. But Ruby Braff, Bob Brookmeyer Linton S. Garner: "Garner Plays Garner." STEREO $5.95 BONO $4.95 other countries ( playing piano ), Barry Galbraith, Joe Enrica 2001, $3.98 (LP ); S 2001, Ck or MO - U. S. and Canada $1.00 extra Benjamin, and Buzzy Drootin make a $4.98 (SD). O. Winston Link, Railway Prod. York 16, N.Y. delightful, unhackneyed disc of such Garner Plays Garner is the sort of de- I 58 East 34 St., New

DECEMBER 1959

www.americanradiohistory.com ceptive title (this Garner is Erroll's older brother) often implying that the record could not get by on its own merits. In this case, the deception puts Linton THE EAR Garner in an unfair light for he needs no fraternal support. Like his younger THAT HAS brother, Linton is a melodic and rhyth- mic pianist but he leans more to the HEARD modern, bop -influenced school than Er- roll does. He makes no effort to follow EVERYTHING, any of Erroll's typical devices, although his ballads HAS HEARD approach to has a family re- semblance to Erroll's romantic, cloud - NOTHING wafted feeling. These are very pleasant, FROM ONE WHO LEARNED well -ordered piano performances that UNTIL This enlargement shows a diamond - stand quite firmly on their own. chip needle sent us by disappointed IT HEARS a user, who learned all diamond Benny Goodman: "The Benny Goodman needles are not O.K. Shows what Treasure Chest." M -G -M 3-E -9, STUBBY KAYE happens if a heat bubble forms $11.96. (Three LP). Stubby, who has been seen in such shows as: when a chip is welded on. Can't Like the recordings made from broad- "Li'I Abner" and "Guy and Dolls," sings 12 happen with a Duotone Needle that casts by the Goodman band and small always loved standards such as Mr. Five by groups released by Columbia several uses only the whole diamond set Five, Let's Do It, After You've Gone, Linda, years ago (in a two -disc package, The deep in the metal shank. It's Been a Long, Long Time. King of Swing, Columbia OSL 180, and on three individual discs, The King of Available both =G Swing, Vol. 1, 2, and 3, Columbia CL ln Stereo and Monaural Stx,bby Ktige J 1 Insist on Duotone. 817/819), this new set consists of air C .,.,....o .,a Be sure. Duotone's shorts made during 1937 and 1938 when M whole diamond Goodman still had all his early stars - HI- FIDELITY Teddy Wilson, Jess Stacy, Harry James, can't break off. Gene Krupa, and Lionel Hampton. This . album lacks the fire and brilliance of the DUOTONE DIAMOND NEEDLE Columbia set first collection, but it has STEREOPHONIC RECORDS a merit of a different type in that it "that remembers" CELP 421 shows off to good advantage the gentler, Keypert, N. 1. rhythmically melodic side of the Good- SEECO RECORDS, 39 W. 60 ST., N.Y.C. In Canada: Polnton, Chas. W. Ltd., Toronto man groups. This is especially true of the trio and quartet performances, most of which are your records relaxed versions of pleasant pop tunes uriVII rather than the relatively hectic originals und clear as topes which formed the other part of their book. The full band drives through some of its standard instrumentals -Big John's Special, Camel Hop, and Honeysuckle BRAHMS Rose, for instance -but again it is in SYMPHONY NO 4 the suave treatments of pop tunes by in e minor. Op 98 Fletcher Henderson and Jimmy Mundy (which provided fodder for the band's easy lilt and the floating blend of the BEETHOVEN Goodman saxophones) that the band

Overture .n C Opus 115 Namenste.er comes across best. A dozen of the selec- tions by both large and small groups with the new have not been on records before. The groove - cleaning The Lamoureux Orchestra - soon recording in general is relatively shallow to tour In the United States and one -dimensional, although most of A Deutsche Grammophon recording the pieces by the trio are reproduced LEKTROSTAT KIT quite well. the first record cleaner designed ()GM 12017 S,e,eo DOS 117017 for -play stereo Edmond Hall: "Rumpus on Rampart long and mortis Street." Rae -Cox 1120, $3.98 (LP). Something wonderful happens to records 1v Through most of this disc Hall plays his cleaned the Lektrostat way! Music sparkles DECCA RECORDS lithe, lusty, hot -footed clarinet accom- with new clarity...annoying crackles, and panied only by an excellent rhythm sec- hisses disappear. Get these results every tion ( Dick Cary, Jimmy Raney, Al Hall, time you clean with Lektrostat... first record Jimmy Crawford), romping and rhap- cleaner designed for monaural and stereo sodizing around themes of relative incon- long -play records! Only Lektrostat has a sequence which glow and sparkle once non -gumming, anti- static he has had his way with them. On three detergent PLUS special tunes the group is joined by two more groove- cleaning Applica- c clarinetists, the late Omer Simeon and tor. At your local record Ed's brother, Herb Hall, to play arrange- shop or high fidelity dealer ments written by the onetime Lunceford ...or write for dealer pianist, Eddie Wilcox. Two of these have nearest you. 200 C,t t an appealing if minor charm, but the chemical corporation Nw, dexter Continued on page 138 45 Edgewater Road. New York Be. N.Y.

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DECEMBER 1959 137

www.americanradiohistory.com r third effort, Louer, is a glorious excursion both in Wilcox's ensemble sketching and in the beautifully shaded playing of the three clarinetists. It's a brilliantly inven- tive and disciplined jazz performance. THE EAR

THAT HAS Buddy Johnson and His Orchestra: "Co HEARD Ahead and Rock." Roulette 25085, $3.98 (LP); S 25085, $4.98 (SD). EVERYTHING, Johnson's band, once one of the most successful rhythm and blues groups be- HAS HEARD fore that style was corrupted and over- whelmed by rock 'n' roll, still remains Julius Monk's NOTHING Upstairs at the Downstairs basically a rhythm and blues band. On and Offbeat Records present UNTIL this disc it makes an occasional conces- sion to the rock 'n' roll audience but at IT HEARS the same time it is a much more polished PIECES of EIUIT and musically sophisticated group than the relatively simple R & R bands were. Newsweek: "bright, witty and as "JOSE MELTS AT CHRISTMAS" topical as a newspaper... there is It has a pair of very good soloists ( a no other show like it in New York." Dazzling, superlative, swirling scintillating and trumpeter and a trombonist who can do Variety: "a solid hit." Fly Gardner: wah -wah "smartest night club revue in town kaleideoscopic, could all be used to describe tricks in the Tricky Sam Nan - . saucy, smart, a living and breath- the music of Jose Melis...You will discover ton manner) and, although its rhythm is ing version of the New Yorker at that his technique, whether displayed in always incisive and definite, it has its sassiest." the monophonic or stereo recording, is a Pieces of Eight (Offbeat 0 -4016) is relaxed, assured attack of the well -ad- in the hilarious cabaret tradition of listening experience of rare pleasure, deserving justed band. Take Five (Offbeat 0- 4013), and inclusion in every record library. Demi -Dozen (Offbeat 0- 4015). Now on stage Upstairs at the Downstairs, 37 W. 56th St., New York, Available both Dick Katz: "Piano and Pen." Atlantic in Stereo and Monaural 1314, $4.98 (LP); S 1314, $5.98 (SD). CNRiSTMAS A gentle and persuasive set of perform- WITH MELIS ances by a well -grounded pianist who `OFFBEAT RECORDS HTFIDELITY has a light, swinging attack which, on a divirion of Washington Records this disc, shows some of the propulsive at better record shops or write characteristics of John Lewis' playing. 1340 Conn. Ave., N.W., Wash. 6, D. C. The suggestion of Lewis' pulse is aug- at $4.98 each, postage paid. Free Catalog. STEREOPHONIC RECORDS mented by the presence of the Modern CELP 423 Jazz Quartet's drummer, Connie Kay,

SEECO RECORDS, 39 W. 60 ST., N.Y.C. who joins with bassist Joe Benjamin to form an admirable rhythm team. Guitar- ist Chuck Wayne provides an interesting RECORD AUTHORITIES second lead voice on four selections, but TWO BLUES SPECIALS the usually dependable Jimmy Raney, AGREE ... STYLUS AND who replaces Wayne on the remaining from FOLKWAYS four selections, is surprisingly routine. RECORD LIFE DOUBLED

BY USE OF THE Charles Mingus: " Mingus Ah Um." Co- lumbia CL 1370, $3.98 (LP). Slowly but surely Mingus is coming into DIS- focus as the most thoroughgoing indi- vidualist in jazz in the 1950s. Lately his CHARGER control over a style which, by its very No More Brushing nature, tends to spread out exuberantly Spraying or Wiping in all directions, has become much more Records certain. On this disc we hear its various LEAVES NO RESIDUE facets as well disciplined as they have yet been on a record. He leads what might he classified as a super -Mingus IMITATED, BUT NOT group -his most recent quintet aug- mented by three ex- Mingltsites, Jimmy DUPLICATED Knepper, Willie Dennis, and Shafi Hadi is The Discharger controls static electricity -a troupe that thoroughly indoctri- nated to the Mingus techniques. The generated by your records, a static -free program is direct and communicative LICHTNIN' HOPKINS Sings the Blues. Recorded hf Ss- . B. record stays clean, quiet, and lasts for Charters. Songs include: Penitentiary Blues, Come Home with and Mingus' ideas are realized with un- Me. See That My Grave is Kept Clean, others. Folkways, FS 3522. longer. Discharger element never needs 12- longplay record. usual consistency. He opens with a howl- "A remarkable record ... Hopkins. who accompanies himself replacing. ing, rocking bit of gospel, moves on to a superbly on unamplified guitar. has a mobile voice and an ea. for pressiveness that places him in the top rank of country blues Clips on arm lovely, touching lament Lester men ...One of the finest blues records ever made." any -HIGH FIDELITY Young (Goodbye Pork Pie Hat -Mingus' "One of the best blues records ever made. The rediscovery of Lasts indefinitely include an unusual knack for Lightnin Hopkins is an important event to those who like real talents blues. " -DOWNBEAT titling), a hard, riding riff-based piece, a Weight t/2 gram SNOOKS FACLIN, New Orleans Street Singer. Recorded by Harry slow and misty Self Portrait in Three Oster. Careless love, High Society, Trouble in Mind, The Oriftin Blues, Rock Island Line, See See Rider, A Thousand Miles from Colors, his hauntingly insistent Fables of Home, Look Down That Lonesome Road. Folkways, FA 2476. SEE YOUR LOCAL DISTRIBUTOR OR 12- longplay record. Faubus, and a setting for a soaring Knep- SHIPPED POSTPAID IN U S A $4.50 Send for bee catalogue of over 650 titles of folk music. per trombone solo on Pussy Cat Dues. jazz, and documentary recordings. MERCURY SCIENTIFIC PRODS. CORP. Mingus uses irony and a lethal wit very times, but I think he misses FOLKWAYS RECORDS & SERV. CORP. 1725 West 7th Street, Los Angeles 17, Colilorn,a effectively at 117 West 46th St., New York 36, N. Y. the point in his overdone caricature of

1iS HIGH FIDELITY MAGAZINE

www.americanradiohistory.com early jazz on Jelly Roll. All in all, how- ever, this is a remarkably adventurous and provocative disc.

Googie Rene: "Romesville." Class 5003, $3.98 (LP ). This is a strange, fascinating, and enter- taining bouillabaisse of jazz, cha cha, TV backgrounds, and Hollywood ostentation spiced at times with satire and, at other times, would -be satire. Rene, a pianist with a simple, heavily rhythmic style, has assembled an excellent big West Coast band ( the saxes include Willie Shimmering highs ... Smith and Buddy Collette; Gerald Wil- son and Conrad Cozzo are among the rich lows ... crisp middles trumpets; and Jack Costanzo, Larry ... all the high fidelity sound Bunker, and Red Callender are also presence you anticipate present ) to play a group of serviceable at a price lower than originals and two standards (Come Back you expect. Who can ask to Sorrento and Serenade in the Night) in a variety of styles from driving big - for anything more? band jazz to the syrup of Billy Vaughan's saxophones, plus intermediate blasts from Prado -like trumpets and the Hawaiian tinkle of a pair of mandolins. A vocal group also looms in the background from time to time. It's a big, slick, exuberant variety show that touches an awful lot of bases, none of which seem to have anything to do with Rome.

George Romanis and His Orchestra: "Modern Sketches in Jazz." Coral 57273, $3.98 (LP ); 757273, $4.98 (SD). Romanis is a young arranger and bassist who has a fondness for using a tuba as both a bottom and a driving force and GROMMES CUSTOM 28PG STEREOPHONIC for giving his percussionists kicking, me- AMPLIFIER lodic passages. The over -all effect of his Superb new 28 watt stereo amplifier and writing is somewhat like that of Eddie pre -amplifier with ganged controls for Sauter in the early days of the Sauter - simplified Finegan band although Romanis' ar- stereo operation. Two 14 watt channels, rangements are apt to be more robustly 56 watts peak. Frequency response ± 0.5DB. jazz -oriented than Sauter's were. On this 20- 20,000 CPS. Selector for Aux, Tuner, disc he has used tunes by George Gersh- NARTB Tape, RIAA Phono, Crystal Phono. win, Richard Rodgers, Cole Porter, and GROMMES CUSTOM 102GTB Function, Channel Balance, Loudness, Bass, FM -AM TUNER Duke Ellington and, strangely enough, Treble, Filter Controls. 14 "x4% "x11". he is least effective in handling Elling- Matching FM -AM Tuner. Highly sen- Audiophile Net, $119.95' ton. He does his best work in bright, sitive, stable cascode circuit. Foster brisk interpretations of Rodgers and Seeley Discriminator. Crystal diode 'Handsome saddle tan simulated Porter. These pieces are played with a detector. Audiophile Net, $129.95* leather enclosure $10.00 extra. crisp, exultant drive by an eleven -piece band which is much more ear -filling than most groups twice that size. Even those who can afford more. buy Charlie Shavers: "Charlie Digs Paree." M -G -\1 3765, $3.98 (LP ). This is Charlie Shavers' attempt to cash in on the popular vein set up by Jonah Jones. Shavers is a bit more adventurous than Jones but, within his own format, S T E R E O just as stereotyped. Ask your Hi- Fidelity Dealer to demonstrate GROMMES -the best buy In Stereo Hi -FI JSpirituals to Swing VANCUARD 8523/4. Two LP. $7.96. Please send me FREE GROMMES DIVISION OF PRECISION ELECTRONICS, INC. full color catalog of For review of this album, see p. 88. 9101 -A King Street, Franklin Park, Illinois the 1960 Grommes line along with detailed j Joe Viola: "Plays Manny Albans." Berklee specifications. N vro 3, $3.95 (LP ). Viola, who is supervisor of woodwind Street instruction at the Berklee School in Bos- ton, has pulled off a double -edged tour City Slate de force on this disc. On one side he

DECEMBER 1959 139

www.americanradiohistory.com performs a group of short pieces for four saxophones and rhythm, playing all four saxophone parts through multitaping. In the other side, also multitaped, he does Six Pieces for Eight Reeds, adding oboe, English horn, clarinet, and bass clarinet to his arsenal. The first group is made up of tightly organized pieces which run from a cogitant blues to a PROFESSIONAL 55 brisk little swinger-all low- keyed, pro- vocative jazz performances. The second the Ultimate set, done without the rhythm section, is not jazz in any sense but a series of Home recording is STEREO CARTRIDGE pleasant "straight" pieces, warmly and skillfully played. Both sides are unusual- more fun with ly well recorded, showing none of the seams and stitches that are almost in- SOUND TAPE evitable in such overdubbing jobs. The selections, all composed by Manny Al- RCA barn, are challenging without being pre- tentious. soo1%d Ben Webster and Associates. Verve 8318, $4.98 (LP) . Webster's "Associates" are Coleman Hawkins, Budd Johnson, Roy Eldridge, You'll find that recording at home is more fun when Jimmy Jones, Leslie Spann, Ray Brown, you use RCA Sound Tape. And your favorite "mem- ories on tape" will sound better, too, because RCA and Jo Jones -an unusually impressive Sound Tape gives you incomparable high -fidelity re- company. Impressive, too, is an easygo- production. Available in the popular and economical 5" and 7" reel sizes, on splice -free Mylar or acetate bases. ing, stipple and insinuating version of In Ask for RCA Sound Tape wherever superior quality a Mellow Tone which covers one side of magnetic recording products are sold. the disc, drawing suitable, if not in- COLUMBIA spired, solos from every member of the RADIO CORPORATION troupe except Webster. Also impressive, OF AMERICA on the other side, is the unexpectedly Electron Tabe Ol Aston Harrison. N.J. Professional 55 ... Dut'ont Reg. TM fiery, hard-toned playing of Johnson and ) Cost $28.95 the neatly organized, flowing guitar work This new transparent cartridge is of Spann. Impressive in another way is the professional's version of the the single ballad in the set, Tinte After popular Columbia CD. A high -com Time, which brings out all the worst pliance model with excellent tran- of Webster's ballad playing. sient response, it uses a .5 -mil dia- aspects mond stylus and is designed for Now Available transcription turntables. Comes jimmy Wisner Trio: "Blues for Harvey." complete with 4 miniaturized plug - 1958 in equalizing networks for low- and Felsted 7509, $3.98 (LP ). high-level inputs. Wisner, a Philadelphia pianist, shows on this disc a wiry, two -handed, buoyantly high fidelity CURVES, FACTS AND FIGURES PROVE IT rhythmic attack which swings in a forth- right manner and, when he turns to the RECORD REVIEW blues, a warm, reflective style that sug- gests an unusually good basic jazz foun- INDEX dation. Considering that all eight tunes A complete index to all classical, on the disc are his originals and that he semiclassical, jazz, and spok.n is accompanied only by bass and drums word record reviews which ap- ( Ace Tesone and Chick Keeney, a strong peared in HIGH FIDELITY Maga- and helpful rhythm team ), Wisner is a zine in 1958. remarkably consistent and compelling performer. Arranged alphabetically by com- JOHN S. WILSON poser or by collection -title, with the issue and page on which you will find the review you wish.

Ask for Bulletin E -331. Check the ONLY 65¢ EACH Professional 55's superiority in: linearity ... separation ... needle 1954,1955, 1956 and 1957 Indexes point impedance low mass FM ...... /Q also available at 500 per copy. freedom from hum and distortion ... output level ... and ruggedness. ANTENNAE YOUR OWN EARS PROVE IT THE FINEST OF ITS KIND . . . HIGH FIDELITY Magazine Better still. Your own ears will con- Get more FM stations with the world's most Greet Barrington, Mus. powerful FM Yogi Antenna systems. vince you the Professional 55 is Enclosed And Please send me your best investment. Ask to see copies of the 19311 ,sdel and hear it at your distributor's To be fully informed. copies of the 1933 Inde today! send 25. for book copies of IM 1936 Index "Theme And Varia- CBS ELECTRONICS copies of the 1937 Index tions" by L. F B. Carini A Division of copies of Igo 193111nde and containing FM Columbia Broadcasting System, Inc. Name Danvers, Massachusetts Station Directory. by Address Distributed in Canada APPARATUS DEVELOPMENT CO. CANADIAN GENERAL ELECT RIC CO. LTD. TORONTO 9, WETHERSFIELD CONN No C.O.O.s IN charge sadists piase

HIGH FIDELITY MAGAZINE

www.americanradiohistory.com AMP EX 960 STEREOPHONIC RECORDER/ REPRODUCER

ABOVE -960 PORTABLE STEREO RECORDER /REPRODUCER BELOW-MODEL 2690 PO Stereo STEREO SYSTEM CONSISTING OF 960 AND PAIR OF 2010 Portable AMPLIFIER-SPEAKERS PLUS! Guiding the Ampex engineers who created the 960 was a dual objective - that of building a machine which was not only a superb example of engineering skill, but one which would also offer its user a range of capabilities far exceeding that of any other recorder made today. The result was not merely an improved stereo recorder, but an entirely new concept in home entertainment. The STEREO 960 fits into family life in literally dozens of ways, contributing many tangible benefits in musical, educational and recreational fun. You'll use it to keep up the family correspondence by sending "letters in sound ", to tape stereo programs off the air, to preserve your best monaural and stereo discs on tape, and to acquire new musical and language skills. You'll have endless fun exploring the 960's many fascinating recording capabilities, including sound -on- sound, echo chamber effects, and other advanced techniques.

AMPEX STEREO SIGNATURE OF PERFECTION IN SOUND

www.americanradiohistory.com Relax and enjoy the show - let your Ampex do the RECORDER /REPRODUCER narration! With the commentary on tope, your co or si es ows are more SPECIFICATIONS professional, mo-e complete, and more fun!

The true values of a recorder are best assessed through careful evaluation of its performance specifi- cations and operating features. It is worthwhile noting here that these specifications are based not on Your for/write LP r and Stereo theoretical design parameters but on actual performance tests. They are specifications which the Di=s are at their exciting recorder not only meets or exceeds today, but which years from now will still hold true. best w hey're new and to The Ampex Model 960 Stereophonic Recorder Reproducer is capable of essentially distortionless urscrot:hed. That's when frequency response from 30 to 20,000 cycles per second at the operating speed of 7V2 inches per t3pc teem on your Ampex, a second, and from 30 to 15,000 cycles per second at 33/4 inches per second. Its precision- engineered id preserve -heir original for keeps! timing accuracy is such that it offers perfection of pitch held to tolerances of less than one third of a cuality half tone. Playing times, using standard (.002 "), long play (.0015 "), and extra long play (.001 ") tapes are as follows: When you tape it "off the (a) 4 -Track (b) 2 -Track (C) Monaural Tapes, air" your only cost is for Stereo Tapes Stereo Tapes half -track blank tape. Yet your musical

200 foot reel 33/4 ips - 2 hrs. 8 min. 33/4 ips - 1 hr. 4 min. 33/4 ips - 2 hrs. 8 min. repertoire can scan equal

7t/2 ips - I hr 4 min. 71/2 ips - 32 minutes 71/2 ips 1 hr 4 min. that of all the stations 800 foot reel 33/4 ips - 3 hrs. 12 min. 33/4 ips - 1 hr. 36 min. 33/4 ips - 3 hrs. 12 min you hear!

71/2 ips - 1 hr 36 min. 7t/2 ips - 48 minutes 71/2 ips - 1 hr 36 min.

2 400 Foot reel 33/4 ips - 4 hrs. 16 min. 33/4 ips - 2 hrs. 8 min. 33/4 ips - 4 hrs. 16 min

7th ips - 2 hrs. 8 min. 7t/2 ips - I hr. 4 min. 7t/2 ips - 2 hrs. 8 min. There's a tea: future in family - Fur like this your RECORD INPUTS. High impedance line inputs (radio TV phono auxiliary) 0.3V rms for program level; -with high impedance microphone inputs Ampex you can live such ha3Fy moments over and PLAYBACK OUTPUTS: Approximately 0.5V rms from cathode follower when playing program level tapes over agcin, with a quality so PLAYBACK FREQUENCY RESPONSE: 30- 20,000 cps at 71/2 ips; 30- 15,000 cps at 33/4 ips lifelike ysu're almost literally Within +2 db 50- 15,000 cps at 7t/2 ips, 55 db dynamic range carried back. Within ±2 db 50- 10,000 cps at 33/4 ips, 50 db dynamic range

FLUTTER AND WOW: Under 0.2% rms at 71/2 ips; under 0.25% rms at 33/4 ips In the Ampex "Speech Testin HEADS: Manufactured to the same standards of precision that exist in Ampex broadcast and recording Game ", you pit your wits studio equipment. Surfaces are lapped to an optical flatness so precise that they reflect specified against the trigger -quick wavelengths of light, resulting in uniform performance characteristics and greatly minimizing the memory of the Ampex effects of head wear. Azimuth alignment of stereo head gaps in the same stack is held within 20 recorder/reproducer. You seconds of arc, equivalent to less than 10 millionths of an inch -- a degree of precision achieved can't win, but it's fun trying. through use of a unique process involving micro -accurate optical measurements within a controlled environment. Head gap width is 90 millionths of an inch +5 millionths of an inch.

