Speaker Super $20,000 Trendsetter? Six Labtests , P150 To$1,400 Speakers from Inside the Sower Cpeakeriamp CD SO October19t30 I 1.1 I IH 74E 20 O CO a 08328 Gle

Fil 11111 Speaker Super $20,000 Trendsetter? Six LabTests , P150 to$1,400 Speakers from Inside the sower CpeakeriAmp CD SO October19t30 I 1.1 I IH 74E 20 O CO A 08328 gle

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"11 graphitecone 3 1PMPolymer Graphite. Introducing the first low distortion speaker. The Pioneer HPM Polymer Graphite. Withtipto three times less distortion than conventional paperspeakers. Most high fidelity speakers today offer you Paper cones are not rigid enough to keep little more than kazoo technology. And the from flexing. They tend to break up at high paper cone you find in most conventional spea- listening levels. As they alter their shape, they kers is proof of it. Just as the paper cone in a - alter your music. What's more, over the years, conventional kazoo creates a buzzing noise, their performance can deteriorate. the paper cone in most conventional speakers Metal cones, on the other hand are rigid creates distortion. enough to lower distortion. And can be light At Pioneer we've developed our new HPM enough for quick response. Unfortunately speakers with Polymer Graphite cones instead they tend to ring and add their sound to your of paper. This new material sets new lows in music. speaker distortion and new highs in speaker Pioneer's new HPM speakers have woofer, technology. tweeter and midrange made of Polymer Graphite.

What good are low distortion Because Polymer Graphite is rigid, the - components when you have high.- wave that comes out of your speaker cone is ' distortion speakers. :virtually identical to the signal that went into it. Because it's so lightweight, it's responsive Most people believe that to get the most enough to accurately reproduce transients for out of a recording all they need is components. an added sense of realism. that give them the least amount of distor- .r^ And because it's acoustically dead you'll tion. - hear nothing more and nothing less than But expensive components mean little - music the way it was intended to be heard. when attached to conventional speakers. Even s' But that's not all. Pioneer's components with an amazingly low level of new HPM Polymer Graphite distortion can't be appreciated when you're speakers have a horn loaded, listening to them on speakers that most likely High Polymer supertweeter have ten times the amount. - that expands frequency re- So Pioneer engineers created Polymer ,t.: sponse an additional octave to Graphite, a new speaker cone material that 50,000 hertz. A computer de- gives you up to three times less distortion than signed bass reflex cabinet. And paper. much more. Polymer Graphite reproduces So if you're in the market for high fidelity speakers, you sound. Paper and metal create it.can buy a paper speaker and The perfect cone material should be rigid get kazootechnologyOr you enough to significantly reduce distortion. can buy a Polymer Graphite It should be lightweight. And high in internal speaker and get Pioneer loss. So it sustains no vibrations and allows technology. no artificial coloring to your music. Unfortunately, these three attributes are CDPIONEER®. not commonly found in any one speaker We bring it back alive. r, Pioneerf

Circle 37 on Reader -Service Card

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7 's luionventio - ti i.,eaker per.cone The moving coil replacement from Stanton Magnetics... the revolutionary 98OLZS!

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Now from the company to whom the professionals the great sound characteristics of cleanlinessand look for setting standards in audio equipment comes frequency response long associated with fine mov- a spectacular new cartridge concept. A low imped- ing magnet assemblies. ance pickup that offers all the advantages of a mov- From Stanton ...The Choice of The Professionals. ing magnet cartridge without the disadvantages of For further information write to: Stanton Magnetics, the moving coil pickup. At the same time it offers Terminal Drive, Plainview, N.Y.11803. exceedingly fast rise time-less than 10 micro seconds-resulting in dramatic new crispness in sound reproduction -a new "openness" surpassing that of HORIZONTAL SCALE 10 MICRO SECONDS PER DIVISION even the best of moving coil designs. The98OLZS incorporates very low dynamic tip mass (0.2 mg.) with extremely high compliance for superb tracking. It tracks the most demanding of the new so called "test" digitally mastered and direct cut recordings with ease and smoothness at 1 gram ' . . The98OLZSfeatures the famous StereohedronTM stylus and a lightweight samarium cobalt super magnet. The output can be connected either into the moving coil input of a modern receiver's preamps or can be used with a prepreamp, whose output is fed into the conventional phono input. Actual unretouched oscilloscope photograph showing For "moving coil" audiophiles the98OLZSoffers a rise time of 98OLZS using CBS STR112 record. new standard of consistency and reliability while maintaining all the sound characteristics even the most critical moving coil advocates demand. For moving magnet advocates the98OLZSprovides one sTaNTon more level of sound experience while maintaining all THE CHOICE OF THE PROFESSIONALS'"" Circle 36 on Reader -Service Card OCTOBER 1980 VOLUME 30 NUMBER 10

HIGH FIDELITY '

Leonard Marcus R. D. Darrell Editor Harris Goldsmith Audio/Video David Hamilton 72Critics Choice Shirley Fleming Dale Harris 8 CrossTalk Editor, Musical America Paul Henry Lang 98 The Tape Deck Irving Lowens by R D. Darrell James R. Oestreich Robert C. Marsh 10 High Fidelity News Classical Music Editor Fred Miller Surveying the audio marketplace Andrew Porter Susan Elliott Susan Thlemann Sommer Editor, Backbeat contributing Editors 19 The Autophile Backbeat Something for everyone in '81 Robert Long Edward Greenfield by Robert Angus 101Quincy Jones, Master Audio -Video Editor European Editor Synthesist Peter Dobbin Robert S. Clark 23Equipment Reports by Stephen Holder Associate Editorial Director B&W Model 801 speaker Audio -Video Editor 106Input/Output Kathleen Davis AR -94 speaker Salina Bromberg Production Supervisor Onkyo F-3000 speaker Two new electronic keyboards Art Director by Fred Miller William Tynan Audio Pro B2-50 subwoofer Rebecca Abbott Director of Special Projects Dennesen ESL -110 speaker 108 Associate Editor AES-31 speaker Pop-Pourri Susan Allyn Movies, music, and money. Lynda Carlotta Circulation Manager Who's on first? Brenda Everett 43 The State of the Speaker Art Isabel Parker William P. Johnson Current trends in design and by Stephen Holden Assistant Editors Circulation Service Manager materials 109 Jackson Browne Diane Albano Leonard Levine by Michael Riggs Editorial Assistant Publisher Of growth and credibility 49 The Uneasy Symbiosis by Crispin Cioe Edward J. Foster Consulting Audio Editor Getting the right combination of speakers arid amplifier 109 Pop Records HIGH FIDELITY is published monthly at The by Peter Mitchell George Benson Publishing House. Great Barrington, Mass. 01230 the Rolling Stones by ABC Leisure Magazines. Inc , a subsidiary of Martha and the Muffins American Broadcasting Companies, Inc. Copy right ' by 1980 ABC Leisure Magazines, Inc. The design and contents are fully protected by copy- Music/Musicians 112 Jazz Reissue Roundup right and must not be reproduced in any manner. by John S. Wilson Second-class postage paid at New York, New 7 The IRCA Nominees York. and at additional mailing offices. Authorized by Leonard Marcus as second-class mail by the Post Office Depart- 116Jazz Records ment, Ottawa, and for payment of postage in Ran Blake cash. Yearly subscription in U.S.A. and Possessions 54 WFMT: Our First National Sam Rivers S 13.95; elsewhere S 18.95. Single copies S I.50. Radio Station Subscribers: Send subscriptions, inquiries, and ad- Ralph Sutton dress changes to High Fidelity,I Sound Ave., Mar- And our first European one, too ion, Ohio 43302. Change of Address. Give old by Phillip Huscher 121 and new addresses. including ZIP Code Enclose SpinOffs: New Acts address label from last issue and allow five weeks by Steven X Rea fur change to become effective Postmaster: 57 Forthcoming Recordings Send Form 3579 to High Fidelity, 1 Sound (Conclusion' Ave. Marion, Ohio 43302. Postal identi- A preview of industry releases fication Number 243820. Et Cetera 65Behind the Scenes 39Letters 66 A Worthy "Fate" 40 Janacek's little-known opera HiFi-Crostic by Peter G. Davis by William Petersen

68 The (Almost) Complete 89 Reader -Service Cards Ruggles 122 CBS surveys the American Advertising Index eccentric's output by Allan Kozinn

71 Classical Records Brandenburgs, digital and otherwise Osborne revisits Tchaikovsky 4 HIGH FIDELITY Tracks digitalcannons, synthesizers, big bass drums ART CREDITS Cover and page 43 photographs of the Infinity Reference Standard by Dick Babty, Bartleby Studio.

and hot piccolos page 49, 53 Drawings by Michael Goodman. 54 Photo of Lazar Berman by Lauterwasser with perfect aplomb. Photo of Norman Pellegrini and Ray- mond Nordstrand by Cornelius Photography, Inc. 55 Photo of Rita Jacobs and Mike Nichols by Marshall Marker Photo of Studs Terkel by Peggy Schaffer 66 Drawings by Randall Enos. 109 Photo by Randee St. Nicholas. 112, 113 Photos by Bob Parent. 116 Photo by Chris Callis.

ADVERTISING

Main Office: The Publishing House. Great Bar- -A rington. Mass. 01230 Telephone' 413-528-1300. Robert Maddocks. Advertising Promotion Manager; Ruth Martin, Advertising Production Director; Rita Gana, Advertising Assistant. New York: ABC Leisure Magazines, Inc., 825 7th Avenue, 6th Floor, New York, N.Y. 10019. Telephone: 212- 265-8360. Seymour Resnick, Advertising Director, George Dickey, Record Advertising Manager; Ruth Elliott, Eastern Advertising Manager; Janet Cermak, Administrative Assist- ant; Yetta Peltzman, Classified Advertising Department. Midwest: ABC Leisure Magazines, Inc., 190 N. State St , Room 632. Chicago. III. 60601. Telephone: 312- New AT32 Dual Moving MicroCoil' 782-1 173. William P. Gordon, Midwest Advertising Man- ager; Osbert Bruno, Advertising Representative. Stereo Cartridge Los Angeles: ABC Leisure Magazines, Inc., 2020 Avenue of the Stars, Suite 245, Century City, Calif. 90067. Telephone: 213-557-6481; 213-557-6482. Andrew Span- berger, National Advertising Manager; Janet Endrijonas, Western Advertising Manager Tokyo: Japan Advertising Communications, Inc., °Moving coil cartridges have coils are mounted in an inverted New Ginza Bldg, 7-3-13 Ginza. Chuo-ku. Tokyo 104, Ja-

(Abeen known for phenomenal "V" which precisely aligns each coil pan Telephone:1031571-8748, Shigeru Kobayashi, Presi- transient response for years. Now with the groove face it senses. dent. there's a moving coil cartridge The care in design, construc- which combines this acoustic trans- tion, and testing lavished on each parency with equally sophisticated AT32 is clearly evident in its tracking ability at as little as one superb reproduction of even the NIGH FIDELITY and NIGH FIDELITY/MUSICAL AMERICA are published monthly by ABC Leisure Maga- gram. The new AT32 from most -difficult -to -track selections. zines, Inc , a subsidiary of American Broadcasting Com- Audio-Technica. Indeed, adding an AT32 to your panies. Inc Robert G Burton, President; Herbert Keppler, Inside the jewel-like case of the system eliminates one more barrier Senior Vice President, Photographic Publishing Division, AT32 is a most sophisticated between you and your music. Leonard Levine, Executive Vice President. High Fidelity Group; Ronald Stuart, Vice President, Finance. Member Au- moving assembly. Effective moving Audition the AT32 at your nearby dit Bureau of Circulation Indexed in Reader's Guide to Peri- mass is extremely low to permit Audio-Technica showroom today. odical Literature Current and back copies of High Fidelity high compliance without unwanted AUDIO-TECHNICA U.S., Inc., and High Fidelity/Musical America are available on micro- resonances. And every AT32 1221 Commerce Drive, Dept. 100H, film from University Microfilms, Ann Arbor, Mich 48106 Microfiche copies of these magazines 11973 forward) are moving system is individually hand -Stow, Ohio 44224. available through Bell 8 Howell Micro Photo Division, Old tuned to insure optimum tracking Mansfield Road, Wooster. 0 44691 at all frequencies, while eliminating audio-technica Editorial correspondence should be ad- unit -to -unit variations. dressed to The Editor, High Fidelity. Great Barrington, Mass 01230 Editorial contributions will be welcomed, and The nude -mounted, square - Model AT32 payment for articles accepted will be arranged prior to Stereo Phono shank miniature elliptical diamond publication. Unsolicited manuscripts should be accom- Cartridge with in its beryllium cantilever is exactly Dual Moving panied by return postage aligned to the groove for lowest MicroCoilsm distortion. And the tiny moving $300

AUDIOIECHNICA PROFESSIONAL AND HOME PRODUCTS FOR BETTER SOUND

VECTOR ALIGNED'. 0 AUDIOPHILE RECORD CARE STEREOPHONES PHONO CARTRIDGES RECORDS PRODUCTS MICROPHONES TONE ARMS AND ACCESSORIES

Circle 51 on Reader -Service Card e 0

0100\0° 00,. dog Av00\e(Ne (zoAc\q,1?)ocs . , 00 \ms e\le\v

r 'It's Technics SL -10 and it represents the most radical depar- In addition to provid ng zero tracking error, the gim- ture in turntable design since Technics first introduced the bal -suspended linear tonearrr is dynamically balanced modern direct -drive turntable in 1969. allowing you to play the SL -10 on its side cr even J vide Not much bigger than a record jacket, the SL -10 torn- down with no loss in accu-acv or tracking abi ity. bines a quartz -locked direct -drive motor, a servo -controlled Another reason for the St -10's outstandirg accuracy

linear -tracking tonearm and a moving -coil cartridge, com- is its moving -coil cartridge Wth its built-in pre-preamp, FIE1' plete with a built-in pre-prearrp. coreless twin -ring coils and pure boron pipe cant lever, the To play a record, simply place it on the platter, close cartridge provides an extmey linear and flat frequency ', the cover and push the start button. The SL -10's micro- response as well as superb dynamic range r computer automatically senses the record size and speed. Technics SL- 0 The world's most uniqJe turntable'

Technics I. The science of sound AIWA AD -M8000 STEREO CASSETTE DECK Three heads...and a brain. Only the very best decks have three heads. But IT ALL ADDS UP Aiwa's metal compatible deck adds wireless Precise sophistication like DATA deserves remote control. And a brain...DATA. Aiwa's features and performance to match. You've got exclusive, microcomputer Digital Automatic Tape them, starting with built-in wireless remote control Adaptation. for full -function performance from across the room, using THE DATA SYSTEM dependable, invisible In less time than it takes to read what DATA does infrared projection. ...DATA does it. Set DATA's computer and press You have 3 -head START. LEDs begin to flicker. One each for LH, FeCr, performance using CrO, and METAL. linear, ultra -hard sendust

DATA's electronic senses analyze the tape and 4 heads with Aiwa's an LED lights up as the others go out. Now you- exclusive V -cut geometry and DATA-know the kind of tape being used. for contour effect Another LED flickers and lights. BIAS is set for best elimination doing away frequency response using a built-in 6 kHz with roughness at low

reference signal. The next LED flickers and lights. . , frequencies. And each Dolby* levels are calibrated and set using a 400 head is designed for best performance at its Hz reference signal. specific function. Two LEDs remain. One flickers and lights. EQ-M is Add Double -Dolby'; IC logic controls; dual set...equalization for the mid -range 5-10 kHz. Then motor drive; backlit VU meters with 5 -step peak the next, EQ-H ... equalization for the high,10-18 kHz reading LEDs; auto -repeat; memory replay; oil - range is set. damped eject and more. Further down the panel an LED lights. It's green. The sum of the parts is frequency response of OK! You're ready to record. But... if the red LED lights 30-17,000 Hz using metal tape. S/N ratio of 68dB instead, the machine's not wrong. The tape is. Get with FeCr, Dolby on. Wow & Flutter 0.04% WRMS. another tape or switch to manual over -ride. This is one of the finest decks you can get at any Once DATA is set, you record with maximum price. If you prefer, it's available in black with rack sonic quality, regardless of whose tapes or what handles as the AD-M800BU. type you're using. And DATA stores the tape Aiwa's AD -M8000 is like having your own analyses-at your command-in its memory bank. recording engineer tucked away in a small but Four different tapes of your choice. powerful chip. The power's there for you. Listen to Cassette recording was never so precise. So an Aiwa. Or write Bob Fisher, national sales simple. And so fast. manager for more information.

*Dolby is a registered trademark of Dolby Laboratories.

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Upgradeto... N , *4' 4 AIWA AIWA AMERICA INC., 35 Oxford Drive, Moonachie, New Jersey 07074.1Sik;, ".',4?...;, Distributed in Canada by: Shriro (Canada) Ltd. v)«.;;;A 't: . 4E" OCTOBER 1980 7 EDITORIAL YOU CAN PAY A LOT IRCA Nominations FOR GOOD The July 26 issue of Billboard, the record businesstrade paper, announced SPEAKER Tthat "the complete list of nominated albums [for theInternational Record Critics Awards] is about to be issued by HIGH FIDELITY."As faithful readers DESIGN, will be aware, each Decemberwe announce the winners of the awards and, of course, list the runnersup. But the Billboard item causedus to think: Why not , $1275 let our readers see the list in advance? After all,everybody knows the Acad- lipschorrieach emy Award nominations before the Oscar show. SPECS So here are the IRCA nominees,. (Since this listis determined by Horn loaded, folded -horn about fifty record critics and editors from around theworld, some of the woofer design recordings are not available in the U.S.) Frequency response: 35- 17,000 Hz + 5 C.P.E. Bach: Symphonies (8); Academy of Ancient dB Music; OISEAU-LYRE. Height: 52" J. S. Bach: Brandenburg Concertos; Aston Magna; Width: 311/4" SMITHSONIAN. Depth: 28Y2"

Bartok: Piano Concertos Nos. 1 and 2; `1, Pollini/Abbado/Chicago; DG. Maximum power input: Beethoven: Piano Concertos Nos. 1 and 2; Lupu/Mehta/Israel;LONDON. 105 watts Beethoven: Quartet, Op. 131 (arr. for orch);Bernstein/Vienna Phil.; DG. RMS/channel Beethoven: Symphonies (9); Bernstein; DG. Berg: Lulu; Stratas/Boulez; DG. BUT Berg/Stravinsky: Violin Concertos; Perlman/Ozawa /Boston;DG. YOU DON'T Brahms: Symphonies; Solti/Chicago;LONDON. HAVE TO! Bruckner: Symphony No. 8; Wand/Radio Cologne;HARMONIA MUNDI. Cabezon: Complete Works; Antonio Baciero;HISPAVOX. Debussy: Images (orchestra); Previn/London Symphony;ANGEL. $690 Debussy: Images; Estampes (piano); Jacobs;NONESUCH. each Debussy: Pelleas et Milisande; Von Stade/Stilwell/Karajan;ANGEL. SPECS Horn loaded, Haydn: Armida; Dorati /Lausanne; PHILIPS. folded -horn Haydn: Piano Trios (complete); Beaux Arts;PHILIPS. woofer design Frequency Haydn: Quartets, Op. 20; Juilliard; CBS. response: 35- 18,000 Hz + 5 Hindemith: Mathis derMaier; Kubelik /BavarianRadio; ANGEL. dB Janacek: Makropoulos Affair; Soderstrom/Mackerras;LONDON. Height: 51'/a" Width: 311/2" Lasso: Moduli quinis vocibus; Herreweghe;ASTREE. Depth: 28" Mahler: Symphony No. 4; Karajan/Berlin; DG. Maximum power input Mahler: Symphony No. 5; Tennstedt/London Philharmonic;EMI. 250 watts Mahler: Symphony No. 9; Levine/Philadelphia; RCA. RMS/channel If they both have the same design, how Massenet: Cendrillon; Von Stade/Rudel; CBS. come you pay so much less for ours? Massenet: Werther;Kraus/Troyanos/Plasson;ANGEL. Because they come direct from the Factory-no retail mark-up. You also get Prokofiev: Alexander Nevsky; Abbado/London Symphony;DG. our unconditional Money Back Guarantee. Reimann: Lear; Fischer-Dieskau/Albrecht; DG. Our new color catalog tells you all about Rossini: Otello; VonStade/Carreras/LOpez-Cobos;PHILIPS. Speaker Factory's 10 money -saving Schoenberg: Gurre-Lieder;Ozawa /Boston; PHILIPS. speakers-plus a lot more. Schubert: Symphonies Nos. 3 and 8; Carlos Kleiber/ViennaPhil.; DG. Send for your copy today by mailing in the coupon. Do it now! Shostakovich: Lady Macbeth of Mtzensk; Rostropovich;ANGEL. Shostakovich: Symphonies Nos. 6 and 11; Berglund/Bournemouth;HMV. Its 1 J. Strauss (arr. Schoenberg, Berg, Webern); Waltzes;BSO Ch. Players; DG. FREE CATALOG Stravinsky: Sacre du printemps; Muti/Philadelphia;ANGEL. YES I WANT TO SAVE MONEY ON SPEAKERS. 1:1I can hardly wait I'm enclosing $1.00 for Tchaikovsky: Symphony No. 4; Maazel/Cleveland;TELARC. 1st class postage and special handling. Vladimir Horowitz: Concerts 1978-79; RCA. El I'm anxious to find out more, but regular mail Which do you think will win? Results in December. is0.1( Name Address City/State/Zip Mall to: ha2Ae-3-64- SPEAKER FACTORY MAIL ORDER, INC. DeptHF10 1101 N. NorthlakeWay, Seattle, WA 98103 A Circle 2 on Reader -Service Card L.. 8 HIGH FIDELITY CrossTetk

I own a Dual1218turntable. I tor of 40 and one of 30, which generally shown up in original rumble measure- Q.recently traded in a Shure M- is considered adequate, though the spe- ments since mono pickups are essentially 95ED cartridge and "upgraded" to an cific minimum value depends on the de- insensitive to it. Stereo pickups, how- Acutex M-315 Type III. Unfortunately, sign of the loudspeaker. ever, are not. with the Acutex pickup, I now have a severe acoustic feedback problem, mani- It is my custom to transfer to alIn your test reports on speaker

fested in gross mistracking. Was my cassette any disc that I especially systems, I frequently read that choice of the Acutex a bad mismatch for like. This enables me to preserve the some models can accept thousands of the arm on the Dual? When I turn off original record and (most important) al- watts without burning up. Yet those the speakers and listen through head- lows me to listen to the entire work same speakers often carry manufac- phones, it tracks beautifully. What's to without having to turn over a disc. Un- turers' recommended power inputs of be done?-Aaron F. Kopman, Roslyn, fortunately, a number of my records only about80-100watts. Are the man- N.Y. have total playing times greater than ufacturers being overly conservative in the 45 minutes afforded by a single side the ratings? Would you recommend AOur first suspicion is that the of a C-90 cassette. While I recognize that speakers be driven to power levels Acutex pickup is too compliant that the potential for problems increases far exceeding their published limits, as- for the Dual, responding in an overly with the use of aC-120,are there any suming a clean unclipped waveform is sensitive manner to air- and surface - acceptable brands in that length?- applied?-Alfred Wirtenberg, Norwalk, borne vibrations-which sometimes are James S. Reid, Vienna, Va. Conn. intensified by playing records with the dust cover closed. Before you invest in a AmOur experiences with brands The specific tests that you are al- less compliant pickup, however, try re- such as TDK and Maxell has A.luding to examine how much orienting your speakers or moving the shown that some manufacturers do, in pulsed power a speaker can withstand. turntable. If this fails, adding a rigid, fact, take more care with their housings, In such tests, many speakers do show an heavy plate (a piece of slate, for in- so there is less chance of mechanical ability to withstand many hundreds stance) under the turntable might inhibit foulups when using theirC-120cas- (sometimes thousands) of watts, but the motion of the supporting surface, settes. However, since tape must be only for a millisecond or so. That same thereby reducing the amplitude of the thinner in that length, the problems of power applied on a continuous basis induced vibrations. Isolation feet under print -through and lowered headroom in would surely destroy the voice coils. the turntable or speakers might also do the bass preclude their use for fastidious Some manufacturers rate their speakers the trick. recording. The situation becomes worse as to the continuous low -frequency with off -brand tape, where the.overall power they will withstand, and in that I have found an integrated amp thinness of the magnetic coating, com- respect their ratings are not conserva- that is everything I want, except bined with below -par manufacturing tive at all. that the damping factor is 30. I have and quality -control procedures, leads to CBS Technology Center, which read that a factor of 40 is the minimum inconsistent coating. If you want to use conducts these tests for us, applies a acceptable value. Should I compromise a C -120s, well-known brands should continuous tone of 300 Hz and slowly bit and go for this amp anyway? How cause no mechanical problems, but the raises the power level to a maximum of large a damping factor is necessary, and quality of the copy may not be up to 20 dBW (100 watts), stopping the test does the correct amount vary with your standards. and recording the power level should speakers?- leant Boise, Idaho. the speaker exceed 10% distortion be- I have an old Rek-O-Kut turn- fore the maximum input is reached. Re- ADampingfactor compares the Q.table and wonder if it can be member that with a system rated by a output impedance of an ampli- converted to stereo. Can I simply mount manufacturer as capable of accepting80 fier to an assumed load impedance of8 a stereo pickup on the original arm, or watts (19 dBW) on a continuous basis, ohms in a loudspeaker, and the lower do I need to buy a new tonearm?-Ber- our 100 -watt test represents only 1 the amp's impedance, the higher the ra- nard Kleban, Wilmington, Del. dBW more input-hardly a major in- tio-i.e., the damping factor-will be. crease over the original spec. As a rule The amp's impedance does vary with A Either may prove satisfactory, as of thumb, it is probably best to go with frequency, and some manufacturers long as your arm is wired (or re- amps capable of higher output power. measure it at1 kHz and some at 50 Hz. wired) for stereo, though a new turn- At most listening levels, continuous the IHF states that manufacturers table and arm may be more so and cost power demands will probably never ex- should either present a curve of damp- less in the long run. Even if it were pos- ceed (or even come close to) maximum ing factors vs. frequency or specify only sible to mount a modern stereo -wired recommended levels. And an amp with the value at 50 Hz. We show the latter arm on the baseplate, close enough to enough reserve to reproduce high-level because the greatest back EMF (electro- the platter to maintain accurate tracking transients will also be kinder to tweet- motive force) is generated by low -fre- geometry, you might be in for a disturb- ers, which fail if forced to reproduce the quency drivers, and poor damping factor ing surprise. Some turntables that were odd -order harmonics generated when a here compromises clean bass. There is fine for mono produce a good deal of low -power amp is driven into clipping. little difference between a damping fac- vertical rumble, which would not have HF

Circle 25 on Reader -Service Card I. IMMORTAL MUSIC SHOULDN'T BE KEPT ON MORTAL TAPE.

Good music never dies. Unfortunately,a lot of cassette tapes do. At Maxell, we've designed our cassettes to beas enduring as your music. Unlike ordinary cassettes, they're made with special anti -jamming ribs that help prevent tape from sticking, stretching and tearing. And Maxell cassettes come with something elseyou won't find on most others. An unconditional lifetime warranty. rma-k--e II So if you'd like to preserve your old favorites for the years tocome, keep them in a safe place. On one of our cassettes.

N 4 IT'S WORTH IT 10 HIGH FIDELITY Hgh FidelityNews

I 11 ...i. I.I.I.I.' 1 =. I I I I 0 -.maiMO ., 'A IOTA WIMP Mei.. Ir. I ....., =..." u -T-.-''''''''''' .316 ""We ".=1. Head Amplif ier

lemmil $4.04. rumgi111-10 ..1111. S Direct -set in Sansui tuner

Sansui's T U -S9 is a fully synthesized digital AM/FM tuner with ten - station memory and a direct -set mode that allows the user to enter the frequency of any station without having to scan the broadcast band The tuner also features a Gain in a can built-in switchable signal-strength/multipath meter, calibration tone, and provision for attaching a decoder for stereo AM broadcasts. Price of the l'U-S9 is $380 Housed in a steel cylinder to re- Circle 139 on Reader -Service Card duce magnetically induced hum and noise, Sota Industries' Head Amplifier is a battery -powered device intended to raise the very low outputs of moving - coil pickups to a level that can be han- ; - -at n RI I LIL. 1-r dled by prearnps. It features Class A .1 push-pull circuitry, a three-way imped- c41.A-44.4,,i-errantam .0 Owls rat WM*/ 111 ance selector for precise cartridge loading, and high and low gain switch settings to accommodate varying pickup 0II I RIII III II U-- outputs. Price of the Sota Head Ampli- n r4.1 . 114.,,aa fier is $250. Circle 145 on Reader -Service Card Fisher's hybrid receiver

The Model RS -250, Fisher's latest receiver, incorporates a Class A -II (sliding bias) power -amp stage claimed to combine the high efficiency of Class B operation with the low distortion characteristics of Class A. The unit is rated at 50 watts (17 dBW) output per channel. The front end employs a dual -gate MOS FET RF stage, linear -phase IF filters, and phase -lock -loop multiplex decoder. A digital display shows tuned frequencies. Other features include a built-in moving -coil head amp, an LED signal -strength indicator, and switchable infrasonic and high -frequency filters. The RS -250 costs $450. Circle 140 on Reader -Service Card

Creative (1110 distortion 0 0 A; ILTIT" from Roland

SU, 0,2 sr..eo IMP -,gr, Roland Corporation's SG -1 allows RIM the electric guitarist to produce violinlike bowing attacks on each note. A control Realistic slims down on the device provides from 50 to 300 milliseconds of attack, and another sets A low profile and digital frequency readout are highlights of the the sensitivity. When used with a bass Realistic STA-720 receiver. Rated at 25 watts (14 dBW) per channel into 8 ohms, the guitar, the SG- Iis said to produce lush receiver features Auto -Magic circuitry for fine tuning FM stations, a newly string -bass sounds, adaptable to solo or developed IC, intended to provide lower distortion, in the phono preamp section, accompaniment performances. It fea- and a 40 -position detented volume control. The STA-720 is available from Radio tures FET switching, LED indicators, and Shack stores for 5300. a battery -eliminator jack and costs S100. Circle 142 on Reader -Service Card Circle 150 on Reader -Service Card (more on page 13)

Circle 49 on Reader -Service Card The continuingstory of TDK sound achievement. Alb P. rt Four. 11101110* wommaimiSAIN

In previous chap- ters we've told you about I' the technological break- throughs that make TDK tape so outstanding. We've shown you how TDK tape is wound on a perfectly circular hub/clamp assembly for the smoothest possible flow of sound. But the perfection of the first two phases would be wasted effort if tape travel were inconsistent or slowed down by comes back to. excess friction. Part Four, the TDK bub- That's why TDK consid- ble slip sheet, is one of our unique coated with ers all parts in a cassette answers to reducing friction. On it a fine layer of equally important. And why rests TDK's reputation for smooth - graphite. To further diminish the every effort is made to achieve a per- running sound. area of contact between tape and fect interplay between them. It's an TDK engineers painstakingly stud- slip sheet, our engineers created achievement you'll hear every time you ied tape travel. They found the edge of the bubble concept. play your favorite music on TDK. the tape comes into Each TDK Music s the sum of its parts. direct contact with r bubble slip the cassette at sev- sheet is com- eral points. At any of ", 0,0,1)00 puter -designed those critical spots, with twenty : o.000 the tape can be _O bubbles of vary- slowed down, tilted 0 - ; ing diameters. away from the paral- 0 0 0 Each bubble lel, side-tracked or slip sheet is

abizon--"- damaged. The need manufactured cZ:Zrz.? to reduce friction Running analysis of TDK bubble slip sheet to micron toler- was evident. And it ances to guar-

had to begin where the tape edge antee uniformity in height. makes contact with the shell. In operation, the TDK bub- The TDK slip sheet first came into ble slip sheet maintains a existence as a flat piece of paper. Our constant running angle for A engineers knew it had to do more than the tape, minimizing fric- !!!) reduce friction. It also had to maintain tion. Tape winding is even constant tape speed and perfect tape and consistent. Your music is winding. Two formulations met the recorded and played back in exacting TDK standards. Ultra -thin a safe, reliable environment. paper coated with silicone. And teflon Music is what it all TDK. ©1980 TDK Electronics Corp., Garden City, N.Y. 11530 The Amazing Music Machine. Extraordinary.

Infinity makes the ultimate statement in speaker technology. The Infinity Reference Standard.

The IRS: Seven feet six inches

tall. Servcid woofers driven by one " kilowatt per side. 16 Hz to 40 kHz -± 2 dE. 0 About $20,000.

k Infinity i . We get you backto whatit's all about. Music. CIRCLE NO. 23 Orli READER SERVICE CARD C 1980 by Infinity Systems Inc. Canoga Park, CA 91304. (213)13.33-4800. n 7930 Deering Avenue, , _ OCTOBER 1980 13 High Fidelity News THE HIGH WAY. rs simply a matter of how you like to gc.

Digital audio First class is Status:Pro. By GuEdorf. . . All t -e way to the top is :t discs seek Model 1990, the tower. standards OJr luxurious hi -rise settirg for -he most so:riisticated componerts mode '; today and the most sophisticcted The future of the Philips -devel- interfocirc between and o anc video oped Digital Compact Disc looks much functions-even VCR and video disc. brighter with the recent announcement Fee this Status: Pro model in our that the Netherlands -based company color brochure and get our dealer and Sony are working together to refine listing tco. the laser -based digital audio reproduc- S.e.-id 50C to me, Mike Sheoeris, . tion system and have developed im- now. provements in modulation and error C3U15==F2Fcomps° pe Ak-r-toeni correction. The two companies have 690: Manchester, St. Lou s, MO E3143 submitted details of their work to the Gusdort Canada Ltd. Digital Audio Disc Standardization Con- 4330 :::ate Vertu Ville Ste. Laurent, Quebec ference in Japan in an effort to gain worldwide acceptance of a common set Wint-11.6. of specifications.

Software suppliers are joining the Compact Disc bandwagon. Polygram has announced that it will release its music programs in this format, and CBS ;AP ::$ has let it be known that it will be work- Nk4a5 ing closely with Sony and Philips on development. Similar in concept to the op- tical video disc system, the Compact Disc measures just 4.72 inches in diameter and is capable of storing 60 minutes of I II music on a side. :Ircle 14 on Reader -Serve Card Du Pont & Philips Are your records really clean? plan tape venture vacorecthe sure way.

It has been nearly ten years since There are plenty of record American audiophiles saw the last blank deaniNg products around, but. cassettes bearing the Philips and No- none all than can match the Vac -0- lbw system. Vac-O-Rec relco brands. Philips, which developed rotates the -ecord past a the cassette recorder in 1963, still sells a 11 novelised mylar brush which lot of tape around the world but none &whir Tea static electricity. in the U.S. All of that could change early This in turn loosens the dust. next year, however, when the com- Then, separate super soft pany's tape plant in Oosterhout, Hol- mohair bushes gently reach into the grooves to loosen and land, is scheduled to become part of a electively remove micro dust. joint venture with E. I. du Pont of Wil- Finally. all bust and dirt is vacuum mington, Delaware. _ cleaned away. The deal-submitted recently to AO The re: milt --a really clean record Philips employees and the Dutch gov- las ___fraterfrilirt end surface noise. ernment for comment-calls for a united Vac-O-Rec is UL and CSA listed. program of research and development, Don't ;Et up with noise, or risk manufacture, distribution, and world- daraag 3 to sour priceless records. See Robins Vac-O-Rec at your wide sales of audio and video recording dealer. Manufactured in U.S.A tape. Du Pont's contribution is to be by Robins fadu Corp., technological and financial; Philips' in- Coat . . 11725. cludes the Oosterhout plant, know- how, and its present tape marketing organization.

(more on page 14) Pat #3654660

Circle 39 on Reader -Service Card 14 HIGH FIDELITY

High Fidelity News

Mat 1,16%.44s (73 sss,:167. EVE IfatlY.Ttilltrtl I-^--

Marantz' classy Speaking of synthesizers.... new amp

A new generation of polyphonic synthesizers from Oberheim Marantz packs lots of high tech- Electronics, dubbed the SX Series, is said to be much smaller and easier to use than nology into the SM-6 power amp, part earlier models. The OB-SX6 (pictured here) is a six -voice synthesizer; the four -voice of its new Esotec line of audio corn- OB-SX4 can be upgraded to six voices with the addition of two user -installable ponentry. Switchable to either Class A voice cards. Both models have a four -octave keyboard, pitch -blend and modulation or AB operation, it employs Freon -filled levers, automatic tuning, edit mode, and controls for attack, decay, and release. The heat pipes to cool the output transistors, SX6 is priced at $3,500, the SX4 at $3,000. built-in speaker switching, and low neg- Circle 141 on Reader -Service Card ative feedback. In its Class A mode, the amp is said to provide output of 30 watts per channel (141/4 dBW), with 120 watts (203/4 dBW) in Class AB. Price of SM-6 is 5850. Circle 148 on Reader -Service Card

riFl

CI POWER AIONITOR VOLUME NORM, I -

o MINen.) irt 111' " ';-,, Turn it down!

The Russound VS -1is designed to Collectors take note control the volume of remote speakers and headphones at the listening loca- The serious (and well-heeled) collector of antique record cylinders might tion, rather than at the amplifier or re- be interested in Art Shifrin's 55,000 "state-of-the-art" electronic cylinder ceiver. The device uses a constant -im- phonograph. It is composed of four basic parts: a base, a modified Rabco SL8-E pedance L -pad control that can handle tangential tracking tonearm, a heavy-duty hysteresis -synchronous motor, and the power inputs up to 211/4 dBW (150 cylinder-drive/mandrel assembly. The system is equipped with a Stanton 3108 watts) per channel. A red LED lights preamp and 500 -Series pickup. Two equalization curves are provided: linear and when the power rating of the control is modified RIAA. All types of cylinder records can be accommodated by the approached; the device can then be phonograph; speeds of 120, 144, and 160 rpm are selected via a stepped pulley switched to its high -power attenuator with three diameters, and half speeds can be switched electrically. For more mode. The VS -1, housed in a black metal information, write directly to Art Shifrin (P.O. Box 128, Little Neck, N.Y. 11363), who in case, costs 580. "real life" is a sales engineer with Ampex as well as a cylinder maven. Circle 146 on Reader -Service Card L150. The low and the mighty. JBL

Here is bass reproduced with tight bass. Without boom. At vol- handles high volume levels with- facility, inspected and tested at depth and power that few speak- ume levels which approach live out distorting. over 50 test stations, and beauti- ers can equal performances! From the lowest organ pedal to fully hand -finished with oiled and And with distortion so low ...a Once you're impressed with the the highest piccolo passage -- rubbed American walnut veneer recent test of the L150 in Stereo L150's lows, you'll be equally im- the accuracy is consistent The Audition the low and the mighty Review magazine' failed to depressed with its highs and mids. stereo imaging is superb. at your nearby JBL dealer tect any audible distortion! Its powerful 1" high -frequency Beyond its sonic quality, the L150 James B Lansing Sound. Inc The L150's new technology Sym- dome radiator provides wide dis- features fine quality constructicn. 8500 Balboa Blvd metrical Field Geometry woofer persion throughout its range Each speaker is crafted in the Northridge, CA 91329 and passive radiator deliver true, And a 5" midrange transducer USA at our Northridge, California 'Feu 1980 St,,rc,o RevieN

JBL First with the pros.

0 *NO .1.1r. Lan, 1

Circle 19 on Reader -Service Card

Let Onkyo transport you to a world . . . memoryrewind, full auto stop, a beyond electronics... to aworld of timer start/pause function, and two more perfect sound. Where you'll large peak level VU meters. hear music of such stunning purity Throughout, the system has been and richness, that you'll forget engineered for extreme reliability you're listening to an audio system. and long service life...from its _f r That's the secret of Onkyo...and precise and rugged phase -locked Onkyo's dramatic success. The loop (PLL) servo DC motor drive unique ability to take you several system, to its richly designed = steps beyond pure technology... electronic control systems. to experience more exciting sound.

Equally impressive is the And you'll find it in all four of our new elegant new Onkyo TA -2050.. . stereo tape decks. The Onkyo TA -2020 an advanced two -motor stereo

The Onkyo TA-630DM is an cassette tape deck featuring -he TA -2020 features a servo- outstanding example. It achieves "Accu-Bias", a Dolby* noise reduc- controlled DC motor, large VU performance heights only hinted at tion system with switchable MPX meters, a Dolby* noise reduction in the acclaimed Onkyo TA -630D. filter, full metal tape capability, and system with built-in MPX filter, and a In 1979, independent testing soft touch controls. It too delivers convenient timer/pause button for more perfect sound. unattended operation. The TA -2050 utilizes a full logic Richly engineered to Onkyo's un- direct drive motor transport for ex- compromising standards, no other tremely high reliability with minimum stereo cassette deck in its price wow and flutter. A separate motor range provides such sound quality. handles fast forward and rewind The Onkyo TA -1900 represents R functions. A special Hard-Permalloy an incredible achievement . ..in 'r la r.1" !f1 record/playback head . . .and a both performance and economy. It ferrite erase head . . . provide optimum performance with all types of tape, including metal. Two valuable features of the The Onkyo TA-630DM TA -2050 are its instant muting and confirmed that the TA -630D out- automatic fade in/fade out control . =. systems..which permit far more performed all 19 cassette tape 111 decks in its price range...placing professional recording effects. Mus- ..... first in both sound quality and value. ical passages can be "cut -in" cr Now even more innovations have "cut-out" instantly. Sound passages been added in the TA-630DM, to can be "faded -out" or "faded -in" widen Onkyo's lead still further. smoothly. And cassettes can be Not only have we designed -in recorded right to the end . . then The Onkyo TA -1900 rewound a short bit to overlay a metal tape capability . . using a puts full high fidelity metal tape newly developed high-perfor- professional "fade-out" effect. stereo within easy reach of even the mance hyperbolic S&S sendust The Onkyo TA -2050 also features a memory-stop/memory-play sys- entry level audiophile. record/playback head.. . but we've The TA -1900 features simplified also fully redesigned the record tem, a timer mode selector, special soft -touch controls, three position system electronics to take fullest "peak -hold" meters for added pre- Bias/EQ switches to maximize tape advantage of metal tape's much cision and convenience, and full performance, Dolby* noise reduc- improved dynamic range. remote control capability with the tion circuitry, a Hard-Permalloy The feature -laden TA-630DM optional RC -5 remote control unit. record/playback head, a ferrite also employs Onkyo's exclusive Many of the same innovations erase head, and a DC servo motor. "Accu-Bias" control system ... are found in the Onkyo TA -2020.. . Without exception, the Onkyo which assures that every recording a surprisingly affordable stereo TA -1900 is the most affordable qual- you make is superior ... regardless cassette tape deck with "Accu- ity tape deck in audio today! of tape -type or brand. Bias" and metal tape capability.

Built-in tone generators in the Styling of all four new stereo TA-630DM let you sense each cassette tape decks is superb. tape's unique bias requirements . . . Brushed silver metal with elegant guiding you to the precise setting appointments. The TA-630DM for optimum sound. Brighter high resembles Onkyo's top -of -the -line notes are the reward. TA -2080 . . . while the other three The TA-630DM's Dolby* noise models debut Onkyo's dramatic reduction system, with switchable new slim -line design. MPX filter, even lets you decode Onkyo USA Corporation Dolby* FM broadcast signals for 42-07 20th Ave., Long Island City more brilliant off -air recordings. N.Y. 11105, (212) 728-4639 Other important features include The Onkyo TA -2050 'TM of Dolby Laboratories HIGHPERFORMANCE HIGHBIAS.

GoaVity Oaster'Stodo Grand E:sies NV411

AMPEX GM II HIGH BIASTAPE. head contact is precise, we use our exclusive FerrosheenTM calendering process to give the tape When you're recording music that's rich in high an ultrasmooth, glossy surface. frequencies, you need a high performance tape. GM II's True -Track'"" cassette mechanism is Ampex GM II high bias cassettes. They retain and an audio achievement in and of itself. Every aspect, release every note and nuance. Especially those from the fore and aft guide system to the computer - found in highly amplified electronic music. torqued cassette housing screws, says high GM II's high performance begins with the performance. Then every Ampex cassette must magnetic particle. The ones we use are smaller, pass our stringent quality control standards. permit higher volumetric loading and greater uni- GM II high bias, high performance tape. Use it formity of dispersion on the tape surface. This next time you're recording a passage that's rich produces a more consistent energy, increased in high frequencies. You'll hear what a difference output sensitivity, and a substantial reduction in the it can make when your high bias tape delivers high third harmonic distortion level. Our unique oxide performance. formulation and new processing techniques extend For complete information and specifications the high end while they lower the on all Ampex premium tapes, noise floor (-62.8dB @ 333Hz). write us for a copy of our Full And to make certain that tape-to- AMPEX Line Brochure. The Tapea/the Stats Ampex Corporation, Magnetic Tape Division, 401 Broadway, Redwood City, CA 94063 415/367-3888 OCTOBER 1980 19 THE AUTOPHILE Something forEveryone in '81 by Robert Angus

This year may have been disas- casters, and second thoughts from the loudspeaker design. There are dozens of trous for Detroit automakers, but for the FCC. The result is that it will be at least systems, including acoustic suspension people who design, make, sell, buy, and next year before you'll have stereo AM models that could serve equally well use car stereo equipment, it has been in your car. The Marantz experience with home microcomponents, two-way the best on record. The continuing proves that a manufacturer can adapt and three-way wedge systems, and growth of the auto sound industry is an existing piece of car stereo equip- sound -dispensing cylinders. Electronics manifested in the scores of new prod- ment to the new format. Unfortunately, manufacturers like Alpine and Clarion ucts available this fall-products that re- many of those who heard the demon- are introducing technology and features flect the maturity of car stereo design stration walked away without knowing heretofore seen mainly on better -quality and manufacture. that they had been listening to stereo- home components, while Pioneer has Last year, emphasis was on ampli- AM or otherwise. made several improvements in its Super- fier power and driver count, virtuallyto Perhaps the biggest contribution tuners. the exclusion of all other considerations. made by new products is in the art of The Electronics. By all odds, this When you go shopping this year, you'll season's most newsworthy product is find a moderation in that emphasis and Top to bottom: Alpine Model 7128, the Clarion PE -959A, a $900 cassette/ more discussion of distortion, ease of Panasonic Model RM-310, Sparko- radio combination with full micro- use, digital tuning, and compactness. matic Model GE -1000 processor programmer, auto reverse, Compactness, pushbutton tuning, and pushbutton operation, Clarion's Magic digital frequency readout are hardly Tune FM circuit, and other goodies. It new to car stereo design, but their as- .. can switch itself on and off, as well as cendancy over such macho considera- ot.v '"1"" change stations up to ten times with tions as acoustic power and number and a =151 preprogrammed commands. 106 size of drivers bespeaks a realization TALAA on There are three versions of Pio- the part of manufacturers and users ir"Ir* neer's Supertuner II: KP-6500 for 5220, alike of the realities of the energy short- KP-7500 for $260, and the KMX-20, age on the one hand (evinced in the an in -dash model for $300. Alpine, which shrinking size of cars) and the need for has staked out the high-technologyseg- making FM tuning simpler and more ac- ment of the market as its own, has the curate on the other. Model 7128, an AM/FM/cassette com- Two months before the nation's bination designed for use with an exter- car stereo retailers got their first look at nal preamp/equalizer and power the 1981 models, a press wire service amp. Priced at $300, it includes a digital PLL flashed the "news" across the country: frequency synthesizer, ten -station preset The Federal Communications Commis- (five AM, five FM), digital clock, the sion had approved a system for stereo company's Cassette Glide eject, metal -tape AM broadcasting. [That bit of news, as capability, and auto reverse. There's also we noted on page 20 of our July issue, a $150 40 -watt amplifier, the 3008; an was incorrect and presumptive.] The 18 -waiter, Model 3006 (S60); and a story went on to suggest that AM ste- five -band equalizer/preamp priced at reocasts could become a reality within $150. A couple of ultracompact weeks. It was too late for most manu- cas- sette/receiver units designed for X -body facturers to do anything about it-but compact cars round out the Alpine line: not Marantz, which produced a pro- the 7124, a $200 2.2 -waiter that can totype adapter for its CAR -427 deluxe also be used with external preamp and receiver, introduced last year. It was the power amp; and the 7327, a $300 sys- only piece of stereo AM auto sound tem with Dolby noise reduction. equipment on display at the Summer Mitsubishi's best is the CE -747, a Consumer Electronics Show (Sansui and $480 in -dash receiver/cassette model Magnavox both showed stereo AM with auto reverse, Dolby, metal -tape equipment for the home), but nobody capability, and low-level connectors for seemed to care-if they noticed at all. separate power amplifiers; a choice of Marantz management, which thought it amps at 8, 20, or 40 watts per channel is had scored a coup, was surprised and disappointed. available. The company also offers an X- body chassis with horizontal or vertical In the meantime, stereo AM got tuning scale, the RX-723 ($150), and bogged down in bureaucratic red tape, two power amps, the CV -24 with 8 threats of lawsuits by proponents of watts per channel and a $50 price tag rival systems, hostility from some broad- and the $120 Model CV -25, a four-

4Circle 4 on Reader -Service Card 20 HIGH FIDELITY channel unit with 20 watts each. inch woofer and directs high frequencies at the listener by means of diffuser From Panasonic comes a lower - priced version of its roof -mounted Cock- Io plates. The line also includes the 6 -by -9 pit system. The RM-310 contains an TS -697 and TS -698 speakers, at S140

AM/FM radio with cassette deck, built- 4) mow., and S170 per pair, respectively. Toyota in 10 -watt amplifier, preamp with three - owners have a different choice in the 5 - band equalizer, and LED level meters for by -8 rear -deck TS -585 (S100 per pair), 5600. In addition, the Supreme series of while the TS -87 is a 31/2 -inch dash - in -dash all -in -ones incorporate cassette mount speaker designed to fit in the dash- decks with pushbutton AM/FM radios. aI boards of GM and Ford cars. Prices range from 5180 to 5280. A midrange/tweeter plate is avail- What's new at Jensen is presets able from Visonik of America. The -five of them on the T-415 tuner and DMT-1 features a door mounting plate, R-406 combo. The latter, at 5290, fits measuring 51/2 by 3 inches, to hold the most foreign and domestic cars and has tweeter and midrange side by side. De- auto reverse. Sanyo's entries include the signed for use in triphase speaker sys- 5150 FT -7 AM/FM/cassette unit with tems, it costs S80 per pair. AFS Kriket in- music search and the low-cost under - troduces a dome tweeter and dome dash FT -I50 cassette deck with Dolby. coaxial 6 -by -9 speaker. The latter, the Music search, this time called ESP, Domaxial II, costs 5130 per pair and in- is also the hallmark of Craig's T -6I9 re- corporates a phenolic dome tweeter. ceiver/recorder, priced at 5230. Its ampli- f Alpine's fall sally into loudspeaker fier section produces 8 watts per chan- systems includes the three-way 6302 nel, and the tape deck reverses costing 5120 per pair, a 6 -by -9 two-way automatically. Three more receiver/ Pioneer TS -1600 (top) and Jensen speaker with capacity for 65 watts per recorders, also with automatic reverse J-2000 rear -deck speakers channel and a price of $200 per pair but without ESP, are the T-617, which (Model 6204), a 4 -inch two-way costs 5130, and the T-618 and T-640, with five -band graphic equalizer, auto speaker system priced at S50 (the 6202), each 5160. The T-640 comes with five reverse, weather band, and 20 -watt and the 6104, a 4 -by -6 dual -cone sys- preset pushbuttons. A trimode equal- amplifier. tem selling for S40 per pair. izer/signal-processor, either with five Yet another newcomer is Tan- Sparkomatic has three models: the bands (R-550, S100) or with seven (R- credi, a company that offers no fewer SK -600 compact coaxial, only 11/2 inches 551, S150), and four new power ampli- than seven in -dash radio/cassette mod- deep; the 6 -by -9 SK -6950; and the 6 - fiers priced from S40 to S180 complete els ranging in price from 5106 for the inch SK -650. The latter two feature a the line. Not to be outdone is Grundig basic Model TC-1050 to $330 for the strontium -cobalt woofer magnet. with a $325 radio/cassette model with TC-7000, with auto reverse, electronic Audiovox' Hi -Comp line has six automatic reverse, the GCF-9300. tuning, and LED readout. The com- new members, ranging from the 4 -inch Still relatively new to car stereo, pany's three equalizer/boosters, priced round HCS-10 (S36 per pair) to the 5190 Kenwood comes on strong with an in - at 5100, S110, and S150, each offer HCS-90, a two-way system incorporat- dash tuner/cassette combination, the seven bands of equalization. And Arthur ing a 4 -inch woofer and 21/4 -inch cone KRC-721, $400; a seven -band graphic Fulmer has added two in -dash head -end tweeter. At S52, the HCS-15 is a 5 -inch equalizer, the $220 KGC-737; an in -dash units: the 16-5200, priced at S150 and coaxial speaker; the S100 HCS-59 is a tape transport -receiver with 4 -watt offering AM, FM, and cassette in a com- 53/4 -inch three-way system with inde- output, the KRC-511, $380; and two pact chassis, and a S160 model, the 16- pendent woofer, tweeter, and mid- power amplifiers, the 15 -watt KAC-727 6100, with five preselector pushbuttons. range; the HCS-342, a 4 -by -10 three- at S95 and the 50 -watt KAC-80I at Speakers. Among the more in- way system, costs 5116; and the HCS- $220. The Marume name is brand-new, novative of the new crop of car stereo 362, at the same price, is a 6 -by -9 three- and it is represented by six AM/FM/cas- loudspeakers are two models from Jen- way system. sette units ranging from $70 for a 5 - sen. Its first quadraxial system, the Series A wedge and a double -woofer watt manual tuner to S 170 for an 8- X, sells for S150 a pair and features a 6 - system are Mesa's latest. The former, watter with five presets. There's also an by -9 -inch woofer with 20 -ounce mag- Mini -Mesa 20-ZX (S110 per pair), con- 8 -track unit, the M -P880, for S I 10. net, 2 -inch piezoelectric tweeter, and tains a passive radiator, a 2 -inch Sparkomatic's additions include a seven - two separate midrange drivers, all on tweeter, and a 31/2 -inch woofer. The band graphic equalizer with 50 -watt the same chassis. Then there's the J- Mini -Mesa 25-E costs S 175 per pair and power booster (GE -1000, 5190) and a 2000 for 5200 a pair. Cylinders 101/2 holds two 3 -inch woofers and a horn SI60 receiver/deck, the SR -303. inches long and 51/2 inches in diameter, tweeter in an enclosure measuring less JIL has two similar products, the they contain a 41/2 -inch woofer at one than 4 by 8 inches. And, if you're having Model 672, designed for X -body cars, end and a lightweight passive radiator trouble cramming your favorite 6 -by -9 and the CD -82, an auto -reverse radio/ made of compressed glass spheres on speaker into a cutout that measures cassette ensemble with metal -tape ca- the other. In the middle is a high -fre- only 6 by 8 or 5 by 7 inches, the Adapt - pability. Among Kraco's new electronics quency dome tweeter. a -Sound 202 is the very thing for you. models are the KXI-81 X -body AM/FM/ A cross -axial design is the hall- At S16 a pair, if fits a big peg into a small cassette unit, which can be mounted mark of Pioneer's five new models. The hole and, at the same time, is intended horizontally or vertically, and the in - TS -1600, at 5170 a pair, has a tweeter to provide Venturi loading to the dash KGE-801, a receiver/tape transport that fits on top of the conventional 61/2 - driver.HF

Circle 22 on Reader -Service Card Only JVC combines Super -A purityand graphic equalization ina receiver.

MA G .1..0 WOUAI =-- 11/0 SII Itl .1 RI R tow% 19110. JVC arm, ay.

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Super -A R -S33 FM/AM Stereo Receiver

Naturally, you want a receiver that At the same time, you'll get plenty of and 15 kHz, it lets you extend the deep gives you the most for your money. power. The R -S33 shown here gives bass without creating boominess. Mel- And only JVC gives you both Super -A you 40 warts per channel minimum low out a voice without cutting the amplification and graphic equalization. RMS into 8 ohms, from 20-20,000 Hz, highs. Add brightness to the extreme You'll hear Super -A as pure, natural with no more than 0.007% total har- highs and more. sound. Violins, cymbals, voices and monic distortion. A regular Class -A With all this, the R -S33 has plenty of other complex, delicate sounds are amplifier with this kind of power would other features to recommend it: direct - smooth and airy. That's because be heavy and expensive. But because coupling, a sensitive tuner section with Super -A does away with most of the ii doesn't require high idling currents, linear -phase IF filters, two tape moni- measurable switching and crossover the R -S33 costs and weighs about the tors with equalizer and dubbing facili- distortion, a source of harshness in same as a conventional receiver. ties, LED power meters, and JVC's tri- some conventiona Class -AB receivers. Even the most sophisticated ampli- ple power protection system. fa swat f er can't correct cartridge peaks, So if you're interested in getting AM III MIMIMINI INNS II Milt speaker roll -off or room acoustics. more without paying more, call MI 11111111111111111 MIME III Neither can it accommodate your 800-221-7502 toll free for the location IIWINNOW! 1111111111". changing tastes in sound as you take of your nearest JVC dealer (in N.Y. NM MI II1NM off Beethoven and put on disco. That's Stale 212-476-8300). Once you've 111. where JVC's 5 -band SEA graphic heard the R -S33, you'll have no doubts Class -AB Jagged JVC Super -A Minimal center line indicates distortion in output equalizer comes in. With independent about which receiver gives you the switching distortion. waveform. controls at 40 Hz, 250 Hz, 1 kHz, 5 kHz most for your money.

JVCUS JVC CORP 58-75 Queens Midtown Expressway, Maspeth, New York, 11378. 1' THE ONLY OTHER WAY TO GET

THIS KIND OF DYNAMIC RANGE IS TO I HIRE YOUR OWN ORCHESTRA.

WM.