Letter -writing is no longer a problem, w th an Ampex ii theltouse ... now it's a fam ly project. And even KEY TO THE EXCITING FUN FEATURES OF THE 960- - more fin than sending letters 7THE AMPEX STEREO -GRAPH it sound is receiving them!

Here's the simplest, quickest answer For "letters in sound ", the to almost every question about how to 3" tape reel holds as much perform the operations illustrated at as a 10 -page letter, mails right and numerous other recording first class anywhere in the United States for 8c. functions. The Ampex Stereo -Graph shows you, quickly and clearly, the proper dial settings to make for more than a dozen of the most popular uses and other special effects. A convenient ycu prefer :ozz, pops, or for the 960 ... including sound-on- tape footage/playing time indicator is . classical, the privacy of sound, language and music instruction, included on the reverse side. healphone listening is a stsiqul pleasure. You don't family, you!

MODEL 2010 The Ampex, in privote MATCHING AMPLIFIER -SPEAKER rehearsal, can be a wonderf confidence -builcer for people who normally develc The Ampex Model 2010's ten -waft (20 watts peak) ampli- rubber knees when faced fier section provides operating characteristics (unequalizedl with the prospect of

flat within ' 0.1 db, with total harmonic distortion less speaking before a group.

than 0.5 of 1 %, throughout the maximum range of human hearing ability, at rated output. Noise and hum are 80 db Leareing to speak a new below rated output, and input sensitivity is 0.18V to language is mode develop rated power. imncasurea:ly easier on The specially designed 8" speaker provides smooth, peak - the Ampex; ycu can record free response throughout a remarkably wide audio range. your on phrases side -by -side Such superior design features as its massive die -cast frame w *h th 3se of the instructor, and edgewise -wound ribbon coil contribute effectively to arm play them back for higher levels of performance than ever before achieved ccrn3orison at any time. with a speaker this size.

When you strike up the ban( in stereo, you don't need MODEL 960 DIMENSIONS: Portable cases 9" a 15" x 171/2". Unmounted recorder professional musicians to 13" x 15" x 6t/s" depth below top plate, 1%" above. Recorder weight 36 lbs., make a professional speaker amplifier 31 lbs. recording. Advanced techniques are amazingly

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SINGLE PLAY TURNTABLE - For unrestricted CONSTANT SPEED CHANGE CYCLE - You get manual play, you can place the tonearm any- fast record change regardless of playback speed, where on the record while turntable is either because the Dual has an independent auxiliary motionless or rotating. For fully automatic play, transmission used only for cycling. just press START button. In both cases, the tone- Avoids arm can be moved about at will, returns to rest THE ONE -PIECE PROFESSIONAL TONEARM- after play ...and the motor shuts off. distortion of cartridge output and multiple resonances common to two -piece arms. A AUTOMATIC RECORD CHANGER - Simply double set of balibearings in each axis provides change spindles - nothing else to do. Only the perfect arm motion - lateral and vertical - three buttons let you start, stop, reject, or vital for stereo tracking. repeat. Further, you can always rearrange a stack of records even while a record is playing! DLT PERFECT TRACKING TRACKS AND TRIPS AT AS LOW AS 1!% GRAMS - That's why you can use the most sensitive turntable cartridges with high compliance styli not ordinarily recommended for automatic equipment. This ensures extra long life for all your records. 1006 FOOLPROOF RECORD INDEXING - The roller - feeler guides in the tonearm measure each combination record individually, letting you intermix any II , size record (even under and oversized "stand- turntable 'changer ard" records) in any sequence. Eliminates need for troublesome mechanical linkages and arbitrary set -screw adjustments. Can't miss!

111+ Always perfect vertical and lateral stereo tracking because arm pivot axis remains 90° to cartridge axis. AUTOMATIC GEAR DISENGAGEMENT -No need to remember "neutral," no worry about flat spot thump ... because all of the individual speed gears and the idler disengage after every play. JAMPROOF TONEARM SLIP -CLUTCH - Even if the tonearm is restrained while cycling, no damage will result, because it's engaged only by an ingenious slip -clutch which provides the further advantage of totally disengaging the arm during play. This allows the arm to track freely, i with no drag and no variation in tracking force at any time. 1. When START button is pressed, tone arm moves toward center. 2. With wheels down, arm glides lightly over top unused surface until outer wheel locates exact outer edge. 3. Ar,n rises and wheels IS YOUR retract. 4. Arm gently descends to play. ELEVATOR ACTION CHANGER SPINDLE - There's no pusher arm to chip record edges, no spindle offsets to enlarge center holes. The entire stack is lifted off the bottom record to let it descend gently to the turntable. Records ONE can be removed from the turntable without need to remove the spindle itself. INTERRUPT PLAY AT ANY TIME - You can stop F and start again, any record exactly where you want -even during automatic changer operation LOGIC: -without affecting the cycling action. BUILT -IN STYLUS FORCE MEASURING GAUGE Direct reading. easy to use, and conveniently located for instant check. No guesswork. And you have fingertip accessibility for a wide -range J Ir CI-VOICE of adjustment. 1. Record stack ready to play. 2. Stack separates from bottom record. 3. Bottom record descends. 4. Stack gently lowers for next play. Tested and acclaimed by tech- POWERFUL RUMBLE -FREE MOTOR- So power- nical and consumer reporting ful, in fact, that the Dual's heavy turntable can reach full RPM in less than t/a turn from a organizations, the United Audio dead start! And, because of its exceptionally high quality and exclusive rigid- equipoise sus- Dual -1006 is unquestionably pension, rumble is eliminated at the source. your best value at only $69.95 LAMINATED AND CONCENTRICALLY GIRDED LOCK -IN CARTRIDGE HOLDER - Lets you in TURNTABLE - Can't go out of round, can't terchange cartridges instantly, effortlessly; takes warp, can't wobble. Dynamically balanced and all standard -size cartridges. rotates on heavy duty ballbearing. Result: pro- MULTI -PURPOSE STEREO I MONO SWITCH - fessional performance. united udio Adapts your stereo cartridge for mono output, CHOICE OF REPEAT - Now you can either at the same time completely eliminating random PRODUCTS OF DISTINCTIOND I repeat the same record indefinitely, or just once noises from unused groove. Very convenient too with the self -cancelling REPEAT button. 202-4 East 19th St., N. Y.3, N. Y. for balancing stereo speaker systems.

DFY:I:\IBER 1959 14:3

www.americanradiohistory.com A happy reel of spirited classics ... available in a special Audiotape bonus package

LIKE your classics bright and melodic? Do you enjoy music of the toe -tapping variety? Then "High Spirits" DETAILS OF THE PROGRAM is just for you. This reel of sparkling classics shows you how vibrant and "High Spirits" includes these colorful music can be when it's bright selections: recorded on Audiotape. The makers of Audiotape have not Strauss ... Frisch ins Feld gone into the Strauss . . . from Fledermaus Waltz music business. They are simply using this reel to allow Beethoven ... from Symphony No. 1 in C Audiotape to "speak for itself." Tchaikovsky .. . from Capriccio Italien "High Spirits" is available RIGHT Now from Audio - Bizet ... from Carmen Suite tape dealers everywhere. (And only from Audiotape Berlioz . Rakoczy March dealers.) Ask to hear a portion of the program, if you like. Then, take your choice of a half -hour of two -track DETAILS OF THE OFFER stereo, a full hour of four -track stereo, or an hour of This exciting recording is available in a spe- dual -track monaural sound - all at 71/2 ips. Don't pass cial bonus package at all Audiotape dealers. up this unusual opportunity to The package contains one 7 -inch reel of put yourself in high spirits. Audiotape (on 1?: -mil acetate base) and the "High Spirits" makes an valuable "High Spirits" program (profes- ideal companion to Audio's sionally recorded on standard Audiotape). first bonus reel, "Blood-and- For the entire package, you pay only the Thunder Classics," still avail- price of two boxes of Audiotape, plus $1. able at Audiotape dealers. And you have your choice of the half -hour two -track stereo program or the full -hour monaural or four -track stereo versions. Don't cupicliotimie wait. See your Audiotape dealer now. "it rp*oks for itrlf" rua ru.

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1-14 }THAI FIDELITY MAGAZINE

www.americanradiohistory.com h Tape Deck

Reviewed by R. D. DARRELL

JOHANN STRAUSS, II: "Miscellany" The following reviews are of 4 -track 7.5- of the Tumblers. Sibelius: Valse triste. 1, Minuet. ips tapes, on reels. Bizet: L'Arlésienne: Suite No. Die Fledermaus: Overture. Pizzicato - Glière: The Red Poppy: Russian Sailors' Polka, Op. 315. Perpetuum mobile, Op. ANDERSON: "Music of Leroy Anderson, Dance. 257. Waltzes: By the Beautiful Blue Vol. 2." Musical Arts Symphony Orchestra, Leon- Danube, Op. 314; Emperor Waltz, Op. 437; Tales from the Vienna Woods, Op. Horse and Buggy, The ard Sorkin, cond. Belle of the Ball, min. 325. Waltzing Cat, Blue Tango, Song of the CONCERTAPES 4T 3003. 32 L$6.95. Bells, The Typewriter, The Syncopated Musical Arts Symphony Orchestra, Leon- Clock, Girl in Satin, China Doll, Summer It speaks well for this diverting "apothe- ard Sorkin, cond. Skies, Fiddle -Faddle. min. osis of the dance" program that with CONCERTAPES 4T 3005. 32 Eastman-Rochester Pops Orchestra, Fred- each rehearing it reveals new charms. $6.95. erick Fennell, cond. it often before ( the "B" I've praised processing, rather MERCURY STB 90043. 33 min. smaller pieces formed part of Con- If this is simply a new side of the $6.95. "Stereo Starter" set; the Glinka than a complete re- recording, certapes' than three Borodin works were in a two -track same program issued more and -track 101 I could greet the spirited performances the whole program appeared years ago on Concertapes two tape; and anew how and gleamingly transparent, natural ster- stereo disc version last year), but A, it vividly demonstrates in a perform- eo recording here with livelier enthusi- sonics, marked stereoism, and magically improved recorded its bright given asm if this were not a sequel to Vol. 1. own unflagging verve now seem ances can sound when they are Sorkin's was not Technically it is every bit as good as the relishable. Surely he gives us good processing. The 1956 tape even more but made the earlier release, but unfortunately the mu- most and properly propor- only poor technically, the piquant wholly ineffectual. sic itself, except perhaps for the long - tioned version of the often -recorded Rus- Sorkin readings seem -all sonics came familiar Syncopated Clock and Fiddle - Ian and Ludmilla Overture; and while I Both they and the over in the recent stereo disc Faddle, is just not as delectable. If, how- am still conscious that the orchestra off much better are further im- ever, you haven't heard topnotch An- itself is scarcely large enough for the version (CS 28) and in the elimina- derson recordings before, you will relish full weight and impact of the Polovtsian proved here, particularly this one; if you have, you'll join me in Dance of the Tumblers, and tion of almost all traces of bass tubbi- Dances, even begging for a prompt four -track version Sailors' Dance, that lack is amply ness. Unfortunately, however, not Russian genuine of both Vol. 1 and the hitherto untaped by their vivacity and by processing magic can restore compensated obviously Irish Suite. the clarity with which their kaleidoscopic acoustical warmth, expand the forces, compensate tonal coloring is reproduced. too small orchestral for the lack of a zither in Tales from SCHUBERT: Quintet for Piano and the Vienna Woods, or provide authentic Strings, in A, Op. 114 ( "The Trout ") SYMPHONY OF THE AIR: Orchestral inflections and pulse. Program Leonard Sorkin, violin; Irving Ilmer, vi- ola; George Sopkin, cello; Harold Siegel, Tchaikovsky: The Nutcracker: Ballet Dixieland." Many I double bass; Frank Glazer, piano. Suite, Op. 71a. Berlioz: Le Carnaval ro- "And They Called It War- \, CONCERTAPES 4T 4004. 36 min. ^ . main: Overture, Op. 9. Wagner: Die L Matlock and the Paducah Patrol. $7.95. Í Meistersinger: Prelude. ner Bros. BST 1263, 35 min., $7.95. This is a sequel to last year's Dixieland We've already had one stereo taping of Symphony of the Air ( conductorless). Stony anthology by a Hollywood studio 39 min. the Trout Quintet ( Period, two- track, CONCERTAPES 4T 4002. group, starring the leader on clarinet, PST B), a somewhat colorless, if pleas- $7.95. Abe Lincoln's exuberant trombone, ant version, which is outclassed by the Stan Wrightsman's bouncy piano, George notably clean, well -balanced, and nat- In its four -track version, the age of this Van Eps's guitar, and Eddie Miller's pioneering stereo recording is more ap- ural recording here -from a technical baritone ( and, in one piece, tenor ) sax. -reel, two - point of view alone probably the most parent than it was in the two Most characteristic are the zestfully free - ago, par- successful example of chamber music in track tape issued about a year for -all versions of I'm Gonna Stomp, lack of sheer tonal stereo I have yet encountered. Besides ticularly in its relative Mr. Henry Lee, China Boy, and Runnin' this this, the present performance is admir- mass and weight. Happily, however, Wild, but the band is surprisingly song- somewhat overserious and does not detract from the program's spe- ful in the slower Lazy River and Louis- able, perhaps his- lacking in relaxed Schubertian Gemüt- cial appeal, based primarily on its ville Lou, and the strongly stereoistic of lichkeit, but planned and executed with torical value both as a documentation recording is brilliantly if somewhat drily high craftsmanship, and particularly no- the memorable September 24, 1954 clear throughout. established table for its lucidity, the unexaggerated concert by the then newly Symphony of the Air and as one of the weight of its double-bass passages, and "Autumn Leaves"; "Gigi." David Rose sparkling dexterity -and authentic closest possible approximations to stereo the The and His Orchestra. M -C -M ST 3592- tonal qualities-of its piano part. editions of Toscanini performances. former NBC Symphony musicians, play- 3640, 63 min., $11.95. - ing without a conductor, here reproduce A bargain package of twelve autumnal LEONARD SORKIN: "Symphony of Toscanini's interpretative ideas almost mood selections, unvariedly lush except The Dance" identically. And, just as they were un- for the suddenly lively final Autumn Holiday; with these are included ten Glinka: Ruskin and Ludmilla: Overture. der the Maestro himself, the Berlioz and Borodin: Prince Igor: Polovtsian Dances. Wagner works are more eloquent than the Rimsky-Korsakov: Snow Maiden: Dance overimpersonal Nutcracker. Continued on next page

DECEMBER 1959 145

www.americanradiohistory.com TAPE DECK While Ella is most exciting in hotter ma- terial than the present fifteen almost un- Continued from preceding page variedly slow and torchy ballads, she has seldom been in better voice or sung more tunes from the Lerner & Loewe film score. movingly than she does here in How FOR Here Rose's ripely romantic, string -domi- Long Has This Been Going On ?, Hurry nated treatments are more frequently Home, More Than You Know, What Will ONCE, alternated with piquant animations, and I Tell My Heart ?, I Never Had a Chance, his dual styles are best reconciled in a and Night Wind. De Vol's arrangements gentle yet catchy version of fin Glad I'm and accompaniments back her up dis- ALL THE EXPERTS Not Young Anymore. The extremely creetly in unexaggerated stereoism. smooth and rich stereoism makes the most of the big orchestra's suavities. AGREE... The following reviews are of the older "Cha- Cha -Cha." Eduardo Fernandez and type of 2 -track 7.5 -ips tapes, on reels. His Cha -Cha Kings. Tandberg /SMS S 7, 34 min., $7.95. COPLAND: Symphony No. 3 At first the extreme stereoism and ex- London Symphony Orchestra, Aaron tremely dry recording here make one Copland, cond. conscious only of the harsh tonal quali- EVEREST STBR 3018. 40 min. $10.95. ties of the insistent scratcher, squally brass, and mostly staccato electronic or- The Third Symphony has been widely gan and /or accordion, but before long praised for its integration of Copland's one realizes how appropriate these tim- "popular" and "abstract" styles -a judg- bres are to the high -powered hand's toe - ment true enough insofar as this work tickling treatments of such usually bland does represent the best common meet- pops favorites as Blue Skies, Should I ?, ing ground for listeners who have previ- Why Do I Love You ?, and even such ously esteemed the composer for only one unlikelier choices as The Stars and or the other facet of his talents. For me, Stripes Forever and Dvoiák's Humor- however, it is more important for its si- esque. A little cha -cha normally goes a multaneous summing up and concentra- the perfect gift long way with me, but I must admit that tion of all aspects of his art -more tautly this is one of the most insidious invita- than in perhaps any of his film scores for perfect stereo tions to dance to complete exhaustion, and ballets, yet at the same time with a and sonically it is particularly interest- greater wealth of immediate rhythmic is an incomparable ing for the ingenious use of cross -chan- and melodic attractions than in any other nel antiphonal effects. of his "abstract" compositions. At any rate, the Copland Third has SHORE "Dance Along." Larry Clinton and His come to rank justly as a major Ameri- Orchestra. Kapp KT 41013, 33 min., can symphonic achievement -which we l $7.95. now can hear exactly as the composer Middle -of- the -road big-hand dance ver- wants it to be heard, perhaps less dra- sions of Tom Dooley, It's All in the matically than in Dorati's still fine LP hi-fi phono cartridge Game, Everybody Loves a Lover, Volare, version, but with the attention to inner Bimbombey, and seven others, given detail and over -all plasticity which only To give a Shure cartridge shows rare more than ordinary ear-and -toe appeal a composer -conductor -and stereo tech- by the always imaginative ( niques attention to a music lover's tastes . . and occasion- at their best -can provide. For my- ally quite poetic) to receive it is a most excellent compli- arrangements and per- self, I'd prefer just a shade more rever- formances. Sound locations berance in the otherwise ment to your appreciation of superla- are pinpoint- faultless record- ed by the marked stereoism; many ing, and I wish that Copland had tive sound. These magnificent deli- let his stereo cate details and antiphonal responses uncommonly sonorous brass choir "go" a cartridges are without equal in the re- emerge with remarkable clarity -yet the hit more uninhibitedly; but this would creation of honest and accurate stereo big curtain of sound is smoothly spread be asking for a superfluity of sheerly sound and are truly the one critical between the two channels. sonic thrills -of which there already are element in any fine stereo system. enough, particularly when the super- "The bass drum is detonated ( rather Available in time for the Holidays Greatest." Joe Williams; Count than at Basie and His Orchestra. merely hit). better high fidelity dealer Verve VST4 showrooms 204, 35 min., $7.95. ( Incidentally, a four -track tape edi- With all due respect for Williams' often tion should be available shortly: Everest $4500 net Professional Model quite expressive singing, I'd much rather is one of several companies which I've $2400 net Custom Model hear him in the blues he does so well been happy to learn plan to issue their than in the present pops ballads, where tapes in both the old and new media.) Literature: Shure Brothers, Inc. the real interest lies throughout in Basic's 222 Hartrey Ave., Evanston, Ill. resilient accompaniments and orchestral interludes featuring his own sparkling "Ballads of the Bushland." Ted & Tom pianism. Most attractive here are the Le Garde; Bushland Bushwackers. Bel quietly sonorous Come Rain or Come Canto STB /52, 23 min., $9.95. Shine and Love Is here To Stay, and These Australian twin balladeers give us the brisk I Can't Believe That You're in relatively little Down -Under twang in Love with Me and Thou Swell; but the their rather sophisticated and popularized open steroism itself is excellent through- arrangements, too many of which feature out, particularly so when Buddy Breg- the same key changing and other clichés. man's arrangements provide such ingen- Nevertheless, they sing attractively, are ious cross-channel responses as those in deftly accompanied by an appropriate ac- the exuberant This Can't Be Love. cordion, banjo, and harmonica ensemble, and are brilliantly recorded in strongly "Like Someone in Love." Ella Fitzgerald; channel -differentiated stereoism. Many Frank De Vol's Orchestra. Verve VST4 201, 54 min., $7.95. Continued on page 148

146 HIGH FIDELITY MAGAZINE

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DECEMBER 1959 147

www.americanradiohistory.com TAPE DECK Continued from page 146

of their songs are delightful in them- selves, besides being refreshingly unfa- miliar- particularly the lilting Click Go the Shears, bouncy Shearers' Jamboree, the effectively echo -chambered and at- mospheric Cooee Call, and the hillbilly - ish Across the Western Plains.

"Broadway in Rhythm." Ray Coniff and 5TH His Orchestra and Chorus. Columbia FCB 39, 18 min., $5.95. More hit tunes ( here from Okahoma! and The King and I) in Coniff's now HIGH FIDELITY ANNUAL familiar style featuring wordless choral glosses on already fancy orchestral ar- rangements. The markedly stereoistic, brilliant, and reverberant recording is ex- RECORDS IN REWEW 1959 tremely effective, and although some of the performances are decidedly slapdash, Oklahoma! and Oh! What a Beautiful Now includes STEREO reviews - disc and tape! Morning ( the latter in a novel fox -trot ar- rangement) Itere is the most important and practical book a record and tape have considerable catchiness for all their occasional rhythmic jerkiness collector can own. It will save you money save you time ...... and sonic raucousness. save you frustration - insure your building an outstanding library of recorded music that will bring you and your family maximum "Larry Elgart and His Orchestra "; "New listening enjoyment for years and years. / Sounds at the Roosevelt." RCA Victor ,' CPS 246, 26 min., $8.95; EPS 244, 35 It's the fifth High Fidelity Annual - Records in Review 1959 - min., $11.95. containing reviews of classical and semiclassical music, and the The big, open, strongly stereoistic record- spoken word, that appeared in High Fidelity from July 1958 ing of the second program here sounds through June 1939. even more natural and attractive than it did in the discs issued some months ago. Records in Review 1959 is the most complete and authoritative And while I still relish best the bouncier, book of its kind published. more staccato performances ( Walkin , Let My People Swing, Cool-Aid, etc.), I now appreciate better the songfulness Brings you lively, informative reviews of approximately and lilting pulse of such quieter pieces 1. 1,000 releases - disc and tape, mono and stereo. as Yearning and April. The shorter pro- gram, too, is scarcely less appealing, if Reviews are by High Fidelity's staff of eminent critics somewhat less strongly contrasted; top 2. - each an expert in his particular field. honors go to a poetic Dream Boat, the Reviews cover the merits of performance, the quality of easygoing Once in Love with Amy and 3. recording ... and make comparative evaluations with Are You Living, Old Man?, and the brisk releases of previous years. versions of Beyond the Blue Horizon and Heartaches. Records in Review 1959 is convenient to use, too. Reviews are "An Evening with Lerner & Loewe." organized for quick, easy reference - alphabetically by composer. Robert Merrill, Jan Peerce, Jane Powell, .And there's a special performer index included. Phil Harris; RCA Victor Symphony Or- chestra and Chorale, Johnny Creen, The new Records in Review belongs in every record collector's cond. RCA Victor CPS 242, 46 min., library. The cost is only $5.95 ... and you will save that, and more, $15.95. the first few times you refer to the book. Order extra copies, too, Despite the title and substantial price for friends who share your inters :t in music and hi -fi recordings. tag, this reel contains only half -the } Brigadoon and My Fair Lady selections -of the original two-disc LP and SD re- lease, omitting the extensive selections Satisfaction Guaranteed or Your Money Back! from Paint Your Wagon and Gigi. What ... we do have here is, however, extremely good -far better indeed than most similar r ventures featuring operatic stars in musi- THE WYETH PRESS The Publishing House Great Barrington, Mass. cal comedy materials. Peerce doesn't l easel., for which please send me copies of the new quite have the appropriate style, yet he

RECUIT I t:" I \ REVIEW 1959 at only $5.95 each. (No C.O.D.'s or charge sings magnificently and -for a miracle - orders please.) is not too closely miked; Merrill and a surprisingly inspired Jane Powell are just NAME right, especially in their duets and the former's solos; only Harris is relatively in- ADDRESS effectual here, and that is probably less the result of his own mannerisms than of the ineradicable memory Stanley CITY ZONE STATE of Hol- loway's incomparable way with the same Foreign orders sent at buyer's risk. Add Zit per book for postage on foreign orders except Canadian. songs. Two major assets are the really big . and skillful orchestral overtures and ac- HIGH FIDELITY MAGAZINE

www.americanradiohistory.com compamments and the superbly natural recording- reverberant, unexaggeratedly 'stereoistic yet broadspread -which in combination do full concert -hall justice to the often overlooked scoring virtues of the L. & L. masterpieces. behind "Exploring New Sounds in Stereo "; "Strings Aflame." Esquivel and His Or- every chestra. RCA Victor APS 226, 15 min.; APS 227, 18 min.; $4.95 each. Bogen For those who relish the young Mexican's fascinating, if often extravagantly unin- component hibited, sonic explorations, the only com- plaint with these two reels must be that a they include only the "A" -side selections stands from the original SD and LP versions of these programs. Otherwise the unusual guarantee of sound effects and intricate details of Es- quivel's elaborate arrangements come off satisfaction even more clearly and brilliantly on tape, with preference going to the "Strings Aflame" reel for its greater musical effec- tiveness, especially in Guadalajara, Scheherazade ( with its fine chromatic timpani ), and the stereo -movement ef- fects in Sun Valley Ski Run.

"Here Is Phineas." Phineas Newborn, . piano; rhythm trio. Atlantic 3D 5, 28 min., $11.95. is least Although this -in part at -the FM II 1I U 4: n Ii III 111 Ili III "Fabulous" Phineas' debut program, +r I I I I I I IUII+I' I originally released in LP over two years ago, it remains much more interesting ( particularly from a jazz, rather than a pops -entertainment, point of view ) than any he has done since. The present mod- erate- level, extremely pure stereoism transparently reveals both the soloist's imaginative dexterity and his unusually fine accompaniments ( by Oscar Pettiford, and Kenny bass; Calvin Newborn, guitar; roots , , am. Clarke, drums ). I am most impressed by the excitingly fast Celia, vivacious Bar- bados, scampering Dahoud, and easy- going Afternoon in Paris, but even in the frantic I'm Beginning To See the Light and somewhat disorganized soliloquizing on All the Things You Are there is ex- traordinary virtuosity.

"Mood Jazz." Joe Castro, piano; small or- chestra and chorus. Atlantic 3D 3, 29 HE'S ADMIRING TWO INVEST - Amplifier and you have versatility and min., $11.95. well -made; investments engineering excellence that assure the but somewhat tenta- ments Relaxed and casual, reproduction. tive and colorless piano playing, which which guarantee him -and you -a world ultimate in faithful sound I'd enjoy a lot more if Castro could he of unending listening pleasure. The Bogen's B61 Turntable can add even heard on his own, or with rhythm group Stereo FM -AM Tuner gives you further to your complete musical enjoy- only, instead of having been saddled (as ST442 he often is here) by a suave string en- sensitivity and freedom from distortion ment. It's wonderful, too, that Bogen semble and an incongruously Holly - that are unequaled at its remarkable components look just as handsome as they woodian wordless chorus. price. It also includes a tuning meter, sound. Hear them at your favorite hi -fi "Wallin With Winnie." Winnie Could; provision for multiplex adapter and au- dealer now. Larry Fotine and His Orchestra. Bel tomatic volume control on each channel, Write for information to: Dept. H F-129, $9.95. Canto STB /53, 23 min., found only in units cost- BOGEN- PRESTO, Paramus, N. J. Miss Could's debut program reveals that features usually she has mastered by rote every stylistic ing much more. A Division of The Siegler Corporation. trick of the great blues shouters, but for Combine the ST442 with the DB212 all her exuberance she still lacks the sharply profiled personality and convic- Stereo Control Center / Dual 12 -Watt O BOGEN the sound way to better stereo tion of her models. Yet her singing (hap- HIGH noum pily not too closely miked, although the bright recording still seems acoustically ST442, Sensitivity': PM: 1.5 cv -30 db quieting at 75 ohm input. AEI: 3 uc peter, 20 db S /N. Frequency Response: FM: 20 to 18.000 cps 2:0.5 db; AM: 20 to 4.500 cps 2.1.5 db. Antennas: FM: built -In line antenna; AM: built -in ferrite dry ) does have considerable verve and $149.50. loopstick. Tubes: 9 (plus 3 diodes). Controls: Selector. AFC out. AM, FM Tuning. Power. Price: Enclosure brassy effectiveness, well emphasized by and legs: $7.50. DB212. Power: 24 watts (two 12 -watt channels). Response: 29 to 20,000 cps 2'1 db. Distortion: less Fotin's driving honky -tonk small -band ac- than 1%. Controls: Selector. Function, Speaker Inversion. Volume, Balance, Baas, Treble. Ill Filter, Lo Filter. Speaker and legs: All slightly higher in the west. companiments. Phasing, Power. Price: $119.93. Enclosure $7.50. prices

DECEMBER 1959 149

www.americanradiohistory.com HOW TO BUILD A STEREO CONSOLE THAT REPRODUCES MUSIC AS FAITHFULLY AS SEPARATELY MOUNTED COMPONENTS

For many years, serious music lovers have we could bring you this new kind of console. searched for a way to enclose high quality high - fidelity equipment in a cabinet that would match PROJECT #1 The first consideration was given their finest furniture. to our components. They had to have high quality Until now, there was no practical solution. You reproduction. The standards we set for them can be had to compromise. You had to sacrifice the best most simply described by the phrase "Integrity in possible music reproduction if you wanted a good Music Reproduction." If you are familiar with looking cabinet. If you insisted on high quality re- Stromberg- Carlson stereo tuners, amplifiers, turn- production, you chose components, some of which tables and speakers, we believe you will agree they may not have been quite so appealing to the eye. earn this description. If you dislike compromise, Stromberg- Carlson's PROJECT #2 Speaker systems were the next new kind of console will interest you. We call them important project. For our new kind of stereo con- Integrity Series Component Ensembles -and to an sole we needed two speaker systems of unquestion- uncompromising music lover each word in that able quality. We were fortunate here, because we name will be significant. had already devel- At the start, we faced the same problem that oped a system that every console manufacturer has tried to overcome: met the quality re- when full -range speakers were rigidly mounted in quirements, the well- the same console as high quality components, there regarded Acoustical was a serious loss of sound quality. Labyrinth* Speaker This loss -most often recognized as muddy or System. Its quarter boomy noise -is caused by "feedback." It occurs wavelength duct enclosure, properly coupled to a because sensitive components can detect the speak- low- frequency radiator, achieved a system reso- er vibrations which are fed back through the body nance lower than the unbaffled free air cone reso- of the cabinet. These vibrations are amplified with nance of the radiator itself. This is the kind of the music and reproduced as noise. quality we knew you wanted. If you own a console now, but do not hear these noises, it is not because your ears are insensitive. PROJECT #3 To reduce the size of high quality You do not hear them because we and every speaker systems so that they Mould fit into a stereo other console manufacturer had to eliminate them console of reasonable dimensions. We were cer- by compromising the musical reproduction of your tain that component -quality sound in a console console. You do not hear them because the sound could only be achieved with speaker systems that you hear is not complete. did not depend on the console cabinet for their enclosure. HOW TO BUILD A CONSOLE THAT This meant that we ELIMINATES FEEDBACK NOISES -l-ï1:. had to reduce the As we analyzed the problem, we realized there were size of the Acousti- seven projects that we had to accomplish before cal Labyrinth enclo-

150 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com sure so that we could fit two separate speaker en- styling. You choose from 16 basic models in these closures within a cabinet that had reasonable di- styles, in a choice of finishes. These cabinets, like mensions. It was not easy, but we did it. After a fine painting, best describe themselves. They many, many trials and tests we achieved the correct must be seen. size without sacrificing one iota of the extremely linear and extended response of the system. PROJECT #7 To give you maximum flexibility in your enjoyment of an Integrity Series Ensemble. NOW THE MOST DIFFICULT Every ensemble provides for your listening tastes PROBLEM HAD TO BE FACED and room acoustics by including the Stereo Choice Switch for precise regulation of stereo separation, #4 eliminate feedback PROJECT To effectively with or without separate matching speaker sys- the mechanical coupling by effectively eliminating tems. All ensembles provide space for adding a of treating the that allows it to occur. Instead tape deck. developed a symptoms, we treated the cause. We may select your own Stromberg- Carlson speaker sys- You method of effectively isolating the or choose a recommended com- a result, stereo components tems from the sensitive components. (As ponent complement any case Stromberg- Series Ensembles are -in Stromberg- Carlson Integrity components are always interchangeable. uncompromised ensembles.) Carlson the first successful If you now own a console or components, we in- The key development is what we call Iso -COUSTIC to exercise your critical judgment by lis- mounting, in vite you SPEAKER SYSTEM MOUNTING. This an Series Ensemble. (You will to vertical tening to Integrity which the resistance and compliance better component shops well as pressures have find that the -as and horizontal the better department and music stores -have been carefully engineered, has chosen to feature this new kind of stereo console.) the problem. It allows solved carefully. Look closely. Ask questions. Then Carlson to create a Listen Stromberg- accept not our judgment, but your own. cabinet -within -cabinet suspen- sion system which prevents transmission of speaker vibra- tions to the sensitive components. If you component owners could put your equipment into a cabinet whose speaker systems have our Iso- CousTIC Mounting, the quality of the sound you'd hear would be as good as your component system is now. In fact, the components we use are the same ones you would choose for your separately mounted component system. They are interchangeable.

INTEGRITY SERIES WILL NEVER BECOME OBSOLETE PROJECT #5 To assure the purchaser of an Integrity Ensemble that his choice would never he INTEGRITY SERIES COMPONENT ENSEMBLES obsolete, we designed the units in accordance with fifty dollars to about six thou- concept. All of the components are com- -three hundred and a modular 16 models in can replace any com- sand dollars. You may choose from pletely interchangeable. You and Period stylings, ponent in the ensemble to Traditional, Contemporary by Federico. You may se- keep pace with new develop- each tastefully designed without ever re- lect your own Stromberg- Carlson components or ments- Stromberg-Carlson com- placing your fine cabinetry. choose a recommended ponent complement-in any case Stromberg -Carl- son components are always interchangeable. For a complete color catalog of Integrity Series CABINETRY HAD TO BE Component, Ensembles and components write EXCEPTIONAL, TOO STROMBERG- CARLSON, Special Products Division, 1419 N. Goodman St., Rochester 3, New York. PROJECT #6 To design cabinets with the per- manent beauty of fine furniture. Federico re- "There is nothing finer than a Stromberg- Carlson" sponded to the challenge by creating cabinetry in Traditional, Contemporary, Early American, Ital- STROM BERG -CARLSON ian Provincial, French Provincial and Oriental A DIVISION OF GENERAL DYNAMICS

DECEMBER 1959

www.americanradiohistory.com For integrity in music. .. A NEW STROMBERG -CARLSON SINGLE -SPEED TURNTABLE ...in component systems ...in Integrity Series Ensembles

PR -500 SINGLE SPEED Here is a revolutionary con- cept in turntable design: a dual -drive system con- sisting of two hysteresis- synchronous motors operat- ing one belt drive. The motors are spaced exactly 180° apart. Any variation of speed is automatically corrected by the interaction of the motors and the impregnated belt. Rumble and noise are virtually eliminated by the belt drive and a unique suspension system in which the tone arm and table, as a unit, are isolated from the mounting board. Single, 331/2 speed. Includes tone arm. PR -500, black and brushed chrome $69.95*

PR -499 "PERFECTEMPO" ALL SPEEDS The "Perfectempo"

incorporates every valid, time - proven design principle: belt drive; continuously variable cone drive (14 to 80 rpm); stroboscopic speed indicator; dynamically balanced, weighted table; precision motor; plus Stromberg- Carlson's original double- acting motor and table suspension system that effectively eliminates unwanted noise. Performance proves it: Wow 0.14% rms; Flutter 0.09% rms; Rumble -55 db re 20 cm/sec at 1 kc. PR -499, morocco red with aluminum trim $99.95'

RA -498 TONE ARM The Stromberg- Carlson Tone Arm uses the most valid engineering concepts of tone arm design. Single pivot point suspension, true viscous damping and high moment of inertia result in extremely low resonance and consequently yield flat response below the limits of audibility. A calibrated counterweight is adjustable to pro- vide any needle point force. For stereo operation, complete with mounting base, viscous fluid, rest, and cartridge clip. Fits all standard turntables. RA -498 $24.95*

'Prices audiophile net, turntables less bases. "THERE IS NOTHING FINER THAN A STROMBERG -CARLSON"

15, Ht<;tt FIDELITY Ni :,a.E

www.americanradiohistory.com For integrity in music... THREE NEW STROMBERG -CARLSON TUNERS ...in component systems ...in Integrity Series Ensembles

SR -445 AM -FM STEREO TUNER The SR -445 is actually two separate and complete units which have been placed together for convenience of mounting and use. They have individual circuitry in which no duplicate use of tubes or circuits is in- volved. Operate as an AM tuner, an FM tuner or together as an AM -FM stereo tuner. The SR -445 combines the separate AM and FM tuners described below. The specifications are exactly the same as listed for these two units. SR -445 .... $129.950 All three tuners are available in gold and white or black and brushed chrome. Top cover in white, black, tan or red available at extra cost- SR-445

FM -443 FM TUNER Exceptionally sensitive, low noise reception due to the wide peak -to -peak separation (475 kc) and long, linear slope (350 kc) of the balanced ratio de- tector, and the grounded grid cascode front end. Sensitivity is 2 uy for 20 db quieting, 4 uy for 30 db quieting (300 ohm). Local- Distant Switch results in 2 uy for 40 db quiet- ing on local stations. Dial station selector and "hair- trigger" tuning eye. Temperature controlled circuits eliminate drift. Includes switched AFC circuit. Tuning Range: 88 -108 mc. Bandwidth: 200 kc. Frequency Response: 20-20,000 cps. Self- powered with auxiliary power for AM -441 tuner. Provi sion for multiplex adapter. FM -443 $79.950

AM -442 AM TUNER For exceptional AM reception, this tuner has a frequency response of 20 -7,000 cps, down 7 db at 7,000 cps. It features a tuned RF stage and 3 -gang variable tuning condenser. Its tuning range is 540 to 1,600 kc; Bandwidth is 9 kc. Local- Distant Switch adds 20 db quieting on local stations. Adjustable ferrite loop and ex- ternal antenna. AM -442 $59.95'' AM -441 AM TUNER Same as above, but without its own AM-442IAM-441 power supply $49.95'''

'Prices audiophile net, zone 1, less cover STROM BERG- CARLSON A DIVISION OF GENERAL DYNAMICS

DE( EM MAI 19.39 153

www.americanradiohistory.com For integrity in music... STROMBERG -CARLSON STEREO CONTROL AMPLIFIERS ...for component systems ...for Integrity Series Ensembles

ASR -433 STEREO "24" CONTROL AMPLIFIER A dual channel amplifier with excellent performance and control features. Each channel provides 12 watts of exceptionally clean, balanced power. The exclusive "Stereo Tone Balance" signal permits you to adjust the two channels by a single tone. The deliberately conservative specifications in- clude: frequency response 20-20,000 cps; harmonic distortion less than 1% at full output; IM distortion less than 1% at program level; hum and noise 63 db down. Inputs: magnetic and ceramic phono; tuner; tapehead; auxiliary/tape. Available in gold and white or black and brushed chrome. ASR -433.. $129.95#

ASR -433

ASR -444 STEREO "60" CONTROL AMPLIFIER offers all desirable controls, plus high power. Each channel provides 30 watts of balanced power. It features separate bass, treble and volume controls for each channel, a master gain and loudness control, and the "Stereo Tone Balance" sig- 7 a. 3 9: n_ nal. Specifications: frequency response 20- 20,000 cps; har- monic distortion less than 0.7% at full output, IM distor- - * tion less than 1% at program level. Same inputs as ASR -433. In gold and white or black and brushed chrome. ASR -444 $169.95` ASR -444

ASR -333 STEREO CONTROL AMPLIFIER, and a fine ce- ramic cartridge, give you quality performance at a low price. This amplifier -with 12 watts per channel -was designed for optimum reproduction with ceramic cart- ridges. It features tone and volume controls for each chan- nel, plus a loudness control. Frequency response, noise level, distortion, same as ASR -433. Inputs: ceramic phono, tuner, tape /auxiliary. In black and brushed chrome. ASR -333 $99.95'

'Prices Audiophile net, Zone 1, less top covers, which are available in white, black, ton or red. "THERE IS NOTHING FINER THAN A STROMBERG -CARLSON"

1551 !TWA' I,u:Az1NE

www.americanradiohistory.com For integrity in music... STROMBERG- CARLSON SPEAKERS AND SYSTEMS ...for co mpO ìt c ft t systems ...for Integrity Series Ensembles

Stromberg -Carlson manufactures a full line of speakers and the famous Acoustical Labyrinth System. This system enclosure achieves a system resonance that is lower than the un- baffled free air cone resonance of the low fre- quency radiator. It utilizes mass loading and fric- tional damping as acoustical devices to extend the low frequency range of the system with ex- treme flatness of response. Five new complete speaker systems with a variety of decorator hous- ings are now available. We suggest that you com- pare the quality of their performance with similar equipment. You be the judge.

DECORATOR HOUSING SPEAKER SYSTEM RH -469 RS -405

SPEAKERS StrombergCarlson loudspeakers include tweet- ers, woofers, coaxials and mid -range transducers. They are available in all popular sizes and price ranges. The unusual Stromberg- Carlson "Slimline" feature al- lows maximum versatility in installation, and is made pos- sible by another feature: the new "Barite" ceramic magnet, which is used to insure excellent transient response over the full effective frequency range.

ENCLOSURE KITS Acoustical Labyrinth enclosures are

now available as unassembled kits. All pieces are precision - cut to size, ready to assemble. Nails, glue, complete in- structions- everything you need is included. Enclosures are available for 8 ", 12" and 15" systems. The same decorator housings available for factory assembled sys- tems may be used. Write for full details on speakers and housings available. RH-465 RH-467

For full details on Stromberg -Carlson components, write Stromberg -Corlson, o Division of General Dynamics, 1419 N. Goodman St., Rochester 3, N. Y. STROM B ERG -CARLSON A DIVISION OF GENERAL DYNAMICS Urx:r:>1HER 1959 155

www.americanradiohistory.com St -eo Preamplifier HF85

0 and Mono Hi -Fi ...the experts say your best buy'is sTtO LIRO kg 70W Ste-'o Power Amplifier HF87 0 28W Ste-7o Power Amplifier HF86

"The overall design of the HF -81 is conservative, honest and functional. It is a good value considered purely on its own merits, and a better one when its price is considered as well." "M Tuner HFT90 FM 'AM Tuner - Hirsch -Houck Labs (HIGH FIDELITY Magazine) AM Tuner HFT94 HFT92 Advanced engineering Finest quality components "Beginner- Tested," easy step -by -step instructions LIFETIME service & calibration guarantee at nominal cost IN STOCK - compare, then take home any EICO equipment - right "off the shelf " - from 1500 neighborhood EICO dealers. Stereo Integrated Amplifier AF4

TñL

12W Mono Integrated Amplifier HF12 Other Mou Integrated Amplifiers, 50, 30, i 20W (use 2 for stereo) ruecTloM u

Stereo Amplifier -Preamplifier HF81

HF81 Stereo AmplifierPreamplifier selects, from 25 un. IF bandwidth 260 kc at 6 db points. amplifies, controls any stereo source & feeds it Both cathode follower A FM- multiplex stereo thru self- contained dual 14W amplifiers to a outputs, prevent obsolescence. Very low distor- pair of speakers. Provides 28W monophonically. tion. "One of the best buys in high fidelity kits." Ganged level controls, separate balance control, - AUDIOCRAFT. Kit $39.95'. Wired $65.95'. independent bass & treble controls for each Cover $3.95. 'Less cover, F.E.T. Incl. channel. Identical Williamson type, push -pull EL84 power amplifiers. "Excellent" - SATURDAY New AM Tuner HFT94. Matches HFT90. Selects REVIEW; HI -FI MUSIC AT HOME. "Outstanding "hi-fi" wide (20c - 9kc @ -3 db) or weak - 2 -Way Bookshelf quality ... extremely versatile. ELECTRONICS station narrow (20c - 5kc @ -3 db) bandpass. Sceaker WORLD LAB- TESTED. Kit $69.95. Wired $109.95. Tuned RF stage for high selectivity & sensitiv- System HFS1 Includes cover. ity; precision eye -tronic a tuning. Kit $39.95. 3-War Speaker System HFS3 HF85 Stereo Preamplifier is a complete, master Wired $65.95. Incl. Cover & F.E.T. 2 -War Speaker System HFS5 stereo preamplifier- control unit, self -powered for New FM /AM Tuner HFT92 combines the re- flexibility & to avoid Dower supply problems. Dis- nowned EICO HFT90 FM Tuner with excellent tortion borders on unmeasurable even at high AM tuning facilities. Kit $59.95. Wired output levels. Level, bass, & treble controls inde- $94.95. Includes cover & F.E.T. lion, 8" woofer (45 cps res.), 8 34" cone pendent for each channel or ganged for both New AF -4 Stereo Amplifier provides clean 4W tweeter. 1r.á cu. It. ducted -port enclosure. Sys- channels. Inputs for phono, tape head, mike, AM. per channel or 8W total output. Inputs for tem 0 of I/2 ter smoothest frequency 8 best FM, & FM- multiplex. One each auxiliary A & B ceramic /crystal stereo pick -ups, AM -FM stereo, transient response. 45- 14.000 cps clean, useful in input each channel. Switched -in loudness com- FM -multi stereo. 6- position stereo/mono selec- response. HWD. 24 ", 121/2", 1042 ". Unfinished pensator. "Extreme flexibility ... a bargain."- tor. Clutch -concentric level & tone controls. Use birch $47.50. V'.rinut, mahogany or teak $59.50. HI-Fl REVIEW. Kit $39.95. Wired $64.95. Includes with a pair of HFS -5 Speaker Systems for good HFS1 Bookshel Speaker System complete with cover. quality, low -cost stereo. Kit $38.95. Wired $64.95. factory -built cabinet. Jensen 8" woofer, match- New HF87 70 -Watt Stereo Power Amplifier: Dual ing Jensen compression -driver exponential horn HF12 Mono Integrated Amplifier com- 35W power amplifiers of the highest quality. provides tweeter. Smooth clean bass; crisp extended plete "front -end" facilities and true high fidel- Uses top -quality output transformers for undis- highs. 70. 12,000 cps range. 8 ohms. HWD: 23" x ity Inputs for phono, tape head, TV, torted response across the entire audio range at performance. 11" x 9". Price $39.95. tuner and crystal ceramic cartridge. Preferred full power to provide utmost clarity on full variable crossover, feedback type tone control HFS2 Speaker System (not illus.) orchestra & organ. IM distortion I% at 70W, OmniDirecrional circuit. Highly stable Williamson -type power HWD: 36 151s", I I I z musical" harmonic distortion less than 1% from 20 to ". ". "Eminently amplifier circuit. Power output: 12W continuous, HIGH FIDELII ". "Fine for stereo" - MODERN 20,000 cps within 1 db of 70W. Ultra- linear con- 25W peak. Kit Wired $57.95. Includes HI F1. Completely factory- built. Mahogany or wal- nected EL34 output stages & surgistor- protected $34.95. nut Blind silicon diode rectifier power supply. Selector cover. $139.95. $144.95. switch chooses mono or stereo service; 4, 8, New HFS3 3 -Way Speaker System Semi -Kit com- 33-00 Nothern Blvd., L.I.C. 1, N. Y. 16, and 32 ohm speaker taps, input level con- plete with factory -built ' veneered plywood (4 EICO, trols; basic sensitivity 0.38 volts. Without exag- sides) cabinet. Bellows- suspension, full -inch ex- ME MOW TO SAVE 50% on 65 geration, one of the very finest stereo amplifiers cursion 12" woofer (22 cps res.), 8" mid -range SHOW models o' top quality: - speaker high internal damping cone for available regardless of price. Use with self with HÍ{$ Test Instruments powered stereo preamplifier- (HF85 smooth response, 342" cone tweeter. 214 cu. ft. p D control unit "Ham" Geer Free STEREO Hi -Fi Guide recommended). Kit ducted -port enclosure. System 0 of for smooth- $74.95. Wired $114.95. Ih Send FREE catalog name of neigh- HF86 est frequency & best transient response. 32- i 28w Stereo Power Amplifier Kit $43.95. borhood E CO dealer. Wired $74.95. 14,000 cps clean, useful response. 16 ohms FM Tuner HFT90: Prewired, prealigned, tempera- impedance. HWD: 261/2 ", 137/0",1434)". Unfinished MAMC ...... birch $72.50. Walnut, mahogany or teak $87.50. HF-11 ture- compensated "front end" is drift -free. Pre - wired exclusive precision eye- Ironicv traveling New HFS5 2 -Way Speaker System Semi -Kit com- CITY.. -.. -- SONS ...... tuning indicator. Sensitivity: 1.5 uy for 20 db plete with factory -built 14" veneered plywood (4 quieting; 2.5 uy for 30 db quieting, full limiting sides) cabinet. Bellows- suspension, Se" excur- Listen to the FICO Hour, WBAI -FM, 99.5 MC Mon., Thurs., Sat. 7 -8 P.M., and Sat. 3.4 P.M. Ask your dealer about EICO's exclusive Stereo Records Bonus. 156 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com au ac raft-, December 1959