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I ... I I .11 dbx21

I I I I -"-000000000 OISC/TAPE MOWN. --- : 12: WIWI, *

POWs,- 361.7t

. At a live performance, you For example, the 3BX can Hear it today. normally experience about 90 deliver up to 75dB from con- To really appreciate what decibels of ventional records- better than dbx technology can do for the dynamic range. the so-called audiophile discs, dynamic range of your music, In other words, including direct -to -disc and you have to hear it for yourself. the difference digitally mastered recordings. Visit an authorized dbx in volume be- And the 3BX also reduces the retailer near you for a demon- tween the loud- ticks, pops and record surface stration, and take home the est and quietest noise that interfere with quiet ultimate in dynamic range. passages is musical passages. It's a lot easier than hiring about 90dB. 2. The dbx Model 21. your own orchestra. But that's not dbx, Incorporated, 71 For dbx encoded discs. Chapel Street, Newton, MA what you get For the ultimate in dynamic from your range, you can add the dbx 02195. 617-964-3210. _ stereo. Model 21 Disc Decoder to your Conventional records and tapes compress Free dbx 21 offer. dynamic range. dbx components help present system, and play the During the dbx "Best of Both restore it to the level of a live performance. revolutionary new dbx Discs Worlds" promotion, from Sept. 2 until and Digital dbx Discs. Nov. 30, 1980, you can get a free dbx Because of conventional Model 21 with the purchase of a 3BX These specially encoded Dynamic Range Expander through recording processes, your discs are the world's first participating U.S. dbx authorized records are limited to just 50dB records to deliver the full retailers in continental U.S., Hawaii of dynamic range, or 60dB at dynamic range of live music. and Alaska. Also check out the latest the very best. Tapes and broad- releases from the growing DBX DISC cast can be as limited as 40dB. Up to 90dB or more. Plus they CATALOGUE. virtually eliminate record sur- Offer void where prohibited by Now dbx technology solves face noise. So for the first time law. that problem. Dramatically. In you can experience the two different ways. dynamic range of a live per- 1. The 3BX. formance, heard against a For conventional background of virtual silence. program sources. And you can choose from a The 3BX Dynamic Range growing library of dbx Discs, Expander can restore the including everything from the dynamic range of every con- London Symphony and the ventional record and tape you Boston Pops, to Neil Diamond dbx® own. FM broadcasts, too. and The Who. MAKING GOOD SOUND BETTER OCTOBER 1980 23 eEquipmentReports

Preparation supervised by Robert Long, Peter Dobbin, and Edward J. Foster. Laboratory data (unless otherwise noted) supplied by CBS Technology Center or Diversified Science Laboratories.

B&W Model 801 loudspeaker, in walnut or teak veneer B&W Pulls Out enclosure; black ash available on special order. Dimensions: 171/4 by 221/4 All the Stops inches (floor coverage), 37' inches high. Price: S1,465; optional "bonnet" (midrange/tweeter grille), $130; rosewood or lacquer finishes available on special order at additional cost. Warranty: "limited," five years parts, labor normally included. Manufacturer: B&W Loudspeakers, England; U.S. distributor: Anglo-American Audio Co., Inc., P.O. Box 653, Buffalo, N.Y. 14240. B&W is one of those speaker companies that has adopted the computer as a major design tool; in the Series 80 (of which the 80 Iis the premier model in both the chronological and the prestige sense), the company was determinedto leave no digit unturned in its search for the very best product that could be devised with the analytical and data -acquisitive faculties at its disposal. Among the major computer applications involved are aid in crossover -network design, component testing and matching, and subassembly testing and matching. The matching includes Report Policy: Equipment reports are based on labora- both the choice of parts and subassemblies that will best complement each other tory measurements and controlled listening tests. Unless and the pairing of stereo systems for near -identical performance. A by-product of otherwise noted, test data and measurements are ob- the performance records that are generated is the possibility of hand -selecting tained by CBS Technology Center, a division of Columbia Broadcasting System, Inc., and Diversified Science Labora- replacement parts to maintain the tight inter -pair tolerance if a repairever becomes tories. The choice of equipment to be tested rests with the necessary. None of this is unique, though the aggregate approach-as well as the editors of HIGH FIDELITY. Samples normally are supplied on final design-does reflect the fact that B&W is willing and able to do its loan from the manufacturer. Manufacturers are not permit- own ted to read reports in advance of publication, and no re- original thinking. port, or portion thereof, may be reproduced for any pur- The tweeter and midrange driver have their own enclosures within pose or in any form without written permission of the what might be called the "head" of the system, which has a coiled cord that plugs publisher. All reports should be construed as applying to the specific samples tested; HIGH FIDELITY, CBS Technology into a socket in the woofer/"body" section and can be covered byan optional Center, and Diversified Science Laboratories assume no re- superstructure/grille "bonnet" if its angular features offendyour sensibilities. (We sponsibility for product performance or quality. prefer its looks without the bonnet.) The beveled edges of the headare intended to

4 Circle 8 on Reader -Service Card 24 HIGH FIDELITY

B&W Model 801 loudspeaker minimize diffraction; a cloth -covered foam pad on top of the body section minimizes reflections. Nestled into this pad is a battery that powers the overload -protection ANECHOIC RESPONSE CHARACTERISTICS (0 dBW input circuitry. Battery life is listed as approximately two years; a test button next to the 08 1-- protection pilot in front of the battery triggers the protection system and thus 85 - 80 demonstrates whether the battery has sufficient charge to operate it. 75 At the back of the body section is a connection panel (sockets for 70 801 individual banana plugs) plus a system fuse. Casters are virtually obligatory in a floor - HZ 20 50 100 200 500 IK 2K 5K 10K20K standing studio monitor speaker and a nice touch in the home. (The design criteria 3iKr3:Kboundary -dependent region of the 80 I include both applications, in fact: It is intended as a true monitor-that is, average omnidirectional response a superaccurate reproducer-that will also fit gracefully into a home.) The acoustic -average front hemispheric response - - -on -axis response suspension woofer (plus, of course, the crossover) occupies the body of the speaker; the head is attached to it by a rod running through the midrange housing and AVERAGE OMNIDIRECTIONAL OUTPUT screwing into a threaded socket near that for the midrange/tweeter cord. The head (250 Hz to 6 kHz) 7944 dB SPL for 0 dBW II watt) input and body thus are rigidly connected, though the head can be swiveled on the body. The data from CBS Technology Center must be approached with a bit CONTINUOUS ON -AXIS OUTPUT (at 300 Hz) of caution, since the same caveats apply to their interpretation here as with any 108 dB SPL for 20 dBW 1100 watts) input other speaker whose tweeter is placed far above the central horizonal axis. Some PULSED OUTPUT (at 300 Hz) standards call for the measuring microphone to be on the tweeter axis, which 11644 dB SPL for 2844 dBW 1750 watts) peak certainly represents the speaker's output better when only an on -axis measurement

"NOMINAL" IMPEDANCE 5.7 ohms will be made; some systems (particularly among those popular during the period when this test technique was under consideration) have no clearly defined tweeter APPROX TWEETER CONTROL RANGE Ire "flat") axis because of multiple drivers and/or reflectors. The lab thus chose to use the ± 2 dB above 3 5 kHz "geographic" axis, half -way up the overall height, and to place a sufficient number APPROX MIDRANGE CONTROL RANGE Ire "flat") of microphones around an imaginary sphere enclosing the loudspeaker to catch a - 1, -2 dB, 900 Hz to 3.5 kHz sampling of the entire spatial output. Thus the "on -axis" curve for a loudspeaker such as this does not represent what you hear when you listen "on axis"-that is, with the tweeter/midrange head pointing at yours. The lab did run a sweep curve on this axis. Within as close a tolerance as we could expect in such a test, it confirms the B&W claim of essentially flat response from 45 Hz up. The usual anechoic curves confirm the ultrasmoothness-the freedom from quirks in both frequency and spatial propagation-that we hear from the 801. The distortion curves are equally comforting: Nothing above 1% shows up in the 0- dBW (1 -watt) test, and even at 100 dB SPL the second harmonics remain below 1%, while the third harmonics exceed that figure only below 40 Hz and rise above 2% only below 25 Hz-essentially, below the speaker's bandpass. Most of the distortion data within its working range are well below 1/2%. Efficiency is relatively low for so large a system (some evidently has been traded for deep -bass response), and the dynamic -range ceiling is below the threshold of pain (at a hair under 117 dB SPL). Some competing models thus will play louder with the same electrical input or can be driven to higher output levels. The first consideration need concern only those whose budgets preclude purchase of 801s in the first place; the second will be of interest only if visceral impact is more important than hearing preservation. Neither is within B&W's design criteria. Pulse waveforms are well reproduced. At 3 kHz, there is some slight hangover plus evidence of low-level reflections. While both effects are minor, it is somewhat surprising to find them at all, considering the care that has been taken with such things in the design. Though the "nominal" impedance is below the 8 - ohm rating, it obtains only over a fairly narrow band below 100 Hz, and most of the impedance curve lies above 8 ohms-actually rising to a maximum of about 45 ohms near 2 kHz. The 801 therefore constitutes a relatively "safe" load if speakers are to be paralleled from a transistorized amplifier. But the whole adds up to considerably more than the sum of its parts: In simplest possible terms, the 801 is among the handful of great loudspeakers available. Detail, whether of timbre or of stereo imaging, is reproduced with a delicate accuracy that imposes no obtruding quality of its own. That very unobtrusiveness is a mark of the design's success, though it puts it at a disadvantage in hasty A/B comparisons, where less accurate speakers may seem more dramatic. Indeed, with extended listening, the little exaggerations on which their appeal is based become progressively apparent, while the 801's superb poise and balance make it seem, more and more, the objective reference against which the others' foibles can be measured. That is not to say that the B&W speaker is for everyone (even were price no object), but those who admire well -controlled, accurate response should audition it carefully. Circle 136 on Reader -Service Card AKAI QUICK -REVERSE. \ FOR PEOPLE WHO HATE TOINTERRUPT A GREAT PERFORMANCE. reduced to less than 0.04%WRMS. Distor-

9.. tion is less than 0.7% (1000 Hz "0" VU)

Now, add AKAI's second stroke of II genius, our Quick -Reversing mechanism. L Integrated into one of the P.-11pavan% %mint,' SUER C) HER)

two tape guides, is an in- INFRARED..1

frared device that detects CLEAR TEl Cl,DY UK LEADER DENACRES AWATE upt the tape leader and trig- nAquarrocr gers the reverse. The resul:- tt-' """"

virtually no interruption ,yr in place of the usual 12 to The magic of 14 seconds of silence quick -reverse. VElftitidilosoI between sides on conventional decks. 2 And just In case you thought we ne- Just pop in the cassette and spend the rest of the glected the rest of the GX-F6OR's features night making beautiful music together. in search of the perfect transport system, AKAI proudly annources the read on. GX-F6OR. Another superb example of You'll also fine full -logic solenoid quality in reverse. controls, :wo-color fluorescent It begins with the finest TAPESELECTOR VUipeak bar meters, Dolby, Cr-Cie record/playback head in the LH 1.,1E AL timer record/playback and industry. AKAI's glass and crystal remote control capabilites. ferrite Twin Field Super GX Plus a handsomely designed

Head. Guaranteed for over 17 hydraulically -dampened panel years of virtually wear -free per- that artfully conceals a full host Four -position of controls. formance on any tape formula- tape selector. tion-low-noise through metal. Allinall, the finest revers- You'll also find a tape transport designing cassette deck AKAI has ever built. that's sheer engineering w.zardry. And guaranteed to leave you with a And a two -motor system to lend even.lot more than time on your hands. more stability. For much more information on the All this, combined GX-F6OR - or our with specially engine- more economically - ered channeled tape minded CS-M4OR, also metal -capable guides, maximize tape - ,;-77 to -head contact in both 12.51 with Quick.Reverse - directions for both - 1.1[1.110 write AKAI, P.O. 1,2.1141 AAl ,; record and playback. a a " Box 6010, Ccmpton, Wow and flutter is California 9C224. TheGX-F6OR,our new Auto - "'Dolby Lain. Inc. Reverse, Quick -Reverse expert.

A K A I YOU NEVERHEARD IT SO GOOD 26 HIGH FIDELITY

AR -94 loudspeaker system, in wood cabinet with wraparound Blue-Gened cloth covering. Dimensions: 14 by 301/2 inches (front), 103/4 inches deep. Price: $200. Warranty: "full," five years parts and labor. Manufacturer: Baby from AR Teledyne Acoustic Research, 10 American Dr., Norwood, Mass. 02062. AR's line of vertical "high tech" speakers started at the top, with the AR -9 (HF, October 1978). Since then, as much of the 9's blue blood as possible has been transfused into the nether price regions. The process began with the AR -90, followed by the 91, 92, and, most recently, the 93 and 94, each representing a yet E lower price. In testing the AR -94 we are, therefore, documenting the other extreme of the series. And we find that, despite the wide price spread between the 94 (at $200) and the 9 (at $8001, an astonishing proportion of big daddy's genes remain operative in the new baby. All the models in the series employ vertically aligned drivers (except in the bass) for maximum stereo -image clarity, which also is enhanced by the acoustic blanket surrounding the high -frequency drivers to absorb their radiation along the baffle board and forestall diffraction and reflection effects at the enclosure's front edges. But while the bigger models use paired side -firing woofers at the bottom of the enclosure (which therefore couple to the floor and the back wall), the 94 takes a markedly different approach in this region. Though it is termed a three-way system, it has no midrange driver per se; rather, two 8 -inch drivers cover both bass and Acoustic Research AR -94 loudspeaker midrange via an unusual crossover scheme. Both drivers receive a share of input below 350 Hz; as that crossover point is approached, the signal to the lower driver ANECHOIC RESPONSE CHARACTERISTICS 10-dBW input) DBr rolls off and the full midrange input is fed to the upper one. One reason for this

90 relationship, according to AR, is that it effectively prevents cancellations-the so- 85 called wall dip-from occurring, as they would were both 8 -inch cones driven to

80 AR -94 the higher frequencies. A conventional crossover of 6 dB per octave is applied to the HZ 20 50 100 200 500 IK 2K 5K 10K20K tweeter. boundary -dependent region Exclusion of driver level controls from the 94 represents one of the cost average omnidirectional response savings in the design, and we don't miss them. (Many designers have told us ruefully average front hemispheric response on -axis response that they include such controls only because "the market demands them." If a speaker is well designed in the first place, driver controls are an inadequate AVERAGE OMNIDIRECTIONAL OUTPUT substitute for good placement and room acoustics.) The speaker connects to the 1250 Hz to 6 kHz) 82 dB SPL for 0 dBW II watt) input amplifier via color -coded screw -down posts on the underside of the enclosure, and a recess on one side of the integral base allows the wires to pass freely without CONTINUOUS ON -AXIS OUTPUT (at 300 Hz) tilting the cabinet. According to AR, some 20% of the manufacturing cost of a 108 dB SPL for 20 dBW (100 watts) input typical loudspeaker system goes into wood veneers and the like for the enclosure. PULSED OUTPUT )at 300 Hz) The 94 therefore eschews such materials, employing instead unfinished 122/: dB SPL for 349, dBW (2,800 watts) peak particleboard covered by a nonremovable black cloth "stocking" and finished top

"NOMINAL" IMPEDANCE 4.8 ohms and bottom with black plastic caps. The result is not only another cost saving, but a distinctive and very attractive appearance. Despite the complexity of the crossover network-or, perhaps, because of it-we were pleased to note the unusually smooth, consistent impedance curve in the data from CBS Technology Center. From a high of 10 ohms at 55 Hz, impedance dips smoothly to the "nominal" 4.8 ohms at 150 Hz, rises gradually to about 10 ohms again at 3 kHz, then settles down to a little under 6 ohms at 10 kHz. Some amps may balk at paralleled pairs of 94s, but on a one -per -channel basis they present a very "comfortable" load to typical output stages. Thanks to its relatively large cabinet volume, the speaker is fairly efficient for a moderate -priced acoustic suspension design, but use of a skimpy amp seems pointless considering the 94's excellent dynamic range. In fact, the thunderous (I 22% -dB) output in the pulsed test drained the lab's amp dry without inducing untoward behavior in the speaker. Frequency response plots show elevated output down to about 40 Hz. Distortion products-both second and third harmonics-are remarkably well controlled; at moderate listening levels, they stay well below 1/2% over most of the band. At loud levels (100 dB SPL), harsher -sounding third harmonics remain below 1% on the average, while second harmonics hover around 1%. Scope photos demonstrate the 94's ability to reproduce 300 -Hz transient waveforms with excellent precision; the tweeter does show some evidence of blurring 3 -kHz pulses, but we could hear none in listening tests. Frankly, we were surprised at just how impressive the AR -94's tonal reach and balance proved to be. Bass reproduction was our first eye-opener. With program material stretching from drum rolls to the deepest organ fundamentals, we were mightily impressed with the unit's ability to put out clean, articulate bass. Complex orchestral passages-frequently the bane of less well designed systems- ...an outstanding producton any absolute scale of measurement withoutregard toprice. -STEREO REVIEW

4-4

A Read more of what Stereo Review magazine had to say about moderate -price receiver to provide performance that wouldhave the Yamaha CR-840 receiver: been unimaginable only a short time ago." "The harmonic distortion of theCR-840 was so low that And the CR-840 is only one example inYamaha sfine line of without the most advanced test instruments it would have been receivers. For instance, High Fidelity magazine's impossible to measure it." comment about the Yamaha CR-640 receiver: "From what we'veseen, the When speaking of the OTS (Optimum Tuning System),an easy -to -use Yamaha CR-640 is unique in its price range." Yamaha feature that automatically locks in theexact And Audio magazine has remarks on the Yamaha CR-2040 center of the tuned channel-for the lowest possible distortion, receiver: "Without a doubt, the Yamaha CR-2040 is the Stereo Review said, "The muting and OTS systems operated most flawlessly." intelligently engineered receiver that the company hasye: produced, and that's no small feat, since Yamaha products have, Among Yamaha's most significant features is the continuously over the last few years, shown a degree of sophistication, human variable loudness control. By using this control, the frequency engineering, and audio engineering expertise which hasset balance and volume are adjusted simultaneouslyto compensate them apart from run-of-the-mill receivers." for the ear's insensitivity to high and low frequency soundat low Now that you've listened to what the three leading audio volume settings. Thus, you can retain a natural -sounding magazines had to say about balance regardless of listening level. As Stereo Reviewstates, Yamaha receivers, why not "...another uncommon Yamaha feature." listen for yourself? Your And there's more. Like the REC OUT/INPUT SELECT feature. It 4.4%° These separate controls allow you to record from Yamaha Audio Specialty one program 5e-febY.1.."... Dealer is listed in the Yellow source while listening to another program source All without _ -'''------%.:-..... /r-lp Pages. disturbing the recording process. Stereo Review's :...... :...... ,...... comment was, 4t1 To obtain the complete test

"...the tape-recording functions of the CR-840 it are virtually . A... A report on eacho'these independent of its receiving functions." One couldnot ask for receivers, write: Yamaha International Corp., Audio Division, greater flexibility. P.O. Box 6600, Buena Park, CA 90622. In summing up their reaction to theCR840,Stereo Review Quotes excerpted from June 1979 issues it Stereo Reviev, High Fidelity and Audio said, "Suffice it to say that they (Yamaha) make it possiblefor a magazines. All rights reserved,

OYAMAHA TNEBEST SOUND IS THE PUREST

111 :7Audio...

. r. `Pure - Sin

To make a sound system pure and simple has been the dream of audio engineers. Lux R accomplished this through the unique Duo -Beta system for all amplifiers. For total harmonic .11c, distortion (THD) you can't hear. And transient 3 intermodulation (TIM) you can't even measure. With tuners, Lux took an equally effective approach. The Closed Locked Loop System for 7"--. infinitely precise tuning accuracy. And the k Acculock System, an electromechanical locking

device to reach and hold that tuning precision. %. Duo -Beta Negative feedback is a corrective measure to 17: . maintain sound purity by lowering THD. While doing that, however, it can increase TIM. A "no - 3 win" solution. So Lux designed amplifiers that la needed no correction. I Too much feedback can destabilize amplifiers and cause damage. Too little reduces damping and increases low frequency noise and rumble. way. COmpi Duo -Beta delivers the precise amount of feedback needed through two circuit paths, eliminating the last vestiges of audio impurity. That's the Lux touch. CLL Tuning Most good tuning systems use quartz lock .- synthesizers. And they work. But they only work on the local oscillator or front end. Lux's CLL circuitry, on the other hand, controls all the stages of a tuner, from front end to IF and detector circuits. CLL circuitry, based on the crystal controlled frequency transmission of the broadcasting station provides total tuning...stable and accurate. Acculock This is the typical Lux touch. A simple way to assure tuning precision. So simple, you can't - mistune even if you want to. Becauseal -the exact en., center tuning point, the Accu system puts a mechanical lock on the tuning knob. For about one second, you can't even move that knob The CLL system says when. The Acculock system does it. Pure and simple systems T-400 AM, FM Stereo Tuner

T-450 CLL Acculock AM/FM Stereo Tuner: IHF usable sensitivity; 10.3dBF (1.8p.V) L-450 Integrated Amplifier: A Duo -Beta unit; 50 watts per channel RMS, both channels driven into 8 ohms, from 20-20,000 Hz with no more than 0.03% THD. L-480 Integrated Amplifier: A Duo -Beta unit; 70 watts per channel RMS, both channels driven into 8 ohms, from -wen, 20-20,000Hz with no more than 0.05% THD. L-580 Integrated Amplifier: A Duo -Beta unit; 100 watts per channel RMS, both channels driven into 8 ohms, from 20-20 )O0Hz with no more than 0.03% THD. Sophisticated technology The technology described above has been proven on Lux's high end models. You get the benefits, but not the cost of more sophisticated systems. That's another Lux touch. Pure and simple.

Ultimate Fidelity Stereo Components LUX Audio of America, Ltd. Reflecting Tomorrow's Technology in Today's Systems 160 Dupont Street, Plainview, NY 11803 / (516) 349-7070 West Coast Office: 11200 Chandler Blvd., North Hollywood. CA 91603 / (213) 980-7641 Canada: Lux Audio of Canada, Ontario MIS 3R3

Circle 24 on Reader -Service Card OCTOBER 1980 29

are reproduced with clarity and honesty of timbre. Imaging, too, proves remarkably accurate and is notable for its front -to -back depth. High frequencies, especially the demanding percussives of piano and triangle, are handled with clarity and verve. Obviously, we are enthusiastic about the 94, as we have been about each of the AR vertical models we have heard. While they certainly are not equal in absolute performance-the 94's deep bass is not as magisterial as that of the 9, for example -the littlest of the genus offers exceptional sonic value, in our estimation. Circle 131 on Reader -Service Card

Onkyo F-3000 loudspeaker, in wood enclosure with vinyl Onkyo finish. Dimensions: 161/2 by 26% inches, 11 inches deep. Price: $350. Warranty: "limited," five years parts and labor. Manufacturer: Onkyo in Phase Corp., Japan; U.S. distributor: Onkyo U.S.A. Corp., 42-07 20th Ave., Long Island City, N.Y. 11105. Attempts to maintain phase accuracy in loudspeakers-insuring that the sound emanating from the separate drivers reaches the listener at the same

NNW. time-have usually led designers to mount traditional drivers in "stepped" or canted cabinets to keep the voice coils of all drivers in the same vertical plane. Onkyo, however, takes another tack altogether in its F-3000 Phase Aligned loudspeaker. tin The flush -mounted 11 -inch woofer and 4 -inch midrange have annularly ribbed flat diaphragms formed of a blend of polyurethane and felted paper. The high -frequency driver, too, comes in for some revamping with what Onkyo calls a Direct Drive Membrane tweeter, whose lightweight voice coil is laminated directly onto a thin plastic film and then suspended in a magnetic field-essentially the sort of driver being called a "ribbon tweeter" by some companies. The F-3000 is intended for floor placement, and each unit comes with a pair of black wooden stands that screw into the bottom of the enclosure. So mounted, they raise the speaker and tilt it back slightly to aim it toward the seated listener. Two controls, MID and HIGH, are located on the front baffle behind the grille; screw -down posts for hookup to the amplifier are provided on the back of the cabinet. Careful craftsmanship characterizes the construction of the F-3000, and close examination is required to distinguish its vinyl finish from the rosewood it imitates. The data from CBS Technology Center define the speaker as moderately efficient for an acoustic suspension design and capable of accepting prodigious power. In the pulsed power tests, CBS's own amp ran out of steam before unacceptable distortion could be produced. Paralleling two pairs may cause some amps to balk. Impedance averages about 8 ohms across the frequency band above Onkyo F-3000 loudspeaker bass resonance. The minimum measured impedance is actually below 4 ohms between I and 2 kHz, admittedly an area with less musical energy than in the 100- ANECHOIC RESPONSE CHARACTERISTICS (0 dBW inpu DB Hz range of the "nominal" (5.5 -ohm) impedance. T -7 1 90 . . The controls produce little effect when they are turned to their MAX 1 85 settings from the indicated NORMAL at which the lab made its measurements and we so did most of our listening. At the minimum setting, however, the HIGH control 75 F-3000 effectively shuts down the tweeter above 5 kHz, while the MID cuts response by HZ 20 50 100 200 500 1K 2K 5K 10K 20K about 17 dB at 2 kHz. Such extremes always are a travesty of high fidelity, to our 33333333133i boundary -dependent region way of thinking. average omnidirectional response Distortion figures, especially for the harsh -sounding third harmonic, are -----average front hemispheric response - - on -axis response extremely low. At both moderate and loud listening levels, traces depicting third harmonic products show an average of about 1/2% across the entire test spectrum. AVERAGE OMNIDIRECTIONAL OUTPUT Second harmonics remain below 1% at loud levels and below V2% at moderate levels 1250 Hz to 6 kHz) 8116 dB SPL for 0 dBW (I watt) input in the midband but rise to about 2% between 2 and 5 kHz at both levels. Transient waveform reproduction is exemplary; both the 300 -Hz and 3 -kHz waveform traces CONTINUOUS ON -AXIS OUTPUT (at 300 Hz) are virtual duplicates of the input signal. 109 dB SPL for 20 dBW (100 watts) input In listening tests we are delighted with the overall performance of the PULSED OUTPUT (at 300 Hz) F-3000. While some of the ether "exotic" tweeters we've heard suffer from sonic 122% dB SPL for 33% dBW (2,400 watts) peak flaws, the Direct Drive Membrane presented a vivid re-creation of just about any high -frequency signal we fed to it; delicate brushed cymbals that had been all but "NOMINAL" IMPEDANCE 5.5 ohms lost on another speaker here emerged with clarity and proper balance. Likewise, APPROX TWEETER CONTROL RANGE Ire "flat") midrange and upper bass are handled with an up -front, uncolored immediacy. We +2 dB above 3 kHz; see text sometimes detected a slight heaviness in the bass-which, on some program

APPROX. MIDRANGE CONTROL RANGE Ire "flat") material, can be restrained by a bit of bass cut at the preamp. Stereo imaging is +2 dB, 600 Hz to 6 kHz; see text spacious side to side, with a dramatic frontal projection if somewhat less depth than 30 HIGH FIDELITY

we often find in speakers of comparable overall accuracy. The F-3000 presents a reshaping and rethinking of traditional materials and techniques in the development of a more accurate dynamic loudspeaker. To what extent these technical specifics-as opposed to care in the general design and construction-are responsible for the success of the project is, perhaps, a moot point. But it is, unequivocally, a fine loudspeaker. Circle 134 on Reader -Service Card

Audio Pro B2-50 Ace Bass Subwoofer, in walnut or black ash An Excellent wood enclosure with built-in power amp and crossover options. Dimensions: 18 by 171/2 inches (top), 21 inches high. Price: 5995. Warranty: Subwoofer "limited," five years parts and labor, transferable. Manufacturer: 3Dgruppen ab, Sweden; U.S. distributor: Intersearch, Inc., 4720-0 Boston From Sweden Way, Lanham, Md. 20801. The Audio Pro design seeks-successfully, in our opinion-to solve all --,v-1114614..... the problems inherent in trying to integrate a separate subwoofer into an existing system. It offers independently variable low-pass (subwoofer) and high-pass (main system) crossover -frequency adjustments, plus a wide -range level (sensitivity) control El for the subwoofer band, to optimize the sonic mating between it and the speakers with which it will be working. It includes a power amp for the subwoofer band so that the main system's amp can put all of its resources into the band that will be handled by the original speakers. An automatic AC -switching device eliminates a separate trip to the subwoofer amp each time you turn on the system. Casters make it easy to experiment with placement for optimum blend with the main speaker pair or to trundle the subwoofer out of the way when it's not in use. All told, this represents greater adaptability than in any subwoofer we've tested to date. The amplifier section actually does more than amplify; its relatively complex circuit (the Ace Bass after which the model is named) resembles some speaker "servo" circuits in sensing current through the drivers and transmitting the information via a negative feedback loop to the amplifier proper and includes a "soft -clipping" waveform shaper that cuts in when signal values come within about 2 volts of the hard -clipping ceiling. The input to the amplifier section combines the Audio Pro Ace Bass B2-50 subwoofer two channels via a 138 -Hz low-pass filter and therefore is mono (L+R) from that ANECHOIC RESPONSE CHARACTERISTICS 10 85V input point on. Further low-pass filtering, for the variable turnover, comes later on. The to L ch sensitivity at "I "; crossover at max.) output feeds two identical drivers, wired in parallel, with one connected out of DB I phase and mounted back to front for a "push-pull" configuration said to cancel 90 . . . N second -order distortion products. The port of the bass -reflex enclosure is on the 85-

so bottom, held the correct distance above the floor by the casters. 82-50 Because of the intimate relationship between the electronics and the HZ 20 50 100 200 500 11< 2K 5K 10K 20K boundary -dependent region drivers, the subwoofer is driven by its own amp whether you feed it from a line -level average omnidirectional response output (either from the main output of a preamp or from the pre -out connection, if average front hemispheric response it has one, on a receiver or integrated amp) or from power -output (speaker) on -axis response terminals. The B2-50 employs DIN connectors (coded two -prong jacks for power connections, a five -pin input/output jack for line signals), and appropriate adapters are packed with it. The recommended setup, which we favored in our testing, uses only the five -pin jack and the adapter for the familiar RCA -style ("phono") pin jacks for the preamp output and power -amp input. The preamp signal feeds into the crossover, where the low-pass portion goes directly to the built-in amp, while the high-pass portion goes back to the main system for amplification. In this configuration, the satellite speakers are driven directly from that main amp. If you have a receiver with no pre-out/main-in connections, you can feed its power output to one pair of power connections on the B2-50 and use the other pair for the connections to the satellites. The signal for the subwoofer is taken off the internal jumpers between these pairs; thus it feeds the built-in amp and drivers via the low-pass filter (and a level -reducing pad), but the full frequency range goes to the satellites, disabling the high-pass crossover control. The satellites can be paralleled with the subwoofer at the receiver output, instead of the subwoofer jack panel, with essentially identical results-as the excellent owner's manual spells out. But best results require use of the variable high-pass filtering and, therefore, of the line -level connections. (They cannot be used effectively with a receiver's tape in/out connections because any change in the volume -control setting would alter the output from the satellites only; the subwoofer's sensitivity control

Circle 42 on Reader -Service Card

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Heavy. Introducing another Sony only. The MDR series open-air unit that produces more than three times the energy of con- headphones. The smallest, lightest stereo headphones avail- ventional circuits. And a new high -compliance diaphragm able today. Or tomorrow. accurately reproduces the 20 to 20,000Hz bandwidth and With our lightest at 40 grams, you will barely know you're improves low -range response. wearing them. Yet the sound is MDR -3 MDR -5a. MDR -7 That means you can listen to the dynamite. heaviest of music for hours. Lightly. Through a remarkable new audio And know that you're hearing breakthrough, our engineers have every nuance of the original succeeded in reducing big -head- recording from deep bass to the phone technology down to the size highest treble. of your listening channels. Listen to our new MDR series The MDR series headphones' headphones. STEREO HEADPHONES airy spaciousness delivers absolute They're light. clarity through an ultra -small driver And heavy. -DR 32 HIGH FIDELITY

SENSITIVITY ADJUST. would have to be readjusted.) SUBWOOFER CROSSOVER ADJUST. - The primary adjustment is at the sensitivity control, to balance the SATELLITE CROSSOVER ADJUST.- subwoofer's level to that of the speakers it supplements. Generally, we began with AC POWER (AUTO/ON)- a rough adjustment here, with both crossover controls set at 100 Hz, then experimented with the latter to see if we could improve the mating between the deep bass and the remaining sound, adding a sensitivity touchup if it seemed necessary. With well -designed satellites, both crossover controls probably are best kept at about the same frequency. Some speakers whose bass range does not extend very deep are intentionally underdamped to create a peak just above the 4 bass rolloff and give the impression of more bass; however, they typically have a boomy one -note quality in this region. For them, the manual recommends setting the high-pass filter to a higher frequency than the low-pass filter. The idea is to play off the satellite's peak against the high-pass control's attenuation for a flat net output. Classic wisdom has it that relative level, frequency, and 0 (sharpness) of the crossover filters should all be independently variable for precise mating of a subwoofer with the main speakers; the Audio Pro adjustment scheme comes close to offering this ideal flexibility with fewer controls and, therefore, less chance for user confusion. Much of the measurement technique at CBS Technology Center is calculated for full -range speakers and uses 300 Hz as a touchstone. This frequency is above the subwoofer's bandpass, much of which lies below the 60 -Hz rating limit of the lab's anechoic chamber. As a result, the quantity of data in our subwoofer LINE INPUTS reports is relatively restricted. The response measurements do confirm good output POWER INPUTS (that is, substantially flat, insofar as it can be judged) to below 30 Hz, with a sharp SATELLITE POWER OUTPUTS rolloff at about 25 Hz. The upper frequencies at which response is 3 dB below 40 - Hz output are remarkably close to those shown on the calibrations of the low-pass crossover control. With a continuous 100 -Hz tone, signs of distress did not appear until output was raised to 106 dB SPL (with a 2.7 -volt input and the sensitivity control set at "1"). Impedance is moot, of course, in a self -powered speaker. Distortion, in all tests, reached its maximum in the neighborhood of 30-40 Hz. The second harmonics are extremely well controlled: no more than about 1% at an output level of 90 dB SPL and about 2% at 100 dB, and remaining well below 1/2% from 100 Hz up in all the tests. The third harmonics are not as low but still qualify as good by comparison to other speakers in this frequency range. Maxima at the two tests levels ran about 3% and 10%, respectively, with all third harmonics below 1% from 70 Hz up. All of this suggests clean and ultradeep bass, and enough of it to match just about any speaker you want to use the subwoofer with. Our listening tests concur. If the main speakers are fine reproducers in all respects except bass response, the B2-50 can do wonders. And it makes very little difference how efficient the main speakers are, since the 16 -dB sensitivity adjustment range is more than enough to match any model we could come up with. Positioning is as important as adjustment if best results are to be obtained. Though theory dictates that the ear loses its ability to detect source direction below 100 Hz, some higher frequencies (however attenuated) do get through the crossover, and we found it easiest to get a good blend with the main speakers' stereo image when the subwoofer was between them. If the listener's distance from it differs substantially from his distance from the main speakers, phase anomalies can result at the crossover. And its placement against a wall or furniture or under a table can significantly color the sound, as it can with any speaker. But when appropriate care has been paid to all these details, its performance can't be bettered by any subwoofer we know of. Add to this its relatively compact size, and it is an exceedingly attractive design. On top of these sterling virtues are the styling and the AC system. All of the controls and connections (as well as the drivers) are on the front panel behind the easily removable grille cloth. The wiring passes from the electronics panel down to openings in the bottom, where it can be dressed back beneath the enclosure, out of view. Very neat. And the automatic AC switching obviates your ever having to remove the grille once you have the adjustments just as you want them for the final subwoofer placement. The slightest signal in the audio automatically turns on the built-in amp instantly if the AC switch is in its AUTO position; several minutes after all audio input has ceased, the amp reverts to its STANDBY mode, in which current drain from the wall socket is negligible. If you will be away from home for some time and

Circle 43 on Reader -Service Card Sonyovercomes thegapin three -headtechnology. Introducing the TC-K81 discrete And our new cassette deck reallysound reproduction. And the TC-K81 three -head tape cassette deck. shows its stuff in Bias Calibration has Dolby** IC, Headphone/ The superiority of three -head and Record Level Calibration Lineout attenuator and all the other cassette tape decks is well known. BIAS CAL REC LEVEL CAL sound quality standards to improve With three heads you can achieve the 0 0 0 musical performance. You can pop, individual optimum head gaps for rock and bop. Or enjoy the airiest record and playback. Without -20 4t) of arias with profound fidelity and compromising the head gaps as in +20 -al +3 -3 R+3 Sony quality. conventional two headed systems. Systems. Two built-in oscillators and The TC-K81. See it. Hear it. You get a wider frequencyrange andMulti -function LED Peak Meters let And you'll say, yes. a higher frequency response. you adjust Bias and Record Level Factory aligned The real advance in three -head for flat frequency **Dolby is a registered trademark of technology is Sony's TC-K81 discreteresponse Dolby Laboratories three -head cassette tape deck. Each head has its own individual casing and sus-

pension systems. -.--jay. . With Sony's three 1P 1 individual heads you get precise r azimuth alignment* and equal record ;1 and playback head ar" to tape pressure. RM-50 ra!e 14g. optional remote Features that combi- control unit. nation or other discre TC-K81 three -head systems can't offer. And you don't have to worry about unwanted <12 magnetic leakage flux, as in to optimize the combination three -head systems, \s_performance of any tape. when you are Sony's quality shows on the ntmonitoring the inside with linear BSL (Brushless& actual recorded Slotless) motors and a damped signal. In short, flywheel to eliminate resonance. three heads have Metallized film resistors and Poly- never been better.propylene capacitors promise clear We also used Sendust and Ferrite for the heads in the TC-K81 to increase linearity and frequency response. S&F heads are ideal to get the most out of metal tapes. As well as Regular, Chrome and FeCr. Sony's Cdr_ closed loop dual capstan drive system, unlike other dual capstan drives, assures equal 1A torque dis- vvd0+ tribution to R m, Pan I both take-up Closed -LoopDual -Capstan System and supply reels. SONY® Synthesized Art. Sony's new receiver creates higher-fi with a computerized tuner, a DC power amp and Pulse Power Supply. Dream up a stereo test and compareand then obtains the exact frequency our new STR-V55 receiver work of in precise, discrete steps. art with any other receiver you care And preset tuning instantly to hear. Or view. recalls any of the eight stations that A The measure of the receiver youare stored in our new MNOS (metal invite into your home should featurenitride oxide semiconductor) memory S' Hi -f, power tr. unusually intelligent versatility. that can't be accidentally erased. It's also important to know that Ample power. Inaudible distortion. Our beauty is not only designed an efficient, compact Pulse Power And an attractive design that speaks for easy viewing, it's coordinated to Supply provides stable DC power with a quality "finish!' be proudly displayed. Bright electro- even at peak levels. And highly Of course, we'd like to recom- fluorescent digits responsive Hi-fT power transistors mend our STR-V55 because we artfully reproduce complex synthesized our newest wave forms even at technology to high frequencies give you the in- and full out- credible accuracy , put power. of frequency synthesized tuning, a versatile microcomputer and silent, ..... uninterrupted ...... power. The tuner bi STR-V55 ,...... ,..... section is so di...... sophisticated that a highly stable quartz -crystal oscillator locks in AM and FM signals for brilliantly Sound is so clear that quiet faithful reproduction of intervals are quiet even at the highest broadcast programming. listening levels. And the display frequencies. Sony's STR-V55 is more of

- microcomputer Bright green LEDs in a five -step a receiver because you demand to gives you tuning array show signal strength. And red hear more of your music. Own our options that simply LEDs pinpoint your favorite stations masterpiece. . -a, don't exist any- at a glance. where else. Consider the power of 55 watts Memory scan is our latest exclu- per channel that propels the intimacy sive tuning advance to span the of the original performance through bands automatically. Press a button Sony's advanced DC amp technology. and preset stations are automatically And a high -gain low -noise phono tuned in sequence for approximatelyamp in the preamp section enables 3.5 seconds each. Hands-off tuning you to even use an MC cartridge lets you automatically monitor your with your turntable to capture the favorite stations and simply pressing subtleness of the softest, most the appropriate station button tunes delicate music. in your selection for continuous listening. Choose auto tuning to capture stations with frequencies that you don't know for certain. A touch of a button precisely finds the next station encountered up and down the frequency band. Manual tuning lets you approach known frequencies at high speed SONY. OCTOBER 1980 35

want no current drain at all, you can switch the AC to OFF. In details like these, as well as in its overall design, the B2-50 testifies to exemplary care in considering its user and his needs. We recommend it without reservation. Circle 133 on Reader -Service Card

Dennesen ESL -110 loudspeaker system, in wood cabinet with Dennesen's walnut -veneer finish. Dimensions: 71/2 by 18 inches (front), 8 inches deep; 8 -foot AC power cord attached. Price: $500 per pair. Warranty: "limited," Hybrid Mini three years parts and labor. Manufacturer: Dennesen Electrostatics, Inc., P.O. Box 51, Beverly, Mass. 01915. To our knowledge, the ESL -110 is unique-a combination electrostatic/ dynamic speaker system only slightly larger than the common, strictly dynamic, mini variety. A featherweight at 14 pounds, the 110 contains three separate 3 -inch electrostatic elements with 12 square inches of total radiating area plus one 5 -inch Bextrene woofer mounted in its own acoustic suspension enclosure. The bevels on the stepped cabinet are designed to minimize edge diffractions; the "step" itself allows phase alignment of the woofer's voice coil with the electrostatic elements. Like other tiny speakers, Dennesen's does not attempt ultra -deep bass response, which could be achieved in so small an enclosure only at the price of preposterously large bass -driver excursion and input power. If you can do without that last octave 11 or two, you can use the 110 as is; if not, Dennesen (and others) can supply a subwoofer to extend the range. Like its (much larger) full -range electrostatic progenitors, the 110 needs a source of external voltage to operate, and each unit must be plugged into an AC power outlet. That accomplished, connection to the amplifier is via standard screw - down posts. Physical construction of the wood -veneer enclosure seems quite neat and sturdy. Data from CBS Technology Center disclose that the 110 does not take well to high power inputs. Though it passed the 300 -Hz continuous -tone test at the 20-dBW (100 -watt) level-for 1031/2 dB of output-the harmonic distortion tests indicate that in real -world conditions the speaker cannot be driven to that Dennesen ESL -110 loudspeaker level without excessive distortion, particularly at lower frequencies. So CBS chose 94 dB SPL for the high-level distortion test in order to keep distortion at 100 -Hz (the ANECHOIC RESPONSE CHARACTERISTICS10dBW input) DB- range in which you would cross over to a subwoofer if you use one) from exceeding ESL II0 85 the test's 10% maximum. Obviously, the 5 -inch woofer, which is asked to reproduce 80 frequencies up to 3 kHz, simply cannot handle the bottom two octaves of the 75 audible band at this level. We can be more sanguine about the distortion picture at HZ 20 50 100 200 500 IK 2K 5K 10K20K moderate listening levels, however: Third harmonics average well below 1% across boundary -dependent region the band, and second harmonics average a good deal lower, though they rise above average omnidirectional response average front hemispheric response 1% in the region between 400 Hz and 1 kHz. on -axis reponse Impedance values are remarkably consistent throughout the midrange and lower treble, ranging from the nominal value of 6.2 ohms (at 360 Hz) to slightly AVERAGE OMNIDIRECTIONAL OUTPUT 1250 Hz to 6 kHz) less than 5 ohms (at 5 kHz). At both extremes of the band, impedance rises fairly 801/2 dB SPL for 0 dBW 11 watt) input sharply-to 38 ohms at the 65 -Hz woofer resonance and to just over 10 ohms at 12 kHz. Waveform reproduction, as depicted in scope photos, is excellent in both the CONTINUOUS ON -AXIS OUTPUT (at 300 Hz) 1031/2 dB SPL for 20 dBW 1100 watts) input 300 -Hz and 3 -kHz tests, with only a hint of what may be reflections in the latter. We set up our listening evaluations both with and without an auxiliary PULSED OUTPUT (at 300 Hz) subwoofer. Without the subwoofer, auditioners found the 11 Os adequate in bass 1091/4 dB SPL for 253/4 dBW 1375 watts) peak response; when asked to give their evaluations after hearing it in combination with "NOMINAL" IMPEDANCE 6 2 ohms the separate low -frequency driver, they were less prepared to comment positively about its stand-alone low -frequency performance. (Our experience has been similar in our past auditions of minisystems.) Predictably, midbass and midrange frequencies fared better than the bass. Vocals, especially, won our plaudits. And the electrostatic elements lend high frequencies the airy quality that has won a continuing audience for this genre of driver. We were bothered, however, by some steeliness in strings, whether bowed or plucked, and woodwinds' upper registers sometimes seemed harshly overetched. Since the speaker has no tweeter attenuator controls, we used our preamp's treble control to mitigate some of these effects. Your attitudes about minispeakers-either by themselves or in tandem with a subwoofer-will dictate your response to the ESL -110, as we see it. If the format's physical dimensions suit your listening room or if the deep -bass underpinnings that can be reproduced by few moderate -size systems are a necessity in your listening (therefore requiring a subwoofer in any event), the availability of a mini with electrostatic high -frequency reproduction will be welcome news. It does, indeed, bring an airiness to the upper end that is missing in most of the minis we 1 Circle 44 on Reader -Service Card 36 HIGH FIDELITY

have worked with, and (with some judicious use of the treble control) we find the 110 among the more successful designs of the type. On balance, however, we still prefer through -designed full -range systems to the mini/subwoofer alternatives, both for their inherent sonic values and for their cost-effectiveness. Considering how popular the mini is at present, we're aware that we may be at odds with the sentiments of many readers in making this statement. And when all is said and done, each listener must remain the final arbiter for his own system. Circle 132 on Reader -Service Card

AES Speakers AES-31 loudspeaker system, in wood enclosure with vinyl finish. Dimensions: 13 by 23 inches (frond 11 inches deep. Price: $150. Make Debut Warranty: "limited," five years parts and labor. Manufacturer: Audio Electronics Systems, Inc., 101 N. Park St., E. Orange, N.J. 07017. Despite the fact that Audio Electronics Systems is a new name in the speaker market, it is hardly a new company. For some twenty-five years, its parent -ear- company-United Speaker Systems-has been supplying others with raw drivers and complete systems for sale under their brand names. From 1959 to 1971, for instance, USS manufactured seventeen speaker models for Fisher Radio. In its first proprietary line, AES offers five models, ranging from a two-way ported bookshelf system to a three-way, four -speaker acoustic suspension design. The Model 31 is a three-way system housed in a ported enclosure of the traditional "bookshelf" size. Its driver complement consists of a 10 -inch woofer, 11/2 -inch soft dome midrange, and 2 -inch cone tweeter. AES evidently expects that either the dealer or the purchaser may want to use it without the grille in place; much care has been taken with finish of the baffle board and in fitting wire -mesh screens over the midrange, tweeter, and port opening. Since the woofer is unprotected, use of the grille still is desirable. The usual screw -down posts on the rear of the cabinet connect to the amplifier; no driver balance controls are provided. In tests at CBS Technology Center the AES-31 easily withstood the 20 dBW (100 watts) of the continuous -tone input test and accepted pulsed inputsup to peaks of 311/4 dBW before distorting excessively. Impedance figures average about 8 ohms across the audible band, though their risings and fallings suggesta less than ideal load for a typical power amp. The lowest value among them actually is about 2.5 ohms at 12 kHz. Since relatively little signal is to be found this high, the most important minimum is certainly that of the "nominal" impedance: 4.6 ohms at 110 Hz. The impedance also is below 5 ohms in about 21/4 octaves of the treble range, from about I to 5 kHz, so it would be safer to ignore AES's 8 -ohm rating and treat the 31 as a 4 -ohm model. At moderate listening levels, distortion products average very low indeed, with second harmonics well under 1% and third harmonics at about 1/2%. At louder levels (100 dB SPL), the picture remains similar for third harmonics, but second AES-31 loudspeaker harmonic distortion rises to about 2% between 200 Hz and I kHz and actually ANECHOIC RESPONSE CHARACTERISTICS 10 08W nputl reaches about 10% at 5 kHz. Waveform reproduction, as evidenced in oscilloscope DB ... __ _ 90 . photos, shows excellent fidelity in 300 -Hz pulses, with just a bit of overhang and .00 85 le .../sisefo:1:_v\ ringing with 3 -kHz pulses. 80 At normal (moderate) listening levels, bass is convincing and well 75 AES-31 articulated, without the johnny-one-note quality of some ported designs. Imaging is HZ 20 50 100 200 500 1K 2K 5K 10K 20K quite spacious side to side but relatively shallow back to front. This broad image, :4443)44N boundary -dependent region combined with a gutsy frontal projection, is likely to please jazz aficionadosmore average omnidirectional response than classicists. At moderate levels we found the 31 capable of reproducing -average front hemispheric response a wide - - -on -axis response variety of program material with verve. At high levels, however, strings tend to get a bit edgy with a metallic bite to the higher notes that may stem from the relatively AVERAGE OMNIDIRECTIONAL OUTPUT (250 Hz to 6 kHz) high distortion in the 5 -kHz range. A nasal color also creeps into woodwinds and 843/4 dB SPL for 0 dBW 11 watt) input brass at these levels, though the effect is not as noticeable with less demanding rock. Perhaps the key word for the AES-31's sound is "bright." That word CONTINUOUS ON -AXIS OUTPUT lat 300 Hz) 109 dB SPL for 20 dBW (100 watts) input can be taken as either commendation or complaint. If you like the ultravivid immediacy of a bright speaker, you'd do well to audition the 31; if neutral, PULSED OUTPUT lat 300 Hz) uncolored reproduction is your criterion, this is not a high -priority model for you. If 120% dB SPL for 31V. dBW 11.330 watts) peak you like its sound and format, you may be particularly pleased to find that its "NOMINAL" IMPEDANCE 4.6 watts efficiency-which is higher than that of comparably sized acoustic suspension models-and relatively low impedance make the most of many modest -power transistorized amps for installations (a typical urban apartment, for example) where reproduction levels range only from background to moderately loud. Circle 135 onReader -ServiceCard , Test labs now use n an extraordinary new instrument to evaluate record playback performance.

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based on measurements made with sligh: 'thump' ...ard most warps ' professional equipment and under are undetectable by ear.' ideal laboratory conditions. None of PopularElectronics which matches the real -life situation "The Dual takes dead aim at the you face at home. fiend of disc reprpclurtion-the Virtually all records manufactured warped record-and response to

today are warped. And even records record warps practically is eliminated that are slightly warped can make at the source."Store conventional tonearm and cartridge Ore test lab, alter making the usual combinations (typically 1l grams measurements, close to just listen to effective mass) distort badly and even musi: as reproduced by ULM. 0 leave the record groove. "There is no way measurements, or The test labs know this. of cou-se merewords, can describe the acoustic which is why they triedsomething presence of thisrecordplayer... highs differentwith Dual's 8 -gram Ultra are crystalline,witha purity we Low Mass tonearm and cartridge haven't heardbeforeThe bass is so system. They added an innovative dean that one can Fear new sounds test instrument to their scopes and fromrecords, such as the. harmonic meters. vibration of unplayec strings on the A badly warped record couble bass... overall definition and The results of this new test are nct transient response were outstanding." reported as percentages, decibels or HiFi/Stereo Buyers Guide other technical jargon, but in clear You too can hear the difference and unmistakable language: ULM makes. Visit your local Dual e "Navigating the worst warps we cealer and be sure to bring your own could End, the Dual/Ortofon "test instrument."Especiallyone that combination proved very agile seem unplayably warped. indeed. with nary a mistrack." ULM. High Fidelity A major breakthrough in record ... tracked the most severely playbacktechnology.

warped records in our collection, Write for our brochure describing usually so well that we heard notninig all nine Dual ULM -urntables. Prices wrong."Stereo Review start at less than 51931. United Audio, "Even a severe warp that would 130 So. Columbus Ave., Mt. Vernon, normally throw the pickup into tie IVY 10553. Dual / - ALL YOU HAVE TO DO IS LISTEN. 4 A THE SANSUI' 900 SUPER SYSTEM.

Just listen. Your ears will tell you immediately. Here is sound that's just MIN " 6 abcut as good as it gets And your T-77 Quartz-PLL Digital drive automatic -return FR -D3 eyes will tell you here's swing hat's Synthesizer FM/AM Tuner with turntable with its low 0.028% wow/ acut above the rest. 8 Preset FM/AM Stations and flute- and 72dB S/N ratio. But best of all, here is a sen- Auto Search Digital Quart! -P1 The attract ve audio rack sibly ariced complete system of Synthesizer design, which cLcran- that contains the 900's compo- nigh performance separates hat tees the most accurate tuning rents has additional space for an is as easy to use as it is to ouy. possible, is the highlight of this oc:ticnal Sansui -netcl-tape All you have to do is plus it in extraordinary tuner. Stores up t compati ole cassette deck. -a -d enjoy. 8 stations in memory circuits for Also included are two S-50 C-77 Control Center/ instant recall. 12", 3 -way loudspeakers specially Preamplifier with Automatic This system also hcs a direct! designed to per'ectly match the Fader and Moving Coil Pre- system's components and fill your Preamp Unique in offering full listening room with an uncanny stereo mixing with the conveni- amount and quality of music. ence of an automatic and man- If you love great high fidelity, ual fader for smooth, professional but don't have the patience for a sounding transitions from any lot of shopping and technical talk, connected source to any other, you'll want to see and hear the plus a built in pre-preamp for Sansui 900 Super System. Visit your moving -coil cartridges. Variable _ ...-g-----,' Sansui dealer and find out how . _ loudness control, --iFf,, f' n _ .-- _AMM11111111111111111111111111111111111111111&,. 1... T r --nr.nrIllkn .*1 a II-- 0 . J rN " EC r) n f") n e0

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1111199 B-77 LINEAR -A DC Servo easy it is to own a top -of -the -line Power Amplifier with Spectrum high fidelity system. la Analyzer and Peak Power Meter. The Sansui 900 Super System. Sensibly rated at 60 watts./ chan- A I you have to do is listen. nel, min. RMS, both channels *rrrr("Th. into 8 ohms from 20-20,000Hz, gliL.ERCOMPO with no more than 0.03% THD. Direct -coupled throughout, it features Sansui's exclusive new "Linear A' circuitry for low distor- SansuL tion with high efficiency, along with separate10-band spectrum SANSUI ELECTRONICS CORP. analyzer and peak power dis- Lyr dhurst, New Jersey 07071 Gardena. Ca. 90247 SANSUI ELECTRIC CO., LTD., Tokyo. Japan plays that show just what your sys- SANSUI AUDIO EUROPE S.A., Antwerp, Belgium tem is doing. In Canada: Electronic Distributors OCTOBER 1980 Letters 39

Simplified Miking Erich Leinsdorf's recording of Rimsky- and Australian HMV. But theone that may Z/z-)Herman Carter's comments Korsakov's Scheherazade, R. D. Darrellwon- have the inside story is "Prominent Esto- / about simplified miking dered whether the violin soloist andcon- nian Singers" (Melodiya D 27182), contain- ["Letters,"July]arewell - certmaster might have been the late Felix ing material from HMV and RCA andpre- . taken. Recently, listening to a Slatkin. It was not Slatkin, but Israel Baker, tape I had made of a broadcast concert by pared at the Tallinn studio in Soviet also the exemplary soloist in Columbia's Estonia. The accompanying booklet states the Chicago Symphony Orchestra, I real- recording of the Schoenberg violin con- that she was born in Warsaw and movedto ized the sound was more pleasant andnatu- certo (M2S 679). ral than any disc, and the obvious explana- her family's Estonian homeland in 1920;a The recording was made in Holly- promising career there ended in some sort tion was that the number of mikeswas held wood, in two sessions (c. 1960-61)on Stage of artistic skulduggery, and she left. to a minimum-which one can confirm by 5 of the Goldwyn Studios. (Stage 5was re- attending a CSO concert. Whether this is According to an Estonian corre- sponsible for some felicitous musical spondent in New Jersey, Korjus dictated by concert hall etiquetteor is a was unsuc- sounds-Stan Kenton's "West Side Story" cessful in getting into theopera house in conscious choice by Chicago's sonically ad- album among them.) Si Zentner had been vanced WFMT, it approximates Mr. Car- Tallinn and went away mad. Sheappar- engaged as principal trombone for the ently hates the country that turned her ter's recommendations, except the mikes recording and asked me, his personalman- are still a good deal closer to the orchestra away and does not seem to acknowledge ager, to accompany him. any roots there. than is "the best seat in the house." The Bill Wagner sound undoubtedly also benefited from James Annala Sherman Oaks, Calif. McMinnville, Ore. first -generationdubbing and a minimum of control -room tinkering.I suggest that Another "Predictable Crisis" readers make their own tapes of live broad- I have another crisis to add to those More on Schuller casts. And, if my impression holds true, Allan Kozinn discussed in his articleon the Hurrah and congratulations on Gun- maybe we could expect expensive studio classical record business [April]. ther Schuller's "The Trouble with Orches- productions to deliver the same quality that What sadness in the classical record- tras" [June]. High time it was all said-high WFMT presents every week. ing field: HNH/Unicorn apparently has time for mediocrity and cynicism in music Christopher Brewster closed its doors for being excellent. I have to be combated, and nowhere can the battle St. Paul, Minn. bought more recordings on these labels in be better mounted than in the musicpress. the past few years than any other-music by Friede F. Rothe One could easily argue that, in a sym- Moeran, Berkeley, Nielsen, Grieg, Cooke, New York, N.Y. phonic concert, where the conductorall with fine orchestras, excellent notes, and is balancing the orchestral sounds accord- surfaces the envy of the industry. Record Reissues ing to what he hears, "the best seat in the They offered offbeat repertory that You never review reissues, even of house" is over the podium. Incidentally, most other labels shunned. I don't needan- historical records. The number of readers WFMT is the subject of an article in this is- other Rite of Spring, Brahms's First, sue.-Ed. or Si- interested in such records is not that small; belius' Second. But where else could I geta among them are members of the Furtwang- complete Peer Gynt, a Maskarade, or thesuc- ler Society, Beecham Society, Mengelberg Missing Music cessors to the modern British symphonic Society, Toscanini Society, et al. Congratulations to Harris Goldsmithtradition that emerged from Vaughan Dr. Hans A. Ming, President [July] for noticing the missing bars in Bern- Williams? The Wilhelm Furtwangler Society stein's old Columbia version of the Eroica. I David CaldWell Los Angeles, Calif. have had other recordings with awkward Pittsburgh, Pa. chunks missing: a London Till Eulenspiegel, Among the records we recently re- an Angel La Mer, and RCA versions of Don While HNH is now defunct, Unicorn viewed have been: in May, Vol. II of Juan, Tchaikovsky's Third, and Beetho- V Vrecordings still are available in Euro- "The Record of Singing," recorded ven's Ninth. I have had a Sacre du printemps pean pressings. As we noted in "Behind the 1914-25, and a Trial by Jury from 1927 and with Part 1 transferred at the wrong speed Scenes" in August, they are imported by H.M.S. Pinafore from 1930; in June, and a Verdi Requiem with the side break a 1943 Euroclass Record Distributors, Ltd.,155 Archduke Trio and a Haydn sonata from between the last two notes of the Dies Irae. I Avenue of the Americas, New York, N.Y. 1946, plus reissues of Scheherazade LPs from even have an Eroica that is credited to a 10013.-Ed. 1961 and 1969 and a 1964 Facade; in July,we French conductor but is directed bya Ger- devoted two pages to Segovia recordings man one. I discovered these errors for my- Whence Korjus? from 1927-39 and reviewed Tiana Lemnitz self.I hope future reviewers will notice The mystery over the origin and and Miliza Korjus reissues from 1934-48, such things first. early years of Miliza Korjus, to which Da- as well as a disc from 1894-99 originals and Richard Sebolt vid Hamilton alludes in his review [July] of a reissue of a 1965 La Stravaganza LP; and in Springfield, Mass. the Arabesque reissue of some of her HMV August, besides reviews of records made by recordings, is apparently the way she wants Gieseking (1953) and Fleisher (1956), Scheherazade Soloist we it. There are numerous earlier LP transfers ran an article on Beecham recordings. (We In his June review of the reissue of of her 78 discs, among them Preiser, OASI, also, by the way, review new records.)-Ed.