From mark, an upper- middle -price professional job; the mono- phonic and stereophonic models by Harting, "packaged" the units with built -in speaker and many interesting fea- tures; and two Uher models. One, at show time, was a High- Fidelity prototype of a stereo unit; the other, which attracted a lot of attention, was small and portable with speeds of 3%,1 %and 1(g inches per second! Expecting nothing in Newsfronts the way of frequency range at the slowest speed, we were surprised at how much could be accomplished. Other features of the Uher -and there was a long list -included automatic reverse at the end of a reel and a tricky device ARLY IN OCTOBER, we once more successfully survived which turned the recorder on and off by voice: speak, E the audio show in New York and, in spite of aching and it starts; stop talking, and the recorder stops. feet, aching back, aching ears, we had the usual fine and Other show news: Harman -Kardon introduced two challenging time. It's a fine time because we see all the kits: power amplifier and stereo control units. Acro had new equipment and talk with most of the manufacturers; new kits, a small but complete preamp being of special it is also challenging because so many HIGH FIDELITY interest. Connoisseur (Ercona) had a new arm, which is readers stop at our exhibit rooms to discuss -politely or positioned over the record, then lowered by turning a vigorously -the pros and cons of the Magazine. dial at the rear pivot point. Turn the knob the other way, Publishing deadlines are such that it is now too late, and the arm rises off the record. Comes equipped with a to say the least, to spend much time reviewing the new diamond - tipped ceramic cartridge. Speaking of car- equipment. Most of it has long since appeared in our tridges, Dynaco has a new one, by B & O of Denmark. advertising pages and new-product listings. But let's Beam -Echo (Avantic) products, of England, are again wander around and pick up a few pieces of literature, being imported to this country. And Lectronics of City representing the highlights of the show as we saw it. We Line Center is importing a beautiful tone arm from don't claim to have caught every highlight; there were Canada, hand -made of walnut. - Madison Fielding five floors ... with about 120 companies exhibiting came up with a new receiver (FM -AM stereo tuner, pre - from one to twenty or more products each! amp- control unit, and power amplifier) which is reported One of the most interesting products at the show was on in this issue. - Scope Electronics is importing the all- transistor stereo control amplifier exhibited by the EMI line from England ... and Karg has a new Transis- Tronics of California. Though in operation all continuous FM tuner. Their previous units (being con- day, it gave off no heat and took its electric power from tinued) have "tuned" 10 or 12 preselected FM stations dry cells totaling only 12 volts. (It works also, of course, by crystal tuning control. - Finally, Cletron had a from the usual 117 -volt AC source.) It provided com- sofa stereo loudspeaker system. The woofer was mounted plete selector, tone control, and function facilities, along on a panel on the back of the sofa, facing to the rear. Two with equalization, microphone 'and phono preamplifica- other units, carrying middle and high frequencies, faced tion -and two 25 -watt power output channels. The unit forward, one in each corner of the sofa back. is guaranteed, by the way, for two years. All in all, the show was a great success from our point Sem -Con Electronics equipment also was transistor- of view ... and we have enough products lined up for ized, with a three -unit line including stereo and mono- HIGH FIDELITY'S Test Report section to keep the Hirsch - phonic control amplifiers and an FM -only tuner. Houck Labs. busy for months. Among tape recorders, there was the Movie from Den- CHARLES FOWLER

DECEMBER 1959 157

www.americanradiohistory.com prepared by Hirsch -Houck Laboratories and the technical staff reports of High fidelity H

REPORT POLICY Most equipment reports appearing in this section are prepared for us by Hirsch -Houck Labora- tories, a completely independent organization whose staff was responsible for the original Audio League Reports. Their reports are signed: H. H. Labs. Reports are published exactly as they are received. Neither we nor the manufacturers of the equipment tested are permitted to delete information from or add to the reports, to amend them in any way, or to withhold them from publication. Manufacturers may add a short comment if they wish to do so. On equipment that demands more subjective appraisals (such as loudspeakers), the reports may be prepared by members of our own staff. Such reports do not carry a signature. The policy concern- ing report publication and amendment by the manufacturer is the same as that for H. H. Reports.

Fisher Model 600 functionally separate though physi- 10.0 cally on one chassis, we will treat each III, Stereo Tuner and Amplifier portion of the unit separately. pr SPECIFICATIONS (furnished by manufacturer): This is a stereo receiver, providing Amplifier :3 A complete I.o I FM -AM stereo tuning facilities, preamplifier - E 20 cycle The amplifier is rated at 20 watts Distortion PPP. control functions, and two -channel power am- a ; harmonic plification, all on one compact chassis. Con- per channel, with a pair of 7189 tubes P trols: AM tuning, FM tuning, bass and treble in each output stage. Function selec- -i Kr harmonic tone (concentric), tape monitor, high filter, low tion is by means of a MONO- STEREO filter, AM broad -narrow, balance, loudness, 0.1 switch, which has positions for Chan- 0.1 10 loo 100.0 volume, mono -stereo function, and selector. Full , OUTPUT - WATTS connections for FM multiplex accessory adapt- nel A (FM) Channel B (Am), ers. Record and tape head equalization. Speak- Stereo Reverse, and a Mono -Phono Distortion: IM and harmonic. er phase reverse switch. Center channel output position. In this position the two jack. Built -in ferrite AM antenna. Provision for phono inputs are paralleled, enabling connection to third tape head, for monitoring +10 during recording. Price: $349.50. MANU- a stereo cartridge to be used for mon- o FACTURER: Fisher Radio Corp., 21.21 Forty - ophonic reproduction and achieving fourth Drive, 1, N. Y. 10 100 long Island City vertical rumble cancellation. An input So 300 sao 1000 311 SI SELECTOR switches the amplifier in- FR INDICT IN (0(115 At a glance: The Fisher Model 600 is puts to a high -level Aux input, FM Power response, with Odb 10 watts. a complete stereo FM -AM receiver, - Multiplex, FM -AM, Phono, and Tape including full stereo control facilities Head. All inputs except FM -AM are lo- and a pair of power amplifiers on one unit supplies an output for an external cated on the rear of the chassis. The chassis. Practically all system inter- FM Multiplex adapter, whose audio FM -AM inputs are internally connect- connections have been eliminated outputs then go to a pair of input ed, with the choice of FM, AM, or both without sacrificing the performance connectors on the Model 600. being made with the MONO- STEREO obtainable from separate components Phono equalization is for the RIAA switch. A connector in the rear of the of good quality. The performance of characteristic, used on practically all each portion of the Model 600 is of modern LPs including stereo discs. top caliber, and the complete unit re- The tone controls have positions quires only the addition of a pair of marked for modifying the RIAA char- good speakers, a turntable, and a stereo acteristic to the older Columbia LP or pickup to form a truly high -fidelity 78 -rpm characteristics. The tone con- stereo music system. trols for the two channels are concen- tric, with slip clutches so that they In detail: Since the Fisher Model 600 may be adjusted separately and then consists of an FM -AM stereo tuner operated as single controls. A ganged and an integrated stereo amplifier, The Fishrr tihL 1 rn(I. volume control is combined with a

158 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com power switch. A stereo balance con- Effect on response . microvolt signal, and this is consid- trol 7 usable provides some db of boost on o ered the sensitivity of the tuner. one channel while reducing the gain This sensitivity is exceeded only by of the other channel by 9 db. Both -lo, some of the more expensive tuners. db channels have rumble and scratch fil- -ro30 More important than mere sensitivity, ters that are effective on all inputs. A however, is the fact that the Fisher 600 tape monitor switch permits monitor- 30 has adequate IF bandwidth to re- db ing a stereo or mono tape recording as -40 ceive weak signals without clipping or it is being made, provided a three - distortion even at high -modulation 20 50 100 300 500 1000 3K SK 1a 3a head tape recorder is available. FREQUENCY IN (TQES levels. It is very easy to tune, and most The controls on the rear of the of the negligible amount of warm -up chassis include level -set adjustments .. Of loudness control. drift occurs in the first three or four for the internal AM tuner, multiplex minutes. The tuning eye is remarkably adapter, and phono and tape inputs. sensitive, showing a definite indication 0 A switch reverses the phase of the sig- for signals as weak as 2 microvolts. nal to one speaker. Outputs are pro- lo -, 16 -ohm vided for 4 -, 8 and speakers. g-30 AM Tuner -30 No laboratory measurements were Test Results 20 SO 100 300 500 1000 3K SK IOC 20K made on the AM tuner. It is equipped The maximum power obtained from 1RE0U1N(0 IN (00115 with a ferrite rod antenna, which may each channel in our tests was 17 watts. be rotated for best reception. Its cir- . . of fillers. Power response over the audio spec- cuit could hardly be simpler: it has trum was exceptionally uniform. Even only three tubes, plus a tuning eye +30 at 20 cycles, harmonic distortion was I I similar to the one used on the FM Controb fully on very low at the usual listening levels. +10 _ tuner. A front-panel switch allows ei- The amplifiers of the Fisher 600 ther a sharp or a broad IF response. showed less distortion at very low fre- 011/0/ The best test of an AM tuner is to quencies than any other integrated -10 make an A -B comparison of its sound :al Controls fully off with stereo or mono amplifier we have test- -j0 that of a good FM tuner, using ed, whether rated at 20 watts output a station employing both outlets. Most or less. 20 50 100 300 500 1000 30 5K l0K ra AM tuners are uninspiring in such a 1REOUENCT IN CMS Tone control characteristics were test. We were pleasantly surprised to entirely conventional. The loudness ... of tone controls. find that the AM sound of the Fisher control suffers from one minor defect: 600 did not suffer a bit by compari- since there is no independent adjust- The gain of the Fisher 600 ampli- son with its FM sound. Its highs were ment of level when listening to FM fiers is very high. Less than 2 milli- very nearly as crisp, and if anything programs, the user has no control over volts are required at the phono inputs the over -all sound was better rounded the degree of compensation except to to drive it to 10 watts output per on AM than on FM. With this receiver turn it on or off. Fortunately, the con- channel. Hum levels, though not un- we were able to appreciate FM -AM tours are well chosen, with the bass usually low, are not audible at level stereo broadcasts fully, which is more boost starting at 300 cycles or lower, settings encountered in actual use. than we can say for most FM -AM ster- and a slight amount of treble boost Hum and noise under these condi- eo tuners we have used. occurring above 8 kc at low settings tions is typically 63 db to 70 db below Much of the Fisher AM tuner's out- of the volume control. The result is 10 watts output. Crosstalk between standing sound was due to the silent a well -balanced sound, free from inputs is not measurable, and stereo background. Its freedom from hiss, boominess at any volume setting. crosstalk between channels is better birdies (it has an excellent 10 -kc RIAA phono equalization is within than -47 db at 1,000 cps. whistle filter ), and other interference 2 db of the ideal curve at all points. The amplifiers are absolutely stable helped reduce to minor proportions Setting the tone controls to the indi- and free from ringing under any con- the gap between AM and FM sound. cated points produced an LP equali- ditions of capacitive or resistive load- The sensitivity proved to be more than zation characteristic of similar accu- ing. Their damping factors are in the adequate for the New York metropol- racy. The NARTB tape playback vicinity of 6 or 7. All tubes and filter itan area, and should be sufficient for characteristic is very accurate except capacitors in use are operated con- any but fringe area reception. For that for a 5 -db bump in the 30- to 50 -cycle servatively. matter, no AM tuner is likely to prove region. very satisfactory for high -fidelity re- FM Tuner ception under those conditions. + lo H. H. Labs. 1 NARTB lape The Fisher 6OO's FM tuner is simple It uses a ratio RI AA phono and straightforward. -u detector, and does not have AFC. The MANUFACTURER'S COMMENT: 1. Although eye presents a horizontal bar 20 SO 100 300 500 1000 31 5K IOR 20K tuning the FM sensitivity of the Fisher 600 is quite

1REOUEN(0 IN CTQES of light with a dark segment in the high, measured in accordance with IHFM middle. The dark segment becomes standards, we are pleased to state that the Equalization accuracy. smaller as the signal is tuned in. sensitivity on regular production units has for some time been running 40% higher even than The tuner's sensitivity was measured that attributed to it in the report. 2. The Fisher The rumble and scratch filters are by the IHFM Tuner Standard. The 600 is now equipped with a low- impedance, nearly ideal, with negligible effect on total hum, noise, and distortion in the center -channel output jack. This makes it middle frequencies, and sharp cutoff tuner output is plotted against signal possible for the owner to use his old mono- amolifier as a center -channel source, a 100% modulated test phonic characteristics. These filters, which are strength, with either for "curtain -of- sound" stereo in the some most effective in their intended func- signal. The noise and distortion is 30 room with the 600, or to drive a remote speaker tions, hardly disturb musical content. db below 100% modulation with a 6- installation.

DECEMBER 1959

www.americanradiohistory.com Permoflux HDB -16 -16 Stereo smooth and have fine highs, with a Headset and AD -25 -2 Adapter slight -and pleasant -droop at the very top, and good bass if one con- SPECIFICATIONS furnished by manufacturer': siders the fact that they are head- a high -quality headset wired for stereo listen- phones. Distortion seemed to be ex- ing, with control box. Headphone imped- tremely low. ance: 16 ohms each (other models available . When used Control box impedance: 10,000 to 8 ohms. with the tape recorder, Frequency response: 50 to 15,000 cps, 10 the impedance adapter did not entirely db. Price: S40. MANUFACTURER: Permoflux cure the mismatch problem; at least, Products Co., 4101 San Fernando Rd., Glendale the volume remained 4, Calif. insufficient. Though the recorder has never put out At a glance: Permoflux phones pro- much wallop, with another pair of vide high -quality headphone listening standard high- impedance phones the or stereo monitoring from a conven- volume has been adequate (no more) tional stereo power amplifier. for critical monitoring. We just could not bring it up to that level with the In detail: Permoflux Permoflux pair. manufactures a The Permoflux headset. series of stereophonic (and of course, The impedance- matching box has monophonic) headsets. The essential were tested under two conditions: two wires, with plugs, and two jacks difference is in the impedance. In the connected to the 16 -ohm terminals of for the headphone plugs, and a switch stereo group, the following impedance a power amplifier, and to the high - for binaural- monophonic listening. ratings are available: 12, 16, 300, impedance output of a home -style Care should be exercised to get things 600, and 10,000 ohms. The phones recorder, but one which did not have connected properly. Given the wrong used for this report were of 16 -ohm a power amplifier or loudspeaker. In setup, particularly when listening to a impedance -and that certainly makes the first arrangement the volume was monophonic source, no sound at all a big difference. ear -shattering; in the second, the mis- emerges, or only a faint whisper. And To get best performance, earphones match was too severe. when the unit is connected to a high - (headsets, headphones, what have When using the power amplifier, impedance source (the tape recorder you) should be of an impedance close the volume could of course have been we were talking about) the setting of to that of the equipment with which kept down by the preamplifier's vol- the five -position impedance -matching they are to be used. Thus the 12- and ume control, but adequate control was switch can change tonal response. 16 -ohm sets work best when connected difficult. A good solution was reached, All in all, fine phones. Just be sure to the output of regular stereo power however, by adding the impedance - to get the right impedance for the job amplifiers (either 8- or 16 -ohm taps). matching device supplied us by Per- for which they are intended. The two models with 300 and 600 moflux. With the impedance adapter MANUFACTURER'S ohms COMMENT: Permoflux impedance are intended for con- set to provide a mismatch, the pre - High Fidelity Dynamic headphones are manu- nection to standard broadcast and amp's volume control could be rotated factured in both high and low impedance. A recording studio lines. Some profes- to its twelve-o'clock position and all minimum of ?i of a watt is required to drive sional -model the headphones in order to obtain a satisfac- tape recorders have 600- was well. tory ohm outputs. listening level. We recommend, however, Most home -style record- In fact, we got the usual pleasant that low- impedance headphones be hooked up ers, however, have high -impedance surprise that always seems to accom- to the output of the power amplifier to obtain outputs for monitoring; if they include pany listening with good earphones. the fullest and most satisfactory performance. There is no need loudspeakers, there may be an output It's pleasant, and more than just novel; to use matching transformers connection when the headphones are hooked up to the marked "speaker" which stereo really sounds better -it must be power amplifier since they are of low imped- would be at low impedance (4 to 16 because the second acoustical envi- ance. Monophonic headphones are available ohms). ronment (the home living room) is ex- in impedances of 8, 25, and 32 ohms. Stereo- The headphones supplied phonic units are available with 12 and 16 ohms to us cluded. The Permoflux phones seem on each side.

Dynakit Stereo 70 tured amplifiers that cost far more. In detail: Each channel of the Dyna- The Stereo Dual Power Amplifier Kit 70 can be used as a pair kit Stereo 70 employs a 7199 triode - of 35 -watt amplifiers for stereo, or as pentode and a pair of EL -34 output SPECIFICATIONS (furnished by manufacturer): a 70 -watt mono amplifier. Its power tubes. The lower plate voltage used in The Stereo 70 is a dual power amplifier con- and distortion ratings are completely servatively rated at 35 watts per channel. Fre- the Stereo 70 assures long life for tubes quency response: ±0.5 db from 10 to conservative. Its listening quality is and filter capacitors. In fact this am- 40,000 cycles. IM distortion: less than 1% unsurpassed. plifier's components are operated more at 35 watts. Output impedances: 4, 8, and conservatively than those in any other 16 ohms. Special features: two separate commercial power supply sockets for preamplifiers. Front - amplifier we have tested. panel switch to parallel outputs for operation The circuitry of the Stereo 70 is as a 70 -watt monophonic amplifier. Price, in- very similar to that of the older Mark cluding cover: $99.95. MANUFACTURER: II and Mark III amplifiers, except for Dynaco, Inc., 617 North Forty -first St., Phila- delphia 4, Pa. the smaller output transformers. Some- how, the two amplifiers and their At a glance: The Stereo 70 is a dual power supply have been packaged in 35 -watt power amplifier, featuring a space not much greater than that of the high quality and moderate price the older mono amplifiers, without which has characterized earlier Dyna- crowding and apparently without ldt amplifiers. Its electrical perform- running at a higher temperature. ance is matched only by manufac- The Dynakit Stereo 70. The Stereo 70's frequency response

160 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com 10.0 is so flat that it almost seems pointless preamplifier) is better than 90 db be- to plot it. The power response, in ei- low 10 watts. Less than 0.7 volts is ther mono or stereo modes, is nearly needed to drive each channel to 10 as good. The apparent discrepancy watts, or both channels to 20 watts. between the maximum power outputs The damping factor is approximately 110 shown in these curves and those sug- 9 (Dyna says 15) . Outputs are pro- gested by the distortion curves is sim- vided for 4 -, 8 -, and 16 -ohm speakers. ply due to the different method of The Stereo 70 will develop the equiv- Left Channel into a loth Channels as Mono measurement. The power response alent of 18 watts per channel 0.1 3 -mfd capacitive load at 10 kc, which 01 1.0 100 101 shows the maximum power obtainable OUTPUT - WATTS some distortion of the output before Intermodulation distortion vs. output. waveform can be seen on an oscil- small amounts of distor- loscope. Very III, and strik- tion can be detected in this way. Ac- than that of the Mark numerical distortion val- ingly so near maximum power output. ceptably low are be obtained at much higher Its frequency and power response ues can the audio power levels. better at the extremes of is about 15% high- As curves show, the distortion range. Its sensitivity the in in each channel of the Stereo 70 is er. Of course, this improvement low or approaching the flexibility and performance costs mon- immeasurably be of the test equipment at ey which, in many cases, might not limitations who powers of 10 watts or less. At 1,000 cy- warranted. But for the person wants a very compact, superior qual- +lo The Stereo 70 in its protective casing. ity stereo amplifier, or an extremely At 0.1 Watts powerful mono amplifier at a remark- I 0 Dynakit Stereo 70 ti At man output = 33 watts at SO cycles makes it quite suitable for driving ably low price, the -10 electrostatic speakers at high volume is a natural. -H. H. Labs. 100 30K 20 SO 300 SOC 1000 30 SK levels. It is absolutely stable and free 0000010(7 w (10.05 from ringing under any conditions of Frequency response at low and maximum MANUFACTURER'S COMMENT: There seems levels. capacitive loading. to be only one important point which the Two power take -off sockets are pro- Hirsch -Houck Labs. did not include -the fact Iles each channel is capable of some vided to operate a pair of Dynakit that the Stereo 70 which they analyzed was a its own heat- kit (although it is also available wired). We 43 watts before distortion becomes preamplifiers. Each has which con be- attribute the excellent performance appreciable. By paralleling the two er winding to prevent interaction be obtained from our kit to the use of a channels with the switch provided on tween channels. factory -assembled printed circuit board con - amplifier, one has a superb 85- A comparison of the performance of taining the critical parts of the circuit, the the the parts used, and the factory test- watt amplifier (though Dyna calls it the Stereo 70 against the Dynakit quality of 70 to be ing and matching of tubes. The conservative a 70 -watt amplifier). Mark III shows the Stereo operation of the components permits us to offer Its The hum level when driven from a definitely superior in all respects. a one -year guarantee on all parts -a guarantee low- impedance source (such as any distortion at all power levels is lower which we believe is unique in the kit field.

made to the board at numbered KIT NOTES finished product. Plans are very clear and tions are have solder a large set of pictorials simplify identifica- eyelets. These eyelets already easy and les- The Dynakit 70 was received as a kit. tion and placement of parts. All wiring is in them, making soldering the Before it was sent for test by the Hirsch - done step by step and layer by layer. sening the danger of damaging This work should be done Houck Laboratories, it had to be assem- The instructions are divided into two printed wiring. no more heat on the bled and wired. The task was assigned to sections. First, mechanical assembly: having with a small iron. Use to make the solder John Diegel of our office staff. His notes to do with the attaching of tube sockets, eyelet than is required marked and and comments follow. inputs plugs, power and output trans- flow. All eyelets are clearly very formers, chokes and other bolted -down instructions in this phase are detailed. The Stereo 70 is a complete dual 35- wiring the printed cir- parts. There are fifteen steps in this sec- When you finish watt power amplifier kit offering the high- the tion. Second, the wiring procedure: there cuit board and insert the line cord, est possible fidelity at a low cost and in a are seventy steps in this stage. In the amplifier is complete. most compact arrangement. It uses pat- over mechanical assembly be very careful to It is wise at this point to go back ented circuits of outstanding performance orient properly the keyways of tube the wiring and check all joints and connec- characteristics along with the new Dynaco electrical sockets and power take -off sockets for the tions for good mechanical and A -470 transformers. Two noninteracting make that preamp. Also in Step 6 of the mechanical bonding. Also check to sure 35 -watt channels provide adequate power assembly you should take care to see that the solder didn't run to another connection in a stereophonic or two -channel system. the selenium rectifier for the bias voltage or ground out a component accidentally. for a The two channels can be paralleled is the of the bias is properly mounted. The lug marked The last step setting full 70 watts of power suitable for where the Dyna Biaset -}- K must go closest to the chassis. The voltage. This is practically any monophonic use. simplifies the rectifier is quite small and it is very easy comes into use and greatly The to mistake the plus and minus sides. initial adjustment of the amplifier. No. 8 each Construction Notes The power supply is the first section to bias is checked at pin of the stage preamplifier power take -off socket. The As its forerunners have done, the Stereo be wired. Then follows output steps reading should be 1.56 volts DC. Once 70 sets a standard for simplicity of con- and 1 choke. After the first forty to this step is complete you are ready to use struction. The 52 -odd components require have been completed, you are ready your new amplifier. about five hours for assembly into the wire the printed circuit board. Connec-

DECEMBER 1959

www.americanradiohistory.com Index of Equipment Reports 1958 -1959 Stereo equipment is identified thus:

ARMS Fairchild 248 Dec. '58 138 Harman -Kardon FM -100 (FM only) Fisher 90 -C June 91 June '58 96 ESL Gyro /Balance July '59 94 '58 Fisher 90 -T (FM -AM, w. Control ) Harman -Kardon T -12, T -120, Garrard TPA-10 Feb. '58 110 May '58 104 T -1040 (FM -AM) Jun. '58 96 CE TM -2C Mar. '59 126 CE Transist -Tube Jan. '58 104 Heath PT -1 (FM -AM) Apr. '59 114 Crado Oct. '58 139 Knight-Kit Oct. '59 153 Karg Tunematic (FM only) Feb. '59 114 Lafayette PK -150, PK -170 May '58 103 Knight KN -700A May '59 102 Knight -Kit (FM only) Jan. '58 109 Lafayette PK -270, PK -280 Lafayette KT -600 Oct. '59 149 Knight KN -120 (FM -AM) Sept. '59 121 Lafayette LT -30 Aug. '58 79 '59 105 Rek -O -Kut 120, 160 Apr. '58 110 June Marantz Model 7 Nov. '59 139 Madison Fielding 330 ( FM -AM ) Rck -O -Kut S -120, S -160 Regency HFT -1 Nov. '59 141 Aug. '58 80 Nov. '58 118 Scott 300 (FM -AM) July '58 80 CARTRIDGES POWER AMPLIFIERS Scott 330 -C (FM -AM) July '58 80 Sherwood S -3000 II Oct. 150 CBS Electronics Prof. 55 Altec 345A Sept. '59 116 '59 Dynakit Mark III Mar. '58 113 Sept. '59 118 TAPE RECORDERS Connoisseur Mark II Jan. '59 98 Dynakit Stereo 70 Dec. '59 160 Duotone Acos "Hi -C" Sept. '59 122 EICO HF -81 Oct. '59 151 Bell T -218 May '59 104 Dynaco Stereodync July '59 95 Heath \V -7M Aug. '59 87 Norelco Continental Mar. '58 116 ESL C -60 July '58 82 Marantz Model 5 Nov. '59 139 Pentron CA -11, CA -13 ( Tape Preamps ) ESL Gyro /Jewel July '59 94 MusiCraft M -60 Sept. '58 112 Nov. '58 120 Fairchild 230 Sept. '58 109 Pilot AA -908 Feb. '58 104 Pentron CA -13 Tape Preamp ( ATR ) Fairchild 232 Nov. '58 113 Pilot SA -232 Apr. '59 116 Feb. '59 112 CE CC -5 Mar. '59 126 Sargent -Rayment SR -517 Jan. :59 102 Pentron CA -15 (Tape Preamp) CE VR -II Feb. '58 103 Scott 280 Apr. '58 114 Nov. '58 120 CE VR Pentron T \I -4 Deck Nov. '58 120 -227 Oct. '59 153 SPEAKERS Heath MF-1 May '59 105 Pentron TM -4 Deck ( ATR ) London -Scott (w. Arm) "AH!" Electrostatic Sept. '59 177 Feb. '59 112 Sept. '59 119 E -V Wolverine LS -8, LS -12 Oct. '58 146 Sony Sterecorder July '59 91 Miracord Stercotwin 200 Hartley -Luth 217 Mar. '59 128 Steelman Transitapo Portable Feb. '59 116 JansZen 65 Tweeter Dec. '58 136 Sept. '59 121 Norelco AC -3121 Oct. '58 144 R & A 780, 7100, 7120, 1251 Dyad STEREO ADAPTERS Pickering 196 (w. Ann) Feb. '58 107 Oct. '59 148 Radio Shack Electrostat 3 Tweeter Bogen ST -10 May '58 108 Pickering 371 Oct. '59 148 Nov. '59 138 Dynakit DSC -1 Feb. '59 115 Shure \13D Feb. '59 114 Stentorian HF- 1016U, T -359 Lafayette KT -315 Nov. '59 141 Shure \17D June '59 105 Dec. '58 140 H. H. Scott Oct. '58 146 Shure Prof. Dynetic Nov. '58 116 Stephens 80FR Jan. '58 106 Stephens 120 -FR, 150 -FR, 5 -KT RECEIVERS CHANGERS Dec. '58 134 Fisher 600 Dec. '59 158 Garrard RC- 121 /II Sept. '58 110 Vitavox DU -120 Jan. '58 99 Glaser- Steers CS -77 Oct. '58 142 ACCESSORIES: PHONO AND TAPE SPEAKER Glaser -Steers GS -77 Aug. '59 86 SYSTEMS Aerovox 710 Tape Degausser Jan. '59 100 Miracord XS -200 Jan. '59 101 Acoustic Research AR -3 Sept. '59 119 Alonge Tape Splicer June '58 97 \Vumo Dekamix D-100 Jan. '58 100 Altec 832A Sept. '58 110 Argonne Speaker Selector Switch EICO Standard Mar. '58 114 Jan. '59 102 TURNTABLES EV- Lindon Aug. '59 85 Belling and Lee Phono Plugs Connoisseur Model B Sept. '59 118 E -V Regal I A July '59 88 Feb. '59 115 Fairchild May '58 106 E -V Regal III July '59 88 Dexter Lektrostat June '58 94 Garrard 301 Dec. '58 135 E -V Stereon IA July '59 90 Irish Tape Stroboscope Jan. '59 99 Lafayette Player June '58 94 Hartley -Luth Holton Mar. '59 128 Pentron CA -14 Mixer Nov. '58 120 Lafayette PK -225 July '58 79 Heath Legato Apr. '58 112 Robins Clips Oct. '58 144 Lafayette PK -240 Mar. '59 128 Isotone Toccata Apr. '59 116 Robins HD -6 Degausser Nov. '58 114 Thorens TD -124 Jan. '58 102 JansZen Z -200 Apr. '58 107 Wumo Solorette 2 Player Jan. '58 100 JansZen Z -300 Jan. '59 100 MISCELLANY Jensen Galaxy II Oct. '59 152 CONTROL AMPLIFIERS Becker FM -AM Auto Radio July '59 90 KLH Models 1, 2, 3, 4, 5 Oct. '58 140 Beyer DT-48 Headset June '59 102 Altec 344A Sept. '58 118 Kingdom Compass-1 Sept. '58 112 C.B.C. Music Minder Oct. '58 148 Bell 3030 Mar. '59 129 L.E.E. Catenoid Aug. '58 82 Cook Chromatic Test Record CE MS -4000 Apr. '59 117 L.E.E. Trio Nov. '58 114 Apr. '58 110 Harman-Kardon Trio July '59 89 Lowther Acousta July '58 80 Dynaco Power Supply Dec. '58 138 Madison Fielding 320 Sept. '58 114 Neshaminy Z-400 Nov. '59 140 Fleetwood Da Vinci Television Sargent -Rayment SR -17 -17 Quad Electrostatic July '59 93 Sept. '59 120 Dec. '58 139 TeleMatic Minstrel Sept. '58 114 Gramercy Speaker -Saver Nov. '58 118 Scott 99 -D Aug. '58 80 United Speaker Premiere Sept. '58 116 Gonset FM Mobile Converter July '59 94 Scott 210 -F Aug. '58 80 United Speaker X -100 Dec. '58 139 Jerrold Boosters June '58 92 Stromberg- Carlson ASR -433 Wharfedale SFB -3 Mar. '58 120 Jerrold HSK -300 TV -FM June '59 103 Distribution System Aug. '59 84 Trix T43 Aug. '58 84 TUNERS Koss SP -3 Headset Aug. '59 86 Chapman S5E (FM- A \I -S \V ) Lafayette Level Meters Nov. '58 116 PREAMP CONTROL UNITS Jan. '58 102 Leslie Record Rack Apr. '58 108 Altec 445A Sept. '59 116 Fisher 90 -R (FM-AM ) May '58 104 Marantz Crossover Apr. '58 108 Dynaco Feb. '58 108 Fisher 90 -T (FM -AM -w. Control) Pennoflux HDD-16 -16 Headset EICO HF-65 July '59 92 May '58 104 Dec. '59 159

162 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Kit builders, try out these four sugges- tions when working on your next prot- ect. Left: To clean the tip of your soldering iron, use aluminum foil: won't burn (like cloth), won't eat up metal (like c file), won't get into electric gear (like steel wool). Center: To fix a nut on a screw on the underside of a chassis, seat the nut on a strip of tape attached sticky -side out to your finger. Bottom left: To make an electric wire or cable feed -through insulator, cut a plastic 35 -mm film spool in half, drill out the inside, and insert one half into the chassis as shown. A touch of house- hold cement will hold it firmly in place. Below: You can make a shock -proof solder holder very easily from an old ball -point pen: take out the cartridge, clip off the top of the pen, and insert solder as shown. You can use this gadget to solder in "hot" electric cir- cuits without the slightest fear of getting a shock, since the pen will insulate your hand from the solder.

fl*j*N*J*S

for the audio kit builder

DECEMBER 1959

www.americanradiohistory.com AUDIONEV S ... tA Preview of New Equipment . -.

Stereo Tape for Home Recording "Scotch" brand has now put out Tartan Series quality stereo tapes, especialry developed for home recordists; they combine acetate (plastic) backing with extra- high - potency oxide coating. Built -in silicone lubrication helps smoothen operation and pro- tect recording head against wear. In 5- and 7 -inch reels; lengths and suggested prices: 600 -ft., $1.75; 900 -ft., $2.50; 1,200 -ft., $2.95; 1,800 -ft., $4.25.

Fane High- Frequency Speaker British pressure -type unit, used with crossover network or con- denser, handles high -note portion of 15 watts of music. Level response from 2,000 to 14,000 cps, gradual rolloff thereafter. Useful range, 1,500 to 18,000 cps. Hardened aluminum diaphragm has special loading system. May be used with or without baffle. Imported by Moe Swedgal Electronics, New York.

New Monophonic Amplifier A new 15- watt:monophonic amplifier, with a frequency response of

15- 30,000 cps t 1 db (at normal listening level), has been introduced by Lafayette Radio. Power output 15 watts (speech and music rating). Five inputs: Aux, Tuner, Mag. Phono, Crystal Phono, Tape Head. Outputs: Tape out, 4 -, 8 -, and 16 -ohm speaker terminals. Bass, treble controls, other features. Price: $39.50.

Lafayette FM Tuner Model LT -80, Lafayette Radio's new FM tuner, is hand -wired and individually tested in the laboratory. As a result, say the makers, it has a sensitivity of 1.5 uy for 20 db quieting. An Armstrong grounded -grid low -noise front end, triode mixer, tuned dual limiters, Foster - Seeley discriminator, and 3 -gang tuning con- denser form part of the circuitry. Frequency response: 20- 20,000 cps t ;2 db. Price: $49.50.

164 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Low -cost 4- Speaker System A low -cost four -speaker combination system that has both monophonic and stereophonic application has been put out by Europe's largest speaker manufacturer, Isophon. Available in 20 and 25 watts; hand- crafted cabinets designed on distributed - port principle. Can be bought complete, or without enclosure for wall or custom installation; sold in kit form, too. Prices: $83 to $125.

Grundig Recorder Weighs 5 Pounds Powered by ordinary flashlight batteries, this unit offers "almost an hour of high -fidelity sound reproduction," says Grundig. Matchbook -sized microphone weighs less than on ounce, yet can pick up sound 25 feet away while tucked in shirt or vest pocket. Carrying case in charcoal and office gray. Size 7" x 3" x 11". Price: $79.95.

Ampex Amplifier- Speaker Systems New model 303 makes available -in component form -the power amplifier and speaker units used in the Ampex Signature Home Music System console. (One difference: the console costs $2,600; model 303 costs $285.50.1 "The units are identical with those of the famed console," Ampex insists, "and within a com- parable enclosure will produce sound of identical quality." Two model 303s are needed for stereo. Model 302, somewhat smaller, sells for $174.50.

Finish These Yourself

Two Jensen bookshelf speaker systems -the new Duette 2 -way and the Tri -ette 3 -way (illustrated) -now come in unfinished cabinets of light, smooth, / -inch gum hardwood. Cabinet front edges are banded. Extra grille- former comes with each system; you can match any décor by installing grille fabric of your choice. Tube vented, bass -superflex enclosures. Prices: $59.95, $89.50.

Portable Tape Recorder Hosho's Model 105, now available, weighs only 18 pounds, includes power amplifier, twin speakers. Speeds: 33., 7;4 ips; remote control; magic -eye record level indicator; precision mechanism with dynamically balanced flywheel assembly; ear- phone; high- frequency erasure; extension speaker lack and audio cable; input for recording direct from radio, phonograph, TV; table stand. Price: $129.95.

I )r:cr:Ntnr:rt 1959 165

www.americanradiohistory.com General Index 1958 -1959

BY AUTHOR Gelatt, Roland The Pangs of Progress Jan. '58 Ceraci, Philip C. Christmas Tactics for Golden -Eared Ackerman, Paul What Has Happened to Popular Music Husbands Dec. '58 June '58 Ceraci, Philip C. High Fidelity for Camera Bugs? Allison, Roy F. The ABCs of Stereo Sept. '58 May '59 Alpert, Hollis These Men Shape Your Listening Jan. Glasgal, Ralph Music on Ice July '59 '58 Herzog, Hans Night Lights in the Konzerthaus Nov. '59 Ansermet, Ernest Music and Stereophony March '59 Heyworth, Peter Ernest Newman, 1868 -1959 Oct. '59 Babbitt, Milton Who Cares If You Listen? Feb. '58 Heyworth, Peter Otto Klemperer Dec. '59 Bass, Milton R. The Squares of Paris Aug. '58 Holt, J. Gordon A Hi -Fi Primer -Part X June '58 Beecham, Thomas- Boothby, Robert Conversation with Holt, J. Gordon A Hi -Fi Primer -Part XI July '58 Beecham Oct. '58 Holt, J. Gordon The Well -Fed Loudspeaker Sept. '58 Berger, Arthur What Mozart Didn't Have Feb. '59 Holt, J. Cordon The Accurate Amplifier Nov. '58 Biggs, E. Power Two Years Alive April Hundred '59 Holt, J. Gordon The Hows and Whys of Watts Dec. Bookspan, Martin The BSO and the Talking Machine '58 Jan. '58 Holt, J. Gordon Custom Controls for Stereo Flexibility Broder, Nathan Mozart: The Piano Concertos Oct. '58 Jan. '59 Broder, Nathan Handel On and Off Records April '59 Hughes, Patrick Cairns The Villagers Always Vote Broder, Messiah for Nathan Handel's Newly Recorded Figaro June '59 Dec. '59 Indcox, John F. Stereo Discs 1959 -Culling the Year's Broder, Nathan How American Composers Pay Their Harvest Dec. '59 Rent July '59 Israel, R. A. The Seven Sunny Decades of Maurice Burke, C. G. So Musical a Discord Oct. '58 Chevalier May '59 Burke, William H. Characters with Golden Ears May Johnson, David The \lass Since Bach -Part I April '58 '58 Johnson, David The Mass Since Bach -Part II May '58 Burr, Charles A Cat May Look at a King March '58 Johnson, David The Puccini Operas on Records Dec. Burstein, Herman Tips from Audio Salesmen April '59 '58 Conly, John M. American Music Played Here '58 Feb. Johnson, David The Young Idea in Opera March '59 Conly, John M. The Ancient and Honorable Philhar- Josephson, Matthew When the Machine Answered Mr. monic Nov. '59 Edison Sept. '59 Cost, Jim Have Casket, Need Corpse Dec. '58 Kerman, Joseph How Music Became Classical March Crowhurst, Norman H. An Ear for Loudspeakers April '58 '58 King, A. Hyatt A Presentment of Englishry April '59 Crowhurst, Norman H. How to Drive Salesman a Mad Kupferberg, Herbert The Adventure of the Bodiless -and Cet a Loudspeaker You Can Live With May Virtuoso May '58 '58 Kupferberg, Herbert Almost Too Much Voice Nov. '58 Crowhurst, Norman H. Where to Put Your Stereo Kuttner, Fritz A. The Stuttgart Volunteers Dec. '58 Speakers Oct. '58 Kuttner, Fritz A. The Sightless Vision of Helmut Crowhurst, Norman H. Satellites to the Rescue! Oct. '59 Walcha July '59 Cudworth, Charles Le Scare du Printemps, or the Frite Landon, H. C. Robbins Haydn's Esterháza Is Still There of Spring April '58 Aug. '59 Cudworth, Imperishable April '59 Charles The Wag Landon, H. C. Robbins Wurst and Beethoven Nov. '59 Culshaw, John Songsters in Motion Nov. '58 LeBel, C. J. What About Tape? Dec. '58 Culshaw, John The Flagstad Saga June '59 Lieberman, Melvyn The Promise of Disc Stereo Feb. '58 Curtiss, Mina The Ill- Starred Debut of the Girl from Lockspeiser, Edward The Wit and the Heart: a Study Arles Sept. '58 of July '58 Darrell, R. D. Eighteen Anvils and a Thundersheet Lockspeiser, Edward Ansermet and the \tcxlerns Aug. '59 March '59 Darrell, R. D. Stereo Tape: Cartridge Versus Reel Lockspeiser, Edward Freudians in Euterpe's Sept. '59 Realm Sept. '59 Dean, Winton Four Thousand Choristers Can't Be Right London, M.D., Sol When Singing Was a Monster's Art April '59 Feb. '58 Elias, Julius Strauss in Search of an Answer Jan. '59 London, M.D., Sol The Splendid Infamies of Le Doc- Eyer, Musical Ronald The Funnybone July '58 teur Véron July '59 Eyer, Ronald The Squire of Torre del Lago Dec. '58 Marek, George R. Let Them Drink \lilkpoonce April Fassolla, Thomas Fiddler's Treasure March '59 '58 Flanagan, William Jr. The Riotous Garden of Ameri- Marsh, Robert Charles Let's Keep Our Two -Eared can Opera Nov. '58 Heads Oct. '58 Fowler, Charles Stereo Today Sept. '59 Marsh, Robert Charles Janos Starker: Apostle of the Fowler, Charles How To Buy Stereo Control Power Sad Hero June '59 Amplifiers Oct. '59 Mayer, Martin Fifty Thousand Sides Ago: The First Fowler, Charles How To Buy a Stereo Tuner Nov. '59 Days of LP jan. '58 Frankenstein, Alfred Debussy on Microgroove Jan. '58 Mayer, Martin That Golden Second -Hand Sound May Frankenstein, Alfred Germany's Renovated Opera May '59 '58 Menon, Narayana The Discs They Make at Dum Dum Frankenstein, Alfred The Music of the Hemispheres Sept. '59 May '59 Miller, Philip L. Reissues of Vocal Music -Part I June Frye, John T. Hi -Fi Doctoring Without Instruments '58' March '58 Miller, Philip L. Reissues of Vocal Music -Part II Garner, Louis E. Jr. The Well- Tended Recorder July July '58 '58 Miller, Philip L. Tenors of the Past -Part I March '59 Garner, Louis E. Jr. No Hum, No Bugs Aug. '58 Miller, Philip L. Tenors of the Past -Part II May '59 Garner, Louis E. Jr. Adding Channel Two Nov. '58 Mitchell, Carleton A Yacht Rigged for Music April '58 Garner, Louis E. Jr. Start it Right, Keep it Right Montagu, Ashley Why Wagner Was No Lady March June '59 '58