4Circle 40 on Reader -Service Card 40 HIGH FIDELITY HIFI-CROSTIC No. 57 by William Petersen

5 8 P 9 N10 S II L 12 C 13 Y 14 V IS DIRECTIONS Y 1 E 2 X 3 V 4 M A 6 W 7 0 To solve these puzzles-and they aren't as D R 19 Y G 21 K 22 P 23 H 24M 25 L 26 I 27 D 28 tough as they first seem-supply as many of the A 16W 17 18 20 Output words as you can in the numbered dashes Y 29A 30 L 31 H 32 Z 33 V 34M 35 Y36 0 37 P 38 LI 39 T 40 D 41M 42 following the Input. Unless otherwise specified in the Input, the Output consists of one English K 43 X 44 1 45 L 46 B 47 J 48 F 49 0 50 X 51 Y 52 W 53 word. "Comp." means compound, or hyphenated,

I L 63 S 64 L 66 word. R 54 S 55 H 56 8 57 Y 58 59 V 60W 61U 62 P 65 Transfer each letter to the square in the L 72 K 74 B 75 E 76 Y 77 X 78 V 79D 80 diagram that bears the corresponding number. Af- V 670 68 .1 69 C 70 U 71 W 73 ter only a few correct guesses you should begin to Y S 91 1. 81 F 82 Y 83H 84G 85 X 86 C 87 L 88 M 89 90 0 92 see words and phrases emerging in the diagram, which when filled in will contain a quotation re- A 93N 94 C 95 0 96P 97 Y 98 X 99 C 100T 101 D 102 X 103 R 104 81105 lated to music, recordings, or audio. The words in the quotation are separated N106 KI07 Y108 L109 E 110 P.11 NII2VII3 E114 D I 15 1116 P117 N 118 by darkened squares and do not necessarily end at the end of a row. M119W120F 121 C 122 K 123 H 124 V 125 R126 W 127 5128 A129F130 X 131 E132 Try to guess at these words and transfer K 137 P138 C 139 S140 W 141 L 142 1143 Y144 T145 2 146 each newly decoded letter back to its appropriate L 133 V134 Z 135 M 136

dash in the Output. This will supply you with fur- 0 147 X 148 C 149 E 150 W151L 152 A 153 1154 YISS X 156 L 157 M 158N159 ther clues. A final clue: The source of the quota- V160 Y161 H162G163 X 164 D165N166 1 167 W168C169X170 Y171 E 172 tion-the author and his work-will be spelled out by the first letters in Output, reading down. Y173 5174 .1175 L 176 3177 H 178 C 179 1180 N 181 H182 R 183 0 184 The answer to HiFi-Crostic No. 57 will ap- Y 187 8 189 .1190 F 191 V 7921193 A 194L195 01961197 R198 pear in next month's issue of HIGH FIDELITY. V 185L 186 W 188

X199 L 200 E 201 V202X203 M 204 D205Z206 E 207 H208

INPUT OUTPUT

A. Sullivan's only grand opera 16 153 194 93 30 129 6

B. Obligation 57 75 47 189

C. German -American pianist/composer (1833-94) The loo 169 95 70 139 149 179 122 87 13 Landing of the Pilgrim Fathers" (full name) D. c -d -e flat -f sharp -g -a flat -b -c(2WdS.I 147 78 165 115 28 8 102 80 205 41

E. With Word H., Samuel Barber compositions 12 was 114 201 150 172 110 76 207 132 2

F. In the Homeric epoch, melody for reciting epics 121 191 130 49 82

G. Knowledgeable about jazz (slang) 163 85 21

H. See Word E 56 162 32 124 208 24 182 84 178

I. Soprano Marshall 27 59 154 116

J. Ostentatious, splendid 143 175 190 48 69

K. High-pitched drum (comp 123 22 74 43 137 107

L. Mozart opera (3 wdS.) 157 167 63 186 200 31 109 142 81 152 26 66 133 88 46 176 72 195 12

M. Learning 35 42 158 119 136 5 25 89 204

N. Casse- 118 94 112 166 10 106 159 181

0. Folksinger Collins 96 184 37 68

P. Lengthens the value of a note 38 97 9 65 117 138 111 23

0."Bel_ bist du " 92 196 50

R. Debussy suite 126 104 198 183 19 54

S. Paganini II 91 55 128 140 174 64

T. Gentele's predecessor 180 145 101 40

U. A rapid scale passage 62 71 39

V. Ravel, for one 134 113 160 192 125 60 15 79 2C2 67 34 185 4

W. With Word Z., Schoenberg sextet 17 127 151 7 53 168 120 73 105 141 61 188

X. Grilles composition for piano or orchestra (3 wds.I 86 148 156 203 199 3 99 170 131 103 164 78 44 177 51

Y. Walter Legge's widow 161 173 77 20 108 I 187 29 45 98 155 90 83 52 171 197 144 14

58 36

Z. See Word W 146 206 193 33 135

Circle 11 on Reader -Service Card D. SCWASJj[EQ® AURD _CSCEVEET. SIE ES Record Care, Part 1: Aqueous Cleaningvs. Organic Solvents

Electron microscopy (Figure 1) shows theprincipal In some record care products, organicsolvents are cause of record wear: small particles of microdust, used rather than water. Organic solventssuch as deposited from the air by gravity,are ground along ozone -gobbling chlorofluorocarbons, petroleum the record groove by the stylus. Surfacenoise goes distillates (hexane, heptane) and alcohol up. Sound quality goes down. concentrates are indeed speedy extractors and f delivery solvents. They evaporate fast.Some organic solvents cart dissolve vinyl stabilizers, Organic solvents may leavea "slick" looking record by treating the disc with other compoundscarried in the solvent mix. In doingso, record contamination may also be dried backonto the disc in a nice even layer. Dust is often"held" to the record surface by "treatment':

Record etched by dust held to surface by "slick"treatment Figure 1

1111111111111 Record cleated with D4 System-. - - 5 Figure 3 Electron micrograph (Figure 3) showsa record cleaned with the Discwasher D4 System.High technology record care leaves onlya clean surface.

Drop of D4 Fluid on record Figure 2 Figure 2 shows a drop of theaqueous Discwasher D4 Fluid, literally lifting dust andcontamination out of record grooves. The extraordinarily complex D4 Fluid uses waterpure enough for kidney dialysis, along with eleven chemicallyengineered additives that still results in lowercry -weight residue than most tap water. Thisformula is A amazingly high in cleaning activity,uniquely safe for vinyl and vinyl additives, and preferentially 8 "carries" contamination into thenew Discwasher 411?discwasher D4 pad. PRODUCTS TO CARE FOR YOUR MUSIC Discwasher, l9C., 1407 N. Providence Rd., Columbia, MO 65201 WE DON'T FIGHT YOUR SYSTEM. WE JOIN IT.

svOv0 °F.w,o 11111 010 nv, von.. a NO YOLU. 00.0. woo PE( OPO - "'''"

Steremote brings total entertainment into You can also take in a video performance. every room of your home. With Steremote control, you can switch rooms and Until now you could listen to music in only one change music. Keep different tunes for different or two rooms at a time. Now you can enjoy music rooms. Or fill the house with one beautiful perfor- throughout the house. Steremote integrates all your mance. The Steremote choice is limitless. existing components (including your speakers), How many modules make a Steremote? giving you remote control over them from anywhere You decide. Steremote offers you a selection of in your home. It's control at a touch. From any room. modules (six shown), each with a specific remote The kind of control you've never had before. control capability. By All through the portable Steremote control unit that combining them you plugs into any AC outlet. can control every If your system is good enough for you, component in your it's perfect for Steremote. system. You can re- Your system may consist of just a receiver and cord, play back, walk turntable. Or it may include a cassette recorder, around, lay back. Change rooms and moods at will. open reel, TV and video For more flexibility just add a module and youcan deck. By joining them expand your musical environment to as many as nine with Steremote rooms. Basically, it will be your system. Plus you'll be enter- Steremote. Plus a lot of fun. tained in more ways than you've How to join. Call ary of the better high fidelity stores ever thought -b in your area. They'll help you select possible. One Lt A A the Steremote modules best suited to your touch lets you ..0001"°"'''4 needs and show you how to install them in play records, do- 6l a71 minutes. Call now. Don't fight it. Join it. tapes, even change _jcvv FM stations. YOUR SYSTEM PLUSSTEREMOTE Sterernote Inc.. 1845 UtIca Avenue, Brooklyn, N.Y 11234 212-241-3500

Circle 48 on Reader -Service Card 'Ve

OCTOBER 1980 43 The State of the Speaker Art (for Now) by Michael Riggs Always evolving, yet often curiously familiar, loudspeaker technology is more than the collection of buzzwords that it may seem to the casual observer.

Despite the winds-nay, the hurri- .ar.112. Larcanes-of change over the last twenty-five years, it is remarkable how little loudspeakers have changed with regard to the ways they do their job. Di- Ill11 rect -radiating cones and horn -loaded FirL...Li andelectrostaticdrivers have all been around for a very long time. The Heil tweeter, for instance, can be describedas itir-1.1riil ;4 a horn -loaded device of sorts; Mag- w neplanars and drivers such as Infinity's m Emit are electromagnetic mimics of elec- irw trostatics; and Ohm's peculiar -looking m Walsh driver has an "old-fashioned" w

voice coil at its heart. Even ionic (or , 11 i Liu _. plasma) speakers are not new. % r . I f' ., lir The quality of soundreproduction ' ,/,,,fil LT -J , F n ..r, . Siftingatop Infinity's bookshelf -sized .uj RSe loudspeaker, our Nipper stand-in peers intently at the $20,000 Infinity iii arii--1i Reference Standard system. Composed of four 71/2 -foot -high sections, each side r ' (two towers) contains 36 electromagnetic induction tweeters, 12 i . ,5 .., l'nn electromagneticinduction i midranges, anc six poly- s

r iii 1 propylene wozfers driven s IIw c i'l ', by c 1.5kilowatt r amplifier. i1 i IT 5 6: t Fill ifLui. 'ft1I ' Fl ,

:-.,,----- 111111 ri---1 lijirifHliiii 1 II 1 ---- r -ii

1111 14-1H 44 HIGH FIDELITY we take almost for granted today has their drivers or narrow baffles with come not so much from radical innova- rounded edges. AR, among others, tion as from clever twists on existing air - places a sound -absorbing "acoustic - moving techniques and the application blanket" on the baffle around its high - of new materials. This in itself is hardly range drivers to prevent sound from surprising, since most of the time, nature traveling along the front panel, thereby yields only by inches, not by miles. eliminating the opportunity for diffrac- We'll be taking a quick look at some of tion. Boston Acoustics combats diffrac- the most interesting new approaches, tion with an unusually wide, shallow en- with an eye to what all the ruckus is closure (which also promotes a uniform about. radiation pattern), and many designers have taken to mounting drivers flush on The Phase Race the front of the speaker, thereby reducing the number of surface features that When you hear a kettledrum beat, might create diffraction effects. say, at a concert, all of its components- fundamentals and harmonics-reach Sound in Space your ear at the same instant, regardless of their frequency. That is, they are per- Diffraction might be considered fectly in phase. But when the same part of the more general topic of radi- sound is played through an audio system ation patterns, or dispersion, which has with conventional speakers, the higher been receiving increasing attention of frequencies arrive slightly (perhaps a late. In this regard, there are three basic quarter -millisecond)ahead of the lower types of loudspeakers: front -firing (the ones because the woofer's voice coil lies vast majority), dipole (including most farther behind the baffle board than the electrostatics and the Magneplanars), tweeter's and because of phase shift in and "omnidirectional" (such as the Ohm the crossover filters. F-which, typically, is omnidirectional It has long been known that very only in the horizontal plane). At present, large phase perturbations impair audible there is little consensus on which, if any, fidelity, but until recently few engineers of these is best, though there does seem considered the small errors created by to be a growing feeling that the radiation typical loudspeakers important. In this pattern should be, as nearly as possible, country especially, most still don't. uniform with frequency. That is, the fre- However, a substantial minority has quency balance should be the same any- concluded that they are indeed audible, where within the speaker's "listening usually as an alteration or distortion of The "new" seldom is totally so; for ex- area." Assuming for the moment that the recorded ambience, a blurring of the ample, two major innovations of the this is indeed the "correct" goal, it must stereo image, or a general muddying of '70s-the Walsh driver (top) and Heil be admitted that it is a very difficult one the sound. air -motion transformer-can be ana- to achieve. The first company to make a big lyzed in terms of predecessors. The reason is that all speakers splash with phase compensation was tend to become omnidirectional below Dahlquist, with its DQ-10. This rather about 200 Hz and that, with drivers of unconventional -lookingloudspeaker in- practical sizes, most tend to become corporates five drivers, each on its own tion occurs when a sound wave travels fairly directional at high frequencies. For baffle, mounted in a staggered array that along the surface of a speaker panel and front -firing designs, the strategies used aligns their voice coils in the same verti- reaches an edge, where it sprays out into to control diffraction also help to control cal plane. Many other manufacturers, in- the room. The edges, in effect, become sound distribution. Some omnidirec- cluding KEF, B&W, Technics, DCM, Ul- secondary radiators, repeating-with a tional designs use a reflector-ofen an in- tralinear, B&O, Epicure, Fried, very short delay-what the speaker has verted cone above an upward -firing Wharfedale, Onkyo, Heath, and Pyra- just projected. This very common phe- tweeter-for wide (even 360 -degree) dis- mid, have also introducedphase -com- nomenon is known to cause interference tribution. A rather novel approach is em- pensated models, usually with either effects that alter, or "color," a speaker's bodied in the Beveridge electrostatic, stepped or sloping baffles to position the frequency response and is said by some which has a special enclosure that sup- drivers. to impair stereo imaging. presses the back wave from the dia- Any sharp irregularity on the sur- phragm and a lens arrangement that very Honing Rough Edges face of the baffle tends to become a nearly produces perfect hemicylindrical source of diffracted radiation as well. For radiation. Sloping baffles came into vogue that reason, some manufacturers, such Cerwin-Vega takes a different largely because of the undesirable cabi- as Snell and KEF (and including many route to the same destination with its net reflections and diffraction effects of- who are not concerned about phase re- Metron Spiral Uniform -Force Thin -Film ten created by stepped cabinets. Diffrac- sponse), use either curved baffles for Transducer (dubbed SUFT-FET as a OCTOBER 1980 45

quasi -acronym). It has a spiral voice grid tract in response to the audio signal. The on a 1.5 -inch thin-film diaphragm sus- plasma acts as a virtually massless gas pended in a magnetic field. Current from "diaphragm" and reportedly producesa the amplifier passes through the voice J hemispherical, phase -coherent output. grid, causing it to move in the magnetic field. This driver is said to achieve hori- Using the Room zontal distribution of 120 degrees at all frequencies. A common by-product of low- mass design is very smooth, extended Weight Watching treble response-a very important con- tributor to the overall sound of a system. Another advantage of a device In fact, a loudspeaker's frequency re- such as the SUFT-FET is its relatively sponse is probably the most significant low mass. A loudspeaker is supposed to determinant of its quality. There are a start moving as soon as a signal is ap- good many loudspeakers in almost all plied, follow the signal perfectly, and price ranges with very flat response-in stop moving the instant the signal stops. an anechoic chamber. Unfortunately, But all physical objects have mass- that is not a speaker's natural environ- which is to say that they have inertia- ment; in a real room, it must contend and tend to resist changes in motion. The with reflections from the floor and walls more massive a driver is, the more force that can cause peaks and dips in its re- will be required to control it and the sponse, particularly at low frequencies. poorer its transient response is likely to This long -known fact accounts for the be, especially at high frequencies. The stock advice that you experiment liber- most straightforward way of attacking ally with speaker placement to reduce the problem is to make the mass of the these effects as much as possible. driver as low as possible. This accounts A distinction must be made be- for the proliferation of devices such as tween the way a listening room "loads" a the "ribbon" tweeters of Decca, Pyra- speaker close to one of its boundaries- mid, and JVC, which operate in much the including the floor-and the way the re- same way as the SUFT-FET. flective properties of those boundaries Electrostatic loudspeakers, such as can be used in distributing the sound the Dayton Wright XG-10 and the Quad, through the room. Some so-called om- - r have long been renowned for their excel- nidirectional designs make positive use lent transient response. They use a thin of reflections in the latter way. The Bose conductive plastic membrane as a dia- Direct/Reflecting principle (first em- phragm. It is charged to a very high volt- Flat drivers, from long -popular KEF bodied in the Model 901) might be num- age and stretched taut between two grids oval woofer (top) to the four -coilsquare bered, loosely, in that company, though connected to the amplifier outputS. model used by Sony in its all -flat -driver it uses the boundaries for time delay as When a signal is applied to the grids, the APM -8 system, seem to be coming into well. Alteration of frequency response diaphragm moves toward the grid with a their own. is not the objective of such designs; in- charge opposite its own. deed, Bose tells you to keep the speakers Magnepan and Magneplanar away from the walls, while its standard speakers are flat -panel, electromagnetic pedestal base keeps them off the floor. analogs to electrostatics. They use a thin of ordinary cones and domes. One of But when you move a speaker close to diaphragm with wires running through it their primary advantages is their rela- one or more boundaries, the resulting in- and suspended in a permanent magnetic tively low mass, a property they share teraction does alter effective response. field. The interaction between the per- with the Heil drivers in ESS speakers, In recent years, manufacturers manent field and the alternating field though the latter's accordion -folded dia- have been more and more inclined to go created by the signal currents in the diaphragms "squeeze" the air out, rather for the jugular of this problem by de- phragm cause the diaphragm to vibrate. than pushing it in classic "piston" fash- signing their speakers to be placed in a Like electrostatics, these are very low- ion. particular position relative to room mass dipole radiators with inherently Probably the last word in low- boundaries or, at least, to offer some re- good phase response. mass drivers is the ionic loudspeaker. sponse -tailoring options for specific The Emit and Emim (electro- The only member of this rare species placements. Such loudspeakers tend to magnetic induction tweeter and electro- now in production is the Plasmatronics have predictable response and can be magnetic induction midrange) drivers of Hill Type -1, which uses a plasma driver chosen by the user to suit his decor: No many Infinity systems and Onkyo's from about 700 Hz up to frequencies that longer will you buy a pair of speakers to DDM (direct -drive membrane) operate are of interest only to bats. In this sys- hang on the wall and then find that they on the same principle as the Magnepla- tem, the temperature of a hot ionized gas sound good only on the floor in the nars, but they are designed to be used in is modulated by the output of the power middle of the room. The first company "conventional" speaker systems in place amplifier, causing it to expand andcon- to make the room -matching problem a 46 HIGH FIDELITY top design priority was Allison Acous- they are square and are driven at four tics. In recent years, other companies- points on the diaphragm. This is said to including Acoustic Research, Snell, and make the diaphragm move more as a Boston Acoustics-have followed suit. single unit-hence the name APM, for accurate pistonic motion. Onkyo em- By the Numbers ploys a polyurethane and paper laminate stiffened by four metal ribs. Advances have also been made in There are other reasons for enclosure design techniques for woof- switching from paper (the traditional ers. The design formulas for acoustic - cone material) to synthetics. Proponents suspension speakers have been known claim that the new materials are inher- foralong time. If the engineer does his ently better damped, more consistent in math right, he can achieve exactly the re- manufacture, and-being less affected by sponse curve he wants without "fine tun- Computer, a major design tool of the changes in heat and humidity-more ing." Until recently, however, figuring '80s, was used to generate these graphic stable in operation. English manufac- out a vented system was a matter of printouts for Celestion study of driver turers (KEF particularly) have been using making an educated guess and then pur- motion in pistonic (top) and breakup Bextrene plastic for years. More suing a tedious routine of cut and try. modes. recently, B&W has developed a poly - And there was no guarantee that the fi- amide fiber material, Pioneer has one us- nal result would be the best possible only a matter of time before small coming graphite and polymer, and Infinity one. panies start playing some of the same and KLH in the U.S. have adopted poly- The pioneering work of mathema- games as the big boys. propylene. ticians Thiele and Small changed the Other manufacturers in Britain The new KLH speakers are inter- picture entirely. By applying electrical and Japan have been using laser interesting for another reason, as well: Their filter theory to woofers' acoustic -filter ferometry and other sophisticated opti- woofers are, as KLH puts it, "computer behavior pattern, they developed a gen- cal techniques to observe the breakup controlled." For years, Bose, Electro- eral set of design formulas, of which the modes and resonances in drivers. Be- Voice, and other manufacturers have acoustic -suspension equations are a cause conventional cone drivers are not been using electronic equalization to small subset. It is now possible for de- perfectly rigid and are driven only from complement the bass response of some signers to juggle efficiency, enclosure their apexes, they do not behave as per- of their speaker systems. But a designer size, and bass response in ways un- fect pistons. Instead, they flex ever so can go only so far with equalization be- dreamed of a few years ago. With the aid slightly, bending different ways at dif- fore seriously compromising a speaker's of a computer, a designer can examine ferent frequencies and drive levels. The dynamic range; he cannot boost the bass many alternatives in a short time and se- result is distortion. These new test meth- so much that the woofer is routinely lect the one that best serves his goals, se- ods enable researchers to actually see overdriven at typical home listening lev- rene in the knowledge that the product the effects of new materials and cone els. The problem becomes especially will do exactly what he wants and ex- constructions. Rank Hi-Fi in England, acute with very small systems, which pects. manufacturer of Wharfedale loud- usually have both poorer deep bass re- Computing Thiele alignments (as speakers, and Onkyo in Japan have been sponse than larger designs and smaller they have come to be called) is only part prominent exponents of this approach. woofers with less power -handling capa- of the growing role of computer -aided bility. speaker design and research. KEF, B&W, New Materials KLH's solution is its Analog Bass and Acoustic Research have led the way, Computer, which dynamically varies using their magic abacuses to make an - The computers and lasers have bass equalization to the speaker in ac- echoic frequency response measure- borne fruit of several varieties. Sony, cordance with the level of the bass signal ments in ordinary rooms, to make de- Technics, and Mitsubishi have turned to from the amplifier. At low levels, the tailed impulse response analyses honeycomb sandwich drivers for high computer increases the equalization to showing exactly how a speaker or driver rigidity combined with low mass. provide flattest response. As the bass in- responds to input signals over time Aluminum is used for the combs them- put goes up, the computer cuts back on (handy for finding resonances and the selves, which are covered over with the equalization to prevent excessive like), to investigate cabinet resonance aluminum foil, carbon fiber, or plastic distortion or driver blowout. and flexing modes, to design optimal reinforced with glass fiber. The Mitsu- Will knowing more about how crossover networks, and to keep a run- bishi drivers are fashioned as cones, but speakers are designed and built make ning inventory of driver performance for Technics, Sony, and Onkyo use flat dia- you a better shopper? Maybe. But be- creating closely matched pairs and pick- phragms, which their manufacturers say ware: You can't make a good decision ing a replacement driver should one behave more like pistons than cones do. just from the spec sheets. Good speakers blow in use. At first, all work of this kind Another advantage afforded by flat driv- have been made with ordinary materials was done on minicomputers, such as the ers is that, because the diaphragms and test equipment, and bad ones have DEC PDP-11, but AR recently began mount flush to the baffle board, there is been made in the name of high tech- performing some of these tasks on an no need for staggered cabinets to achieve nology. What's important is not how it Apple II personal microcomputer cost- phase correction. The Sony drivers are sounds on paper, but how it sounds in ing only about $4,000. At that price, it's further distinguished by the fact that your home. Trust your ears.HF Circle 9 on Reader -Service Card 1939...FIRST DIRECT -DRIVE TURNTABLE SYSTEM. 1951...FIRST MOVING -COIL CARTRIDGE. 1972...FIRST DIGITAL (PCM) RECORDING.

In 1939, while many turntable manufacturers were trying to make the transition from horn phono- graphs to electrical record players, Denon developed its first direct -drive turntable, (shown above). Denon engineers discovered that only a direct connection between motor and platter-tree of the pulleys or belts found in more primitive drive mechanisms - could completely eliminate --- --1=7------.....,_-.-.., ''' -...... < speed fluctuations that -,---.7 obscure musical detail. , i Today, many turntable makers have discovered the virtues of _--'-j direct -drive. it is now the accepted means of approaching state-of- the-art performance. But only one company has had 40 wars to refine the direct -drive -- principle. It is the same company that 29 years DENON 4 ago developed another technology now in widespread use: the Moving -Coil Cartridge. It is the same company .7" that changed the entire process of recording music by inventing digital (PCM) recording. The company is

Denon.

1980...DENON'S DP 60 -1 DIRECT -DRIVE TURNTABLE. The latest stage in Denon's refinement of direct -drive is the DP -60L Semi -Automatic Turntable.It uses a unique AC Servo- DENON 'motor with a quartz "clock" speed -reference to achieve exceptional torque and speed accuracy, while eliminating the corrective speed Imagine surges that degrade the performance of other direct -drive turn- what we'll tables. The DP -60L is supplied with two p ug-in tonearm wands- one straight and one S-shaped-to assure a precise match -up donext. _

with the characteristics of any photo cartridge. - The result? Musically cleaner sound, free of sonic smearing. The Denon turntables for 1980: Six musical instruments Denon America. Ire./ from the company where innovation is a tradition. 97 1 au, noun F..1- M 111711TT4_

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IREPRERE 13.9.14 rup.. 0,E ZT10=1013011.WRYTuft 01.41070 TYI I AN w 401 _o, VOLUM -11,Wief 0.0. .1111111). uou c., . 1.1 3..4 IMMO C.. ..,,, . w,, OW` - 0 II I ti Ps -2=

° 51 A receiver with advanced more convenient. And you can All the outward signs of the digital tuning and Class reprogram the memory in seconds. advanced technology inside. Not just plenty of power. The RS270 includes a built-in _ A -II power amplifier. But cleaner power. The RS270 moving coil cartridge preamplifier incorporates Fisher's new and so you can enjoy the superior Introducing the new Fisher RS270 exclusive Class A -II power amp- performance of moving coil AM/FM stereo receiver with cartridges without the expense of Quartz Locked digital synthesizer lifier circuitry. Class A -II s a variable bias circuit that combines an accessory preamp. Fisher's _ tuning. This drift -free tuning exclusive "Panel Logic" display

method locks and stays on fre- tells you at a glance the RS270 s quency-what you read on the mode of operation. POWER LEVEL

- - o state-of-the-art digital display is .2. LEFT 1 4111, It's what you'd expect from the- the exact FM station frequency. Ono.titOa t, t OD VINIV,111/ ' new Fisher. We invented high OUGHT ' 4 I' 1-4- 4-J.T Digital circuitry eliminates the II traditional tuning knob-just a fidelity over 40 years ago. We've never stopped moving ahead. light touch of the tuning bars The new RS270 is a perfect activates an auto scan station the high efficiency of Class B example. Part of the new Fisher. search. operation with the non -switching Where the only thing about us tnat's The RS270 remembers your- low -distortion characteristics of old is our tradition of quality and favorite stations. You can select Class A operation. The best of craftsmanship. Visit your Fishe- 12 of your favorite stations both worlds. Result: the RS270 Dealer and see the RS270 today. (6 AM/ 6 FM) and store them in delivers an ultra -low distortion, Fisher Corporation 1980

, the RS270's memory for instant cleaner 50 Watts per channel OFT \ access at the touch of a button. minimum RMS power into 8 ohms, 71. \It makes listening to your favorite 20Hz-20kHz with no more than FISHER broadcasts more enjoyable. and 0.02% total harmonic distortion. The first name in high fidelity.' OCTOBER 1980 49 The Uneasy Symbiosis Getting the most out of your loudspeakers means more than feeding them with a "big enough" amp.

by Peter W. Mitchell

It is comforting to suppose that, when (EMF). The amplifier's output voltage, ance is high, little current flows; if the you buy an assortment of audio com- varying with the musical signal, acts as impedance is low, a lot of current flows- ponents and connect them to make a the driving force that pushes current up to the amplifier's own limit. stereo system, all of the parts will work through the loudspeaker, past any resis- What, then, is the true impedance together synergistically to achieve max- tance-or impedance-along the way. of a loudspeaker? Many amplifier de- imum performance. But it ain't necessar- And, finally, in all conventional dynamic signers assume a typical impedance of 8 ily so. loudspeakers, current flowing through ohms. After all, a label on the back of All too often, the performance of the voice coil causes it to move in the many loudspeakers plainly states that the stereo system is determined more by magnetic gap and produce sound. the impedance is 8 ohms. And both Fed- the compatibility of components-their Where does the current come eral Trade Commission requirements favorable or detrimental interactions- from? The amplifier's power -supply cir- and the IHF standard for amplifier/re- than by the individual quality of each. So cuit draws electrical power from the AC ceiver specifications mandate that the it is important to examine what happens wall socket, rectifies and filters it, and advertised power and distortion of audio at the "interfaces" between components. stores it in a reservoir (large capacitors). amplifiers for home use be measured In this article we will focus on one: that The output transistors are basically cur- with an 8 -ohm test resistor connected to between the amplifier and the loud- rent valves, opening and closing accord- the output terminals in place of a speaker. There may be a war of sorts going to the signal voltage; the valves open speaker. ing on between your amplifier and your as the voltage goes up, and current flows But resistors don't make sound; loudspeakers, which can result in either from the power -supply capacitors loudspeakers do. And while some more distortion or less useful power out- through the output transistors to the speakers bear a plausible electrical re- put than the amp was designed for. loudspeaker. semblance to an 8 -ohm resistor, most do To see how such problems can Since the power (in watts) deliv- not. A conventional loudspeaker system arise, let's look at how the amplifier de- ered equals the voltage multiplied by the has a complex impedance that varies livers power to the speakers. Electrical current (in amperes), the effective dramatically with frequency: Because of power is simply the product of voltage power -output capacity of an amplifier its complement of voice coils, crossover and current. A typical "power amp" depends on several factors: how much inductors and capacitors, suspension functions mainly as a voltage amplifier, the voltage can be amplified before it is compliances, driver/enclosure reso- stepping up the audio signal from a frac- "clipped" (distorted) in the amplifier; nances, and tonal -balance controls, a tion of a volt (at the line input jacks) to how much current can be made to flow typical so-called 8 -ohm loudspeaker can several volts at the speaker terminals. through the output transistors before vary from 5 or 6 ohms up to 20 or 30 In old textbooks you rarely find the they overheat or the power -supply res- ohms. (Fig. 1 shows a couple of typical word "voltage"; in its place is the quaint ervoir runs dry; and what the real imped- impedance curves.) Given this variation, but revealing term "electromotive force" ance of the loudspeaker is. If the imped- how does a speaker manufacturer pick a 50 HIGH FIDELITY

OHMS energy levels often occur in precisely the ample current output becomes espe- 28

same frequency range (the upper bass cially desirable. HIGH FIDELITY'S ampli- 24 20 and lower midrange) where conven- fier test reports provide a clue by listing 7 16 tvA tional loudspeakers have their lowest im- the output at clipping for 4, 8, and 16

12 V' \ pedance. (See Fig. 2.) For instance, many ohms. When an amplifier has substan- 8 4 illEMEMEM drums generate sonic peaks in the octave tial current reserves, its 4 -ohm clipping Fog I output will be substantially higher (3 dB HZ 20 50 100 200 500 1K 2K 5K 10K20K between 125 and 250 Hz. Again, the lower the speaker impedance, the more, or double the wattage, if there Fig. 1: The impedance of an 8 - greater the amplifier's output current were no current restrictions whatever) ohm test resistor (solid line) does not and the greater the potential strain on its than its 8 -ohm output. If the 4 -ohm out- vary with frequency because it has no power supply and output transistors. For put is less than or nearly the same as the reactive components. That of a typical this reason HIGHFIDELITY'Stest reports 8 -ohm output, the amplifier's current "8 -ohm" two-way acoustic suspension on speakers always include a measure- output is being restricted at low speaker loudspeaker system (dotted line) has ment of their "nominal" impedance: the impedances-usually by protection maxima at woofer resonance and near minimum impedance exhibited in this circuits. the crossover; its minimum in the "mu- upper -bass "power" range. Incidentally, this rule does not ap- sic power range" is closer to 4 ohms than This impedance usually is less ply to the special cases of models em- to 8. A typical three-way vented system than 8 ohms. Now, when you connect a ploying switched power transformer of the same advertised impedance (dash - speaker to an amplifier designed to in- windings (Apt) or autotransformers dot line) shows characteristic double terface with an 8 -ohm impedance (as (McIntosh) to equalize power outputs at peak in bass and secondary maxima many are) and play music loud, the amp various impedances. The Apt 1, for in- near the two crossovers. may be called on to pump out more out- stance, has about the same measured put current-sometimes much more- output at 4 and 8 ohms but has than it was designed to. For example, enormous current reserves and will drive when an amplifier delivers 20 dBW (100 even 2 -ohm impedances with ease. single number as the "rated" imped- watts) into an 8 -ohm load, its output cur- Of course every amplifier has at ance? The answer depends on which rent is 3.5 amperes rms, or 5.0 amperes least some form of output current limit- manufacturer you talk to. peak. Fig. 3 shows the output -current ing, even if it's just fuses or relays to pro- For some manufacturers, the rated waveform produced when a drum roll in tect the transistors from damage in case value is the lowest impedance spanning a cassette recording of the Overture to you accidentally short-circuit the any significant part of the frequency Verdi's La Forza del destino was played speaker wires. (See "The Arithmetic of range; thus, if the rated value is 8 ohms, through one of America's best-selling Impedance.") So the common amplifier/ the actual impedance will be 10-12 ohms "8 -ohm" speakers, with the volume con- speaker mismatch we've been describing or higher at most frequencies. For many trol set to produce an output voltage cor- is a question not of conflicting prin- companies, the rated impedance is an responding to 20 dBW into 8 ohms. The ciples, but of degree: Given that most average, with the actual impedance vary- faint horizontal calibration lines are at 2 - speakers have an impedance lower than ing both below and above the stated ampere intervals, so the amplifier was 8 ohms at the frequencies where peak value; thus some "8 -ohm" loudspeakers delivering peak currents of + 8 and -8 power demands occur in music, ampli- actually have a true impedance as low as amperes. If two of these loudspeakers fiers must put out more current than an 4 ohms at some frequencies. were wired in parallel, this current 8 -ohm load requires for the same out- If loudspeakers went below their would double to 16 -amp peaks! Not put -voltage level. But how much more? rated impedance in only a narrow band many of today's amplifiers are designed At what level should current limiting set of frequencies, perhaps it wouldn't mat- to deliver this much current. (The drum in? ter much. But the same physical factors roll falls in the spectrum analyzer's 160 - Amplifiers differ widely in this re- that vary the impedance also dictate the Hz band, where this "8 -ohm" speaker spect, and a mismatch (a low -impedance pattern of that variation. The imped- has an impedance of 5 ohms, and two of speaker used with an amplifier of mod- ances of inductors and coils, including them wired in parallel present a 2.5 -ohm est current capabilities) need not have voice coils, rise with increasing fre- load to the amplifier. This is not catastrophic consequences; the current quency; capacitor impedance falls as fre- unusual.) restriction may simply limit the usable quency increases. Consequently, in most Therefore, when you are selecting power output. If, in the case illustrated conventional speakers, the impedance is an amplifier to mate with your loud- earlier, the amplifier can deliver only 5 - high at the woofer/cabinet resonance speakers, it is wise not to rely on adver- ampere peaks instead of 8 amperes, the frequency (usually 40-70 Hz) and at tised or rated impedances: Find out the output power is (5/8)2, or 39% of what it crossover frequencies (perhaps around speaker's minimum impedance in the might have been, meaning that the max- 1,500 Hz in a two-way system). The low- frequency range where music has its imum undistorted sound level is reduced est impedance ordinarily is found in the peak power levels; if it is less than 6 by 4 dB. This would reduce the capabil- upper bass or lower midrange-often ohms, pick an amplifier with sufficient ity of our "100 -watt" (20-dBW) ampli- around 100-300 Hz-and in some de- current reserves to perform well in tests fier to 40 watts (16 dBW) with this signs, particularly electrostatics, the im- at 4 ohms. If you need two speakers speaker-which still may be plenty, de- pedance will also drop to a low value at wired in parallel in each channel or are pending on the system and how it is high treble frequencies. using speakers whose advertised imped- used. When music gets loud, its highest ance is only 4 ohms, an amplifier with Speaker/amplifier mating be- OCTOBER 1980 51

DB 95 MOM comes more of a problem when the "re- 90 active" character of loudspeakers is 85 con- so MOM= sidered. A resistor, suchas the 8 -ohm 75 test resistor used for laboratorymeas- (fig2A N MI =IN HZ 20 50 100 200 500 1.15" urements, simply absorbs power from IK 2K 5K 10K 20K the amplifier and dissipates itas heat. But a loudspeaker is only partlyresis- tive; since it contains inductive and DB ca- 95 pacitive elements, it does not dissipate 90 all of the power fed to it. When the 85 speaker's cones are suddenly kicked 80 into 75 motion in a transient, some of the input fig 28 L energy is momentarily stored in the HZ 20 50 100 Fig. 3: Oscilloscope waveform 200 500 IK 2K 5K 10K20K magnetic field around the voice coils,in shows current flowing intoa popular the compliant suspensions, andin the "8 -ohm" speaker reproducinga drum electrostatic fields within thecrossover roll in a Verdi overture. The horizontal DB- capacitors. At the end of the transient, as calibration lines are 2 amperes apart,so 95 the speaker relaxes to its normalstate, 90 peak currents of +8 and -8amperes are these fields collapse and 85 energy flows present. 80 back through the wires into the ampli- 75 fier. Fig 2C HZ 20 SO 100 200 500 IK 2K 5K 10K 20K (See Fig. 4.) The force driving this current is called the speaker's "back observes that the current isnow within EMF," and the amplifier's abilityto ab- safe limits and switches the signal back sorb the return current is called its 08 on-in the middle of the waveform, 95 MPII=MIE "damping factor." If the flow of thisre- creating a sharp switching transient. The 90 turn current into the amplifier's output output current immediatelyresumes its 85Mf/AIIWITAMMIN6. circuit were impeded, theenergy would 80EVA=M "mm. previous (excessive) level, and thepro-

be used up in the speaker by continued 75 Fig ID tection circuit tries again, producingan- resonant vibration of the cones (particu- HZ 20 50 other spike. These transients actually 100------200 500 IK 2K 5K 10K 20K larly the woofer), muddying the sound. may burden the output transistorsmore Modern amplifiers absorb this return than the excessive current would haveif current efficiently, passing it through the left uninterrupted; they alsocreate a DB output transistors into the power supply harsh, irritating sound, dumpinga lot of 95--- _ or to ground; but current -sensing protec- nonmusical energy into the tweeter, 90 MiminalEk3.41M tion circuits cannot distinguish 85 reactive which may decide that it has had enough M:r== 80 current from normal output current,so and expire. So, in addition to confusing 75 reactive loudspeakers can fig 2E M=MINIIMMm= cause current protection circuitry, reactive loud- HZ 20 SO 100 200 limiters to trigger at power levels sub- 500 1K 2K SK 10K 20K speakers can also directly threaten their stantially lower than the amplifier's own safety and that of the amp's output rated output. transistors. Theinteractionbetween amplifier Thus far we have discussed tran- DB protection circuits and the 95MINIMINIE51.0= energy -stor- sistor failure only in terms of excessive 90MindIMIIMMis ing reactive elements in loudspeakers current due to a short circuit or very low 85 can produce bizarre consequences. In impedance. But destructive overheating 80 MEM ==11.11 many amplifiers, the protection circuit 75PIM= of a transistor results from the dissipa- Fag IF monitors the current flowing through the HZ 20 H tion of too much power within the device: 50 100 200 500 IK 2K 5K 10K 20K output transistors; whenever thecurrent The culprit is not current alone, but the exceeds the rated value,a corrective sig- combined effects of voltage and current. nal is sent back to an earlierstage in the Fig. 2: Frequency distribution of The designer must also consider other amplifier, altering (distorting) thein- potential failure modes such peak energy levels in music,as meas- as "secon- coming audio signal so that it won't dary breakdown." He works witha ured with a one -third -octavespectrum create unsafe levels of output current. analyzer. The first graph (A) shows graph that outlines the "safe operating But in others, the circuit cuts off thein- area" (SOA) of the transistor-a measurements for a live orchestra in map of put signal when excess output current is all of the combinations of voltage and Symphony Hall, Boston; the remainder detected. The speaker's inductances are taken from recordings-including (no- current that the device can handle with- tably the woofer voice -coil andcross- out self-destruction. With a resistive digitally mastered and direct-to -disc ex- over choke) react to the sudden loss of load impedance, the current is directly amples-of symphonic music (B),pipe drive current by generatinga sharp organ (C), opera (D), jazz band (E), and proportional to the voltage: Double the back-EMF spike. A few thousandths ofa signal voltage, and you simultaneously rock (F). Each combines maximafrom second later, if the output transistors several different works. double the output current. It's child's survive this spike, the protection circuit play for the circuit designer to select 52 HIGH FIDELITY transistors whose SOA encompasses out of phase; that is, their maxima tend the capacitive load dissipates virtually this relationship, since he needs to know to lead or lag one another in time. Classi- none of the power fed to it. Instead, most only what value of load resistance to cally, the worst -case reactive load is an of the current is dumped back into the plan for, and that determines the max- electrostatic speaker, which is basically a amplifier during the next half -cycle of imum current that a given voltage will huge capacitor; here the voltage and cur- the waveform. Not surprisingly, this reproduce. rent can be very far out of phase, with active impedance subjects the output With a reactive loudspeaker, how- the current virtually nonexistent when transistors to the most stressful combi- ever, the voltage/current relationship the voltage is at a positive or negative nations of voltage and current, and any becomes complex. The two tend to go maximum, and vice versa. Furthermore, attempt to drive electrostatic speakers at high power levels commonly yields voltage /current values outside the SOA of the transistors. The capacitive and inductive im- The Arithmetic of Impedance pedances in ordinary dynamic loud- Amplifiers differ in performance and engineers who design only for ex- speakers present amplifiers with the from one brand or model to the next, in cellent performance soon find them- same generic problem, only smaller in part because of the assumptions their selves unemployed. In audio compo- magnitude. Current peaks often lead or designers make about the impedances nents-which are not self-contained, but lag voltage peaks slightly in time, but they will be called upon to drive. must be interconnected with other sys- they are not completely out of phase. Power in watts (P) is the product tem components-"reliable design" Some of the output current is kicked of output voltage (V) times current in means making products immune from back into the amp by the speaker, but amperes (I): P = V x I. Impedance in connection problems and user mistakes, most of it is absorbed and dissipated as ohms (Z) is the ratio of voltage to cur- even accidentally short-circuited either heat or sound. Since, on the aver- rent: Z = V/I. If we want an amplifier to speaker wires. Obviously, the output age, only about 1% of the amplifier's out- deliver, say, 72 watts to a true 8 -ohm current must be limited to a value that is put power is converted to sound by a load, a little arithmetic shows that the 72 safe for the output transistors, so it's up loudspeaker, some 99% must either be watts will be composed of 24 volts driv- to the designer to choose transistors dissipated as heat (as it is by resistive ing 3 amperes of current. If we want to large enough to supply current to realis- loads) or dumped back into the output deliver 72 watts to a higher impedance, a tic speaker impedances. But that's not a transistors (by reactive load compo- higher voltage will be needed and less free choice: Larger output transistors not nents). current will flow; if we want to deliver only cost more, but also tend to have A speaker's impedance curve 72 watts to a lower impedance, more higher junction capacitance, slower re- (from a test report or manufacturer's lit- current must flow and not as much volt- sponse, and increased high -frequency erature) provides a clue to how resistive age will be needed to push it. So when slewing distortion. Designing for high or reactive it is. A resistor has the same an engineer is assigned to develop a 72 - currents (low impedances) also tends to impedance at all frequencies, while reac- watt amplifier for 8 -ohm speakers, the raise the cost and weight of the power - tive impedances vary with frequency. So obvious procedure is to create a circuit supply transformer, heat sinks, etc. at those frequencies where the curve is that can amplify signals up to 24 volts Thus, in a highly competitive level, the impedance is basically resist- without distortion, select output tran- market, many manufacturers find that ive. At those frequencies where the im- sistors that can handle 24 volts without the most practical and cost-effective ap- pedance varies rapidly, it is at least breakdown and pass 3 amperes of cur- proach is to optimize the design for a 6 - partly reactive. Of the impedance curves rent without overheating, and provide a ohm impedance, which is the minimum in Fig. 1, the sharpest variations (steepest suitable power supply. impedance of a large number of"8 - slopes) are seen in the octaves above and Of course it's not quite that ohm" speakers. This seems to work well below the woofer/cabinet resonance; simple. Let's suppose that you buy this enough for a lot of stereo -system own- many conventional loudspeakers are in- amplifier and connect it to two pairs of ers. It's up to you to decide whether yourdeed most reactive in the bass ranges. "8 -ohm" speakers that have an actual requirements are more demanding than The fact that many kinds of music make impedance of 5 ohms at the "power" fre- average-whether you are using speak- high power demands at those lower frequencies in music, meaning that the net ers of low impedance or using two pairs quencies where speakers are most reac- impedance is 2.5 ohms. You play some or straining your system's capabilities tive helps to explain the observation music and crank up the volume control by playing recordings (such as digitally that, when amplifiers are compared, the until the amplifier is just below clip- mastered or DBX-encoded discs) with most obvious differences often are in the ping. It is putting 24 volts into a 2.5 - powerful dynamics. If so, it may be- reproduction of bass transients. ohm impedance, the resulting current hoove you to select an amplifier de- Even when only moderately reac- flow is 9.6 amperes, and 230 watts are signed for high output currents: that is, tive, a speaker still can easily cause delivered to the speakers-until the outfor unfettered operation at low imped- enough phase shift between voltage and put transistors burn out. Soon every- ances. You will find that amplifiers dif- current to carry an amplifier's output body learns from similar failures that fer substantially in their ability to drive transistors outside of their safe oper- this amplifier blows up easily, and the low impedances cleanly at high volume ating area. Consequently, nearly all am- company goes bankrupt. levels-and that this ability does not cor-plifiers in the past decade have incorpo- There is nothing a manufacturer relate very closely with their rated 8 - rated a form of protection called "V -I fears more than a failure -prone product, ohm power. (voltage -current) limiting," using a OCTOBER 1980 53

rough approximation of the SOA, to pre- DUST isn't much you can do about them. One vent burnout from driving typically re- CAP is that the impedance curve in many active speakers. Unfortunately, the COMPLIANT loudspeakers is not a fixed commodity. standard approximation is not very close SURROUND? CONE to real SOAs. If a designer chooses a rel- As the music gets loud and lots ofcur- rent flows through the voice coils, for ex- atively "loose" level of V -I protection, 0' ample, they get hot and their resistance the amplifier may still burn out when its Ailln-IC.L rises. As a result, they draw a little less connected to a difficult load; if V -I limit- current from the amplifier. And because ing is "tight," as it often is, the amplifier of a changing division of the signal be- will deliver its full rated power intoa test tween the crossover and the voice -coil resistor but can deliver only a fraction of impedances, the tonal balance can that into a loudspeaker before the 1.141611r117- - pro- . change. This is becoming less common tection curcuit gets in the way. ilppl lip as more manufacturers pack voice -coil The1978 IHF standard for meas- gaps with heat -conducting silicone uring amplifiers includes a "reactive ..'' VOICE MAGNETIC COIL grease or magnetic ferrofluids to min- load" specification using a test load with STRUCTURE imize temperature changes. reactive characteristics similar to the ma- Another common problem is that, jority of conventional dynamic speakers; 4A when the woofer's voice coil makes large it was intended to provide a consistent in -and -out excursions in reproducing test of an amplifier's ability to deliver its ENERGY OF DISPLACED CONE strong bass notes, its inductive (reactive) rated power into typically reactive 5 STORED IN impedance varies during the waveform speakers. So far most manufacturers COMPLIANT SURROUND-2 cycle. This nonlinear impedance have failed to publish this measurement. can be a significant source of distortion, which As a general rule, however, amplifiers is minimized by low resistance between designed to handle low impedances con- Air the amplifier and the woofer. This is tain high -current transistors with large one reason why it always is wise to employ SOAs and thus can be expected to heavy -gauge stranded wire for speaker handle reactive impedances well, too. cables, connected securely at each end During the last year or two, some \jig. SIGNAL VA ' and checked annually to be important advances in amplifier design INPUT sure that no 117TO VOICE loose connections or oxidation impose have improved compatibility with the 4 COIL resistance in the signal path. real impedances of loudspeakers. One is DRIVEN VOICE COIL Installation of a fuse in the ampli- the adoption of more sophisticated pro- MOVES SPEAKER CONE fier/speaker line can also be a PRODUCING SOUND source of tection circuits, permitting more effec- nonlinear impedance and consequent tive use of the entire SOA of the transis- 4B intermodulation distortion as fluctuat- tors. Another is the development by ing low -frequency signals cause the fuse semiconductor manufacturers (in both element to heat and cool. A relatively the U.S. and Japan) of new output tran- ENERGY STORED IN COMPLIANCE minor problem at worst, it can be elimi- sistors having both high speed and a PUSHES CONE BACK

nated either by the amplifier designer large SOA, so that excellent perform- TOWARDS ITS AT- RE ST " POSITION (who can place fuses in feedback or ance with low -impedance or reactive power -supply circuits, rather than at the speakers can be obtained without com- output) or by the speaker designer (who promise in the form of high -frequency can fuse the tweeter and woofer inde- distortion. pendently, rather than using one fuse for Another case in point: the power the whole system). If you already have MOS FET, with its negative thermal bought an amplifier and speakers that coefficient. Ordinary bipolar transistors violate these rules, you can minimize must be protected from "thermal run- fuse heating by using an infrasonic filter away." When large amounts of current topreventamplification of rumble, disc heat the transistor, its gain rises, which - CONE MOTION warp, and tonearm-resonance energy. (If increases the current, which heats the your system has no infrasonic filter, an transistor some more, further increasing (.) MOVES VOICE COIL outboard model can be added.) The filter its gain ... until it goes up in smoke. MOTION OF COIL also will minimize woofer -coneexcur- Being immune to this failure mode, IN MAGNETIC FIELD GENERATES BACK EMF sion and associated muddying of bass. MOS-FET amplifiers can have very Awareness is the key to solution "loose" V -I limiting, leaving them free to 4C of the symbiosis problems we have been feed their full power to reactive loads. considering. Designers certainly are This doubtless accounts, in part, for their paying increasing attention to their pre- reputation for fine sound. Fig. 4: Elasticity of compliant sur- vention. But only through awareness of It may be worth mentioning a few round at edge of cone is one mechanism potential problems and their symptoms more potential oddities in amplifier/ by which driver stores energy from amp can you spot a poor combination and speaker symbiosis, even though there and then returns it as back EMF. seek a betterone. HP 54 HIGH FIDELITY WFMT: Our First National Radio Station by Phillip Huscher Chicago's prestigious classical FM broadcaster is not just the only radio station to be transmitted throughout the U.S., but also our first European station.

144

Above, Lazar Berman, whose Chicago debut was sponsored by WFMT; right, program director Norman Pellegrini watches president Raymond Nordstrand at the controls.