166 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com '59 of the Player Piano June '58 Ansermet and the Moderns March Moor, Paul Maestro '59 Sviatoslav Richter: Sequestered Genius Antarctic Explorers and Music: Music on Ice July Moor, Paul March '59 Oct. '58 Arms, Stereo ( Shopper ) Labor, and No Royalties June '59 Artist & Repertoire Directors -Part II Jan. '58 Moor, Paul Love, March '58 H. A Hi -Fi Primer -Part V Jan. '58 At Home with the Shostakovitchs Newitt, John Sound H. A Hi -Fi Primer-Part VI Feb. '58 Audio Exchange: That Golden Second-Hand Newitt, John May '59 H. A Hi -Fi Primer -Part VII March '58 Newitt, John Jan. '59 H. A Hi -Fi Primer -Part VIII April '58 Audio Styling: A Look Ahead Newitt, John Dec. '59 H. A Hi -Fi Primer -Part IX May '58 Back to Britain with Britten Newitt, John Oct. '59 Pleasants, Henry Secrets of the Intermission In -Croup Beauty In Sight As In Sound Beauty in the Listening Room I Jan. '59 Feb. '59 Jan. '59 M. Hipsters in the Bleachers Aug. '58 Beauty in the Listening Room II Powers, Richard Oct. '58 Priestley, J. B. The Festival in the Folly Feb. '58 Beecham -Conversation with International Beat: The Voice of Beethoven Had an Id Too Sept. '59 Randal, Edward L. Thun- Jazz Aug. '58 Berlioz: Grande Messe des Morts- Recording of: American Sept. '58 Charles From Pierino to Gamba Aug. '59 der for Dead Marshals Reid, of the Girl Back to Britain with Britten Dec. '59 Bizet: L'Arlésienne: The Ill- Starred Debut Reid, Charles Sept. '58 Francis Adieu to the Old Met Nov. '58 from Arles Robinson, March '59 Joseph Who Lives at Carnegie Hall? Feb. '59 Blended -Bass Stereo Speaker Systems Roddy, Window Oct. '59 Rosen, Charles Where Ravel Ends, and Debussy Be- Boito: When Duse Tapped at Boito's Dec. '59 gins May '59 Britten, Benjamin: Back to Britain with Britten March '58 Salzman, Eric Towards the Stereophonic Orchestra Bruckner on Microgroove Brussels, At Aug. '59 Oct. '59 '58 Harold C. : Lady of the BSO and the Talking Machine, The Jan. Schonberg, Feb. '58 Singing Line May '58 Buying the Right Recorder -Part I March '59 Schonberg, Harold C. Once More with Kiril Kondrashin Buying the Right Recorder -Part II Cartridges Sept. '58 '59 Vincent Victoria Sat Here April '58 Stereo: How To Install April Sheean, '59 Vincent When Duse Tapped at Boito's Win- Stereo: Shopper March Sheean, Feb. '58 dow Oct. '59 Castrati: When Singing Was A Monster's Art '58 Seymour The Search for a Third Dimension Cat May Look at a King, A March Solomon, Salesman '59 Characters with Golden Ears -A High Fidelity Feb. May '58 Stearns, Marshall If You Want To Co to Heaven, Shout! Looks at his Customers May '59 Aug. '59 Chevalier, Maurice: Seven Sunny Decades '58 Szigeti, Joseph At Brussels Aug. '59 Christmas Tactics for Golden-Eared Husbands Dec. Second - Taishoff, Saul Bruckner on Microgroove March '58 Colbert, Bill -Audio Exchange -That Golden May '59 Tall, Joel Quietus for a Still, Small Voice July '58 Hand Sound '58 Tikhomirov, Nicholas At Home With the Shostakovitchs Crescendo from Kalamazoo June March '58 Custom Controls for Stereo Flexibility Jan. '59 Wagner, Alan Keeping the Beast at Bay Sept. '58 Custom Installations Warren, Dale "Saints Above, What Lovely Gems!" Beauty In Sight As In Sound Oct. '59 March '59 Beauty in the Listening Room I & II Jan. '59 Wayne, Arthur W. Snark Spoor Jan. '58 Designed for Listening July '59 Weaver, William Crescendo from Kalamazoo June '58 House That Lives with Music, The June '59 Wechsberg, Joseph Flittermice and Merry Widows Debussy on Microgroove Jan. '58 Nov. '59 Del Monaco: Almost Too Much Voice Nov. '58 Wilson, John S. Jelly Roll Morton and All That Jazz Designed for Listening July '59 March '58 Discs, Care of: Towards the Dustless Disc June '58 Wilson, John S. jazz from Abroad Aug. '58 Discs They Make at Dum Dum, The Sept. '59 Wilson, John S. Twenty Years in a Jumping Groove Dividing Networks ( Primer) June '58 Dec. '58 Ear for Loudspeakers, An April '58 Wilson, Percy Towards the Dustless Disc June '58 Edison, Thomas, and Talking Machine Sept. '58 Wrablica, Paul Audio Styling: A Look Ahead Jan. '59 Eighteen Anvils and a Thundersheet Aug. '59 Yates, Peter Bruno Walter: A Study in Tranquility Festival in the Folly, The Feb. '58 Sept. '59 Fiddler's Rest: Francescatti June '58 Fiddler's Treasure March '59 Fifty Thousand Sides Ago: The First Days of LP Jan. '58 BY TITLE AND SUBJECT Flagstad, Kirsten: The Flagstad Saga June '59 Flittermice and Merry Widows Nov. '59 Sept. '58 ABCs of Stereo, The A Guide to Aug. '59 '58 FM, Accurate Amplifier, The ( Primer) Nov. Four Thousand Choristers Can't Be Right April '59 Acrosound Ultra- Linear II Amplifier Kit, The Dec. '58 Francescatti: Fiddler's Rest June '58 Nov. '58 Adding Channel Two Freudians in Euterpe's Realm Sept. '59 April '59 Adding the Third Channel Fromm Music Foundation: What Mozart Didn't Have Adieu to the Old Met Nov. '58 Feb. '59 May Adventure of the Bodiless Virtuoso, The '58 Gamba, Pierino Aug. '59 Almost Too Much Voice Nov. '58 Germany's Renovated Opera May '58 American Composers, How They Pay Their Rent July '58 Gospel Singers -If You Want To Go to Heaven, Shout! American Music Played Here Feb. '58 Aug. '59 Amplifiers Gray HSK -33 Turntable, The Nov. '59 Accurate Amplifier, The Nov. '58 Guide to Better FM Listening, A Aug. '59 Acrosound Ultra- Linear II Kit Dec. '58 Handel: Four Thousand Choristers Can't Be Right Hi -Fi Primer July '58 April '59 Hows and Whys of Watts Dec. '58 Handel: The Imperishable Wag April '59 Precise AMK Control Kit March '59 Handel On and Off Records April '59 Stereo Control Power Amplifiers Oct. '59 Handel: A Presentment of Englishry April '59 Stereo Power Amplifiers Sept. '59 Handel: Two Hundred Years Alive April '59 Well -Fed Loudspeaker, The (Primer) Sept. '58 Handel's Messiah Dec. '59 Ancient and Honorable Philharmonic, The Nov. '59 Have Casket, Need Corpse Dec. '58

DECEMBER 1959 167

www.americanradiohistory.com Haydn's Estcrháza is Still There Aug. '59 Musical Funnybone, The July '58 HF Shopper Newman, Ernest, 1868 -1959 Oct. '59 Record Changers and Manual Players Jan. '59 Night Lights in the Konzerthaus Nov. '59 Stereo Arms and Pickups March '59 No Hum, No Bugs Aug. '58 Stereo Cartridges April '59 Novaes, Guiomar May '58 Stereo Preamp -Control Units May '59 Once More with Kiril Kondrashin Sept. '58 Hi -Fi Doctoring Without Instruments March '58 Opera Hi -Fi Primer V- Loudspeaker Jan. '58 American Nov. '58 Hi -Fi Primer VI -First Limitations -Loudspeaker Feb. '58 Covent Garden: Victoria Sat Here April '58 Hi -Fi Primer VII -Loudspeaker Enclosures March '58 Germany's Renovated Opera May '58 Hi -Fi Primer VIII -Bass -reflex Enclosures April '58 Interpretation of: Let Them Drink Milkpoonce Hi -Fi Primer IX- Tweeter Horn May '58 April '58 Hi -Fi Primer X- Dividing Network June '58 Metropolitan: Adieu to the Old Nov. '58 Hi -Fi Primer XI- Amplifier July '58 New England Opera Theatre March '59 High -Fidelity Accessories: Christmas Tactics for Golden - Puccini Operas on Record Dec. '58 Eared Husbands Dec. '58 Opera Stars Off Duty July '59 High-Fidelity Components Operettas, Viennese: Flittermice and Merry Widows Installation of: Start It Right, Keep It Right June '59 Nov. '59 Styling of: Audio Styling :A Look Ahead Jan. '59 Orchestral Seating: Towards the Stereophonic Oct. '59 High Fidelity for Camera Bugs? May '59 Orchestras High Fidelity: Snark Spoor Jan. '58 Boston Symphony & Talking Machine Jan. '58 High -Fidelity System, Care of: Eastman- Rochester Symphony -American Music Played Doctoring Without Instruments March '58 Here Feb. '58 Keeping the Beast at Bay Sept. '58 : Who Lives at Carnegie Hall Hipsters in the Bleachers Aug. '58 Feb.'59 Home Movie Sound: High Fidelity for Camera Bugs? Vienna Philharmonic- Ancient and Honorable Philhar- May '59 monic Nov. '59 House That Lives with Music, The June '59 Pangs of Progress, The Jan. '58 How American Composers Pay Their Rent July '59 Pickups ( see Cartridges ) How Music Became Classical March '58 Poulenc, Francis: The Wit and the Heart July '58 How To Buy Stereo Control Power Amplifiers Oct. '59 Preamplifiers, Stereo ( Shopper ) May '59 How To Buy Stereo Power Amplifiers Sept. '59 Precise AMK Control Amplifier Kit March '59 How To Buy a Stereo Tuner Nov. '59 Presentment of Englishry, A April '59 How To Drive a Salesman Mad-and Get a Loud- Promise of Disc Stereo, The Feb. '58 speaker You Can Live With May '58 Puccini: The Squire of Terre del Lago Dec. '58 Hows and Whys of Watts, The Dec. '58 Puccini Operas on Records, The Dec. '58 Humor in Music: The Musical Funnybone July '58 Quietus for a Still, Small Voice July '58 If You Want To Co to Heaven, Shout! Aug. '59 Record Collecting, Reflections on: Pangs of Progress Ill -Starred Debut of the Girl from Arles, The Sept. '59 Jan. '58 Imperishable Wag, The April '59 Record Company: Blue Note: Twenty Years in a Jump- India: Music in -The Discs They Make at Dum Dum ing Groove Dec. '58 Sept. '59 Recording, in Moscow: Love, Labor, and No Royal- International Beat: The Voice of American Jazz Aug. '58 ties June '59 Jazz at Newport: Hipsters in the Bleachers Aug. '58 Recording, In Vienna: Night Lights in the Konzerthaus Jazz from Abroad Aug. '58 Nov. '59 Jazz: International Beat -Voice of American Jazz Records, Old: "Saints Above, What Lovely Gems" Aug. '58 March '59 Jazz: Squares of Paris, The Aug. '58 Reissues of Vocal Music -Part I June '58 Jazz vs Classical: A Cat May Look at a King March '58 Reissues of Vocal Music -Part II July '58 Jelly Roll Morton and All That Jazz March '58 Richter, Sviatoslav Oct. '58 Keeping the Beast at Bay Sept. '58 Riotous Garden of American Opera, The Nov. '58 Klemperer, Otto Dec. '59 RX: Kondrashin Sept. '58 Stereo Cartridges April '59 Let Them Drink Milkpoonce April '58 Stereo Preamp- Control Units May '59 Let Us Keep Our Two -Eared Heads Oct. '58 Turntables and Changers Feb. '59 Live Music vs Stereo: Let Us Keep Our Two -Eared Heads "Saints Above, What Lovely Gems!" March '59 Oct. '58 Satellites to the Rescue! Oct. '59 Love, Labor, and No Royalties June '59 Scare du Printemps, or the Frite of Spring April '58 LP Records: Fifty Thousand Sides Ago Jan. '58 Schippers, Thomas: Crescendo from Kalamazoo June '58 Maestro of the Player Piano June '58 Search for a Third Dimension, The Feb. '59 Mass Since Bach, The -Part I April '58 Mass Since Bach, The-Part II May '58 Secrets of the Intermission In -Croup Feb. '59 Morton, jelly Roll March '58 Shostakovitch March '58 Mozart: The Piano Concertos Oct. '58 Sightless Vision of Helmut Walcha, The July '59 Münchinger, Karl: Stuttgart Volunteers, The Dec. '58 Snark Spoor Jan. '58 Music and Stereophony March '59 Songsters in Motion Nov. '58 Music Festivals Speaker Enclosure Festival in the Folly, The Feb. '58 Bass -reflex ( Primer) April '58 Glyndebourne: The Villagers Always Vote for Figaro Loudspeaker March '58 June '59 Speakers Music on Ice July '59 Blended -Bass Stereo Speaker Systems March '59 Music, Popular: What Happened to June '58 First Limitations ( Primer ) Feb. '58 Music, Renaissance: How Music Became Classical How To Get a Loudspeaker You Can Live With March '58 May '58 Music, Vocal Loudspeaker ( Primer) Jan. '58 Reissues of Vocal Music -Part I June '58 Satellites to the Rescue! Oct. '59 Reissues of Vocal Music -Part II July '58 Tweeter Horn ( Primer ) May '58 Tenors of the Past-Part I March '59 Splendid Infamies of Le Docteur Véron, The July '59 Tenors of the Past -Part II May '59 Squares of Paris, The Aug. '58

168 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Squire of Torre del Lago, The Dec. '58 Starker, Janos June '59 Low -Cost Hi -Fi with the Start it Right, Keep it Right June '59 Stereo SOUND ECONOMY ABCs of Sept. '58 Adding Channel Two Nov. '58 of Adding the Third Channel April '59 Blended-Bass Stereo Speaker Systems March '59 Broadcasting June '59 Custom Controls for Stereo Flexibility Jan. '59 Discs Feb. '58 Discs 1959-Culling the Year's Harvest Dec. '59 Receivers Dec. '59 Speakers: Where to Put Them Sept. '58 Tape: Cartridge Versus Reel Sept. '59 Today Sept. '59 Stereophonic Recording-Opera: Songsters in Motion Nov. '58 Stereophonic Recording -The Search for a Third Dimen- sion Feb. '59 Strauss in Search of an Answer Jan. '59 LOUDSPEAKERS Stuttgart Volunteers, The Dec. '58 Tape STANDS ALONE Buying the Right Recorder -Part I Feb. '59 THE SOUND THAT ... Now. with W/B Stentorians, you can enjoy Buying the Right Recorder -Part II March '59 high- quality high fidelity at unbelievably low, Equipment, Care of: No Hum, No Bugs Aug. '58 low cost! Manufactured in England by world -re. Print Through: Quietus for a Still, Small Voice July '58 nowned Whiteley Electrical Radio Company Recorder: Well- tended July '58 - originators of the first commercial per- Right Way to Copy Jan. '59 manent magnet loudspeakers in 1927 - Stentorians provide a beauty and realism that What About Tape Dec. '58 has won the unqualified praise of nearly every leading audio critic and user, both here Tenors of the Past -Part I March '59 and abroad. Tenors of the Past -Part II May '59 But !tearing is believing! Hear the W/B Stentorians at your very first opportunity That Golden Second-Hand Sound May '59 and discover for yourself why these These Men Shape Your Listening Jan. '58 distinguished units are the leading low -cost Thunder for Dead Marshals Sept. '58 speakers in the world today. Tips from Audio Salesmen April '59 STENTORIAN EXTENDED RANGE SPEAKERS Towards the Dustless Disc June '58 WOOFER Model HF 1514 SPECIAL 15" STENTORIAN AuD ETNILE Towards the Stereophonic Orchestra Oct. '59 Response, 25 - 4,000 cps.; bass re. sonance, 35 cps.; power rating, 25 Tuners: Stereo Nov. '59 watts; 10 lb. Alcomax Magnet System Turntables ust $149.50 $89.50 Cray HSK -33 Kit Nov. '59 12" STENTORIAN EXTENDED RANGE LOUDSPEAKER Model NF 1214 Record Changers and Manual Players Jan. '59 Response, 25 - 14,000 cps.; bass re- Set Up and Care of Feb. '59 sonance, 39 cps.; power rating. 15 watts; 51/2 Ib. Alcomax Magnet System Shopper Feb. '59 List $87.50 $52.50 Twenty Years in a Jumping Groove Dec. '58 Model HF 1110 (e") Response, 50 - 12,000 cps.; bass re Two Hundred Years Alive April '59 sonance, 65 cps. List ;18.25 $10.95 Van Cilburn Sept. '58 Model HF 610 (6 ") Véron, Docteur, Infamies of July '59 Response, 60 - 12,000 cps.; bass re. sonance, 70 cps. List $14.95 $ 8.95 Victoria Sat Here April '58 UNIVERSAL IMPEDANCE LOUDSPEAKERS Vienna: A Picture Tour -Wurst and Beethoven Nov. '59 WITH 4. e 116 OHM VOICE COILS Vienna Philharmonic Nov. '59 Model HF 1012 -U (10 ") Response, 30 - 14,000 cps.; bass re. Villagers Always Vote for Figaro, The June '59 sonance, 35 cps.; power rating, 10 Violins: Fiddler's Treasure March '59 watts; 12,000 gauss; 2 lb. Alcomax Magnet Vortex: The Music of the Hemispheres May '59 System List $31.60 $18.95 Model HF 1016 -U (10") Wagner: Das Rheingold- Eighteen Anvils and a Thun- Response, 30. 15,000 cps.; bass reson- dersheet Aug. '59 ance, 35 cps.; power rating, 15 watts; 16,000 gauss; 31/2 lb. Alcomax Magnet Walcha, Helmut July '59 System List $61.95 $36.50 Walter, Bruno: A Study in Tranquility Sept. '59 Model 1112 -U (e") Well -Fed Loudspeaker, The ( Primer ) Sept. '58 Response, 50 - 12,000 cps.; bass resonance, 65 cps.; power rating, 10 Well-Tended Recorder, The July '58 watts; 12,000 gauss; 2 lb. Alcomax Weite, Edwin: Maestro of the Player Piano June '58 Magnet System List $25.00 $14.95 Model HF 1116 -U What About Tape? Dec. '58 as above but with 16,000 gauss; 31/2 What Has Happened to Popular Music? June '58 lb. Alcomax Magnet System List $49.95 $29.50 What Mozart Didn't Have Feb. '59 STENTORIAN TWEETERS When Duse Tapped at Boito's Window Oct. '59 Pressure Tweeter Model T10 When Singing was a Monster's Art Feb. '58 Response, 2000 -16,000 cps.; power rat. When the Machine Answered Mr. Edison Sept. '59 ing, 5 watts; 21/2 lb. Alcomax Magnet System List Where Ravel Ends, and Debussy Begins May '59 $35.00 $20.95 31/2" Cone Tweeter Model T -359 Where To Put Your Stereo Speakers Oct. '58 Response, 3000 -17.000 cps.; power rat- Who Cares If You Listen -An Experimental Composer ing, 15 watts; 9,000 gauss; 8 oz. Alco- max Magnet System list $25.00 $14.95 Looks at his Uninterested Audience March '58 Who Lives at Carnegie Hall? Feb. '59 lis.For complete literature on these and many Why Wagner Was No Lady -Why Have We Not Had a other famous Stentorian loudspeakers and Great Woman Composer? March '58 audio accessories, see your dealer or write: Wit and the Heart, The: A Study of Francis Poulenc Barker Sales Company July '58 339 Broad Avenue, Ridgefield. N. J. U.S.A. Wurst and Beethoven Nov. '59 Esclusive Sales Agents for the U.S.A. and South America Yacht Rigged for Music, A April '58 Charter Member: Inst. of High Fidelity Mfrs.. Inc. Young Idea in Opera, The March '59 T /M Whiteley Electricol Rodio Compony

DECEMBER 1959 169

www.americanradiohistory.com STEREO DISCS Ir the 1rLt4sti Tradition! Continued from page 78 in F, K. 413, and No. 20 in D minor, In these days of factory mechan- K. 466, and the results are well worth isation on the grand scale- your attention, for the pianist is in ab- where success so often is mea- solutely top form in both works (Co- sured only in terms of ever- lumbia MS 6049). The new D minor expanding output -people tell is infinitely more attractive than Ser- us that it is refreshing to meet a kin's earlier version. manufacturer imbued with the If you have been waiting for a good up-to -date recording of Sibelius' im- quaint idea of refusing to grow mensely difficult Violin Concerto in D big. minor, I think you will discover it in a But it is quite true. The success performance by Ruggiero Ricci and of the Ferrograph during the the London Symphony (London CS 6067). It may not equal the prewar has past ten years been due Heifetz- Beecham version but it is an entirely to our deliberate decision effective and musicianly reading. to make quality rather than quantity our sole objective. Not Opera for us models to suit all pockets Stereo has unquestionably proved its or Tape Recorders built down worth in the domain of opera, for it is to a price to compete in world capable of conjuring up the illusion of markets. Instead, to maintain our high those who use the Ferrograph pro- stage movement, of atmosphere, and standards without compromise we have fessionally in scientific and industrial of theatre excitement. Almost every chosen to restrict our output. research, in the teaching of music, score yet recorded in the new medium drama and languages, in the manu- has benefited greatly. Nowhere have We believe that a Tape Recorder, being stereo facture of gramophone records, in the techniques been more fantas- an instrument of high mechanical pre- tically successful than in the first com- exploration of far -away places, in cision, needs a great deal of critical and plete recording of Wagner's Das radio and home entertainment -know unhurried supervision at every stage of Rheingold (London OSA 1309) . This that Ferrograph equipment is the best is a memorable achievement in its manufacture which it would be every that money can buy. way -from Solti's magnificent grasp of difficult to carry out in a factory geared the score and the sustained eloquence to large scale production. Ferrograph Series 4A of a superb cast, particularly Flag - stad's This then is the Ferrograph tradition. Fitted with three independent motors. Including radiant Fricka, to the recording synchr main drive to capstan. with d itself, which literally transports you to It is based upon a policy of utilising ing level meter and i hangeable plug-in your seat in the opera house. to the full the wealth of technical heads. Two speeds (3j/7} or 74/IS i.p.s.) with auto- matic chang to correct compensation net- If you find Wagnerian opera heavy knowledge and craftsmanship that is work. Fitted with Brief Stop, gear -driven Turns and prefer the effervescent brio of still part of Britain's heritage. Counter and with provision for additional Italian opera, listen to a new and bril- ion. stacked Head for stereo playback liant recording of Rossini's Barber of who are seriously 24, watts of undist d output through high Today all interested quality elliptical speaker. Auto Stop instantly Seville under Erich Leinsdorf's direc- in tape recording -and this includes stops motor drive when spool fI tion (RCA Victor LSC 6143). This is le empty or tape breaks. ({W.JY the most complete version of the opera Ferrograph Stereo 808 ever recorded, and it is sung to per- An all -purpose instrument permitting full Ferrograph Stereo 808/4 fection by a cast that includes Robert stereophonic recording and playback together Model 808 4 records two -track stereo and mono. Merrill, Cesare Valletti, and Roberta with conventional half track monophonic record- phonic tapes and plays four -track stereo, two - Peters. ing and playback. The output of all channels track stereo and monophonic tapes. As with (stereo and mono) ends at low level so that Model 808 the output of all channels ends at The operetta buff, tired of the more owner can conveniently make use of his existing low level thus permitting existing high fidelity standard items in the repertoire, hi -fi amplifiers and loud speaker systems. amplifiers and loud speaker systems to be used. General specification and mechanical General specification and mechanical should certainly sample Franz Lehán's features similar to Ferrograph Series 4A. $5sß.7J features as Ferrograph Series 4A above. seldom heard Giuditta. The score is full of luscious melodies, which Hilde Gueden and a cast of Viennese artists sing with distinction in as animated a 7-X1 performance as you could wish to hear (London OSA 1301) . And almost any Gilbert and Sullivan devotee (even the confirmed D'Oyly Carte Company enthusiast) will be delighted by a sty- ap lish performance of H.M.S. Pinafore led by Sir Malcolm Sargent (Angel Manufactured in England by S3589 B /L). BRITISH FERROGRAPH RECORDER CO. LTD Choral 131 SLOANE STREET, LONDON, S.W.I and SOUTH SHIELDS, ENGLAND Moving on to choral music, Handel's U.S. DISTRIBUTORS: Ercona Corporation, 16 West 46th Street. New York 36, N.Y, Continued on page 172 CANADIAN DISTRIBUTORS : Astral Electric Co. Ltd, 44 Denforth Road, Toronto 13