Despite Chicago's Second City com- America's biggest magazines, and last opera companies, concerts from several Llplex, its classical radio station year becoming our first national radio international festivals, and all PBS si- WFMT can claim, with much justifica- station, relayed throughout the U.S. by mulcasts. It has even acquired unique tion, to be No. 1. Other stations around satellite. It has won more than forty na- rights to several program sources from the country resort to garbage to bring in tional and international awards-more abroad, including the British Broad- listeners: Houston's KRLY-FM recently than any other commercial station-in- casting Corporation's archives. paid $6,000 to a young woman who cluding eleven Major Armstrong Some BBC programs had long shaved her head, replaced her hair with Awards, given to recognize initiative, been broadcast on American stations. In cow dung, and sang "I Feel Pretty"; sta- particularly in programming, and three 1973, Nordstrand wanted access to the tion KEZY in Orange County, Califor- Peabody Awards, considered the Oscarsarchival Transcription Service, rich in nia, gave free tickets to a Linda Ronstadt of the broadcasting industry. operas, plays, and historic concerts, but concert for the largest sign proclaiming WFMT president Raymond the Britons' policy was to grant rights to an obscenity. In contrast, over the last Nordstrand maintains that all the ex- national radio systems only, not to indi- three decades, WFMT has achieved un- traneous activities and acclaim "would vidual stations. Nordstrand countered paralleled success through quality: air- be very uninteresting if we weren't suc- with "How much do you charge New ing fine broadcasts, commissioning mu- cessful as a radio station-if no one lis- Zealand? I'll match it," and the BBC gave sic, sponsoring concerts, organizing the tened and we made no money." In fact, itin. Last year WFMT also acquired the country's most financially successful is one of the most profitable classical sta-rights to syndicate selected BBC pro- "marathons" for its city's orchestra, tions, with an estimated 400,000 Chicagograms to other stations in the U.S., and turning its program guide into one of listeners, and thanks to the satellite, it this spring it became not only our first hopes to double that number soon. national station, but our first European Mr. Huscher, who has written fre- The station's programming one as well by joining the European quently aboutmusic forthe Chicago Daily stresses material not available on com- Broadcasting Union. News and Chicago Magazine, is chairman mercial records, It broadcasts the com- U.S. membership in EBU had al- of themusic historydepartment of Chicago plete seasons of eight American orches- ready been granted to National Public Conservatory College. tras (including the Big Five) and three Radio, a programming service for non- OCTOBER 1980 55

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Left, announcer Mike Nichols (that's right) and Rita Jacobs, cofounder with Bernard Jacobs, shown above, in the o 4 .? studio in the '50s. Right: "free spirit" ,o Studs Terkel.

commercial stations, but NPR was offer- spired similar efforts around thecoun- award for its pioneering work in in- ing only eight hours of classical music try; Saturday Night on Cleveland's corporating Dolby noise reduction in its each week and making limited use of WCLV is a direct descendant. (Host and signal. the EBU's musical repertory. In April, WCLV program manager Robert Conrad In 1976, WFMT began sponsoring Nordstrand submitted an application, once worked for WFMT.) concerts offthe airas well. When no one and a month later the Chicago station The Chicago station not only has else in Chicago seemed interested in was voted in. It was interested in Berlin broadcast music, but has sponsored it. bringing Russian pianist Lazar Berman Philharmonic concerts; several EBU And last year it commissioned song to town during his first American tour, it broadcasters wanted to pick up Studs cycles from nine American composers, took the plunge (as did WGBH in Bos- Terkel's interviews from WFMT. including Lukas Foss, Barbara Kolb, and ton), booked Berman, and by playing his Every weekday morning for one Philip Glass. Each composer was paid records on the air eventually sold out hour, WFMT belongs to Terkel, author $1,000 plus all expenses to hire perform- Orchestra Hall. That success encouraged (Hard Times, Working), oral historian, ers, rehearse, and tape the music for pre- it to sponsor other artists neglected by and "free spirit." Since he joined the sta- mieres over WFMT. In the mid -'50s, it local concert series: pianist Ivan Mora- tion in 1952, Terkel has lured a remark- started broadcasting live concerts by vec, cellist Daniel Shafran, and pianist able crowd into the studio-Carl Sand- Chicago's Fine Arts Quartet, performing Bella Davidovich. burg, Janis Joplin, Buckminster Fuller in recital halls or playing in the studio WFMT was a latecomer to those Birgit Nilsson, Marc Chagall, Elisabeth exclusively for WFMT listeners-as, in weekend marathons that dozens of com- Schwarzkopf, Norman Mailer, Pete See- New York, WQXR had been doing with mercial classical stations have been ger, Aaron Copland, and Woody Allen its WQXR Quartet and, later, WABC- holding for up to thirteen years to ben- among them. His show remains one of FM was to do with its ABC Quartet. But efit their local symphony orchestras (and WFMT's most popular, along with an- it was with the Fine Arts beginning in to demonstrate to advertisers their lis- other in-house product, The Midnight February 1962 that WFMT broadcast the teners' expendable wealth). Chicago's Special, a three-hour potpourri of folk first live concert series anywhere in first marathon did not take place until music, satire, show tunes, and farce. stereo. Seven years later the same series 1976, but since that time it has amassed Long a Chicago institution, it hasin- brought the station its first Armstrong more than $2 million for the Chicago 56 HIGH FIDELITY

Symphony Orchestra, far more than any services. With a Chicago station, the other station has accumulated for its or- Nordstrand countered supplier could piggyback the signal onto chestra. that of WGN-TV. The combination of WFMT has always banned prere- with "How much do you quality and convenience made an agree- corded ads and commercial jingles. charge New Zealand? ment between WFMT and UV a natural. Spots, limited to four minutes per hour, It was announced at the National Cable are read live by staff announcers. Yet, for I'll match it." Television Association convention in all the lost ad revenues-Eastern Airlines May 1979, and the Federal Communi- alone might have brought in a quarter of cations Commission gave its approval in a million advertising dollars during the ter work, he met Elaine May, and a few October. Thus WFMT became the first, past decade but refused to give up its jin- months later they started packing for and so far only, nationally broadcast ra- gles-Nordstrand is convinced these are New York. Nordstrand remembers try- dio station in the country. the most persuasive commercials in the ing to convince Nichols of FM's bright To reach its new audience, business, and many advertisers agree. future and the uncertainty of New York WFMT's signal is picked up in down- Last year one local bank signed a five- life. Nichols and May, of course, became town Chicago, transmitted by micro- year contract for more than a million the hottest comedy team of the '50s and wave along with WGN-TV to the RCA dollars, probably the largest in radio his- :60s-until Nichols decided to become satellite uplink station in Lake Geneva, tory between an advertiser and a single Broadway's hottest director. Wisconsin, and from there to RCA'sSat. station. Bernard Jacobs had long suffered cornI22,300miles above the equator. If WFMT leads a charmed life to- from multiple sclerosis and, in 1968, Transponder 3, one of Satcom's twenty day, it didn't always. In the late 1940s, took an irreversible turn for the worse. mini receiving stations, sends WFMT Bernard and Rita Jacobs operated In aprecipitous move, which some rec- back to earth stations, or downlinks. WOAK, a nearly defunct pop FM stationognized as panic, he sold WFMT to local Any cable system in the continental U.S. headquartered in the converted ball- TV station WGN, a business affiliate of with the proper equipment can pick up room of the aging Hotel Guyon on Chi- the Chicago Tribune. Fearing a change in WFMT in stereo. If it carries WGN-TV, cago's west side-a world away from its format, concerned listeners formed the it already operates a receiver tuned to present posh Michigan Avenue location. Citizens' Committee to Save WFMT, do- Transponder 3 and now only needs an The Jacobses harbored serious ideas nated funds, and took the case to court, inexpensive stereo upconverter. United about fine arts programming, and in protesting "concentration of control in Video charges cable companies a penny 1950 WOAK went all -classical. Five media." As it turned out, the crisis per subscriber each month to add months later, with hardly any adver- passed quickly; in 1970 the Tribune WFMT; cable subscribers then pay the tisers or staff left, it retreated to its old backed down and "donated" the radio company a small monthly fee for the format. Undaunted, the Jacobses bought station (along with its long-term finan- new programming. The Chicago station out the station, changed the call -letters cial obligations to Jacobs) to WTTW, receives no payment, only the satisfac- to WFMT, and on December 13, 1951, Chicago's public television station. It is tion of reaching an anticipated half mil- they tried again. This time it was literally an unusual arrangement: the profits of a lion more listeners in Aspen, Colorado, a labor of love; there was no money. commercial radio station going to a non- Gainesville, Georgia, or Portland, Ore- They were soon joined by Norman Pel- commercial TV station. gon-and of course a great sales pitch for legrini, a frustrated actor with an abiding WFMT's program guide first ap- potential national advertisers, since love of music, who brought along his peared in 1952 as a sixteen -page bi- cable systems must distribute WFMT record collection to play on the air. To- weekly listing. In 1970, it merged with with all commercials intact. day WFMT's program director, he sus- the WTTW program magazine and be- In the first months, WFMT was pects he was hired because he could pro- came a full-size city monthly, complete added to cable systems in thirty states, nounce Briinnhilde. It didn't hurt that he with a calendar of events, a critical guide mostly in towns where there was no was willing to work for next to nothing. to dining, articles, fiction, and lots of ad- existing classical station. In some cases Nordstrand entered the scene by vertising. It is now Chicago magazine, the where the cable management was reluc- accident. One summer afternoon in best-selling city monthly in the U.S., tant to make the investment in new 1953, he accompanied a friend to an au- with a paid circulation of 200,000 and equipment, or dubious of the audience dition for Mike Nichols, then WFMT's revenues twice that of the station itself. for classical music, determined citizens head announcer. When his friend wasn't (In 1979,WFMT/Chicagorevenues formed committees to stir up interest. offered the job, he decided to try out and topped $10 million, with before -tax The Chicago station seldom hears was hired on a part-time basis. For a profits bordering on $1 million. Every directly from its new listeners, but dur- while, Nordstrand juggled announcing year, several hundred thousand dollars ing the April CSO marathon cable sub- with academia-he was then an econom- are turned over in dividends to WTTW.) scribers in twenty-four states phoned in ics student, and later professor, at North- In November 1978, United Video, pledges. WFMT prefers playing a pas- western University-but he eventually a common carrier in Tulsa, Oklahoma, sive role in the United Video arrange- left teaching for full-time broadcasting. that provides signals to cable systems ment and seems determined not to let In 1971 he became general manager and nationwide via satellite, began carrying national exposure ruffle the even tenor president. Nichols, meanwhile, stayed at Chicago's WGN-TV as one of three U.S. of local operations. Despite all the the station long enough to launch the television stations it relayed. At the time, changes that are certain to come, Nord - first version of The Midnight Special. Then UV was also lookingfor aclassical sta- strand predicts only that "WFMT will one night, waiting for the train home af- tion in the Midwest to add to its stable of continue to survive and succeed."HF OCTOBER 1980 57

CHERUBINIRequiem.Austrian RSO&Ch, The Complete Caruso(continuation of series us- Preview Gardelli. ing Soundstream process). CHOPIN:Piano Concerto No. 1; Andante spianato The Horowitz Collection(Clementi sonatas, et al.) and Grande Polonaise.Davidovich; Lon- (2). don SO, Marriner. The Horowitz Concerts 1979-80. Works by Men- of the DEBUSSY:Nocturnes (31; Jeux.Concertgebouw delssohn, Rachmaninoff, Schumann. 0, Haitink. Jesus of Nazareth (television film soundtrack)(3). DEBUSSY:Preludes, Book I.Arrau. Tintypes (original Broadway cast recording)(2). Forthcoming FAURE, SCHOENBERG, SIBELIUS:Pellias et Also plannedare amajor project featuring Milisande.Rotterdam PO, Zinman. James Levine and the Chicago SO; HANDEL:Double Concertos (3).St. Martin's Academy, Marriner. newly released material of Arthur Ru- Year's binstein; recordings by the Canadian HANDEL:Royal Fireworks Music; Concerto Brass and the Guarneri and Cleveland grosso.St. Martin's Academy, Marriner. Qts.; releases by violinist Dylana Jen- Recordings son and clarinetist Richard Stoltzman; HAYDN:L'Incontro improviso.Zoghby, M. major repertory from Eugene Or- Marshall, D. Jones, AhnsjO, Trimarchi, mandy and the Philadelphia 0, some Luzon;Lausanne CO, Dorati (3). to include pianist Emanuel Ax; albums HAYDN:Symphonies Nos. 101, 102.Concertge- bouw 0, C. Davis. by Leontyne Price, Robert White, Ju- lian Bream, Andres Segovia, James SCHUMANN:Liederalbum fur die Jugend; Lie- Galway, Jean-Pierre Rampal, Tedd Jo- derkreis.Ameling, Demus (2.). selson, and Eduardo Mata and the Dal- SCHUMANN:Piano Concerto.WEBER:Kon- las SO. zertstiick.Brendel; London SO, Abbado. RCA GOLD SEAL VERDI:Stiff elio.Sass, Carreras, Manuguerra,

Ganzarolli, Di Cesare; Austrian BEETHOVEN:Symphony No.9. Price, For- RSO&Ch, Gardelli (2). rester, Poleri, Tozzi; New England Part II VIVALDI:Sacred Works, Vols. 5-7.John Alldis Conservatory Ch, Boston SO, Munch. Choir, English CO, Negri (3). BERL.IOZ: Symphonic fantastique.Boston SO, promised last month, here is the con- A WILLIAMS, J.:Lost in Space (film -score ex- Munch (first stereo release). Asclusion of our annual preview of in- cerpts).Boston Pops 0, J. Williams. DVORAK:Symphony No.9. Boston SO, dustry releases. Domestic reissues are in- Italian Love Duets.Ricciarelli, Carreras. Fiedler. dicated with a , audiophile (digital unless The Spirit of Christmas.London SO, C. Davis. SAINT-SAENS: Symphony No. 3.Fox; Phila- otherwise noted) releases with anA.(To delphia 0, Ormandy. end the suspense for reader Morton Frank- LIVING BAROQUE STRAUSS,R.:Don Quixote.Janigro; Chi- cago SO, Reiner. lin ["Letters," February]: noD'IndySecond HANDEL:Concerti gross) (12), Op. 6.English WAGNER: Gotterdammerung (orchestral high- Symphony again this year.) CO, Leppard (3). lights).London SO, Stokowski. MONTEVERDI:Madrigals, Book VIII.Lep- Maurice Andri: II Trompetto assoluto. pard (3). Baroque Favorites (Pachelbel's Canon, et al.). PERGOLESI:Concerti armonici. IMusici (2). NOTE ON ABBREVIATIONS Paillard CO, Paillard. Released by Polygram Classics, Inc., 137 W. Classic Film Scores: Korngold's Sea Hawk; Scores Performing groups are indicated with ap- 55th St., New York, N.Y. 10019. for Bette Davis.National PO, Gerhardt propriate combinations of P (Phil- (2). harmonic), R (Radio), S (Symphony), Greatest Hits of Christmas.Philadelphia 0, C (Chamber), 0 (Orchestra), and RCA RED SEAL Ormandy. Ch (Chorus). Joan Morris and William Bolcom: These Charm- BACH:Cantatas Nos. 51, 199.Gruberova; Ger- Where the number of discs is known, it is ing People; The Girl on the Magazine Cover man Bach Soloists. (2). included in parentheses at the end. BACH:Trio Sonatas.Galway, flute; Kyung- The number may indicate either a E Leontyne Price: My Favorite Hymns. Wha Chung, violin; Moll, harpsichord; Jean-Pierre Rampal: Carnaval de Rampal. multidisc set or separate discs. Welsh, cello. BEETHOVEN:Late Quartets.Cleveland Qt. RCA Records, 1133 Avenue of the Americas, (4). New York, N.Y. 10036. EUROCLASS RECORD DISTRIBUTORS CHOPIN:Piano Works, Vol. 2.P. Serkin. L:SZT:Paraphrases and Fantasies.Lowenthal. See Rubini, Unicorn. Euroclass Record Dis- AMAHLER: Symphony No. 10.Philadelphia 0, RUBINI (U.K.) tributors, Ltd., 155 Avenue of the Levine ( analog first movement) (2). (distributed by Euroclass Record Distributors, Ltd.) Americas, New York, N.Y. 10013. MOZART:Piano Concertos Nos. 20, 22.Ax; Dal- American Singers, Vol. 1.Craft, De Cisneros, las SO, Mata. Fay, Hamlin, Lankow, et al. (3). PHILIPS A MOZART:Die Zauberflote.Cotrubas, Donat, Isidoro Fagoaga.Arias by Giordano, Wagner Kates, Tappy, Boesch, Talvela, Van (also includes Wagner arias sung by BOCCHERINI:Guitar Quintets Nos. 4-b.P. Ro- Dam; Vienna State Opera Ch, Vienna De Angelis, Molinari, Parmeggiani). mero; St. Martin's Academy C PO, Levine (3). Paul Franz.Arias by Bizet, Gounod, Massenet, Ensemble. ROCHBERGConcord Quartets.Concord Qt. Reyer, Saint-Saens; Wagner. BRAHMS: Clarinet Sonatas (2).Pieterson, H. SCHUMANN: Symphonies (4).Philadelphia 0, Italian Tenors of the 1920s.Alabiso, Bendinelli, Menuhin. Levine (3). Bergameschi, Chiaia, Garuti, Men- 58 HIGH FIDELITY

S escaldi, Paganelli, Parmeggiani, Ra- monia Virtuosi, Kapp. daelli, Volpi, Voltolini, Voyer. WALKER:Music of, Vol. 3. Maria Kuznetsova. Arias by Glinka, Gounod, WEIGL:Music of. Massenet, Puccini, Verdi, et al. Contemporary Piano Project (works by Brehm, McIntosh Riccardo Stracciari, Vol. 3. Arias by Gounod, Haieff, Lessard, Luening, Martin& Puccini, Rossini, Verdi, Wagner, et al. Ornstein, Thorne). Peltzer (3). Giuseppe Taccani. Arias by Bizet, Donizetti, Serenus Corp., 145 Palisade St., Dobbs Ferry, Giordano, Mascagni, Ponchielli, Puc- N.Y. 10522. cini, Verdi. "A Technological Miguel Villabella. Arias by Bazin, Boieldieu, Gounod, Massenet, Offenbach, 1750 ARCH Rossini. Masterpiece..." ADAMS, J.: Shaker Loops. Ridge Qt. Phrygian Gates. McCray, piano. SAGA BRANT: Solar Moth. KOBIALKA: Autumn Be- yond. Kobialka, violin. ALBINONI: Adagio.VIVALDI:Four Seasons. BYRD: Gradualia. Brett, dir. Sinfonia di Siena. DODGE: Cascando. Musical setting of the .. BOYCE Anthems and Voluntaries. Ely Cathedral " A a Beckett radio play. 1 . _ _ Choir, Wills. r --.....,=,_47,.._ JENCKS: Piano Works. Mikulak. I 0, -1::) ---00000' 0 FAURE: Piano Music, Vol. 2. Ferber. LOPEZ, P.: Ship of Death (text by D. H. Law- TORROBA: Guitar Works. Hill. ;. rence). Buckner (t); Arch Ensemble for

- 0 7-0 - Janet Baker: An Anthology of English Song. Experimental Music, Hughes. Jill Gomez: Spanish Song Recital. Works by Falla, NANCARROW: Studies for Player Piano, Vols. Granados, Turina. 3-5. McIntosh C 32 Philip Pickett: The Virtuoso Recorder. Works by SEEGER,C.: Violin Sonata. Erickson, Shenk. Vivaldi, et al. Songs. Dudley (s), Shenk. Popular Music from the Time of Elizabeth I. Lon- "More Than a Preamplifier" don Camerata. 1750 Arch Records, 1750 Arch St., Berkeley, Popular Music from the Time of Henry VIII. Hill- Calif. 94709. McIntosh has received peerless ac- iard Ensemble. Segovia Plays Bach. Includes D minor Chaconne. claim from prominentproduct SINE QUA NON Songs for a Tudor King. Hilliard Ensemble. testing laboratories and outstand- Distributed by Centaur Records, Inc., P.O. BEETHOVEN: Piano Concerto No. 5; Sonata No. ing international recognition! You Box 23764, Baton Rouge, La. 70893. 27. Gulda (with Vienna State Opera 0, can learn why the "more than a , Swarowsky). preamplifier" C 32 has been MOZART: Piano Concertos Nos. 20, 23. Entre- SERAPHIM mont; Frankfurt SO, J. Entremont. selected for these unique honors. BRAHMS: Violin Sonata No. 3. FRANCK: So- MOZART: Piano Concertos Nos. 21, 27. Gulda; Vienna State Opera 0, Swarowsky. Send us your name and address nata. Y. &H. Menuhin. and we'll send you the complete PURCELL: Dido and Aeneas. Flagstad, Sine Qua Non Productions, 25 Mill St., Provi- Schwarzkopf, Hemsley; Mermaid 0 dence, R.I. 02904. product reviews and data onall and Singers, Jones. McIntosh products. copies of the ROSSINI: L'Italiana in Algeri. Sciutti, Si- international awards, and a North mionato, Valletti, Cortis, Petri; La SMITHSONIAN Scala Ch&O, Giulini. American FM directory. Youwill HANDEL: Concerti Grossi (7). M. MacDonald, understand why McIntosh product SCARLATTI, D.: Keyboard Sonatas. Ciccolini, Caldwell, Slowik; Smithsonian C En- piano. research and development always semble, Weaver (2). STRAUSS,R.: Tod undVerkliirung. WAG- Smithsonian 20th -Century Consort: Chamber Mu- hastheappearanceandtech- NER:Prelude and Liebestod from Tristan sic (21. Works by Chenoweth, Penn, nological look to the future. und Isolde. Los Angeles PO, Leinsdorf. Rochberg, Schwantner, Wright. Hans -Martin Linde and Konrad Ragossnig: Flute - Guitar Recital. Works by Fiirstenau, Smithsonian Recordings, P.O. Box 10230, Des Keep up to date. Mozart, Praeger, Schubert. Moines, Iowa 50336. Released by Angel Records, 1750 N. Vine St., - Send now- -- Los Angeles, Calif. 90028. STARLOG/VARESE SARABANDE (a new joint venture of Starlog magazine and Varese McIntosh Laboratory Inc. SERENUS Sarabande) Box 96 East Side Station HAIEFF: Music of, Vol. 2. A HERRMANN: North by Northwest (original Binghamton, NY 13904 KUPFERMAN:Music of, Vol. 7. film score). London Studio SO, L. Name MARTIN& Music of. Johnson. NIEMAN: Musicof. JOHNSON, L.: The Avengers (suite from TV Address ORNSTEIN:Music of, Vols. 1, 2. series); The Professionals. London Studio SOSSMAYR:Das Namenqest (cantata for chil- SO, L. Johnson. City State Zip dren's chorus). PAISIELLO: Cantata AJOHNSON, L.: Film Music (suites and excerpts comica. from First Men on the Moon, Captain If you are in a hurry for your catalog please send the coupon to McIntosh. For non -rush TARTINI: Concertos, et al. New York Philhar- Kronos, Hedda, Dr. Strangelove). London service send the Reader Service Card to the magazine. Circle 3 on Reader -Service Card Iv Circle 26 on Reader -Service Card 1") (11) e

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Studio SO, L. Johnson. Cellists of the Berlin PO, Vol. 2. Distributors) These titles, recorded in London Violin Chamber Works. Zehetmair, et al. as coproduc- A BLISS:Piano Concerto (with Fowke); Welcome tions with Unicorn Records, are dis- Released by Polygram Classics, Inc., 137 W. the Queen; Homage March. Royal Liver- tributed internationally by Varese 55th St., New York, N.Y. 10019. pool PO, Atherton. Sarabande. BRIAN: Symphonies Nos. 10, 21. Leicestershire TITANIC Schools SO, Loughran, Pinkett. SUPRAPHON (Czechoslovakia) BACH, C.P.E.& J.C.: Violin -HarpsichordSo- BULLER: Proenca. Sarah Walker (ms); Walker, natas. Lieberman, Kroll. electric guitar; BBC SO, Elder. BACH: Cantatas Nos. 204, 209. Jonagova; Ars BACH: Flute Chamber Works (complete). Miller, DAVIES, P.M.: AveMarisstella; Tenebrae super Rediviva, Munclinger. Richman, et al. (2). Gesualdo (with Thomas, s). Fires of BRUCH: Violin Concerto No. 1. SIBELIUS: Con- BACH: Harpsichord Works (includes Chromatic London, P. M. Davies. certo. Ishikawa; Brno State PO, Fantasy and Fugue). Abreu. DUNSTABLE: Veni Sancte; Veni Creator. KIN- Belohlavek. BACH, GAULTIER, MOUTON: Lute Works. LOCHE: Instrumental Works. PUR- HINDEMITH, POULENC, PROKOFIEV: Flute C. Strizich. CELL: Fantasies and Pavans. Fires of Sonatas. Valek,Halo. BACH: Organ Works (includes Toccata and Fugue London, P. M. Davies. HINDEMITH: Piano Works. Petermandl. in D minor). B. Lagace. FAURE: Barcarolles Nos. 1-9. Parkin. JANACEK,Choral Works. Czech PCh, Veselka BACH: Violin -Continuo Works (complete). Boston GOOSSENS: Symphony No. 1. Adelaide SO, (2). Museum Trio. Measham. KHACHATURIAN, SHOSTAKOVICH: Cello BALBASTRE, FORQUERAY: Harpsichord GRIEG: Sigurd Jorsalfar; Den Bergtekne. Carlsen Concertos. Sadlo; Prague SO, SmetaZek. Works. Rephann. (s), Hanssen (ms), BjtArk#y (t); Oslo LASSO: Penitential Psalms. Czech PCh, Veselka BEETHOVEN: Piano Trios, Op. 1 (complete). PCh, London SO, Dreier. (2). Amade Trio (2). HOWELLS; C. W. ORR: Vocal Works. Lang- LECLAIR: Chamber Works. Ars Rediviva. CHAMBONNIERES, FROBERGER: Harpsi- ridge (t), Ogston (b); Parkin. TCHAIKOVSKY: Violin Concerto; Serenade me- chord Works. Rephann. AMESSIAEN: Organ Works (complete), Vols. 1, lancolique. Ishikawa; Czech PO, Kogler. CORBETTA, DE VISE: Guitar Works. R. 2. Bate (Beauvais Cathedral). Chamber Works (by Kubik, Kurz, Riedlbauch, Strizich. TIPPETT: Shires Suite. D. YOUNG: Virages REEk,Slavicky). Various. GIULIANI, MERZ: Guitar Works. Leisner. (with De Saram, cello). Leicestershire Music at theCourt ofCharles IV. Prague Madri- GIUSTINI, et al.: Fortepiano Works, Vols. 1, 2. Schools SO, Fletcher, Young. gal Singers, Symposium Musicum (2). Horszowski (2). VAUGHAN WILLIAMS: On Wenlock Edge Trumpet and Horn Concertos (works by Biber, HAYDN: Piano Sonatas, Vols.1, 2.Bilson, forte- (with English, t). IRELAND: Over- Neruda, Reissler-Rosetti, Ryba). piano (2). landers Suite;Epic March.West Austral- Svejkovsky, Suchanek; Plzen RSO, HAYDN: Piano Trios, Vol. 2.AmadeTrio. ian SO, Measham. Macura. HOTTETERRE, PHILIDOR: Recorder Chamber A WIENIAWSKI:Violin -Piano Works. Ricci, Distributed by Qualiton Records, 39-28 Cres- Works. Kosofsky, Kroll, Sennari. Gruenberg. cent St., Long Island City, N.Y. 11101. LECLAIR: Sonatas for Two Violins. Monosoff, A Jennifer Bate: Recitalon the Royal Albert Hall Lieberman. Organ. Works by Bach, Bate, Langlais, MARAIS: La Gamme. Boston Museum Trio. Vierne, Widor, et al. TELARC DIGITAL MARAIS: Viola da Gamba Chamber Works. Hsu, Mend (s) and Peter Dickinson: Vocal Recital. Davidoff, Bagger. Works by P. Dickinson, Harvey, Lut- DVORAK: Symphony No. 9. St. Louis SO, Slat- PACHELBEL: Organ Works. Gary. yens, Panufnik. kin. RAMEAU: Harpsichord Works. Kroll. RAVEL: Bolero;Pavane pourune infante difunte; SCHUBERT: Piano Sonata, D. 959; Variations on VANGUARD Daphnis et Chloe: Suite No. 2. St. Louis an Original Theme. S. Carlin, fortepiano BACH, C.P.E.: HarpsichordConcertos (2).J. C. SO, Slatkin. (with M. Carlin). BACH: Concerto in D (arr. Mozart). Pin- STRAVINSKY: LeSarredu printemps. Cleve- VIVALDI: Concertos Arranged for Two Harpsi- nock; English Concert. land 0, Maazel. chords. Pixton, Parmentier. BACH: Well -Tempered Clavier, Book I. Telarc Records,23307 CommercePark Rd., American Brass Quintet: Music of the1850sper- Horszowski, piano (3). formed on period instruments. Cleveland, Ohio 44122. (Distributed BACH, P.D.Q.: Liebeslieder Polkas. Swarthmore by Audio-Technica U.S., Inc., 1221 Mireille and Genevieve Lagaci: Organs of Venice College Ch. Twelve Quite Heavenly Commerce Dr., Stow, Ohio 44224.) and Vicenza. Works by Frescobaldi, Songs. Schickele, Ferrante; Oei. Merula,et al. (2). BEETHOVEN: Piano Sonatas Nos. 31, 32. Music from the Court of Frederick the Great. Oppens. Huene, Quantz flute; Kosofsky, Lie- TELEFUNKEN A DEBUSSY:Trio for Flute, Viola, and Harp; berman, Kroll. BACH: Cantatas. Harnoncourt, Leonhardt Syrinx. DEVIENNE: Duo for Flute and (continuation of series). Titanic Records, 43 Rice St., Cambridge, Viola. RAVEL: Sonatine en trio (arr. Sal- zedo). Orpheus Trio (analog). A BACH: Motets. Harnoncourt. Mass. 02140. A RESPIGHI:Pines of Rome; Feste romane. Balti- BEETHOVEN: Piano Sonatas, Vol. 1. more SO, Comissiona. Buchbinder. TOMATO A RZEWSKI: A BOCCHERINI, HAYDN, TELEMANN: Four Pieces; Which Side Are You BEETHOVEN: Piano Sonatas (complete). On? Rzewski,piano. Works for Cello and Double Bass. Bau- Gulda (13). A TCHAIKOVSKY: man, Stoll. Symphony No. 4. Balti- more SO, Comissiona. BRAHMS: Ballades (4); Piano Pieces, Op.70. Tomato Records, 185 Montague St., Brooklyn, VIVALDI: Concertos, Op. 8, Nos. 5-12, et al. (10). Frantz. N.Y. 11201. Standage, Preston, Pleeth; English TELEMANN: Concertos. Quadro Hotteterre Concert, Pinnock. TELEMANN: Darmstadt Overtures. Vienna UNICORN (U.K.) A Choice Concentus Musicus, Harnoncourt. Collection ofLessons and Ayres (1663- (imported and distributed by Euroclass Record 1756) (worksby Arne, Blow, Greene, Empire's EDR.9 62 HIGH FIDELITY The Phono Cartridge Locke, Purcell,et al.).Pinnock, HERRMANN: Seventh Voyage of Sinbad (origi- harpsichord. nal soundtrack). British Studio 0, Designed for Today's ALiliKraus Plays Fantasies.Works byBach, Herrmann (first stereo release). Audiophile Recordings Haydn, Mozart, Schubert (analog). HINDEMITH: Kammermusik, Op. 24, No. 1. Trevor Pinnock Plays Historic Instruments at the Concertos: forHarp, Woodwinds, and Or- Victoria and Albert Museum (virginals chestra; for Trumpet, Bassoon, and Orches- and harpsichord). Works by Arne, J. C. tra. San Francisco Little SO, Millar Bach, Byrd, Croft, Handel. (first stereo release). A Showpiecesfor Orchestra (works by Berlioz, A HOLDRIDGE: Violin Concerto No. 2 (with Enesco, Ravel, Rimsky-Korsakov). Dicterow); Symphonic Suite from Lazarus Baltimore SO, Comissiona. and His Beloved. London SO, Holdridge. 80E1' CARDINAL SERIES NEWMAN: Anastasia(original soundtrack). 20th Century -Fox SO, Newman (first trit F: r CHOPIN: Piano Concerto No. 1. SCHU- stereo release). MANN: Overture, Scherzo, and Finale. R. SKALKOTTAS: Greek Dances (12). San Fran- Lhevinne; National Orchestral Associ- cisco Little SO, Millar (first stereo ation Alumni, Barnett. release).

STEINER: JohnPaul Jones (original soundtrack). EVERYMAN CLASSICS London Sinfonia 0, Mathieson.

SIBELIUS: SymphonicPoems. P Promenade 0 A TCHAIKOVSKY:Symphony No. 6. National of London, Boult. PO, Paita. Direct -to -Disc and digitalre- AVaclav Hudecek: Violin Recital (Tartini's De- HISTORICAL ANTHOLOGY OF MUSIC vil's Trill Sonata, arr. Kreisler; et al.). cording have added a fantastic new Hala, piano; Susumu Miyashita, koto. dimension to the listening experi- MOZART: Haffner Serenade. Vienna State Opera 0, WOldike. ence. Greater dynamic range, detail, CONCERT HALL SERIES (mono reissue): stereo imaging, lower distortion and Sacred and SecularMusic ofMedieval France increased signal-to-noise ratio are (1200-1400). Deller Consort, Vienna DELLO J010:Tre Ricercordi. Smadjai, piano; just a few of the phrases used to de- Concentus Musicus. Vienna SO, Swoboda.RoZSA:Hun- scribe the advantages of these new garian Serenade. La Jolla 0, Sokoloff. This fall Vanguard will alsointroducean AU- technologies. DIOPHILE CHROME CASSETTE REMINGTON SERIES (all mono reissues): series, selected from among its most In order to capture all the bene- popular record albums. The first BEETHOVEN: Symphony No. 3. Vienna Ton- fits of these recordings, you should twelve releases will include, among kiinstler 0, Busch. have a phono cartridge specifically others, Somary's Brandenburgs and SIBELIUS:Symphony No.5. Berlin RSO, Jalas. designed to reproduce every bit of Messiah, Mackerras' Petrushka and Pic- TCHAIKOVSKY: The Tempest. Vienna information with utmost precision tures, Janigro's Four Seasons, Deller's TonkOnstler 0, Fekete. and clarity and the least amount of Purcell andAbravanel's Satie,and VILLA -LOBOS: Bachianas brasileiras No. 7; "P.D.Q. Bach on the Air." Chbros No. 4. Berlin RSO, Villa -Lobos. record wear. Simon Barere: Piano Recital. Works by Chopin, Vanguard Recording Society, Inc., 71 W. 23rd Liszt, Weber. The Empire EDR.9 is that car- St., New York, N.Y. 10010. tridge. Although just recently intro- ROY HARRIS ARCHIVE SERIES (all new): duced, it is already being hailed as VARiSESARABANDE a breakthrough by audiophiles, not HARRIS: Piano Quintet; String Quartet No.3. J. only in the U.S., but in such foreign Varese Sarabande will continue to releasehis- Harris; Blair Qt. torical mono recordings, stereo analog HARRIS: Symphony for Voices, et al. North Texas markets as Japan, Germany, Eng- recordings, and new JVC-pressed digi- State U. A Cappella Ch, McKinley. land, France, Switzerland and tal discs. Additional formats for Songs (complete); Lamentation (with Gold- Sweden. 1980-81 include 45 -rpm digital record- smith, viola). Berkowitz (s), J. Harris. ings and DBX-encoded digitals. All HARRIS: Violin Sonata (with Temianka); Cello At $200, the EDR.9 is expensive. unencoded digitally mastered discs are Sonata (with Rejto); Soliloquy and Dance but then again, so are your records. available exclusively through Disc - (with Goldsmith, viola). J. Harris. washer, 1407 N. Providence Rd., Co- URANIA SERIES: Release choices to be deter- lumbia,Mo. 65201;DBX-encoded ti- For more detailed information mined as tape conditions are assessed. and test reports, write to: tles are distributed by DBX, Inc., 71 Chapel St., Newton, Mass. 02195. Varese Sarabande Records, Inc., 13006 Saticoy Empire Scientific Corporation St., North Hollywood, Calif. 91605. 1055 Stewart Avenue BEETHOVEN: Symphonies (9). Leipzig Ge- Garden City, New York 11530 wandhaus 0, Masur. VIVACE CLASSIC A BERLIOZ:Symphonic fantastique. London BACH: French Suites (6). Graham, piano. SO, Paita. SCHUBERT: Piano Trios. BRUCKNER: Symphony No. 0. Osaka PO, SCHUMANN: Symphonic Etudes; Fantasiestticke. Asahina. EIVPIFE Graham. AGRAINGER: Works for Symphonic Band. U.C.L.A. Wind Ensemble, Westbrook Vivace Classic Recordings, 1422 Delgany, (45 rpm only). Denver, Colo. 80202. MaR MEER DAVE RAFEOast EAEFE MIME EAPFF EMEFFping PVE RAFE PRA BORGE RAFEf EAPLE RAFE MME EM.FE MEE MESE RAFE RAFE OMR EtAREE OMR RAFE MPFE ENVEGE BAR

Circle 12 on Reader -Service Card Its motherwas a computer. Its fatherwas aKenwood.

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eP I ;. * KOSS THINKS THIS KIND OF SOUNDWEIGHS 385 GRAMS MORE THAN SONYDOES. The MDR -7 Sonyphones deliver the same extra -widefrequency response as the KossPro/4 headphones. The MDR -7 Sonyphones deliver all the smoothness, crispness,depth and tonal color Koss built a business on. But unlike Sony, it takes our competition 440 grams of metaland molded plastic to do it. That's almost a pound. On the other hand, MDR -7 Sonyphones weigh 1.9 oz. And the MDR -5a, MDR -3 and MDR -2 Sonyphones are evenlighter. In short, with Sonyphones, a new generation of headphones is born. Sonyphones mean the end of sacrificing great sound tocomfort. Or great comfort to sound. Because never before has so little weight delivered so muchsound. Sonyphones by Sony. SONY Professional Audio 1980 SomeIndustries. a Division of Sony Corporation ofAirier It a. 9 West 5;t11 Street.NewYork, N Y10019. Sony isa registeredtrademark ofthe Sony Corporation. OCTOBER 1980 65 ehind the Scenes r

TIra Moss, whose Moss Music Group took helmKempffand the Bach orchestral La Gioconda plans in 1979, James Levine and over the Vox/Turnabout line a couple of works with Karl Richter leading his Mu- the National Philharmonic went on to years ago, has stirred considerable interest nich Bach Orchestra. These sets will offer record La Boheme for EMI/Angel (reviewed in the formation of a new organization to DG's usual imported pressings; the cost- next month). This past summer the Na- foment wider acceptance and recognition cutting will be done in the annotations and tional Philharmonic returned to Gioconda, of classical music. His working title, Asso- elsewhere. this time for Decca and under a new con- cation for Classical Music, boils down to ductor, Bruno Bartoletti (since Levine was ACM-notto beconfused with CMA, the With Karajan's latest Brandenburgs not free). Soloists are MontserratCaballe, twenty -two -year -old Country Music Asso- reviewed in this issue, we should note that Agnes Baltsa, Alfreda Hodgson, Pavarotti, ciation, which inspired his idea. another significant remake is in the works. Sherrill Milnes, and Nicolai Ghiaurov. Specific activities and policies will Neville Marriner recently recorded the On the whole, it has been a slow year be determined by the group's governing concertos for Philips with the Academy of for operatic recording. London, which usu- board when that takes final shape, but St. Martin -in -the -Fields andan all-starros- ally hosts a half -dozen or more such proj- Moss suggests such enterprises as surveys, ter of soloists: Henryk Szeryng, violin; ects in a summer, this year had only three sponsorship of free concerts, award presen- Jean-Pierre Rampal, flute; Heinz Holliger, others-Colin Davis' Covent GardenII tations, and programs to promote funda- oboe; Andre Bernard, trumpet; and George Trovatore (which we noted in August) for mental music appreciation and education Malcolm, harpsichord. As anyone who has Philips and two EMI recordings featuring in the schools and in more informal settings heard it will readily recall, Marriner's 1971 the Philharmonia Orchestra and Ambro- and to further the understanding of con- recording was adventuresome, to say the sian Opera Chorus: Levine's Tosca, with Re- temporary music. The greater exposure least. In conjunction with musicologist and nata Scotto, Placido Domingo, and Renato that results should benefit not only the harpsichordist Thurston Dart, who died Bruson, and Riccardo Muti's La Traviata, recording industry, but all segments of the before the project was completed, Marriner with Scotto, Alfredo Kraus, and Bruson. As music business. Working with Moss in for- reverted to the presumed "original" ver- a by-product ofTraviata, Mutialso did some mulating the idea and pulling together po- sions of some of the works-thus such odd- Verdi ballet music with the Philharmonia. tential board members has been Marvin ities as a French horn replacing the trumpet Saines, former vice president of CBS Mas- in No. 2, sopranino recorders in No. 4, the National Public Radio, which last terworks, a likely candidate for director- abbreviated harpsichord cadenza in No. 5, June became the first national radio net- ship of the board. To judge from initial etc. Almost perforce, his new reading will work in the world to broadcast full time via promises of support, all areas of the music be more conventional. satellite,is launching a campaign this community will be represented, and mem- month to catch the ear of the classical lis- bership will be open to the public. Buyers who frequent cutout bins tener Special programs include live broad- have probably noticed an unusually heavy casts of an all -Mozart concert by the St. This promises to be a month of new representation of London titles lately-a Paul Chamber Orchestra, with Pinchas Zu- departures for Deutsche Grammophon. As sideeffectofthe Polygram takeover. kerman at his new helm, on the 4th and the we noted in June, DG will enter the digital Decca/London discs are now being pressed opening concert of the Los Angeles Phil- fray with Herbert von Karajan's Die Zau- by the Philips plant and sporting a "made harmonic's season on the 23rd. In addition, berAte-in a package, incidentally, that will in Holland" notation on the label. Ulti- there willbe aseries of five broadcasts trav- offer a bonus 45 -rpm disc containing the mately, owing to the difference in tech- ersing Brahms's complete piano works in new digitalZauberfloteOverture on one nique, everything the British label decides performances by Detlef Kraus taped earlier side, backed by Karajan's first recording, a to keep in circulation will have to be repro- this year. A portrait of Eugene O'Neill 1938 reading of the overture with the Berlin cessed by Philips. The recent rash of cut- (O'Neill and the Sea) will offer a 1978 Yale State Opera Orchestra. DG will also launch outs represents some preliminary trimming University presentation of Beatrice Laufer's its new Concours series with the three re- around the edges of the sizable catalog, and one -act opera Ile, based on an early work of leases announced in last month's preview, further deletions are expected. the playwright, and there will also be a first recordings by competition -winning pian- broadcast of Simple Simon, a "theater opera" ists Boris Bloch, Steven de Groote, and Da- As we mourn the recent passing of by Michael Sahl and Eric Salzman. Among vid Lively. What's more, the German label oneclassicalmusician/Hollywoodstar, the series starting this month will be the en- will finally make a foray into the budget Jose Iturbi, we hail the advent of another: tire season of the San Francisco Opera, with market. This month will see the first in a Luciano Pavarotti is about to take the lead ten of the twelve works broadcast live; thir- projected annual series of releases of "big role in a movie, set in London but filmed in teen taped concerts by the Cincinnati Sym- boxes," planned to list at around $5.00 per Hollywood, about (what else?) an Italian phony Orchestra, including Michael Gie- disc. Two of the initial four sets will feature opera singer. For what it's worth, the pro- len's debut as its conductor; and Backstage the Berlin Philharmonic, with Karl Bohm posed title is Yes, Giorgio. with Richard Mohr, thirteen half-hour conducting Schubert's symphonies (five conversations with Rudolf Bing, Vladimir discs) and Rafael Kubelik Dvotak's (nine RCA's big operatic project of one Horowitz, Leontyne Price, Boris Gol- discs). There will also be nine -disc sets of summer became Decca/London's of the dovsky, James Levine, and others-some the Schubert piano sonatas played by Wil- next. When RCA scrapped its ballyhooed with impromptu performances. HP

4Circle 45 on Reader -Service Card 66 HIGH FIDELITY RecordReviews

A Worthy Fate by Peter G. Davis Supraphon offers an important first recording of a little-known Janacek opera.

Fate isthe leastknown ofLeo; Janatek's proachto music -drama,and the Brno/ 1seven mature operas. Written between Stuttgart premieres seemed to uphold this 1903 and 1907, just after Jen4a, it was never contention. performed during his lifetime. Thirty years One suspects they are correct, al- after his death, it finally reached the stage in though it is just possible that the right pro- a double premiere, on October25, 1958,in duction could reveal Fate as a more viable, Brno and the following evening in Stutt- potently theatrical work than casual ac- gart, but both productions drastically al- quaintance suggests.Its descriptive sub- tered the opera's text and structure in order title-"three romantic pictures"-givesa to lend a coherent dramatic shape to what clue to what Janacek was after: an operatic had long been considered an impossible li- "novel" in three self-contained scenes, each bretto. This "rescue operation" did not suc- osxk focusing on a single crucial event in a love ceed in launching Fate into the world, how- relationship that actually spans many years. ever, and it has never been seen anywhere This sort of freely selective dramatic pres- since, although the BBC gave a broadcast entation in novelistic terms was very much performance of the original score in 1971. in the air at the turn of the century, with Now we have Supraphon's recording, such precedents as Tchaikovsky's Yevgeny which also presents the opera as Janacek ()legit!,Puccini's LaBoheme, Massenet's left it. Sapho, and most particularly, Charpentier's The factors that kept Fate off the Louise, an opera Janacek greatly admired. stage when Janacek was alive are rather The plot is based on a real -life inci- complex.Variousperformances were dent that came to his attention while he planned from time to time, always thwarted summered at the Moravian spa of LuhaEo- by circumstance or the composer's trucu- vice in 1903. There hemet awoman named lencewithopera -house management. Kamila Urvalkova, who told him of her un- World War I intervened, and then he be- happy love affair with a struggling young came deeply involved with other projects composer, LudvikCelansky.Kamila was during the incredibly productive five years forced by her parents to leave him and before his death in 1928; Fate remained on marry a rich farmer. Ludvik never forgave the shelf. Most students of his work have her supposed desertion, and he took re- dismissed the opera as an experiment by an venge by writing a one -act opera that original creative genius who had not yet presented her as a deceitful and calculating

mastered his highly unconventional ap- .4.7t jade. The subject struck a responsive chord, OCTOBER 1980 67 and Janacek resolved to write his own opera to fail. (Interestingly enough, JanaCek's own Tales of Hoffmann) but one that ruins Jana- showing her in a more favorable light. marriage was dissolving when he wrote tek's gradual development of his two main The libretto he eventually devised, Fate.) Then, too, there is the added irony of characters. however, concentrates far more on the Zivny'sfutile efforts to explain his life Honolka also transferred many vocal composer (now called Zivny) than on the through his art, in this case through an op- parts from one person to another-a disas- heroine (Mila). The two meet again at Lu- era; a man who cannot understand his own trous procedure with a composer as word- hatoviceafter a year's separation; Mila's life, Janacek appears to be saying, can never conscious as Janacek, and one that renders marriage to a rich man, arranged by her create afinished work of art. In its essen- many of the orchestra's thematic references mother, has not yet taken place. During tials,Fate shows its composer treating a to specific characters and events totally that year, she has had Zivny's child. That basic theme that lies at the heart of all his meaningless. Mila's mother is the principal fact and the potent memories of past love stage works: Living is often an intensely beneficiary of this rewriting in an obvious reawaken their passion, and they decide to painful process, but life itself is a precious effort to give her greater dramatic import. marry, much to the horror of Mila's un- gift to be treasured and to be met head-on, She no longer goes insane, but simply de- balanced mother. In Act II, Zivny and Mila without sentimentality or compromise. In- generates into a nagging mother-in-law. have been together four years, but he has deed, the scenes between Zivny and Mila And instead of being dragged to her death, still not completed his opera based on their reveal two fallible yet searching characters, Mila falls during a heated argument with shared life-the scene of her earlier betrayal as warmly human and immediately real as Zivny and dies after striking her head on still fills him with doubts ,and jealousies, any in Janatek's other operas. the composer's piano-hardly an improve- and he cannot bring himself to compose the Clearly, the form of Fate gave the ment on the original. ending. Their quarrels are interrupted by composer a great deal of trouble, and he did What remains vivid, even after Mila's mother, who, now completely in- not yet command the techniques that later twenty-two years,is the music. This is sane, struggles with Mila until they topple allowed him to handle so brilliantly the surely the most lyrical ofJanatek'soperas, to their deaths over a balustrade. Six more even more unconventional material of The for the composer was never more prodigal years pass before Act III. Music students in Cunning Little Vixen, The Makropoulos Affair, in spinning out long -breathed vocal lines of a conservatory are playing over parts of and From the House of the Dead. The intention bewitching beauty to express the lovers' ev- Zivny's opera, commenting ironically on its of each act is plain enough-the superficial ery emotional nuance. The idiom is, natu- strange autobiographical plot and unfin- concerns of the vacationers in Act I as con- rally enough, closer to the expansive style ished state. Zivny enters, still tormented by trasted with the intense reunion of Zivny of lentifa than to the terse concentration of the loss of Mila, and in a long monologue and Mila, the inevitable domestic tragedy the later operas, and in terms of sheer in- he reassesses the tragic nature of their fated of Act II, andZivny'sTristan -like delirium vention, Fate is in no way inferior to its love. After a final vision of Mila in tears, he in Act III, through which he reaches full predecessor. Once heard, the music is im- breaks down andis ledaway. self -realization.Yet we never really have possible to forget. To this day, a glance at This bare -bones outline sounds enough information about these people, the Honolka score instantly brings back the pretty unpromising, but the interior moti- the action is often insufficiently motivated, plangent sound of Josef Traxel'sZivny,the vations of the two protagonists rather than and the many subsidiary characters hardly fragile vulnerability of Lore Wismann's exterior incidents are what fascinated Jana- seem to exist at all. Mila's mother, in fact, is Mila,and, in the haunting cantilena of Len- cek. He attempted to explore a very delicate little more than an arbitrary symbol of fate, sky, the hero of Zivny's incomplete opera, but familiar problem: how two people in or worse, a convenient plot device. Perhaps the golden tenor of young Fritz Wunderlich. love react when each regards the other as an a stylized, expressionistic staging would Some enterprising company should idealized fantasy figure-the reality of hu- strengthen and focus the action, in which a one day give Fate its true world premiere in man nature and the outside world contin- cast of shadowy, slightly unreal people the form Janacek intended-who knows, ually shatter their illusions, since a love fleetingly illuminate the real -life fantasy the results may confound all critical reser- based on such immature attitudes is bound world of Zivny and Mila.It might just vations. At the very least, one must agree work, but it would take an imaginative pro- with Michael Evans in his study of the com- ducer with a keenunderstanding of Jana- poser's operas: If Fate is a failure, "it is a fail- Cek's essentially humanistic message. ure on the grandest scale, in an act of com- JANAtEK:Fate. The 1958 German production, plex, rich, and stimulating vision." CAST: which I was fortunate enough to see several Little need be said of the Supraphon Miss Mila Magdalena Hajossyova (s) times while a music student in Stuttgart, of- recording, which offers a solid, serviceable Doubek (as a boy) Milena Jilkova (s) fered some fairly ingenious practical solu- performance. Like the previous install- Kosinska Anna Barova (s) tions, although Kurt Honolka's adaptation ments in the Czech label's Janacek opera SouCkova Jaroslava Janska (s) distorted the opera beyond recognition in series, this one features singers to whom the Mila's Mother Jarmila Palivcova (ms) the process. His major piece of surgery was language, style, and spirit of the music are Zivny VilemPribyl(t) to split Act III in two and place the first half second nature even if the voices per se are Dr. Suda Vladimir Kregik (t) at the beginning of the opera as a prologue. of a rather provincial quality. Frantigek Ji- Hrazda JiffOlejnitek (t) The conservatory students become actual lek, who conducted the 1958 Brno stage Doubek (as a student)Josef Skrobanek (t) opera singers rehearsing Zivny's unfin- performance, secures crisp playing from Lhotsky Richard Novak (b) ished score, making the opening scene an the Brno Janacek Orchestra, and the sound KoneCny Frantigek Caban (b) opera within an opera that suddenly breaks is conservative but very listenable. The Verva JaroslavSoutek(b) off as the unhappy composer enters the remain point is that Fate can now be heard on Brno Janacek Opera Chorus and Or- hearsal. His subsequent monologue leads discs at last, and with luck this recording chestra, Frantigek Jilek, cond. [Zdenek Zah- into Act I proper, and the rest of the action will inspire a faithful production enabling radnik, prod.] SUPRAPHON 1112 2011/2, takes place in a flashback-an effective the- us to assess this intriguing opera's true $17.96 (two discs, manual sequence). atrical device (no doubt cribbed from The worth. 68 HIGH FIDELITY

sive if somewhat naive political views; Rug- The (Almost) Complete Ruggles gles, more the salty old rustic, was said to be a political reactionary. Of course, the more important distinction musicallyisthat, by Allan Kozinn while Ives turned out numerous works in a kind of loose notation that imposes a heavy interpretive burden upon performers and CBS's valuable survey of the American eccentric's meager scholars, Ruggles spent much of his life output is among the final legacies of the Lieberson era. seeing to the minute details of only ten pieces, polishing and reworking them until each score said precisely what he meant it to say. When he died in 1971 at age ninety-

five, he left perhaps a dozen known projects unfinished, having destroyed or repu- diated many others that did not meet his exacting standards. Although about half the items in this new CBS set are first recordings, Ruggles has fared reasonably well in the studio, given the size of his output. His three major orchestralpieces, Sun -Treader,Organum, and Men and Mountains, have remained - steadily in the catalog, the last in several

7 performances. Of his smaller works, there have been two recordings of the piano version of Evocations and one each of Portals for string orchestra and the trumpet/trombone version of Angels. Collecting the rarities and the better- known works into a unified survey was a marvelous idea, and it should come as no surprise that "The Complete Music of Carl

Ruggles" was a brainchild of the late God- dard Lieberson, one of the last champions' of new American music at a major label and 4 the last classics executive with power to im- plement projects of such high prestige and limited commercial appeal. And a fine set this is. Under the joint direction of Michael Tilson Thomas, a Ruggles devotee since 'fitr: high-school days, and John Kirkpatrick, y. f; best known for his Ives work but a Ruggles expert as well, the performances are con- scientiously prepared and enthusiastically executed. Whether or not the collection can OW honestly be called "complete" is another 5'.). question, to which I will return.

For the most part, the music is arranged chronologically, beginning with Toys (1919), a brief song for unspecified voice and piano on the composer's own text, the earliest piece Ruggles acknowledged. Forty-three when he wrote it, he Charles Sprague Ruggles-who began with Charles Ives: Both were rugged Yan- dedicated it "to my little son Micah" on the using the name Carl during his student kee individualists who studiously avoided boy's fourth birthday. Micah must have years-has been called everything from a being trapped by the conventions of West- had precocious ears, for Toys is metrically primitive to a visionary, a transcendentalist, ern music, whether the old rules of tonality varied and freely chromatic, with abundant and even a mystic; while there is some truth or the newer strictures of the serialists, al- seconds and ninths in the piano part. Yet in each of those descriptions, what he was, though both used those conventions when amid this modernism nestles simple, old- really, was an eccentric, strongly opin- it suited them. They were, in fact, close fashioned tone painting. The singer tells of ionated New England iconoclast who wrote friends, and each considered the other the a painted ship in a gentle three -note a concise body of mildly dissonant neo-Ro- world's greatest composer. Yet there were "wave"; a train set's "choo choo" is sung mantic music. significantdifferences,too.Ives,the just as the piano part sends that toy clatter- With good reason, he is often paired worldly insurance magnate, had progres- ing on its way; and a balloon floats audibly OCTOBER 1980 69

skyward. Not a deep work, perhaps, but a ten in ternary form and marked "serene," it perior to the newer version. That disc, in charming one that Ruggles felt represented has a hymnlike quality, its dissonances so fact, is an excellent introduction to Ruggles' the beginning of a style. With Thomas pro- evenly regulated thatit sounds almost work and indispensable to any collection of viding spirited accompaniment, Judith tonal. In 1940, he expanded the contrapun- American music. Blegen sings the piece with a clarity and tal middle section, transposed the piece up Between Men and Mountains and Sun - smoothness-particularly on the sustained a half-step, andrestoredit in a brighter, Treader, Ruggles sketched two other sym- high B at the end-that I have missed in more satisfying version for four trumpets phonic pieces; all that remains is a single many of herstandard -repertory and two trombones, all muted. Both edi- movement for string orchestra, Portals performances. tions are performed here by Gerard (1925). Though hardly a fan of the twelve- Toys was composed toward the end Schwarz and an otherwise unidentified tone school-he called serialism "a dog of a thirteen -year struggle with an opera, brass ensemble; given players who can chasing its tail"-he evidently saw some The Sunken Bell; in 1923, Ruggles finally count, there's little that can go wrong. merit in phrases that avoid repeated notes: scuttled the project and left his sketches to Ruggles discarded "Men," the short In Portals, his opening melody covers nine molder in an unheated New England shed. (2:17) first movement, which is nevertheless of the twelve tones without repetition. This This was a bad time to have attempted an included here; there is nothing inferior is one of his more somber and introspective opera, for during these years he was mov- aboutit.Its contrasts-the opening and works, and Thomas approaches it with so- ing decisively away from his immature, closing bars are brash and brassy, the cen- briety while managing to wring a full- late-Straussian idiom toward the atonal tral climaxisa scintillating string cre- bodied, shimmeringly silver tone from the style of his later life's work. And if Toys scendo, and the major thematic material Buffalo strings. hinted at this change, his only other ac- takes the form of a quiet, beautiful, and un- Evocations, like Angels, appears in two knowledged vocal work, Vox clamansin characteristically lyrical oboe solo over versions: one for solo piano (its four move- deserto, drove the point home with a ven- muted strings-areallskillfully woven ments dating from 1937-43 were all revised geance. Shaped between 1919 and 1923, together. in 1954), another for orchestra (scored in this set of three poems (Browning's Parting The last movement of Men and Angels the mid -'40s). John Kirkpatrick interprets at Morning,Meltzer'sSon of Mine, and Whit- (originally called "Sun -Treader"; no rela- the 1954 piano revision with unquestion- man's A Clear Midnight; four others were tion to the later work of that title) he revised able authority, but the dry recorded sound sketched but not completed) for voice and and used as the opening movement of an- hampers the intended effect. As in Portals, an expanded chamber group is a tense, dra- other symphony, Men and Mountains Ruggles constructs long lines without re- matic, and pessimistic work witha craggy, (1924). In this three -movement work,he repeated notes; but here he calls on the pian- declamatory vocal line, well sung here by turned to the angularity-but not the sev- ist to sustain them far beyond their written mezzo-soprano Beverly Morgan, over a erity-of Vox clamans. He also expanded his value so that a misty resonance hangs over chillinginstrumentalaccompaniment. tonal and dynamic palette: Where the old the end of each phrase. This comes across Speculum Musicae plays this most ag- "Men" is almost a chamber piece except for better in a collection of American piano gressively dissonant of Ruggles' scores with a few climactic bars, Men and Mountains music recorded by Roger Shields (Vox expected expertise, and the stereo imaging boasts first and last movements ("Men" and SVBX 5303), whose playing is also consid- tends to draw the listener into the center of "Marching Mountains") of full symphonic erably more exciting than Kirkpatrick's; the group-a position CBS's dreadfully scope and character, separated by a com- and for those who insist upon Kirkpatrick's noisy surfaces render less than ideal. paratively frail central movement ("Lilacs") authority, there is his own earlier, some- From 1920 to 1924, Ruggles worked for strings only. Of the available record- what livelier recording (Columbia Special on the three -movement symphony Men and ings, Thomas' new one is clearly the best. Products AML 4986), which includes both Angels, one of the many works he even- Lukas Foss also led the Buffalo Philhar- the original and the 1954 revision of the pi- tually scrapped. But he salvaged the second monic in a recording some years earlier ano score. movement, "Angels," publishingit in1925 (Turnabout TV 34398), but there the play- Ultimately, however,Evocationsis in a version for six muted trumpets. Writ- ers sound insecure-a tragic flaw in this most effective as an orchestralwork-not so music-and the reading lacks vitality. Wil- much a literal transcription as a new look at liam Strickland coaxes a lively, self-assured the same basic material. In Thomas' performance from the Polish National Ra- spacious performance (the only orchestral RUGGLES: Complete Works. dio Orchestra in a recording (CRI SD 254) Evocations on disc) the work takes on an en- Judith Blegen, soprano; Michael Til- that finishes a close second, marred only by tirely new meaning, more mystical, more son Thomas,piano.'Beverly Morgan, audible edits. atmospheric, and much more evocative. mezzo-soprano; Speculum Musicae, Mi- Without doubt, Ruggles reached his With Organum (1944-47), Ruggles chael Tilson Thomas, cond.** Buffalo Phil- peak in Sun -Treader (1927-28), a single ma- again entered new ground, adding lines in harmonic Orchestra, Michael Tilson jestic movement in sonata form, full of fourths and fifths (hence the title) and sav- Thomas,cond.'Gerard Schwarz, Brass En- brilliant orchestrational touches and mag- ing the seconds and ninths, which had long semble, Michael Tilson Thomas, cond.' nificently varied textures. At times itis been a trademark, for climactic points with John Kirkpatrick,piano.' Gregg Smith brawny, as in the recurrent opening bars, more lyrical material in between. As extro- Singers; Leonard Raver, organ." [Steven underpinned by steady timpani-a verted as Sun -Treader but more compact and Epstein, prod.] CBS MASTERWORKS M2 "treader" motif; elsewhere it builds from lyrical, Organum was for all practical pur- 34591, $17.98 (two discs). quiet gentility to dissonant, striving urg- poses his last work. Toys.* Vox clamans in deserto.** ency. The Buffalo Philharmonic meets most There is one more piece here, Men.*Angels(firstandsecondver- of the work's formidable challenges more though: a sixteen -bar chorale called Exalta- sions)." Men andMountains.' Sun -Trea- than adequately; butThomas'other record- tion, written in 1958 in memory of his wife, der.' Portals.' Evocations (first'andsecond' ing of a decade ago with the Boston Sym- who had died the previous year. The score versions). Organum.'Exaltation."U phony (DG 2530 048) is in every respect su- is stark and simple, the only direction read- 70 HIGH FIDELITY ing "congregation in unison," and not com- seems to have heard anything about it until work published in New Music that same posed on a specific text. Thomas and Kirk- Kirkpatrick performed it a few years ago, year? The 1925 edition of Angels included patrick have devised a reasonable solution, and some Ruggles experts believe it to be a solo organ arrangement by Lynnwood presenting it first on solo organ (Leonard either entirely spurious or, at best, con- Farnam approved by Ruggles, and the first Raver), then by a brass ensemble, followed structed of fragments from sketches. In his page of that score lists no fewer than six al- by organ, brass, and chorus (the Gregg notes, Kirkpatrick claims to have found ternate instrumentations Ruggles consid- Smith Singers) singing "Oh God, Our Help Mood (supposedly subtitled "Prelude to an ered suitable. The two versions of Evocations in Ages Past," a solo organ interlude, and Imaginary Tragedy") in the '60s, while help- on the old Columbia Special Products disc, finally the chorus a cappella on the syllable ing Ruggles arrange his papers and hid it to which provide some interesting clues into "ooh." Except for a few strong -beat disso- prevent the composer from destroying it. the revisionist workings of Ruggles' crea- nances, there is nothing here unfit for a This raises some questions: Why only this tive mind, put CBS in the embarrassing po- church. Exaltation stands as a touching coda piece, of all the material Kirkpatrick must sition of having a recording of a work in its to a career steeped in innovation. Ruggles have come across? And why did he fail to own catalog that is not in the "complete" devoted his last few decades to painting, a include it among the many other unfin- set. And for the sake of completeness, longtime avocation. ished or discarded works he discussed in wouldn't Ruggles' symphonic band ar- Now, as to the question of complete- his lengthy article in thespring/summer rangements of works by other composers ness: There is in fact more Ruggles around, 1968 issue of Perspectives of New Music (from be worth hearing? some in the Library of Congress, some at which these liner notes are drawn almost Still, however they may affect the Yale University. Two of his earliest songs, verbatim)? Finally, if the piece is genuine, claim to completeness, these gaps do not "Ich fichle deinem °dem'. and "Oh, How Can I why has it not been included in this set? add up to any great loss, and the impor- Be Blithe and Glad?" were published in CBS may have intended to present only the tance of this excellent collection is obvious. Boston in the 1890s, and some of his friends music Ruggles acknowledged, but then What is really disappointing is that, having claim to have seen or even to have copies of why include "Men"? taken three years (1975-78) to record it and other finished songs from the same period. Even leaving aside the rejected having kept it in the icebox for two more, There is also, according to Kirkpatrick's works, we know from the inclusion of the CBS has apparently given absolutely no notes, a piece for violin and piano called two Angels and Evocations that Ruggles' own care to its manufacture. This is a horrible Mood, said to date from Ruggles' Sunken Bell arrangements of his works are fair game. So pressing, with numerous serious flaws su- years. This is quite a controversial little where is his 1946 two -piano version of Or- perimposed on a surface that grinds dis- item. No one, including the composer's son, ganum? Or the solo piano version of that gracefully throughout.

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reviewed by Allan Kozinn John Canarina Paul Henry Lang Scott Cantrell Irving Lowens R. D. Darrell Robert C. Marsh /- Kenneth Furie Karen Monson Harris Goldsmith Robert P, Morgan David Hamilton Conrad L. Osborne Dale S. Harris Andrew Porter Philip Hart Patrick J. Smith R. Derrick Henry Paul A. Snook Nicholas Kenyon Susan Thiemann Sommer 1 EL

t. A BACH: Brandenburg Concertos (6), S. 1046-51. A Los Angeles Chamber Orchestra, Gerard Schwarz, cond.[Patti Laursen, 4 prod.] ANGEL DSB 3901, $21.96 (two discs; digital recording). Tape: 4Z2S 3901, $17.96 (two cassettes). 45 rpm: DSSC 4504, $28.98 r' (three discs) (distributed by Ambassador Foundation, 300 W. Green St., Pasadena, EP Calif. 91129; add $2.50 for shipping). Berlin Philharmonic Orchestra, Her- bert von Karajan, cond. [Hans Hirsch, Gerard Schwarz, conductor and trumpet virtuoso in digital Brandenburgs prod.]DEUTSCHEGRAMMOPHON 2707 112, $19.96 (two discs). Tape: 3370 030, $19.96 range, impressive clarity, and freedom (two cassettes). sible with the old valveless clarinos, but from distortion." Concertos: No. 1, in F; No. 2, in F; only the dourest purist will resist his daz- What reaches the ear, alas, is any- No. 3, in G; No. 4, in G; zling virtuosity and finesse. I am less enam- No. 5,in D; No. 6, in thing but "sharply etched detail" and "im- B flat. ored of solo violinist Paul Shure's nervous pressive clarity," and I'm not at all con- vibrato and Malcolm Hamilton's some- vinced that the 45 -rpm editionis times fussy continuo realizations. And oth- With thirty recordings of the Bran- significantly superior toits conventional ers may dislike some of the busier elabora- denburg Concertos already in ScHWANN, any counterpart. In both the harpsichord pro- tions of repeats, as in the trios of the First newcomer must face careful scrutiny-both jects adequately (with a bit more bite at the Concerto.Yet,apart from these short- for quality of interpretation and for sonic higher speed), but the string sound is de- comings (and occasional patches of sour excellence. In a bid for the latter, Gerard cidedly blunt and murky, and the oboes are string intonation), there is much to admire, Schwarz's performances with the Los An- perceptibly distorted. Presumably because not least the overall precision and fluency geles Chamber Orchestra were recorded of inferior disc mastering, both versions of the playing. digitally (using the Soundstream process); suggest the slightly cloudy sound of a This last compliment applies sim- the conventional 331/2 -rpm version is avail- third -generation tape copy, albeit minus ilarly to Herbert von Karajan's new Berlin able through retailers, while the 45 -rpmthe hiss, and even by conventional disc Philharmonic performances, with special pressing (purported to offer a better trans- standards neither rates better than a B plus. praise for the oboes and horns in the First fer of the digital master) must be ordered Furthermore the acoustic of the recording Concerto and the trumpet in the Second. directly from Ambassador International venue (Ambassador Auditorium in Pasa- No information is given as to the number of Cultural Foundation, the orchestra's spon- dena)-at least as captured here-is rather performers, but the sound is of a wisely re- soring organization. In both formats the too dry. duced ensemble, which Karajan leads with record sleeves promise "a remarkable new Sonic considerations aside, the per- surprising stylistic savvy. Still, there are audio experience:brilliantdisplay of formances have many attractive features. problems aplenty-notably, plodding tem- sharply etched detail, spectacular dynamic These are intelligent and thoroughly musi- pos in the second movement of No. 1, the cal interpretations, revealing an awareness first of No. 5, and the second of No. 6. Oc- of recent discoveries relative to eighteenth- casionally he misses the point altogether, B Budget century performance practice and a keen most egregiously in his preposterously H Historical sense for applying them to use of modern heavy-handed, legatissimo rendering of the R Reissue instruments. Schwarz's vertiginous tempo Menuet in No. 1. (Even the first trio is life- A Audiophile in the Second Concerto (in which he also less.) Kept well in the background-from (digital, direct -to -disc, etc.) plays trumpet) could hardly have been pos- which perspective it becomes as madden- 72 HIGH FIDELITY

ing as low-level Muzak -the harpsichord is particularly successful. For reasons best generally audible, but sometimes (in No. 6, known to the composer, he makes each re- conspicuously)itcompletely disappears turn of the subject "difficult, at first, to rec- Critics' beneath washes of lush string tone. (The ognize. Repeated listenings, it is hoped, will harpsichordist, too, gets a black mark for reveal to the listener the sense of return im- hoice adding the four -foot stop in the middle of plicit in these sections." Good luck. the first -movement cadenza of No. 5.)I I do wish CRI would help the com- The most noteworthy could go on, though it hardly seems neces- posers whose music it records by paying sary, especially in view of the dull and life- more attention to the jacket notes. There releases reviewed recently less recorded sound; if Angel rates a B plus, really is no excuse for the typographical er- DG gets a solid C. rors and the inadequate information pro- AVISON: Concerti Grossi after Scarlatti (12). My favorite Brandenburgs-in no par- vided here. If you go to the trouble of St. Martin's Academy, Marriner. Pinups 6769 bringing obscure composers before curious 018 (3), July. ticular order -remain those of the Leon- listeners, why not tell more about them and BACH, BRAHMS: Chorale Preludes (arr. hardt Consort (MCA/Seon 67030), the Col- I.L. Busoni). Jacobs. NONESUCH H 71375, Aug. legium Aureum (Quintessence 2 PMC their music? BART6K: Bluebeard's Castle. Varady, 2705), and the Aston Magna ensemble Fischer-Dieskau, Sawallisch. DG 2531 172, (Smithsonian 3016). Those loath to listen to CHAUSSON: Concert for Violin, Aug. original instruments should consider the Piano, and String Quartet, in D, Op. 21. BART6K: Violin Concerto No. 2. Zukerman, Schwarz digital (in the less expensive 331/3 A Lorin Maazel, violin; Israela Marga- Mehta. COLUMBIA M 35156, July. version) or Raymond Leppard's perform- lit,piano; Cleveland Orchestra String BEETHOVEN: Symphonies (9). Vienna Phil- ances with the English Chamber Orchestra Quartet. [Robert Woods, prod.] TELARC DG harmonic, Bernstein. DG 2740 216 SKL (8), (Philips 6747 166).S.C. 10046, $17.98 (digital recording). July. COMPARISON: BEETHOVEN: Triple Concerto, Op. 56. Mut- BERG: Chamber Concerto: Adagio Heifetz, Sanroma, Musical Art Qt. ter, Ma, Zeltser, Karajan. DG 2531 262, Sept. (arr. Berg) -See Debussy: Prelude a l'apres- RCA ARM 4-0945 BERNSTEIN: Serenade; Fancy Free. Kremer, midi d'un faune. Israel Philharmonic, Bernstein. DG 2531 196, Chausson is tough to love but easy to June. like -not particularly exciting, perhaps, but CHATMAN: On the Contrary*; honest and unpretentious. This thoughtful, DUKE: Songs. Bogard, Duke. CAMBRIDGE CRS Hesitation*. MORGAN: Trio for Flute, 2776, Aug. skillfully constructed work, though it often EATON: Danton and Robespierre. Indiana Cello,andHarpsichord.** HUDSON: goes by the standard English translation to University, Baldner. COMPOSERS RECORDINGS Fantasy/Refrain." "concerto," is far from concertolike in any IUS 421 (3), July. Robert Onofrey, clarinet; Eastman conventional sense. There is no real compe- ELGAR, WALTON: Cello Concertos. Kirsh- Musica Nova, Sydney Hodkinson, cond.* tition between soloists and quartet, nor are baum, Gibson. CHANDOS ABR 1007, Sept. John Loban, violin; Maura Chatman, ce- the solo parts showy or virtuosic. At times it GRIEG: Olav Trygvason; Landkjenning. leste.'CaroleMorgan,flute;Barbara resembles an enriched violin sonata, at oth- London Symphony, Dreier. UNICORN RHS Haffner,cello;Lambert Orkis,harpsi- ers a concerto grosso; the piano plays al- 364, June. chord.** Linda Quan, violin; John Graham, most continuously, in effect supplying a HANDEL: Ariodante. Mathis, Baker, Lep- viola; Andre Emelianoff, cello.**[Carter basso continuo. There seems to have been pard. PHILIPS 6769 025 (4), Aug. Harman, prod.] COMPOSERS RECORDINGS SD no model for Chausson's creation, nor does MOZART: Symphonies (11). Academy of 414, $7.95. it seem to have inspired any imitators. Ancient Music, Schroder, Hogwood. OISEAU- The most interesting music here is Not a popular work, it nonetheless LYRE D 169D3 (3), May. wends its way to disc about once every dec- PALESTRINA: Song of Songs. Czech Phil- that of Stephen Chatman, a thirty -year -old harmonic Chorus, Veselka. SUPRAPHON 4 12 composer who studied at the University of ade. One of the oldest versions remains the 2141/2 (2), Sept. Michigan and now teaches at the Univer- most satisfying: Jascha Heifetz' recording PROKOFIEV: Alexander Nevsky, Op. 78. sity of British Columbia in Vancouver. Par- (c. 1940) with Jesus Maria Sanroma and the Obraztsova, Abbado. DG 2531 202, July. ticularly impressive is On the Contrary Musical Art Quartet, which preserves one SCHUBERT: Symphony No. 7, in E (arr. (1974) for solo clarinet and eight instru- of the violinist's greatest chamber perform- Weingartner). Berlin Radio, Rogner.SPECTRUM ments, a study in contrasts with a beau- ances. His associates are superior musicians SR 116, Aug. tifully realized, shimmeringly static coda who, far from being mere accompanists, SCHUBERT: Works for Violin and Piano. that rounds things off very neatly. Hesitation fully share in the success of this collabora- Luca, Kalichstein. NONESUCH H 71370, Sept. for muted violin and celeste is, as the title tion. Within its narrow dynamic frame- SHOSTAKOVICH: Song Cycles. Bogacheva, implies, somewhat disjointed and tentative. work, RCA's recording reproduces the in- Nesterenko. COLUMBIAA4 [LODI YAM234594 Robert P. Morgan, who studied strumental timbres with remarkable (2), April. composition with Roger Sessions and An- vividness. SIBELIUS: SymphonyNo. 2, Op. 43. BBC drew Imbrie, teaches at Chicago University. Telarc's disc could hardly be more Symphony, Beecham. ARABESQUE 8023, Sept. His trio for flute, cello, and harpsichord different. Lorin Maazel began studying vio- ARTHUR FIEDLER: Forever Fiedler. RCA (1974) sounds more like paper music than lin at age five, played with the Pittsburgh CRL 3-3599 (3), Sept. the work of Chatman and suffers from a cu- Symphony while still a student, and has ap- THOMAS MURRAY: Organ Recital. TOWN rious lack of balance among the instru- peared as soloist with some of the world's HALLS 23, June. ments. The harpsichord, in particular, is finest orchestras. He certainly has sufficient THE RECORD OF SINGING, VOL. 2. EMI technique to cope with Chausson's rela- ODEON RLS 743 (13), May. distantly recorded and sounds as if it were tively modest demands, though he betrays ANDRE'SSEGOVIA: The EMI Recordings miles away from the flute and cello. 1927-39. ANGEL ZB 3896 (2), July. Joe Hudson describes his Fantasy/Re- some intonational insecurity in his upper KING'S ROW. Film score by Korngold. frain as "a very straightforward attempt to register and obvious stress in the more dif- CHALFONT SDG 305, Aug. write a rondo in the classical way." It isn't ficult passagework. His old-fashioned style rd WHY PAY FOR FRILLS IFWHAT YOU REALLY WANT IS PERFORMANCE? z

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The AR94 has three drivers. With a new write AR at this address. Teledyne - 411tio 41, AR cross -over system, its mid -range W10.- -4011p. - Acoustic Research, 10 American Drive, ..4110 -400 works with the woofer to act as dual front- Norwood, MA 02062. 10" firing woofers across the bass range. - 0, ) lei7ELEDYNE ACOUSTIC RESEARCH 74 HIGH FIDELITY seems paradoxical coming from such a (1894). Perhaps some useful purpose was David Zinman, cond. PHILIPS 6769 035, modern, emotionally restrained, business- served by the performance of this rather $19.96 (two discs, manual sequence). Tape: like conductor. His vibrato is heavy, his pedestrian arrangement at an October 27, 7699 126, $19.96 (two cassettes). tone syrupy; he applies portamento 1920, concert sponsored by Arnold Schoen - COMPARISON: lavishly, phrases with great freedom, and berg's Society for Private Musical Per- Ansermet/Suisse Romande colors the sound more than is customary to- formances, but it hardly seems necessary Lon. STS 15371 day. Whereas Heifetz dominates but never to revive it today, when the Debussy origi- Delibes's perennially charming overpowers his ensemble, Maazel simply nal is so readily available to every music score, one of the masterpieces of nine- sticks out, so great is the discrepancy be- lover in live or recorded versions. With the teenth-century theater music, has by and tween his tone and style and those of his magical orchestration reduced to near zero, large fared well on records. Currently avail- first-rate supporting cast, the impressive the work sounds oddly disjointed and inef- able versions by Ernest Ansermet, Yuri Fa- Cleveland Orchestra String Quartet and his fective. Annotator Volker Scherliess attrib- yer and the Bolshoi Theater Orchestra pianist wife, Israela Margalit. utes the transcription to Hanns Eisler for (Melodiya /AngelSRB 4111), Richard Bon- One senses that Maazel loves this reasons he does not explain. Actually, the ynge and the Suisse Romande (London piece deeply, perhaps too much. His con- perpetrator of this hack job was Benno CSA 2229), and Antal Dorati and the Min- ception-assuming that he is primarily re- Sachs, as is clear from the original manu- neapolis Symphony (Mercury SRI 2-77004) sponsible for the interpretation-constantly script score and parts, now in the Arnold all have much to recommend them. The lat- calls attention to itself. Except for the finale, Schoenberg Institute in Los Angeles. est version, too, is highly commendable- tempos are very slow. This is especially dis- Marginally more interesting is An- engagingly lively, handsomely played by astrous in the charming Sicilienne, where a ton Webern's transcription for violin, flute, the Rotterdam Philharmonic, and recorded lethargic tempo and heavy accents trans- clarinet, cello, and piano of Arnold Schoen - by Philips with exceptional warmth and form what should be a delicate, gracefully berg's Chamber Symphony, Op. 9 (1906). presence. propelled movement into a lumbering On January 27, 1923, Webern informed In some ways, however, the splendid peasant dance. Sometimes the tempos can- Schoenberg that "a week ago, I finished the sound of these discs is their most notable not be sustained, as in the Grave, which arrangement of the Chamber Symphony feature. For in the final analysis David Zin- ends considerably quicker than it began. and now am revising this draft thoroughly. man's reading, despite its vigor and dra- (Chausson's dynamic scheme is also disre- Ihope tosucceed in achieving what you ex- matic responsiveness, lacks the qualities garded at the end of this movement.) pect from me in this regard. At any rate, I that distinguish the merely estimable from Yet interpretive faults aside, Telarc am aiming forit with all my strength." the truly outstanding: the final ounce of deserves commendation for undertaking Schoenberg's idea that the comprehensibil- rhythmic élan, graceful phrasing, and af- such a risky venture. This is not the sort of ity of a work is enhanced by presenting the fectionate nuance that would do full justice piece to attract audiophiles, nor has there motivic material clearly in order to high- to this score's inexhaustible charm. Also been any attempt to record it sensationally. light the instrumental lines-not realized in lacking is a detailed synopsis of the ballet's The stereo spread is modest, the perspec- hisoriginalinstrumentation-doubtless action-surely a requirement for any lis- tive rather distant with no "you are there" suggests what he expected from the tran- tener who wants to get the most out of mu- presence. Balances are natural and utterly scription. Webern succeeded, if that was sic designed to give theatrical form to a de- free of exaggeration. One can simply sit his intention, but at a heavy price. The im- tailed plot. Philips' pressings are typically back and enjoy the unconstricted dynamic passioned and Romantic Chamber Sym- smooth and silent. Though this is indu- range, the realistic string tone, and the re- phony is rendered bloodless and intellec- bitably the best sounding Coppelia on discs, markable solidity of the piano. Telarc tual. Not intended for performance at the the Ansermet performance remains the should make more chamber record- Society's concerts, which ended on Decem- best musical statement.D.S.H. ings.R.D.H. ber18, 1923,the arrangement was designed to go along with a transcription for the HANDEL: Water Music. DEBUSSY: Prelude a l'apres-midi same instruments of Schoenberg's Pierrot Academy ofSt.Martin -in -the - d'un faune (arr. Sachs). SCHOENBERG: lunaire. It was published by Universal Edi- Fields, Neville Marriner, cond. PHILIPS 9500 Chamber Symphony No. 1, Op. 9 (arr. We- tion in 1968. 691, $9.98. Tape: 7300 779, $9.98 (cassette). bern). BERG: Chamber Concerto: Adagio Alban Berg's arrangement for violin, HANDEL: Concerti Grossi (6), Op. (arr. Berg). clarinet, and piano of the Adagio from his 3. Boston Symphony Chamber Players Chamber Concerto (1925) dates from 1935, Northern Sinfonia, George Mal- [Rainer Brock, prod.] DEUTSCHE GRAMMO- the last year of his life. Why he undertook colm, cond. [John Boyden, prod.] NONESUCH PHON 2531 213, $9.98. Tape: 3301 213, $9.98 this labor while struggling to complete LuluH 71376, $5.96. (cassette). is not clear. The original, scored for violin, Concertos: No. 1, in B flat; No. 2, in B piano, and thirteen wind instruments, owes flat; No. 3, in G; No. 4, in F; No. 5, in D mi- Having scored a palpable surprise much to Schoenberg's Chamber Sym- nor; No. 6, in D. hit with four arrangements for salon or- phony but is serial rather than tonal in ori- chestra of popular Johann Strauss waltzes entation. Although Boulez has calledit These records provide an intriguing by (of all people) Schoenberg, Berg, and "probably the strictest work ... Berg ever contrast, though their styles of perform- Webern (DG 2530 977, December 1979), wrote," it is deeply affecting and intenselyance are not that far apart. Both feature top- the Boston Symphony Chamber Players personal. Much of its pathos comesnotch, small-scale English chamber orches- continue their archaeological excavations through even in this bare -bones version. tras; the two directors, George Malcolm and in the same general territory and come up The Boston Symphony Chamber Neville Marriner, have often been associ- with somewhat more exotic artifacts. This Players' performances are,as expected,ated on record (Marriner accompanies expedition proves not quite so rewarding. first-rate.I.L. Malcolm's recording of Handel's organ The most curious item is a transcrip- concertos); and the Northern Sinfonia's tion for eleven instruments of Claude De- DELIBES: Coppelia. concertmaster probably plays on the St. bussy's Prelude al'apres-midi d'un faune Rotterdam Philharmonic Orchestra, Martin's disc. So there is plenty of common

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Call 800-447-4700 toll free for the name ofyour nearest dealer. In Illinois, call 800-322-4400. For information, write Mitsubishi Electric Sales, America Inc., Dept. 45,3010 E.Victoria St., Compton, CA 90221. In Canada: Melco Sales Canada, Ontario. *Suggested retailprices. _ _ 76 HIGH FIDELITY ground. (three cassettes). [From RCA RED SEAL LSC corded performance by (and the finest Marriner and the Academy have, in 6805, 1967.] recording of) the Philharmonic I've heard the past, given us some outstanding Handel Symphonies: No. 82, in C (The Bear); in some time, and I don't hesitate to pro- recordings on Argo-especially one of the No. 83, in G minor (The Hen); No. 84, in E claim it one of the great Haydn renditions Ariodante/Alcina ballet music (deleted) that flat; No. 85, in B flat (La Reine); No. 86,in D; on records. is among my favorite discs, and a lively Wa- No. 87, in A. In the less extroverted No. 98, Bern - ter Music (ZRG 697). But now that they are HAYDN: Symphonies: No. 57, inD; stein's performance is of a different charac- getting around to re-recording this reper- No. 86, in D. ter. Here one can perhaps disagree with his tory for Philips, all the sparkle and life BRCincinnati Symphony Orchestra, tempos. I grew up with the old Toscanini seem to have gone out of their perform- Max Rudolf, cond. [Israel Horowitz and version, which was never transferred to LP. ances. As I noted with their recent Musical John Sievers, prod.] MCA WESTMINSTER This, too, is one of the great Haydn record- Offering (9500 585, June), and as was also MCA 1405, $4.98 [from DEccA DL 10107, ings, andI hope RCA will one day rectify its true of their Bach orchestral suites (6769 1965]. omission. It was followed by LPs by Bee- 012), the playing is sophisticated, neatly HAYDN: Symphonies: No. 88, in G; cham and Klemperer, Compared to those programmed, and utterly cold. Tempos are No. 100, in G (Military). performances, Bernstein's tempos for the right, ornamentation is stylish, rhythms are R Columbia Symphony Orchestra, first and third movements are on the slow crisp, but there is very little interest to be Bruno Walter, cond. [Thomas Frost, prod.] side, except for the introduction to the first derived from the playing: It sounds as if ODYSSEY Y 35932, $5.98 [from COLUMBIA movement; in fact, he relates the pace of the they are on automatic pilot. MS 6486, 1964]. introduction to that of the Allegro, so that The Northern Sinfonia, on the other the length of the quarter note in the former hand, though scarcely as expert in this rep- Some years ago in these pages H. C. becomes the length of the half note in the ertory, offers vivid, scintillating accounts of Robbins Landon wrote, "Leonard Bernstein latter. the lively Op. 3 Concertos. Occasionally is one of the greatest, if not the greatest, in- There is no single way to perform a the sound is rougher or the ensemble less terpreters of Haydn's music we have to- great masterpiece, however, and given its precise than on the Academy's disc, but I day." The present release (recorded five slowish tempo (not rigidly maintained), the gladly forgo polish for the springy, pur- years ago) gives no reason to dispute that first movement shows great conviction, as poseful drive of Malcolm's rhythms, which statement. Here two of Haydn's finest sym- does the minuet; both movements have a invigorates the allegros and dignifies the phonies, and inexplicably two of the least well -sprung lift. In the first movement the andantes. The prominent oboe parts are frequently played of the final twelve, re- violins play the turns most gracefully start- perkily played, and string articulation is ceive performances of great virility and ing them on the beat. The Adagio, Haydn's bouncy and crisp. commitment, as well as refinement and tribute to the recently deceased Mozart, has This is one of the most enjoyable elegance. a nice cantabile feeling and features excel- "nonauthentic" Handel discsI have en- No. 97 is one of Haydn's most festive lent playing by the woodwinds. The oboe countered recently, and it sent me back to and extroverted C major works. Bernstein solo (Harold Gomberg's, I presume) early some old records that are really the source and the New York Philharmonic give it an in the finale is delicious, and the pre-Rossi- of all modern English Handel playing- irresistibly exuberant reading, yet one of nian second subject is deftly handled. Eliot Thurston Dart's superbly musical perform- suavity and polish. The martial first move- Chapo, the orchestra's concertmaster at the ances with the old Philomusica of London. ment is wonderfully vital and ebullient, the time, gives a good account of the extended He did a Water Music that fairly bubbled Adagio non troppo flowing and militant violin solo (as he does in No. 97). with high spirits, and I think he would be where required. The buoyant minuet con- Haydn specified a slower tempo for depressed to hear to what heights of blood- trasts terrifically punched sforzando chords the finale's coda than for the main body of less purity his style has been taken by the with a delicately inflected trio. Solo timpani the movement but wrote some of the music Academy of St. Martin.For alively modern beats are forceful but musical, not always so that it sounds faster. Bernstein handles Water Music, try either of two "original the case with timpani. The finale is simply this change beautifully in contrast to such instrument" versions: Hogwood (Oiseau- brilliant, and Bernstein provides an amus- conductors as Dorati. He includes the few Lyre DSLO 543), cool and neat, or Harnon- ing touch. Haydn has written passages bars of harpsichord solo just before the court (Telefunken 6.42497), wild and ex- (measures 17-23 and 212-218) where the end; this was a visual joke of the com- uberant.N.K. strings and oboes are asked to play softly poser's,theharpsichordist(originally while the horns honk away loudly and in- Haydn) having sat there throughout the HAYDN: Symphonies:No. 97, in C; sistently with repeated G naturals. Bern- performance doing nothing. No. 98, in B flat. stein is the first conductor I've heard who There is breadth and majesty to this New York Philharmonic Orchestra, does not tone down the horns. account, and a Beethovenian quality that Leonard Bernstein, cond. [John McClure, An extended section of the slow points up the direct link between Haydn prod.] CBS MASTERWORKS M 35844, $8.98. movement is marked ponticello in the vio- and Beethoven in the development of the MT 35844, $8.98 (cassette). lins. This would normally produce a raspy symphony. Bernstein observes all repeats HAYDN: Symphonies: No. 94, in G sound, and the Philharmonic's violins don't in both works. My review copy had slightly (Surprise); No. 104, in D (London). seem to be complying. Admittedly, it's a gritty surfaces. Pittsburgh Symphony Orchestra, peculiar effect for Haydn to have requested I have come to respect Andre Previn Andre Previn, cond. [Suvi Raj Grubb, at that point in the score. Bernstein also greatly, so it disappoints me to be less en- prod.] ANGEL SZ 37575, $8.98. gives one passage to a solo violin, though thusiastic about his coupling of the Surprise HAYDN: Paris Symphonies (6). no solo is marked in the score (Landon and London Symphonies. My initial impres- R OrchestraofNaples,Denis edition). sion was that the first movement of the Sur- Vaughan, cond. [Miles Morgan, prod.] A trumpet blooper at the beginning prise, marked Vivace assai,is much too ARABESQUE 8047-3, $20.94 (three discs, of the minuet's da capo could have been slow, yet Bernstein in his New York record- manual sequence). Tape: 9047-3, $20.94 corrected; otherwise, this is the finest re- ing (CBS M 32101) takes the same tempo Circle 28 on Reader -Service Card [1,10116.,-.=

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and still imparts a lilt and vitality absentalso observes all repeats. measures of silence totaling six beats, here. In general, his performances lack Previn shortens the pause to five beats each The opening of the London, rather that"unbuttoned"quality so essential to of the three times it occurs. soft -toned and restrained, does not make Haydn as well as to Beethoven; the Pitts- There is also an engineering peculi- one sit up and take notice, but the first - burgh Symphony plays well, but every-arity: The microphones seem to have been movement Allegro is more animated than thing sounds just abittoo careful. More- placed on top of the double basses and at its counterpart in the Surprise, and the An- over, each recording hasametrical some distance from the violins, so that dante has a nice flow. Previn takes the min- peculiarity. In the slow movement of No. many important violin passages are not uet of the London (Allegro) at exactly the 94, at measures 143 and 144, Previn adds an prominent enough and others are barely same pace as that of the Surprise (Allegro extra beat of rest to each bar, in effect pro- audible, while the galumphing of the molto), making thelatter rather heavy- viding two 5/8 measures.Idon't thinkbasses is clearly heard at all times-cer- footed. For my taste, both are too slow. His Haydn ever wrote anything in 5/8 time. In tainly an odd perspective from which to finales are both suitably animated. Previn the minuet of No. 104, where he wrote two record an orchestra. My review copy had distinctly swishy and gritty surfaces. On the subject of the London Sym- 11' phony, I can't resist mentioning the splendid performance and recording by Colin Davis and the Concertgebouw Orchestra ". COLLECT (Philips 9500 510), coupled with an equally fine Military Symphony. Denis Vaughan was Beecham's as- - THE sistant conductor during the 1950s and is now honorary president of the Sir Thomas Beecham Society. These recordings of the ORIGINAL Paris Symphonies, done with Vaughan's own Orchestra of Naples, were originally issued by RCA in 1967. I did not hear them MASTERS the first time around and gladly make their acquaintance now. ORIGINR_ M f$.FR Rfe,ROIMsL I don't know whether Beecham ever

- performed any of these works; certainly he did not record them. In any case, I doubt

. At that he could have rendered them any more stylishly than Vaughan does. These are really beautiful performances, recorded in - .3 an ambience (the Palazzo Reale, Naples) that gives them just the right airiness and 'amp - emphasizes their grace and buoyancy. Many wonderful details of scoring, often

unnoticeableinother versions,receive

their due here. Note particularly the han- ) dling of the bassoon, oboe, and horn inter- jections in the second movement of No. 82, and the clear projection of the independent r bassoon part in the tutti passages in the first movement of No. 87. Most of the tempos are perfectly 4112r judged, especially the Allegretto move- GEORGE BENSON Breezin' ments of Nos. 82 and 85. But the Andante EMBRANDT, the painter: Original Mister of No. 83 does seem too slow, the more so as

Recordings'", the music. _ . . Vaughan chooses to repeat the first half. MS WIDER Where new technology 6 the 5drer Mallet Band And some of the outer movements, such as !Tight Moves those of No. 83 and the finale of No. 87, has created PREMIUM QUALITY .R/GIN Arnsrir* 01(00,01.G. STEELY would benefit from the greater feeling of LIMITED EDITION RECORDS DAN Aja urgency slightly quicker tempos would (and soon stereo cassettes) of provide. your favorite artists in their most Vaughan employs aharpsichord, brilliant performances! and its presenceisfor the most part From Pink Floyd to Andre Previn; from Kenny unobtrusive. But isitnecessary? These Rogers to Earl Klugh. Available NOW at ciscrimin- symphonies were composed for the Or- ating audio and record stores. FREE FULL COLOR chestre de la Loge Olympique in Paris, bile fidelity which included about forty violins, ten CATALOG, write: Mobile Fidelity Sound Lab, 411.11. yl tttttlab double basses, and doubled winds.It's Dept. H, P.O. Box919,Chatsworth, California 91311. doubtful that a harpsichord would have made much of an effect with that large an ORIGINFILMRSTERRECORDINGS. Circle 29 on Reader rer.d:e Card Nowyou canhear how good aRevox system reallyis.

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orchestra. (In this age of historically accu- throughout is Vaughan's love for this mu- ing lacks some of the gracefulness of rate performances, perhaps some enterpris- sic, a characteristic not always encountered Vaughan's. But Rudolf adds more dash in ing company will consider recording the these days. Robbins Landon's authoritative the fast movements, particularly the finale, Paris Symphonies with forces of the size for annotations enhance the set. which is very fast (though not quite as fast which they were written.) Max Rudolf has long been areas in Walter's historic account). He brings Vaughan's use of a chamber orches- spected figure on the American musical similar attributes to No. 57, a work that is tra does sacrifice some of the rugged vigor scene, as both conductor and teacher of not well known but certainly deserves to of these works-a quality Bernstein sup- conducting. This souvenir of his 1960s ten- be, and gives full play to the humor in both plies admirably in his versions with the ure in Cincinnati features two favorites of works. Philharmonic (CBS D3S 769), along with a his, and he conductssturdy, attractiveper- Bruno Walter presents a more per- greater feeling of spontaneity in the fast formances. No. 86 is the only duplication in sonal brand of Haydn than the other con- movements. Still, Arabesque's isa very the collection under review. The acoustic is ductors represented here. Except for the fi- worthwhile and enjoyable reissue. Evident drier here than on Arabesque and the read - nale of No. 88, the tempos in the fast movements are rather deliberate, and even that finale is not rushed; the emphasis is on geniality. His pacing enables him to shape phrases affectionately, as in the second subject of No. 100's first movement and the trio of its minuet, and it also allows many details to emerge in these well -recorded performances. FREE A couple of Walter's mannerisms show up in No. 88-the shortening of rests in the introduction and in the slow movement and the imposition of decrescendo - GUIDE crescendo effects on forte passages. Absent is the energy Walter was able to summon even a few years before these recordings were made. Still, they are very enjoyable, TO and it is good to have anything conducted by Walter restored to the catalog. The sound is fuller and more forward than on the original issue. To listen to these thirteen sym- SPEAKERS phonies in close succession is to be over- whelmed anew by the incredible genius of Joseph Haydn.John Canarina We've prepared a pamphlet that answers John Canarina conducts and teaches con- questions about buying loudspeakers. ducting at Drake University's College of Fine Arts. You can get it for free, just by calling us toll -free*. HELPS: Symphony No.1-See What's in it for us? We'll also send you our Thomson: Symphony No. 3. full -color brochure on the entire line of rave - HUDSON: Fantasy/Refrain-See reviewed Ohm loudspeakers. Chatman: On the Contrary; Hesitation. A free guide. And a free brochure. JANAtEK:Fate.For areview, see Just for calling this number. page 66.

MAHLER: Symphony No. 9, in D. London Philharmonic Orchestra, 800 -221- 6984 Klaus Tennstedt, cond. [John Willan, *(Except in New York, call 212-783-1120). prod.] ANGEL SZB 3899, $17.96 (two discs, automatic sequence). Tape: 4Z2S 3899, $17.96 (two cassettes; with Symphony No. 10: Adagio). MAHLER: Das Lied von der Erde. 1i B Lili Chookasian, alto; Richard Cas- silly, tenor; Cincinnati Symphony Orches- We make loudspeakers tra, Walter Susskind, cond. [Marc Aubort correctly. and Joanna Nickrenz, prod.] CANDIDE QCE 31117, $4.98 (SQ-encoded disc). Tape: CT 2258, $4.98 (cassette).

Circle 31 on Reader -Service Card w- More recorders ask for Fuji by namethanany other brand. Recorders are very outspoken in theirpreferenceof tapes. Take video recorders. They insist on Fuji VHS and Beta videocassettes. Put in anything less and they may give you snow. Washed-out or shifted colors. Or all kinds of distortion. Unhappy audio recorders without Fuji audiocassettesstublywnly give you less music in return. Plus distortion on loud music. Noise during soft passages. And limited frequency response. Problems our premium FX-I, FX-II and our low- noise FL help you overcome. Then comes new Fuji Metal Tape. Cassette recorders equipped for metal are all in love with it. Not just because it won't clog heads or jam. But because of its inaudible noise. Greatly expanded dynamic -range. And smooth, ultra -wide response. Ty So watch and listen. If you see or hear your recorder '-'4=sirre talk, you'll know what it's asking for. IGH .1,114S. Fuji. The tape that makes it look and Aka

4.4 , sound its best. 4\ '9C44,4 1 'W4,1 44 72" AP. CASSETTE NORMAL SIRS SO FINE GRAIN PURE FER4ix

WU P -q J _....of'd'W".2C-1. One brand fits all. Better. , z, Magnetic 'ripe Division, Fuji Photo Film U.S.A., Inc. 350 Fifth Avenue. New York, New York 10001 (212) 736-3335 82 HIGH FIDELITY R Nan Merriman, alto; Ernst Hafliger, are two of the most difficult movements in lastmoments, moreprofound resignation tenor; Concertgebouw Orchestra, Eduard the entire repertory to perform con- andstillness. This isa totally absorbing and van Beinum, cond. PHILIPS FESTIVO 6570 vincingly, but Tennstedt succeeds in sus- gripping account from start to finish. Un- 193, $6.98. Tape: 7310 193, $6.98 (cassette). taining each as one unbroken arc and elicits fortunately, it is not helped by the rather [From EPIC SC 6023, 1957.] passionately committed playing from the swishy record surfaces, which, considering Is there any orchestral music slower London Philharmonic. The first movement the amount of quiet music in this work, are than the closing pages of the Mahler Ninth? has an inexorable sense of fatality, and the more irritating than they might otherwise This thought came to mind as I listened to various tempo changes of the second are be. Klaus Tennstedt give the most extended handled beautifully. (In fact, there is flex- Walter Susskind, for many years a performance-and one of the finest-I've ibility of tempo throughout.) The Rondo- highly respected conductor in Europe and ever encounteredofthisproblematic Burleske is appropriately frenzied, particu- North America, was successively music di- symphony. larly inits final moments, and the great rector of the Toronto and St. Louis Sym- The sprawling first movement and Adagio, the crown of the work, could not phony Orchestras. At the time of his death the almost equally lengthy Adagio finale have greater breadth and nobility or, in its earlier this year he was music advisor to the Cincinnati Symphony, which he here di- rectsina conscientious and musicianly reading of Das Lied von der Erde-arguably Mahler's greatest work. The excellent soloists,Lili Chookasian, in her second INTRODUCING recording of the work (her first was with Ormandy), and Richard Cassilly, deliver performances of power and sensitivity. THE BEST -KEPT SECRET Susskind's tempos are on the slow side throughout, and the deliberateness of the IN LOUDSPEAKERS. opening song suggests three beats to the bar rather than the one beat indicated by It's supposed to be a secret. Mahler. But of the thousand or so loudspeaker brands in the world today, What militates against the success of only a very few are actually the product of manufacturers. this version is the recording. Mahler was The rest are put together by assemblers who buy their drivers, the most scrupulous of composers in pro- crossovers and cabinetry from many varied sources. And wed them viding expression marks and other details together with varying degrees of expertise. in his scores. But in Candide's rather gener- Quite understandably, marriages rarely made in heaven. alized reproduction, many details simply are not heard; the orchestra seems to have Then there's the brighter side of the secret. Celestion. Unlike assemblers, we design and produce every component that been recorded from some distance back in goes into our loudspeakers. Voice coils. Cones. Magnetic assemblies. the hall, and the soloists also sound remote. This lessens the impact of the performance And high -precision speaker frames (die-cast-not stamped, like most- and saps its character. for superior alignment and freedom from resonance). All, designed for For all the advances in recording optimum performance not only as individual elements-but to comple- technique in recent years, thereisstill ment one another as part of a system. much to be said for a good mono recording That's the Celestion secret. Long applauded by recording such as Philips' reissue of the classic Van engineers and audio reviewers. And instantly apparent to anyone who Beinum account of Das Lied. (Curiously, loves music. It's a secret we hope to share with you soon. this version dates from 1957, when stereo recording was already well under way.) celestion Here are all the details missing from the loudspeakers Candide recording, plus a more committed orchestral performance. Good though the Eti Cincinnati playing is,it does not have the

.4. bite of the Concertgebouw's, as witness the contrabassoon jabs at the beginning of "Der

Abschied.-The much -admired Nan Merri- man gives a most heartfelt and moving performance, and Ernst Hafliger, who was later to record the work with Bruno Walter, con- veys wonderfully the manic character of his 0\7---416 songs. The essentialdifference between these two accounts is that, through a combination of performance and recording, Van Beinum and Philips take us inside the work, while Susskind and Candide keep us on the outside listening in. J.C.

CELESTION INTERNATIONAL MEDTNER: Fairy Tales (2), Op. 20; Kuniholm Drive, Box 521, Holliston, MA 01746 Fairy Tales (4), Op. 26; Sonata minacciosa,

Circle 61 on Reader -Service Card Angel's Super -Sonic OCTOBER 1980 83 Digital Spectacular k in F minor, Op. 53, No. 2. Antony Rolle, piano. [Ilhan Mim- Richard Strauss aroglu, prod.]FINNADARSR 9026, $7.98. Also sprach Zarathustra Nikolai Medtner (1880-1951) had the misfortune of being a Russian emigre The Philadelphia Orchestra musician in an earlier epoch, before that EUGENE ORMANDY status elicited automatic sympathy. Very talented, he spent most of his lateryears as --/ 1 a sort of celebrity manqué.As avirtuoso keyboard artist, he had to take a humble third place to Rachmaninoff and Moiseiwitsch. (His performance of Beetho- ven's Appassionata is preserved onan RCA ' Bluebird disc, long out of print; its slight tip lethargy may reflect his advancedyears, but I style and craft are present.)As acomposer, he has fared slightly better, withan occasional revival such as the present one-but none so extensive as the project sponsored

by the Maharajah of Mysore to record all of 4.4 o his music. (Medtner unfortunately died before he could record more than three 78- rpm albums for the Maharajah's "Medtner Society.") His music, appealingly lyrical and solidlycrafted, somewhatresembles that of another Russian academic, Nikolai Miaskovsky, an almost exact contemporary (1881-1950). His style is eclectic, and the examples on this recording are typical. The two early Fairy Tales, Op. 20, are slightly Circle 5 on Reader -Service Card faceless and stolid-on the order of early Scriabin or very early Rachmaninoff. A few years later, Medtner produced four more Fairy Tales, Op. 26, and these aremore en- WEAR A CONCERT. gaging; nonetheless, it takes no great musi- Groover the incredible accuracy oSEnr baser HD 420 Open -Aire' headphones cal detective work to hear Rachmaninoff's E By ccrnbin ng exotic materials with advanced electroacousti::technology, we've flat Prelude from Op. 23 in the first, Balaki- done for perscnal listening what our watt -famous studiomi:,-phones have done rev's Islarneyin the second, and the most fa- fcr profess ona. recording. In a new ultra lightweightdesign surpassing even the 4 mous Scriabin etude in the third. As for No. performance, cf the HD 420s predecessors (whichwere alsc op -rated anc rave- 4, it begins as a paraphrase of one of the reviewed). Wit- improved transient characteristics. Smoother,more extended re- - sponse. Clarity surpassing even the most expensive speaker-, And comfort so _- Schumann Nachtstiicke, goes intoa central greet. the only thing you'll feel is the misc.sEruNHEINE R section reminiscent of Debussy's early ry a paid HD 420s for our top-of- Danse, and culminates a la Rachmaninoff's the -line 430s) at your Ser nheiser sealer ELECTRONIC CORPORATION

' inevitable C sharp minor Prelude, Op. 3, He what is ike to wear a concer 10 West 37th Street, New York, Ni 1001E -_ No. 2. (212) 239-0190 In the much later Stormy Sonata, which Medtner reputedly regardedas one a of his masterpieces, the harmonic idiom I a and textures are more densely modernistic, and a personal idiom may now and then be espied in the thicket of notes inhabited by ghosts from the recent (and notso recent) past. There arequasi -quotationsfrom the Spanish school-one passage sounds for all E. the world like a fugitive from Albeniz' Iberia-a fugal episode that falls midway between Liszt and Hindemith, andan ending that is a dead ringer for those octaves in I Funerailles.Unlike Alkan and his crew, A-fNi Medtner used only the best ingredients for 1 es- . - '41i; his goulash; for all that, Alkan-with his $11; sometimes horrendous taste and purple - ss --. 0 passages-was a more scintillating musical _, ' q I' ' - 2 _.t 't `.,.ti'e'r personality. Marula:L ing '-- - 'l:At.11 'I. -:ii Plant: Bissendorf/Hannover, West 3eTr any © 1980.Sennheise-Electronic Corporation (-.1') 84 HIGH FIDELITY

The young Brooklyn -born pianist Walter Taussig, harpsichord; Leip- by the appearance of Publio; Claes H. Antony Rolle is obviously an uncommonly zig Radio Chorus, Dresden State Orchestra, Ahnsjo's tenor-though a tiny instrument talentedperformer. With techniqueto Karl Bohm, cond. [Reimar Bluth and Wer- with no range extremes-is the only voice in burn, he sails into this knotty music with ner Mayer, prod.] DEUTSCHE GRAMMOPHON this cast with any real lyric quality, and his panache and nuance. He particularly 2709 092, $29.94 (three discs, manual se- singing suddenly made me listen with cu- warms to the FairyTales,allof which quence). Tape: 3371 049, $29.94 (three riosity rather than mere duty. emerge with plenty of color and a touching cassettes). When you think about it, you realize lyricism. The sonata is less communicative, COMPARISONS: that those prominent Mozarteans in the Sci- but the basic fault may lie in the music it- Kertesz/Vienna St. Op. Lon. OSA 1387 pione cast are part of the corps that has done self; Medtner, like bonbons, is better in Davis/Covent Garden Phi. 6703 079 so much to make current performances of small doses. The sound of the piano has We could just say, "These three Mozart's vocal music such a trial. And you been beautifully captured in this proximate recordings are very boring," and leave it at realize that this same Mozart corps has fur- but atmospheric facsimile, and Finnadar's that, but that, as a great American once said, nished the bulk of the casting for the stereo processing is first-rate.H.G. would be wrong. It would seem to imply recordings of Idomeneo and Clemenza di Tito. that: 1)11 Sogno di Scipione, the novelty in the With this realization,I began wondering MORGAN: Trio for Flute, Cello, group, is unworthy of serious attention, whether these operas are necessarily as and Harpsichord-See Chatman: On the and 2) Idomeneo and Clemenza di Tito, the os- tedious as they have usually seemed to me. Contrary; Hesitation. tensibly known commodities, are merely Mozart's more recentchroniclers poorly served here. Both of these proposi- have satisfied me that the composer didn't MOZART: II Sogno di Scipione, K. tions include assumptions I don't think turn grudgingly to opera seria, that he 126. should be so easily assumed. really did want to see what he could do with CAST: Proposition 1 may well be true; what the genre. Fine, but this doesn't mean that La Costanza Lucia Popp (s) bothers me is the assumption that DG's he succeeded. The basic approach of opera La Fortuna Edita Gruberova (s) recording-a highly professional job fea- seria is to break down complex situations Licenza Edith Mathis (s) turing performers of high repute-provides and emotions into their component parts Scipione Peter Schreier (t) sufficient evidence. Proposition 2 is clearly and then dramatize those components indi- Publio Claes H. Ahnsjo (t) true as regards these recordings; what both- vidually and sequentially. This seems to me Emilio Thomas Moser (t) ers me here is the assumption that the prob- all but certain to have stymied Mozart, Salzburg Chamber Chorus, Salzburg lem is confined to them. who-critical cliché to the contrary-really Mozarteum Orchestra, Leopold Hager, Scipione is a "dramatic serenade" in hadn't much gift for simplicity. Given two harpsichord and cond. [Gottfried Kraus one act, though not as long an act as DG's or three or four intersecting emotions, his and Rudolf Werner, prod.] DEUTSCHE three -disc format might suggest. The piece creative juices flowed like nobody else's; GRAMMOPHON 2709 098, $29.94 (three discs, itself occupies five sides totaling just over given a single scraggly emotional strand, he manual sequence). 101 minutes. On the ten-minute Side 6 we had nothing to work with. MOZART: Idomeneo, K. 366. get an alternate version of the Licenza, or Except, of course, his immense tech- CAST: dedicatory epilogue, in which only the aria nical skill, which is abundantly evident in Elettra Edda Moser (s) (flanked by a recitative and final chorus) is both Idomeneo and the more stripped -down Ilia Anneliese Rothenberger (s) different. The justification is that this form Clemenza. But is there anything here to con- Idomeneo Nicolai Gedda (t) of the Licenza may actually have been per- nect with the emotional concerns of real - Idamante Adolf Dallapozza (t) formed in Mozart's lifetime; the rest of the life people, anything that goes beyond Arbace Peter Schreier (t) work certainly wasn't-the Salzburg arch- stock representation of such attitudes as High Priest Eberhard Buchner (t) bishop in whose honor it was apparently grief, apprehension, loneliness, jubilation, Priest Gunther Leib (b) written died before the honor could be envy, rage, etc.? Is it possible to imagine any Voice of the Oracle Theo Adam (bs-b) done. circumstances under which one might wish Walter Olbertz, harpsichord; Leip- Scipione was written early in 1771, to spend a second more in the presence of zig Radio Chorus, Dresden State Orchestra, during a stretch that also produced La Be- those shrieking harpies,Elettra and Hans Schmidt-Isserstedt, cond. [Helmut tulia liberata-shortly after the composition Vitellia? Storjohann, Christfried Bickenbach, and of Mitridate and before Ascanio in Alba and Well, maybe, but it would take a so- Eberhard Geiger,prod.] ARABESQUE Lucio Silla. In the Metastasio text, the sleep- prano of remarkable technical accom- 8054-4L, $28.92 (four discs, manual se- ing Scipio's soul is contested by the god-plishment, vocal size, tonal and quence). Tape: 9054-4L, $28.92 (four desses Constancy and Fortune. Would he above all dramatic imagination. Who cares cassettes). rather be a good person or have fun? whether Vitellia's assassination plot is on or COMPARISONS: Coached by his adoptive grandfather, Pub- off at any particular moment? Partly be- Pritchard /Glyndebourne Sera. SIC 6070 lio, and his father, Emilio, he chooses-well, cause who cares whether that jerk Tito gets Davis/BBC Phi. 839 758/60 you know which one he chooses. his? I know that it's fashionable to worry Bohm/Dresden DG 2740 195 The music is worked out with all the about such questions as whether Idomeneo MOZART: La Clemenza di Tito, K. craftsmanship you would expect from the sings the simpler or more elaborate version 621. fourteen -year -old Mozart, but there isn't of "Fuor del mar," yet I am more likely to CAST: much more than craftsmanship to be heard wonder, especially during the perform- Vitellia Julia Varady (s) here. Still, is this all Mozart's fault? Might ance, whether there's any reason for tenor Servilia Edith Mathis (s) the music sound more alluring, or at least X to be singing any version. Sesto Teresa Berganza (ms) more involving, if it were performed by a One exception comes to mind: Annio Marga Schiml (ms) conductor and singers concerned with George Shirley, the Idomeneo of the Davis Tito Peter Schreier (t) more than just getting the notes out? One recording, who does frequently persuade Publio Theo Adam (bs-b) clue for me is the sense of relief produced me that the music means something. Other- Willyou still respectyour speakers in the morning?

rs r

Sure, they sounded great last night. quirements. This same technology,not quency range, uncanny sonic accuracy, But the real test of a speakersystem issurprisingly, produces some of the finestrazor-sharp stereo imaging and true-to-life the morning after. speaker systems available for homeuse.dynamic range, the L730 delivers untiring Will your speakers sweetenyour morn- -he new ADS L730, for example, isa musical performance. Although thesys- ing coffee with Vivaldi, or will theymakedirect outgrowth of ADS' continuing in-tem is capable of shaking walls with clean, you wish you'd never turned your stereovolvement in digital recording technology. undistorted sound,you'll appreciateit on? An unusual combination of extended fre-most on those mornings when quality Do your speakers make you glad you're counts more than quantity. alive, or do they serve only to remindyou of The L730 is only one ofmany ADS last night's excesses? speakers, all meticulously engineered and Some speakers are impressive when superbly crafted. Your ADS dealer will be played loudly. But a truly great speaker is happy To help you select the model which equally, if not more, impressive at low lis- best suits your purposes. Formore infor- tening levels. "Loud" is desirable at times, mation and the name of the ADS dealer but a speaker to be lived with must do nearest you, please write ADS, Dept. HF-9, or call 1-800-824-7888 (California much more. f. 1-800-852-7777) toll free and ask for Op- For years, and without fanfare, ADS has 11 erator 483 been building monitor speaker systems for some of the most demanding sound engineersinthe music industry. ADS technology is uniquely able to accommo- Audio for the date their diverse and challengingre- ADScritically demanding

Analog & Digital Systems, Inc., OneProgress Way.Wilmington,MA 01887 (617) 658-5100 HIGH FIDELITY 86 wise, there's Sena Jurinac's Ilia in the (Bohm)? It's all too depressing. Lloyd); Bohm's Theo Adam makes this ad- positively Glyndebourne Idomeneo, plus a few other Perhaps the Kertesz set comes clos- mittedlyofficiouscharacter honorable efforts, and that's it. est to sounding as if something were ac- loathsome. Naturally there is value in having all tually going on, with Teresa Berganza in Idomeneo is of course a textual night- mare. Fortunately, David Hamilton ranthis this music on records, but I have no simple prime shape as Sesto and Maria Casula through pretty thoroughly in his Septem- recommendations to make. In his May1978 making a gusty stab at Vitellia. It's true that review, Andrew Porter found much to ad- the recitative is drastically abridged, but do ber 1979 review of the Bohm set, so we mire in the Davis Clemenza, so you might the larger quantities included in the Davis needn't go into it again. The Arabesque set-the first domestic release of an EMI want to check it out. I don't share his enthu- and Bohm recordings serve much purpose? recording originally issued in 1972 and re- siasm, but then, I don't have much enthusi- (The Davis and Bohm selections are quite asm for the alternatives. How onearth different, incidentally. I see no grounds for viewed by Paul Henry Lang as an import in August 1973-contains more music than would one go about choosing among the preference on this count.) If you're really if Titos of Werner Krenn (Kertesz), Stuart pressed for a choice,I would note that any of the others. This may be significant Burrows (Davis), and Peter Schreier Davis has the only bearable Publio (Robert your interest is archival, if you want to know that it's all there on the shelf should some need ever arise. As for theperform-

ance,itunfolds steadily, steadily . . steadily. There are moments in the Bohm Ido- fi best seller. meneo (and in his Clemenza too)where a phrase takes hold in such a way as to make you wonder what he might have donewith Versus the best. these operas fifteen or twenty years ago, when he was still in control of his performances. And although I enjoy the warmth ° - I and directness of Julia Varady, Bohm's Elettra and Vitellia, she is overextended by these roles; she seems more properly an Ilia/Servilia. r ti With the Glyndebourne Idomeneo too drastically chopped up even for my permis- sive taste (and not all that distinguished apart from Jurinac and perhaps Leopold Si- moneau as Idamante), I guess that leaves Bose 301 Micro -AcousticsFRM-3ax the Davis set by default. And it's not such a $299.00per pair $260.00 per pair terrible choice at that; in addition to Shir- ley, there are honorable efforts by Pauline Bose Micro -Acoustics Compare these two speakers, and Tinsley (Elettra) and Margherita Rinaldi 301** FRM-3ax you'd probably expect the one on the (Ilia). Unfortunately, Philips includes no left-with the lower price-to be the English translation of the libretto. Tweeter One, fixed. One, rotatable, rim -damped. better seller. You'd be right ... but is it Itold you this wasn't going to be Tweeter Attached directly Isolated from the better value?Before you decide, easy. K.F. mounting to baffle. baffle by damped consider how much more a little more suspension and RUGGLES: Complete Works. For a separate compart- money will buy: ment. Compare bass.The new FRM-3ax review, see page 68. High freq. Rotatable rectan- Rotatable Vari- uses a twin -ducted enclosure withthicker dispersion gular plate with Axis' tweeter cabinet panels and larger cubic volume, SCHOENBERG: Chamber Sym- control control, mounted with five -position for rich, full bass. detented control. phony No. 1, Op. 9 (arr. Webern)-See De- in front of fixed Compare highs.The new tweeter. bussy: Prelude A l'apres-midi d'un faune. Bass enclos. 929 cubic inches. 1210 cubic inches. FRM-3ax's unique Van-AxisTM control volume system, damped isolated tweeter SIBELIUS: Concerto for Violin and Bass Single ducted Twin -ducted port suspension and rim -damped cone give Orchestra, in D minor, Op. 47; Humo- port directly positioned on oppo- loading lifelike highs. Nos. under tweeter. site sides of woofer. Compare warranties. The new resques (6): Op. 87b, Nos. 1-2; Op. 89, 1" front panel; Cabinet 1/2" throughout. FRM-3ax is warrantiedtwiceas long. 1-4. panel 3/4" sides and rear; Salvatore Accardo, violin; London thickness 1/2" tweeter The Micro -Acoustics new compartment. FRM-3ax. When you compare, there's Symphony Orchestra, Colin Davis, cond. Dimensions 17"Wx109/16"H21'5',6"Wx really no comparison. PHILIPS 9500 675, $9.98.Tape: 7300770, x 95/i s"D. 125/a"Hx99/16"D. Micro -Acoustics Corporation, 8 $9.98 (cassette). Weight 151/2 lbs. 24'/4 lbs. Westchester Plaza, Elmsford, N.Y. 10523, SIBELIUS: Concerto for Violin and Warranty 5 years (full). 10 years (full). (914) 592-7627.In Canada, H. Roy Gray Orchestra, in D minor, Op. 47; Two Sere- Mfr's. $260.00 per pair. $299.00 per pair.* sugg. list Ltd., Markham. Ont. nades, Op. 69; Serious Melodies (2), Op. 'Slightly higher West of Mississippi. 77. "latest Model. Boris Belkin, violin; Philharmonia ' 1980, Micro -Acoustics Corporation. in a® Orchestra, Vladimir Ashkenazy, cond. Complete FRM-3ax specifications are available in Micro -Acoustics literature No. L-1114. Micro -Acoustics [Ray Minshull, prod.] LONDON CS 7181, Quality worth a 10 -year warranty. T M $8.98. Comparison photo is unretouched. OCTOBER 1980 87 The Realistic' COMPARISONS-concerto: TCHAIKOVSKY:The Enchantress. STA-2200 is Your Heifetz/Hendl RCA LSC 2435 CAST: Heifetz/Beecham Sera. 60221 Kuma (Nastasia) Rimma Glushkova (s) Best Buy in a The conductor plays a demanding Polya Galina Molodsova (s) role in the Sibelius violinconcerto, what Princess Digital Stereo with the many intricate Ludmilla Simonova (ms) cross -rhythms in Nenila Nina Derbina (ms) the orchestral ,writing and the additional Receiver and the Prince Yuri Lev Kuznetsov (t) problem of clarifying the sometimes murky Paisi Andrei Sokolov (t) scoring and balancing it with the fre- Experts Agree! Balakin Vladimir Makhov (t) quently unviolinistic solo part. Davis, of Lukash Lev Bliseyev (t) From HIGH FIDELITY, Sept., 1980: course, has recorded the seven Sibelius Prince Nikita Oleg Klenov (b) symphonies with considerable success, and Kudma Victor Rybinsky (b) y Ashkenazy, a more recent convertto the Foka Pyotr Gluboky (b) -1015^ podium, is embarking on thesame voyage, Potap , Sergei Strukachev (b) I minismor-.2 with a digital Second to be released shortly. me Mamirov Yevgeny Vladimirov (bs)