HIGH FIDELITY MAGAZINE

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1)r:cl \nst:11 1959 171

www.americanradiohistory.com STEREO DISCS STEREO...OR Continued from page 170

Messiah comes first to mind, for it has DOUBLE TALK long been considered THE ideal Christmas gift. Alas, the new record- TECH -MASTER offers you every- ings of it by Beecham, Ormandy, Sar- thing you want- everything gent, and Scherchen were not yet re- you require in Hi -Fi Stereo leased when this article was written. -at a price you can afford. [But see Nathan Broder's review of them on P. 79. ED.] However, the Selecting hi -fi stereo components need not be an exercise in seman- Stereo Fidelity recording of Messiah tics. Technical treatises can be issued earlier in the year is attractive most impressive, but the basic questions remain. What does the for more reasons than its low price of equipment offer you in terms of $11.95. Conductor Walter Susskind, your particular needs? Is it really the London Philharmonic, and the worth the investment? How do you know what you are actually little -known soloists and chonis ac- getting? The answers are simply: quit themselves very well, and the Know your dealer - know your manufacturer. Your confidence in stereo sound is quite overwhelming them will guide you to the right (SFCC 201). decision, the proper purchase for you. Talk with your dealer, soon, Four new recordings of Bach's St. about TECH -MASTER - pioneers Matthew Passion are due for release in custom TV and ultra high fidel- this season, but I wonder whether any ity monophonic and stereophonic quality components. will surpass the intensely musical and devoted performance led by Karl Rich- ter for Decca's Archive series (ARC 73125 /8) . On a smaller scale, but just as magical, is a lovely concert of Mon- teverdi madrigals sung by the Deller SEE Consort with great purity of style and impeccable taste (Vanguard BG T... 5007) . HEAR IT... Chamber Musk Successful stereo recordings of cham- ber music have been comparatively PROVE IT... MODEL PA 39-14 WATT STEREO AMPLI- rare to date. Among the happier ef- FIER AND PREAMPLIFIER. For 90% 01 All It's love at first sight first Ni -FI Stereo Layouts. This most versatile forts is a Vanguard album in which the ... sound amplifier is as elegant to the eye as the Griller Quartet excels in grateful per- with the Triumph ... Pentron's out- ear ... beautiful blue and white front panel with blue -gray case. Two channels formances of Haydn's Quartets Opus standing, medium priced, professional of faithful audio, faultlessly designed, quality tape recorder that gives you skillfully produced. Tech -Master's diver- 71 and Opus 74 complete (VSD sified background and experience make 2033 /34) . Equally successful is Lon- everything you've wanted in one elec- the low price possible. Servicemen rec- masterpiece. ommend it for its ease of installation. don's disc containing a poignant per- tronic FEATURES: Dual channel, crystal or Look at these features: simple push- ceramic phono and tuner inputs; ganged formance of Schubert's marvelous Oc- gain control; balance controls, two sepa- button operation ... only 18 easy -to- rate tone controls; monaural-stereo carry pounds living room switch; transformer power supply for ... styling complete line isolation. ... ideal for use as tape deck ... ex- TUBES: 2 -E1.94, 12A %7, EZ90 clusive one year warranty. DIM: 10s/rW s 53/4D s 4V1611 NET PRICE $49.50 ...THEN OWN IT! Plays 2 and 4 track tapes. tet, Op. 166. The Viennese musicians Built -in 3 speaker performance. catch every gleam of color in this beau- Guaranteed tiful work, and London's well- spread frequency response; 40- 15,000 cps C 7% ips, ± 3 db .. . sound further illuminates their per- 40- 12,500 cps a 3% ips, ± 3 db. formance (CS 6051) . Two speeds ... 7% and 3% ips. In more modern vein, Hindemith's -52 db signal to noise ratio MODEL 41- TRANSISTOR STEREO PRE- often recorded Kleine , AMPLIFIER EQUALIZER. Straight DC Op- eration -No Hum -Cool Operation -Free Op. 24, No. 2, is to be had in a splen- See your dealer for complete specs and features From Microphonics. Separate bass and treble controls for each channel plus did stereo recording by the New There's a Pentron Tape Recorder common and balancing controls. 6 H1- York Woodwind Quintet ( Concert- impedance inputs; 4 equalized Lo-im- for your budget ... Stereo and mono pedance inputs. Takes both low and high Disc CS 205) . The Eulenspiegelish models list priced from $129.95. output cartridges without external trans- character of this lively music is con- former. 4 Outputs for amplifier and tape. Tape means higher fidelity ... and sounds Amplifier control switch. With cabinet, veyed with persuasive conviction, and less battery. best on a Pentron Recorder ... American is SIZE: 3" H x 9^ W x 5r/ß" D. the sound splendid. manufactured ... for your quality standards. WET. 4 lbs. Possibly the most successful of all NET PRICE $59.50 stereo recordings of chamber music is TECH- MASTER CORPORATION to be found in a pairing of two modern 75 FRONT ST., BROOKLYN 1, N.Y. but easily assimilated works, the Villa 777 S. TRIPP AVE., CHICAGO 24, ILL_

172 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Lobos Quartet No. 6 and the Kodály songs by Richard Rodgers, is offered you can easily add to the general weal 2. Quartet No. They are faultlessly by Columbia (OS 2009) . and pleasure by proffering one or two played by the Hollywood Quartet and If you've ever had a yen to indulge stereo discs by the best dance band in recorded in sound of unusual realism in that form of musical calisthenics the business today, the Lester Lanin (Capitol SP 8472). known as conducting, RCA Victor has Orchestra. I'd suggest either "Have just the record to satisfy it. "Music for Popular Band, Will Travel" (Epic BN 517) Frustrated Conductors" places at your for those whose tastes run to large Broadway show albums are sure -fire disposal a variety of orchestras, bands, or "Cocktail Dancing" (Epic gifts at Christmas or any other season. thoughtfully presents you with a ba- BN 516) for those who like a more in- Although no new original -cast albums ton, and bids you direct the music of timate style. were available at press time, two hold- Plays, poetry, and speech have thus overs from last season, Destry Rides far received little attention from stereo Again and Flower Drum Song, still engineers, so this gives me a chance to seem worthy of mention. The former, sneak in one monophonic disc that a big, brassy, fast -moving musical, a should by no means be overlooked. little short on melody but packed with This is "Ages of Man," magnificent action, has been recorded with star- Bizet, Strauss, Tchaikovsky, et al. to readings by Sir John Gielgud of scenes tling fidelity and wonderful theatri- your heart's content (RCA Victor LSC from Shakespeare's plays plus five of cal atmosphere (Decca DL 79075). 2235) . the sonnets (Columbia OL 5390). It's Flower Drum Song, a more leisurely Few people ever seem to have a thrilling and memorable listening paced show with a bevy of charming enough dance records around, and experience.

This is a KLH coil, held by a KLH hand. The quality of the coil contributes to " ... A patient search for the quality of KLH speaker systems. extremely high quality" The quality of the coil depends on the skill and patience of the hand. KLH has good hands. Reseorch and Development Corp. ZEZI-CE] Cambridge, Massachusetts

DECEMBER 1959 1 .1

www.americanradiohistory.com OTTO KLEMPERER ing. "Good," said Klemperer to a flut- TRADER'S MARKETPLACE ist at a rehearsal. Astounded at this Continued from page 71 lavish praise, the whole orchestra Here's the place to buy, swap, or sell used burst into applause. "It was not all that equipment. records or what have you. bottomless sockets, the hands, able to Rates are only 45t a word ( no charge for good," snapped Klemperer, with the name and address) and your advertise- stretch an octave and a half, hang poker face he likes to assume when he ment will reach more than 110,000 music from fleshless wrists, and the mouth is makes a joke. Gradually the crutches listeners. Remittance must accompany tight and strained. Paralyzed down grew less elaborate, then he moved copy and insertion instructions. Copy side, must he received by 5th of 2nd mouth one speaking with a heavy slur, with two canes, then with one. Final- preceding publication and is subject to Klemperer seemed, when he appeared ly, in the spring of 1955 when he was approval of publishers. in London in 1947, like some ghostly conducting a radio performance of reincarnation of King Lear. When, Don Giovanni at Cologne, in the ex- PRECISION RECEIVER ALIGNMENT: AM -54; FM -SS; AM /FM -S8. Kits a specialty. Telephone ED 4-4490. I. four years later in Canada, he broke citement of those tremendous trom- Pollack, Westbury, L. I., N. Y. his femur on the unparalyzed side of bone chords that announce the ar- his body, it as RECORD CUTTING for every occasion from your seemed though he could rival of the statue at Don Giovanni's tape to unbreakable disc weddings, socials, lectures, hardly continue the arduous existence supper, Klemperer stood again. schools. Free information. Alberge Recording Studio, 121.18 Rockaway Blvd., South Ozone Park 20, N. Y. of a traveling conductor. Then eame There is something intensely moving two internal operations, one of them a in the way that this unworldly man FOR THIN THINKING People . our Tumblemat major affair. Yet he struggled on, shuf- has his way . a professional exercise mat designed exclusive- fought through persecu- ly for home use . . write The Country Shop, Route fling painfully on and off concert plat- tion and exile, through terrible physi- 3, Box 265, Little Rock, Arkansas. forms, and sitting to conduct without cal and mental suffering into a golden TAPE RECORDERS, comp es. All makes. Special a baton. Indian summer. And there is a certain quotes. Boyle Co., 1470 -F Elmer Road, Wantagh, L. I., N. Y. Around 1954 his health started to compensation that this Indian summer improve. Audiences noticed that he should have brought him acknowledg- SALE: 78 R.P.M. RECORDINGS, 1902-1950. Many was moving more easily and types. Free lists. Collections bought. Mr. Ellie rather ment as perhaps the day's outstanding Hirschmann, P.O.B. 155 (HF), Verona, N. J. that his skeletonlike frame seemed less exponent of the classics. I wish that I frail. Orchestral players started to re- could end on happy note. But FOUR Track United Stereo tapes, $3.95 up. Bob's that Tape Service, 7909 Lazy Lane, Fort Worth 18, Texas. port a genial side to a character that in the autumn of 1958 Klemperer had once seemed completely unbend- set fire to his bed with a pipe and PRIVATE COLLECTION. Excellent to unused condi- tion. Ampex 350's, 601's. Scotch tape. Electro -Voice was burned so badly that he was hos- professional microphones. A ies. Fisher ampli- TAPE Recorders, Hi -Fi Components, Sleep Learning Foster pitalized for many months and again fiers. Catalog 25c. Gunnison, 600 Asylum Equipment, Tapes. U I Values. Free Catalog. Ave., Hartford, Conn. Dressner, 69 -02A, 174 St., Flushing 65, N.Y. this fall was taken suddenly ill. Klemperer is not an easy man to FOR SALE -seven speaker Bozak B -305 system in Networks. 118 types in contemporary korina cabinet. Best offer over 5150.00. INDUCTORS for Crossover know, and it would be presumptuous, brochure. C 8 M Coils, 3016 Holmes Walter Healey, 270 Harrison Ave., Jersey City 4, stock. Send for Avenue N.W., Ala. a N. J. Huntsville, on the basis of few meetings, to try to describe his character. He is, at first, HIGH FIDELITY, 1 -84, 535.00. R. Manning, 2629 ALL MAKES HIGH FIDELITY speakers repaired. extremely difficult to talk to, being Etna, Berkeley 4, Calif. Amprite, 70 Vesey St., New York 7, N.Y. BA 7 -2580. quite without capacity for small talk.

QUAD amplifier, S100. Wharfedale 3 -way without HI -FI Recorders, Tapes. Send for free wholesale Anything in the nature of an interview cabinet, $100. Leonard Slaman, 8 Feller Rd., R.D. catalogue. Carston, 215 -N East 88 Street, New York clearly disconcerts him, if only because #2, Poughkeepsie, N. Y. 28, N.Y. -unlike almost every other artist I STEREO TAPE RENTAL. Profit Sharing Plan. Hundreds have ever met -he genuinely finds it of tapes both 2 and 4 track. Free catalog. Stereo HI -FI LOWEST quotes; write for prices. Registered Tape Library, P. O. Box 232, Redwood City, Calif. IHFM dealer, R. Bruna, 162 E. Cook Avenue, Liberty- embarrassing to talk himself. In ville, Illinois. about consequence he submits to journalists' HIGH FIDELITY complete in holders, S80. Music at Home complete in holders, $30. Shipping extra. HIGH FIDELITY issues 37.72, Audiocraft -complete questionings rather like a tame bear William C. Drake, 1618 Lorena Lane, Orlando, Nov. '5S -Nov. '58. Best offer. Elmer M. Fauss, 1218 suffering children's pats and caresses. Florida. East Brady Street, Milwaukee 2, Wis. At a chance meeting he is liable to -FI HAVEN, HI New Jersey's newest and finest sound from bellow in his curious hollow voice center. Write for information in unique mail order RECORD CUTTING: Quality microgroove discs plan that offers professional advice and low prices. your tape. Reasonable. Stuessy Sound Service, 702 some controversial observation. Klem- Azaleadell Dr., Houston 18, Texas. 28 Easton Avenue, New Brunswick, New Jersey. perer is an imposing and even alarming figure, and I must confess that it was HIGH FIDELITY issue 1 to 82 complete also Audio - ELECTRONIC KITS, 20 lbs. and under, expertly and craft complete best offer. W. F. Lathrop, 329 Holmes reasonably constructed. Electronics, 462 Oak Street, some time before I discovered that Shrewsbury, Mass. Street, Bettendorf, Iowa. what he really wanted was to be talked REPLACEMENT 12" Record album envelopes with back to. It is real discussion of some HIGH FIDELITY, 1 -80, mint condition. Best offer or reinforced edging, built -in plastic liners. 12 for swap. John W. Seale, Jamestown College, James- issue that unlocks his capacity for con- $2.00, prepaid. State colors. Neilson Enterprises, 120 town, North Dakota. Henry St., South Amboy, N. J. versation. During the 1958 Edinburgh AMPEX STEREO tape recorder, A121 and two ampli- Festival the dining room of the Gebrge TRADE -IN monaural for StereoDisc or Tape. Defini- fiers, A621. Louis Stuart, 135 Central Park West, New tive Recordings Club, 11024 Magnolia Blvd., North York 23, N. Y. Hotel echoed to a voluble discussion Hollywood, Calif. between Klemperer and Ansermet on SWAP: Ciroflex camera, accessories, developing kit the question of tonality. Characteris- HI -FI DOCTOR -Will solve your hi -fi problems on. for Permoflux Binaural headphones. Arthur Lacativa, the -spot. Acoustic, Audio, Radio Engineer. Stereo 2317 Gunther Ave., Bronx 69, N. Y. tically, Klemperer, who today tends to designing. Professional visits, day, evening. New York area, weekdays. William C. Bohn, 550 Fifth regard dodecaphonic technique with Avenue, New York City, Plaza 7 -8569. WOODWORKING catalog and Manual. Brand New 1960 Edition! World's largest selection of domestic suspicion, took an opposing view to imported woods -materials, tools, supplies, do -it- Ansermet's firm rejection of atonal OUALITY SEEKERS: We distribute McIntosh, Fisher, yourself plans, projects. 130 pages, many full color. Sherwood, EICO, Dynakits; Thorens, Rek- O -Kut; Send 25! (refunded first order). Year's subscription practices. From Shure, Grado, ESL; AR, Tannoy; many others. to "Chips and Chats" included free. Constantine, it is, I think, Klem- Canada? Most Welcome! Demonstration facilities, 2050 Eastchester Road, Dept. T -118, New York 61, As a conductor, Hi Fi Service Lab at your command. Cambridge N. Y. perer's total lack of any sort of vanity Hi Fi Center, 468 Westcott St., Syracuse, New York. him to play- VIKING RP -61B record- playback amplifier's used that so endears orchestral TAPE RECORDERS! Recording tape, Bell tape decks, once, 549.50. Bell converted tape decks, T -203, 2 ers. (Certainly the relationship be- Hi -Fi Equipment, Norelco Speakers. We will not be RP -120 record -playback 2 8 4 track, 5210.00; T -202, undersold! Send for our catalog and see why! Com- 2 8 4 track playback, 5105.00. Grommes 20 PG 20 tween himself and the Philharmonia missioned Electronics Company, Inc., 1776 Columbia watt amp- preamp, 545.00. Martines, 410 Oakwood I can assure you, a Road, Northwest, Washington 9, D. C. Rd., Huntington Station, N. Y. Orchestra -not,

174 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com body that takes kindly to all conduc- tors-is positively affectionate.) And it btuyte, is this complete absence of vanity and -rot, of striving for effect that gives his per- iftsurntel formances an almost startling direct- DE AID +tie ness. is also this very direct- It perhaps 1 ness, together with the measured tern - pos at which he takes allegros, that ST KIR I-4:0 AND MONAURAL 1 to find him pedes- causes some critics Quality 1 trian. The whole key to Klemperer's ol approach to a symphonic movement ¡ Hl -FI COMPONENTS at Half heP 1 lies in the extraordinary sense of mo- 1 Model 2200 "Classical" 50 1 mentum and continuity he imparts. He Watt Stereo Control Amplifier. can afford to dispense with mere speed 1 25 W. each channel (100 W. 1 peak). Separate Loudness and as a unifying force because of his un- 1 Tone Controls. Tape Monitoring 1 flagging sense of rhythm, the extraor- and Direct Tape Recording 1 1 dinary onward -pressing quality this jacks. gives to his phrasing. And because, 1 1 much he may allow himself $13995 INDED)CLU however 1 AENET 1 to stray from the train tempo, he al- 1 1 ways returns, not like many conduc- "You Never Heard ICOMPLETELY HAND -WIRED CHASSIS FOR tors to something near it, but to it 1 It So Good!" QUALITY AND RELIABLE PERFORMANCE! 1 exactly. Thus even the most extended 1 movements are given a strong under- 1 Model N-803-B Model N- 1000 -B Model N- 1200-B $99.95 $».95 Stereo 8 Mono- 30 watt Stereo lying pulse, while his measured tem- 1 FM -AM $99.95 1 (CASE phonic AM -FM (CASE Control Amp li- (CASE pos yield both an impression of size INCLUDED) INCLUDED) TUNER INCLUDED) Tuner fier 1 that dwarfs most other performances 1 and a spaciousness in which every de- 1 OVER 35 YEARS OF DEPENDABILITY! 1 tail can be perfectly articulated. Some- EXPORT DEPT.: 1 25 Warren St. Free! 1 times this feeling of sheer size is, it New York, N. Y. Cable Address: seems to me, overdone, as in Beetho- 1 SIMONTRICE ILLUSTRATED 1 Some- In Canada: A DIVISION OF ven's gay Eighth Symphony. 1 BROCHURE 1 L. J. BARDWELL CO. UNITED SCIENTIFIC LABORATORIES, Inc. times I think there is a trace of pedan- Boa 142 -Station D ON REQUEST try which, for instance, causes him to 1 Toronto 9, Ontario 35-19 37th Ave., Long Island City 1, N. Y. 1 ERB EE RE take the scherzo of the Pastoral Sym- MI MR ERB IM MI ti ti phony at an excessively slow pace, merely because it is a Ländler. But r even here, Klemperer's performance comes near persuading one that, if his tempo is too slow, those of other con- Trader's JvIarketplace Classified e.Advertising ductors are equally too fast. Most particularly in Klemperer's in- terpretations of Beethoven there seems to exist what I can only call some pro- ORDER FO found spiritual affinity between com- poser and conductor. Victor Gollancz put the same point in a different way. Fill in coupon below and mail, with check or money order After a memorable performance of the (no cash). Rates 450 per word with no charge for name and Ninth Symphony at the Festival Hall he said to me: "It's curious to think address. Print or type your ad below. that one hundred and fifty years ago a composer went deaf and yet over- came this crippling disability to write HIGH FIDELITY MAGAZINE some of the greatest music there is; Great Barrington, Massachusetts and that today a conductor should be smitten with appalling physical and mental tribulation, should survive it, and grow into a supreme interpreter of the music of the deaf man." Orchestral players are not usually given to emotionalism about their work. But when I once asked one to tell me what he thought of Klemperer as a conductor, he shuffled with em- barrassment and then said: "Well, you Next issue only NAME see, it's as though Beethoven himself Next 3 issues STREET were standing there." I cannot think Next 6 issues CITY ZONE of a greater tribute. Next 1 2 issues

s Payment Enclosed STATE re"!) i / L

DECEMBER 1959 175

www.americanradiohistory.com MESSIAH Continued from page 81

made a shrewd guess as to what Beecham meant by "today," for he STEREO HIGH -FIDELITY produced an orchestration in the style WITH KOSS DYNAMIC of -Die Meistersinger! There are solo STEREOPHONES passages for flute, melting sallies by a horn or a clarinet, rich brass chords, harp arpeggios, ecstatic trills on the triangle, cymbal crashes, and other paraphernalia of the late romantic or- chestra. A harpsichord would be a shocking anachronism here. It would take a tip be hard to imagine anything less suited to Handel. MODEL from SP-3 The performance is a fine one. Each of the soloists does a highly competent Frequency response job, even though none is especially 30 outstanding. Jennifer Vyvyan sings -15000 Flat, impedance both "He shall feed PRONOUNCE IT WEEGO 4 ohm His flock" and "How beautiful are the feet" with a Excellent response from any Not every speaker that looks good sounds lovely, tender quality of tone, and in Stereo or Monaural system. the coloratura of "Rejoice greatly," good. Though Wigo may not be the best Organs, Hi -Fi, etc. looking speaker in the world, it is one of which is taken quite fast, she is most the best sounding, now...and for years Complete separation of the two of the time accurate. Monica Sinclair's to come. Hear it at your dealer...then tip channels gives the realism and fine "He was despised" is pleasing in sound off your friends. For literature, write... tonal qualities that are unobtain- though not as stirring as it can be. Jon able by any other method regard- Vickers effectively conveys both the less of cost. Price S24.95 pathos of "Thy rebuke hath broken his Available at your Local Hi -Fi Store heart" and its succeeding arioso and united u udio or Write Direct. PRODUCTS OF DISTINCTION the strength of "Thou shalt break 202.4 East 19th St., N.Y 3, N.Y KOSS INCORPORATED them." The ubiquitous Giorgio Tozzi 2227 N. 31st ST., MILW. 8, WIS. is particularly impressive in "But who may abide" and he even manages to negotiate the cruelly difficult "Why do the nations" without becoming a casu- save on BEETHOVEN alty. The chorus is excellent, except for occasional weakness in the alto sec- tion; and, save for a couple of ragged stereo moments, Beecham conducts a with hi-fi zeal and skill worthy of a better cause. 2/3 It must be said that he does not, as in his last previous Messiah recording, send for the 1960 LIFE chop off arias after their middle sec- ALLIED tion. He presents the work on seven CATALOG sides with the conventional cuts, and SIZE then, apparently in a sudden access of concern for the purist, offers the de- BUST leted portions bunched together as an SAVE MOST! appendix on the eighth side. It would Here's your complete money -saving seem that anyone desiring to hear the guide to Hi -Fi. See how you save on work complete in its proper order is ALLIED- recommended complete ... a Titan, Stereo systems. Choose from the wrestling with expected to switch back and forth be- world's largest stocks of famous name the Gods" tween whatever side he is listening to components - amplifiers, tuners, and Side 8. A word should be said changers, speakers, enclosures, acces- - Wagner sories;save mostwithKNlGirr ®deluxe about the booklet, which includes nine components. Build your own -save prints in magnificent color, detachable even more with our exclusive Hi -Fi This imposing figure. carefully reproduced KNIGHT -KITS ®BUy on easy terms.For from a treasured family heirloom can now and suitable for framing, of great everything in Hi -Fi and Electronics, take its place in your home to provide dra- paintings on appropriate subjects from get the 1960 ALLIED Catalog! matic evidence of your love of good musk. the New Testament. And the whole ALLIED RADIO Obtain this classic masterpiece... for many production, an item in RCA Victor's America's Hi -Fi Center years a legend ... NOW AVAILABLE. Quan- new "Soria tities limited, production cannot be rushed. Series," is encased in an Earliest orders delivered by Christmas. Satis. album that is not only strikingly hand- ALLIED RADIO, Dept. 144 -M9 faction guaranteed. 100 N. Western Ave., Chicago 80, W. some but eminently practical. Height 21 "- weight 19 lbs. Beautiful Antique Sargent's performance employs pret- Q Send FREE 1960 ALLIED Catalog bronze finish - Price S4 ".50 (Add 4Ç sales ty much the same forces as his earlier Name tax in Calif.) Angel recording of Messiah. F.O.B. Los Angeles (Shipped express collect). He uses Address a large orchestra and chorus, makes HENRY JONCAS...P.O. Box =687 the customary cuts in Parts II and III, (City Zone_State j Los Angeles 28, California and plays Mozart's orchestration with

176 HIGH FIDELITY MAGAZL\E

www.americanradiohistory.com his own modifications. He accents the scramble. Too many of the slow move- drama of the work, which is all to the ments (among others "And with His good, but the singing of his soloists is stripes," "Thou are gone up on high," not very distinguished, and the chorus "If God be for us," the Grave sections sounds less good in this version than in of "Since by man carne death ") drag, its previous appearance. Elsie Morison and the final Amen is played so broad- is much better in sustained passages ly ( Andante, instead of Allegro moder- (like her portion, beautifully sung, of ato) that it sounds like a solemn choral He shall feed His flock ") than in those étude rather than an animated affirm- that require agility ( the sixteenth -note ation of faith in the Eternal. Léopold figures in "Rejoice greatly," for ex- Simoneau's rather light- sounding tenor ample, are fluttery ) . Marjorie Thomas skips happily through "Ev'ry valley." seems to lack the true contralto timbre "But who may abide" is sung by the and sounds here more like a not very alto here, instead of the bass; after a expressive mezzo-soprano. The singing trembling start Nan Merriman brings of Richard Lewis is nuanced and some- it off nicely, and she also provides a times eloquent, as in "Comfort ye," moving performance of "O thou that but once or twice, as in "All they that tellest good tidings." Richard Standen see Him," it is a bit unsteady. If Nor- sings "The people that walked in dark- man Walker's triplets in "Why do the ness" with fine tone quality throughout nations" are bleaty, his work elsewhere its wide- ranging part; elsewhere, too, is acceptable. The chorus is lightfooted he is a decided asset to the perform- and flexible in "For unto us" (was a ance. Less valuable, unfortunately, is smaller group used here ?) , though Pierrette Alarie's contribution. She rather thick -sounding in "And He shall seems to be addicted to crooning. This purify." Its size and a fast tempo mili- type of sotto voce singing may be all tate against clarity in "He trusted in right in "How beautiful are the feet" God," and on several occasions the but it seems out of place in an expres- tenors are shouty. All in all, this per- sion of confidence like "If God be for = fl .. 1 N s. G O C r) C . ,.,,,.=.0, a aD Miss Alarie sings V, ,j, ]C formance seems to lack the warmth us." Incidentally, N _ N tD f p- and polish that redeemed the short- "justifee -eth" and the chorus has a » o O c o >_ co 7 1 to pronounce the definite ar- 7 .t 0O a _,f c comings of Sargent's earlier version. tendency ; N S ÿ N ticle "theh," but otherwise the English aD acÿ d, Ormandy's is a traditional version, m°. ó el', pronunciation by these mostly foreign f ó eï a 'Cl_ o ,ó g based on Mozart's, but C.an apparently ó311 G m cooC cut than is customary, singers is excellent. CL a C 00 N Ñ more drastically ' a e co In a work of this kind stereo adds m n< x N rn perhaps to keep within four sides. CD O a= =n 3 Lopped off, in addition to the usual enormously in depth and clarity. In all á w °:ó T o cfDi, CD v f c c ^°- _..-.. O four recordings it accomplishes its N N a Goo 1 m ÿ that walked ÿ . numbers, are "The people c = N O N-a1 now -familiar miracle of arraying the Oi aD . N in darkness" with its preceding arioso, C aOn O C7 J ° N N ..- C performers across as wide a platform O CO w C9 ° = O "Rejoice greatly," "How beautiful are d7 m g a ro ö c as one's living room can provide. 0: 0o d the feet" and "His sound is gone out," : ¡p m=° 3- From the standpoint of perform- aD and several other items. What is left, 7 ::"C.-e; N A fD _. 69-1-E I strongly " T. do both musically and textually, is a mere ance, however, am not ö tempted to swap my copy of the Boult Y 3ó s-' v NsìxÑ Á n torso. There is some excellent work 7 3°: 3 w ' v o N by Davis Cunningham and Wil- p- urist set for any of these. The aggre- here ó o-.