Two very different approaches can Zhuran Boris Dobrin (bs) .,r3.0 43 be heard here, and I much prefer ::;: Accardo Kichiga Vladimir Matorin (bs) SIN and Davis. Predictably, the Italianvirtuoso Moscow Radio Symphony Orches- takes a very controlled look at thescore, re- tra and Chorus, Gennady Provatorov, cond. producing all the bowing, dynamic, and "The STA-2200... outstrips the CBS/ MELornvA M4X 35182, $19.98 (four standards for its price class in phrase indications with scrupulousexacti- discs, automatic sequence). tude. He favors a very pure-almost white- some important specifics. It is, tone with a fast, lean vibrato and bringsout in a word, the best Realistic Tchaikovsky's worth as an operatic component we have tested:' the work's classical aspects withsevere pur- composer is by no means fully contained ity of emotion. In its patrician technical by his two pieces known to Westernau- perfection, his playing resembles Heifetz'. "Zeroing in on a station with diences, Yevgeny Onegin and The Queenof (He even surmounts the treacherous third- Spades.Several of his other sung stage this*:.. is quick and error -free:' movement hazards with comparable effort- works are rewarding of attention (forsome lessness.) And his interpretation, withless supporting argument, see my discography "The tuner measurements are aggressive heat and greater sobriety than of Russian opera, PartI,HF, December all top-notch. Sensitivity, cap- Heifetz', is equally defensible. In the slow- 1974), and The Enchantressis among the ture ratio, and the like are all ish first two movements, Davis makesall most interesting of these. what you'd expect from a sepa- the ambiguous rhythmic pulsationsunusu- This is not to say that it's rate tuner, and separation is ally firm (in the manner of the a fully suc- Neveu/ cessful opera. The libretto (by Hippolyt nothing short of exceptional." Susskind and Haendel/Berglund record- Shpazhinsky, drawn from his play of the ings). This effective reading begins witha same name) attempts just about everything frozen, Nordic quality, which gradually 'Considered as a total system, that could be imagined in one evening of t offers quite a value for the thaws, warmed by the Latin translucencyof theater, leaving the audience with some dollar. We would be hard Accardo's cantabile. The mercurial third long leaps to make and outsize assumptions movement has a dancing elegance. pressed to come up with an- to gulp down, and the scoreranges from Sir Donald Tovey once brilliantly stretches of true brilliance and conviction other receiver that does as characterized that third movementas "a to others that are little more than due ful- much at the price-conceiv- polonaise for polar bears," and it soundsas fillment of a formal task imposed by ably, even at twice the price:' if Belkin and Ashkenazy some were trying to barely justifiable turn of eventor character. take off some of the chill. Atevery turn, the Nonetheless, the basic dramatic -Quoted,with permission, from the violinist seeks an excuse to lingerover the premise is strong enough. The heroine is Sept., 1980 High Fidelity lab test report rhythm or draw a pulsating nineteenth- a on the Realistic' STA-2200AM/FM frank,free -spiritedyounginnkeeper stereo receiver. c 1980 High Fidelity century sound from his instrument. The named Kuma, whose personal qualities and Magazine. All rights reserved. opening of the Adagio has never sounded sympathies for dissidents among thecom- more like its counterpart in Wieniawski's D 'Refers to the all -digital, quartz -locked mon people are exaggerated into a reputa- pushbutton memory tuning system of minor Concerto (though other violinists, tion for licentiousness, witchery, and sedi- theSTA-2200. such as Oistrakh and Zukerman,have tion by thepolitical and religious tried). On the whole, Belkin's playing lacks STA-2200 is 599.95 at participating conservatives of the ruling class.As aresult, Radio Shack stores and dealers. In both tonal variety and refinement. Com- the reigning prince pays her innan inspec- genuine walnut veneer case. 60 watts pare Accardo's razor-sharp attacks with tion visit. He becomes infatuated with her, per channel, minimum RMS into 8 Belkin's slurpy shifts. (But show ohms, from 20-20,000 Hz, with no more mercy and and though she repels his advances, hisat- than 0.02% total harmonic distortion. spare him the embarrassment of compari- tentions to her are enough tocause both his son inthe third movement, where his wife and his son, the young Prince Yuri,to beefy, labored performance speaks for Designed, Manufactured by, it- declare themselves sworn to her death.But self.) Ashkenazy's considerate collabora- and Available Only at: Yuri is also disarmed by her directnessand tion gives hope for his forthcoming cycle. sensuous charm, as well as her declaration Accardo's six humoresques afford that it is he, and not his father, Kuma finds Radio lhaek sheer delight, and Belkin, too, picks up in attractive (hard to resist, that one). Inan ex- The Nationwide his shorter works-so muchso that both travagant finalact, Yuri and Kuma are Supermarket of Sound' recordings merit investigation. Technically, about to get away from all this. Butthe each is well balanced.H.G. Over 7000 Locations in 40 Countries princess, with the aid of a misogynistic her- 88 mit, poisons Kuma (much graphic descrip- lies almost entirely in its vocal melodies HIGH FIDELITY'S tion). Kuma dies. The elder prince catches and the effects they can secure from fine Free Armchair up with it all and stabs the young prince. and appropriate voices. It is preceded by a The young prince dies-choruses of fine, tense monologue for Kuma as she Shopping Service mourning, bodies in river, mother hys- awaits Yuri and his companion, who she knows mean to kill her-the sort of person- On the card opposite, circle the number indi- terical, elder prince raving mad, hermit cated at the bottom of the ad or at theendof gleefully gloating, thunder, lightning, stage allyinvolvedmelodramaticsituation the editorial mention of the product you're manager and percussion players putting in Tchaikovsky was especially effective with. interested in. (Key numbers for advertised prod- for risk pay. I mean, really--. Elsewhere, there are several other ucts also appearinthe Advertising Index.) arias for the principals that are typical of In structuring and detailing, the Type or print your name, address, and zip code thing's a mess. In content, however, it has the composer, with their weaving melodies on the card. Postage is prepaid. its points, and incorporates most of the and subdued endings. They are strong, ex- themes that most intrigued Tchaikovsky, cept for that of the elder prince, a character Mail the card today. You'll soon receive free Tchaikovsky seems to have had trouble product literature and specifications from and other Russian composers as well. All manufacturers. three participants in the triangle "fall in getting at. There are charming choruses of love with" distant ideas of one another and greeting and arrival in the first act, a fairly pretend that's a relationship. The heroine is strong scene between the prince and prin- MAIL ORDER pilloried as antisocial purely for lack of hy- cess, and an even better one between the pocrisy. Her contact with "Nature" (she princess and Yuri. Representative of the BUYER'S SERVICE lives in the country on a riverbank, not in sections that work less well is the ensemble the ascendant city of Nizhny Novgorod, worked up over Yuri's oath to do away with and sings of her communion with forests Kuma; the situation seems contrived for a and spaces) shows her purity; the rural grand -opera ensemble and the composer's Three Great Buyer's commonfolk are simple and good, the ur- heart not in it because it stops really follow- Guides From ban upper class complex and bad, though ing the truth of the characters' actions-cu- naturally the work's creators and their au- rious how often he tried this and how con- HIGH FIDELITY diences are among the latter group, not the sistently he failed (most of the way through former. Those who accuse others of ma- Maid of Orleans, for instance). The lurid last Order Now! licious magic are the ones to practice it. The act reallyhas some excellent writing in it; it a.N.M. W., Illoottosta too net. op source of all the evil and insanity is the as- is hard to swallow because it is difficult to npearYI 1980 sumption that female sexuality is both irre- leap from the fairly down-to-earth theatri- TestReP°r" HIGH sistible and of its very nature destructive. cal assumptions of the earlier scenes to this New19.80 FIDELITY'S The score boasts a good deal ofsort of thing. From Dargomizhsky right Buying Test splendid melodic material and very inven- down toShostakovich, Russian opera- Reports GUIde $3.95 tive accompanimental writing, especially wrights have often not troubled to establish 11 Circle for the woodwinds. The best-known scene a consistent level of reality-the problem 161

a11 : S:47 Itte*:1V is that between Yuri and Kuma, largely be- plagues a host of interesting works. wet t ann cause a chunk ofit was ravishingly re- I wish I had to hand the older West- BUYingGuide corded, in German, by Tiana Lemnitz and minster release of an earlier Soviet per- Stere0 COMponents S"'GK NEY7TISUCCESSFULT"P''""41:17:'" 1980 Helge Roswaenge some fifty years ago. The formance that once circulated here, for its in y V Buying edition differs in some respects from that scene's a beauty, all right, though its impact Guide to OUS SPOno, Stereo Components $3.95 Circle 162 SABA 100 Elta.lieVE TFST_ Quality'thrt.i.4d) tradition 1 Or From W. Germany STER TEg..REPOKSats Clukto to SUM Coati o, tattoroPtioloreatco 1980 A11111111111111111MIIIIIIMIL p c, Stereo

r ...... comoonootGottwatiWaat Test Listen Listen Listen. Because What ts V.., Otto A s A LEO.104Ecoo 0 0 0 , t. Reports that's really what it's all about: That at . $2.95 Inside Our the end of our product chain, the con- Testing Circle Lab sumer-in other words, you, are satis- 164 11.10101 th Ia fied with what you hear. That's why o * o Vrw 111 there is one thing the SABA equipment concept will never have: A weak point. To order, circle the number on the attached card You will always obtain true value for that matches the number of the Buyer's Guide you

your money. want. Enclose payment plus S1.00 for postage with your order and mail to: HIGH FIDELITY One Sound Avenue ULTRA HI -FIDELITY DIST. Marion, Ohio 43302 1001 E. TOUHY AVE., SUITE 112, DES PLAINES, IL. 60018 312/827-9818 (Enclose payment. No credit orders.) Circle 55 on Reader -Service Card NEW YORK a HI Fl I ti STEREO MUSIC I SHOW & Super -SalelI DIGITAL SOUND-the most important forward step since electronic recording-will star among exhibits on two, block -wide floors of America's"1audio show for consumers! Hear about AM STEREO-the waves of the future! See ROBOT STEREO in action. controlling Hi Fi Sound throughout your house or apartment! Enjoy a GOLDEN DISCO with dance music from Ragtime. through Big Band. to the Rock era! SAVE $3.00 WITH 2 -FOR -1 COUPON, BELOW! See the pre -show editions of N.Y. Times. Daily News. & Village Voice for latest information on the one and only Hi Fi Stereo Music Show! NEW YORK STATLER-OCTOBER 3, 4 & 5 acrossfrom MadisonSquare Garden. SHOW HOURS: Fri. 5-10 p.m. Bring a guest, FREE! Sat. 11 a.m.-10p.m. Sun. Noon -7 p.m. Value: $3.00 This coupon is good for one free admission DISCO HOURS: Fri. & Sat. 7-11 p.m. to the N.Y. Hi Fi Show of 1980 when presented Sun. 5-8 p.m. at box office with purchase of one regular ticket Admission $3 per person at $3. (Accompanied children under 12 free.) E2 HIGH FIDELITY NOW PLAYING AT THE NATIONS ecent FINEST AUDIO DEALERS ecord eleases The following listings are excerpts from K t; the "New Listings" section of the August

Schwann Record and Tape Guide. Some listings contain a cross-reference (+) to other works on the recording. Letters in brackets refer to language used in vocal music (G, German: E, English, etc.). Cassette editions are indicated " by the symbol! Quadriphonic discs are indicated by a Q following the record number: digital discs are indicated by a D following the record number. BACH, JOHANN SEBASTIAN Bach Program Andre, Liszt Ch. Orch.: Can. 78-Wir eilenmitschwachen,dochemsigen THE DELTA 400 Schritten;Con.5.1060;Can.140- BY Wachetauflruft uns die Stimme; Suite No. 2, S.1067 Ang. SZ-37728 STARE Concerti (3) for 2 Harpsichords, S.1060/2 Prnownord CORPORATION No. 1 in c, S.1060 Andre (trpt), Rolla (vn), Liszt Ch. Orch. HAUT PARLEURS DE FRANCE/LOUDSPEAKERS FROM FRANCE (see Bach Program) Ang. SZ-37728 CALL 516-585-2300 FOR THE DEALER NEAREST YOU English Suites (6) for Harpsichord, 80 13th AVENUE, RONKONKOMA, N.Y. 1 1 7 79 S.806/11 Curtis t French 4 -Tel. 4635452 Circle 82 on Reader -Service Card French Suites (6) for Harpsichord, S.812/7 No.781 HANDBOOK OF MULTICHANNEL RECORD- Curtis t English 4 -Tel. 4635452 ING. F Alton Everest. Keene (piano) (No. 5) t Ital.; PartitaI; A comprehensive volume of 322 pages. with 201 illustrations. covering all aspects of live recording in Toc. & Fugue in d Laurel/Prot. 16 both stereo and four -channel formats Italian Concerto in F for Harpsichord, Paperbound: $7.95. Hardbound: $10.95. S.971

No. 756 FOUR -CHANNEL STEREO . . . FROM Keene (piano) t French; Partita 1; Toe. & SOURCE TO SOUND, 2nd Edition (1974). Ken W. Sessions, Jr. Fugue in d Laurel/Prot. 16

Complete technical and nontechnical information Organ Music on all approaches to four -channel sound. both discrete and matrix Paperbound: $4.95. Hurford (Vol. 3) 3 -ArgoD150D3 Partitas (6) for Harpsichord, S.825/30 kb. No. 805 HOW TO SELECT & INSTALL YOUR Handbook OWN SPEAKERS, 1 et Edition (1979). Norman No. 1 in Bb, 5.825 Crowhurst. of Everything you need to know about loudspeak- Keene (piano) tFrench;Ital.; Toe. & ers! 238 pages of information, 131 illustrations, Fugue in d Laurel/Prot. 16 Multichannel glossary of terms. Paperbound: 55.95. Sonatas (3), Viola da Gamba & Hpsi., No. 640 SELECTING AND IMPROVING YOUR HI -Fl S.1027/9 SYSTEM. (1973) Harvey Swearer. Gasparo 212 Recording A handy guide to what to look for what to expect, Meints, Ornstein and what to avoid in setting up or expanding your home Suites (4) for Orchestra, S.1066/9 Here isvery possibly the single most audio system. Paperbound: $4.95. Hardbound: $7.95. important book on sound recording No. 2 in b for Flute and Strings, S.1067 for the layman or professional who Check or money order must accompany your order. Andre (trpt), Liszt Ch. Orch. (see Bach No cash or C.O.D. s, please. Program) Ang. SZ-37728 wants to make quality recordings of Allow 60 days for delivery. musical groups. For the first time,here's Toccata & Fugue in d for Organ, 5.565 a book that coversit all- dubbing, r Keene (piano) t French; Ital.; Partita 1 special effects, mixing, reverb, echo, HIGH FIDELITY Laurel/Prot. 16 MUSIC LISTENERS' BOOK SERVICE I BEETHOVEN, LUDWIG VAN synthesis- for both stereo and four - 1 Wyeth St. channel recording. Simply circle IMarion, Ohio 43302 I Bagatelles, Op. 33, 119, 126 No. 781 on the coupon. I I De Larrocha (Op. 33) t Mozart:Son. 4, 8 "Handbook of Multichannel Record- Here s my check for $ - Please send Lon. 7179 ing" is only one of a wide selection of I me. postpaid, the books I've circled below I Katchen (Op. 126)1- Piano Son. 32 carefully chosen audio books made I 781 756 640 805 I Lon. STS -15508 available to HIGH FIDELITY readers Concerto in D for Violin, Op. 61 Name through Music Listeners' Book Service. I - I Kyung-Wha Chung, Kondrashin, Vienna (Many of the selectionsare notreadily I Address -- I Phil. Lon. LDR-10010 (D); 95-10010 available in bookstores.) Choose your - Sonatas (32) for Piano books from the list, circle the numbers I City. State, & Zip_ I on the coupon, and enclose your check 1 078.11 or money order. That's all there is to it. "When the lights were tuned- OCTOBER 1980 E3 out we could almost have sworn that we were in the presence of a real live orchestra." Hall Rodgers, Popular Electronics. No. 32 in c, Op. 111 Aulos Wind Qn t Rochberg CRI S-436 "-he erect strains credibility Katchen (& Polonaise, Op. 89) t Baga- HOLST, GUSTAV lad II not experienced it,I prob- - telles Lon. STS -I5508 Hammersmith, Prelude & Scherzo, Op. 52 ably would not believe it...the CHABRIER, EMMANUEL Wick, London Wind Orch.tSuites: Espana 'miracle' is -hat it uses only the Vaughan Williams:English None. 78002 two normal front speakers..." ' Karajan, Berlin Phil. (see Coll.) HONEGGER, ARTHUR Jul an HirschHirsch -Houck Labs. -- Ang. SZ-37687; Pacific 231 DEBUSSY, CLAUDE Weinberg, Hamburg Sym. t Turina it brings the listener su ostant- Preludes for Piano, Books 1 & 2 CMS/Sum. 1061;41061 lolly closer to that elusive sonic Ulmer 2 -Prot. 151/2 JOHNSON, TOM (1939 - illusion of being in the presence Sonata No. 3 in g for Violin & Piano of a live performance." Kyung-Wha Chung, Lupu t Franck:Son. An Hour for Piano (1974) Rzewski Lovely VR-1081 Lary Klein, Stereo Rev ew. Lon. 7171

DOHNANYI, ERNST VON KRENEK, ERNST ..seems to open a curtain Variations on a Nursery Song, Op. 25 Static and Ecstatic, for Chamber Orch., Op. and reveal a deployment of Entremont, Kamu, Nat'l Phil. t Strauss: 214 (1972);Kitharaulos,for Oboe, musical tortes extending Burleske Col. M-35832; MT -35832 Harp & Chamber Orch., Op. 213 aehind, between and beyond DOWLAND, JOHN (1971) -he speakers ...terrific." Ostryniec,Linguist,Krenek, LA Ch. A Musicall Banquett (1610) High Fidel ty. Rooley, Consort of Musicke Orch. Varese 81200 Oiseau DSLO-555 LOEB, DAVID ..---- DVORAK, ANTONIN Sonata for Viola da gamba (1972); Fantasia . - - 4 CAIAW Carnival Overture, Op. 92 e due Scherzi for 2 bass Viols (1970) A. Davis, Phil. Orch. t Sym. 8 Wenzinger, Mueller t Schenk; Schaffrath Col. M-35865; MT -35865 Gasparo 210 - 119 Ati

- mor ETT . Symphony No. 8 in G, Op. 88 MENDELSSOHN, FELIX -. A. Davis, Phil. Orch. t Carnival Octet in Eb for Strings, Op. 20 C-4000 Control Console Col. M-35865; MT -35865 Melos Ens. t Spohr Ara. 8017; 9017 Symphony No. 9 in e, Op. 95, "New World" RCA ARL1-3727. Kondrashin, Vienna Phil. MOZART, WOLFGANG AMADEUS They're all raving Lon. LDR-10011 (D); 5-10011 Bastien and Bastienne, K.50 ELGAR, EDWARD Soloists, Ebert, Hamburg Ch. Orch. about In the South (Alassio), Overture, Op. 50 CMS/Sum. 1114; *41114 (1903) Concerti (4) for Horn, K.412, 417, 447, 495 Barenboim, London Phil. t Sea Baumann, Hager, Salzburg Mozarteum Sonic Holography' Col. M-35880; MT -35880 Orch. Tel. 642360; 442360 Sonic Holography is orly the most Sea Pictures, Op. 37 (song cycle) (1899) Marriage of Figaro, K.492 spectacular achievement of the Soloists, Zillig, Hamburg Radio Sym. (ex- Minton, Barenboim, London Phil. 1E1fIn Carver C-4000. The others are Col. M-35880; MT -35880 cerpts) [G] CMS/Sum. 1112; 1141112 merely extraorcinary. FRANCK, CESAR Quartets (piano) in g, K.478; in Eb, K.493 Sonata in A for Violin & Piano Ranki, Eder Qr Tel. 642523; 442523 Consider what you actually Kyung-Wha Chung, LuputDebussy:Son. Serenade in G, K.525, "Eine kleineNacht- have in the C-4000: 3 Lon. 7171 musik" A full function stereo preamplifier

HANDEL, GEORGE FRIDERIC Kertesz, Vienna Phil. t Sym. 36 A time -delay system with Overtures & Sinfonias Lon. STS -15506 controllable reverberation mix Bonynge, English Ch. Orch.: from Semele, Sonatas (17) for Piano A built-in 50 watt (total) power Julius Caesar, Faramondo, Judas Macca- No. 4 in Eb, K.282 amplifier for time delay speakers baeus, Radamisto, Arminio, Deidamia, De Larrocha t Son. 8; Beethoven:Baga- The Autocorrelator system that Scipio, Belshazzar Lon. STS -15532 telles Lon. 7179 Samson (oratorio) No. 8 in A, K.310 reduces noise up to 8 dB with Baker, Watts, Tear, Shirley -Quirk, Luzon, De Larrocha t Son. 4; Beethoven:Baga- any source material Leppard, English Ch. Orch., Lon. Voices telles Lon. 7179 A peak unlimiter/downward 1E1 Symphonies (41) expander that nearly doubles 4 -RCA ARL4-3635; 3-ARK1-3635 No. 31 in D, K.297, "Paris" dynamic range HAYDN, (FRANZ) JOSEPH Miinchinger, Stuttgart Phil. t Sym. 32, 35 And the Sonic Hologram system Mass No. 2 in Eb, "Great Organ" Lon. STS -15529 that aroused the quotes above. Nelson, Watkinson, Hill, Thomas, Preston, No. 32 in G, K.318 Acad. Ancient Music, Christ Church MUnchinger, Stuttgart Phil. t Sym. 31, 35 Please write for the complete Cath. ChoILIOiseau DSLO-563; 563 Lon. STS -15529 test reports, brochures and list of Mass No. 10 in Bb, "Theresien-Messe" No. 35 in D, K.385, "Haffner" authorized Carver dealers. Popp, Elias, Tear, Hudson, Bernstein, Lon- MUnchinger, Stuttgart Phil.tSym. 31, 32 Then you can rave all you want don Sym. & Cho. ILI Lon. STS -15529 about your own C-4000. Col. IM -35839 (D); HMT-35839 No. 36 in C, K.454, "Linz" HARBISON, JOHN Kertesz, Vienna Phil. (& March, K.408)t Quintet for Winds Ser. K.525 Lon. STS -15506 CARVER Circle 81 on Reader -Service Card P- COR PC RATIO N PO Boot 664, Woodinville, VVosnington 98072 14 HIGH FIDELITY

Rampal, Mostly Mozart Orch. t Sym. 38 Col. M-35851; MT -35851 Entremont, Kamu, Nat'l Phil. (& Litolff: Col. M-35840; MT -35840 SCHAFFRATH, CHRISTOPH (1709-1763) Con. Symphonique-Scherzo) t Dohni- No. 38 in D, K.504, "Prague" Duetto in d for 2 bass Viols nyi Col. M-35832; 0MT-35832 Rampal, Mostly Mozart Orch. t Sym. 36 Wenzinger, Mueller t Loeb; Schenk Concerto in D for Oboe Col. M-35840; MT -35840 Gasparo 210 Black, Barenboim, English Ch. Orch. t MUSSORGSKY, MODEST SCHENK, JOHANN (8. c. 1700) Bourgeois Col. M-35160; MT -35160 Night on Bald Mountain Sonata in G for 2 Viols, Op. 8, No. 10 STRAVINSKY, IGOR Kletzki, Suisse Romande t Rachmaninoff: Wenzinger, Mueller t Loeb; Schaffrath Le Sacre du printemps Sym. 3 Lon. STS -15530 Gasparo 210 Atamian (piano, arr. Raphling) PERGOLESI, GIOVANNI BATTISTA SCHOENBERG, ARNOLD RCA ARC1-3636 (D); ARK1 -3636 La Serva padrona Begleitungsmusik zu einer Lichtspielscene, SZYMANOWSKI, KAROL Zeani,Rossi-Lemeni,Singer, Hamburg Op. 34 (1930) Masques, Op. 34; Etude, Op 4, No. 3; Valse Radio Sym. [I] Boulez, BBC Sym.tFive; Survivor; Var. romantique (1925) CMS/Sum. 1115; 41115 Col. M-35882; MT -35882 Feder t Son. 3 Prot. 149 PICKER, TOBIAS (1954 - Five Pieces for Orchestra, Op. 16 Sonata No. 3 for Piano, Op. 36 Rhapsody for Violin & Piano (1978); When Boulez, BBC Sym.tBegleitungsmusik; Feder t Masques Prot. 149 Soft Voices Die, for Piano (1977); Sex- Survivor; Var. TCHAIKOVSKY, PIOTR ILYICH tet No. 3 (1976); Romance for Violin Col. M-35882;OMT-35882 Concerto No. 1in bb for Piano & Orch., & Piano (1978) Survivor from Warsaw, Op. 46 Op. 23 Hudson, Picker; Oppens; Passaro, Specu- Reich, Boulez, BBC Sym. & Cho.[GIt Drescher, Weinberg, Paris Proms Orch. lum Musicae; Quan, Karis CRI S-427 Begleitungsmusik; Five; Var. CMS/Sum. 5084; 45084 PUCCINI, GIACOMO Col. M35882;MT -35882 Concerto in D for Violin & Orch., Op. 35 Madama Butterfly Variations for Orchestra, Op. 31 Andrade, Walther, Hamburg Radio Sym. Soloists, Annovazzi, Hamburg Radio Sym. Boulez, BBC Sym. tBegleitungsmusik; CMS/Sum. 1080; 41080 (excerpts)111 CMS/Sum. 1082; 41082 Five; Survivor THOMSON, VIRGIL Tosca Col. M-35882; MT -35882 Piano Music Soloists, Guarnieri, Orch. (excerpts) [I] SCHUBERT, FRANZ Tollefson: 10 Etudes; Cantabile; Catalan CMS/Sum. 5050; 45050 Impromptus, Op. 90, D.899 & Op. 142, Waltz; 9 Etudes; Bugles & Birds; An Old RACHMANINOFF, SERGEI D.935 Song; In a Bird Cage; Alternations Piano Music Buchbinder t Moments; Piano Pieces Fin. 9027

Laredo (Vol. 7): Sonata No. 1 in d, Op. 2 -Tel. 2648132 TURINA, JOAQUIN 28; Sonata No. 2 in bb, Op. 36; Polka on Moments Musicaux, Op. 94, D.780 Rapsodiasinfonica,Op. 66; Sinfonia sevil- a Theme by V.R. Buchbinder t Impromptus; Piano Pieces lana, Op. 23 Col. M-35881; MT -35881 2 -Tel. 2648132 Weinberg, Hamburg Sym. t Honegger Sonatas (2) for Piano:d, Op. 28; bb, Op. 36 Piano Pieces (3), D.946 CMS/Sum. 1061; 41061 Laredo (see Piano) Buchbinder t Impromptus; Moments VAUGHAN WILLIAMS, RALPH Col. M-35881; MT -35881 2 -Tel. 2648132 English Folk Song Suite Symphony No. 3 in a, Op. 44 SIBELIUS, JEAN Wick, London Wind Orch. (& Toccata Kletzki, Suisse Romande t Mussorgsky: Concerto in d for Violin, Op. 47 marziale) t Hoist None. 78002 Night Lon. STS -15530 Perlman, Previn, Pittsburgh Sym. t Sind- VERDI, GIUSEPPE RAVEL, MAURICE ing Ang. SZ-37663; 4ZS-37663 Rigoletto Alborada del gracioso SINDING, CHRISTIAN Soloists, Martin, Hamburg Radio Sym. Mata, Dallas Sym. t Bolero; Rapsodie Suite in a for Violin & Orchestra, Op. 10 (excerpts) [I]CMS/Sum. 1086; 041086 RCA ARC1-3686 (D); *A RK1-3686 Perlman, Previn, Pittsburgh Sym. t Sibe- La Traviata Bolero lius:Con. Ang. SZ-37663; 04ZS-37663 Callas, Kraus, Sereni, Ghione, Lisbon San Mata, Dallas Sym. t Alborada; Rapsodie SMETANA, BEDRICH Carlos Op. [I] (rec. 3/27/58) RCA ARC1-3686 (D); OA RK1 -3686 My Fatherland (Ma Vlast) WALTON, WILLIAM Rapsodie espagnole Moralt, Vienna Volksoper Orch. Facade Mata, Dallas Sym. t Alborada; Bolero 2-CMS/Sum. 5098/99;045098/99 Berberian, Tear, Bedford, Ens. [E] t Fa- RCA ARC1-3686 (D); *AR Kl -3686 SPOHR, LUDWIG cade 2 Peters PLG-135; PCD-135 ROCHBERG, GEORGE Double Quartets (4) for Strings Facade 2 (1979) La Bocca dellaveriti,for Oboe & Piano Melos Ens. (in d, Op. 65) t Mendelssohn: Berberian, Tear, Bedford, Ens.1E1t Fa- (1959) Octet Ara. 8017; 9017 cade Peters PLG-135; PCD-135 Ostryniec, Wuorinen (see Coll.) CRI S-423 STANLEY, JOHN (1713-1786) ZAIMONT, JUDITH LANG Slow Fires of Autumn, for Flute & Harp Concerti (6) for Strings, Op. 2 A Calendar Set, for Piano (1972-78); Chan- (1978-9) Jones, Little Orch. of London sons nobles et sentimentales, for Tenor Wincenc, Allen t Harbison CRI S-436 Desto 7189; *47189 & Piano (1974); Nocturne for Piano SAINT-SAENS, CAMILLE STRAUSS, RICHARD (1978) Carnival of the Animals Also sprach Zarathustra, Op. 30 Steigerwalt; Bressler, Zaimont; Zaimont Entremont, Ch. Orch. (orig. vers.) f Var. Ormandy, Phila. Orch. Leonarda 101 Col. M-35851; MT -35851 Ang. DS -37744 (D) Var. for 2 Pianos on a Theme of Beethoven, Bourgeois gentilhomme Suite, Op. 60 Op. 35 Barenboim, English Ch. Orch.t Oboe Entremont, G. Casadesus (& Polonaise, Con. Col. M-35160; OMT-35160 Op. 77) t Carnival Burleske in d for Piano & Orchestra ',JIM() ABC Schwann Publications OCTOBER 1980 91 used in the new recording, and I would like Arthur Tollefson,piano.Illhan in Boston and Paris and has spent most of to check my recollection thatit made a Mimaroglu, prod.] FINNADAR SR 9027, his eighty-four years in Manhattan. But somewhat stronger case for the piece. This $7.98. Thomson never forgets that Kansas City, is only decently played and sung, and not Etudes (19);Portraits: Cantabile; Missouri, was home; and proud he should very satisfactorily recorded-there is rather Catalan Waltz; Bugles and Birds; An Old be, for what comes through in his music is a crude highlighting of brass and woodwind, Song;In aBird Cage; Alternations. sense of sureness and stability-values born and a compressed, flat sound whenever of home, family, church, holiday dinners, more than one solo voice is involved-of- Virgil Thomson's instrumental mu- and those traditions it has become so fash- ten, needless to say. There is no effort with sic can carry one back to the place where ionable for the rest of us to scorn because anything beyond concert rendition-even oldwicker chairswait on the front porch, we don't have them to hold onto anymore. the important indicated sound effects in the the drink is lemonade, trees grow tall and He's to be envied. Some of our last act are omitted. green, and all the talk is of kinfolk. There's younger composers must hear this music Best of the soloists is the Yuri, Lev a slight minty taste of provincialism-a bit and feel a pang of wistfulness for an era Kuznetsov, whose flowing, hefty tenor has odd coming from a composer who studied they never knew and for aesthetic idioms so a good, gathered ring at the top. He sounds headier and more fluent in this music than in his stentorian role in the Covetous Knight recording, and though his phrasing is hardly insinuating enough to put the memory of Roswaenge to rest, he gives a DISCOVER... satisfying performance. The Kuma, Rimma Glushkova, has a bright lyric soprano that is pleasurable in the middle range and at THE CLASSIC 1 4-r-' middle dynamics; past these limits, she tends to the sort of quavery edge that besets

90% of Eastern European sopranos. As the elder prince, Oleg Klenov shows a burly, solid baritone with a somewhat dry, covered higher range. The role lies high much of the time. His princess, Ludmilla Simonova, is a mezzo with a sizable, imposing middle range and a frayed, uncertaintop. The supporting singers, many of them seasoned familiars of the last quarter -century of Sovietrecordings, are very uneven. On the one hand, a splendid bass voice (that of Vladimir Matorin) pops out in the bit part of Kichiga, and the firm tenor of the veteran Vladimir Makhov is welcome in an equally small role. But on the other, the vital role of Kudma, the vi- CHOOSE THE CLA 1 thecleaner.Disccontam- cious hermit, is given to Victor Rybinsky, Audiophiles everywnere areina-ts can now be removed competent enough in some previous as- investinginthe CLASSIC 1 safely and easily without leav- signments, but not up to the considerable ing any harmful residues. vocal and dramatic challenge of this part. Record Care System. The booklet contains the usual and THE QUALITY PRODUCT ar is adequate I suppose, but a work of this The CLASSIC l's handsome ...... sort could use more help-the translation woodgrain handle not only is of the bare -bones variety, and the author looks it feels of the notes (Boris Schwarz, and I doubt good, good. thereis anyone more knowledgeable) Superbly designed to com- seems not to have been given the space or bine beauty with function. And the editorial encouragement to really make when used with the CLEANER the caseforthis worthwhile speci- ONE Record Care Fluid,its men.C.L.O. cleaningefficiency is ..- unsurpassed. D scoverforyourselfthe THOMSON: Symphony No. 3.* THE MICRO STOR SYSTEM ultimate in record care. The HELPS: Symphony No. 1.* CLASSIC 1,with the exclusive New Hampshire Symphony Orches- The key to the CLASSIC 1 MICRO STOR SYSTEM, a Sound tra, James Bolle, cond.*; Columbia Sym- Record Care System is the ex-Saver product. phony Orchestra, Zoltan Rozsnyai, cond.'. clusive MICRO STOR SYSTEM [Carter Harman, prod.] COMPOSERS RECORD- which utilizes capillary action lirTRANSCRIBER COMPANY INC. INGS SD 411, $7.95I fromCOLUMBIA MS to maintain a field of humidity Attleboro Massachusetts 02703 6801,19661. over the velvet fiber surface of SOUND SAVER THOMSON: Piano Works.

Pr.% ('ANAL :AN Ur I RIBUT AC au` TiC S ITC KIPK.ANDQUEBEC H9H 3L4 Circle 54 on Reader -Service Card 92 HIGH FIDELITY

much more comfortable, but hardly less ex- 1943 and 1944 and the nine etudes from pressive, than their own. April, June, and July of 1951 are genuine This is, of course, only one side of exercises(forfivefingers,pivoting the Thomson's music-the side that makes itthumb, broken arpeggios, etc.), but they, sound "peculiarly American," whatever like the portraits, are also witty evocations, that phrase may finally come to mean. But quick shots full of action. "Drink to Me -L1111-111111.111-11 there's much more to it. In speech, writings, Only with Thine Eyes," "Three Blind 4 * ez, 41, tt, and music, straight talk is Thomson's forte, Mice," and "Oh, Susannah" pop up-or at

WRITE FOR NEW COMPONENT CATALOG and clarity is one of the prime characteris- least melodic outlines suggest these tunes.

tics of his Symphony No. 3, a version for Thomson would probably get a kick out of

CURRENT SPECIALS srallifigam" midsized orchestra of his 1932 String Quar- using "Three Blind Mice" in a canonic

PIONEER SPECIALS tet No. 2. The four classically cast move- etude entitled "Fingered Fifths." But he'd HPM-100 LOUDSPEAKER SYSTEM $161.00 ments manage remarkably to combine un- probably be even more delighted to prove HPM-60 LOUDSPEAKER SYSTEM 131.00 predictability and inevitability; you never PL -400 DELUXETURNTABLE-QUARTZ 129.00 that he never used a smidgen of the old BIC DEALS !! know exactly what will happen next, but tune, but only made us think he did.K.M.

MODEL 44 10" 3 -WAY SPEAKER $69.95 when it comes, the ear recognizes that the

MODEL602BELT DRIVETURNTABLE 100.00 choicewas right. MODEL T-2 2 SPEED CASS. DECK 190.00 VERDI: Luisa Miller. Dedicated to architect Philip John- CAST: AKAI TAPE DECK DEALS !! son and built with imagination from the GX-M10 OX HEAD CASSETTE DECK $195.00 Luisa Katia Ricciarelli (s) best available materials, the symphony is, GX-4000 DB 7" REEL DOLBY® DECK 300.00 Laura Audrey Michael (s) as CRI's notes point out, almost Schubert- ADC SOUNDSHAPER Federica Elena Obraztsova (ms) ian in language and structure. I'm not en- MODEL SS IIMK II12 BAND $217.00 Rodolfo Placido Domingo (t) tirely convinced that the orchestral version WRITE FOR (mots! A Villager is an improvement on the string quartet Luigi de Corato (t) SANSUI SUPER SALE! Miller Renato Bruson (b) original; when the snare drum and field MODEL G-5700 DIGITAL RECEIVER $350.00 Wurm Wladimiro Ganzarolli (bs-b) MODEL AU -717 SUPER AMPLIFIER 349.00 drum begin knocking about, Thomson's Count Walter MODELTU-717 MATCHING TUNER 229.00 clever side seems to be speaking up in a Gwynne Howell (bs) KEN OD SUPER DEALS! . Chorus and Orchestra of the Royal

context where witticisms are not needed.

Opera House, Covent Garden, Lorin Maa- KR -8010 SUPER RECEIVER $320.00 However, this could well be a weakness of KR -6030 SUPER RECEIVER 289.00 zel, cond. [Rainer Brock, Gunther Breest, the performance and not of the score. The SONY SPECIAL PRICES! and Michael Horwath, prod.] DEUTSCHE semiprofessional New Hampshire Sym-

STR-V5 POWERHOUSEHErE I VER $280.00' phony, conducted by James Bolle, plays but GRAMMOPHON 2709 096, $29.94 (three discs, IC -55 II CASSETTEDECKDEAL 225.00 manual sequence). Tape: 3370 035, $19.96 adequately. TEAC CASSETTE SPECIALS! (two cassettes). MODEL C-2 PRO DOLBY DECK $450.00 . CRI couples Thomson's Third with a COMPARISONS: CX-400 NEW THREE HEAD DECK 214.00 re-release of Robert Helps's Symphony No. Moffo, Bergonzi, MacNeil, Cleva MARANTZ CILEEOUTS! 1, with Zoltan Rozsnyai conducting a Vien- RCA LSC 6168 MODEL 5 MK II LOUDSPEAKER $ 58.00 nese assemblage called the Columbia Sym- MODEL 8 MK II LOUDSPEAKER 130.00' phony Orchestra. This work pivots on a Caballe, Pavarotti, Milnes, Maag MODEL 2600 SUPER RECEIVER 399.00'. central Adagio, which has (or had) a sepa- Lon. OSA 13114 TECHNICSTURNTABLEDEAL! rate life as the Adagio for Orchestra and While the result may not be terribly

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which is by far the most substantial and satisfying,thisisthe most stimulating JENSEN AUTOMOTIVELOUDSPEAKERS thoughtfully conceived part of the sym- Verdi recording we've had in some time. MODEL 1069 6 x 9 CO-AXIALS (PR) $ 40.00

MODEL 1105 4 x 10 CO-AXIALS " 40.00 phony. In the more energetic outer move- All of the principals bring some pertinent

MODEL 1081 5 1/4 C)-AXIALS " 37.00 ments, Helps uses a language more bois- credentials to their roles, and the conduct-

TAPESPECIALS terous than Thomson's and engages in ing goes beyond the snap, crackle, and pop TUK SA -C90 BOX OF 10 $ 28.50 more theatrical outbursts than the older of the currently chic Verdians to some con-

SONY FER-C90 BOX OF 10 36.00 composer would find fitting. Nevertheless, sideration of the mood and texture of indi- WRITE US FOR ANY OTHER MODELS AND FOR there is little that is compelling here, at least vidual scenes-especially welcome in Luisa, OUR NEWEST PRICE LIST. in Rozsnyai's often detached approach. which is still widely thought of as a hybrid

BANK CARDS ACCEPTED NOW !! SEND TODAY !! It'spleasant,then,to returnto piece: two acts of "early" Verdi followed by

Thomson's verypersonal statementsand WE HANDLE 60 MAJOR LINES OF STEREO one in which the composer suddenly hit his COMPONENTS. WRITE FOR PRICELIST. the new recording of nineteen etudes and a full middle -period stride.

PRICES AND AVAILABILITY SUBJECT TO CHANGE WITHOUT NOTICE. smattering of "portraits," performed with Like most of the fashionable wisdom send for free catalog-elk great humor and care by Arthur Tollefson. about Verdi, this is nonsense. In emotional name This piano music is considerably more so- terms, Act III is the most conventional part

address phisticated and cosmopolitan than the of Luisa. Luisa suffers; Rodolfo confronts

City Third Symphony-in effect, the lemonade her with the (fake) evidence of her infidel- has given way to champagne. It's easy to state zip ity and, before she can explain, poisons imagine Thomson playing these miniatures both her and himself; Luisa's father looks 11164/ audio for his friends at Parisian parties, and even on helplessly; Rodolfo apologizes. Have Mt fait Delaware Ploce.Ohiecwolo0611 the dourest subject of a musical portrait you noticed how often the operas and oper- would have to laugh and be charmed, for atic situations that acquire reputations for PhoebenouA (312) each of these piano sketches is worth a hun- dramatic profundity in fact seem like re- dred thousand words or more. jected plots for Bette Davis movies? 664-0020 The ten etudes from the summers of And if the performers should decide

Circle 16 on Reader -Service Card OCTOBER 1980 93

that Act III is the pointof Luisa,the opera Richard Van Allan, London's Wurm), and Federica's entrance music is built up of re- can be left for dead. The three scenes of Act the contrast between his gravelly timbre petitions of that initial rhythmic motif (four I, remember, run more than an hour. If and Gwynne Howell's smooth bass is effec- staccato sixteenth notes followed by alter- something hasn't happened by the time tive; lack of such contrast is the one serious nating eighth notes and rests), and, while they end, you've lost your audience before reservation to be registered in regard to each rendering of that motif has admirable Act II, and never mind Act III. RCA's fine tandem of Giorgio Tozzi (Wal- bounce and balance, they all have thesame Although Lorin Maazel perhaps tries ter) and Ezio Flagello (Wurm). Maazel bounce and balance. The music doesn't too hard to make the first two acts "dra- identifies more strongly than most conduc- grow, evolve, develop dramatic resonance; matic," I like his determination to deal with tors with the darker, weightier elements of it merely repeats. the material on its own terms rather than Verdi's writing (listen, for example, to the Still,the DG performance of the ferreting out foreshadowings of later Verdi force of the Act III orchestral allegro mod- Federica /Rodolfo scene has itspoints. operas. In the fifteen years since RCA's pre- erato over which Rodolfo demands to Elena Obraztsova is the first Federica I've miere stereo recording gave us our first op- know whether Luisa wrote the incriminat- heard with a functioning chest register, so portunity to explore the opera at leisure ing letter to Wurm), and this scene has a that"Dall'auleraggianti,"for example, (along with the live performances that have nice sense of sinister life. emerges as a complete tune rather than fad- come our way over that period), it has in- The Federica scene is more prob- ing out as it dips down to and below the creasingly impressed me as a full-fledged lematic, but again Maazel seems to me on break. As usual, Obraztsova has trouble masterpiece, on a level with Ernani and the right track. The first appearance of the controlling the upper part of her voice and Macbethamong thepre-RigolettoVerdi bouncy little tune to which she will make adopts a rather blustery interpretive pose. operas. her entrance, as Rodolfo is on the brink of All the same, she still gives the duchess Interestingly, the scenes that held telling his father about his romantic inten- some dramatic stature. Rodolfo's music in my attention in the DG performance are tions toward Luisa (something Count Wal- this scene, which demands lightness, preci- two usual throwaways: Federica's arrival ter emphatically doesn't want tohear), sion, and fluidity, especially around the and interview with Rodolfo in Act I(re - makes a striking impression. The tune does break, is just difficult enough for Placido sampling the old Cetra recording,I was bounce, and so does produce an abrupt Domingo to force him out of his emotional startled to find this scene missing alto- emotional :uxtaposition-the uneasy fore- automatic pilot. And he even gives us some gether), and the Walter/ Wurm duet in Act boding of the Rodolfo/ Walter scene vs. the sense of a relationship with Federica, with II. innocence, even obliviousness of the music whom Rodolfo did, after all, grow up. In the latter, Wladimiro Ganzarolli associated with the duchess' arrival-of the "Quando le sere al placido"also goes pulls his voice together quite respectably sort Verdi so enjoyed. reasonably well, and of course the basic (earlier on, he is even rougher vocally than Already, though, there's a problem. quality of Domingo's voice is generally evi- It sounds like it's made better. ItisThere's less than an inch from the stylus tip to the connector pins on the back of a cartridge. But what's in that inch determines what reaches your ears. And it's why you'll hear such an improvement when you try an Osawa MP cartridge. Non -resonant structure. The MP -50's aluminum cartridge frame has a precisely machined, squared oversize mounting flange for perfect contact with your cartridge headshell. It assures that all the stylus vibrations reach the magnetic circuit for a strong, clear signal. The stylus doesn't just clip to the cartridge-it's held securely by two Allen fasteners to maintain perfect alignment with the cartridge body. Cobalt/permalloy magnetic circuit. All Osawa MP car- aik tridges employ a unique Moving Permalloy element that mod- ulates the magnetic field generated by a Samarium cobalt magnet. This powerful combination gives you high S/N ratio and high compliance. Stereo separation is dramatic. If you want to see how better sounds are made, Multi -laminated pole pieces of 0.1mm super permalloy re- visit your Osawa dealer. duce eddy currents to provide unusually good sensitivity and strong high frequency output. OSAWA Unique cantilever structure. Made of Boron in "Osawa & Co, (USA) Inc. the MP -50, MP -30 and MP -20, it's exceptionally 521 Fifth Avenue strong and weighs almost nothing. And it's mach- New York, New York 10017 ined to micron tolerances for linear response with Distributed in Canada by minimum distortion. Intersound Electronics, Montreal, Quebec Circle 33 on Reader -Service Card --rajUri r ii 94 HIGH FIDELITY

dent. In the role's more forceful passages, DG's sound is at least less murky it's nice to have a bigger sound than RCA's than that of its Covent Garden Fanciulla del LOW Carlo Bergonzi or London's Luciano Pava- West, and the orchestra is fairly well re- rotti commands, though the gain is partly corded. The chorus, however, is again a dis- offset by the strenuous, pressured quality tant haze, which produces a bizarre effect FIDELITY of that sound above the break. Bergonzi, when Ricciarelli's souped -up voice sounds heard in one of his best recordings, still three or four times as loud. London's clear seems to me the class of the field. and spacious engineering gives its set an While RCA's Cornell MacNeil also edge, but its cast can't touch RCA's, for seems to me the best of the Millers, DG's whose sake I will gladly suffer the honest Renato Bruson isn't bad, and in his first but prosaic conducting of Fausto Cleva and Verdi recording he has the advantage of the boxy Rome studio sound.K.F. not being Cappuccilli or Milnes or Wixell. 149Prill".1111.1lir His limitations may become equally fatigu- AUDIO PRO B2-50 SUB WOOFER ing with more exposure, but for now it's possible to enjoy the steady, attractive Recitals quality he produces over the not -quite -an - and Miscellany Without fidelity octave from about F sharp up to E. Miller's enraged reply to Count in the low Walter's calling Luisa a "paid seductress" HELGE ROSWAENGE: Operatic in the Act I finale ("A me portasti grave insulto! Arias. lo fui soldato! Trema!"-"You have insulted H Helge Roswaenge, tenor; various ac- frequencies, megravely! Iwas a soldier! Tremble!") falls companiments. ARABESQUE 8003, $6.98 almost entirely within these limits-only (mono). Tape: 9003, $6.98 (cassette). [From no speaker can two notes dip below the F sharp-and here HMV originals,1936-43.1 Bruson, abetted by Maazel's firm hand, is ADAM: Le Postilion de Long- deliver full high actually more impressive than MacNeil; jumeau: Mes amis, ecoutez l'histoire (sung note the fine, vigorous E of "soldato." But in German). AUBER: Fra Diavolo: Pour toujours,disait-elle in when we get to the extended solo "Framor- (sung German). fidelity. tali ancora oppressa," which extends that lim- WEBER: DerFreischiitz:Nein, 'anger trag' But the reason for adding the ited range only a couple of notes in each di- ich nicht ... Durch die Walden Oberon: Audio Pro B2-50 Subwoofer to rection (down to D, up to F and F sharp), Seit friihster Jugend; Du der diese Prilfung your system goes much deeper Bruson's mask starts to slip off. schickt. STRAUSS, R.: Der Rosenkavalier: than having the bass essential to Katia Ricciarelli's Luisa is a problem, Di rigori armato. BEETHOVEN: Fidelio: "life -like" sound reproduction. and the problem is exacerbated by the engi- Gott, welch' Dunkel hier! ... In des Lebens The powerful built-in amplifier neering. The problem is once again that she Friihlingstagen.MOZART: Die Entfiih- and fully adjustable passive/elec- is a lyric soprano, and Luisa isn't, having rung aus dem Serail: Hier soil ichdickdenn tronic crossover of the B2-50 en- among other things to soar over some dense sehen. TCHAIKOVSKY: Yevgeny Onegin: able your main amp and speakers ensembles. The DG engineers accomplish Faint echo of my youth (sung in German). to operate more efficiently, with less this by sticking a microphone on her ton- WAGNER: Lohengrin: In fernem Land; distortion. sils, which may make for a louder sound Mein lieber Schwan! LEHAR: Giuditta: Du Even the best of systems will be- but not for a "bigger" one. In addition, the bist meine Sonne; Freunde, das Leben ist come far better with the addition of closemicrophoningspotlightsthe lebenswert. a subwoofer, And the speed, accuracy and power of Audio Pro's pat- prevailingly uncentered, edgy quality of The Danish -born Helge Roswaenge ented "Ace -Bass" principle make Ricciarelli's timbre-something thatI've (1897-1972) was one of the most durable the B2-50 the best subwoofer never noticed in the open spaces of a the- and prolific of recorded tenors. Primarily system. ater but that dogs her work on records, self-taught, he rose rapidly to the major even in roles within her grasp (cf. the Phil- theaters and passed most of his career at the ips Boheme). Berlin and Vienna operas. The fact that he I hope it isn't necessary to add that continued to sing in Berlin throughout the

121 all this spotlight microphoning-and it has war years did not make things easier for NEW! become the norm in opera recording, Ric- him after 1945; though there is no sugges- ciarelli here being merely an extreme case- tion that he was a Nazi, his countrymen did B2-40 destroys any possible sense of theatrical not easily forgive him his enjoyment of a LOWER PRICED,I.:, context; the singers are all hermetically privileged status in the Third Reich. For a MORE COMPACT sealed within their safe little bubbles. time right after the war he tried to emigrate VERSION OF 82-50 RCA's Anna Moffo had an even lighter to South America and resume his original FLAT TO 30Hz ± 3db voice than Ricciarelli, but at the time of that career as a chemical engineer, but this recording hers was still a better -balanced didn't work out, so in 1948 he returned to instrument within itslimits, and it was the stage and continued to sing until a con- more plausiblyrecorded.(London's siderable age, even making his American Montserrat Caballe has a voice closer to the debut in 1963 at a Carnegie Hall recital. proper weight, but it's all jumbled up-and Roswaenge's limited career outside 4720.0 BOSTON WAY it has nothing at all usable around and be- the German-speaking countries seems to LANHAM, MD 20801 s low the break.) have been primarily a consequence of his TEL 301-459 3292 TOLL FREE: 800.638-0228audio pro OCTOBER 1980 95 unwillingness to learn his roles in lan- firm all the way down to C, the top extend- natural forcefulness and produce effects of guages other than German, in which all of ing to the famous D), brilliant in tone considerable sensitivity. The present selec- his recordings are sung (with such obvious though not particularly various in color, cations, except for the Lohengrin arias, are con- exceptions as the Rosenkavalier tenor solo pable of dynamic modulation and expan- ducted by the routine BrunoSeidler -Wink- and the Verdi Requiem, as well as some sive phrasing. His most comfortable ex- ler, who does not appear to have counseled Danish songs). Though he recorded some pressive mode seems to have been the sufficientrestraint. Wagnerian selections, Parsifal was his only proclamatory, and in music to which this Characteristic is the Fidelio aria. The Wagner stage role, so there was relatively was suited he was without peer. Too often, sheer sound is thrilling; the dynamic scale little in his repertory to interest houses such in more intimate, legato writing, he fell into and the breadth of the phrasing are remark- as New York's Metropolitan. unpleasantly fierce and choppy phrasing. able. Yet the opening recitative is just a Roswaenge's recordings are numer- In the hands of a firm conductor (such as string of phrases, without the cumulatively ous-indeed, their number has continued Toscanini or Beecham-cf. the famous Zau- shaped line that we hear in, say, Patzak's or to grow in recent years, as the archives of berflote recording-or, one imagines, his Ber- Vickers' performances (both of which ben- Nazi Germany's radio stations have gradu- lin mentor Leo Blech), he could restrain that efit, to be sure, from much better conduct- ally surfaced. His principal commercialaf- filiations were with DG/Polydor (1927-35) As manufacturers of the world's most re- andHMV/Electrola(1935-44), but there BEYER spected performance, studio and broadcast were also discsfor Parlophone/Odeon microphones, we have an inti- (1928), an impressive series for Telefunken mate knowledge of how music (1932-33; recently reissued as Telefunken HEADPHONES 6.42084), and scattered items after the war sounds at the source. And be- forDecca/Londonand others; the total of GET YOU cause we know how music sounds when it's 78 -rpm sides comes to more than 250. The being created, we know howitshould live -performance material includes com- sound when it reaches your ears. plete recordings of Faust (HF, July 1976), CLOSER That's why Beyer headphones are the Pagliacci, Rigoletto, Les Vepres siciliennes (all in most faithful reproducers of music you can German, of course), Verdi's Requiem, TO THE buy. Whether it'sour most expensive Strauss's Ariadne (without the prologue), model - the ET 1000 Electrostatic Supra - and extensive highlights from many others. A good deal of this material has recently SOURCE aural stereo headphones - or our least ex- circulated on BASF and Acanta, and some pensive model - the DT 302, the lightest of it had earlier incarnations on Urania and full -fidelity stereophone you can DG. A complete and generally accurate dis- buy - you'll find they have un- cography of Roswaenge was published not common fidelity. long ago in the English magazine The Record To find out why Beyer has Collector,Vols. XXIII/5-6 (the78s) and XXV/5-6 (the broadcasts and LP reissues). such an awesome appeal to Arabesque's Roswaengerecital musicians, engineers, and draws on theHMV/Electrolarecordings, audiophiles throughout made in what were probably the singer's the world, visit your Beyer peak years, when he sang so often in so dealer. Listen to our full many different German cities that Luft- line of high-performance hansa gave him a commutation ticket. headphones. Then you'll Some of his most famous records are here: know why Beyer is better. the Adam aria with its full -voice high D, Huon's arias from Oberon (which Ros- waenge sang in a famous Salzburg revival Scylei Ctle NOP. under Bruno Walter), and Florestan's aria from Fidelio (which he sang under Tosca- nini at Salzburg in 1937). The Wagner and Lehar titles, published in1942-43, arerare in their original form; doubtless the original press runs were very small. As a sam- B pling of Roswaenge's repertory,Ara- eaenr)at besque'sprogram isnotentirely representative, for his particular specialty BEYER DYNAMIC, INC. in the German theaters was Verdi-not only 5-05 Burns Avenue, Hicksville,

Rigoletto, Traviata, Trovatore, and Aida, but NY 11801 (516) 935-8000 the intermediate operas then much in favor In Canada, H. Roy Gray, Ltd. in Germany: LesVepressiciliennes,Ballo, DT302 . DT441 ETI000 Forza, and Don Carlos. (He also sang Otello in a radio performance but never on-stage.) What we do have on this disc is both impressive and frustrating. The voice was remarkable, wide in range (the low notes 96 HIGH FIDELITY ing). Prominent is the exaggeratedly for- HERITAGE SOCIETY MHS 4180, $6.95 ($4.45 SUBSCRIBER ward diction ("neeechts") that Roswaenge to members). Tape: MHC 6180, $6.95 sometimes favored. The ariaitselfis ($4.45 to members) (cassette). (Add $1.25 SERVICE smoother, but rhythmically sloppy; only in for shipping; Musical Heritage Society, 14 the fast concluding section is the voice used Park Rd., Tinton Falls, N.J. 07724.) at something close toitsfullartistic ENESCO: CantabileetPresto.* r "1 potential. HONEGGER: Danse de la chevre. GAU- To enter a subscription (new, renewal or gift), or to change your The sheer scale of the singing is also BERT: Sonata for Flute and Piano, No. 1, in address, simply fillin the infor- well illustrated by the Oberon arias (not A.* DEBUSSY: Syrinx.FAURE:Fantaisie, mation indicated below. sung, incidentally, in the familiar German Op. 79; Morceau de concours.* POULENC: Sonata for Flute and Piano.* New or renewal subscription versions by which Arabesque identifies them), and it is wonderful to hear a voice of Gift subscription CarolWincenc issurely the most at- Ju- For those in the trade this size and brilliance in "Settfriihster tractive and promising flutist to appear on (Please check all that apply.) gend," though in truth the divisions are the American scene since Paula Robison. somewhat smeared; if in more recent times DOZ II She has been principal flutist with the St. Gedda and Domingo have sung this more Paul Chamber Orchestra and with the precisely, Roswaenge brings to it an ampli- Marlboro and other festival orchestras. In Print name tude, especially in the well -controlled quiet 1978 she won first honors in the Naumburg passages, that remains unique. As vocalism, Address Foundation's flute competition, and that or- the Freischatz aria is comparable, but the City State Zip ganization here sponsors her solo record main melody is so sleepily conducted that it debut-a most felicitous one in every ()1 yr. $9.98 () 2 yrs. $19.96 never makes its proper effect. respect. The two French arias are practically () Bill me () Payment enclosed The predominantly French and Ro- For gift subscriptions, also fill in the flattened against the studio walls by Ros- mantic program combines such familiar following information: waenge's tone and style. Even by German flute "standards" as the unaccompanied standards, Auber's gentle declaration of Debussy and Honegger works and deser- Recipient's Name faithfulness is made absurdly militaristic vedly popular Poulenc sonata with the less (cf. Tauber), though the Adam piece (only Address often heard Enesco and Faure display two verses of the original three) is more re- City State Zip pieces, now lyrical, now bravura; and it laxed than the singer's earlier Odeon ver- adds a welcome resurrection of a charming, ()1 yr. $9.98 () 2 yrs. $19.96 sion. Lenski's aria (like several other Rus- however lightweight, sonata by the once - sian titles, including the duet with Lemnitz ()Bill me ( ) Payment enclosed renowned French flutist/conductor/com- from Tchaikovsky's Enchantress) stems from (We'll send a handsome card to poser Philippe Gaubert (1879-1941). Then the recipient announcing your gift.) a brief vogue for Russian opera in Berlin, too, for once in a recital of this kind, the pi- obviously concurrent with the Nazi -Soviet r- anist is no dutifully reticent accompanist, pact; here again we find the exaggerated but an equal partner of distinctive skills In the audio or record trade? diction and the choppiness, which also mar and personality: the up-and-coming young If so, you qualify for a very special theearlierEntfiihrungselection. The subscription rate. Enclose your Hungarian Andras Schiff. And while engi- Rosenkavalier aria, though not quite cleanly business card or letterhead with neer David B. Hancock captures Wincenc' this form and we'll send you the phrased, is a tour de force of resplendent exceptionally richly colored tonal qualities information for High Fidelity and tone. our other publications. (along with some intensely penetrating if The last recordings of the lot, the high tones) in vivid close-up presence, they Lehar and Wagner, show some vocal weari- r I are equably balanced with Schiff's brightly ness. In the Wagner, one hears small but CHANGE OF ADDRESS ringing piano sonorities in an acoustical tangible technical uncertainties; the Giu- Moved? Just send us your old ambience that is unusually expansive for magazine label (if available) and ditto arias, not as fierce as one might have chamber music. Moreover, the disc is well write in your new address. Or, fill feared, still constitute vocal overkill. out the information below: Most of these transfers have ap- processed, with quiet surfaces, and in place of the seemingly inevitable jacket blurbs, peared previously on Electrola reissues; I Print name there are genuinely informative musical would be happier with less top cut and less notes by Harris Goldsmith. Old address Apt. # echo. The Freischatz and Entfahrung arias None of this is to claim, of course, were transferred at the Rodgers and Ham- City State Zip that the gifted Wincenc/Schiff pair is fully merstein Archives in Lincoln Center, with competitive with such notable teams as Print new address Apt. * more surface noise but a more plausible Debost/Fevrier, and tonal quality. Arabesque's liner gives ma- Nicolet/Herzog, City State Zip Rampal/Veyron-Lacroix in the Poulenc so- trix but not take numbers, original issue Please allow 4 weeks for us to cor- numbers, and recording dates, some of nata or that Wincenc' Syrinx will make us rect our mailing labels. forget those by Baker, Rampal, Dwyer, et them incorrect. There is no indication that L J al. And remarkable as her range of tonal the French and Russian arias are sung in coloring undoubtedly is, one wonders how German. The annotations are more effusive well she will be able to curb and vary it for than factual.D.H. Mail to: . baroque works, where quite another type CAROLWINCENC: Flute Recital. of expressivity is called for. Meanwhile, she High Fidelity Carol Wincenc, flute; Andras Schiff, is off to a running start in what should be One Sound Ave. piano*.[JeffreyNissim, prod.) MUSICAL an outstanding recording career.R.D.D. Marion, Oh. 43302 YOU DON'T OFFER A BETTER WARRANTY WITHOUT A CASSETTE TO MATCH. INTRODUCING NEW, IMPROVED SOUND FROM NEW, IMPROVED SCOTCH MASTER CASSETTES.