DECEMBER 1959 17

www.americanradiohistory.com BACK TO BRITAIN YOUR FM SET NEEDS THE "BUCK Continued from page 76 BEST FM ANTENNA FOR TRUE HI -Fl RECEPTION Reid: STRETCHER" Did it strike the Japs that AFMI175 way? Complete Kit with Britten: The Japanese people in antenna, twin HI -FI London made no difficulty. They ac- lead, accessories. cepted the outline at once. I completed $13.95 VALUES I the score and sent it off to Tokyo. Then AFM150 all hell loose. I broke was summoned "Attach It" antenna to the Japanese Consulate in New York only and had an absolutely furious letter $11.95 from somebody in Tokyo. The letter Attaches to any TV antenna said, among other things, that it was mast in minutes! an insult to Japan to submit a work of FM STEREO - Christian character. I replied formally, CONE by letter, that, as I was a Christian, Expand the buying that was only to have been expected. TURNSTILE power of your Hi -Fi [The Sinfonia had its first performance o ANTENNA KITS dollar at Sun Radio with substantial in Ordinary 4.element hon. OD all directional stereo March 1941 by the New York Phil- stile antenna has "blind cone "wes" and receives savings on new and fully guaranteed harmonic Orchestra under Barbirolli.] soots" that prevent it Iren oll FM signal, from oll "seeing" oll the FM stations. points of the compost. name brand Hi -Fi components! Reid: It was through the Sinfonia, . Send for our special price quo- was it not, that you met Serge Kous- sevitzky? tations and our Hi -Fi package New JFD 8- Element Stereo Con( specials! Britten: Koussevitzky must have FM Antenna fills in "blind spots" Dept. Z9 heard about Barbirolli's performance of ordinary turnstile antenna -de- of it. He did two performances of the livers brilliant 360 degree high - Sinfonia himself in fidelity reception of all FM stations I/ Boston before tak- from all directions. Gold anodized iuv taó _;1\1 ing it on tour. One of them I attended. too, for sparkling eye appeal. Wonderful conductor. He took infinite Write now for bulletin 819 describ- & ELECTRONICS CO. INC. pains. He told me how impressed he ing complete new JFD FM Antenna. was by the dramatic qualities of my 650 Sixth Avenue, New York 11, N. Y. score. Then he said, "Why don't you ELECTRONICS CORPORATION Phone: ORegon 5-8600 write an opera ?" I told him I was so JFD BROOKLYN 4, NEW YORK See more...Hear more with JFD Antennas! busy writing incidental music and shorter works that I simply couldn't afford to take the time off. I saw him DUO INDUCTOR next about a week later. He said, -PHONIC Spect.a.Q Oirlyen 250 "Well, I've got some money for you [viz., $1,000 from the Koussevitzky Increases Your Hear these Music Foundation]. Will you write an CLARITY authentic recordings PRESENCE of dramatic events from DEPTH on both MONOPHONIC "The Amazing World of and STEREO systems Short Wave Listening" narrated by Alex Dreier, RadioTV "Man on the Go' Make good sound .. sound better .. e President's voice from outer space! with the new Duo -Phonic Inductor. This compact, easy -to- install device brings beautiful new life Actual capture of a desperate criminal! and natural quality to your records, radio or Radio amateur at Little America! topes. New Depth . . new quality . . thrilling Ships at sea . aircraft in action! .. new presence with no apparent location of the sound source. -1 0 7 MONOPHONIC system and source uses it with o re ceiver second amplifier and speaker. Or, use your dual stereo amplifiers. $94.95 STEREO (for extraordinary results) uses it with a third amplifier and speaker. The Duo -Phonic Inductor is an exclusive product 4 short wove bands plus stand- opera now ?" I said "Of course." Peter of The Audionics Co. It utilizes an electro- ard broadcast. Phono and headset Grimes was the result. mechanical transducer that creates o time delay 1 jacks, builtin speaker. and phase shift without any frequency cancel- Reid: By that time you were home- lations. Closely simulates natural sound without 1 MAIL COUPON ward- bound? any listening strain whatsoever. I' hallilrafter5. Britten: I had decided in August -moo' 15, 11, ILL. Only $34.50 DEPT. CHICAGO 1941 that I must get home at all costs. Gentlemen : Please rush by return mail my re- cording. The Amazing World of Short Wave Peter and I stayed for six months with SEND FOR THE FACTS! For full technical Listening." 1 enclose 25¢. our trunks packed awaiting passage, and installation dato, write to: NAMF always ready to leave at twenty -four hours' notice. I hadn't much money. THE AUDIONICS COMPANY ADDRESS DEPT. HF1 I did all kinds of odd jobs, including 8 WEST WALNUT STREET, METUCHEN, N.J. CITY STATE proof correcting. We came back on a 'Potent Pending

178 HIGH FIDELITY MAGAZINE

www.americanradiohistory.com Swedish ship, New York to Belfast, originally in convoy, but the funnel caught fire and for a while we steamed alone. The voyage lasted a month and FREE OFFER was frightening at times. But I had started composing again. On shipboard I wrote the Hymn to Saint Cecilia, A Over 1200 Classical Ceremony of Carols, and several things I didn't finally use. Scares apart, that Compositions timed! month at sea was one of the most en- joyable of my life. e e Seventeen years have passed since Britten's memorable ocean crossing. In 71k iteie this time his opus roll has grown from No. 27 to No. 60. (There is a swarm 7mI/ØØ of unnumbered pieces, too. ) The peaks include, as well as works already cited: The Turn of the Screw, The Rape of Lucretia, and Albert Herring incorporating in one small cabinet the (chamber operas); the Serenade for much recommended JansZen Electrostatic Tenor, Horn and Strings; the Young providing the mid and upper frequency Person's Guide to the Orchestra; the tones and overtones which make High Fidelity Second String Quartet; the glittering (with or without stereo) a fact instead of Spring Symphony; The Little Sweep fancy -with our Model 350 woofer. ( children's opera ) ; Noye's Fludde, a

This woofer produces a bass definition setting (for child actors and musicians and clarity coupled with an over -all mainly) of the Chester miracle play; BIG SOUND seldom, if ever found in and, most recent of all at this writing, "the others," from $134.50 the Nocturne for tenor and orchestra, .. send for literature with obbligato interludes. Frustration has been mentioned. Along with frus- TIME TABLE yours NESHAMINY ELECTRONIC CORP. trations there have been bursts of un- ABSOLUTELY FREE Nesharniny, Penna. matched success. Britten is probably *including designs by Arthur A. Janssen. the only living composer who has when you buy at lowest prices been obliged to stock autographed 525.00 or more of fresh photographs of himself for handing out AUDIOTAPE in any assortment at stage doors; who has had the num- Type Feet 1-9 10 up PURCH ASING ber of his operas produced multiply in great theatres of Europe and of other 651 600 $1.47 $1.32 A HI -FI continents; who has scored with genius 1251 1200 2.29 2.10 for tin tea mugs, handbells, and boys' 961 900 2.45 2.20 4.24 3.82 bugles. (These oddities figure in 1861 1800 SYST EM? 4.68 4.17 Noye's Fludde, which at its first pro- 2431 2400 6.30 5.60 PARTIAL LIST duction in an ancient parish church 2431T 2400 Send Us OF BRANDS IN STOCK outside Aldeburgh in 1958 moved Soundcraft White Box Altec Lansing case- hardened critics writ- Electrovoice to tears, this Your 900 ft. 1 mil mylar $1.35 Jensen er among them.) Hartley Stephens 1800 ft. 1 mil mylar 2.45 University I wrote earlier of a personal mellow- List Of 2400 ft. 1/2 mil mylar 2.95 Acoustic Research ing. We do not hear so Janssen many curt and Wharfedale cutting appraisals as formerly. His ADD 25c postage and handling per reel Components K arlson Viking dismissal of Puccini as mere "musical Concerto ne journalism" still provokes a moue of For A Bell G.E. Weathers impatience. So does his remark, re- Harman !Cordon Package Eico Pilot ported by the Earl of Harewood in Sherwood Acrosound 1952, that once in a while he plays Quotation Fisher through Brahms just to see whether his Bogen Leak audio exchange WE WON'T BE Dynakit music is as bad as he thought, only to H. H. Scott UNDERSOLD! Ferrograph find it worse, if anything. Seven years Registered Component Dealers All merchandise Tond berg later, when I challenge him about this is brand new, fac- Pentron fresh & guar- Ampex De Wald judgment, he trims his sails a bit. tory Revere Challenger IxsTITLTI Of anteed. Wollensack "I still stand by George Harewood's HIGH FIDELITY' FREE. Hi -Fi Catalog Garrard `quote'," he says, "although I hate any- MNYrerl K., Available on Request Mirocord Glaser- Steers thing that is too much black and white. Hi Fi Rek -O -Kut The Trading Organization Dual Changer One's feelings are in black and white, 153 -21 Hillside Ave., Jamaica 32, N.Y. AIREX Components I admit, but they don't necessarily Mondays Parking at all stores Norelco Conrac Closed Fairchild represent a final and absolute truth. Branches. Pickering Gray RADIO Audio Tape I have no great sympathy for either Brooklyn 836 Flatbush Avenue Full Line of Brahms or Beethoven, although I ad- White Plains .367 Mamaroneck Avenue CORPORATION Wel'cor Cabinets Manhasset 451 Plandome Road 64 -HF Cortlandt St., N. Y. 7, CO 1 -1131 Continued on next page

DECEMBER 1959

www.americanradiohistory.com BACK TO BRITAIN NEW WINEGARD Continued from preceding page GOLD FM ANTENNA GETS 100 -MILE mit that both are very great masters. Both of them have influenced me RECEPTION enormously. They were my favorite composers as a child. But I moved off them. They have failed me. Or I have failed them.... Perhaps it is a little oversimplified to say how 'bad' they are. It would be truer to say that I am not now sympathetic to certain points Unique Offset Clamp - Mounts of view their music represents. In any Right On TV case it is dangerous to hold a view- Antenna Mast! point and never rethink it. I may re- turn to Beethoven and Brahms." Omni -Directional - Covers At Aldeburgh, Britten plays with 88 -108 MC . . , no rotor needed! his Pulls in stations within 100 -mile ra- dachshunds, thinks out music while dius. Installs quickly on same mast trudging across the salt marshes, com- as TV antenna or separately. Two poses in a loft over his garage, and antennas give 40% power increase. times himself at his work as Weatherproof desk ... bright gold ano- rigorously as foremen time factory dized finish. Model FM3T. 1195 . progress typified by the new SM -I Rotating Magnet Compatible Stereo /Monophonic cartridge. hands. He has certainly made himself FOR LONG -DISTANCE FM The FAIRCHILD SM -1 will complement any home music what he set out to be, a professional system. Rugged RECEPTION enough to stand the abuse of any - UP TO 300 MILES! record changer, yet, will enhance the performance of composer. As is clear from his latest WINEGARD MODEL FMY8 - Powerful 8- the finest professional arms end turntables. score, the Norturne, professionalism element, high gain, direc- In this cartridge, the highly skilled FAIRCHILD engi- neers have is only a fringe quality. Britten's tional yagi. Gold anodized...;ZZ50 achieved practically all the objectives of good stereo cartridge design - high output, high music is still shot with marvel, touched New 6 and 12 element "Tronscoupler" yogis vertical and lateral compliance, uniform frequency also available. response .. with dawn and dew. Comparison of the specifications will convince you Ask your TV Serviceman or write for free that, for stereo cartridges, all you need say is literature. FAIRCHILD ... $34.95.

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180 HIGH FIDELITY MAGAZINE

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I)1. AlliT.--It IS).5) 181

www.americanradiohistory.com ADVERTISING INDEX

Key Key et& No. Page No. Page 1.... Acoustic Research, Inc. ....47 72.... Key Electronics 181 2....Airex Radio Corp 179 73.... Kierulff Sound Corp. 180 PRESENTS 3.... Allied Radio 9, 54, 176 74 ....Kingdom Products, Ltd..... 48 4....Almo Radio 181 75.... KLH Research & 5.... Altec Lansing Corp. 46 Development 173 6.... American Electronics 106 76.... Koss, Inc. 176 ULTRA- 7.... Ampex Audio, Inc. ..141, 142 THE NEW 8.... Angel Records 17-40 77. Lafayette Radio 4, 182 9.... Apparatus Development ... 140 78.... Leslie Creations 181 10.... Argo Records 126 79. Liberty Records, Inc. 109 SPEAKER 11.... Arrow Electronics 181 80 Link, O. Winston 135 LINEAR 12.... Artia Recording Co. 120 81 London Records 102 13.... Audio Devices, Inc. 144 82.... Lyon Products 181 14.... Audio Exchange 179 15.... Audio Fidelity 95 83.... McIntosh Laboratory, 16.... Audio World 181 Inc. 57, 58 17.... Audiogersh Corp. 55 84.... Mercury Records 92, 93 18.... Audion 181 85.... Mercury Scientific 138 19.... Audionics Co. 178 86.... Minnesota Mining and Manufacturing Co. 14 20.... Barker Sales Co. 169 87. Movie Co., Inc. 98 21.... Bel Canto 127 88.... Musidisc International, Inc. 104 22.... Bogen, David, Inc. 149 23.... Book-of-the-Month Club ....5 67.... Neshaminy Electronic 24 .... Bozak, R. T., Co. 137 Corp. 179 25 British Industries Co. 66 89.... Nobles Engineering Mfg. .... Co. 41 26.... CBS Electronics 140 90 - - .. Nuclear Products 134 27.... Carlton Studios, Inc. 181 28.... Cox, Hal, Inc. 180 91.... Pentron Corp. 172 FULL RANGE 8" 29.... Collaro 60 92.... Pickering & Co. 2 Columbia Records 101 93.... Pilot Radio Corp. 52 DUAXIAL SPEAKER 30.... Precision Electronics 139 RESPONSE 40- 16,000 CPS 3 DB 31.... Commissioned Electronics 181 94.... Professional Directory 181 HIGH WOOFER WITH 32....Connoisseur 42 EXCURSION Coral Records 114 UNIQUE "CONICAL STIFFENER" 33.... R & A Speakers 42 34.... Cosmos Industries 128 95... HIGH EFFICIENCY 96... RCA Camden 124 RCA 129 HANDLES HEAVY BASS WITHOUT 35. ... Decca Records Components 112, 113, 130, 133, 134, 136 RCA Tape 140 "DOUBLING" 97.... RCA Victor Division ..97, 108, INTEGRAL MOUNTING 36.... Design Records 134 COMPACT 175 109, Inside Back Cover WOOFER & TWEETER 37.... DeWald Radio OF 38 .... Dexter Chemical 136 98....Radio Shack 171 39.... Dixie Hi -Fi 181 Record Review Index 140 Mounting 99.... Recorded Publications 181 Tweeter 40 . . . . Dressner 181 Eccentric 41. ... Dual 143 Records in Review 148 I. elliptical Baffle 42. ... Duotone 136 100.... Reslo ... 42 Unique 43.... Dupont "Mylar" 53 101.... Robins Industries 116 29.... Rockbar Corp. 60 Completely Eliminates 44. ... Dynaco, Inc. 110, 111 102.... Scott, Herman Ilosmer, Interaction BWtw 45....EICO 156 Electronic World 181 Inc. 6 7 ern 46.... Seeco Records 135, 136, 134 woofer 47.... Electrophono & Parts Corp 131 103.... 48.... Electro -Sonic Laboratories 177 104.... Shaker Music Shop, Inc. ..133 105.... Sherwood Electronic Labs 51 ,_4 compact 2 -way speaker 49.... Electro- Voice, Inc. Back Cover Raecox 134 106.... Shure Bros. 146, 147 that sets new standards of per- 50....Enrica- 107....Sonotone Corp. 44 formance for an 8 -inch unit. Superb bass' 51.... Epic Records 118, 119 Ercona Corp. 42, 170 20.... Stentorian 169 . brilliant highs ... remarkable tonal 108.... Stereo -Parti 181 clarity... all yours with the new SK -128. 52.... Everest Records 103 EXstatic Ltd. 181 109.... Stromberg- Carlson ....150 -155 Exclusive design features provide 53.... 110....Stuzzi 42 smooth, even response from 40 to 16,000: 54.... Fairchild Recording 111.... Sun Radio and Electronics .17& cycles with no distortion or coloration to Equipment 180 112.... Superscope, Inc. 8 mar your listening pleasure. For stereo 170 . 55....Ferrograph 113.... Tech -Master 172 for monaural ... or as an extra 56. Fisher Radio Corp 45 speaker, the SK -128 is your ideal choice ...... 43, 114.... Terminal Radio 181 57....Florman and Babb 181 Trader's Marketplace 174 for true musical realism at moderate Folkways Records 132 cost. Hear it you will 58 ...... and want to United Audio Products 143, 176 own it! Frequency Response: 40- 16,000 25.... Garrard Sales 66 cps ± 3 116.... United Stereo Tape 56 db. Cone Resonance: 45 -65 cps. 59.... General Electric Co. 117.... University Loudspeakers, Impedance: 8 ohms. Power Rating: 20 11, 13, 15, 132 Inc. 59 watts integrated program material. 60.... Glaser- Steers Corp. Built-in LC crossover: 2,500 cps. Com- Inside Front Cover 118 . . . . Vanguard Recording plete with brilliance control . only 61.... Grado Laboratories, Inc. ..115 Society, Inc. 100 $19.50 42 62 .... Hallicrafters 178 119....Vitavox Mfd. by Matsoshita Co., Ltd., Osaka, layan Harman -Kardon, Inc. 117 120....V -M Corp. 16 63.... Vox Productions, Inc. ....130 FREE - 308 GIANT SIZED PAGES - FREE 64 ....Heath Co. 61.65 121.... LAFAYETTE RADIO, Dept. WL92 High Fidelity Recordings ..105 CUT 65.... 122.... Washington Records 138 P.O. BOX 222 Hi -Sonic 181 OUT JAMAICA 31, N. Y. 66.... 123.... Weathers Industries 12 AND Send FREE LAFAYETTE Catalog 600 67....JansZen 179 124.... Webster Electric 10 PASTE 115.... Weiss, Warren 180 Name 68.... Jensen Mfg. Co. 1 ON 69.... JFD Electronics Corp. ....178 125.... Westminster Recording Co .80 POST Address 70.... Jonas, Henry 176 126.... WFB Productions 126 CARD 127.... Wigo 176 City Zone State J 71.. .Kapp Records 133 128.... Winegard Co. 180

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JOHN KLEIN AT THE CARILLON AMERICANA ®, CHORUS & ORCH. GREATEST SOUND YOU EVER HEARD... OR YOUR MONEY BACK! Enjoy the most thrilling splash of sound ever! The program consists of the best of tradi- Here's a recording so unusual that it carries a tional Holiday music. An orchestra and chorus money -back guarantee! acid to the gala atmosphere. For sheer sound The Carillon Americana®, an amazing devel- excitement, you can be sure there's never been opment of modern research, perfectly repro- anything like it before! It's available in both duces the voices of every conceivable bell! Here, Living Stereo and Regular L.P. stunningly recorded, are the sounds of Flem- ish Bells,. English Bells, Harp Bells, Celesta Bells. Quadra Bells, Minor Tierce Bells, Celes- I tial Hip Bells and Chimes! ICATICTORRRDiOCOREOR.0OI.YERKA

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-WAYWIDE -RANGE SPEAKER SYSTEM designed for true stereo glecPycL HIGH FIDELITY RE GAL

Gives you bass so low you can feel it ...bass you would expect from a conventional enclosure three times the size. Gives you balanced, full- range, flat response without attenuation or peaks. Ideal as an economical "first" system, an "add -on" or in a pair for stereo You need not be an acoustical engineer to understand why there is so much stereo value in this ultra- compact speaker system. The same exclusive features that have always made ELECTRO -VOICE systems best for mon- aural are an absolute necessity for true stereo ... and you get these vital features in the REGAL III. Acoustically- correct enclosure is matched to specially - designed 12 -inch LF driver for exceptional extension of bass response and unusual dynamic range ... without sacrificing efficiency and without the need for unusually -large amplifier power. E -V Super Sonax VHF Compression Driver with exclusive Sonophase' throat design assures you of the smooth, spar- kling highs so necessary for precise musical blend and balance. E -V Diffraction, in both the Horn- Loaded Mid -Range Driver andFvseMIN the Super -Sonax Tweeter, gives you all -important so essential for all -position stereo listening. By wide-angle (180 °) diffraction, the higher frequencies are completely dispersed smoothly and evenly throughout the listening area. This insures proper fusing of the significant stereo sounds from two speaker systems in controlled and varying propor- tions ... gives true depth and placement to the musical in- struments simultaneously, without spatial distortions ... assures easy listening from anywhere in the room. Conven- ient but concealed "Presence" and "Brilliance" controls per- mit quick and easy musical balancing to room acoustics. Luxurious furniture -crafted enclosure is finished on all four sides for placement anywhere on shelf or floor. REGAL III. Complete 3-way system in enclosure, ready to use. Choice of Walnut, Mahogany or Limed Oak. Size 12'/,-d,13'' /, -h, 24 -w. Net, $147.50

ESQUIRE 200. Economical version of the Regal. Complete 3-way system in mod- ern enclosure, with single rear -control. I2 -inch bass speaker, special 8 -inch cone mid -range driver, and Super -Sonax diffraction -horn compression tweeter. Choice of walnut, mahogany or limed oak. 171 121/2"d, 13'/2"h, 24 "w. Net. $111. See it- Hear it- Enjoy it - on Money -Back Guarantee. At your E -V high -fidelity dealer or write for Catalog No. 134 to Dept. 129 -H.

No Finer Chn;ce than

ELECTRO- VOICE, INC., BUCHANAN, MICHIGAN 'Design Patent No. 182351 www.americanradiohistory.com