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Digital digs in monic (LDR5 10005). Another digitally re- phony (Hungaroton MK 12022/3, $17.96), n its arresting digital -recording debut corded first, Mahler's Fourth Symphony is perhaps less dramatic but certainly less 1(discussed in a review last month), the (LDR5 10004), benefits even more from melodramatic, more graciously Romantic, CBS Mastersound series becomes the first gleaming sonic illuminations and complete and far more idiomatic than the recent audio -specialtylinetofeature simulta- freedom from any feeling of gimmickery. Bernstein/Boston Symphony recording neous cassette editions-and for good But again the Israel Philharmonic, Mehta, (DG 3370 022). And for good measure, the measure, to process them on super -chro- and soprano Barbara Hendricks areall fillers are the episodes from Lenau's Faust, mium (Crolyn II) tape with 70 -microsecond More dutiful than inspired. Except for the including the "Nocturnal Procession," far equalization (premium pricedat $14.98 sound, there is no competition here for too seldom heard, and the more familiar each). So at last we have, albeit in analog Horenstein's Monitor (55001) or other gen- Mephisto Waltz. playback, digital recordings that profit not erally preferred versions. only from chromium's expandedfre- London, unlike CBS, provides brief More quidnunc's quiddities quency and dynamic ranges, but also from musical and technical notes (except, appar- What a relief it is to shift from an in- Dolby's elimination of noise. ently by accident, for the Beethoven con- terminable succession of "standards" to All these advantages distinguish the certo), but there are no texts for the Mahler something novel by a favorite composer, only Mastersound musicassette to have soprano solo. new slants on hackneyed warhorses, or far, reached me so anultra -crystalline even something altogetheroutrageous! Try, recordingofthe1947editionof Un-CzechDvofak,Magyar Liszt for example, Schubert's Seventh Symphony, Stravinsky's Petrushka (CBS HMT 35823). The latest musicassette editions of which he sketched in full but left to be Conductor Zubin Mehta is more pointed Dvofak's captivating Eighth Symphony posthumously orchestrated (by Weingart- and assured than in his 1968 Los Angeles have momentarily shaken my long -held ner), now recorded for the first time in Philharmonic version for London, and the convictionthatquintessentiallynation- stereo, I think, in Heinz Rogner's engag- New York Philharmonic, with Paul Jacobs alistic music like this is done full justice ingly lightweight Berlin Radio Symphony as authoritative piano soloist, makes the only by native interpreters. For rarely has version (Spectrum SC 216, $4.50, plus $1.50 most of the new technology's potentials. the lovely Eighth shown more poignant ex- for shipping; Spectrum, Harriman, N.Y. The lack of any real sense of personal in- pressivity-thoughwith ample robust 10926). Or the Brahms Haydn Variations volvement and relish prevents my ranking strength-or been more luxuriantlyre- and Op. 34b Sonata edition of the F minor this at the top of the Petrushka discography, corded than in Carlo Maria Giulini's ac- Quintet in the composer's own two -piano but surely no other recording has revealed count withtheChicago Symphony scorings played by the matchless Kon- more explicitly every colorful detail of this (Deutsche Grammophon 3301 046, $9.98). tarsky brothers (Deutsche Grammophon kaleidoscopic score. It keenly whets my an- And perhaps never has it been done with 3301 100, $9.98). ticipation of the other two initial Master - greater sensitivity and grace, in a recording Then no Satie devotee can afford to sound releases: Bernstein's latest Shosta- no less beautiful if slightly more distant, miss the preposterous mixture of enticing kovich Fifth and Maazel's Strauss tone than by Colin DavisandtheConcertge- 1974 Pathe-Marconi leftovers jumbled to- poems. bouw of Amsterdam (Philips 7300 611, gether in Arabesque 9053-L ($7.98): nine London finally follows its pioneering $9.98). delectable songs by Mady Mesple with pi- digitally recorded cassette,Willi Bos- Only if you're Czech, or if you re- anist Aldo Ciccolini; the complete, very kovsky's spectacular New Year's Concert member the incomparably freshfolk- odd puppet -operaGenevievede Brabant (LDR5 10001/2, July 1979), with three new ishness and piquancy of native versions (some half of which is a recited prologue); examples, all conventionally processed on (especially Talich's with the Czech Philhar- and the Mass for the Poor (a large part of ferric tape stock ($9.98 each). Conse- monic), can you detect what is missing in which is for organ alone, here played by quently, the Dolby silencing, while first- even the best non-native Dvofak readings. Gaston Litaize). But while the all -French rate, is not complete; moreover, none of the Of the non -Czech New World Symphonies artists there are most idiomatic, non-Satie present scores is as much of a showpiece as recently made available, just one, recorded specialists may be more readily won over some in Boskovsky's program. Neverthe- way back around 1958 by Rudolf Kempe by the lusher romanticisms of John Lanch- less, digital technology's merits are evident and the Berlin Philharmonic, provides a bery's ballettroupe Monotones (his, De- in the lucidity and naturalness throughout strong enough measure of the work's es- bussy's, and Roland-Manuel's orches- -especially in Christoph von Dohnanyi's sential virility and spontaneity. Together trationsof thePreluded'Eginhard,three Mendelssohn program with the Vienna with an equally invigorating Scherzo capric- Gymnopedies, and three Gnossiennt4 In this Philharmonic (LDR5 10003).His tautly lost),this is a real triumph for Arabesque's all -transcriptionprogram (Angel 4XS gracefulItalian Symphony and Hebrides "discovery" series (9019, $6.98). 37580, $8.98), Lanchbery also conducts the Overture would be ideal except for some No non -Hungarian Liszt Hungarian Royal Opera Orchestra in Jack in the Box edginess in the strings' upper registers; his Rhapsodies I've ever heard can match the (orch. Milhaud), theMot -fermi-en forme de Calm Sea and Prosperous Voyage Overture is verve, lilt, and unpretentiousness of Nos. 2, poire(Desormiere), and two Preludes ideal. 3, 4, and 6 (orch. series) in Hungaroton's re- posthumes (Poulenc). In the first digital Beethoven Emperor cent recording (MK 12062, $8.98) by a pro- Finally, for the sheerly outrageous, Concerto, Radu Lupu's sensitively poetic vincial orchestra, the Szeged Symphony, risk the Canadian Brass quintet's Bach (Pas- pianism and the overall sonic limpidity and a conductor of no international fame, sacaglia,etc.),Handel, Pachelbel, and make for an imperial elegance that unfortu- Tamas Pal. And Janos Ferencsik's latest ver- "Frescobaldi" transcriptions, which are at nately is not matched by Mehta's routine sion, with the Hungarian State Orchestra, the very least great fun (RCA Red Seal ARK accompaniment with theIsraelPh ilhar- of Liszt's magnum opus, the Faust Sym- 1-3554, $8.98). HE . THE SOUND YOU'LL NEVER GET FROM A CASSETTE DECK ISNOW HERE ATA CASSETTE DECK PRICE.

Teac's new X-3 open reel deck serve dynamic range. costs no more than a good cassette Cassette decks cant deck. But its fidelity is far superior give you this kind of to that of even the most expensive performance simply cassette deck. For a very simple because there are reason. inherent limitations More is better. in the cassette format. No matter how good k..11 Open reel tape running at 71/2 ips the hardware. Even is four times faster than standard 51) - with improved cassette tape. And twice as wide. So the total tape volume of software, the basic open reel is problems remain: saturation, over- 1112, - - load, distortion. And disap- pointment. And fidelity isn't the only thing you get more of with the X-3. "`$550 You get more time. You don't And you get it for the have to stop in the middle of a price of a good cassette deck. recording to flip the tape. So you Which means you can finally get an uninterrupted perform- have the sound you thought you ance. The way it was meant to couldn't afford. From Teac. be heard. Performance specifications 16 times A classic idea. Signal-to-noise ratio (overall) The X-3 is built the way all greater than 58 dB (3% THD cassette. That Teac machines are built-to last. level, weighted) means there are And to perform. You get the Wow & flutter 16 times more classic, 3 -motor, 3 -head design (NAB Weighted) 0.04% at 71/2 ips; magnetic particles to that established Teac's reputation 0.06% at 33/4 ips. imprint the sig- 25 years ago. Frequency Response nal. And that means TEAL (overall) 30-28,000 Hz at 71/2 ips you get as much sig- -*-7,, 30-20,000 Hz at 33/4 ips nal as possible- Playing time (both sides) especially high fre- di 3 hours at 33/4 ips quencies-without with 1800 feet of one mil tape distortion. Plus " a much greater capacity to pre- TEAC Nt.

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ITS BEAUTY IS MORE THAN SKIN DEEP Meet the Beogram® 3404...an intelligent, thoughtful and very well spoken turntable. Like all Bang & Olufsen turntables, the 3404 effectively comoines superior sound reproduction with simplified-not complicated-operation. That's the real beauty of the 3404. That's why the controls are outside of the dust cover where they're easily accessible. And that's why just a light touch of the START button does everything. It determines if a record is on the platter, and if so, quickly sets the correct speed and lowers the stylus to the record. Slam! Pound the shelf next to the 3404. Not a skip, not a jump...thanks to the rock - steady patented suspension system. Audible acoustic feedback disappears as a result. A low inertia tonearm with a knife-edge bearing system eliminates audible distortion. The Bang & Olufsen MMC cartridge woks in flawless harmony with the tonearm. The unique self-correcting electronic servo -drive is so precise that the need for a conventional strobe device is eliminated. The Beogram 3404 even responds to remote control commands when used with the Beomaster 2400 receiver. At Bang & Olufsen, good looks and brains run in the family. So discover the inner beauty of our full line of fine turntables at your local Bang & OlufsenBa dealer or write us for complete informative literature. &Olufsen Bang & Diisen of America. Inc 515 Busse Road Elk Grove Village, Illinois 60007 Attention: Harold Flemming OCTOBER 1980 101 811***eit5eli5ell5e*8*81ft**51**MI*61)1*81%5Q*Q16)t5611t5q5e115er*el6iI5Q%081581i.58*8*8*611

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assertion that there are no second acts in American life. A successful record company executive in the early Sixties, he recently returned to pop music after de- voting the bulk of his energy from the late Sixties to the mid -Seventies to movie and TV scores, including that of Alex Haley's Roots. Though seventeen years ago, as an a&r man for Mercury Records, he produced Lesley Gore, her tinny teen anthems are miles away from the opulent pop/soul of Jones's recent platinum productions for Michael Jackson ("Off the Wall').the Brothers Johnson ("Light Up the Night"), and Rufus & Chaka Khan ("Masterjam"). Jackson's album alone yielded four hit singles and topped the four million mark. Clearly Jones's current "act" is as strong, if not stronger, than its predecessors. The first Qwest /Warner Bros. release was George Benson's "Give Me the Night.' (for a review, see page 110). The second, currently in production, is an album by Jones's goddaughter Patti Austin. After that, he may resume work on a long- term multimedia project he calls "Evolu- tion of Black Music." Jones belongs to a select group of American musicians, Leonard Bernstein and Andre Previn among them, who can legitimately be called Renaissance men because their range of activities spans pop and highbrow genres. Born in Chicago and brought up in Seattle, he studied composition at the Berklee School of Mu- sic in Boston and (in the '50s) with Nadia Boulanger-the Parisian mentor of Aaron Copland and Virgil Thomson, to name Quincy Jones, only two. A talented jazz trumpeter and arranger, Jones was part of the bebop van- Master Synthesist guard in the early Fifties and toured internationally with Dizzy Gillespie and Lionel by Stephen Holden Hampton. After leading his own band later in that decade, he worked as an a&r In a dimly lighted sitting room of his gul," he says. "I just feel as though I finally man and vice president of Mercury Rec- Isprawling Spanish -style ranch house got to an oasis where at last I can do what I ords. While learning the record business nestled in a Brentwood, California can- want. Qwest will have only two or three art- inside out, he arranged and produced yon, producer extraordinaire Quincy ists in the next four years. but they'll be dozens of albums, including the first for Jones smokes a cigarette and discusses people with whom I have a total human his teenage friend from Seattle, Ray Qwest Records, his new Warner Bros. cus- and artistic communication." Charles. Among his numerous other pro- tom label. At forty-six, Jones is a magnificent ductions during this period were LPs for "I'm not into being a record mo- exception to F. Scott Fitzgerald's gloomy Frank Sinatra ("Live at the Sands"), Sarah 4 Circle 57 on Reader -Service Card 102 BACKBEAT g.56'10th5att5eit5ifitbelOah5tOillOqi0a*Ellibei*1115i*e8u5q.oatoeiGoGeoe.5gloa+oilkmumloefts65Q1*

has you in mind. You can get everything from a composer then, because he knows that you want him, and he'll give you everything he's got." Though Jones wasn't the first black composer to score films, he was the first to be regularly employed by the major studios. "With The Wiz.- he says, "I saw how

color -conscious the studios can be. . . and the exhibitors and distributors. I heard some priceless lines-'The picture's all black? Mm hmm.' 'We don't want to turn our theater into a combat zone.' Those are the realities of today-that's what's going on. The movie game is very tough, you know, for everybody." While still in it, Jones signed with A&M in 1969. His first album for the label, "Walking in Space," was recorded in one week (apparently between films) and won a Grammy for best jazz performance by a large group. His next project, "Gula Ma- tart,- also received a Grammy, this time for best instrumental composition and ar-

t. rangement. Then in 1972, "Smackwater Jack" won the coveted award for best instrumental pop, rock, or folk performance. As artist /producer, he was applying the principles of movie -making to records, engaging all-star "casts" of jazz and soul musicians and blending their genres with Michael Jackson and Quincy: "Michael's a stone pro" elements of Swing, pop, and funk. That combination garnered mass popularity when, in 1974, "Body Heat" became his first gold album. It was followedby "Mel- "The first time Michael Vaughan, Dinah Washington,Peggy Lee. low Madness," which introduced Jones's Duke Ellington, Count Basie, and Billy personal discovery, the Brothers John- sang She's Out of My Eckstine. son. "What knocked me out aboutthem. - Life in the studio, he After leaving Mercury Jones took he recalls, "was the way they played off up film scoring, his first major work being each other like two African drummers. cried during the last Sidney Lumet's The Pawnbroker. It was Louis' bass has this incredible thumping eight bars." followed by more than fifty others includ- sound. Histime and tempo are the tight- ing In Cold Blood. Cactus Flower, In the est I've ever heard, probably because he Heat of the Night, Bob and Carol and Ted learned by practicing with a rhythm ma- and Alice and Dollars. His last major chine instead of a drummer."

soundtrack was for 1977's The Wiz. Why The "cast" of "Sounds . . . and Stuff did hestop? "Idon't enjoy it much now, like That!!", his last and most successful because there are just a few directors who A&M record, included Herbie Hancock, consider the music important enough to Hubert Laws, Ashford & Simpson, and pull acomposer in at the inception. They Patti Austin. Here, Jones's high -gloss or- bring the film dramatically and cinema- chestral soul style reached a peak of tically as far as they can, and then they see polish. which holes need to be plugged and they try to get the appropriate guy to come and Aptly dubbed "symphonic funk,- his fill in the holes-like a carpenter. The arranging and producing styles re- more sincere creators of film contact a flect his experience as a black American composer before they start shooting-Sid- who was reared on European culture and ney Lumet is one that always has, and I'd became interested in his African roots say Richard Brooks, because he really later. Jones's understandably relativistic OCTOBER 1980 103 8)0008i08)68'itSel08150558108*8.10815eKS81%*8'8581858%08*8108)66WeRS8h581458158108*8)ibeit*Ot5811*9

musical vision has been deeply enriched "1---7119 by his experiences as a world traveller. A 1956 State Department tour with Dizzy Gillespie's band, for instance, brought him to Rio where he had a chance to meet symphonic composer HeitorVilla -Lobos. "We were asked what we'd most like to see, and I said I wanted to meetVilla - Lobos. The next day, there was a note It from Villa wife inviting us for E1SP mmmmm massif lunch. And I'll never forget what he said to mmmmmm me, because it freaked me out. He

pointed to a long line of books on the walls and said, 'That is the entire legacy of European music, but they've done it already. If I were twenty years old now. I would be in Birdland with you. You've got to deal with the music that comes out of the soil of yourtimes.' - With George Johnson, one of his discoveries He has, of course, been doing just that throughout his career-always look- being wiped away inpopularity and eco- ing for ways to stretch out, to explore, im- nomic benefit. Besides, no music's pure mersing himself in new projects and tak- anymore." ing new directions. He recalls his experience in Lionel Hampton's band in In the three years since the release of 1953, the first group to use the Fender a"Sounds.. . and Stuff like That!!," bass. "Monk Montgomery played it. We Jones has gathered a small repertory were leaving for Europe and Leo Fender company of artists and players who ap- came to him and asked him to try it out. pear regularly in his productions. They in- The critics tore us up because it looked cludesongwriter/ keyboardistRod Tem- like a little guitar, and they thought we had perton Ian ex -member of the white funk no bass player. But the Fender bass band Heatwave). string arranger Jerry changed American music. Once the bass Hey, his longtime engineer Bruce Swe- was prominent enough to be heard like dien, and probably the hottest rhythm sec- that, it had to have a different function. tion in contemporaryr&brecording: The first thing it did was to imitate the old Rufusdrummer JohnRobinson, bassist "What Sidney Lumet bass singers from southern gospel Louis Johnson. andAfrican -Brazilianper- groups. Then we got into a situation cussionist Paulinho Da Costa. All of them said about directing where instead of just a rhythm foundation, were involved in Benson's "Give Me the movies applies to the bottom end was the source of all the Night." "I'vewatched George's career for animation, which meant that the people years.- Jonessays."For along time he producing records: 'If upstairs had to stay out of the way. Miles was frustrated, because no one let him everything is okay, you Davis' album "Bitches' Brew" is a great sing until 'This Masquerade.' On 'Give Me example. When Miles got that electric the Night.' I decided to explore the singer let it keep going. But if rhythm section with all the emphasis on rather than the guitar player. Instead of a it's not, you have to be the bottom, he had to change his whole guitar player who sings. I treated him as a approach, and he ended up playing the singer whoplays guitar. One of my sug- able to tell why.' " trumpet almost like a guitar." gestions was that George not belt so What with this broad range of musi- much. You can get a lot of power in sup- cal experiences, it's not surprising to find pressed energy." that Jones sees contemporary "fusion" Jones is right. Benson's lighter ap- jazz as inevitable-partly a result of tech- proach on the title song greatly enhances nological advance-and strongly defends his vocal presence. Not surprisingly, the jazzmen whom some have accused of same airiness also characterizes Michael "selling out" to the trend: "It's very heavy Jackson's singing on"Offthe Wall." for ajazz player who's developed his ears "There's a duality about Michael," and his technique to a certain point to see Jones says. "He's absolutely innocent, but a rock musician playing one or two notes he also has a really old soul. The first time or getting one little groove going and then Michael sang She's Out of My Life in the 104 BACKBEAT qtt5g1t5i'lOtt51016tOqi5@k5gh5ilk561*ilh561*@%.511.5att5g16i*616g15ig101flOgit5t0qh.*@*@

"Don't Stop 'Til You Get studio, he cried during the last eight bars. I gotten carriedaway juststudying one tribe couldn't figure out what he was relating to, like the pygmies in the equatorial forests. I Enough began. ..with because he's not married or anything. Ev- try to imagine myself back there and fig- a few of us sitting ery time we did it, it pressed a button in- ure out why they used certain instruments side him, and he just couldn't finish the like the elephant tusk on hunts. around the studio song. And Michael's a stone pro with in- "The more you dig into African mu- banging on Perrier credible concentration. When Rod [Tern- sic, the more complex it becomes. At the perton] gave him Off the Wall, he took it same time, I want Evolution of Black Mu- bottles." home and studied it like an actor with a sic to be simple enough for children to un- role." derstand. One thing I've discovered is that The basic groove of any cut in a most of the chronicling of the black social Quincy Jonesproduction is often deter- history in this country took place in the mined by intuition. "You can feel it when music. The music is the best history we something locks in and is airtight," he says. have of what went down in each era. "Don't Stop 'Til You Get Enough began "For instance, there was a hybrid in- as an improvised percussion track with a put when the blacks came with the French few of us sitting around the studio bang- to New Orleans and were familiar with ing on Perrier bottles. The arrangement Western composers likeMozart.... When was built around that groove." the pure Africans that had a background "No music's pure "The thing I like about producing," in rhythmic and vocal inflection met with he continues, "is that it pulls out every- the guys that had a classical background, anymore.'' thing you've been trained in. You're deal- all the interminglingbegan....You began ing with singers, rhythm sections, finding to see fusions like ragtime." tempos, getting the right keys. What Sid- His speculations about music ney Lumetsaid about directing movies, I and society aren't confined to the past. think, applies toproducing: 'Ifeverything The shift in the rhythm of dance music is okay, you let it keep going. But if it's not, from thetwo -beatof the Jimmie Lunceford you have to be able to tell why.' orchestra to the sixteenth notes of new "I don't write the string charts on wave dance music he sees as reflecting the the albums I produce, because as a pro- intensified pace of modern life. He also ducer, if you don't take care of the master sees one of his own areas of expertise, shots and deal with too many closeups, contemporary "fusion," as only one ingre- you forget what you're making. I have a dient of a much broader musical fusion: great relationship with arrangers. Usually "There was a time when the gospel people we talk and decide where we're going were here, pure blues players were over ahead of time. And I think I have the best here, the rhythm & blues bands were engineer in the business in Bruce. He has doing one kind of thing, the mainstream a total musical background. He worked jazz players were doing another, and they with the Chicago Symphony for eleven wereall polarizing,"Jones says. "But now, years. Twenty-three years ago he worked people are starting to understand that it's with Dinah Washington, Billy Eckstine, all in the same family. One style is a and Basie. If I'm directing the film, he's my nephew, another a second cousin, an- cinematographer." other an illegitimate kid. I think the pieces are coming back together into something Jones's theories about technology and whole." ILOmusic extend to his Evolution of Quincy Joneswould be too modest Black Music project which he foresees as to admit it, but he's done as much as any- a two -record album, a movie, possibly a one to foster an Afro-American synthesis. book, and-when the technology and mar- His finest work is very sophisticated yet ac- keting are ready-a video disc. cessible, as it simultaneously incorporates "I've been working on the project extremes of funk and symphonic ele- for seven years," he says. "And even gance. Even more than his soundtracks- though it's been interrupted, the things through which he was instrumental in that have come along, like Roots, have bringing jazz and r&b into the mainstream dealt with it on a social level. In the begin- of incidental music-his pop works sug- ning, I thought it would take only three gest a multi -ethnic musical celebration of months to find out what it was all about. life. Even as he chronicles the evolution of But the amount of research is unbeliev- black music, Jones is contributing to that able. There have been times when I've evolution. 9

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1P- Input Output I C L 1 Instruments and .4 Accessories

Two New Electronic Keyboards by Fred Miller

I '

Roland's Saturn SA -09 (top); Casiotone 201

According to its descriptive literature. Athe Casiotone Model 201 is a "unique kind of electronic keyboard instrument.' that is "not an electronic organ ...not asynthesizer.-Roland takes the opposite approach with its SaturnSA -09. saying it "represents the merging of the synthesizer, organ, andpiano.-Both instruments offer a variety of sounds, with The voicesof the Saturn. which are ACCENT, whichadds a rather obnoxious the 201 attempting everything from an not preset, are more difficult to engage, beep at a note's inception, and TUNING, electric pianoto aJapanese koto. and the but there are more of them to choose which alters the pitch of the entire key- Roland hewing to keyboard derivatives. from. The selection begins in the SOUND board within a half step higher or lower. Casio's 201 is a four -octave key- SOURCE section: Four TONE SELECTOR but- TheSA -09'sback panel has jacks board, and each of the twenty-nine white tons activate four different sound quali- fora sustain pedal and headphones, and keys also activates a preset voice. In addi- ties, and four slider pots-marked stereo and mono outputs for connections tion to a small speaker, power switch, and 8', 4', 2', 1'-enable you to switch out of to stereo amps or PA systems. The output volume pot, the front panel controls in- the octave in which you are playing and, also has a level switch for matching the clude VIBRATO, TONE (atwo -positiontoggle with the faders, control the volume of that amp or system being fed by the Saturn. switch). TONE MEMORY (four positions). octave. Once you've got the basic sound GATE OUT is for interfacing with another and PLAY/SET to play or engage the voices. you want, you can modify it by means of electronic device: Roland suggests using If, for instance. you needed a glocken- VIBRATO/ CHORUS, SUSTAIN, and ORGAN or theSA -09with a synthesizer to produce a spiel, you would switch to SET, hit the ap- PERCUSSIVE envelope.Changing sound polyphonic synthesizer effect. propriate key, flick back to PLAY and the during play is cumbersome, since there is At the rear of the Casiotone, the entirekeyboard will soundlike a glocken- no tone memory.Front -panelcontrols, in AUX IN jack may be used to combine an al- spiel. You can switch among four voices addition tothe volumepot and master ternate sound source with the 201's out- during play by preprogramming the four tone -control slider, include TRANSPOSE for put (the owners' manual mentions a positions on the TONE MEMORY's travel. raising the notes up or down the octave, rhythm machine),LINE OUT tofeed a tape

- OCTOBER 1980 107 deck or stage amplifier, and the effects bus (ECHO IN/OUT) for external echo, graphic equalizer, flanger, ring modulator, WEHAVE ITALL! or whatever. The volume and sustain pedal jacks are of the phone type. as is the Pioneer Computer Cassette JBL L IIC mono headphone jack. I recommend us- 12 Band Equalizer ME I r-1 ingLINE OUTfor a stage amp. since the NMI* 71:_.:,. \=. Kai:411,W ....'' front -panelspeaker is woefully tinny - yereee ...... 4 ,e- sounding. The only serious design defi- 445P iffituriliina i ciency I found is that the volume control is ..,-_ iipa$199 N., wired to both the built-in speaker and the ------Sharp SG -9800 Call for Our 'rice 3388 LINE OUT jack.so when you turn up the '245 level forLINE OUT,the speaker begins to TDK SA -C90 Dual 506 rattle and distort. It would have made Technics more sense to either build separate pots --alt....."....ihs- or to have a defeat switch for the speaker. . --" '...tr1 (As it sits now, you would have to connect Erate s,....4./ a dummy plug to the headphone jack to disableit.) TheSaturn, on the other hand, WIMM exhibits no design problems, other than SL -Q2 916 Case of 10 $28 ULM Tone Arm$ 1 39 the fact that it's difficult to change settings Weekdays 9-9 during play. Saturdays 9-5 Of the Casiotone's twenty-nine TOLL FREE 800-356-9514 voices, only about six of them sound even remotely accurate. The electric piano. Over 100 Brands like: electric guitar, banjo. celesta, and a Technics Maxell Sony Cerwin Acutex couple of the organ voices are fairly nice Pioneer EmpireTeac Vega Craig and, with a little equalization and a lot of Marantz Altec Akai JBL Scotch Audio , imagination, can sound real. The remain- KenwoodSharp Dual B.I.C. WISCONSIN DISCOUNT STEREO Sansui PhillipsKossTechnica Stanton der are way off base. Similarly, of the ten Jensen Shure TDKClarion Pickeriig 2517 whalen In. madison, w1.53713 settings suggested in the Saturn's owners' manual, only the two organ settings Circle 56 on Reader Service Card workedfor me.You can play up to eight notes at a time on the Casiotone, and as many asyou want on the Saturn (I ran out THE COMPLETE INDEX TO of fingers after ten). and bothoffer aslew of options, from hard cases to foot pedals, HIGH FIDELITY'S at extracost. Both of these instruments are easy TEST REPORTS, 1952-1979 and fun to play, but I have a problem taking either one seriously, despite their "professional" price tags of $699 for the Edited by Cynthia M. Pease Casiotone and $795 for the Saturn. Both Lists every one of the more than 1,800 audio components feel like toys, albeit expensive ones, a - receivers, speakers, amplifiers, turntables, cartridges, cassette and open reel decks, headphones, micro- status further suggested by the absence of phones and accessories - reported upon in depth in schematics or even block diagrams in High Fidelity magazine over the past three decades. their manuals. While I'd have no trouble Arranged alphabetically by component type and man- using either as a short practice keyboard ufacturer, the entries cite model number and specific or for specific effects, I certainly wouldn't issue in which the report appeared. Contains information consider them to replace an electric pi- on how to obtain back issues or reprints of the test reports ano. synthesizer, or organ, not to men- you wish to consult. tion-in the Casiotone's case-koto, clarinet, or flute. The 201 is among Casio's first en- Wyeth Press Account # tries into the musical instrument market, 1 Wyeth Street, Marion, Ohio 43302 1077 the company's main claim to fame being Expires Interbank calculators and digital timepieces. Per- Yes, please send _ copy(ies) of The Complete Index to High Fidelity's Test Signature haps it should combine the old with the Peports. 1952-1979 @ $4.95 each plus $1.25 for shipping. Residents of OH, NY and MA new-that way you could compute your add applicable sales tax. Name withholding tax for the night's gig. I enclose $ Address For SA -09, Circle 121 on (Please mail in an envelope) Reader -Service Card; for 201, Circle Charge to MC or Visa City State Zip

122 on Reader -Service Card. Allow 4-6 weeks for your books to be mailed. 108 BACKBEAT %;111RFS SSIAPJPopPourriistibt:laRskssTstiutslastp.pi

soundtracks are doing better than most artist -oriented records. But the music on the former suggests a general loss of faith in the latter as

I an art form: Most of these soundtracks h :.61Ikr lack a conceptual center and instead rely

oittl. ° on one or two hits surrounded by lots of

A rIL4111 filler. Though The Blues Brothers movie and The Rose pillage rock and soul for their identities, it is their "stars" who are selling the soundtracks, not their music. "The Rose" album made it on Midler's screen presence, not on the quality of her *, Janis Joplin imitation. John Belushi and Dan Aykroyd are the Abbott and Costello of the'80s, whoalso happen to sing. Roadie purports to be a rock film, but the Bette: the movie sold the LP Olivia: Hostess Twinkle pop strongest cuts on its double album are country -oriented. Xanadu, a dizzy fantasy featuring Olivia Newton-John andthe Electric Light Orchestra, is a Hostess Twinkleof gimmicky kiddie pop. The Movies, Music, and Money: soundtrack of Fame (the movie musical about New York's High School of Per- forming Arts) is a confusedmelangeof Who'son First? musical styles: only the two numbers by Irene Cara, a junior Donna Summer, by Stephen Holden stand out. The notable exception to all of this mediocrity is the two -disc "Urban Cow- The recent slew of heavily hyped tie-ins "Grease" challenged the wisdom of the boy," whichwas compiled by knowl- between would-be movie block- record business' promotion practices and edgeable rock entrepreneur Irving Azoff busters and their soundtrack albums un- the accuracy of its assumptions about the and features excellent music by Boz derscores some deep changes in the marketplace. Thefact that neither sound- Scaggs, the Eagles, Bob Seger, Bonnie record industry's artistic and economic track received much FM airplay called into Raitt, Linda Ronstadt and J. D. Souther, philosophy. These changes began two question the effect on album sales of rock Mickey Gilley, and newcomer Johnny Lee. years ago, when thetwo -discsoundtracks a.o.r.(album -oriented -radio)exposure- The album combines Los Angeles, Texas, of Saturday Night Fever and Grease the target of much label promotion. The and Nashville styles ofguitar -basedpop/ helped give the industry its best year ever. success of these double albums also sug- rock in a package that demonstrates, per- Each album was propelled up the charts gested that purchasers would pay the haps unintentionally, the range of white by two or threesimultaneously -released higher price tag if they perceived what southern American pop. Ironically. "Ur- hit singles: each had vast teenybopper ap- they bought not only as a record, but as a ban Cowboy" is a lot stronger, and is peal. "SatudayNight Fever" was the more "movie"-an experience-as well. doing better commercially, than the substantial of the two: in addition to con- The phenomenon of "Fever- and movie. taining three No. 1 Bee Geeshits, itwas a "Grease" dramatically demonstrated that Though popular music is central to well-balanced anthology of disco songs. pop music was show business first and the story line in the majority of these films, But "Grease.-aside from itsspecially -re- "art" only incidentally. Realizing this, the music itself is treated as only one in- corded hit singles, was arranged and per- record companies began thinking of LPs gredient in the total dazzling spectacle. formed in the crude style of a TV special. as part of large-scale multimedia projects. Perhaps the quality of the scores makes Its production was not state-of-the-art; Several label executives became involved them deserving of such status. Nonethe- more than anything, it was a deluxe in the movie business, and an entente cor- :ess, record companies have found that souvenir item. diale was formed between Hollywood's they can reap huge profits with these infe- The success of these albums shook old guard and rock'snew money(e.g., rior -qualitypackages because they have a movie people's fixed notions about the Twentieth Century -Foxand Arista). The ready-made merchandising tie-in. With relationship between films and music: If products of that entente-which is ex- the costof records astronomical and still ten million kids would shell out two or panding, whatwith videomusic's high soaring, developing high-grade musical three times the price of a movie ticket for a profit potential-are finally appearing, and talent has become a gamble-particularly souvenir LP, they reasoned, then a hit with a few qualifications they're a medi- in the eyes of corporate financiers. The soundtrack could be a valuable marketing ocre lot. even though most of them spell pressure is on to deliver blockbusters, and tool-the perfect bait to hook them on the good economic news: With album sales the resulting media tie-ins are turning the album's source. Similarly, "Fever" and plummeting and rock radio in decline, record business into a three-ringcircus. OCTOBER 1980 109 0000000000000000000000000Records0000000000000000000000000

Little Feat keyboardist Bill Payne's stirring

: organ chords. The group's beautiful use of space and contrast provides both singer and songs with dramatic support and drive that have often been missing. On Boulevard, for example, a slamming Keith Richards -style guitar riff sets the tune up and-along with Rick Marotta's pared -down, sledgehammer backbeat on drums-lends Browne's downbeat tale of L A lowlife absolute credibility. There was a time when I couldn't imagine Browne convincingly spitting out lines like "No- body knows you, Nobody owes you no - thin', Nobody shows you what they're thinking, Nobody baby," but Boulevard captures the flavor of Hollywood hustling as artfully and economically as a Ray- mond Chandler novel. Ultimately, the songs here work because Browne seems to have gained the intelligence and sensitivity to consistently cast them in their own best light. On the first cut, Disco Apocalypse, he paints a roiling, vivid picture of the disco neth- e-world. while at the same time moving through enough harmonic and structural changes to prevent the tune from sounding like the conventional item. When the Jackson Browne: melody calls for notes above his range. co- s'ngers Butler and Doug Haywood slide in Of Growth and Credibility and smoothly take over, with Butler in particular soaring exhilaratingly. That Girl by Crispin Cioe Could Sing, Boulevard, and Hold On Hold Out show a pronounced Spring- steen influence, but Browne doesn't try to be Bruce, so the effect is subtle and never Jackson Browne: Hold Out veloped into one of the most popular and out of character. Jackson Browne & Greg Ladanyi, charismatic singer/ songwriters of our As for his much -vaunted autobio- producers. Asylum 5E 511 time. More significantly, his appeal is graphical references, "Hold Out" picks up based largely on an ability to write songs right where his last album, "Running on Right at the top, I should state that I've that project personal experience and in- Empty," left off, and the material is rife with never been a big fan of the so-called sight without sounding overly precious or candid self-examinations. But as miso- "L.A. sound." The East Coast's r&b-in- trite. For literally millions of fans, Browne gynistically driven and self-contained as flected rock/ pop terrain is my congenital is a modern, romantic Everyman, etching Browne sounded on that last LP, he goes stomping ground, and over the years no such culturally resonant phrases as "run- to equal lengths here to relate his recent amount of sunny production values, ning on empty" and "don't let the sound and satisfying romantic involvement. (He spanking clean guitars, and bright vocal of your own wheels drive you crazy" indeli- remarried last summer.) Call It a Loan harmonies has been able to turn me into a bly on the American pop consciousness. and Hold On Hold Out-which chronicle a late -blooming California dreamer. Still, while his significance has always man's coming to grips with his love for a Yet I've always had to grudgingly been apparent to me, "Hold Out" marks woman-ring about as true as any love admit that Jackson Browne's career and the first time I can unequivocally call my- songs I've heard this year. music have developed with a steady and self a Jackson Browne fan. Unlike Dylan, who burst forth full- impressive weight of their own. Here's a This album features an absolutely blown in the '60s with a surge of energy guy with some obvious technical limita- first-rate band that combines such J. B. and a riveting personality, Browne's pres- tions-a fairly narrow vocal range, rather staples as David Lindley's mellifluous gui- ence in popular music has developed pedestrian instrumental skills, and only a tars and Rosemary Butler's emotive sup- gradually over the years. This is due in few trademark melodic hooks on which he port vocals with the newer additions of part to his musical growth, but also to hangs his tunes-who has nonetheless de- Russ Kunkel's oh -so -solid drums and ex - hard work and just plain living. The fact 110 BACKBEAT #. 000000000000000000000 America's #1 'Sound Choice' dares you to

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VISA OF AMERICA OZ George Benson: Give Me the Night = El, Dept. 210 -1629 Flatbush Avenue -Brooklyn, New York 11210 Quincy Jones. producer

. - Warner Bros. Qwest HS 3453 .0111. by Sam Sutherland Circle 47 on Reader -Service Card Jazz fans dismayed by George Ben- etctIFERS ritarras son's transformation from respected jazz

SPEAKERS 47st. caAtcess photo instrumentalist to soul matinee idol will be 'Mines arrerrre apoplectic when they hear his first col- AMPLIFIERS ToP C011tICTS SUPER VIDEO SPECIALS DISCOUNT TAPE KERS REARM= New Sony 5600 is /Betas( an 949.00 laboration with QuincyJones. Benson has AUDIO PV 3200 Port.), Hr. VHS Enos. FINNSllO.wea CIIILJ90yearns 895.00 virtually retired his guitar to concentrate Ph 700 Color Camera is /Zoom 735.00 PV 1200 VHS 1 Day Prog. 649.00 on his new role as a vocalist-and, most 1VC 6700 7 Day Prog. 839.00 galling, he brings it off with great Your National 1-120 14.95 VHS up to 6 Hrs 13.95 aplomb. Indeed. "Give Me the Night" may VK 250 RCA 14.95 become his most popular work yet. Headquarters for L-500 9.95L-750 12.95L-830 16.95 SONY TRINITRON COLOR TV's SONY--' Before "Breezin' - parlayed his siz- Name Brand 5" 34695 12" 345-50 able jazz constituency into a far larger i5" 38250 15" Remote 467.50 ir 435 00 17" Remote 497 50 crossover audience, the Pittsburgh native Electronics by Mail ir 429 00 19- Remote 559.95 26' CALL 26" Remote 894.00 t Iill! loomed as a defender of the faith, preserv-

* Full Manufacturer Guaran- Panasonic tee Applies to All Sales!! ing the rounded. swinging character of on 7 Band Portable classic jazz stylists. If the arrangements * Orders Shipped in tj, Radio only SI 09.95 ll-. Technics Stereo Receivers and choice of material in Benson's CTI Factory -Sealed Cartons- SA 80 15W pr/Chn 109.95 4900 10-13, recordings hinted at a gravitation toward Radio 334 50SA 202 30W pr/chn Most Within 24 Hours Panasonic 149 95 SA 30340W pr chit 187 95 popular black music. his playing main- * Multi -Million $$$ Inventory A SA 404 50W or con 234 95 SA 500 55W pr con 239 95 tained its emphasis on improvisation and RF-016 THIN ---- Completeselectionof NAME deft ensemble interaction. r Special BRAND CAR STEREOS 8 SPEAK TOP DISCOUNT AUDIO Purchase ERS AT HUGE DISCOUNTS (Writ, Ironically. the guitarist's move onto 1150 N. Powis Rd., West Chicago, IL 60185 for our price sheet.) '535°Prices honored with this ad only the pop charts was as much a return to his 800-323-2518 In Illinois, Alaska 8 Hawaii-Call 312-293-1825 CASSETTE TAPES FREE CATALOG featuring - roots as it was a step away from his jazz MasterCharge and VISA Welcome SPECIALS Camera, Audio Video,Elec- Call or Write for the LOWEST PRICES Around! TEA SAC -60_._228 tonics. Car Stereos, Tele reputation. In fact, his earliest records, cut TDK SA C-90___.289 phone Answering 8 Dictating MR Maxell 110XL1 or 2 C60 2 49 as a youngster. were squarely within r&b Equip!. Watches, Calculators 8 MS Maxell UO01_1 or 2C90 3.25 much more all at amazing low (First) (Indian (Last) Sony C-60 99 confines. When his prowess as an instru- prices Sony C-120 1 49 mentalist led to a "comeback" in his late (Number and Street) 47st. photo Continued on page114 (City) inc. 67 West 47th St (State) I Zip Code) New York, N.Y. 10036 212-260-4410 Phone Order Hours: M -W -F 8AM-4:30PM, eme. 73 T-Th 8AM-8PM, Sat. 9AM-Noon HF-10 Phone orders only Call Toll Free WE CARRY THE TECHNICS PRO SERIES-Call for Quotes! 800-223-5661 or 800-221-5858Exi.73 J -Slipping add'I. minimum $4.95 [limited quantitiesj- Circle 53 on Reader -Service Card Ifact: aShure stylus isasound investment

A new stylus (needle) can actually save you money. Even a precision crafted diamond stylus eventually wears out, and a worn or broken stylus tip can damage your records in a single play! Protect your records by checking your stylus at least once a year. Your Shure dealer can inspect it, and if necessary, replace your stylus with a Genuine Shure replacement stylus that will bring your cartridge right back to its original specifications.

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Circle 41 on Reader -Service Card 112 BACKBEAT

,411,..,c 3 O OO ,. OOOOO p ., OO Ator p,. _ opc . , 'es I Jazz

I ' Reissue 11- ° Roundup

6% " by John S. Wilson 40.10

1.5

Betty Carter: Social Call Joe McEwen. producer Columbia JC 36425

Max Roach: We Insist! Sr; Max Roach's Freedom Now Suite Max Roach. producer Columbia JC 36390 4 The Lester Young Story Vol. 5: Evening of a Basieite Michael Brooks, producer Columbia C2 (two discs)

_ . The Black Swing Tradition °N Savoy 2246 (two discs) The Modern Jazz Piano Album 7rti-I _ Savoy 2247 (two discs) Marian McPartland,c. 1952 Benny Goodman, c.1961 Marian McPartland at the Hickory House combines reissues with previously unre- audience she waited years to reach. But it Savoy 2248 (two discs) leased material and sessions recorded for was not released. Frank Fosterand Frank Wess: other labels. Among its current releases. Max Roach's "Freedom Now 2 Franks Please "Evening of a Basieite" represents the last Suite," a searing performance when it was Savoy 2249 (two discs) of the Lester Young recordings for Co- first issued in 1960 on the now -defunct Bob Porter. producer lumbia (1940-41), with two Basie and two Candid label, is still vital and impressive Billie Holiday sessions and alternate takes today, particularly for Abbey Lincoln's The Complete Benny Goodman, from all four. Michael Brooks's notes- deeply felt singing and a magisterial ap- Vol.VI -1938 which include quotes from Basie band pearance by Coleman Hawkins. Bringing Frank Driggs. producer members who had observed Young this disc back to life was an intelligent Bluebird AXM 2.5566 (two discs) closely-have given the five-volume move on Columbia's part. Young series an added depth. In this in- Savoy was a small label that rose The history of jazz reissues over the stance, Brooks discusses the dreadfully with bebop. Its Arista -distributed reissue past thirty years can be described as a damaging war years. series is a mixture of miscellaneous collec- continuing intercorporate battle between In a sense, Betty Carter's "Social tions and star -focused albums, some of the jazz fans and the accountants. At the Call" is the most provocative of the Co- which were recorded for other small la- moment, the former group is winning. In- lumbia batch because it shows how a bels. In this batch, "The Black Swing Tra- deed, it would seem that we are in a record company can miss the mark on dition" ranges from Fletcher Henderson golden age of reissues, as evidenced by an one of its finest artists. Side 1 is a previ- recordings for Crown in 1931, to Savoy impressive list of series that have not only ously released 1955 date, shared with Ray sessions by Hot Lips Page and Buck Ram stayed alive for several years but, for the Bryant, which is made up entirely of stand- in 1944, to 1939 and '40 Varsity sessions. most part, are flourishing. Among them ards but shows early indications of her Those include Stuff Smith, Buster Bailey are the "two-fers" of Milestone, Prestige, quirky style. Twenty-five years ago that (actually the John Kirby band), and four Verve, and Savoy: Time -Life's "Giants of style may have seemed too adventurous, superb small -group cuts by Mary Lou Wil- Jazz"; the Smithsonian Jazz Collection; which may explain why her next session. liams with some Andy Kirk sidemen. Columbia's Contemporary Masters: the in 1956, was not released at the time. But One full side of "The Modern Jazz Commodore reissues: RCA's Bluebird la- the material on that session is fresher and Piano Album" is devoted to George Wall- bel (the successor to Vintage. and before Gigi Gryce's arrangements and big -band ington. with Side 1 containing some early that Label X) and such smaller companies backing show off the rich colors of her Lennie Tristano. Some rare, idiomatic as Jazz Archives. Phoenix, Herwin. and voice. It's the kind of readily accessible Herbie Nichols and four surprisingly lack- Biograph's Dawn LPs. performance that might have had broad luster Dodo Marmarosa numbers com- The Contemporary Masters Series appeal, that could have given her then the prise Side 2. "Marian McPartland at the OCTOBER 1980 113 000000000000000000000 The pursuit of excellence...

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...for your greater pleasure. 10:11Mordaunt-Short Inc 1_=.;1919 Middle Country Road, Centereach, N.Y. 11720 Telephone: (516) 961-0066 Max Roach, c. 1956 Circle 30 on Reader -Service Card Hickory House- shows her to have come of age between its 1952 and '53 sessions, O a process helped immeasurably by the VIII if presence ofyoung JoeMorello on drums and bassist Bob Carter (or Vinnie Burke) on the later dates. "2 Franks Please" con- CALL AREA CODE (301) tains some 1956 and '57small -group RIMMED recordings headedby FrankFoster and 488-9600 Frank Wess, two Basie hand tenor players. It is more boppish than Basie, al- HERE ARE SOME IMPORTANT though it retains his sense of rhythmic REASONS YOU'LL ENJOY 1111HMI-Fge . clarity since, instead of trying to replace DEALING WITH INTERNATIONAL HI FL.. him, the pianois omittedentirely. * You pay the same price many dealers pay. DISCOUNT RCA's Bluebird series started with * More than 120,000 customers coast to coast You high expectations in 1975 but now is saw on our big -volume discounts. merely finishing out the catalog chrono- * No risk. No -deposit phone orders shipped the same CATALOG tt) logically with Benny Goodman, Glenn day you call - COO or credit cars. * Over70 top name brands- equipment mad mail Lowest prices on audio components! Miller. TommyDorsey, and Artie Shaw order and discount dealers can't supply. Fast service, fully insured, in factory sealed cartons! reissues. In following the chronology, it is * 2 tc 3 day delivery on most orders. --, interesting to hear how these bands * Shipments fully insured -full manufacturer's warranty , coped with the rather bland pop material up dd 5 years. °um) * Exclusive "no -lemon" guarantee. Fully staffed of the Swing era. "The Complete Benny customer service department REPRODUCT1011, inc. Goodman, Vol. VI- covers six months in * Seven audio advisorstoassistthe inexperienced (201) 227-6720 1938 whenBenny still had all his star side- buyer. CLIP&MAIL TODAY! men and the band had reached a peak of WRITE FOR: BROCHURE WITH PRICES AND LINES Emu Nio=I NMOM NM I= NMI Mel polish. There is a smattering of Goodman TIPS ON BUYING BY MAIL rSound Reproduction, Inc. classics-Big John Special,Wrappin' It 1031INTERNATIONAL I7 Industrial Rd., Fairfield, N.J. 07006 I Up-and four quartetnumbers. Though 11//// HI-FI IPlease rush your free Hi-Fi Discount CatalogI most of the thirty-two selections are of DISTRIBUTORS IName Moravia Center little consequence, it is astonishing that Industrial Park, Dept. H IAddress this group could still grind them out with a Baltimore, Maryland 21206 ICity __ light, swinging appeal. mime 1106 VISA State_ _ - o_ I...... MI NMNEN J Circle 18 on Reader -Service Card Circle 46 on Reader -Service Card 11111111111 III II sinompintrirn

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6 Panasonic tested by uptempo dance grooves and In short, the less you know about ...... :; i PV-1200(VHS) . 639.006 PV -1600 (VHS 735.00 hushed ballads, he proves he can hold his Benson, the morelikely youare to enjoy PV -1650 (VHS) 875.00 own against other singers. What's missing this new set. Older fans, who may view it as -- I PV -3200 Portable 6. hr739.00: --1-1 PV -3200 Portable 6 hr839.00 ...., is the subtlety of his best instrumental a good singer rising from the ashes of a PK 700 Color Camera 725.00IF

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Chess Challenger 7 89.00 1111. Jones's kinetic rhythm arrangements and Rounder Records304 7 ALL ELECTRONIC GAMES IN STOCK CALL shimmering orchestral settings, this proj- Colin Winski: Rock Therapy a PHONOGRAPH CARTRIDGES SHURE PICKERING ect also takes much of its shape from the Denny Bruce. producer 515 Type IV .8895 XSV 5000 89 95 4 V15 Type III..68.95 XSV 4000 67 95 songwriting of Rod Temperton. promi- Takoma TAK 7083 M95 HE 33 95 XSV 3000 45 95 ; I M95 ED 29 95 P.gera nently featured on "Wall.- Except for the by Sam Sutherland M97 HE...5095 1181111111118r,-. 4. M91 ED 19 95 ? title song. which is rescued from its banal PHONE ANSWERING MACHINES partying imagery by flashes of melodic Stuttering guitar. walking bass. gal- Sanyo 13915) 99.95 New' Pearlcorder 802 114 95 Record A Call 80A 199.95 Pearlcorder S202 79 95 richness. none of the songs here matches loping snare. hiccuping vocal. The ear- Transcriber THE - 1200 ..275.00 Pearlcorder 0-130 239 95 Temperton's work with Jackson. Benson marks of American rockabilly are ob- tkilltella."..", 7- :---__t_.-7-----n---1EtSONY TV'S the singer. while gifted with a precise deliv- 12" ...330.00t viously back in fashion. evidenced by both 15" .378 00A ery and I ;_4 17'. (Remote) .. ; accurate pitch, still seems to be general new rock trends and the emer- ; 19" '4758.'000°49 0 [ 19" (Remote) 554 00E testing different vocal models. His earlier gence of such revivalists as England's 26" (Remote).. 910.00 attraction to Stevie Wonder's melismatic Matchbox and L.A.'s Kingbees. Yet if any VIDEO MOVIES readingsnow areaugmented by nods to one group can take credit for generating .10" ...... 59.95Exorcist 54.95

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Inferior material and vocal deriva- style. it's a little known Californian band 6 CALL FOR nor 00 tiveness would be minor flaws for anun fronted by a fortyish school teacher with a 4 INFORMATION i known singer. but Benson's oldest fans thickening waist and deep circles under = i a (212) 233-8862 will find them glaring when set against his his eyes. Flues 50,tz.;io 0,,ii, wawa' ,, %1,1,1114111 shipping & handling authority asan instrumentalist. On his first Ray Campisettled in the San Fer- 1 charge5.350 i PARK ROW Warner Bros. albums with producer nando Valley at the end of the '50s. re- Electronics Corp. t Tommy LiPuma.hehad finallybeen given signing himself to teaching after various . PI,Row p New 4. NY 11019 R\ 217-349-0553 1101 intormdtioni I 4 Circle34 onReader -ServiceCard A1 01111111111/1111/11111111.11eneitenootionemuottie 0,..xn-roavw.t. OCTOBER 1980 115 00000000000000000000000000000000000000000000 stabs at film and recording work. But FREE! Re"rdeeTaPesak band that promises to take what might 80 PAGE when he crossed paths with anItalian - loosely be called new wave aesthetics one tit* born rockabilly fanatic named Ron Wei- step further into the pop music main- RECORD 4-- ser, Campi found a fervent (if hardly well- stream. Pitched on middle ground be- & TAPE - heeled) sponsor. and a new band, the . " . :' tween the Pretenders' jangly guitar wash 4 .. CATALOG Rockabilly Rebels, was born. Campi and and theB -52s'tinny reductionism, Martha the Rebels found their own cult locally, and the Muffins purvey a slickly droning and overseas they became objects of wor- LIST THOUSANDS OF RECORDS & TAPES but melodic approach to songwriting that. LOW LOW PRICES ship to young English and European teens FAST SERVICE combined with just a touch of garage- fed up with assembly line pop. CLASSICAL, OPERA, POP, JAZZ. C&W band funk, sounds contemporary without AND NOW VIDEO CASSETTES That band broke up before a major being cloyingly trendy. That approach has Ir I label release could be recorded. leaving as already met with public approval in Eng- International Record & Tape Club Dept HF 1010 a legacy only theirraw -sounding 315 WEST 36th St . NYC. NY 10018 Rollin' land:Ear:ierthis year the independently- Rock sides. some of which are included on released singleEcho Beach -anevocative PLEASE SEND ME YOUR SPECIAL 80 -PAGE RECORD & TAPE CATALOG' this LP. Campi has since formed a new tale of adreamlikeplace "far away in band. while one of his younger partners time" narratedby abored "nine till five of Li PLEASE ALSO SEND ME YOUR VIDEO CASSETTE CATALOG' from the Rebels. Colin Winski, gained the fice clerk"-went to the Top 5 there, which support of producer Denny Bruce. Nei- led to the group's signing internationally NAME ther man's current work is likely to race up with a major label.

the charts, or even capture as much atten- At the core are two Marthas, John- ACCESS tion as the more diluted efforts of such son and Ladly, whose generally unaf- stylists as the Kingbees. but students of fected vocal attitudes give the nod to Deb- CITY roots rock might want a close look. bie Harry. But these Muffins' lyrics are "Gone. Gone. Gone" is a hybrid of more disconcerting, as heard in particular STATE ZIP material and musicians from the Rock- on the catchy but tartPaint by Number v..n.n -a abilly Rebels' previous stab at a "pop" Heart.Supporting this sensibility are Mark Circle 59 on Reader -Service Card package, an English album released by Gane'sskillful nouveau -psychedelic pos- Radar as "Wildcat Shakeout.- Though it turings on guitar and synthesizer. the two would be difficult to translate Campi's on- Marthas elemental keyboards. and Andy stage antics to vinyl, much of his good-hu- Haas's nicely loping, sometimes -raunchy 1 mored verve has been preserved here. alto sax. Carl Finkle on bass and drummer Rockabilly Rebelis afast -talkinghomage Tim Gane keep arock -steadypulse that to the stone -country roots held dear by never lapses into mere rinky-dink time- even the most surly rockabilly purveyor, keeping. Martha and the Muffins make CALL while the album's title song andWildcat quite a nice package, one not nearly as Shakeoutare archetypes for the rock- sweet as the name would suggest. abilly dance rave upsof yesteryear. Pro- duced by Weiser. whose Rollin' Rock logo The Rolling Stones: NOW! signifies his funky production style (he rec- Emotional Rescue ords in his living room), the results are af- The Glimmer Twins & Chris Kimsey, fable and unpolished. producers. Rolling Stones 301161-9002 FOR Winski's solo debut was master- Records COC16015 Extremely Wide Variety of minded by Denny Bruce. who brought in by CrispinCioe the Finest Components crack musicians like Jerry McGee. Ronnie Many "Hard to Find" Brands Barron. Larry Taylor, and Chris Darrow. Like all the best work these tar- Competent Consultants Yet despite the higher caliber of players nished angels have produced, this album Trained by Manufacturers' and the crisper sonic finish. Winski seems has wonderful nooks and crannies. When Representatives more forced in his ducktailed pose. Nei- the Stones record, so the story goes. they Most Competitive Pricing ther his own songs nor the revived rock- work long and hard consecutive hours in TOLL FREE ORDERING abilly chestnuts approach Campi's per- the studio. developing their tunes and ar- 1- 800 - 638-5250 formances, which revel in an unbridled rangements out of the sheer experience - AUDIO SUPERMART'S partying spirit that makes Winski seem of playing together. I've even heard that Stereo Buying Guide self conscious they'll try to record one song's basic Call or write for yourI ree copy rhythm tracks in a night, and if the tune Martha and the Muffins: doesn't jell during the session, they drop it UDIO Metro Music for lack of freshness. . L. Mike Howlett. producer These working methods help ex- --1 Virgin VA 13145 UPERMART plain the gorgeous ramshackle looseness 304 Legion Avenue by Crispin Cioe the Rolling Stones can project on vinyl. Annapolis, MD 21401 And while "Emotional Rescue- may not Less art rock than art -pop. this is an match the sheer, low-down excitement of auspicious debutby ayoung Toronto "Exile on Main Street" (nothing in rock & Circle 7 on Reader -Service Card "RATED NO.1 FOR 116 BACKBEAT SERVICE & RELIABILITY" U 00000000000000000000000000000000000000000000 THIS MONTH'S SUPER SPECIALS! CAR STERE0 & 0.51310NECIT CASSETTE PIONEER- IN -DASHW/RADIO 72'""'GM /8 . 1 Gea 40 ..el .. 4/ 0 1 49.0 P 1601' 99 90 Ghe 120.119...1Ael 10900 KP 7500 10490 0,,c. 11990 CO 517 Cern KP 4500 CO 117 1., -0.4,v,19. l 24 .0 OP 5500 12790 OP ',Y.., 142 90 .I1 \ CAR SPEAKERS 17490 \ NI 2100 4001111.4 SO 0, Kt 3000 20990 Hu. 92 50 PT KF 5000 244 90 11065 11033,1, O. 11 100* 70 50 P, KP 3500 11...,9,,4,1 12990 6250 91 14490 11101,10, K R 4502 Lk...N.99 111301y, 0 0,NI. 7950 p, (I. .I 15490 OP 8000,1.Y.990 11114 ".7...0.90 62500) Kt 2002....9/9 a, 70090 ....91795036 KPX 900010.09Y,.,01 154 90 11124 11060 e 74..LeI4 ..11 1 60SO 0, (PR 95001,913., ,0] 17090 11037 ,y.9 VII 59 00 PI CASSETTE UNDERDASH 110 7 7vv...... , Aft; 41 50 PT KP 272 9990 11041 v. 495001 KP 373 84 90 KP 5/5 9490 *SAN lfC3 CASSETTE KP 250 10490 IN -DASH W/RADIO KP 500 120 90 FT 1490A 139 20 7169 ue4rr.xK4 7900 11 1498 259 90 0 7 IC., e79,..9 -two 10490 FT 646 154 90 9090 FT 1490 2 194 90 890.000we .9-91 12490 FT1 1495 15990 KP 707G If 14400 FTC 2 5490 CAR SPEAKERS ITC 4 64 90 5.942 28 00 im 0 IC 6 71 90 1513 34 00 PT FTC 8 99 90 TS 121 34900 CASSETTE UNDERDASH 78 107 3790 PT F1.606 7490 13-107 49 00 91 FT 1400 9590 IS 168 8490 PT BLAUPUNKT 75411 4190 PT C920009 22095 15 695 89 00 0, C92001 260 95 IS OR 69 90 pl CR3001 460 95 IS 19 12990 PT CR4000 259 95 POWER AMPS/EQUALIZERS 54 90 WE ALSO 04987 1111 811Lt ISIE OF BP 320 (20...0,,,Y1 CAP STEREO BY. GRUN018. MITSU I 11090 AD 360100 iii WSW CONCORD. PANASONIC. MA AD301Illoyn0y0otp.001 8990 RANT/ CLARION BlAUPIJNAT, FOS - 507A -ArAn 14490 GATE, AUINIVON. DIAL AND SONY SEND FOR CATALOG SLAWTAPES CASSETTE TAPES AMPEX Coma U.,5ya1.90 7W ID( ADC t.0 168 B.4SFPm111111090 299 ION Al, 40 245 FUN, 711119 90 299 I0IN:1, 50 215 The Shirts-unfulfilled potential SCOICHI 90..e0 99 3,,9 599 MK, 0 00 299 MEMOREXII0 81.0. 90 379 MK 94( 901,,,11.,) 029 50M'1 90 375 1D0 MA G 90 1.YLVI 799 SONY N0 C. 90 164 MAXELL UD.,,Y1 .3 01. 40 MK ITC HI 119 loolowlopclved.se MK (C90 168 calla will* for prices REEL-TO-REEL TAPES SCOTCH M0110,11800,, 599 VIDEO TAPES roll ever has). it features enough quirky Brooklynborn -and -bredpower -pop sex- SC0101707,18001, 519 All NIA L.500 1295 MAXELL UD 35-90 080011) 549 ALIBE1A L.750 1595 knockabout rhythms to sat- tet has not lived up to its initial promise. IDN (.180011 400 8 522 ALL VHST 120 IMACAVNG) 1495 textures and VIDEOTAPES isfy any doubts as to the group's ability to and "Inner Sleeve- is as monumentally Wf CARRY AMPEX BASF FUJI NC KAAXEll PANASONIC. MEMOREX 1DKSCOICH SONY. RCA WE A1SOSIOCK VIDEO RECORDERS AND NOME VIDEO NIOV1ES keep on jammin' effectively as middle age unexciting as its predecessor. "Street MINIMUM ORDER 12 TAPES -100% GUARANTEED approaches. No single song here is a mas- Light Shine.- It's not even awful-just CARTRUGES terpiece. but the cumulative care and ec- mediocre in the extreme. it such a thing is audio-technica. centric inventiveness of the whole redeem possible. AI 205$ 13490 II 1=1EL;101 91-1555 8995 V15 lopeIV 89 00 AT -145A 4995 015 type III 6995 theLP ateveryturn. Towit: Bobby Key's Thesong titles alonereflect ram- AI .128A 3995 M97 NE 5195 1295 M95,11 34 VO A110 ARID, 20 50 wonderful call-and -responseduet with pant blandness: One Last Chance. Can't

`. 1.1 \ 11'II E 1490 eels 7995 1,4701.1 1190 Keith Richards' guitar at the end of the Get It Through My Head. I've Had It. I 681 1(1-5 5995 6131091 4995 680E1 27 95 isPICKERING title tune. Santana percussionist Mike Don't Wanna Know. Too Much Trouble. 5001 1495 858 5000 10990 850 4000 6650 Shrieve's Manhattan -jungle percussion on I langing Around.and so on. The only ENPIFE K50,3000 4590 20002 4995 NV15 750 3490 20001 2995 XV.5.625 /690 the fundamentally funky Dance. Charlie slightly remarkable thingis thatthe Shirts 2000E/0 1850 XVI5400 2450 (099 11450 Watts's humorouslypunctuating drums manage togive allthese lost -loveand

AciassoRes on SummerRomance. Jack Nitzche'sat can't -love tunes the same mindlessly up- DISCWASHER HEADPHONES comarriSYSITM 10 95 NOSS pf 0 4 AAA 4050 mospheric horn arrangements (con- beat feel. Annie Golden's singing is sim- 075011 3405 KOSS NVI IC 1450 DISCORGANi210 995 0053 NVX IC 48 50 160/ D3REKI 1095 KOSS HVX 42 95 ducted by Arif Mardin) on Indian Girl. Jag- ilarly one-dimensional.despite her strong ZFROSIAIANTi SIAliC GUN 1495 SENNE11151R010.420 52 50 SC.ISMUSCLEANER 495 SENNEYTISFRH0.130 1250 EN5CF001 1595 eels,/ 714 HNICA AIN 7 94 95 ger's Curtis Mayfield-styled falsetto forays set ofpipes. giving one the impression

PULP, r00, oerac for 82 00 CAP 4500 on the title track that breakinto afamiliar that shewouldn't recognizean emotion if ruususguri 119,eclor 13405 COO/ A ,NON 64.5 MAMBO% EN. ulna. R.ANNSIINARMS It 4550 %NAN/.IV, 10 I s. ATA., 139.5 nasal whine at the end of each verse. and she tripped over it. RECORDS Richards' delightfully wandering but reve- TheShirts arenice folks, and not ALL ROCK, JAZZ & CLASSICAL latory vocalon All About You. which untalented either. so I guess they deserve raises romantic ambivalence to new as much of a shot as any of their seem- AP 7 9131131 $4.99 All 5.98 List $5.49 heights as a song subject. On "Emotional ingly millions of new -wave clone -pop Al 9.981.1s1 $5.99 Rescue.- it's the fine points that count. peers. But having seen them live, I know 50 addlooal for cassette or &mock MINIMUM ORDER 5 records or lopes they can do better than "Inner Sleeve.- WE STOCK ALL MAJOR LABELS The Shirts: Inner Sleeve HOW TO ORDER: For shipment within 48 hours. send money order or certified check, Two weeks delay on personal checks Please add Georg Wadenius&John Palladino. IEEEME EII1EEE31 53.50 per order for shipping & handling )S5.50 for orders outside JAzz U.S.) residents add tax. No C.0.1).s. All merchandise 100'4 producers. Capitol ST 12085 guaranteed, brand nevi& factory fresh. ORDER TOLL FREE (800) 221.8180 31 by Michael Shore ALL OTHER MATTERS CALL (212) 732-8600 Ran Blake: Film Noir The Shirts have been playing some Michael Cuscuna. producer MUSIC fine gigs around New York for about five Arista /Nouns AN 3019 WORLD, years now.While their first album was by Don Heckman poorly producedand lacked any real 23 PARK ROW, DEPT. , NEW YORK, N.Y.10038 Ran Blake is an enigmatic pianist. CALL OR WRITE FOR FREE 160 PAGE CATALOG sense of direction, it at least showed some signs of vitality. Unfortunately, this his thorny,highly personalimprovisatory Circle 21onReader -ServiceCard Call Toll Free MOO 233 270fi.N, OCTOBER 1980 117 details... ic Electronic:: 000000000000000000000 114 A DIFFERENT KIND . BLANK TAPES RECORDS OF RECORD CLUB . (Minimum Oder 10 Tapes) FREE style difficult, sometimes impossible, to ENTIRE SCHINANN CATALOG MAXELL ROCK, JAll, RAO TREMENDOUS SAVINGS penetrate. On "Film Noir,- he has chosen C.90 UCIXL.II OrI 339 Illtereenr Order 4 Rowed C60 110X L. notl on every record and tape in print - 249 All 7.08 List Otdy 4.85 noagree to purchase an ideal program for himself: a mixture of C-90 UD ...... 2.79 All IN hut. grey 6.35 obligations of any kind TUX All IN Lest Rely 5,85 C90 SA ICrl...... 2.99 DISCOUNTS OF.43% TO 73% themes from, and original interpretations TepeeCidellb ot *Track mkt 40 off mfg. suggested list C60 SA IC11 . 2.19 Recant GRINS N Mill Only special catalog of eleven dark-timbred("noir-)films. C90 AO . 249 No Telephone Chin Accepted features hundreds of titles and artists PHONO CARTRIDGES CAR STEREO ALL LABELS AVAILABLE The sheer personal romanticism of Shute V.15 Type IV 8919 PIONEER including most imports through special custom Shure V15 Type III HE 67.99 KPX 9500 Wash 177.99 ordering service -guarantees satisfaction his playing, dominated asit isby impres- Shute M97 -HE 53.99 KP 8500 Indash 142.99 Shute M95 -HE 35.99 K P 8000 Indash . 155.99 SCNWANN CATALOG sions and reactions rather than rhythms AT -30E w/AT630 102.99 KE5000 Incash 249.99 lists thousands of titles. GM -40 Power Amp and energies, lends itself Audio Technica AT14.SA.49.99 . 49.99 classical. pop, (au. country. etc perfectly tothe Audio TechnicaAT12 SA . 35.99 GM -120 Power Amp . 10719 Stanton 8815 77.99 SANYO DISCOUNT DIVIDEND CERTIFICATES programmatic images evoked by films like Stanton 681E EES 56.99 FT 1490 2 Indash . 166.99 Dividend Gifts -certificates

Stanton EMCEE . .. FT 646 Wash . 144.99 47.99 redeemable immediately for extra discounts Spiral Staircase. All About Eve. Pinky. Empire 2000Z 54.99 FTC 6 Indash 80.99 Touch of Evil, The Pawnbroker. Blue Gar- Empire 2000ES 18.99 SANYO SPECIAL NEWSLETTERS Pickering XSV4000 68.99 1490 A 129.99 informational news and happenings in the Pickering XSV3000 .....49.99 JENSEN denia. etc. Eve isplayed. according to world of musicspecial super sale listings HEADPHONES 9430 Innate Cassette . 329.99 8420 hides°. Cassette . 269.99 Blake. asseen "through the complex Koss Pro (AAA 49.99 DISCOUNT ACCESSORY GUIDE 0-410 Indash Cassette . 20919 Koss HVXLC 48.99 Diamond needles. cloths. tape cleaners etc R402 !Mash Cassette . 172.99 Bette Davis figure.- It and Le Boucher Sennheiset H0430 75.99 BIAUPUNKT QUICK SERVICE Sennheiser 90420 52.99 CR 2001 Install 275.99 (the Chabrolfilm) are Audio Technics AT -7 same day shipping on many orders among the best per- 9919 CR 20000 !Assn . 237.99 formances I've ever heard from him: they rarely later than the next several days FREE CATALOG UPON REQUEST 100% IRON -CLAD GUARANTEES on all products and services -your total are harrowing experiences, music at the We carry a full line of PIONEER, TECHNICS. AKA! B.I.C. 8 TEAC service of the visual images. Almost as Home Stereo Equipment as well as PIONEER, JENSEN CLARION, satisfaction is unconditionally guaranteed ISLAIRUNKT, PANASONIC. CONCORD ,MITSUBISHI & SANYO Discount Music Club is a no -obligation membership club Cat Stereos. good are Blue Gardenia, with saxophonist ORDERING INSTRUCTIONS that guarantees tremendous discounts onallstereo All merchendiee is Factory Fresh and complete with Manuf sourer', records and tapes and lets you buy what you want...when Daryl Lowery, and Garden of Delight (a Warranty. For immediate shipment. send Certified Check. Money Order. Cashier, Check or Master Charge or Visa (Send Card Number you want ...or not at allif you choose. Blake original),with Ted and Expiration Dine).Call us Toll Free Mon F. 9AM7PM, Set These are just a few of the money -vying reasons to write Curson on trum- 10AM7PM (Eastern Time) for Credit Card order.. Personal Checks pet -although are subject to bold for Seek clearance. Shipping and Handling charge for free details. You can't lose so why not fill out and Curson has a tendency to $3.50 (Caned., Pueno Rico. Hawaii, Alaska 07.003 Allow 5.12 days mail the coupon below for immediate information. for U.P.S. delivery. For ell matters other than to game orders please noodle away pointlessly at times. call us at 212486.5500. No C.O.D. orders acceded. NY residents mutt include Sales Tan. dew DISCOUNT MUSIC CLUB, INC DEPT. 8-1080 Blake is at his best on the solo 650 Main Street, New Rochelle. N.Y. 10801 tracks or when accompanied by one or Name_ two instruments. When the ensemble fFluIdleElledwoniicg Address grows in size. however, his effectiveness CALL TOLL -FREE 800-223-2706 City diminishes. The strongly rhythmic Key In N.Y.. Hamm, Alaska Puerto Rico, Canada Can'212 '88b 53130 State lip Largo. Pinky, and Streetcar Named De- 1263 Broadway New York ,N.Y 10001 Circle 10 on Reader -Service Card sire, forexample. exposehis difficulties Circle 6 on Reader -Service Card with thecrisp articulationsof traditional jazz phrasing. Touch of Evil and The HENRY'S HI-FIVIDEO CONSUMERS CO. Pawnbroker, thelargest ensembles. have cAmE TAPES - DISCOUNTS -STEREO all the problems of jazzschool avant- Minimum Order 10 Tapes. garde. If this is Blake's idea of "Third MAIL ORDER DEPT. 41TDI( Stream.- then it's time he did a bit of re- SAC90 2.99 DC -45 1.07 SAC -80 2.22 DC -60 1.12 evaluating. ADC 45 1 59 DC90 1.62 I gDiscount ADC -60 1.66 DC120 2.10 At its best, however, "Film Noir- is ADC -90 2.45 DC -t60 2.95 -I ADC 120 3.69 Metal C-60 5.95 his most accessible album. I'm not sure if HI VHS - VIDEO VIDEOCAMERA VT 120 4 hr 15.49 I VT 60 2 hr 12.95 "jazz- or even "third stream- (a phrase VT 90 3 hr 13.95 I CHECK OUR PRICES FIRST! VT 30 1 hr 11.45 i I've alwayshated) isthe best description Hi-Fi. Aka AR Bose Dual ESS HK Kenwood JIM_ JVC Marantz Phase linear Pioneer SAE Sony SONY I of Blake's music, but I do know that there Technics Panasonic Tandberg FECR C-90 2,99 HFX C90 2 39 FECR C-60 2.55 HFX C 60 I 69 were moments here when heprovided a Video: Hitachi JVC Panasonic RCA Sanyo Sony .11'' ENE C90 2.59 LNX C-90 1 62 ENE Zenith TDK Fuji Scotch C60 1.69 LNX C60 1 10 different perception of films I thought I VIDEO Camera: Nikon Konica Olympus Minolta Pent. BETA L 500 10.95 L 750 13.50 knewverywell. For that kind of experience Polaroid Roll. Leica Minos Hasselblad Canon Chinon Bronica BAH Elmo Fulica Mamiya Eumig

ashica Bea Jlieu I'm willing to give up labels and just sit ',liar Besseler Durst Omega Paterson AMPEX Metal C-60 5.89 Pluc C-45 .84 back and listen. GrndMr 1,I1,C-60 2.59 Plus C.60 .97 I Kenwood GrndMr 1,I1,C-90 2.99 Plus C.90 1.62 KR -9010 DC AM/FM STEREO "Reel 7/1800 7.59 Plus C-120 2.46 Sam Rivers: Contrasts RECEIVER A I. ugh performance "Reel 101/4/360017.99 "352" C60 .89 i DC amplifier and dual If band Cassette Demag. 3.99 "352- C-90 1.29 .i111/ assures high quarry f M Manfred Eicher, producer reception kk, VIDEO BETA C-500 10.95 I VHS 1.12014.65 ECM 1-1162 nissillIsq=a-58 lties43TI SOUND by Don Heckman . 4,4 or s 'KOSS STUDIO MONITOR. HEADPHONES NOW IT'S NOT FOR GUARD 4S want per channel, min. RMS PRO 4 AAA 45.00 Pres'', Kit 5.99 STUDIOS ONLY. both channels driven ar e ohnu, HVI LC 34.50 Clnr. Kit 5.99 with no more than OOP. 1F1D its a 3vrav rotor` t. Sam Rivers' fine new album triggers tem leveS essovanoosproonse, t HVX LC 46.50 Total Kit 9.95 An. ...Cause ol Selsp.1 Se uel HVX 41.50 SALE on small StutIPS Total Kit 9.95 a surprising sense of nostalgia. More than $229 anything else, it recalls the multilayered LIMITED TO STOCK ON NAND MAXELL UDXL I or IIC.90 3.30 KENJVV000 13saies449 Wecarry Sanyo Car Stereo complex of styles of the '60savant garde set n Au Phone Orders Call Toll Free movement that first brought this saxo- (800)431-2932 Call toll free (8001421-8537 In N y.5 Call VISA phonist /composerto national attention. Out of state except Alaska & Hawaii 19141 664-2909 But unlike that music's more dogmatic IFor 2.day del very send OA O Cpo Check or use Clem, Card MC i V Expires practitioners, Rivers has never been too I arsn i checks 2 wk del y Add S2 75 for mpgahdlg per 10 tapes I Iell'S 'es add sis tt No COD 5 proud to throw ina few funmoments. ranACAMERNHI-FIVIDEO Free Catalog! 516 W.8" St. Downtown L.A.. Ce.90014 TeL2,3)488-0341 Continued on page 120 Hours Mon./ Fri 9.30-730 Tu,Wed,Thur. sal 9.30.8 PM CONSUMERS CO. P.O. Box 550 Dept. HF 1060Mt. Vernon, N.Y. 10551 Circle 15 onReader -ServiceCard 118 HIGH FIDELITY

HIGH TOP -NAME AUDIO AT LOW LOW HIGHPERFORMANCE PRICES!! Advent, Aiwa, AR, Bose, dbx, FIDELITY SPEAKER CABLE Denon, Dual, ESS, Hafler, Harman Kar- $15.95 buys a pair of 20 -foot don, Infinity, JBL, Mitsubishi, NAD, CLASSIFIED rolls of 12 -gauge, twin -conductor, color -coded speaker Nikko, Onkyo, Phase Linear, SAE, Sound - MAIL TO: 825 7th Ave., 6th Floor, New cables. You could be losing up to craftsmen, Tandberg, Thorens, and many York, N.Y. 10019. Phone: 212-265-8360 half your system's performance in puny speaker wire! Ultra -low -resistance cable allows maximum many more we don't dare mention by GENERAL: All copy subject to publisher damping factor in your system to get the full approval. First line caps. Users of P.O. Box MUST transient response and dynamic range your name -all at best possible pricing. All fac- speakers are capable of. Supplies limited. Add supply permanent address and telephone number $250 per set for postage and handling. tory -fresh with full warranty. Compare before ad can run. prices, selection and service and we're CLOSING DATE: I st of second month er F- the best in the business. Our representa- preceding cover date CLASSIFIED RATES: Regular type, per fpeakeelab tives are available for phone quotes or word: I x -S1.80; 3x -S1. 75; 6x -S1.65; 12x-51.60. Dept 1-1F01 01, 735 N Northluke Witty additional information Monday -Satur- IMPERIAL type, per word: 1x -S2.40; 3x - Scuttle, Washington 98103 IL V day from 10AM to 7PM (EST) at 212- S2.35; 6x-$2.20; 12x -S2.15. Minimum 15 254-3125. Or send 52.00 for our infor- words. Words in caps -104 extra each. Box numbers: 52.00 additional per insertion to cover cost of mative brochure to DIRECT DISCOUNTS RECORDS IN REVIEW 1980 EDITION. Available April I. the handling and postage. Display, per inch: lx -5290; LTD., P.O. Box 841, Cooper Station, N.Y. 25th annual edition of the record -buyer's "bible." Contains 3x -S280; 6x -S275; 12x-5235. the complete text of all the classical and semi -classical 10276. We accept M/C, VISA over the PAYMENT WITH ORDER: Send check, record and tape reviews as they appeared in HIGH FIDEL- phone and DON'T charge sales tax to M.O., MASTERCHARGE or VISA No. and expira- ITY magazine in 1979 issues. Durable clothbound edition, tion date to: Classified Dept., HIGH FIDELITY, 825 out-of-state customers. yours for S15.95 plus $1.25 for postage and handling. Send 7th Ave., 6th Floor, New York, NY 10019. your order to: Wyeth Press,I Wyeth Street, Marion, Ohio ATTENTION: "FOREIGN" AUDIOPHILES 43302 AND DEALERS! Western World Audio FOR SALE THE RECORDINGS OF BEETHOVEN as viewed by the crit- Exporters can supply virtually ALL AUDIOPHILES WANTED!! Put your knowledge to use, ics of HIGH FIDELITY magazine, this long out -of -print dis- brands of hi-fi components, speakers, earn an excellent spare time income. We need campus cography is available again in a clothbound reprint edition cartridges, etc. (including esoteric lines) Dealers to sell name brand stereo equipment at substantial for S 14.95 plus S1.25 for shipping. Send your order to: at very attractive prices. Quotes, terms discounts in your area. No investment necessary. For infor- Wyeth Press,I Wyeth Street, Marion, Ohio 43302. mation and application please write ABCO, Dept. CR, and availability furnished upon request. 1201 East Main Street, Meriden, Conn. 06450 Write to WESTERN WORLD AUDIO, 373 Fifth Avenue, suite 1556, New York, N.Y. STEREO REPRESENTATIVES NEEDEDIII LOWEST POS- AoSINGER'S DREAM! SIBLE PRICESIII OVER 100 BRANDS!!! KRASCO Rep., 998 10016. TELEX -2301 76 SAKI UR. Orange Ave., West Haven, Conn. 06516

' I_elo * - II . AUDIO, VIDEO, ELECTRONIC Products. SAVE 50% BUILD YOUR OWN SPEAKER SYSTEM. Write REMOVES VOCAL FROM MOST STEREO DISCS BEST Pricing! Prompt Delivery! SONY, McGee Radio Electronics_ 1901 McGee Street. Kansas City. The Thompson Vocal Eliminator can actually remove most or Missouri 64108. virtually all of a solo vocalist from a standard stereo record and DBX, TEAC, TASCAM, ONKYO, SOUND yet leave most of the background music untouched! Not an equalizer! We can prove it works over the phone. Write for a WORKSHOP, MAXELL, MOBILE FIDELITY CERTIFIED AUDIO CONSULTANT HOME STUDY HI-FI brochure and demo record below. COST: $249.00 Course available. Send $5.00 for information. Includes RECORDS. Others. SOUND IDEAS, Dept. AUDIO TECHNICAL YEAR BOOK with 29 sample lessons HF, P.O. Box 340, Cary, NC 27511. 1- and application for membership in the Society of Audio YOU SHOULD SEE US 800-334-2483 (NC 919-467-8462). Consultants, Write SAC, P.O. Box 552, Dept. HF, Beverly HIGH RESOLUTION SPEAKERS, designs, parts & system emm ... Hills, CA 90213. ,..,.... For: Delay and Ambience,.4.2...,.....i.,,,, kits, catalog SI Transcendental Audio, Dept 5, 6796 Ar- HIGH FIDELITY'S TEST REPORTS 1980, 346 fact -filled butus Street, Arvada, CO 80004 1303) 420-7356 Studio Echo/Reverb -.i.7-7-47;_ ..',,' pages of information on amplifiers, turntables, speakers. Tape Noise Reduction a.' : ,,, MAKE MONEY IN COLLEGE... SELL tape decks, receivers and other components. $3.95 plus Parametric Equalization S1.00 for postage and handling. Order from: High Fidelity's BRAND NAME AUDIO Components no Electronic Crossovers 1 P7rnt'. Test Reports 1980, I Sound Avenue, Marion, Ohio 43302. moximimistila Comp/Limiters *WOi ta&V* 4:1111:0 investment required. Unbelievable pric- Mic Preamp/Mixers ing ... Call Mr. Kay toll free (800) 241- Patch Bays ,,, 6270. CUT HIGH SPEAKER Speaker Factory Mail Order has We manufacture a lull line of high quality audio and recording equipment. You willprobably have to pay twice as much REVOLVING PHONOGRAPH ALBUM CABINETS. Displays COSTSw ten sound ways to save you elsewhere to obtain comparable quality. Only Direct Sales make money on speakers. Ours sound our prices and quality possible. Send Si for a 20 page brochure albums and with touch revolves from view. Send stamped just as good, but save you up to and 20 minute demonstration record. envelope for info. WOOD DESIGNS, 9873 Sunset, L iv., Mi. 50% compared to other Write to:LTSound, Dept. HF, P.O. Box 729, 48150 brands. Why? Decatur, GA 30031. (404)284-5155 Because you THE ABSOLUTE SOUND". an independent audio journal. is %". get them direct unique in two ways It relates components to the sound of ONLY 189 COPIES LEFT! High Fidelity's Silver Anniversary from the Fac- live, unamplified music -that is, the real thing, music -and Treasury will soon be out of print. Don't miss this opportu- , tory! Cut out the does not place individual taste ahead of music. (We're not e coupon and nity to get your copy of this 348 -page hardcover compila- the absolute hamburger) Recordings are subjected to the we'll rush you tion of the best writing to appear in the magazine over the sort of sonic scrutiny you'll find nowhere else (what, you our new catalog past three decades Send 59.95 to Wyeth Press,I Wyeth don't find your digital recordings satisfying?). absolutely free! Street, Marion, Ohio43302 Free In its upcoming issue (#19), the magazine contains re- Catalog HORNS-WOOFERS-MIDS- TWEETERS at tremendous views of a $20.000 speaker system from Infinity (called tax- OEM savings Atlec, Electro-Voice, Philips, Peerless, Polydax ingly enough, the IRS); two attempts at state-of-the-art

and many others. Dozens of hard to find items used in ma- transistor design, the Stasis II amp and the Spectral preamp; OI can hardly wait! I'm enclosing $1.00 for 1 st class postage and special handling. jor manufacturers most expensive systems. Huge selection laser physicist Alan Hill's Plasmatronics speaker (it modu- lates a cloud of helium for theoretically ideal high frequency O I'm anxious to find out more, but regular mail is O.K. of crossover network components, automobile systems, and musical instruments loudspeakers. Send $2.00 for performance). This is, of course, but a sampling. To find out Name _. _ CATALOG, REFUNDABLE WITH PURCHASE. SRC AUDIO the rest, send S20 (U.S.), S21 (Canada, US Currency) or S30 (outside North America, Air, US Currency) to The Absolute Address ____ Dept HF I, 3238 Towerwood Dr_ Dallas, TX. 75234. Sound, Box L/aa, Sea Cliff, New York, 1 1579. Or if you pre- City/State/Zip HEAR DOLBY FM CORRECTLY. Assembled decoder fer give us a call at (5161671-6342 between 10 a.m. and 5 Mall to:Speaker Factory Mail Order, Inc _Crept. HC10 599.50. Also encode/decode KIT for recordists. SHF INTL - pm. weekdays with your VISA or MASTERCHARGE handy 1101 N. Northlake Way, Seattle, WA 98103 GREX, Box 747, Havertown, PA 19083. and we'll start your subscription immediately OCTOBER 1980 119

The Saxitone Hotline NEW EQUIPMENT FOR SALE BRITISH AND EUROPEAN EQUIPMENT DIRECT TO YOU. NOTICE: 800-424-2490 Most quality makes of equipment available at advan- Record Listeners IT'S HERE.Saxitone, America's lmer- tageous prices. For price list and price quotes send Inter- fee Just chandiser of recording tape, put national Reply Coupon. Audio T, Dept A, 190 West End In new TOLL FREE Phone Order Lines to Wanted serveyou betterCall now for America's Lane. London, NW6 ISO, England, Phone 01-794 7848. (No experience required) You willreceive lowest prices on top name recording Visitors welcome. nationally released albums to rate. There is no tape, video tape, recorders, tape decks extra charge for the LP's you receive-all you 1.and recording accesesorles Order from BUY DIRECT and save. British and European Hi-Fi. Attrac- afullinventory of TDK, Maxell, BASF, pay is a small membership fee which covers tive prices. Send Reply Coupon for Ouote, S3 bills for bro- Scotch. Sony. Superecope, B -IC.Sanyo, EV. Telex &others all costs of the LP's including postage and Most orders shipped same day! FREE 32 -page catalog. chures. Goodwins, 7 The Broadway. Wood Green, London handling. In return for your opinion you will Master Charge & VisahonoredCall now and find out why N22, Phone 888-0077. VISA/Master Charge. Visitors wel- build a substantial album collection-"first Saxitone is I come come basis." For application write: EARS SYSTEMS S71XITONE TAPESALES TOP -RATED CARTRIDGES UP TO 70% Box 10245 Dept. HF 1776 Columbia Road NW, Washington, DC 20009 OFF! We offer Acutex, ADC, Dynavector, 5521 Center St., Milwaukee, WI 53210 in Washington metropolitan area call 462-0800 Grado, Nagatron, Ortofon, Shure, Sonus "Guaranteed" c 1979 EARS SYSTEMS and many more at the lowest possible prices. Just call 212-254-3125 for more ACCURATE, QUALITY AUDIO. Reason- information, or write to DIRECT DIS- VIENNESE OPERETTA RECORDS, INC. able Prices! Car/Home. Send stamp: COUNTS LTD. P.O. Box 841, Cooper Sta- Extensive range, superb vocal perform- Denco Audio, P.O. Box 6104-H, El tion, N.Y. 10276. ances, on currently available LP's. Free list. P.O. Box 50-B, Dover, Mass. 02030. Monte, CA 91734 (213) 444-9978. Eve- LOWEST PRICES ON STEREO -ESOTERIC COMPONENTS, nings, weekends. cartridges, tonearms, tapes, car. Free catalog. Audio Unlim- OPERA VIDEO -Magnificent perform- ited, 1798 Technology Drive, San Jose. CA 95110, 408/ ances from Europe. Beta, VHS Formats. 279-0122. 1-6 M-Th. Free catalog. HRE, Box 12, Kew Gardens, 30 CHANNEL N.Y. 11415. , CABLE TV TAPES &RECORDS ,20 CONVERTER SCHWANN RECORD AND TAPE GUIDE, now available by RARE OPERA, SYMPHONIC MUSIC ON OPEN REEL TAPE. subscription. Includes 12 monthly issues of Schwann- I, 2 Historic performances. EUROPEAN, DOMESTIC. Free Cata- semi-annual issues of Schwann-2, plus Annual Children's ORDER No. 179AE047 E FREERIPARIS logue Underhill, Box "U," Bellport, NY 11713. Catalog. Annual subscription 525.00, add S10.00 for ad- .11i3c:NniriROUTE 9N, UNUSUAL PLATTSBURGH,N.V. 12901 ELECTRONIC ALOG1 dresses outside of U.S. Order from: Schwann Record & Tape CATALOG' "SOUNDTRACKS, SHOW, NOSTALGIA 8 JAZZ -FREE Tel.. (518) 561-8700. 8, IDEAS Guide. P.O. Box 2131, Radnor, PA 19089. Catalog & Offering List -A- I Record Finders P.O. Box 75071-H, L.A. CAL. 90075." RECORDS FOR COLLECTORS FREE LISTING. RIVERDEAL BOX 52544, HOUSTON, TX 7 7052 MISCELLANEOUS SCOTCH RECORDING TAPE, LOWEST PRICES. TAPE CEN- TER Box 4305C, Washington, D.C. 20012. CLASSICAL RECORDINGS FOR COLLECTORS. List, send DIAMOND NEEDLES and Stereo Cartridges at Discount SI.00. ARS MUSIC& 29 Knox Road, Brewster, N.Y. 10509 prices for Shure, Pickering, Stanton, Empire, Grado, Audio RAREST CLASSICAL, SOUNDTRACKS, SHOWS, PERSON- ALITY LPs. Huge catalog SI.00. Grammy's Attic, Box 18 I, Technica and ADC. Send for free catalog. LYLE CAR- SOUNDTRACKS -New and out -of -print film music record- Bluffton, SC 29910 TRIDGES. Dept. H, Box 69, Kensington Station, Brooklyn, ings. Free listings and info. CINE MONDE RECORDS, 1488 New York I 1218. For Fast Service, call TOLL FREE 800- "LIVE OPERA TAPES Reels -Cassettes Unbelievable treas- Vallejo St , San Francisco, CA 94109. 221-0906. ures since 1926 Over 5,000 selections. Free DELUX Cata- RARE i?ECORD/TAPE COLLECTOR'S DIRECTORY. New PROTECT YOUR ALBUMS. WHITE CARDBOARD RE- log: MR TAPE, dox 138, Murray Hill Station, NYC 100 I 6." enlarged treasury of over 250 addressed. Annotated. All PLACEMENT JACKETS 35c. PLASTIC LINED INNER SHOW ALBUMS -Rare, out -of -print Ips, 64 -cage list S 1.00. categories. Send $4.95. DIRECTORY, Dept. H, 550, East Rus- SLEEVES I5c. POSTAGE 51.25. OPERA BOXES, 78 SLEEVES Bakers Wife or Nefertiti -original cast LP 59.95. Broadway - tic Road, Santa Monica, Calif. 90402 AVAILABLE FREE CATALOG. CABCO 301-3, BOX 8212, Hollywood Recordings, Georgetown, CT. 06829 COLUMBUS. OHIO 43201. SEARCHING? WRITE DISCONTINUED RECORDS, 444 1930- 1962 RADIO PROGRAMS, 51.00 HOUR! Professional South Victory, Burbank, California 91502. The best New Stereo Systems Deserve The Best New 200 page catalog, 51.25. AM Treasures, Box 192HF, Baby- Stereo Records (Tapes tool) You need the Monthly GOLDEN AGE RADIO -your best source for radio tapes. lon, N.Y. 11702 SCHWANN RECORD CATALOG available from record Free catalog. Box 25215-J, Portland, Oregon 97225 shops everywhere or, for a sample copy PP, Send $2.50 to: VIENNESE LIGHT MUSIC SOCIETY -Strauss, tanner, etc. on PROM EM THE HIGH COST OF PREMIUM CASSETTES. ABC-SCHWANN. Single Copy Sales, Dept. 2160 Patterson Dolby Cassettes. KC Company, Box 793, Augusta, Maine "The Audiophile's Choice" has the solution with its guaran- St., Cincinnati, Ohio 452 I 4. 04330 teed 20 to 20 cassette. Send 52.00 for a C-60. Box 888, Kingsport, TN 37660. SLIPCASES for HIGH FIDELITY Magazine. Simulated blue OPEN REEL TAPES. Top Quality. 100% money -back guar- leather, Holds 6 High Fidelity issues. 54.95 single case, 514 antee. Major labels. Classical, pop, rock, quad -direct disk & TOTAL MIND POWER (How to use the other 90% of your for 3 cases, 524 for 6 cases. USA orders only. Allow 6 weeks video. Bank cards accepted. Catalog/order Information, S I mind), Free Booklet, Total Mind Power Institute #26, Lark- for delivery. HIGH FIDELITY Library Cases, Box 5120, Phila- No other fees, obligations. THE REEL SOCIETY, P 0 Box spur, CA 94939 delphia, PA 19141. 55099-H, Valencia, CA 91355 OPEN REEL TAPES from studio masters. Philips, Argo. Tele- LIVE OPERA ON REEL/CASSETTE. THOUSANDS OF PER- Free Promotional Albums, Concert Tickets, Stereo, Etc. In- funken, Vanguard, Unicorn. Catalogue 51 00. Barclay - formation: Barry Publications, 477 82nd Street. Brooklyn, FORMANCES, WORLDWIDE SINCE 1930's. The ONLY Crocker, Room 1470-H. II Broadway. NYC 10004 NY 11209 service that provides the personal attention demanded by the Vocal Art Free Gifts. Magnificent Free Catalogue. LIVE CASSETTE TECHNOLOGY BREAKTHROUGH!!! Computer COLLEGE STUDENTSI-Improve your grades)-Termpaper OPERA, Box 3141. Steinway Station, L IC,NY 11103 sound waves creates natural high. Removes pain, stress, catalog -306 pages- 10,278 titles -Rush 51.00 (Re- anxiety and cures insomnia. Programmed by team of psy- fundable II -Research, Box 259 I 6R, Los Angeles, 90025. SCHUBERT/DYER-BENNET. The splendid chologists. Proven safe by Washington and U.S. Army Free (2131477-8226. Tully Hall performance of the Dyer -Ben- exciting report! ASTRAL SOUNDS, 1738 First Avenue S.E, Dept H-200, Rochester. MN 55901 NEW YORK PHILHARMONIC GUIDE TO THE SYMPHONY net translation of "Schone Mullerin" by Edward Downes. This I, 100 -page book is a composer - (Characterized by Andrew Porter as "A RARE, DISCONTINUED CLASSICAL LPs FROM PRIVATE by -composer, A to Z compendium of program notes from 'Schone Mullerin' which came to life") collection. Auction sale. For serious collectors. Records fine, the Philharmonic. Send $25.00 plus SI.00 for shipping to: now available in a meticulously pro- scarce. Minimum bid required each desired record or set. High Fidelity's Music Listener's Book Service, I Wyeth List, details $3.00. LWK, Rt 2 Box 504 SMW, Homosassa, Street. Marion, Ohio 43302. duced studio recording (stereo -two Florida 32646. discs) directly from Dyer -Bennet records, PROFESSIONAL MUSIC COPYING AUTOGRAPHY Callig- JAZZ RECORDS EXCLUSIVELY -CURRENT, RARE. Out -of - raphy. Glenn Welker, 2822 Atlanta Drive, Silver Spring, Monterey Stage, Great Barrington, MA print. FREE LISTS -Dept. HB, PO Box 125. Jamaica, NY Maryland 20906 (301) 949-1639. 01230, $ 1 7.50 postpaid. 11415. 120 BACKBEAT Free 5.00 T -Shirt BUSINESS OPPORTUNITIES IDK SA C90 (Nen) 2.99 AMPEX GRANDMASTER I.C90 .. 2.59 000000000000000000000 SDK AD C90 (New) 1.39 AMPEX GRANDMASTER II C90 2.89 CABLE FM BROADCASTING: Unique no investment/ ex- TDK SAX C90 (New) 4.99 SCOTCH 212 IR 1800 4.49 TDK OD C90 (New) 3.49 IDA VHS. VAT 120 14.95 perience business. Home operation possible Excellent in- TDK. SA C60 (New) .. 2.19 SDK. 61800....__ ... 5.19 SDK MA COO ... 5.69 IDA LB 1800 6.49 come. "CAFM," Box I 30-D-6, Paradise, CA 95969. Continued from page 117 TDK D C90 (New) ...... 1.69 AMPEX Grandmaster tenon Reel 5.89 BASF PRO II or IIIC 90 2.89 SCOTCH 207.7R-1800 . 5.29 MECHANICALLY INCLINED INDIVIDUALS: Assemble Most of a piece like Verve, for ex- SCOTCH Master II or IIIC 90 3.09 BASF Ferro 7" 1800' (New) 7.39 Free T Shin with every order over 40.00. Stile site. All tapes can be assorted. Add electronic devices in your home. Investment, knowledge, or ample, would be at least as acceptable in a 1.50 shipping; or write for free catalog of 250 deers plus lowest prices on all Nox- experience not necessary. Start in spare time. Above aver- ell product. 100% guaranteed. 412183.8621. M.Th 8.3:30. Visa and MC. Saturday night bar as in a Soho loft. Gen- TAPE WORLD 220 Spring St., Butler, PA 16001 age profits: 5300-5600/wk possible. Sales handled by others. Write for free details. Electronic Development Lab, erally, and perhaps intentionally, Rivers Drawer 1560HF, Pinellas Park, Fla. 33565. waits until the end of a piece to let the Beethoven/Mozart/Pachabel. Samplers. 3 LPs 55.98.3 cassettes 57.49. Free Catalog: Musical Concepts, Box 53HFO, BUMPER STICKER PRINTING DEVICE. Cheap, Simple, Port- avant-garde dogs loose. (Try that in a Sat- Cedarhurst, N.Y.I 1516 able. Free details. Bumper, POB 22791 (FD(, Tampa. FL urday night bar and you'll quickly be back 33622. AUCTION 78's LP's soundtracks classical in Soho.) But even his "out" music has a miscell. Hundreds of items. Private collec- COLLEGE DEALERS -WRITE for details on college program. certain warmth and charm that softens the Fast shipments, low prices, specify college. Sound Repro- tion. List S1.00 (refundable). POOR RICH- duction, 7 Industrial Road, Fairfield, N.J. 07006 abrasiveness of some of the more unusual ARD'S, 17 Flower, Bakersfield, CA sounds. STEREO SALESMEN sell name brands to friends and co- 93305. workers, good commissions, free training. Call toll free That Rivers is an older musician is SAVEI CUT-OUTS BY MAIL! Lowest prices on records thru 1-800-638-8806 or 1-301-488-9600, Mr. Murray or Mr evident in his fluent boppish lines on Zip Knzman. mail-order. Catalog of hundreds of hard to find Rock clas- and Dazzle and in the unabashed lyricism sics. Plus Buyers' Guide with artists' background, type of MAKE MONEY IN COLLEGE... SELL music. Send 254 for catalog plus details on FREE BONUS of Solace. He is also beginning to find RECORDS. Send name and address to: NOW OR NEVER BRAND NAME AUDIO components no some coherent construction to underpin RECORDS, 811 Rankin St., Ashdown, ARK 71822. investment required. Unbelievable pric- his basically improvisational music. On ing ... Call Mr. Kay toll free (800) 241- 15% OFF ALL DIGITAL CLASSICAL RECORDS! ... all labels! Dazzle, his wild, screaming, high intensity Limited time offer ... Over 100 "demonstration quality" 6270. discs now available Send 504 today for detailed illustrated tenor saxophone runs counter to a cool, CAMPUS REPRESENTATIVES earn commissions, start a ca- catalog. Classics Only, Box 14186, Columbus, Ohio 43214. didactic series of sustained phrases from reer selling Hi Fi equipment on campus. Large national firm. PROFESSIONAL TEST CASSETTES -DOLBY REFERENCE Call toll free 1-800-638-8806, 9 am. to 9 p.m. trombonist George Lewis. At the end of LEVEL MIS offering pre-recorded alignment cassettes and the piece he reverses the elements. The 1/4" reel tapes for the serious recording enthusiast. Send for effect is a bit schizophrenic but fascinat- FREE catalog. Dealer and Distributor inquiries welcomed. PUBLICATIONS MAGNETIC INFORMATION SYSTEMS, INC., 415 Howe ing, and it provides the listener with an an- THE BLIND AND OTHER PHYSICALLY HANDICAPPED can Ave., Shelton, CT 06484. Tel:12031735-6477. know the joy of reading memorable selections chosen from chor point from which to observe the free -

over 50 outstanding periodicals, completely free of charge sailing improvisations. Write CHOICE MAGAZINE LISTENING, Dept. HFC, Box 10, Other pieces reveal Rivers' range: Port Washington, NY 11050 or call 516-883-8280. Images uses some familiar avant-garde techniques -floating time, wide interval !'CLASSIFIED SERVICES melodies, pantonal harmonic interaction, SAVE POSTAGE! Your mailbox flooded with samples, of- etc. -to produce an eerie. programmatic - fers, 52, SASE, VAL-U-CORP.. Box 234-HF Mercer, Wis. 54547 sounding excursion that would serve CAN nicely as a film score. The similarly epi- - `r sodic Circles is a musical explosion in re- ELECTRONICS WORK verse, its bits and shreds of sound slowly ELECTRONIC BARGAINS, CLOSEOUTS, SURPLUS! Parts, imploding. More predictably, Lines starts equipment, stereo, industrial, educational. Amazing values! Fascinating items unavailable in stores or catalogs any- and stops a la Ornette Coleman and then, := FOR where! Unusual FREE catalog. ETC0-0 7, Box 762, in traditional jazz fashion, springs a so- In Plattsburgh, N.Y. 12901. prano sax solo that demonstrates how deeply imbedded Rivers' roots are in the YOU WANTED TO BUY rich soil of the jazz past. WANTED TWELVE -POCKET STORAGE ALBUMS FOR His association with the "new mu- TWELVE INCH 78's. F. TOOLEY, 2109 SEVENTEENTH sic,- in fact, may be doing him a disservice. STREET, LAKE CHARLES, LA., 70601. He is imaginative, even innovative, to be CHARGE IT sure, but he is also an improviser with a PERSONAL ON wide enough range to reach a far more di- PENFRIENDS-USA, ENGLAND. Make verse audience than he does. Maybe Billy MASTER CHARGE lasting friendships through correspond- Joel could book him as an opening act for OR VISA ence. Send age, interests. Free reply. Har- his next tour. mony, Box IHF, Brooklyn, N.Y. 11223. USE POST CARD SINGLES! Meet new friends -nationwide introductions - Eric Schneider and Earl Hines: ORDER FORM IN many who travel. Write Club More, Box 405, Wilmette, IL Eric and Earl 60091 Or call 0121262-9800. THIS ISSUE OR CALL Dave Feinman, producer Gatemouth 1003 CLASSIFIED AD DEPT., SLEEP -LEARNING (212) 265-8360 (Gatemouth Recording Co.. 90 SLEEP -LEARNING EQUIPMENT, tapes, books. Strange Madison Ave.. Island Park. N.Y. 11558) catalog free. Autosuggestion, Box 24-F, Olympia, Wash- ington 98507. by John S.Wilson

Although Eric Schneider has played in Earl Hines's quartet for two years, this is the first time they have re - Continued on page 122 OCTOBER 1980 121 0000000000000000000000000SpinOffs0000000000000000000000000

ELEKTRICS BROKEN HOME New Acts VIVAllat Current Events by Steven X. Rea tPartyIn The j War Zone r 4-"4 John Anderson f -...... I f ..a- f Norro Wilson. producer 1...cA, WarnerBros.BSK 3459 ' This is one of the best ...- country debuts to emerge from Nashville for some time. Some Lovin. Tonightand Garrett Morris: The most intriguing cut here is Anderson sings with a plain- bassist Chris James'sWe Are Saturday Night Sweet Man fromChina. a demented tive, down-home eloquence AmericansandAnyway arein- Adelekown M. Holmes Jr. downer with an incongruously that at times suggests Merle fectious pop ditties rife with producer. MCA 5119 chipper whistle carrying the Haggard. He handles the tried hooks and harmonies. How- melody line. The rest floun- and true country themes of ever, about halfway through MCA insists this isn't a ders in a sort of lightweight. cheatin'. drinkin', and lovin' the album, all the aural cotton comedy record. but don't be artsy newwave ennui. Bowie with great aplomb, be it on his candy-good as it is-starts to fooled. It's a full-blown disco/ and Sparks often come to own material (likeThe Girl at clog the ears. soul /reggaeextravaganza mind. and then you wonder the End of theBar) or on an (complete with one side in why you'renot listening to array of tunes by new Nashville Gus: Convicted three movements and a fi- them instead. writers. Eddie Leonetti. producer nale). and theSaturday Night Nemperor NJZ 36502 Livecomedian sings amidst all Paul Warren & Explorer: Broken Home the busy-ness with a deadpan One of the Kids Robert John "Mutt" Gus decided to assuage determination that in the end Peter Coleman. producer Lange. producer all the fobs who have been is just plain laughable. Reggae RSO RS 1-3076 Atlantic SD 19274 waiting fcr the new Bruce aficionados note: Burning Springsteen album with his Spear and Wailer Robbie Songwriter guitarist Fronted by songwriter/ own impersonation of the Shakespeare lend their serv- Paul Warren has been plug- vocalist /guitaristDicken. this Boss. Ian Hunter's ghost also ices to Morris' modern-day ging away on the L.A. club cir- Anglo quartet recalls three of makes an appearance (Ain't classicDifferent Is Not Better cuit for years and at one time producer Robert John Love a Crime),as does Thin (It's Just Different) was the lead singer in Ray Lange's previousprojects: City Lizzy's(Drivin. Into theSun). Manzarek's Nite City. Though Boy. the Records, and Gus finally shows a glimmer of Rene &Angela Warren is an able guitar Graham Parker. Specifically, wit when :he scraggly guitar Skip Drinkwater& player. his material rarely tran Broken Home brings to mind chords of theBeatles' I Want Bobby Watson. producers scends the level ofho -hum the stylized arty rock stance of You swerve into the LP's Capitol ST 12077 rock & roll, especially when he the first, the crackling pop gui- closer, So YouBusted Paul sings about his long quest to tars of the second. and the McCartney. Soul duo Rene Moore land a recording contract on tough, gutsy rhythms of the and Angela Winbush apply A and R Man. third. It's a good mixture when Huey Lewis and the News their winsome. sugaryhat - the songs are up to snuff. Bill Schnee. producer monies to a selection of ro- The English Beat: which, unfortunately. can be Chrysalis CHR 1292 mantic ballads and funky.up - I Just Can't Stop It said of onlyShooting All the tempo tunes. The only Bob Sargeant. producer Lights OutandStop Looking Six -man Bay Area nonoriginal is the Eagles'Ho- Sire SRK 6091 at Me. HL&TN travels the same ter- tel California.which fits sur- rain as every other new group prisingly well into this pleasant Like Madness, but un- Elektrics: crawling out of the studios: enough. if not awe-inspiring. like the Selecter and the Spe- Current Events sparse. heady rock strong on pop:, soul debut. cials-three purveyors of the Peter Ker. producer the pop side, tough on the British ska revival-the English Capitol ST 12093 rhythms, with at least three- Vivabeat: Beat knows how to record with part harmonies and one song Party in the War Zone clarity and power. Punched - New York rockers with a title likeDon't Make Me Jeffrey Lesser. producer out dizzy dance rhythms pro- known in their prelabel days as Do It.That said. Lewis and Charisma CL 3102 vide a backdrop for the hardy, the'80s.the Elektrics come off company dishout a couple of robust saxophone offifty -year - like anew waveversion of the tailor-made singles-Who This coed L.A. en- old Jamaicanreedman Saxa. Monkees. which is a compli- Cares?and Trouble in semble plays electrorock a la Terrific party music. ment. Singer Carl Worner's Paradise. Gary Neumanand Ultravox. 122 BACKBEAT ADVERTISING INDEX 00000000000000000000000000000000000000000000 Key No. Page No _ , andStruttin with Some Barbecuefrom Acoustic Research 73 ADS -Analog 8 Digital Systems 85 his association with Louis Armstrong), old 2 AIWA America Inc. 6 Akai America Ltd. 25 ballads(All of Me),newer ballads(The 3 Altec Lansing International 59 4 Ampex Corp. 18 Nearness ofYou), a familiar Ellington 5 Angel Records 83 tune(In a Mellotone),and a neglected bit 6 Audio-Matic Electronics 117 Audio -Pro 94 of Ellingtonia(Sherman Shuffle).Schnei- 7 Audio Superman 115 Audio Technica, U.S, Inc. 4 der shines through all of them, and his erstwhile boss helps to keep him in the 57 Bang 8 Olufsen 100 Beyer Dynamics Inc 95 most favorable of settings. Bose Corp. CoverIII ;v:77?.

61 Celestion Industries, Inc 82 Ralph Sutton & Jay McShann: Classified Ads 118-120 58 Consumers Co 117 The Last of the Whorehouse

8 DBX, Inc 22 4 Piano Players, Vols. 1 and 2 9 Denon America, Inc 47 Charlie Baron, producer 10 Discount Music Club 117 11 Discwasher, Inc 41 Chaz Jazz CJ 103. CJ 104 60 Discwasher. Inc Cover IV Dual 37 (Chaz Jazz Records. Box 565. North Hampton. N.H. 03862) 12 Empire Scientific Corp. 62 by John S. Wilson Fisher Corp 48

13 47th Street Photo 110 - _ Fuji Tape 81 Ralph Sutton In September 1979, at his annual 14 Gusdorf Corp 13 jazz party in Boulder. Colorado, Dick Gib- 15 Henry's Hi-Fi-Video-Camera 117 Continuedfrom page120 son asked Ralph Sutton and Jay McShann

16 Illinois Audio 92 corded together. The unusual thing about to play some piano duets with bass and 23 Infinity Systems, Inc 12 this disc is that theseventy -four -year-old drum accompaniment.They workedto- 18 International Hi Fi 113 59 International Record 8 Tape Club 115 celebrated jazz pianist gets second billing gether so rewardingly that Charlie Baron,

19 JBL 15 to the virtually unknown young saxophon- in the process of forming hisnew Chaz 20 Jensen Sound Laboratories 105 ist. Yet Schneider not only holds his own Jazz label, took them to New York in De- 21 J 8 R Music World 116 22 JVC America. Inc. 21 with Hines but is frequently the dominant cember and recorded them with bassist Kenwood 63 performer. Milt Hinton and drummerGus Johnson.

24 Lux Audio of America Ltd 28 In live appearances it has been who has toured Europe with both pianists. Hines's custom, understandable at his "The Last of the Whorehouse Pi- 25 Maxell Corp 9 26 McIntosh Laboratory 58 age. to play only two or three numbers ano Players" is the result, and these two Micro Acoustics Corp 86 27 Mitsubishi Electric 75 and let Schneider carry the group the rest volumes contain some of the most joyous 28 Mitsubishi Electric 77 jazz ever recorded. Sutton is known pri- 29 Mobile Fidelity Records 78 of the way. One would think that this could 30 Mordaunt-Short, Inc 113 disappoint an audience expecting to hear marily asa stride pianist: McShann is apt 31 Ohm Acoustics 80 Hines. But listeners tend to be quite satis- to be associated with the blues. But these Onkyo 16, 17 discs find them in several additional con- 32 Osawa 8 Co IUSAI Inc 70 fied with Schneider, and "Eric and Earl' 33 Osawa 8 Co IUSAI Inc 93 shows why. texts: boogie-woogie, ballads (from AmI 34 Park Row Electronics 114 Hines does not conserve his Blue to Girl of My Dreams),rollicking jazz Penney. J C. 60 (Little Rock Getaway),and an airy pastel 37 Pioneer High Fidelity Cover II,1 energies in the studio the way he does in person, and he solos in full. characteristic reading ofAin't Misbehauin'.They even Radio Shack 87 Revox 79 fashion on all of the nine numbers here. sing, Sutton finding his sources in Fats 39 Robins Industries 13 When not soloing, he gives Schneider su- Waller witha gruffly shoutedTruckin', 40 Sansui Electronics Corp. 38 perb accompaniment. notably in estab- McShann showing an open, almost belt- Sennheiser Electronics 83 41 Shure Brothers Inc 111 lishing and emphasizing the easy, punchy ing style onAll of Methat is miles away 42 Sony Corp. 31 43 Sony Corp. 33 beat that makesThere Will Never BeAn- from his blues singing, and turning to pure 44 Sony Corp. 34 other You swing with irresistible insist- Teagarden with a little gospel on his own 45 Sony Industries 64 46 Sound Reproduction 113 ence. With the additional support of Duke I'll Catch the Sun.Most importantly, the Speaker Factory 7 36 Stanton Magnetics 2 Groner on bass and Barrett Deems on two mesh beautifully at the keyboards. 47 Stereo Corp of America 110 The community of spirit between them is 48 Stereomote, Inc 42 drums. Schneider alternates between Studer Revox America, Inc 79 tenor and alto saxophones. His playing is remarkable, as they expand upon-rather 49 TDK Electronics Corp 11 exuberant, confident. and enthusiastic than merely double-each others' per- SO Teac Corp of America 99 formances. And back of it. putting them 51 Technics by Panasonic 5 and shows polished reflections of his 52 3 M Company 97 sources. On alto the influence is essen- on wheels, is the swinging drive of Hinton 53 Top Discount Audio 110 54 Transcriber Co Inc 91 tiallyJohnny Hodges. particularly on the and Johnson.

55 Ultra Hi -Fidelity 88 ballads. withechoes of Charlie Parker at These discs, available only by mail. United Audio Products Inc 37 brighter tempos. On tenor Schneider is are part of a projected seven that show 56 Wisconsin Discount Stereo 107 less openly derivative. but when he gets Sutton in a variety of settings. Baron has Wyeth Press 107 into the slow. emotional lines ofMemories made an eight -inch sample disc contain- Yamaha Audio 27 ofYou. Ben Websteris clearlya source. ing one selection from each. It can be ob- The program is an imaginative mix- tained, along with an order form and ture of Hines -related material(Second prices. by mailing $1.00 to Chaz Jazz Balcony Jumpfrom hisbig -bandbook Records.

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